Hindi Movie No Problem Wallpaper,Movie No Problem Wallpaper,bollywood movie No Problem Wallpapers,No Problem Wallpapers,No Problem Wallpaper,No Problem movie wallpapers,No Problem hindi movie wallpapers
Hindi Movie No Problem Wallpaper,Movie No Problem Wallpaper,bollywood movie No Problem Wallpapers,No Problem Wallpapers,No Problem Wallpaper,No Problem movie wallpapers,No Problem hindi movie wallpapers
During the showcasing of LAMHAA at the recently held I.I.F.A. in Sri Lanka, I was compelled to ask director Rahul Dholakia about the catch line of the film: 'The untold story of Kashmir'. Obviously, I was curious. What was Dholakia going to narrate that we, the viewers, hadn't witnessed in films earlier or read in newspapers or watched on news channels? Dholakia gave a convincing response, justifying the catch line, but obviously not revealing much about the film.
As LAMHAA unfolds, you realize that Dholakia may've borrowed a few incidents from life, but as it moves forward, it comes across as a typical Bollywood enterprise that harps on being real, but ends up being a masala film that we have witnessed over and over again. The catch line, in my individualistic opinion, is quite misleading.
Dholakia seems to have researched extensively on the issue and LAMHAA does boast of some razor-sharp moments, but the viewer is keen to have an insider's viewpoint on Kashmir, something that we haven't read/seen [on news channels/films] earlier, which LAMHAA just doesn't provide.
Just one word for this film: Disappointing!
The Military Intelligence gets a whiff of a plot that is likely to disrupt and possibly paralyze Kashmir. Vikram [Sanjay Dutt] is sent to investigate this highly confidential mission and he assumes the identity of Gul Jehangir. The same day that he lands in the valley, Haji [Anupam Kher], a top separatist leader, survives a blast. Is there a connection between the blast and the operation?
To solve this conundrum, Vikram teams up with Aziza [Bipasha Basu], Haji's young, aggressive and outspoken protégé. The intensity of their beliefs and their will to survive against all odds creates a special bond between them. They embark together on a journey to uncover the truth.
First things first! LAMHAA has been filmed in Kashmir and you're awe-struck by its beauty, with DoP James Fowlds doing a splendid job in capturing the scenic locales on celluloid. The constant shaking of the camera also gives a real feel. Unfortunately, LAMHAA, though controversial in nature, merely touches the tip of the issue, instead of going all-out and narrating a story that offers reasons and perhaps, a solution to the crisis.
The problem clearly lies in its scripting, the written material [screenplay: Raghav Dhar, Rahul Dholakia]. Like I pointed out earlier, Dholakia should've stuck to realism, instead of trying to strike a balance between realism and make-believe. The viewer is told at the very outset, and also at regular intervals, that 'something big [read destructive] is going to occur'. But the entire conspiracy comes across as too trivial during the final moments of the film and therefore, the impact is missing.
Honestly, LAMHAA comes across as a disjointed effort, in terms of writing. It's more of a collage of several isolated incidents, which explains why the screenplay lacks the power to keep you engaged. Sure, a few sequences are attention grabbing, but showing the heroic side of Sanjay Dutt [rescuing Bipasha all the while - from the cops, from Rajesh Khera's henchmen, from a lecherous Yashpal Sharma] appears very filmy. Even the finale - Sanju busting the conspiracy - comes across as child's play.
One expects a lot from Dholakia, but he lets you down completely in LAMHAA. The politicians wanting a bigger piece of pie or children getting trained for jehad or their bodies being stuffed with bombs is not an eye-opener anymore. What one is keen to know is the mindset of Kashmiris, which, frankly, this film doesn't really project. In the end, if you recall the visuals, not the content, it means something is seriously wrong with the film and LAMHAA, sadly, is right intentions gone wrong. Even the dialogue [Sai Kabir, Ashwath Bhatt], like the screenplay writing, tries to strike a balance between real and filmy. Mithoon's music is easy on the ears, but acts as a speed breaker in the narrative.
Sanjay Dutt tries hard to look the character, but I just couldn't connect with it. The rugged look, the sunglasses and the trendy attire made me feel that Sanju had strolled into the sets from an ad film shoot. Bipasha, again, doesn't look her part, although I must add that she has put in a lot of effort to stay true to her character. The sequence when she's attacked by the women workers of Anupam Kher's political party is simply brilliant.
Kunal Kapoor is royally sidelined in the first hour, but has a few interesting scenes in the second half. His speech in the finale is flat and devoid of the required emotions. Anupam Kher is the lone actor who actually looks the character he has been assigned to portray.
