'Tamasha' - Movie Review By 'G9 Divya Solgama' (*ing - Ranbir Kapoor & Deepika Padukone. Directed by Imtiaz Ali)

'Tamasha'

Movie Review By 'G9 Divya Solgama'

'Exhibits The inner Caliber..' 

Expectations:

Our Hindi films have been highly dominated by the romantic genre right from the golden musical era of the 60’s. As a matter of fact even in the action era or today’s time, romantic films are been loved by all cast and creed. While most of the love stories in these films seems similar, filmmakers like Yash Chopra or Raj Kapoor every time presented their love stories in a different and unusual manner. Yash Chopra’s ‘Darr’, ‘Lamhe’, ‘Silsila’ or ‘Kabhi Kabhi’ are perfect variations of love stories told in a different manner. From the today’s lot we have filmmaker like Imtiaz Ali joining this elite list of love storytellers with his unique display of romance in films like ‘Jab We Met’, ‘Socha Na Tha’, ‘Love Aaj Kal’ and ‘Rockstar’. For the first time, this filmmaker has repeated his lead actors (Ranbir Kapoor & Deepika Padukone) in his latest film ‘Tamasha’, due to which the expectations level have rose up to sky level (also, due to Ranbir-Deepika’s last blockbuster film ‘Yeh Jawaani Hai Deewani’ ). Thus, let’s find out whether ‘Tamasha’ will manage to do justice to the mammoth expectations riding on it or might end up being yet another product based film, made only to cash in over its past glory. 

Story:

‘Tamasha’ is a story of a Ved (Ranbir Kapoor), who loved hearing different kind of stories right from his childhood. While vacationing in Corsica, he meets Tara (Deepika Padukone) and both of them decide not to share their identity with each other and enjoy their vacation like a free bird. Tara returns back to her original life but fails to adjust herself into the normal routines until she meets Ved again. What happens next is what the entire film is all about.

Screenplay & Technicalities:

The story has mildly reminds you of films like ‘Anjaana Anjaani’ and few more, but on an overall basis, has its own tale to narrate. This movie is more of finding ones identity with a love story attached to it. The love track acts like the uranium in a nuclear reactor, as it’s been brilliantly placed by the writers of the film. The first half of the film is superb and goes without any hiccups. It starts with brilliant metaphoric scene featuring Ranbir and Deepika (as a clown & a robot) followed by the sweet part of young Ranbir (Yash Sehgal) and the story teller (Piyush Mishra). The whole romantic part featuring Ranbir-Deepika in Corsica is superb right from their first meet scene with references of Astrix and Don followed by the pact between them, Ranbir’s Dev Anand act, Ranbir-Deepika’s bet over getting quick date followed by gatecrashing in a local party, both of them trying to control their physical urges in order to respect the pact and few more. The pre interval scenes like Ranbir-Deepika’s re meeting and display of Ranbir’s routine life (reminds you of Saif Ali Khan’s song ‘Main Kya Hoon’ from the movie ‘Love Aaj Kal’) gears you up for the second half of the film. The second half of the film starts with some powerful scenes like Ranbir’s outburst on Deepika followed by the same over his boss (Vivek Mushran). Sadly, after these scenes the movie slows down with repetitive scenes and drags till the finale part (which could have been bit better). Though, the pre-climax scene featuring Ranbir and his father Javed Sheikh is outstanding and covers up for the grey areas in the film. The message in the film is positive and is displayed beautifully with the love story as its backdrop. The camera work is superb and adds as a positive point for the film. The brilliant locations of Corsica and Shimla will make you fall in love with those places. Editing could have been better in the later part of the film.

Music & Direction:

The music of this film is not highly popular in comparison to Imtiaz Ali’s earlier films, but A.R.Rahman’s songs fits perfectly in the story telling of the film. ‘Matargashti’ is full of romance and masti followed by highly energetic ‘Heer Toh Badi Sad Hai’. ‘Agar Tum Saath Ho’ is brilliantly placed in the film and adds up as the soul value in the film. ‘Wat Wat Wat’ and ‘Chali Kahani’ are average. ‘Safarnama’ and ‘Tu Koi Aur Hai’ goes with the flow of the film. Background music works in the favour of the film. Ranbir Kapoor singing 'Husn Hazir Hain' from his father Rishi Kapoor's film 'Laila Majnu' is a treat for his fans.

Director Imtiaz Ali comes up with a film about self-discovery but presents it with a good backdrop of romance in it.  The minute detailing in all of his scenes adds as an additional screenplay for the film. He creates plenty of small moments in the film displaying the finesse of his characters in a brilliant way. The whole presentation of the film in a dramatic manner is creatively remarkable. Though, the hurried finale part could have been more soul touching especially, after the superb scene involving Ranbir and Javed Sheikh. 

