During an interview in Turkey, Ranveer Singh revealed details about his role in Dil Do Dhadakne . Here are his comments about his character:
His name is Kabir. He was born with a silver spoon in his mouth. From childhood he was raised to take over the business from his father, but this is not what he wants to do. He loves airplanes and wants to be a pilot. Due to a miscommunication, there is suffering and there he met Farah, played by Anushka Sharma.
Farah is someone who has escaped from his house because of his love for dance and she pursued her dreams and passion. Therefore, it symbolizes the person Kabir would be. The young woman is a free bird and Kabir is in a cage. Following their meeting, Kabir will try to escape from the situation in which it is located.
The cast was made up of Hrithik Roshan, Kareena Kapoor, Ranbir Kapoor and Katrina Kaif. After the problems of date with Ranbir were evident, Akhtar approached Ranveer Singh to play the role of his brother in the face with Kareena Katrina as his love interest. Kareena had decided to reject the offer as she was excited about working with his cousin actor Ranbir Kapoor, who was replaced by Ranveer.
With its impressive cast, Dil Dhadakne Do was eagerly awaited, before receiving a mixed reception from the public. Third feature film for Zoya Akhtar after the cult you do not get life a second time, and new movie addressing the trip. Kamal and Neelam Mehra will celebrate their 30 years of marriage, starting a cruise with their son Kabir, their daughter Ayesha, and friends. However, the journey will not be easy. Especially that behind the smiles in gold high class Indian fainter hide secrets. Good semi-hit, the film could have done better, however, including more commercial songs. So what can we learn from this film?
When I started Dil Dhadakne Do, I was very afraid of the result. The rather clumsy promotions trying at all costs to show that we were dealing with a movie in the tradition of ZNMD and it was feared there of finding a copy-paste of the winning formula of the latter. And yet, if we find the style Zoya Akhtar, Dil Dhadakne Do knows is entirely original and create its own history.
Everything starts with a presentation of the main characters. The story is told by Pluto, the family dog! If the first thing that came to mind was that I had not seen work narrated by an animal from Scum Of Days Boris Vian, we must confess that Pluto will quickly recall PK of Rajkumar Hirani. Obviously, the fact Aamir Khan lends his voice helps comparison, but the dog also looks like him in his innocence, his way of questioning the human being with disconcerting naivety.
The presentation of the characters is so eye view of this dear Pluto (and if you manage to not to crack this adorable animal, you are the least sensitive person in the world !!) and with fine humor and ill will happily assumed, it describes the Indian bourgeoisie. We could cut the film into two distinct parts: a first portion and a second satirical most traditional part where will mingle drama, comedy and romance. This first part can really surprise by his cynical and biting humor that is often played in subtlety. We find the transgressive finesse of humor to the English (the first that combines humor English-Mr.Bean out immediately!) And for a few flashes of brilliance Zoya Akhtar even manages to find the acerbic critic and jubilant best Woody Allen movies. A totally unexpected style and in total opposition to humor a little heavy in good child that often characterizes Indian family comedy film.
This critical vision allows us to address a more lucid eye characters which we are dealing, and again Zoya does not let the good feelings take over. Hypocritical family, or rather "outgoing" as stated Pluto, which hides under her smiles perfect flaws and shameful regret. We guess these flaws in the psychological depth of our characters and the second part will confirm this fact.
Not content with this, the director puts his project in the heart of the brother-sister relationship Ranveer and Priyanka. A rarely discussed theme in cinema, in which we feel that Zoya put a lot of autobiography. His boundless complicity with his brother Farhan, the battle of his heroine to deserve to be recognized in a family where the father and brother already take up all the space, the struggle of a woman who refuses to be wife at home ... All these events covered by the director, who identifies with the character of Ayesha so that at times it makes him wear the famous bandana she wore all the time during his first interviews. The complicity of the brother and sister in opposition - even resistance - blind hypocrisy of their parents, that is the trait most touching humanity in Dil Dhadakne Do.