Mahesh Manjrekar is wasted. Ditto for Yashpal Sharma. Vipin Sharma is effective. Jyoti Dogra stands out. Murli Sharma is perfect. Shernaz Patel is decent. Rajesh Khera, Yuri Suri, Vishwajeet Pradhan, Asif Basra, Denzil Smith and Ehsaan Khan are okay in their respective parts.
On the whole, LAMHAA just doesn't work.
Rating : 1.5/5
By Taran Adarsh / bollywoodhungama.com
During the showcasing of LAMHAA at the recently held I.I.F.A. in Sri Lanka, I was compelled to ask director Rahul Dholakia about the catch line of the film: 'The untold story of Kashmir'. Obviously, I was curious. What was Dholakia going to narrate that we, the viewers, hadn't witnessed in films earlier or read in newspapers or watched on news channels? Dholakia gave a convincing response, justifying the catch line, but obviously not revealing much about the film.
As LAMHAA unfolds, you realize that Dholakia may've borrowed a few incidents from life, but as it moves forward, it comes across as a typical Bollywood enterprise that harps on being real, but ends up being a masala film that we have witnessed over and over again. The catch line, in my individualistic opinion, is quite misleading.
Dholakia seems to have researched extensively on the issue and LAMHAA does boast of some razor-sharp moments, but the viewer is keen to have an insider's viewpoint on Kashmir, something that we haven't read/seen [on news channels/films] earlier, which LAMHAA just doesn't provide.
Just one word for this film: Disappointing!
The Military Intelligence gets a whiff of a plot that is likely to disrupt and possibly paralyze Kashmir. Vikram [Sanjay Dutt] is sent to investigate this highly confidential mission and he assumes the identity of Gul Jehangir. The same day that he lands in the valley, Haji [Anupam Kher], a top separatist leader, survives a blast. Is there a connection between the blast and the operation?
To solve this conundrum, Vikram teams up with Aziza [Bipasha Basu], Haji's young, aggressive and outspoken protégé. The intensity of their beliefs and their will to survive against all odds creates a special bond between them. They embark together on a journey to uncover the truth.
First things first! LAMHAA has been filmed in Kashmir and you're awe-struck by its beauty, with DoP James Fowlds doing a splendid job in capturing the scenic locales on celluloid. The constant shaking of the camera also gives a real feel. Unfortunately, LAMHAA, though controversial in nature, merely touches the tip of the issue, instead of going all-out and narrating a story that offers reasons and perhaps, a solution to the crisis.
The problem clearly lies in its scripting, the written material [screenplay: Raghav Dhar, Rahul Dholakia]. Like I pointed out earlier, Dholakia should've stuck to realism, instead of trying to strike a balance between realism and make-believe. The viewer is told at the very outset, and also at regular intervals, that 'something big [read destructive] is going to occur'. But the entire conspiracy comes across as too trivial during the final moments of the film and therefore, the impact is missing.
Honestly, LAMHAA comes across as a disjointed effort, in terms of writing. It's more of a collage of several isolated incidents, which explains why the screenplay lacks the power to keep you engaged. Sure, a few sequences are attention grabbing, but showing the heroic side of Sanjay Dutt [rescuing Bipasha all the while - from the cops, from Rajesh Khera's henchmen, from a lecherous Yashpal Sharma] appears very filmy. Even the finale - Sanju busting the conspiracy - comes across as child's play.
One expects a lot from Dholakia, but he lets you down completely in LAMHAA. The politicians wanting a bigger piece of pie or children getting trained for jehad or their bodies being stuffed with bombs is not an eye-opener anymore. What one is keen to know is the mindset of Kashmiris, which, frankly, this film doesn't really project. In the end, if you recall the visuals, not the content, it means something is seriously wrong with the film and LAMHAA, sadly, is right intentions gone wrong. Even the dialogue [Sai Kabir, Ashwath Bhatt], like the screenplay writing, tries to strike a balance between real and filmy. Mithoon's music is easy on the ears, but acts as a speed breaker in the narrative.
Sanjay Dutt tries hard to look the character, but I just couldn't connect with it. The rugged look, the sunglasses and the trendy attire made me feel that Sanju had strolled into the sets from an ad film shoot. Bipasha, again, doesn't look her part, although I must add that she has put in a lot of effort to stay true to her character. The sequence when she's attacked by the women workers of Anupam Kher's political party is simply brilliant.
Kunal Kapoor is royally sidelined in the first hour, but has a few interesting scenes in the second half. His speech in the finale is flat and devoid of the required emotions. Anupam Kher is the lone actor who actually looks the character he has been assigned to portray.
