Shaandaar Trailer

Friday, July 31, 2015

Shaandaar unveils its first official poster. It keep the blue background and heart cloud teaser poster, but this time our protagonists are wide awake! Again, alchemy is evident between Shahid and Alia, and displays is full of sweetness and romance. Directed by Vikas Bahl (Queen), Shaandaar is co-produced by Phantom, Dharma Productions and Fox Star Studio. If the movie was released in October, note that the trailer will be available from next Tuesday a good reason to stay tuned!

Shaandaar is an Indian romantic comedy film, starring Shahid Kapoor and Alia Bhatt directed and co-produced by Vikas Bahl. under the banner of Phantom Films and Karan Johar's Dharma Productions. Shaandaar, the second film by Vikas Bahl after his incredible triumph Queen.

Meanwhile, the producers decided to unveil teaser poster to raise expectations. A picture full of sweetness and comfort, with a bonus call to travel, in the tradition of the sweet tranquility that made ​​the success of Queen . The chemistry between Shahid Kapoor and Alia Bhatt seems to perfectly. In short, we are left to wait impatiently for the poster is unveiled ... and we can obviously hope that the trailer is promptly put on line since the movie comes out in just two and a half months in rooms.


Sanjana (Tabu), was abandoned by her husband, the cop Vijay, when he found out that her father sexually abused years ago. Now Sanjana draws with her ​​little brother Vicky (Imran Khan), their daughters Sasha and Misha and the dog Tram in a secluded bungalow in the woods. A short time later happened there uncanny. Doors and windows open, cries whipping through the room and Tram attacked the family. Soon it appears that someone has designs on Sanjana. She raped in the bedroom a ghost!  

Hawa steals extensively in 80s Hollywood horror movies, especially in Sidney J. Furie's The Entity (1981) and Tobe Hooper Poltergeist (1982). Why just the multi-award winning actress has signed a taboo for the film remains a mystery but it is only that lifts the film from 1½ to 2½ star. Yes, the film is so weak. The first hour is annoying because director Guddu Dhanoa (23rd March 1931: Shaheed) fetches the oldest tricks of the horror mothballs. Loud noises, frantic camera pans although actually nothing happens even uncanny. This is repeated until there is real enough. A attackierender dog is still the only real horror.

And then passierts. Tabu is raped by a ghost. Tabu is great in the scene, one suffers right with you. But Dhanoa stuck too long in the sequence. And he thought to himself, what's good once is three times good. Yes, Tabu is raped four times throughout the film. The most effective is the one in the bathroom. There is an Indian film, you can hardly see the skin (it's a bit strange to see a rape of a woman dressed - but let's leave), but the aspect of sexual violence is something even savored with relish. It is an already e twas queasy when you have to look at the Rape-scenes for so long.

And again it is a taboo that saves "Hawa". After the rape, her no one wants to believe, and Taboo brings same into a new level: In India, the woman is often expelled after rape (see Bawandar ) and also in "Hawa" you want to convince the doctor until she had fantasized, because They need sex. A hefty accusation, which of course can not sit on a so emancipated woman as taboo. Here you should hook, here would have a profound horror film created and the first half of boring can be rehabilitated - unfortunately goes Dhanoa another way. Here are truly stupid situations (why is taboo always alone? Why ever again in the bedroom?) And a hanebüchenes final with weak effects and little connection to the rest of the film.

So really I watch yourself "Hawa" only because of taboo. The other actors fall on hard. Irman Khan crying half the time only "Tram" and doing nothing else. D IE technology is OK, the music intrusive. And the action just goofy. Just get the film 2½ stars. But he will probably land on any leaderboard ... 1995, Haridwar. Prem Prakash Tiwari is a young uneducated man who runs a small shop of audio cassettes and spent his life listening to the songs of his idol Kumar Sanu. One day, his father forces him to marry Sandhya, a young and smart graduate overweight woman. An arranged marriage which falls under the nightmare for the young man who is ashamed of the weight of his wife.

Released early this year, Dum Laga Ke Haisha part with NH10 and Badlapur alone hits gave Indian cinema in the first four months of the year. A surprise hit that was very bad start with a not very popular cast, a director whose first film happened so unknown that everyone said was a beginner, far too discreet promotion, poor distribution and a first day with very low revenues. However, the film received an exceptional word-of-mouth and kept an impressive pace to the point of winning double its budget. Deserved success?

Everything starts in the city that is very religious Haridwar, the sound of the melodious voice of Kumar Sanu. All those born in the 90s or earlier can not help being overwhelmed by a wave of nostalgia to listen to this magical voice was notably that of the greatest Shahrukh Khan tubes until the early In the 2000s nostalgia point Dum Laga Ke Haisha has just early in the credits, and it works!
Besides the generic is very well controlled with this little taste of old is gold following the viewer as to listen to the song to the presentation of the shop, or when Prem must hand over the roll cassette . The stage is set and it is this spirit of time constitutes one of the major strengths of this film, his ability to faithfully recreate a time not so long but that has its undeniable charm.

