Khelein Hum Jee Jaan Sey Movie review

Adapting a work of literature into a movie is an arduous task. Satyajit Ray's 'Apu Trilogy' [PATHER PANCHALI, APARAJITO and APUR SANSAR] was based on two Bengali novels written by Bibhuthibhushan Bandopadhyay. Ray's SHATRANJ KE KHILADI was based on Munshi Premchand's short story of the same name. In fact, film-makers have always been fascinated by best-selling books/novels for adapting into feature films. Mira Nair's THE NAMESAKE, P.C. Barua, Bimal Roy and Sanjay Leela Bhansali's DEVDAS, Pradeep Sarkar's PARINEETA, Rajkumar Hirani's 3 IDIOTS, Atul Agnihotri's HELLO and the recent AISHA have been adapted from literary works. Even in Hollywood, LORD OF THE RINGS, HARRY POTTER, NARNIA and many more have been successfully adapted from novels by reputed names.

However, if you analyze the past, you will realize that not all movies adapted from novels/short stories have set the cash registers jingling at the box-office. Films like PINJAR, PAHELI, RAINCOAT and international experiments like BRIDE AND PREJUDICE and THE MISTRESS OF SPICES have found very few takers in the past.
This is not the first time Ashutosh Gowariker has adapted a book into a film. KHELEIN HUM JEE JAAN SEY is yet another book-to-movie adaptation by this talented storyteller [this one is based on the book 'Do And Die: The Chittagong Uprising 1930-34' by Manini Chatterjee]. Again, this is not the first time Ashutosh Gowariker has revisited the bygone era. He did it successfully in LAGAAN [period], then JODHAA AKBAR [historical] and now KHELEIN HUM JEE JAAN SEY [period].

Recreating the bygone era is indeed demanding, laborious and strenuous. It's a challenge to present the era convincingly. Besides extensive detailing to lend authenticity, the director carries the responsibility of making the characters come alive to the present-day generation. Gowariker has successfully done that in the past and does it successfully yet again in KHELEIN HUM JEE JAAN SEY.

Once the film-maker takes on the task of depicting a chapter from history, it's imperative that he/she remains factual to the depiction of the revolution, giving an accurate account of what actually transpired in that period. But details alone won't help, it needs to be well dramatized for the big screen. There's a vast difference in the style novels are written, but one needs to take extra care to make it film friendly. While I may not be able to comment on whether Gowariker has been faithful to the book or tampered with it or implemented some changes, which may be necessary to suit the tastes of the present-day spectators and make it more palatable, I would definitely like to say that what comes across on screen is very absorbing, truly informative and exceptionally inspiring.

Final word? The expectations from KHELEIN HUM JEE JAAN SEY are minimal, but you can't overlook the fact that it's a genuinely honest effort that needs to be encouraged and appreciated. I would like to add here that the promotional posters/billboards/promos don't create any impact whatsoever. Wish the makers would've looked into this very important aspect as well!


1930, British India: In the province of undivided Bengal lies the sleepy, peaceful port of Chittagong. In this unassuming little town, a revolution is about to begin; a revolution which will forever wake all of Chittagong and inspire the entire nation.

April 18. 1 night. 5 simultaneous attacks. A band of 64 - 56 innocent yet fearless young boys, 5 defiant revolutionaries, 2 determined young women, and an idealistic leader [Surjya Sen], a school teacher by profession.

This group of 64 represents a little-known chapter in history; a forgotten night that reigned terror on the British through a series of calculated attacks. This is a true story of these forgotten heroes and the narrative takes us through every step of the action from the initial trepidation, to the thrill of the attack, to the underground movement, daring escapes and tragic captures, and most importantly, their undying legacy.

A film-maker of extensive aptitude and sensitivity, Gowariker's tryst with period films continues. Seems like he has worked himself to the grind in order to attain perfection. The writing [screenplay: Raoul V. Randolf and Ashutosh Gowariker] and execution of the material are so credible that it influences you to wonder if the writers and director were part of the revolution. The Bengali ethos and the behavioral patterns of the characters, recreating the etiquette and body language of people who lived in a different era along with their attire and styling and also their dwellings come across as very pragmatic. In fact, Gowariker has left no stone unturned to make a film that does justice to the event.