Mahesh Manjrekar is wasted. Ditto for Yashpal Sharma. Vipin Sharma is effective. Jyoti Dogra stands out. Murli Sharma is perfect. Shernaz Patel is decent. Rajesh Khera, Yuri Suri, Vishwajeet Pradhan, Asif Basra, Denzil Smith and Ehsaan Khan are okay in their respective parts.
On the whole, LAMHAA just doesn't work.
Rating : 1.5/5
By Taran Adarsh / bollywoodhungama.com
When Priyadarshan and Akshay Kumar join hands, you expect the cineplex to reverberate with laughter. Let's not forget, the team has regaled us with some terrific entertainers in the past. Naturally then, you expect KHATTA MEETHA to take the legacy forward.When Priyadarshan and Akshay Kumar join hands, you expect the cineplex to reverberate with laughter. Let's not forget, the team has regaled us with some terrific entertainers in the past. Naturally then, you expect KHATTA MEETHA to take the legacy forward.
Review By Taran Adarsh/ bollywoodhungama
I've never really followed politics. But I am truly fascinated by 'Mahabharata'. Lord Krishna, Arjun, Karan, Bheema, Duryodhan... are legendary and the clash between Pandavas and Kauravas is equally unforgettable. Prakash Jha's RAAJNEETI talks of warring cousins, dynastic rule and electoral politics of the Hindi heartland, besides the vicious and horrifying games some people play to attain power.
To me, RAAJNEETI is a human drama, a complex game that people indulge in to achieve power and how this greed envelopes them and transforms them into ruthless and conniving humans. I admit, it takes time for the story to sink in, but slowly and steadily, you get sucked into a world that's dark, dangerous and demonish. The attire may be white, but the deeds are grey or black.
RAAJNEETI is not only 'Mahabharata', but also 'Godfather'. Despite knowing 'Mahabharata' or 'Godfather', one is not able to presume what games the present-day Pandavas and Kauravas would play in RAAJNEETI. In fact, the story alters constantly, unravelling in a serpentine manner and speed... so much so that you don't know what's gonna happen next. It keeps you awed at the constant turn of events. Clearly, unpredictability is the biggest strength of RAAJNEETI. Yet, let me clarify, this is not a documentary, tetchy or preachy film. This one not only entertains, but also enlightens.
The flipside? None, actually. The naysayers may point out that the subject material is 'heavy', 'serious' and 'dry', but you ought to know that when you adapt 'Mahabharata' in the current milieu [present-day politics], you can't expect 'item songs' and 'slapdash humour and mimicry', for God's sake. These naysayers may also state that the running time [almost 3 hours] is a no-no in today's times, but let's not forget that even 3 hours is too short a duration for a good film and vice-versa, even an hour is too lengthy for a terrible film. RAAJNEETI is a genuinely good product, so you definitely don't mind its length. But one thing is for sure: RAAJNEETI doesn't cater to an audience that keeps its brains at home while watching a film. You need to be alert while watching this one.
Final word? Prakash Jha, the persona, is known for qualitative cinema and RAAJNEETI, his new offering, stands tall on the list. Cinema is all about narrating interesting stories on celluloid and for that very reason, RAAJNEETI deserves distinction marks. Of course, the massive star cast and the sparkling performances are the icing on the cake.
I strongly advocate this film. Do yourself a favour: Watch RAAJNEETI.
Bhaskar Sanyal [Naseruddin Shah], the fire-brand leftist leader, is feared for his single-handed ability to challenge the most powerful of leaders. Until one private mistake of his hurtled him into a self-imposed exile.
Cut to the present day. Prithvi [Arjun Rampal] is the heir to a powerful political legacy and impatient to seize the top position. But his cousin, Veerendra [Manoj Bajpayee], proves his biggest political opponent. He's a man who believes he was born to rule and who will now stop at absolutely nothing to claw his way back to the top.
Cornered by family and political colleagues, Veerendra plays a new game: He picks up Sooraj [Ajay Devgn], a youngster with anger in his heart and leadership on his mind. Sooraj doesn't know the secret behind his identity, which, of course, is revealed much, much later.
Prithvi's brother Samar [Ranbir Kapoor] is an 'outsider', with no political aspirations, but he gets sucked into the battle-ravaged arena of family rivalry. Only to turn into a master of the craft of political warfare. Indu [Katrina Kaif], daughter of a wealthy industrialist, is also caught in this web. Last but not the least, there's Brij Gopal [Nana Patekar], who plays the role of mentor and guide to Prithvi and Samar as the battle gets bloodier by the day.
