Pakistaniboy
ODI Debutant
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- Oct 24, 2011
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Tamanna is north indian? How did she make it big in South Indian film industry then?
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^^^^ Like Vidya Balan, Aishwarya, Rekha , Sridevi ,Deepika Padukone , Hema malini made it big in bollywood ???? No barriers..all Indians...if you are good looking..and ..chose right movies..and learn acting in first few initial chances.....anybody can be an anything anywhere in India....
Hard to believe that a great actor like Ajay Devgn is working with a hack like Sajid Khan in first place.
Seriously it is bad..I could understand Golmal...but Son of Sardar...Himmatwala...
While action is going more serious now....Special Chabbis..and Once upon a time..
Ajay Devgn is doing Prakash Jha's Satyagrah though....with Amithabh and Katrina...
^^^ with Katrina Kaif as main lead...no main actor......she is central role...
Ranbir is approached it seems for a small role...not signed yet....
I think Hritikh should do more movies.
Great performance in Agneepath and ZNMD.
I think he is very underrated by many people.
JayantiBhai ki Love Story starring Vivek Oberai and Neha Sharma
http://www.youtube.com/watch?v=nJeIAouv8FE
Thoda Thoda Song Promo
http://www.youtube.com/watch?v=XLT9J9InSHw
And both Atif Aslam's Songs...Atif Aslam should do an Ali Zafar and get a movie role..he is good looking !!
http://www.youtube.com/watch?v=gAC7VPZafl4
http://www.youtube.com/watch?v=SlDoYsSldpk
Movie looks decent...songs are good!!...I like the first comment on the theatrical video...so true !!!! I liked Neha Sharma in her first film itself....Chirutha in Telugu...she is hot!!!
btw,that new girl Tamannah in remake of Himmatwala is sizzling . Any pics folks![]()
Knock knock..I want to start posting in this thread again. and I want to go on record that i am offering my unconditional apology to naveen a.k.a navroks123. I have a clean heart. Hope he forgives me. A hug would be nice too, but I don't think I deserve it right now.
its all good man....sorry !!!
Great job navroks on keeping this thread active.It's like you have the treehouse all to yourself with the regular visitors popping up to have a look.
I don't see much of Bollywood these days but you can't say no to all these fab pics!
Nav and Gentle bhai one question for you guys. Why cant Bengali girls in Bollywood speak with proper hindi/urdu accent? Aur inki khubsorti ka raaz kiya hai?
Nav and Gentle bhai one question for you guys. Why cant Bengali girls in Bollywood speak with proper hindi/urdu accent? Aur inki khubsorti ka raaz kiya hai?
[More a deconstruction I guess than a review, (despite the title) this post has spoilers]
There have been very few movies that have had as much influence on its genre as The Godfather. When I say influence, I am of course using the Pritamian euphemism for “provide a treasure-trove of characters, situations and set-pieces on which the carrion-feeders of Bollywood can feast on for decades as they produce one aatank (terror) after another, including a movie titled Aatank Hi Aatank”. A part of the blame for being ravaged lies with the victim itself (and how often do we hear that). So epic is Godfather’s scope, so compelling are its protagonists and so eternal its dramatic conflict that it becomes genuinely difficult to extricate oneself from its influence, even with the best of intentions.
It is easy to forget however, especially in front of the 800 pound Luca Brasi of a Godfather, that other mafia film, smaller and less grand but as enjoyable. I am talking about, of course, Goodfellas, which is as not-Godfather as one can possibly be while remaining solidly in the mafia genre. While the world of Godfather is populated by dead-serious, larger-than-life characters and its narrative built around epic themes of revenge, sin and moral atrophy, Goodfellas is a colorful mosaic of low lives alternately, and often at the same time, pathetic, foolish, funny, shrewd and murderous. It has, because it is a more difficult movie to understand and hence lift, remained largely unmolested by Bollywood’s celluloid-pinchers, who have instead feasted on the meaty flesh of the more lowbrow Scarface. (As an aside, when I saw Scarface in 2007, I realized how much of the movie I had already seen scattered in numerous Hindi flicks of various vintage.)
Gangs of Wasseypur may have some elements of The Godfather— the reluctant young man forced to don his father’s mafia chappals after the murder of the anointed sibling, as also a minor variation of the Jones Beach Causeway sequence. However, with its cast of quirky, bizarre, severely psychotic characters and the way it intriguingly walks the line between felony and farce, Gangs of Wasseypur is more Goodfellas than Godfather. When I say this, I do not want to slyly imply that it is copied from Goodfellas, not even in the “it has been transplanted to an Indian context” originality argument that some film-makers, whose movies get firmly thrown out of the foreign film category at Oscars, use as a figleaf for their transgressions. The reason I spend so much text on drawing parallels is if we are going to be talking about inspirations (which we Indians love to do in a snarky way), we should at least get the most egregious inspiration correct.