KHELEIN HUM JEE JAAN SEY has almost entirely been shot in Goa and not Chittagong [now Bangladesh] because the location that was there in the 1930s no longer exists in that shape, I understand. However, the film captures the spirit and intensity to perfection. On the other hand, with Gowariker's films, the length/running time of the film is always a topic of discussion and that's a problem with KHELEIN HUM JEE JAAN SEY as well. The film has a running time of approx. 2.48 hours and the editor [Dilip Deo] and director could've easily trimmed a few fight sequences in the second half, to make the goings-on crisper.

Musically, KHELEIN HUM JEE JAAN SEY is embellished with soft and soothing compositions, but I have an issue with that. Sure, the album is high on patriotic sentiment, but the songs in the first hour act as a roadblock in the narrative. Ideally, it should've been a songless film. However, the background score [also by Sohail Sen] enhances every scene, making it more impactful. The production design [Nitin Chandrakant Desai] transports you to that era. It's that authentic. The stunts [Ravi Dewan] are true to life. Kiran Deohans and Seetha Sandhiri's cinematography captures the era to perfection.

Abhishek as Surjya Sen suits the character right. His character appears very fervent, but at the same time truly tranquil, incredibly unperturbed and really unruffled, which merges very well with the character of an educationalist that he illustrates. A freedom fighter with these attributes hasn't been presented in a motion picture before. Abhishek gets to the character a certain authority. The rebelliousness and boisterousness are depicted to perfection.

Deepika sheds her glam look and looks every bit the character she illustrates. Kudos to her first of all for accepting a challenging role [of a woman revolutionary of the 1930s] so early in her career and then almost living that character in the film, continuing to prove her mettle far ahead of her poise and exquisiteness.

Sikander Kher leaves a terrific impression. He excels in several scenes. Vishakha Singh is a complete natural. She catches one's attention instantly. Samrat Mukerji, Maninder and Feroz Wahid Khan, each actor is earnest and sincere to the core. In fact, every actor in the film looks most convincing in their respective parts. I would like to make a special mention of the young artists [most of them seem like first-time performers], who have a very unpolluted/uninfluenced approach to acting. Brownie points to each one of them.

On the whole, KHELEIN HUM JEE JAAN SEY, based on the Chittagong rebellion, is an enlightening experience of a poignant, but little-known chapter in history. It's a film of immense significance which evokes a colossal patriotic fervor. A motion picture like KHELEIN HUM JEE JAAN SEY isn't created targeting the box-office solely. It's also made for the gratification of the senses. And that it does in sufficient measure. In an industry obsessed by opening weekend business and box-office records, this is one of those rare films that doesn't compromise on its gracious objectives for the sake of becoming more box-office friendly. At the same time, a film like KHELEIN HUM JEE JAAN SEY, although very well made, may not appeal to those who relish the customary kitsch and masala. Therefore, the film will have to rely on a very strong word of mouth to create any kind of an impression or impact at the box-office.

Break Ke baad Movie Review

Aditya Chopra's DILWALE DULHANIYA LE JAYENGE, Karan Johar's KUCH KUCH HOTA HAI and Farhan Akhtar's DIL CHAHTA HAI continue to inspire and motivate film-makers to this date. Danish Aslam's debut film BREAK KE BAAD borrows from the above-mentioned films, besides Imtiaz Ali's LOVE AAJ KAL and several other films churned out by Yash Raj and Dharma.

I don't think it's sacrilege to seek inspiration from a great film, a taut script or soulful music, but the storyteller ought to take that extra effort to present something more than what we've watched before, in his/her film. That's where BREAK KE BAAD fails to connect. BREAK KE BAAD deals with space issues in a relationship, a much exploited and abused word used a lot in the present-day scenario. Space is almost like a break-up mantra and BREAK KE BAAD explores this concept rather than being a conventional love story. It has that typical Hollywood inspired urban drollness, approach and responsiveness, but what comes across on screen is a poor replication of romance-laden movies that we have enjoyed over the years.

BREAK KE BAAD goes wrong, sorry horribly wrong in its writing. The screenplay is full of glitches, the writing is juvenile, the situations are amateurish and I actually wondered how a shoddy screenplay like the one in BREAK KE BAAD was green-lit and approved in the first place. The intention was to make a cool film for the urban youth, but the writers [screenplay: Renuka Kunzru and Danish Aslam] have messed up and how!

Final word? A boring fare that gets unbearable after a point!

Abhay [Imran Khan] and Aaliya [Deepika Padukone] have known each other since they were kids. Their friendship turned into love at the tender age of 15, when Abhay realized that Aaliya is the girl for him.