Besides, Zoya will not hesitate in the rest of the story to totally deconstruct habitual patterns of family film in India. If the father figure has been questioned in films like Udaan, here is the parental model in its entirety is challenged with its methods and vulnerabilities. In this sense, the film is a sort of helping hand of the young generation to the old order to bridge the generation gap and bring communication and understanding.
The strength of the new generation socially acceptable face of patriarchy is felt in different forms and comes gradually. This will be especially Kabir "kill the father", without wanting either fall into the too explicit Freudian symbol. The tragedy of language also comes in with a brilliant analysis of the lack of communication within the family that digs these differences and exacerbates these misunderstandings. Special mention in this regard to Farhan Akhtar, who excels as Dialogue and we reserve the salient sentences throughout the film.
In this young mind blowing throughout the film, the status of women is also at the heart of the matter. Do not consider women as potential wife or way of business, but let free to decide. As Farhan highlight a striking dialogue, it is not a question of "allow" for a woman to work, but clear the relationship of domination. Advocacy is safe, deserves to be raised more than ever and avoids falling into moral démago the sad and clumsy Gulaab Gang to name him. In particular working the character of Ayesha and - to some extent - Farah, the director offers two strong women, completely different rules and impose their world around them. Brought a message perfectly!
However, beyond this analytical depth of incredible richness, Zoya Akhtar know entertain. It is part of the (very) rare filmmakers who understood how to combine the intelligence of auteur film in mainstream film entertainment, and the recipe works great. Because in terms of entertainment, adventure looks colorful! We note absolutely hilarious sequences, including a night sequence with Ranveer Priyanka and some drunken friends. Emotion is also the rendezvous and the second part will bring together all the ingredients of a good Bollywood while continuing his sensitive analysis of the characters.
As usual, we reserve Zoya Akhtar sequences of poetry and an uncommon grace. The pool sequence where we discover Anushka Sharma is a clear proof, all told by an analysis of the human thunderbolt according dear Pluto. We find passages where the voiceover can evoke poems punctuating ZNMD, but again the film is so different that it is not a simple copy. The song "Phir Bhi Yeh Zindagi" we also reserve a staging so significant that it is hard not to fall under the weight of emotion. Moreover, in terms of the songs, if the album had not interested me at first listen, it must be admitted that all securities are perfectly integrated into the story. What good musical moments in the end!
Small personal digression, I must confess I particularly like the film Zoya Akhtar for this intimate touches it brings. His poetry always pushes me towards a deep personal reflection. ZNMD led me to its output to make very important decisions by its reflection. And in the same direction Dil Dhadakne Do I also hit particularly seeming perfectly summarize a more personal aspect of my life, including my relationship with my sister. In the end, when a work you can talk intimately and give you the impression that it was made for you, I think it has won everything! Not really objective will you say to me, but it is the personal dimension we recognize the great artists.
So yes, Dil Do Dhadakne contains some imperfections when compared to Luck By Chance and you do not get life a second time who were very worked. The real weakness is undoubtedly the lack of true final scene that leaves us hungry. And this is only a detail, but we do not drink the Kronenbourg in the upper middle class! However Zoya Akhtar with a few small imperfections remain well above anything that is done in the mainstream cinema at present. So as not to spoil his pleasure!
Cast aside, everything is good! After playing the card of extreme energy in Ram Leela, gunday and Kill Dil, Ranveer Singh returns to a game more restrained. Without falling into sobriety platonic, he put the subtlety in his game and it is a great pleasure! This actor is extremely talented and it flourishes with new roles.
After his outstanding performance in Mary Kom, I was really scared to see how Priyanka could negotiate the return to more roles "classic". However it is doing extremely well and plays with great force his character. Strong woman and yet prey to pressures and vulnerabilities, Ayesha is very engaging.
Anil Kapoor and Shefali Shah are perfect in their roles, we love to hate at times, but they know how to do other times strangely endearing. Shefali had not found a role that put her far ahead from Waqt me it seems.