Performances

Ranbir Kapoor is superb in his part and displays a fine performance. The actor outshines everyone, especially in the second half of the film with his brilliant acting skills. Deepika Padukone looks stunningly beautiful and does her part with full grace. She has evolved as a good actor and one hopes to see some fantastic work from her in future. The chemistry between Ranbir and Deepika is breath taking as both of them complement each other. Yash Sehgal as young Ranbir Kapoor is fine example of the best casting. The innocence and curiosity on his face says it all for his character. Piyush Mishra, Javed Sheikh and Vivek Mushran lend good support. Sushma Seth is wasted.

So bol meri 'Filmi Khopdi' iss film mein kitna hain Dum???

Dum???? Well, this movie has all the dum required for a good film. ‘Tamasha’ will quench the thirst of all those who love to see good simple films. This movie is not highly entertaining like ‘Yeh Jawaani Hai Deewani’ or hard hitting like ‘Rockstar’, but has its own merit to cherish. The masala loving audience might find it slow and boring due to the high expectations. But, for all those who love good cinema, “Tamasha’ exhibits the inner caliber of a brilliant story teller with good performances attached to it.

Ratings - 3.5-4*/5

'Ranbir Kapoor & Deepika Padukone' in conversation with G9 'Divya Solgama'

''Hum Aapke Hain Kaun' was very Madhuri Dixit centric film...' - 'Ranbir Kapoor & Deepika Padukone' in conversation with G9 'Divya Solgama'

‘Tamasha’ is the upcoming Ranbir Kapoor & Deepika Padukone’s film. It is touted to be a very interesting film and reunites the lead actors with the director Imtiaz Ali after working in films like ‘Rockstar’ & ‘Love Aaj Kal’. Our Bollywood Guide 'G9 Divya Solgama' had the pleasure of speaking to the lead pair of the movie, “Ranbir-Deepika” who spoke about this film, issues related to filmmaking and their forthcoming projects.

‘Tamasha’ is stated to be a romantic film, but the title seems bit misfit for such type of films. So kindly let us know the reason for choosing such different title for a love story.

Ranbir Kapoor – Imtiaz Ali felt that ‘Tamasha’ also means spectacle entertainment and since we are in the world of the movies, the story has been said in a ‘Tamasha’ way.

Deepika Padukone – It’s a ‘Tamasha’ of life told through a love story. So ‘Tamasha’ is not necessarily what we see in the play or in a negative way, but just a ‘Tamasha’ of life.  In a simple way I would say what Shakespeare said, ‘we are all puppets and the world is our stage’. We are different people every day and play different roles in our routine life. So, in our daily life we play different roles and we also don’t realize when those hats are changing. It’s so seamless, we are used to it. When you go to office you are a different person and similarly when you are at home you tend to be a different person than what you were in your office. ‘Tamasha’, out here, is a very positive which is a love story and journey of these two people. How they become better with each other because they add so much to each other’s life. The main thing this movie talks about is how mechanical people have become today, how mechanical relationships have become today. There is a set formula people feel like they need to follow in life, go to school, get married and have babies. It’s almost like this is the way you have to live your life. Through the film we just trying to say that follow your heart, follow your passion and be the person you want to be, don’t succumb to pressure and live your life for someone else, instead, live it for yourself.

Ranbir Kapoor – In short, write your own story. 

‘Tamasha’ also reunites you both after the massive success of ‘Yeh Jawaani Hain Deewani’. So, how different is ‘Tamasha’ in comparison with ‘YJHD’.

Ranbir Kapoor – In ‘YJHD’ the principle thought was that Ayan Mukerji was going with the film was that happiness is real only when it’s shared. It was the boy who was selfish, who wanted to do things but he also had love interest and thought that he wants to travel the world and love would come in between. In ‘Tamasha’ it’s nothing like that as the boy wants to be with the girl but the girl doesn’t want to be with this boy because she thinks that the boy is not what he was earlier. He was a different person when she met him earlier, but now he seems to be like a robot, a small screw in the big mechanism of the world where he is just running a race without realizing that which race he is running. I don’t find any similarities between these films and also as a cinema people or a director’s actor its out job to give the audience something which is comfortable at the same time give a new experience on screen. So I won’t say they will experience ‘YJHD’ or a ‘Rockstar’ or ‘Love Aaj Kal’, it’s a completely new feeling. We don’t have the formula of success and failure in movies so we have made a story which is very close to Imtiaz’s heart and believe that it could be a very engaging and an entertaining film. But having said that till the film opens to the audience, we don’t know what they will take from the film. What we take from the film is that we take a thought, we take the inspiration, we take a smile on our face, a tear in an eye and we take something which will probably change us in a way and if it does that to us than I am sure it will do that to the audience also.