Aaliya's life is defined by her burning desire to become an actress and she is unmindful of what or who comes in her way. Abhay, who is still unsure about what he wants to do, finds himself competing with Aaliya's incessant plans and projects to fulfill her dreams. Things come to a head when Aaliya decides to go to Australia to study and Abhay has to deal with the prospect of a long-term relationship, secretly fearing that he will lose Aaliya forever.

They decide to give their relationship a break, so that Aaliya can pursue her dreams. As time passes by, Abhay realises his skills, while Aaliya realises that there is no joy in achieving one's dreams if one has no one to share it with.

The basic idea of BREAK KE BAAD may compel you to think that it's going to charter a new path completely, but what comes across is a sham. I mean, the lovers break up for a flimsy reason [there's no persuasive rationale actually], then become friends, then go separate ways, then become friends again, then argue animatedly and then get married. Besides, the film is talk-heavy, extremely verbose and the chatter is pointless, senseless and ludicrous.

One fails to understand why the girl drops the guy like a hot brick. Actually, there's no valid reason for her to do so. He is so committed, so devoted, so trustworthy that any girl would give her left arm to be with him. But the girl comes across as a no-brainer and expectedly, realizes her folly only towards the finale [as expected in a screenplay of convenience]. Besides a faulty screenplay, even the supporting characters [Sharmila Tagore, Shahana Goswami] are wasted.

Director Danish Aslam has handled a few moments well, that's it. A love story ought to be embellished with a lilting musical score, but Vishal-Shekhar disappoint this time. The songs are strictly okay and one misses that winning track that makes a love story memorable. Cinematography [Andre Menezes] is alright.

Both Imran and Deepika take a step forward as actors. Having watched Imran closely from JAANE TU YAA JAANE NA days, I feel that he has come a long way in his fifth outing and you can see a marked difference in his performance. As far as Deepika is concerned, I like the spontaneity that she brings to the character. After LOVE AAJ KAL, this is another film that will make people sit up and notice her talent. Sharmila Tagore is wasted. Ditto for Shahana Goswami. Yudhishtir Urs irritates. Lillete Dubey gets to deliver some spicy lines. Navin Nischol gets minimal scope.

On the whole, BREAK KE BAAD has a vibrant Imran and Deepika as its USP, but a faulty and an unpersuasive screenplay as is its major stumbling block. Fails to impress!

Crook Movie Review | Movie Review of Crook

Crook scores due to its extreme topicality. Director Mohit Suri picks up a tale drawn straight from the current headlines and narrates it with characteristic grit and edginess. It's a familiar playground for Emraan Hashmi too as he gets to essay the role of the enfant terrible all over again. And that isn't rocket science for Emraan, since ever since he hit the marquee with his maniacal act in Murder, the actor has been antsy on screen in almost all his avatars. Even his last outing on screen was a reincarnation of the grimy Dawood-ish don in Once Upon A Time in Mumbaai.

In Crook, he re-essays a character he's already played in Mohit Suri's earlier film, Jannat. Emraan's cabbie-man act in Crook sees him going through the entire graph of a callous bad boy turning good. But before he can set aside his amoral ways, he must take the rough ride on the streets of Melbourne which are buzzing with an underground war between Indian and Aussie gangs, baying for each other's blood. The Indian students find a leader in the hot-headed Arjan Bajwa who is determined to uphold desi culture in phoren shores, even as the Australian goonda insists on protecting his native culture from the foreign onslaught.

It's here that Mohit presents a new take on the issue. He depicts both of them -- the Indian and the Australian -- as equally racist and argues for introspection on both sides. Of course, eventually, it's left to Emraan Hashmi to play mediator between the two warring camps and douse the fire that threatens to burn down the neighbourhood. Time for the crook to change colours and turn hero....

The film isn't a smooth ride altogether. Unlike Kalyug and Jannat, Mohit's earlier films, Crook begins on an incoherent note and takes time to get its focus right. Most of the first half of the film is spent -- and wasted -- in the romantic escapades of Emraan with the Indian student and the Australian night club dancer. The story picks up mostly in the second half and makes a meaningful noise: integrate or perish.

Watch it for its topicality and enjoy the upbeat audio track.