And then, of course, Anushka Sharma is excellent in her role Farah Ali. Secondary role but marking, halfway between Akira Jab Tak Hai Jaan and Laila you do not get life a second time. If the actress was not a lot of screen time, she captivates the attention!
Other secondary role, Farhan Akhtar was also illustrates and embodies his character with great sympathy and honesty. Oh yes ! Did I mention how Pluto is also an excellent actor!
Finally, Dil Dhadakne Do is both great entertainment and a beautiful moment of reflection. Served by a cast in gold, the film passed a very good session. Stars, poetry, laughter and tears ... probably one of the best mainstream films of the year! Do not miss.
Daksh Mittal (Emraan Hashmi) is the son of a wealthy family. He spends his days doing nothing and thus, get drunk in the evenings to. Only the butler John D'Costa (Anupam Kher) cares about him. The father has long since resigned. But one day the father has an idea: Either Daksh marry with the Gangster daughter Anahita Madhwani (Pooja Bharti), or he will be disinherited. Daksh loves the woman is not, but because of the money he agrees.
Just now he falls for the pretty Jiya (Dia Mirza). Even when he finds out that she is poor and earned her living as a nightclub dancer, Daksh not let go of her. But he really can do without his inheritance? Tumsa Nahin Dekha, the name of a Shammi Kapoor hit of 1957, with which it has nothing to do, is a small release by producer Mahesh Bhatt. He tried just so quickly to the unexpected success of Murder to tie. For this purpose he hired the same director and the same star and pretty scattered rumors that Dia Mirza would bare as hot as Mallika Sherawat.
That is not the case. Although Dia breaks with her Gutmädchen image and displays a few times quite sexy. In addition, they must be kissed Doll to film the start and return to the circuit for hearty - both times full on the lips. But that it has teamed up with material. The rest is a sugar-sweet romance with bonds in "Pretty Woman," "Serendipity" and especially the Dudley Moore comedy "Arthur" of 1981.
Dia is the charming center of the film, but is almost more surprising that Emraan Hashmi enormous charm developed. I like him as a macho types as in Murder not because he is too nice and stuffy it - but when Loverboy next door, he is very cute. At one point he may even perform the famous Chaplin Bun dancing, the Johnny Depp already copied in "Benny & Joon". The couple Slide Emran saves the film, which has little else to offer. The plot is paper thin and who hopes for any exciting twists, gets nothing. The actors are hardly called correctly. Handled particularly shabby with Anupam Kher, who has to suffer in the end also of an imposed destiny that would hardly have been necessary for the film.
The songs, ballads, are indeed pretty, but ultimately quickly forgotten. Tumsa Nahin Dekha is unspectacular. This applies then evenly on the whole movie to unspectacular. He is generous and romantic, but a question that should be put in each film, turns out to be particularly treacherous: What was the motivation to make the film? Money. Because had to tell the creators nothing new, they had no new way to present it and no new ideas of any kind whatsoever. Such films have no right to exist. Finally, one can just as well look at an older film, which runs in similar orbits - and it probably does even better.
Rahul (Vineet Raina) falls in love with Neha (Sonica Handa). The two young people spend soon a joint night together and they no longer want to carry such a clandestine relationship, provides Rahul its Herzdame parents before. Urmi (Ayesha Julka) and Raj (Mohnish Behl), a respected and wealthy couple is, initially delighted with Neha. But when she learned that Akansha (Bhagyashree) and Tarun Avasthi (Aman Verma) their parents are, they forbid a relationship.
After much insistence Urmi moves with the truth out: Avasthi is Rahul's mother - the two lovers are half-siblings! Many years ago landed Avasthi's son Rahul (Seth Smith) due to a tumor in the hospital. Urmi and Raj paid the operation, for which Avasthi wanted revenge. Since Urmi was barren, but wanted a child to Avasthi offered as a surrogate mother ...