Deepika Padukone – Lot of films will talk about self-discovery but, we also have to understand that every director also has a way of telling a story. In ‘YJHD’ the characters were completely different, the point of the film was completely different. By that logic we can also say that was also a love story and this is also a love story, so how are they different, but they are different. As every director has a different story to tell and the way of telling that story is also different. In lot of ways it’s not similar at all, you will discover when you see the film. As a film ‘Tamasha’ is very relatable as lots of youngsters are going from a dilemma in their life where on one hand they want to do what their parents want them to do and on the other hand there are so many more avenue and professions which you can take up which are still are considered as a legitimate career. So, in that sense it’s going to be extremely relatable film and I feel it’s going to shake up lot of people making them uncomfortable as in lot of way the film is going to tell you the truth about yourself.

Deepika, you are working with Imtiaz Ali after a long gap, so what difference do you find in him as a filmmaker in comparison to the one you worked with at the time of ‘Love Aaj Kal’.

Deepika Padukone – I won’t say my equation with him has changed, but there is lot of trust, love and respect for him. Ranbir and I both in a simpler way are his fan and admire him. We also have a relationship almost like a guru-shishya, but in a modern version as we are also friends. We value him a lot as he understand us individually, as human beings. He is an extremely non-judgmental person so you can talk to him about absolutely anything and he is interested in knowing. So you don’t mind sharing your journey and life with him because of two reason, he is non-judgmental and he has been a part of both of our lives right from when I started my career. So there is a kind admiration for him and really valuing what he said, if he has any advice for us, we will take is very seriously. Why I say our relationship is like a modern guru-shishya version because he is someone who is open to our criticism or our any kind of input or advice we have for him because for our love for him, he is someone who will take it openly. So that’s the kind of relationship we share and that’s what he has used it in the film. The format he has used for this film is very different, we were not bound by specific script and yes we had a broad story idea and what the message was in the film. But lot of time he wanted us to improvise, so he would give us the dialogues and say that these are the lines but I don’t know how I want to play it out, so I want you guys to do different things now and show me what all you can do. So that’s the kind of responsibility he has given us and the kind of faith he has in us, that he can give us something and that we will be able to deliver it. So that’s the relation we have now in comparison to the time of ‘Love Aaj Kal’.

Ranbir, as Deepika just mentioned that ‘Tamasha’ has been shot in different style and from what we hear that even your forthcoming film ‘Jagga Jasoos’ has also been shot in different style. So as per you what are the advantage and the disadvantages in such different style of film-making.

Ranbir Kapoor – The advantages are that it’s very organic, it’s very new, you don’t have any preconceived notions when you come to shoot. It’s all created there with the energies that are there on that particular day with the people you are surrounded with. The disadvantage is that you are going in it blind. Like when I did ‘Barfi’, the whole film was like me and Priyanka used to reach the sets and Dada (Anurag Basu) used to give us a script where it used to be a line written that ‘Jhilmil & Barfi ate pani puri’, and he used to create the scene on the spot. So in the entire film me and Priyanka had no idea what we were doing, it’s only when we saw the film we were like ‘Oh! This is what the film was about’. So you have to trust the director so much as he is taking the pressure, he is creating the movie with camera, with performances and organic energy. Having said that it’s also very scary as I could have a film like ‘Bombay Velvet’, where the whole film was improvised and when you see the result, you feel I should have taken the control over it. Of course it was not shot like that, it was shot with lot of control. So there are advantages and disadvantages in such type of filmmaking, it depends only upon what kind of an actor you are and how much you trust the director with whom you are working with.

Now a days, even before a single scene of a film is shot, its release date is already announced. So as per both of you do you feel such type of production strategies hamper the quality of a film.

Ranbir Kapoor – I feel what Aamir Khan said long back that to kill the creativity of a film give it a release date. A film is like an art, you have to let it materialize, make it and when it’s ready then release it. Putting a release date then you are working against the time.  But having said that it’s an expensive medium, you have to make money and holiday dates along with good weekends get you that numbers.

Deepika Padukone – But, I don’t agree with that as I am definitely someone who believes that your intentions for making a film have to be completely honest. Why you are doing that film, what is the story you want to tell and as an actor be very honest about your characters and about your performance. I think that truth somewhere comes out at the box office. If you are honest the audience senses that. The recent example was ‘Piku’, it got so much love and appreciation. It was a film where we dint plan a release day nor did we make any tamasha about it. A lot of people would question me that what is this film? You are working with Irrfan and such stuffs. But, I had faith in the film, its content and I had faith in the fact that our intentions of making that film were honest. If this is there everything else follows. Looking at the kind of love that film has got I am not of that opinion that one should release date in mind and work backwards, then you are just putting projects and not making a film.