Endhiran Movie Review | Review of Endhiran Movie

Initial rhetoric of usual Rajini introduction scene is not there, instead he is introduced in the opening scene as Dr.Vaseegaran who finds to enthuse a Robotic object into human, he creates this robot with all that a man can do and cannot do. He finally succeeds after 10 years of research, but he fails in the test by experts as it cannot have any feelings of love, compassion, attachment or obeying attitudes. He re-implants all this and gets interrupted by Danny who is jealous. Rest you have have to see in theatre and i am not going to tell you the story to remove your interest.

HIGHLIGHTS

* Shankar has used technology and special effects to the core.
* Aish looking great, acted well, she looks old in some scenes.
* Rajini is just GREAT GREAT GREAT
* He takes more |Avatars, say more than 1000 and Dasavatharam is a mustard here.
* I think none other than Rajini can mantle this role and none would fit into this role.
* Excellent camera and fighting scenes, superb train stunt by chitti
* Music is good and background music is pressed to take the scenes to the new heights.
* Dont miss to take your children, 4-14, they will enjoy more than you.
* chitti (rajini villain)’s actions are superb,
* A repeat watch may be recommended.
* Songs picturisation just superb
* computer, graphics, tehno – all class
* Razor edge dialogues by sujatha – just great
* Karunas, Santhanam – a waste in the film, they have less role to play.

The film is running for 165 minutes and the fans felt not a single minute lag. The final 90 minutes are super sonic every one felt.The songs also have repeat value with breath taking visuals. Particularly 'Kilimanjaro' song is a visual treat . It’s worth seeing the film for the second time for its songs alone.

We MUST SALUTE SHANKAR for this great movie in Tamil. We may have seen many movies in hollywood, but to bring hollywood to kollywood – one shoudl have guts, i think he has achieved this coveted goal.
When coming to the man of the moment, the ultimate Tamil Super star Rajinikanth, the fans loved him on screen performing the dual roles.

They even say Rajini has given an award winning performance In ’Endhiran’. Thalaivar's performance is so natural they felt and he looks more handsome than ever. With no punch dialogues the super star is so natural and in his natural elements. Much like the ever lovable classic Rajini.

As expected fans confirm Aishwarya Rai makes a perfect pair to Rajinikanth and the jodi rocks on screen.

The whole world wearing festive looks for ‘Endhiran’. It just can’t get bigger than this.
Initial rhetoric of usual Rajini introduction scene is not there, instead he is introduced in the opening scene as Dr.Vaseegaran who finds to enthuse a Robotic object into human, he creates this robot with all that a man can do and cannot do. He finally succeeds after 10 years of research, but he fails in the test by experts as it cannot have any feelings of love,

Review:Khichdi-The Movie

I must admit, I am no couch potato. I find it difficult to stay glued to television for hours, surfing channels randomly. Perhaps, that's one of the reasons why I never watched an episode of this hugely popular TV show called KHICHDI. But, of course, I had heard of its popularity, about its comic quotient, about the zany characters...

KHICHDI - THE MOVIE borrows the characters from the show, but the movie has a new story to offer. In the West, popular shows are adapted on the big screen, but the trend is in nascent stages here. For someone like me, who was absolutely clueless about what to expect from the big screen adaptation, I'd say KHICHDI - THE MOVIE vacillates between absurd and ridiculous, but the fact remains that it makes you laugh at most times. KHICHDI - THE MOVIE may not push the envelope as far as the written material is concerned, but you exit the auditorium with a radiant smile, which most laughathons promise, but don't deliver. 

Final word? I haven't laughed as much in weeks as much I did in those 2 hours. Do pay a visit to this mad family if laughter is what you seek in a movie. This khichdi is appetizing, for sure.

Hansa's [Supriya Pathak] brother Himanshu [J.D.] has a ridiculous ambition: to have a memorable, legendary love story. Parminder [Kirti Kulhari], Himanshu's neighbour, falls in love with Himanshu for no logical reason and the two get engaged to get married. That's when this ridiculous story takes a ridiculous turn. Himanshu realizes on the eve of the wedding that the impending ceremony would mean impending doom to his desire to have a legendary love story. For, nothing interesting ever happened in his love story to make it memorable.

No resistance, no conflict, no separation, no sad song, no climax, nothing. So the dumb family sets out to stall the wedding. Thus begins their journey to create all those missing stages in Himanshu's love story in order to make it legendary.