Incest in a Bollywood film? Courageous, bold, I would say, if only avoid ending the subtitle of my DVD would fail precisely at that point that would clearly specify whether it was really incest, the Rahul Neha and have operated here. I tend to not, in view of what happened after that. That's probably not a real spoiler, finally I do not know really. Stupid DVD. For this offers the disc as a "compensation" two alternative ends: a tragic, that's better, and a happy, which acts designed. Both, however, are not great, but that is true anyway for the whole movie.
Overweight it is for one reason only: Because of the comebacks of Bhagyashree. The beautiful 38-year-old made his debut at the age of twenty years in the super hit Maine Pyar Kiya and married thereafter. Although she appeared in a pair of non-Hindi films, but the mother role was going. And in recent years were only cameos à la Humko Deewana Kar Gaye in it. "Janani" was her first leading role in a Bollywood movie after this long break and the woman still looks stunning, confident their game. Bhagyashree is the best thing about the film.
The other players settle further down - in descending order: Mohnish Behl that something spasmed Ayesha Jhulka, the Aman Verma chargierende, sexy debutante Sonica Handa (which unfortunately can not dance) and debutant Vineet Raina. Really bad no one acts from this ensemble, but the tried staging makes them a spanner in the works. In the hands of director Chander Bahl topics such as incest, artificial insemination and brain tumors to soap operas gimmicks are sold at a loss, gets none of it, you can see from the accompanying thunderstruck multiple zooms in announcements of relevant issues from the necessary dramatic weight.
Even the central issue of surrogacy is the latest since Chori Chori Chupke Chupke even in mainstream cinema is old hat. There seems well intentioned but too forced. The twists in the plot can be seen anyway surprising once previously, for that you need to be a shrewd Bollywood connoisseurs. All the boring looks of the film, a feeling that is reinforced by an excessively large amount of mediocre songs. Janani tackles issues that have yet dynamite placed in a Parallel Cinema movie 20 years ago, but watered down here and are therefore uninspired.
The imagery of Chori Chori Chupke Chupke cameraman Thomas Xavier is nice, the actors play passable, but the film lacks credible drama and traction. A comeback, but hopefully Bhagyashree can not assume too intimidating.
Hamid stumbled out of the bar, drunk as usual. An unfortunate blow and now the big sign that workers were being installed collapses, crushing the Drunk. The Muslim community in the small coastal town of Maharashtra, imam at the head, going to bury him in his white shroud. They are reciting the last prayers when an excited group emerges to claim the body freshly planted. The tone rises. Himad would not be a Muslim but Hindu. We do not bury a Hindu is not it? It burns. Moreover, it is not called Himad but Kishan. The police intervenes and makes digging for the store at the morgue. It only remains to wait for justice statue on its official religion.
The judge right from wrong. Hamid / Kishan was clearly born in a Hindu family. But he was also married to Fatima (Tanvi Azmi) for 20 years. Yet it was not registered at birth. His conversion to Islam on the occasion of her marriage has not been registered. There is nothing that makes tip the balance one way or the other. What to do? Tempers flare. The new police chief (Vinay Jain) is lost. Mutha Seth (Satish Kaushik) politician whose image has killed the poor wretch, is also the owner of the local newspaper. What a good idea to boost the sales of exploiting the tragedy ...
Feroz Abbas Khan is primarily a playwright. He started his career at Prithvi Theatre Shashi Kapoor and Jennifer Kendal before writing and staging many successful plays. Dekh Dekh Tamash is his second foray behind the camera after Gandhi, My Father has won many awards it was released in 2007. It addresses here jauntily a particularly sensitive topic: the relations between Hindus and Muslims. The riots that oppose occasionally the two communities show that the wound of the partition is not completely closed. However, the authors do not hesitate to scratch ... and it hurts.