It requires courage to assemble a mammoth, ensemble cast, pick a story that does justice to each character and give the film the feel of an epic. Also, you ought to have comprehensive knowledge of the subject material - politics, in this case. And for all these and more Prakash Jha deserves all the praise possible. He knows the territory like the back of his hand, having observed the political culture very closely. Like I said at the outset, every character in RAAJNEETI is grey or black, not squeaky clean at all.
At an edited length of almost 3 hours, RAAJNEETI keeps the viewers glued to the goings-on for start to end. Anjum Rajabali and Prakash Jha's screenplay brings to the fore the ugly face of democracy most realistically and convincingly. The constant twists-n-turns in the story, the characters who change colours faster than chameleons and the blood-bath they indulge in are the highpoints of this film. In fact, there are sequences that merit brownie points, but it wouldn't be ethical to reveal them here since that would rob the fun while watching the film.
If the screenplay is watertight, the dialogue are equally remarkable. Every line is soaked in acid and only enhances the impact of several sequences. There's no scope for music in the film and the songs, including the hugely popular 'Mora Piya', are interspersed briefly in the narrative. Cinematography is top notch. RAAJNEETI is not an easy film to shoot, given the fact that there are more than 3 or 4 actors in every frame, besides a massive crowd of course.
To slot RAAJNEETI as a multi-starrer film would be erroneous. It's a multi-actor film and every actor delivers a sparkling performance. The film has some of the biggest names in the business, but the ones who stand out are Ranbir Kapoor, Arjun Rampal and Manoj Bajpayee. Ranbir surprises you with every film. Here's an actor who can give the best in the business sleepless nights. Arjun is a revelation and what a terrific performance he pitches in. He's like an untamed lion. Manoj delivers his career-best performance. He plays the evil part superbly.
Ajay Devgn is sidelined in the second hour, but you need to give it to the actor for accepting and enacting his part with complete conviction. Nana Patekar is brilliant. He utters the most acidic lines with a smile, which only an actor of calibre could've achieved. Actually, you can't imagine anyone else in this role. Katrina Kaif is first-rate. The sincerity and earnestness shows in every sequence. She sheds her glam doll image and transforms into an actor with this film. Naseeruddin Shah, in a brief role, does well. Sarah is good.
The film has a number of talented names in supporting roles and each remain etched in your memory, especially Dayashanker Pandey, Chetan Pandit, Darshan Jariwala, Shruti Seth, Kiran Karmarkar and Vinay Apte. Nikhila Trikha, as Arjun and Ranbir's mother, is admirable.
On the whole, RAAJNEETI makes a sweeping impact. A truly admirable effort, this brilliant film is not to be missed.
Rating : 4/5
By Taran Adarsh/ bollywoodhungama.com
Review By Taran Adarsh/ bollywoodhungama
I've never really followed politics. But I am truly fascinated by 'Mahabharata'. Lord Krishna, Arjun, Karan, Bheema, Duryodhan... are legendary and the clash between Pandavas and Kauravas is equally unforgettable. Prakash Jha's RAAJNEETI talks of warring cousins, dynastic rule and electoral politics of the Hindi heartland, besides the vicious and horrifying games some people play to attain power.
To me, RAAJNEETI is a human drama, a complex game that people indulge in to achieve power and how this greed envelopes them and transforms them into ruthless and conniving humans. I admit, it takes time for the story to sink in, but slowly and steadily, you get sucked into a world that's dark, dangerous and demonish. The attire may be white, but the deeds are grey or black.
RAAJNEETI is not only 'Mahabharata', but also 'Godfather'. Despite knowing 'Mahabharata' or 'Godfather', one is not able to presume what games the present-day Pandavas and Kauravas would play in RAAJNEETI. In fact, the story alters constantly, unravelling in a serpentine manner and speed... so much so that you don't know what's gonna happen next. It keeps you awed at the constant turn of events. Clearly, unpredictability is the biggest strength of RAAJNEETI. Yet, let me clarify, this is not a documentary, tetchy or preachy film. This one not only entertains, but also enlightens.
The flipside? None, actually. The naysayers may point out that the subject material is 'heavy', 'serious' and 'dry', but you ought to know that when you adapt 'Mahabharata' in the current milieu [present-day politics], you can't expect 'item songs' and 'slapdash humour and mimicry', for God's sake. These naysayers may also state that the running time [almost 3 hours] is a no-no in today's times, but let's not forget that even 3 hours is too short a duration for a good film and vice-versa, even an hour is too lengthy for a terrible film. RAAJNEETI is a genuinely good product, so you definitely don't mind its length. But one thing is for sure: RAAJNEETI doesn't cater to an audience that keeps its brains at home while watching a film. You need to be alert while watching this one.