Very quickly, we understand that Sharat Katariya uses the tone of humor to deal with various social issues. Because even before the onset of turbulent Sandhya, director presents us with the daily challenges: a middle class family struggling to supplement his income, experience marriage as a commercial argument and conflict in a broken home. Rather than having a melodramatic style, the director brings a certain freshness to his narrative with an omnipresent humor and irony to his characters.

If that detachment brings the energy and originality of the scenario, it is regrettable that its systematic presence sacrifices psychological depth of the characters. Moreover, due to this process, a residue in lack of certain emotions. A little sweetness and subtlety would have been beneficial ... Especially in matters of humor Dum Laga Ke Haisha is not in the subtle but very obvious in the satire falls almost caricature at times.

The arrival of Sandhya gives a higher rate to the film, although the style adopted by the story will remain the same until the intermission, and beyond. However, Dum Laga Ke Haisha made ​​strong by focusing on this situation which seems rather banal: some successful arranged marriage. The realistic side obviously pushes us to feel more targeted, but also the originality to see a man as a victim rather than a woman who makes it work. Especially since we can not help but judge with cynicism the character of Prem is rather unfriendly of its prejudices and borders on pathetic repeatedly.

It clearly illustrates the hypocrisy of the family in which it operates and strives instinctively to poor Sandhya who must fight against a family that considers primarily as a salary potential to better manage the monthly budget. Again, the choice of an educated wife against a husband who has not even finished school says a lot about the choice of the director. The criticism is heard on both the place of women in Indian society than on beauty stereotypes imposed by the mass media and discrimination against those / those who do not fit these criteria.

After many twists relatively predictable, and once past intermission, it seems that the director recalls the importance of moving to India. Thus, it suddenly switches to a more sensitive film, more moving. The character of Prem - which some sympathy were given all its faults - is humanized, reveals its flaws and recognizes his mistakes. The turnaround is still expected, but nevertheless it is one of the key elements of the film. From the moment when emotions are more evident, the film seems to take a different scale.

For its part, the character played by debutante Bhumi Pednekar illuminates the film from one end to another with her strong character and her desire to be estimated fair value. The sequence of the exam, one of the most sensitive and the most touching moments of the film.

One begins in the history of this couple facing the trials of everyday life, to misunderstandings and unspoken. The challenge of the race is a good example - though the symbolism is too obvious - the life of the couple through a path strewn with obstacles. The falls are inevitable, but the real victory is in endurance, not in advance which seems taken or in the reckless speed. Prem and Sadhya are the opposite of the classic couple: an anti-hero nor muscular, neither rich nor educated and an anti-heroine who does not dream of plastic ... and that is why this couple interests us at this point!

However, even if the intentions of Dum Laga Ke Haisha are could not be more praiseworthy, I had the impression that the film struggled to overcome this screenplay base. The original idea was to treat overweight in women, a completely new subject in India, and this film does quite well, with a certain elegance. However, beyond this innovative idea, there is a very classic romantic comedy that never really surprises us. The whole scenario seems to be created around the main message conveyed. There is one of the problems is also very present in the political cinema: an ideology or a social message are not a work of art, one must have something to tell more!

Here, the whole story revolves around social messages. Aside from being overweight, prejudices and problems of the middle class struggling to keep track of a constantly changing society (arrival of new technology, learning English, etc.), the story does not bring us anything very new. This is unfortunate since these messages are excellent and deserve to be told largely in film. But the twists revolve around these themes so we at times the impression of a more social life lesson than a work of fiction with a real story to tell. Not to mention the final, which - in the tradition of Indian films of the 90s - we offer a moral on a tray. Again morality is commendable, but a little more subtlety and further history would not have been refused. The paradox of Dum Laga Ke Haisha is therefore to be both highly original in form, but in substance too classic.

Cast aside, Ayushmann Khurrana redeems himself after the debacle Hawaizaada and finally found the success he was having trouble recreating since Vicky Donor . This talented young actor comes in perfectly in his role as Prem and makes us live brilliantly frustration, shame and the desire to better characterizing his character. In this role against type, it confirms that we need to count on him in the list of actors 'different' and highlights!

For its part, Bhumi Pednekar made absolutely remarkable debut. A centuries classic Bollywood beauty standards, Bhumi yet exudes an undeniable charm on the screen and has that je ne sais quoi in addition that gives the impression of knowing for a long time from the moment it arrives in the movie. In many ways, its natural and spontaneous play reminded me that of Parineeti Chopra. Hopefully Bhumi will not be limited to this style of roles in the future and will benefit from a widely successful career it deserves.

Regarding secondary roles, Sanjay Mishra is once again excellent and distinguished himself particularly. The other actors playing the family of the married are also convincing.

Also talking about the soundtrack, one of the great strengths of Dum Laga Ke Haisha. The director has relied on an old-fashioned style with this album signed Anu Malik. The big names of the 90 are present and the nostalgic magic is waiting for you! Special mention to "You" sung by Kumar Sanu eternal gives us chills with her ​​golden voice. "Moh Moh" is also excellent, and I have a slight preference for the female version, softer and more poetic. An album that is taking against the foot chartbusters modern and fully assumes its retro look. The success is all the more beautiful!