For me though, and I love my game of “Who copied what” if only because they do it all the time, Gangs of Wasseypur is wildly original, with the originality stemming from its characters, its music (Sneha Khanwalkar thumbs up) its thematic ambivalence (Is this crime or is this comedy?) and, perhaps what I found most intriguing, its vision.
The Gangs of Wasseypur saga, or rather the heart of it, are the characters of Sardar Khan (Manoj Vajpayee) and Faisal Khan (Nawazuddin Siddiqui). Though they are equally dim-witted, equally murderous and equally filmy, this father and son-duo are polar opposites in every other way. And that is what makes each of them individually and together so fascinating. Sardar Khan is all braggadocio all “Bata deejiyega sabko” Bihari-babu swagger, the “*********, ****** sala, randibaaz”, predator of women and slayer of men, brought to life marvelously with eyes-and-blades slashing aplomb by Manoj Vajpayee. Faisal Khan is diffidence personified, breaking into sniffles when the love of his life admonishes him for not taking her permission before holding her hand, as passionately monogamous as his father is not, lazing about like a crocodile in a drug-induced stupor one moment and pumping lead maniacally into the bodies of his enemies the next, sometimes slinking away from battle dragging a broken foot and sometimes striding heroically with guns blazing. Topping even Manoj Vajpayee’s performance, this is a sensational tour de force from Nawazuddin Siddiqui whose narcotics-addled gaze, vacant and remote, is about as perfect and authentic as one can get to the real thing.
And crowding around are the equally fascinating other denizens of the world of Wasseypur where the flight of pigeons is quite a bit different from the Ruskin Bond ideal. There is the supremely evil blade-runner Perpendicular, the enigmatic Definite, the strong-willed Nagma Khatoon, the voluptuous Mohsina and my personal favorite, the indescribable Ramadhir Singh. If there is one major criticism that I have of Gangs of Wasseypur is that one always seem to want to know more about these characters and many a time one feels that some of the footage, for example Faisal Khan’s long-winded adventure to procure guns, could have been edited out and that time used for more development of the fascinating support-cast.
Then there of course is the humor, which even when scraps of brain tissue are flying around, is never far from the surface. A goat grazes placidly as a romantic scene plays in the foreground. As a hit takes place, one of the hitmen relieves himself while the other seems more fascinated by the items on the mark’s grocery list than on the job at hand. In the midst of great drama, a character returns to retrieve his shoe. A man pounds his wife in bed, comes out vacantly expressionless, and then goes back in and resumes the pounding. A Mithunda impersonator is used to taunt an opponent. Macho murderers sit around with housewives to watch Kyun Ki Saans Bhi Kabhi Bahoo Thi before the TV explodes in a hail of bullets. A mustachioed Yashpal Sharma sings emotional Hindi songs, in a faux feminine voice, both at marriages as well as funerals. A supposedly evil usurper hatches evil plan and then just when you start getting taken in by his earnest seriousness, you see him dancing dirty, grinding into a skimpily clad human being of indeterminate gender. Before dispatching a man to meet his maker, Faisal Khan has a barber shave his head and then forces he-who-is-about-to-die to wear black goggles just so that he can have the pleasure of killing someone who looks like the legendary filmy villain Sakaal. This transition from the serious to the ridiculous is so sharp that one wonders if Gangs of Wasseypur is a crime drama or a comedy, an homage to pulpy Hindi movies or a savage takedown.
My take-away, and this could well be my personal interpretation, is that it is all of them. In my favorite sequence, Ramadhir Singh (played with heart-breaking brilliance by Tigmanshu Dhulia), once he finds out that his son, with whom he has been disappointed with in the past, had gone to see “Dilwale Dulhaniya Le Jayenge”, says with infinite sadness “Beta Tumse Na Ho Payega”. (Son, You will not amount to anything). Later on, Ramadhir Singh observes, with more than a bit of quiet satisfaction, that the only reason he has been able to outsmart so many of his opponents, spanning generations, is because unlike them, he never wallowed in Hindi cinema. It is Hindi cinema, he claims, which makes the people around him stupid, deluding them into constructing filmy narratives for their pathetic little lives. And this situation is unlikely to ever improve because “Jab tak cinema hain lok chutiya baante rahenge.”
