YRF produced aur Maneesh Sharma directed Fan kahani hai ek superstar Aryan Khanna aur uske sabse bade fan, Gaurav Chandna ki. 

Gaurav kehne ko toh West Dilli mein apna cyber station chalata hai, magar sach mein subah shaam sirf Aryan Khanna ke gun gaata hai.

Gaurav ka sapna hai, ke wo ek baar Mumbai jaakar apne star se mile aur samay aane par, ye sapna sach ho jaata hai.

Film ka plus: film ki kahani, characters, Habib Faisal ke dialogues. Iske alava film ke locations, special effects aur cinematography…

Film ka bada plus: Maneesh Sharma ki kabile taarif direction aur Shaha Rukh Khan ka double dhamaka – yaane ki Dilli ka junooni Gaurav aur Mumbai ka Shaandar Aryan.

Film ka minus: kyon ki kahani larger than life hai, isliye characters aur situations bhi over the top ban jaate hain jo iss genre ki cinema mein understandable hai.

Fan dekhni chahiye film ke sandesh ke liye, Shah Rukh Khan ke liye aur director Maneesh Sharma ke liye.

Fan ko Big Entertainment Ratings miltye hai 3.5 stars.

 @bhawanasomaaya

Film Review: Great Grand Masti 
Date: July 15th, 2016
Director: Indra kumar
Cast: Vivek Oberoi,Ritesh Deshmukh, Aftab Shivdasani n Urvarshi Rautela

Rating: –

Indra Kumar directed Great Grand Masti is a trilogy of his earlier two films Masti made in 2004 and Grand Masti in 2013.

In Masti Meet/Vivek Oberoi, Amar/ Ritesh Deshmukh, Prem/Aftab Shivdasani are married men but have no qualms of flirting with Lara Dutta.

In Grand Masti the three friends delighted to be without their wives celebrate their freedom attending their College Reunion.

In Great Grand Masti they are adventurous to visit a remote village and experience a fatal attraction with a ghost.

All three films border on pornography. The issue isn’t about whether such films should be made or watched? The issue is any film can be made on any subject, watched and enjoyed by the audience provided it is aesthetically presented.
If you have relished Indra Kumar’s vulgar brand of cinema then Great grand Masti is for you.
Word of caution: This is not a film for children or family and certainly not a film that deserves my time or star ratings.

@bhawanasomaaya

Directed by Awtar Krishna Kaul, starring Raakhee and M K Raina is based on a Hindi novel Athara Sooraj Ke Paudhe by Ramesh Bakshi about a railways employee who meets a girl on the train. The music of this film was composed by Hariprasad Chaurasia and Bhubaneshwar Mishra and production design by Bansi Chandragupta. 27 Down won National Award for Best Feature Film in Hindi as well as Best Cinematography for Apurba Kishore Bir.

Shot on real location on Mumbai trains, platforms, and at Mumbai’s Victoria Terminus station, the film was mostly shot at night to avoid crowds and the cinematographer of the film, Apurba Kishore Bir was just 22 years old and shot almost 70 percent of the film using a hand-held camera using a widelenses rather than the zooms which was the practice that time. Another interesting facet was Bir chose to shoot the film in black and white with stark contrasts rather than color.

For more check India’s finest films on Zee Classic Saturday 10 pm.

@bhawanasomaaya

Directed by Basu Chatterjee the film is set in a lower middle class chawl examining the sudden death of a
20-year-old unmarried Kamla, who commits suicide unable to handle the news of her pregnancy. Raising issues related to pre-marital sex and relationships in modern India Basu Chatterjee master of middle class cinema travels the neighborhood and examines other relationships in the Gopal Bhawan chawl at Mangalwadi in Girgaum.

This is the first time Pankaj Kapoor and Suprriya Pathak came together as a pair and many years later got married. Other actors in the film were Roopa Ganguly, Asha Lata, Irfaan Khan and
believe it or not Lagaan director Ashutosh Gowariker.

For more check India’s finest films on Zee Classic Saturday 10 pm.




@bhawanasomaaya

Based on Fyodor Dostoevsky’s short story The Meek OneNazar was produced by NFDC and directed by Mani Kaul starring his daughter Shambhavi Kaul with Shekhar Kapur and Surekha Sikri. The film travelled to almost all the international festivals but was not released in India. About an antique dealer who lives in a luxurious apartment in a fancy apartment in Mumbai with his aunt, the hero surprises everybody when he marries an orphan girl half his age and brings her home.

The film begins with the young wife committing suicide and the hero recollecting his conversations with her trying to comprehend the mystery that must have motivated her to take the final decision.

For more check India’s finest films on Zee Classic Saturday 10 pm.

@bhawanasomaaya

Film Review: Madaari

Date: July 22 2016

Director: Nishikant Kamath

Cast: Irrfan Khan, Vishesh Bansal, Jimmy Shergill

Rating: 3 stars***

The film opens with a voice over questionning that presuming there’s a fight between an eagle and a mouse, who would win? If the eagle wins, the story becomes predictible. If the mouse wins, the story is unrealistic, so the third end is the story ofMadaari.

An ordinary man/Irrfan Khan kidnaps the son of a powerful man, Home Minister/Tushar Dalvi and throws him a challenge.

This is not a regular cop and culprit chase. The issue is not ‘who’ but ‘why’. Shot on varied and fast changing locations within the interiors of India, the characters walk the sands, tan in the sun, sleep on chugging trains, ride in rickety buses and walk hungry for days.

What works about the film is the premise, the message and the intention. Director Nishikant Kamath has always displaced radical choice subjects beginning with his award winningDombivali Fast, later Mumbai Meri Jaan on bomblasts and recently debate on right and wrong in Drishyam. This time Kamath knocks on your concience and exposes those in power.

The problem with Madaari is we have been throug similar journeys of the common man in AWednesday and Traffic and the plot is devoid of surprises. The narrative is slow paced and the story unfairly hero centric. One misses the involvement of Rohan’s school, classmates and parents, particularly mothers of other students.

The main problem is the exaggerated climax. Would any minister under any dire circumstances ever visit a common man to resolve a crisis?

Jimmy Shergill as the investigating cop Nachiket is effective but almost invisible. Child star Vishesh Bansal is bright and cheeky but the film belongs solely to Irrfan Khan. As the dishevelled, unkempt kidnapper always on the move, Irrfan is merculrial and sparkling.

There is just one song in the film composed by Vishal Bharadwaj and another from Urdu poet Faiz Ahmed Faiz in the endcrdits and both add to the story telling.

Moral of the story: it is not necesaary for either the eagel or the mouse to conquer each other if both are accountable and ethical.
@bhawanasomaaya https://bhawanasomaaya.com/