In the end, I had a good time in front Dum Laga Ke Haisha even if it seems far from the fabulous film was talking about the press and the Indian public. Despite his original idea, the film remains an entertainment good but relatively conventional. So you will say, why the Indian public has he so loved this film? First, Dum Laga Ke Haisha talking everyday, situations experienced by much of the public and works wonderfully in describing the problems that this public meeting regularly.

This film also has a sense of nostalgia that attracted mass melancholic 90s, in need of a more traditional cinema and old songs. Moreover, it was the first family film and consumer quality early this year. Caught in the Baby , Badlapur and NH10 , a touch of humor and good feelings perfectly arrive in time for the Indian audience that was missing! An understandable and deserved success. Dum Laga Ke Haisha is good entertainment that I advise widely but nevertheless left me on my hunger by not grasping the full potential offered his screenplay base.

After the Mugamoodi debacle with Jeeva in the lead role, the director Mysskin is back with Onaiyum Aatukuttiyum which he produced, directed and starred. Michael (Shree), a medical student finds a man (Mysskin) seriously injured in the street. He tries to hospitalize the man but doctors refuse admission. He decides to operate itself the unknown but regretted his action when Michael learned the identity of her patient. This man is none other than Wolf, a dangerous hitman sought for years by police.

Mysskin offers us a work unprecedented in Kollywood by breaking the codes and customs of Tamil films. No Kuthu no comic scenes or clips, it is difficult to design a Tamil film without these ingredients but the director breaks the dogma. It has a feature no commercial element. He takes us for over two hours alongside Wolf and Michael. We find the dark side of film Mysskin. Finally, we satisfied spring and especially dazzled by the rendering Onaiyum Aatukuttiyum. Mysskin delivers us without question one of the best works of 2013 . After many big projects of disappointment, Onaiyum Aatukuttiyum is a real treat for spectators.

Following Vazhakku 18/9, young Shree holds its second critical success in Kollywood. As in his first feature film, Shree impresses in his role of the young lamb trapped by the Wolf. Mysskin and other retail players make perfectly honored for their roles.

The other great asset of this film: Ilayaraja. The background music is a marvel, perfectly accompanies the narration and recreates the atmosphere of the film. Despite the age maestro Ilayaraja is still on top of his game. To conclude, Onayum Aatukuttiyum is part of the biggest satisfactions of 2013. Supporting this kind of movie is the best way to export Kollywood to other horizons. Mysskin swings back and silenced all criticism against him. Hopefully this talented director offers us such works.

Vijay (Amitabh Bachchan) and Ravi (Shashi Kapoor) are two brothers who live small scams. After being imprisoned by their police older brother (Sunil Dutt), they decide to settle down. When their older brother is murdered by the henchmen of the infamous Shakal (Kulbhushan Kharbanda) both swear reprisals, with the help of Rakesh (Shatrughan Sinha) which itself wants to avenge the death of his wife.

Shaan is known as the second collaboration between Amitabh Bachchan and Ramesh Sippy, five years after the reference Sholay. And even if it is nowhere near it is still a film that still exudes the charm of the 70s. The charismatic Amitabh, which needs no introduction, is not for nothing, although they may prefer him in his darkest roles of angry young man (Zanjeer, Deewaar). The rest of the cast is made ​​up of many faces almost ubiquitous Hindi cinema of the time and, good or less good actors (we are so used to these old friends that it seems that they all played ten times together), add to the nostalgic pleasure one feels when watching this pure masala of casual action.

Besides the familiar and effeminate features Shashi Kapoor who despite popular films like Deewaar and Kabhi Kabhie to his record, has never been the best partner Amitabh (the same year as Shaan , however, they turned the lower Do Aur Do Paanch , with even more easy comedy scenes), we must mention the presence of Kulbhushan Kharbanda in the role of megalomaniac villain true, he refined his game since (Lagaan, Monsoon Of Marriage), but it is when even in crisp character based on Blofeld, the evil leader of SPECTRE shaved head who wants to be master of the world in the first James Bond.

Amusingly, generous nods to the film franchise also includes the headquarters of the wicked domestic art deco and their angular geometric forms reminiscent of We Do What Lives Twice , in which Donald Pleasance embodied Blofeld) and the opening credits pseudo-sophisticated music to overloaded electronic orchestrations, film images projected on the moving body of a woman. And if Shaan is clearly not James Bond, especially for action scenes the British series was still in the 80s, to the international forefront in this area, it is obviously much higher than the French attempts the kind of guy The Tiger and other OSS 117 (old course).

Humor, action, songs, and above all friendly players and band are, despite some lengths and chatter, a masala to the ambience seventies quite entertaining, a little slice of pop culture Hindi which should please fans. Note that the team Shaan , including Amitabh, Sippy and the duo Salim-Javed screenwriters, will be found in almost complete in 1982 to Shakti , another famous film early 80 As for the duo Shashi Kapoor / Amitabh. It also rempilera two years later with Namak Halaal.

Shah Rukh Khan to host India Poochega Sabse Shaana Kaun will be aired on &TV from 2 March produced by Big Synergy.


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