Recently we saw many female oriented films being made and out of which few were highly successful including Deepika’s ‘Piku’. But why is it that in such types of films we don’t see any top actor working in it.

Ranbir Kapoor – See the thing is that at the end, what a male actor does, what a female actor does is never beyond the content of the film. For example say a film like ‘Piku’, the content of the film is bigger than everything. It’s not that who is bringing what stardom, Deepika has chosen that film not for stardom but for her love for the film and its content as an actor. Having said that you can’t belittle anyone’s involvement in the film, if it’s Irrfan Khan, Deepika, Amitabh Bachchan, everyone adds to a films success. If a film like ‘YJHD’ works well, it’s not my success, its Deepika and my success together. The fact is that she bought her stardom and acting for Naina and I got it for Bunny. Apart from that it’s the content of that film which works. So I don’t think stardom of any male or a female actor is bigger than the content of a film. Also, in case of films like ‘Hum Aapke Hain Kaun’, it was very Madhuri Dixit centric film and has Salman Khan also. So it also depends upon on the content of the film and from whose point of view you are seeing the film.

Deepika Padukone – It depends upon the kind of the film, you cannot generalize the film. At the end of the day what is the story you want to tell. Are we trying to add the A-lister male actor to the film just because we want to position the film in a certain way or are we planning to be honest with the story and its requirement first. Within the story it all depends upon who is correct or will do justice to that part. So it all depends upon the film and its requirement.

Lastly, Ranbir there are so many films which have been announced with you. Right from ‘Jagga Jassos’, ‘Aye Dil Hain Mushkil’, Sanjay Dutt’s biopic to Ayan Mukerji’s superhero film. So what’s the status of all these films.

Ranbir Kapoor – The writers are still writing the script of Sanjay Dutt’s biopic and Ayan’s film, so it’s unfair from my side to talk anything related to them. “Aye Dil Hain Mushkil’ is 75% complete. ‘Jagga Jassos’ is something that I have grown working in (laughs), but it’s very exciting thing to work back with Anurag Basu. It’s about a detective in a high school who stammers and is trying to find his step-father. Because he stammers he has got to sing, as when you sing you don’t stammer. It’s on the line of an ‘Indiana Jones’ type of adventure film. It’s something which will be very interesting to watch on the big screen, it’s a new genre so I am very excited with this film.

'X: Past is Present' - Movie Review By 'G9 Divya Solgama' (*ing - Rajat Kapoor, Huma Qureshi, Radhika Apte, Swara Bhaskar, Aditi Chengappa, Anshuman Jha, Bidita Bag, Pia Bajpai, Parno Mitra, Gabriella Schmidt)

'X: Past is Present'

Movie Review By 'G9 Divya Solgama'

'Too Many Cooks Spoil The Broth..'

Expectations:

Director Hrihiskesh Mukherjee’s debut film ‘Musafir’ (1957) could be termed as one of the earliest films to have multiple episodic stories attached to it. Decades later this national award winning film, inspired many film makers including Ram Gopal Varma, who after attempting something similar in ‘Darna Mana Hai’ (2003), ventured into a new style of film making with its sequel ‘Darna Zaroori Hai’ (2006). This movie had seven different directors narrating their spooky tales. Though, these attempts failed to register at the box office but, still kept inspiring film makers to make films (Dus Kahaniyaan, Bombay Talkies, etc) in similar style. The latest to join these style of films is ‘X: Past is Present’, which has eleven film makers directing their part of the same film. The promos looks exciting so let’s find out whether ‘X: Past is Present’, will deliver us a fine film due to so many talented names attached to it or might end up joining the list of failed films from this genre.

Story:

‘X: Past is Present’ is a story of a film maker K (Rajat Kapoor), who meets a mysterious girl (Aditi Chengappa) in a party. K’s every interaction with this girl reminds him of his past lovers (Radhika Apte, Huma Qureshi, Swara Bhaskar, Bidita Bag, Pia Bajpai, Parno Mitra, Pooja Ruparel, etc). The memories starts to disturb him and adds on to his curiosity related to the identity of this girl. What happens next, is what the entire film is all about.