The distribution of the film is very unusual in a film industry that relies heavily on the star. Satish Kaushik, known primarily for secondary comic roles, the actor is the most famous of a distribution consisting essentially unknown. If there are no familiar face, there is also no main character, no hero, not really nasty. The whole village revolves around the body of a miserable drunk one sees three seconds at most. There is no dance or song that can interrupt the narrative. The very incisive writing Shafaat Khan takes us no loopholes in a unique story that lasts only ten days in a place that seems very remote. Each character has a few scenes to speak, but it is not filmed theater or an ensemble film. Dekh Dekh Tamasha is like an amazing impressionist mural movement where we taste every word, every gesture, every look.
Dekh Dekh Tamasha begins with the exhibition of the protagonists. The first scene and presents a tearful policeman denies failing to protect the virtue of Madam Elizabeth. We think of a joke and a smile franc moved on our face the viewer. The purpose is caustic and brilliant text. We think we are on familiar ground. Perhaps we are before another OMG - Oh My God . But slowly, slowly, the smile freezes. Concern wins and he gradually transformed into a grimace. We will not believe what you see. One might even cry when you have to face the facts that human stupidity has no limits.
Fatima, the Muslim widow is resigned early this seems a bit odd. But as the tension around the body of her husband intensifies, we finally understand why she does not even have tears to shed. She knows from the beginning that things are very bad end, as always ... The short dialogue with her daughter Shabbo (Apoorva Arora) before the twist ending is poignant. The poor girl was in love with Prashant (Alok Rajwade), a lovely Hindu kid. Together, they symbolize innocence crushed into a hell of senseless hatred. Just for the two of them, one begins to hate the dogmatic religious and the crowd of their zealots fools. Without the need to press his message, Dekh Dekh Tamash is a rare force.
The authors took a big risk by making a film about the riots that oppose Hindus and Muslims in a country where a single spark is enough to cause dozens of deaths. Leagues of each other are always ready to pounce on behalf of their religious feelings violated. The solution is an acid and devastating humor that spares no one. Actually Hindus and Muslims are treated in exactly the same way. Muslims have a lot more exposure, as if the author knew much better this community (which should be the case). Thus Maulana (Sudhir Pandey), professional preacher, is an anthology character. His description of the benefits of houris is as ridiculous as tasty. But his sermon ends with the mandatory wearing of the burka and the banning of girls to attend public schools. We start by laughing and eventually strangle.
Hindus are not forgotten with a speech that will be remembered. Invoking Gandhi and martyrs of the independence and the blatant distortion of reality are also jubilant. These populist harangues refer directly to the prevailing political discourse in India and elsewhere. To drive the point, Mutha Seth, when dressed in his running suit, dresses his profession for the winter. Everyone takes for his rank, corrupt police with his sadistic members as the press is ready to sell at the worst of the paper. There are so few who keep a cool head one might think that India is a lunatic asylum adrift.
Indian cinema usually shows characters with very nice background who face adversity with fatalism. Dekh Dekh Tamasha will totally backwards. The information is as violent as the evil it does arise in most of the protagonists. Fate seems to end up killing each other, but we who fight against this deadly the spiral. The film is even an issue in the wisdom of the law, the only one able to overcome a gregarious obscurantism. Some thought that the fall was unrealistic. Perhaps, but it is clever and reassuring.
The actors from the theater or television for the most part are absolutely impeccable. The situations are incredible, but none overplayed. Even the chorus of mourners - yes there is one - adopts a right tone. It is usual in a critical distinguishing one or more actors. It is not possible here, they are all in the service of a text by extraordinary times. Realization is not left with moments of brilliance which is not expected.
The history of fighting for what to do with the body of a deceased person that no one knew was real. This is the starting point of a difficult film to categorize. In summary, Dekh Dekh Tamasha is a political satire about a major social problem using the springs of comedy and drama. Then we laugh and we cry, we are scared and relieved when it ends.
Feroz Abbas Khan director hoped his film would weigh on the general elections in 2014. He has twice failed because the Indian public has largely shunned and Narendra Modi was comfortably elected. Whatever, Dekh Dekh Tamasha is original, addictive and brilliant. In a wonderful word!