Maybe I am over-analyzing but that is where I believe Gangs of Wasseypur gets in its true punch. The slavishness towards Hindi movies, while being comical is also pathetic, being a symptom of a much more fundamental social malaise— the lack of hope. Pulpy Hindi popular entertainment in the badlands of Bihar is like a narcotic, providing a fix of scripted dreams to those that have none, creating a morass of comfortable dumbness or bewakoofi that consumes those that remain immersed in it. The battle between the bewakoof (bumpkins) and haramis (smart ********) that is laid out in the opening voice-over is thus not an external conflict but an internal one, raging inside each and every character in the world of Wasseypur, as foolishness crosses swords with sly street-smartness. It’s a war with unpredictable results—the proudly harami Ramadhir Singh ends up riddled with bullets, his haramipanti bested by the mostly bewakoof Faisal. But then he too gets bumped off by Ramadhir’s DDLJ-watching son, bringing to fruition the prophecy of Ramadhir “Jaise lohe lohe ko kaatta hain, waise chootiya chootiyon ko katega” albeit in a supremely ironic way that old Ramadhir was perhaps too big a bewakoof to understand.
Ridiculous, over-the-top, memorable, and perhaps, just perhaps, quite a bit smarter than it appears, Gangs of Wasseypur remains, without a doubt, the best Hindi movie I have seen in some time.
here are quite a few things from my teenage years that I cringe owing up to, none perhaps as embarrassing as having been a shameless Shahrukh Khan fan-boy. As a matter of fact, I was so Madan Chopraaaa crazy that I would occasionally dress up SRK-style (I still have photographic evidence of me in my Ramjaane-inspired get-up) .
Those days, there was a hero vacuum in Bollywood. Amitabh Bachchan, after a disastrous run in politics, was turning out turkeys like Toofan and Akela, fast descending into the rabbit-hole of Dev Anandian obsolescence. Mithun Chakraborty was preparing to pack his bags for Ootie, Anil Kapoor and Jackie Shroff were on their ways out (they didn’t know it yet of course), Aamir Khan and Salman Khan were still finding their feet through a series of chocolate-boy low-key romantic roles, Saif Ali Khan was thought to be a Sharmila Tagore lookalike with no future, Akshay Kumar was cavorting in speedos as “handsome man” Mr Bond and producers considered Rahul Roy a viable sole-hero.
Yes things were that bad.
And then he came, sliding down stairs on a slab of ice, cartwheeling, somersaulting, lips shaking, eyes trembling, bringing to the screen the kind of physical energy not seen since Shammi Kapoor in his heydays. This was a totally different kind of acting from we had ever seen— visceral, intense, maniacal one moment and cloyingly boyish the next.
We were hooked.
One of the things that so attracted me to Shahrukh Khan in the early years was that, among all his contemporaries, he was the only one who took risks. Insane risks. While Aamir Khan, later to become the thinking-man’s hero, cavorted in snake flicks like Tum Mere Ho, danced disco dandiya in Love Love Love and headlined formulaic “Girl hates boy, girl loves boy” campus romances like Dil, Shahrukh Khan was pushing the envelope playing vengeful serial killers (Baazigar), obsessed lovers (Darr) and endearing losers (Kabhi Haan Kabhi Na).
In an industry where breaks are given almost exclusively to insiders, here was a TV actor with no filmi pedigree, making a play for the top, beating the privileged in their own den.
You had to support him. You just had to.
I think he is too cynic ....and sometimes fits the perfect example of an arm chair critic..always criticizing not offering solutions..and also does superficial analysis on complex issues
Tamanna is so average looking(with A LOT of make up), you will find thousand of girls like these in Pakistan that without any make up.
Only rate Chitrangada Singh in Bollywood, I have not seen many Bollywood actress with such perfection at the age of 36.
yeah...hers was more complex.... Ranbir character wes very unidimensional....where Ileana is the one through the movie that had to fight within herself...had to take toughtest decisions through out the film...whether to go ahead with her marriage over Barfi...choose Barfi and leave the house to help him..and the end to turn around..... Priyanka's character did show growth....getting jealous..trying to emulate "ileana.....and using the hand fan while eating ...she actually fell in love in Barfi...I never could see when Ranbir actually fell in love with Priyanka..even till the end..I only saw sympathy for her through him
^^^ yeah I guess you are right !!!!!
I think Hritikh should do more movies.
Great performance in Agneepath and ZNMD.
I think he is very underrated by many people.
also the fact, that Barfi gave her beautiful wedding present, her special band dance![]()
Like I said I usually don't like hard core romantic movies, but always enjoy watching romantic comedies, aka chick flick.![]()
Navrocks, have you ever consider writing for Bollywood oriented websites or newspaper? I think you have skills and passion for it. I know you do this just for time pass, but if you do consider then it wouldn't be a surprise.
^^ ok. Cool.
Ek main aur ek tu was a drag for me. I don't know why did I continue watching that movie!
<iframe width="560" height="315" src="http://www.youtube.com/embed/IZI-p1i0_Uw" frameborder="0" allowfullscreen></iframe>Nana Patekar is an awesome actor.He is an excellent villain.
<iframe width="560" height="315" src="http://www.youtube.com/embed/IZI-p1i0_Uw" frameborder="0" allowfullscreen></iframe>
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