Screenplay & Technicalities:

The story idea on papers looks interesting but, when it comes to executing, it fails to match up with the required standards. There are couple of interesting chapters featuring Parno Mitra (one of the best track), Swara Bhaskar & Gabriella Schmidt, but the rest of them only caters to the pseudo intellectuals due to its repetitive and absurd narrative part. Rii Sen’s track is one of the worst track from the film. There are many abrupt and uninteresting tracks which could have been omitted from the film. The narrative part between Rajat Kapoor and Aditi Chengappa is the only decent part of the film which could have been much better. The connectivity in the film is not up to the mark due to the non-linear screenplay. There are lots of abstract camera shots which dilutes the flow of the film. Editing fails to work in the favour of the film.

Music & Direction:

Background music by Sudeep Swaroop is good but fails to enhance the level of the film.

The talented team of multiple young directors (Abhinav Shiv Tiwari, Anu Menon, Hemant Gaba, Nalan Kumarasamy, Pratim D Gupta, Q, Raja Sen, Rajshree Ojha, Sandeep Mohan, Sudhish Kamath & Suparn Verma) fail to create something interesting and engaging. There are few good moments and tracks, but, the grey tracks overtakes the mild positivity of the film, in a big way. One can easily see the high influence of world cinema style of film making in couple of the directors, who ends up giving us the worst tracks in the film.

Performances

Rajat Kapoor is fine in his part and has been decently supported by Aditi Chengappa. Besides them, Anshuman Jha (as young Rajat Kapoor), Swara Bhaskar, Radika Apte, Bidita Bag, Parno Mitra, Gabriella Schmidh, Pia Bajpai and few more are good in their small part. Huma Qureshi’s track needed more depth. Neha Mahajan, Richa Shukla, Rii Sen, Usha Uthop and others are wasted.

So bol meri 'Filmi Khopdi' iss film mein kitna hain Dum???

Dum??? Well, the movie has a decent plot line but, fails badly over its execution and confused arty style of writing. The connectivity and engaging factor is highly missing due to which the movie seems boring and dis-interesting at many points. It’s often said that too many cooks spoil the broth and one can see that happening in case of ‘X: Past is Present’.

Ratings - 1.5*/5

'Prem Ratan Dhan Payo' - Movie Review By 'G9 Divya Solgama' (*ing - Salman Khan, Sonam Kapoor, Neil Nitin Mukesh, Swara Bhaskar, Anupam Kher. Directed by Sooraj Barjatya)

'Prem Ratan Dhan Payo'

Movie Review By 'G9 Divya Solgama'

'Colossal Pauperism..'

Expectations:

Before the arrival of 'Maine Pyar Kiya', the Rajshri banner was known for its small budget simple films. Most of these films starred new comers or narrated the tale set in rural parts of India, but with melodious music and family values attached to it. It was the young vision of director Sooraj Barjatya, which enhanced the level of this traditional banner with his debut film 'Maine Pyar Kiya'. A romantic film which was modern and fresh with all the family values attached to it. Despite of having a flop, one movie actor Salman Khan and a less known T.V actress Bhagyashree, Sooraj confidently released the film with new technology of 4 track stereophonic sound. The movie went on to become one of best romantic films from our country. Similarly, in order to survive piracy Sooraj's second film, 'Hum Aapke Hain Kaun' was released in selected cinemas. The cinema halls just like in case of 'Maine Pyar Kiya' were enhanced and refurbished but this time with better seating and dolby sound. They created the whole marriage celebration atmosphere by adding lights and decorations in those cinema halls. This unique strategy worked in favour of the film and ended up making this film a blockbuster landmark film. 

Though, the marketing strategies mellowed down in his later releases and in case of 'Vivah', it was restricted only to the small towns and single screens. Sooraj’s latest film marks the comeback of superstar Salman Khan in the banner with their film ‘Prem Ratan Dhan Payo’. The movie has been shot in a grand way and is released in totally different style than what Rajshri have been doing in past by releasing it in maximum cinema halls from our country. ‘PRDP’ has superstar Salman Khan, the grandness of Rajshri banner, festive season and a mammoth release but, along with all these positive points it also has to pass the acid test of mega expectations attached to it. Thus, let’s find out whether ‘PRDP’ will managed to give us yet another typical Rajshri-Sooraj Barjatya type of film catering to the family audiences or might be like all those big product type of films which are made only to encash over the past glories attached to it.

Story:

‘Prem Ratan Dhan Payo’ is a story of Prince Vijay Singh (Salman Khan) who is gearing up for his royal coronation to become a king. Sadly, Vijay’s relationship with his step siblings (Neil Nitin Mukesh, Swara Bhaskar, Aashika Bhatia) has soured down, due to which his step brother tries to kill him. Vijay Singh survives the attempt with help of his loyal manager (Anupam Kher). Till the time Vijay Singh recovers, the manager places Vijay Singh’s lookalike Prem (Salman Khan), who visits that town in order to meet his idol princess Maithili (Sonam Kapoor). What happens next is what the entire film is all about.