Even if you're clueless about the characters in the story - like I was - it doesn't take time to know that the family has its brains in its knees. At the very outset, the Almighty [Satish Shah, in a cameo] arrives at the doorstep to distribute akal ke laddoos, but the family will have none of it. From this point onwards, the characters get into weird and outlandish situations and the humour gets bizarre and wacky.


There's hardly any serious moment in the film. Humour has been injected even in serious situations, like the death of a parent [Supriya and J.D.'s father] and the condolence meet thereafter, where a parody of 'Beedi Jalaile' and 'Bheege Honth Tere' are rendered for the grieving family members.


However, writer-director Aatish Kapadia's screenplay has its share of potholes. The love story isn't convincing at all. Also, the crime angle [the suicide portions] doesn't cut ice. However, the courtroom sequence in the climax salvages the show and is, in fact, the highpoint of the enterprise. The entire sequence is so funny that you've to see it to believe it. It's nothing short of a mirthquake!


Aatish Kapadia, the writer may not be in complete form, but Aatish Kapadia, the director knows his job well. His choice of actors, who've the right comic timing, comes handy at most times. Also, like I said, his handling of the courtroom sequence especially is noteworthy. Music is a sore point, but I am not complaining. I was not expecting musical gems either. Sanjay Jadhav's cinematography is full of vibrant colors.


Every actor works in tandem with each other, instead of trying to have a game of one-upmanship and that's what makes every single character stand out. Supriya Pathak is splendid. Anang Desai is top notch. Rajeev Mehta [as Supriya's husband] is fantastic. Nimisha Vakharia is first-rate. J.D. is excellent. Kirti Kulhari looks good. Girish and Keith are alright. Kesar Majethia and Markand Soni are cute. Farah Khan, Satish Shah, Deven Bhojani and Paresh Ganatra are lovely in cameo appearances.


On the whole, KHICHDI - THE MOVIE is a fun-ride that tickles your funny bone from start to end. Do visit this mad Indian family and get thoroughly entertained. Logic be damned, laughter is what matters. This one's a great stress buster!

Anjaana Anjaani Movie Review

Till a few years ago, if a director approached a producer with a script that had just two characters from Scene A to Z, the producer would scoff at him and show him the door. After all, devoting an entire film on merely two characters is nothing short of a risk. That's not all, for the two characters aren't friends, acquaintances or lovers. They are strangers who meet accidentally on a bridge, since both have decided to commit suicide. If that's how your film begins, it's akin to taking another [giant] risk by Bollywood standards.

Okay, okay, before I begin dissecting ANJAANA ANJAANI, I need to clear a few misconceptions pertaining to this film. It's not a copy or adaptation or remake of Patrice Leconte's 1999 French film LA FILLE SUR LE PONT/GIRL ON THE BRIDGE, which starred Daniel Auteuil and Vanessa Paradis. The Twitterverse is also crammed with tweets speculating that ANJAANA ANJAANI bears a striking resemblance to the Telugu film ITLU SRAVANI SUBRAMANYAM [2001]. The only similarity between these three films is that two strangers meet on a bridge to commit suicide, that's it! ANJAANA ANJAANI is as diverse from these films as mangoes, apples and peaches. Now let's move ahead...

With ANJAANA ANJAANI, director Siddharth Anand accepts a big challenge. This one's a love story, but it doesn't follow the beaten path. It doesn't follow the rules laid out by the romantics in Bollywood. And that's where its strength lies. Generally, couples in love commit to die for each other, but in this film, romance blossoms much, much after the two meet at the bridge for the first time, when they are about to commit suicide. From strangers to lovers to strangers again is how the film explores the relationship between this couple.

ANJAANA ANJAANI works for two major reasons. The first being the powerhouse performances by its lead pair. Having watched their careers from the very onset, I would like to state that the two actors deliver career-best performances in ANJAANA ANJAANI. The second reason why ANJAANA ANJAANI works is due to the terrific moments in its second hour.

Final word? ANJAANA ANJAANI is worth a watch. If you are a romantic, or even if you are not, ANJAANA ANJAANI is a must-see for its interpretation of modern-day romance. Recommended!

ANJAANA ANJAANI is the story of Kiara [Priyanka Chopra], based in San Francisco, while Akash [Ranbir Kapoor] is a New York City boy. Akash has had a failed business, while Kiara has had a failed relationship. Fed up, they both decide to commit suicide by jumping off a bridge. However, both land up on the same bridge at the same time.