Final word? Prakash Jha, the persona, is known for qualitative cinema and RAAJNEETI, his new offering, stands tall on the list. Cinema is all about narrating interesting stories on celluloid and for that very reason, RAAJNEETI deserves distinction marks. Of course, the massive star cast and the sparkling performances are the icing on the cake.
I strongly advocate this film. Do yourself a favour: Watch RAAJNEETI.
Bhaskar Sanyal [Naseruddin Shah], the fire-brand leftist leader, is feared for his single-handed ability to challenge the most powerful of leaders. Until one private mistake of his hurtled him into a self-imposed exile.
Cut to the present day. Prithvi [Arjun Rampal] is the heir to a powerful political legacy and impatient to seize the top position. But his cousin, Veerendra [Manoj Bajpayee], proves his biggest political opponent. He's a man who believes he was born to rule and who will now stop at absolutely nothing to claw his way back to the top.
Cornered by family and political colleagues, Veerendra plays a new game: He picks up Sooraj [Ajay Devgn], a youngster with anger in his heart and leadership on his mind. Sooraj doesn't know the secret behind his identity, which, of course, is revealed much, much later.
Prithvi's brother Samar [Ranbir Kapoor] is an 'outsider', with no political aspirations, but he gets sucked into the battle-ravaged arena of family rivalry. Only to turn into a master of the craft of political warfare. Indu [Katrina Kaif], daughter of a wealthy industrialist, is also caught in this web. Last but not the least, there's Brij Gopal [Nana Patekar], who plays the role of mentor and guide to Prithvi and Samar as the battle gets bloodier by the day.
It requires courage to assemble a mammoth, ensemble cast, pick a story that does justice to each character and give the film the feel of an epic. Also, you ought to have comprehensive knowledge of the subject material - politics, in this case. And for all these and more Prakash Jha deserves all the praise possible. He knows the territory like the back of his hand, having observed the political culture very closely. Like I said at the outset, every character in RAAJNEETI is grey or black, not squeaky clean at all.
At an edited length of almost 3 hours, RAAJNEETI keeps the viewers glued to the goings-on for start to end. Anjum Rajabali and Prakash Jha's screenplay brings to the fore the ugly face of democracy most realistically and convincingly. The constant twists-n-turns in the story, the characters who change colours faster than chameleons and the blood-bath they indulge in are the highpoints of this film. In fact, there are sequences that merit brownie points, but it wouldn't be ethical to reveal them here since that would rob the fun while watching the film.
If the screenplay is watertight, the dialogue are equally remarkable. Every line is soaked in acid and only enhances the impact of several sequences. There's no scope for music in the film and the songs, including the hugely popular 'Mora Piya', are interspersed briefly in the narrative. Cinematography is top notch. RAAJNEETI is not an easy film to shoot, given the fact that there are more than 3 or 4 actors in every frame, besides a massive crowd of course.
To slot RAAJNEETI as a multi-starrer film would be erroneous. It's a multi-actor film and every actor delivers a sparkling performance. The film has some of the biggest names in the business, but the ones who stand out are Ranbir Kapoor, Arjun Rampal and Manoj Bajpayee. Ranbir surprises you with every film. Here's an actor who can give the best in the business sleepless nights. Arjun is a revelation and what a terrific performance he pitches in. He's like an untamed lion. Manoj delivers his career-best performance. He plays the evil part superbly.
Ajay Devgn is sidelined in the second hour, but you need to give it to the actor for accepting and enacting his part with complete conviction. Nana Patekar is brilliant. He utters the most acidic lines with a smile, which only an actor of calibre could've achieved. Actually, you can't imagine anyone else in this role. Katrina Kaif is first-rate. The sincerity and earnestness shows in every sequence. She sheds her glam doll image and transforms into an actor with this film. Naseeruddin Shah, in a brief role, does well. Sarah is good.
The film has a number of talented names in supporting roles and each remain etched in your memory, especially Dayashanker Pandey, Chetan Pandit, Darshan Jariwala, Shruti Seth, Kiran Karmarkar and Vinay Apte. Nikhila Trikha, as Arjun and Ranbir's mother, is admirable.
On the whole, RAAJNEETI makes a sweeping impact. A truly admirable effort, this brilliant film is not to be missed.
Rating : 4/5
By Taran Adarsh/ bollywoodhungama.com