Screenplay & Technicalities:

The story is highly inspired from the popular adventure novel ‘The Prisoner of Zenda’ and also has few shades from films like ‘Raja Aur Runk’, ‘Dil Hi To Hain’, etc. The predictable plot has been stretched to its fullest with back to back three songs in the start of the film which are abruptly placed. Despite of that, the first half is still watchable leading to a thin line second half which keeps going on and on without halting at any point. The last hour of this almost three hour long film is the worst part of the film which involves over dramatic track of Samir Dharmadhikari leading to unconvincing track of Armaan Kohli followed by predictable fight between Salman and Neil leading to fake goodbyes with a filmy reunion ending. The flow of the film is so slow and lethargic that despite of lot of things happening out there, still there is nothing concrete happening in the film. Though few scenes involving Salman Khan and Anupam Kher followed by Salman and Swara Bhaskar are good and has that typical Rajshri flavor indulged in it, such movies need more of such scenes. Despite of such grand set up and huge grandeur attached with the film, the movie looks fake and artificial. There are some bad scenes like the whole football track, flashback scenes, Armaan Kohli’s track and few more which disengages you from the film at many points. The cinematography is good and movie has been presented in a grand way. 

Music & Direction:

Music has been one of the highest point of the Rajshri banner. Even with less known music directors, they managed to create magic frequently. Sadly, here, despite of having Himesh Reshammiyaa the music is not up to the mark of Rajshri banner. ‘Prem Leela’ has Salman Khan flavour in it. ‘Aaj Unse Milna’ is typical Rajsrhi style of song and has the soul intact. The title track is the best track from the film and has been brilliantly choreographed. “Jab Tum Chaho’, ‘Halo Re’ and other songs are unwanted. ‘Tod Tadaiya’ is worst placed song in the film.

 After the release of ‘Maine Pyar Kiya’, ‘Hum Aapke Hain Kaun’ and ‘Hum Saath Saath Hain’, director Sooraj Barjatiya was blamed of being stuck in one particular style. He tried to break it with ‘Main Prem Ki Deewani Hoon’ which ended up as one of his worst film. He mildly came back with his stuck style in ‘Vivah’ and in ‘Prem Ratan Dhan Payo’, even that is missing. He fails to create those magical sweet and emotional moments and focuses more on the style and gloss attached to the film. The simplicity is nowhere to be found in terms of writing nor direction.

Performances

Salman Khan looks great in few scenes but in the later part looks highly beefed up and totally stiff. The required innocence is invisible making him look methodic. The charisma due to which Salman has managed to pull many weak films is highly missing and seems fake at times. Sonam Kapoor looks smashing in traditional avatar, but fails to do justice to her role. Swara Bhaskar and Anupam Kher does their part with total grace. Deepak Dobriyal, Neil Nitin Mukesh, Manoj Joshi, Sanjay Mishra, Samir Dharmaadhikari and Suhasani Mulay are wasted. Armaan Kohli reminds of his ‘Jaani Dushman’ act.  

So bol meri 'Filmi Khopdi' iss film mein kitna hain Dum???

Dum??? Well, the movie lacks the required dum needed for a typical Rajshri banner type of film. It has few comical and emotional moments along with couple of enjoyable songs, but besides that, there is nothing cherishable in this film. Maybe the presence of Mohnish Behl, Reema Lagoo and Alok Nath would had filled the weak spot but if only wishes were horses, beggars would ride. Similarly, in case of ‘Prem Ratan Dhan Payo’ instead of being a royal entertainer this movie ends up as a result of colossal pauperism.

Ratings - 1.5*/5

'Salman Khan' Interview By G9 'Divya Solgama'

'Stardom has not hit me yet...' 

- 'Salman Khan' Interview By G9 'Divya Solgama'

'Prem Ratan Dhan Payo’ is the upcoming Salman Khan flick slated for a Diwali release. It is touted to be a very interesting film and reunites the superstar Khan with his mentor Sooraj Barjatya after a long time. Our Bollywood Guide 'G9 Divya Solgama' had the pleasure of speaking to the protagonist of the movie, “Salman Khan” who talks about his film, personal life and shares a nostalgic incident related to his first hit film ‘Maine Pyar Kiya’.

Salman, first things first it’s been almost one and half decade since you last worked with Sooraj Barjatya. In this span, you have changed from a star to superstar but what changes did you find in this simple filmmaker while working with him for your latest film ‘Prem Ratan Dhan Payo’.