One thing leads to another and Akash and Kiara decide to end their lives on 31st December. With 20 days to go, they decide to fulfill their unfinished wishes and thus begins their journey.

Director Siddharth Anand has a fine sense of story and how to present his characters well. ANJAANA ANJAANI is no different. Of course, you don't take to the film instantly, primarily because it's not the usual prem kahani. In fact, there's hardly any movement in the story in the first hour. It's a collage of some wonderful, some okay moments, frankly. The sequence at the bridge and the various attempts at committing suicide stay with you and so does the sequence in the sea, when they go sailing and decide to swim. Also, the first hour unwinds at a leisurely pace and that's bothersome.

However, story writer Mamta Anand and screenplay writers Advaita Kala and Siddharth Anand reserve the best for the post-interval portions, when the story moves from New York to Las Vegas to San Francisco. The road trip and the varied experiences and emotions they share make it a compelling watch. Of course, the story tends to get a bit predictable towards the end, but come on, don't we like our love stories to have happy endings?

Siddharth Anand has handled the subject with flourish. Besides, the film is not merely rich in substance, but is equally alluring when it comes to style and overall look. The DoP [Ravi K. Chandran] plays a major role here. The film bears a magnificent look all through and the panoramic and exotic locales of America only make every frame stand out. The costumes - Mamta Anand for Ranbir and Manish Malhotra for Priyanka - are trendy.

Vishal-Shekhar's music has a lot of heart. Again, it won't be wrong to state that their compositions take the movie forward. The background score [Salim-Sulaiman] is top notch. In fact, the rich score compliments the mood of the characters beautifully. Dialogues are wonderful.

When two of the film industry's finest actors meet, it puts more pressure on the film. Ranbir is an actor with an infinite range and his dedication to his work is evident in every film. I have often stated that he is the finest actor of his generation and the fact comes alive yet again as you watch him donning a new character in ANJAANA ANJAANI. Priyanka sinks into the role beautifully, so much so that she forgets herself and starts becoming Kiara. When an actor kills his or her eminence and surrenders completely to the role is when the film really takes off. Priyanka has this unique quality. Zayed Khan is likable in a cameo. Tanvi Azmi is wonderful.

On the whole, ANJAANA ANJAANI is an unpretentious romantic saga that revels in the exuberance of newly found love. The film has everything going for it: top notch performances by two super-stars, good music, a sensitive director with a good track record, a simple yet absorbing story and of course, terrific moments [emotional as well as humorous]. Don't miss this one!

Raavan Review | Raavan Movie Review

It's time for the modern-day version of 'Ramayana' to unfold this Friday, exactly two weeks after 'Mahabharata'. The very thought of watching an epic in the present-day milieu only enhances the curiosity for the film. And if the present-day adaptation of 'Ramayana' is helmed by a master storyteller [Mani Ratnam], the moviegoer should, and must expect the moon. Nothing less would suffice. After all, a Mani Ratnam film is not merely an experience, it's an event!

Mani Ratnam, who has penned the screenplay of RAAVAN, models his characters on the lines of 'Ramayana':

* An upright cop, the punisher, the law/Lord Rama [Vikram];

* His doting wife/Goddess Sita [Aishwarya Rai Bachchan];

* The lieutenant he befriends in the forest/Hanuman [Govinda];

* His confidante/Lakshmana [Nikhil Dwivedi];

* The antagonist's sister, who triggers off the war/Surpanakha [Priyamani]

* And, of course, the antagonist, the Robinhood turned Raavan who kidnaps the top cop's wife and keeps her in his custody, in his Lanka/Raavan [Abhishek Bachchan].Mani Ratnam has also included the part where Goddess Sita was banished from the kingdom of Ayodhya due to the gossip of kingdom folk. It was agni pariksha then, but in the film, the husband [Vikram] asks the wife [Aishwarya] for a polygraph test to prove her chastity/fidelity. At the same time, RAAVAN brings back memories of a movie that, coincidentally, had a similar storyline -- JUNGLE [Ramgopal Varma].

You've come to expect scintillating visuals in the master film-maker's films and RAAVAN is no exception. But RAAVAN falters in narrating the story with dexterity. In fact, this one's a game of see-saw, with a dull and lifeless first hour, an absorbing second half and a weak, lacklustre climax.