Whenever you improvise in a film with David Dhawan, you have to do it in David’s style or a film with Sanjay Leela Bhansali, so it has to be in his style. With Sooraj what happens is that, you got to do a lot in his style, because he already keeps improvising it with lots of humour, character, dialogues, etc. Now in this you have added some of naughtiness in the humour but, in ‘Rajshri’ banner mode, it is very tough. I don’t know if we have gone overboard with it, but I feel we have got bit carried away. So the humour here is not typical Sooraj Barjatya style but, also has little naughty style of mine. The beauty here is, that this is limited to comedy only, the moment it shifts to romance he pulls back with the whole ‘ghar ki aakhon ki sharam’, ‘maan maryada’, the dignity, the principles, etc. That is the romance which he brings in. These tracks are also linked with the brother and sister track, which is witnessed in every home. So in this way everyone is interconnected. Now to handle all these with humor and good romance it is very difficult. Generally, when filmmakers write a film they try to give some message in it, but in the case of Sooraj, when he writes, he just writes a simple tale about brothers and sisters and that message automatically comes out towards the end. The moment you come out of the cinema hall you start thinking that I need to be a correct man, a correct boyfriend, a correct son or a correct brother. My loved ones do not deserve this, they deserve better. You feel like you have come out from a pure and pious type of place. Despite of songs, dance, humour, some double meaning dialogues or romance you still will feel that you have come out from a holy place. It would be waste if people watch a Sooraj Barjatiya film on a DVD as he puts lot of good things in his films. His films should be watched on big screen and that too, with every family member of yours. Like all his good films ‘Prem Ratan Dhan Payo’ is also such kind of film which you will love to see over and over again and again. Regarding Sooraj, he is still the same simple person who cares for everyone. The length of ‘PRDP’ was quite long and inspite of that we all felt that it should be maintained as it is. Sooraj said, ‘no yaar!, let the length be restricted so that people don’t find it long’. I replied back saying that we saw the film (I usually fall asleep in my films) and liked it, let the audience enjoy the beautiful moments. Sooraj insisted on keeping it same length as of ‘Bajrangi Bhaijaan’ and said ‘after the night show I don’t want people to be late for dinner or if they watch it after dinner it will be so late that they might not get bus or train to reach home, there will be fog in north India’. So he reduced the length of the film keeping in mind the small problems of his viewers. This is Sooraj Barjatya, the same old caring and loving person.

Salman, what was your instant reaction on the first day of shoot for your film ‘Prem Ratan Dhan Payo’.

When I heard the script and came to know that it will be directed by Sooraj Barjatya, I told him ‘Sooraj Babu this movie is a big one’. Even on the first day of shoot when I reached there and saw the atmosphere I again told him ‘this movie is a big one’. He replied back ‘arey do a shot at least’, I smiled and assured him ‘Sooraj Babu this movie is a big one’.

Salman, many of your fans love the action in your films. ‘Bajrangi Bhaijan’ was a softer film in comparison to your earlier ones. So will your fans get to see some ‘Dhishum Dhishum’ in ‘Prem Ratan Dhan Payo’ as it’s choreographed by British action director Greg Powell.

The action in ‘PRDP’ is like a poetry. When you see the film, the way it’s shot, is just like a poetry. Greg Powell and his team also came here thinking there will be some grand action but there were just two sequences which are beautifully shot just like a beautiful song. If you have noticed properly, Sooraj’s negative characters in his films are weak and kiddish. He cannot think of writing any hard core negative characters and ended up giving us Mohnish Behl in ‘Maine Pyar Kiya’ who used to hit pigeon, Bindu in ‘Hum Aapke Hain Kaun’ used to gossip or those three stylish aunties from ‘Hum Saath Saath Hain’. Any other director would have got some big hunks or vamps to glorify the negative characters. So action in Sooraj’s films in comparison to other films is just like a beautiful poetry.

Salman, out of all your film characters ‘Prem’ is the most loved one. Do you feel it’s due to the real life connection you have with your family. Also, being a family man how do you deal with the troublesome situations.

Well regarding the troublesome situations, I don’t deal with them, my father does. Fortunately, we have not faced anything serious as even a small thing is solved right there and then itself. Touch wood, we have been lucky in that case. We hang out in a big family, due to which you understand the humour, you understand what level one can drag a joke which families won’t mind and which is not disrespectful. If it’s happening in your house, it’s happening in anyone else’s house. Usually, people get scared and they try and show different side of theirs’ in the movies. The way I am at home with my family I am exactly the same in outside world. I understand all the stardom and fanfare, but that guy on screen has nothing to do with me. It’s my job, I do my work, my films do well and I am still the same sitting outside my van or living in my farm. That stardom has not hit me yet and I hope it doesn’t hit me ever. I do have a serious look on my face but that’s to keep unwanted people away from me. If I behaved like Sooraj or Prem from ‘PRDP' or even Pavan from ‘Bajrangi Bhaijaan’ people will take undue advantage of me. They would physically over pamper me which was happening from long time, people used to pull my cheeks or spoil my hair style. Yaar it’s been twenty seven years please have some respect towards me. So that is how that look came in existence, at home I don’t have that serious looks and this is what is real Salman Khan which connects properly with Prem from Sooraj’s films.

Lastly, Salman kindly share with us the incident on how did Sooraj sign you for your first hit film ‘Maine Pyar Kiya’.

No, no I approached Sooraj Barjatiya. Actually, there were three different lot of people who had recommended my name to Sooraj. There was this girl named Shabhana with whom I had worked in an AD film, she went to do screen test for the heroine’s role and at that time she asked Sooraj, who have you taken as a hero. Sooraj informed her that Deepak Tijori and Manoj Kumar’s son Kunal Goswami were tentatively finalized. So in return she recommended by name saying that I have worked with this guy Salma Khan, who is writer Salim Khan’s son, you should try him. Later my dad’s assistant Raj knew Guptaji at the Rajshri banner and he also recommended my name. Then there was a writer who gave me a script narration which I thought was a ridiculous script and thus, refused it. As soon as he went back he told another friend of his about my reaction to his script, now that writer friend also felt the same about the bad script. So he understood my perspective and went on recommending me to the writer of Rajshri banner that there is this young actor who is also Salim Khan’s son and has good sensibilities of film making. So these three people recommended me and then I went there for story narration. I thought Sooraj will narrate me a villager’s role but when he started narrating the script of ‘Maine Pyar Kiya’. At that time I realized that there is neither dhoti nor village in this film instead, has fast car, bikes, jacket in it. For the first time I am not seeing any Sanjay Dutt, Sunny Deol, Kumar Gaurav or Jackie Shroff in this film, all I saw was myself playing the role of Prem in this film. As soon as the story narration was over I cheerfully told him ‘Sooraj, superb man we will make a great film together’. He instantly replied back ‘but, Salman I have not signed you yet as we have short listed Deepak Tijori and Kunal Goswami’. I realized that this movie will not happen and thus went back to my struggling times. Producer K.C Bokadia’s associate Suresh Bhagat was starting a film which almost every young actor had refused it. So when I walked in they asked me, “It’s a small role. Will you do it? “Out of desperation, I said, ‘yes’. They did all the signing formalities and gave me a VHS of a regional film and told me to watch it for my part in the film. When I saw the film, I realized that the film is damn good but my role is hardly there. I had no choice rather than doing this film as had no work. 

Now, out there in Rajshri banner, I had also done a screen test for which I had taken a friend Farah Khan who was a bad dancer at that time (jokingly laughs). Farah trained me for a front somersault and few dance steps. When we went for the screen test, I was asked to dance on a song. When I danced, I was dancing like Jackie Shroff and at that time Farah got so angry and told me to do it properly or else I will lose the film. She also changed the sides and told Sooraj not to cast me in the film (jokingly laughs). When Farah went away, Sooraj made me do some steps with Guitar and also recite some dialogs. Sooraj showed this screen test to his cousins Charu and Chanda, they were highly impressed with me and insisted Sooraj to sign me. When Sooraj came to sign me I was doing my epic film ‘Biwi Ho Toh Aisi’, I explained to Sooraj how I, landed in this film. He said, “No problem, we will come first”, I told him this movie is almost complete. Sooraj went and spoke to his father and came back to say that it does not matter and told me that you were damn good in the test thus we changed our decision and want to cast you for ‘Maine Pyar Kiya’. Once ‘Biwi Ho Toh Aisi’ got completed I saw the rushes. At that night I called up Sooraj and told him to look for another hero as I felt I was not up to the mark, still I asked the makers to show him the film so that he can remove me from the film and take someone else. Sooraj saw the film and told me that the film is good and will do very well. I told him that’s my biggest fear is that many people will see it and after that they will see ‘Maine Pyar Kiya’, they won’t enter the theater looking at me. Sooraj consoled me and said you are Prem of ‘Maine Pyar Kiya’, this is not you. Let this film happen, even if it does well or fare bad it won’t affect you. Just imagine a nineteen year old boy had the maturity and had the spunk to cast another nineteen year old guy in a film when Rajshri banner was down and out. Their highest budget film was forty lakhs and then ‘Maine Pyar Kiya’ cost them one crore twenty lakhs. So just imagine, what Sooraj Barjatya must’ve done to ‘Prem Ratan Dhan Payo’ in terms of its scale and budget.