Final word? RAAVAN comes with the baggage of humungous expectations, mainly for the one name attached to it: Mani Ratnam. Even though comparisons with the genius film-maker's earlier accomplishments like MOUNA RAAGAM, NAYAGAN, AGNI NAKSHATRAM, GEETHANJALI, ANJALI, ROJA, BOMBAY and GURU are sacrilegious since all belong to diverse genres, RAAVAN is nowhere close to those epics. The benchmarks only get higher and higher every time Mani Ratnam makes a film and RAAVAN, unfortunately, is a step down. Sorry, several steps down!

Dev [Vikram] falls in love with Ragini [Aishwarya Rai Bachchan], a spunky classical dancer who is as unconventional as him. They get married and he takes up his new post in Lal Maati, a small town in northern India. A town where the world of law is not the police, but Beera [Abhishek Bachchan], a tribal who has, over the years, shifted the power equation of the place from the ruling to the have-nots of the area.

Dev knows that the key to bringing order to any place is not to vanquish the big fish; in this case -- Beera. In one stroke Dev manages to rip open Beera's world and set in motion a change of event which will claim lives. Beera, injured but enraged, hits back, starting a battle that draws Dev, Beera and Ragini into the jungle. The forest becomes the battleground. The battle between good and evil, between Dev and Beera, between Ram and Raavan.

Mani Ratnam's adaptation of 'Ramayana' begins with the wife getting kidnapped and her husband launching a massive hunt to track down his wife and nail Raavan aka Beera. The reason why Beera takes this extreme step is revealed much, much later, towards the post-interval portions, which means that Mani Ratnam follows the nonlinear pattern to narrate his story.

Let's talk about the factors that pull this film down. First and foremost, when you've a title like RAAVAN, the demon king, who couldn't be vanquished by Gods, demons or spirits, you expect Raavan aka Beera to be equally powerful, who could send a chill down your spine, who spells terror and fear. But, in RAAVAN, Beera comes across as a psycho. The streak of madness in his character makes a mockery of the character itself.

Also, his makeup and also the shabby avtaars of his family/henchmen is not something that makes them looks menacing. In fact, it makes the entire gang look repulsive.

Even the finale leaves a lot to be desired. Ideally, the film should've ended after the fight on the bridge, but the entire track thereafter seems like an add-on, which is forced into the screenplay. Ash having a change of heart for Abhishek is equally unpalatable and makes you wonder, how and when did she develop such strong feelings/emotions for Beera? The writing is flawed, no two opinions on that!

On the plus side, the track, which starts from Nikhil's kidnap to the entire flashback portion, is attention grabbing. The factors that prompt Beera to spell havoc in Dev's life are apt, although Beera's sister's portions, while narrating the atrocities committed on her, aren't easy to comprehend in entirety. What was she trying to say, frankly? Yet, the impact of the flashback portions is worth noting.

The fight on the bridge -- between Abhishek and Vikram -- is astounding. One hasn't watched something like this on the Hindi screen yet, I'm sure. In fact, the execution of each and every stunt [Shyam Kaushal, Peter Hein] is exceptional. Every Mani Ratnam film is embellished with stunning visuals and RAAVAN boasts of mind-boggling visuals as well. Shooting the film at tough locales isn't easy and Santosh Sivan and V. Manikandan's vision creates magic on screen. Every frame is worth admiring and applauding.

A.R. Rahman's music is excellent and the visual appeal only enhances the impact. I'd like to single out 'Behne De' and 'Thok De Killi', two tracks that I'd like to hum even after the show has concluded. In fact, the latter is very energetic in terms of choreography. Vijay Krishna Acharya's dialogue hit you like a sharp object at times, which is in sync with the mood of the film.

I've admired Abhishek's work in Mani Ratnam's earlier films YUVA and GURU, but despite putting his best foot forward, for some strange, inexplicable reason, Abhishek doesn't look convincing for the part. Also, the dialogue delivered by him aren't coherent at times. Aishwarya is wonderful, looking ethereal and enacting her part with conviction. Vikram is first-rate, although the role isn't substantial enough. Govinda fails to create any impact whatsoever. Amongst the plethora of actors, Nikhil Dwivedi [a revelation; very good], Ravi Kishan [nice] and Priyamani [perfect] stand out.

On the whole, RAAVAN is a king-sized disappointment, in terms of content. From the business point of view, a Mani Ratnam film might ensure a healthy opening [at plexes mainly], but the weak script on one hand and the heavy price tag on the other will make RAAVAN see red.