Padmashree Laloo Prasad Yadav

Wednesday, March 13, 2013

The Rogue Laloo (Sunil Shetty) suffers from Sight Ophrenia whenever he sees a beautiful woman, he must make it with. This is true even for Rita (Kim Sharma), the girlfriend of his boss uncle Tom (Sharat Saxena). As Tom caught the two in bed, he tells everything to Laloo's girlfriend Padmashree (Masumi). Beauty is fed up with her ​​lover and fly to Cape Town, where she wants to retrieve the diamonds that the nasty Saxena has stolen from her deceased father.

But Laloo is already in South Africa and apologized so much at Padma that she forgives him. The two do with the club owner Tony Johnny Bush (Gulshan Grover) and his henchmen Yadav (Johnny Lever) together and break into the bank where Saxena superimposed diamonds. After Coup Johnny hides the prey and will be picked up by the police because Laloo and Padma have betrayed him.

The key to the prey they lynxes from Yadav, but where the loot is even, they must first find out. These ensnared Padma Johnny's clumsy lawyer Pradeep Prasad Pradyuman (Mahesh Manjrekar). He falls for her head over heels and have to watch out that his wife Polly (Anupama Verma) and their mother Dolly (Kunika) not get behind his affair. Meanwhile Yadav tried the only witness (Shashikala killing) of the attack, but always caught only their dogs.

Before I announce my own opinion about the movie, it's funny to look at the Indian Reviews. Every criticism I've read describes how unspeakably bad is the script. On behalf of all thinks about critics icon Taran Adarsh ​​the screenplay is so bizarre and the sequences so inane and juvenile did you doubt if a film like this would've worked even in the 1970s. Funny, he goes a little far back, because in 1988 it arrived very well and was for an Oscar nomination when it was called A Fish Called Wanda.

None of the three Indian reviews linked below this comedy classic is even mentioned. I know sometimes Bollywood remakes are not always recognized as such, but who only a little familiar with the cinema, is noted after the first 30 minutes, that all the rest of Padmashree Laloo Prasad Yadav the genius piece A Fish Called Wanda is copied.

But actually the Indian critics have already halfway right, for what the screenplay duo Yash-Vinjay (plan did from the masterful script is rather embarrassing. They left a lot of scenes equal and still managed, the river, and often the humor from the template. One reason for this is that the black humor had gone largely.

 It also lacks the strange incestuous relationship between the Kevin Kline character (Laloo) and Jamie Lee Curtis character (Masumi), for that there are unnecessary kiss-advances by Sunil opposite Johnny or stolen soundtracks. Even the final had to believe it and was changed to mislead way. All elements that were added newly fail, because even unceremoniously and a comparison between Padmashree Laloo Prasad Yadav brings only losses on the part of the remake.

Nevertheless, a few times I had to laugh, even though I knew the plot. The songs are okay and the female occupation simply a visual treat. Therefore 2 stars. Sunil Shetty is passable, but when you consider that Kevin Kline for the same part was awarded the "Oscar", he is a pathetic imitation. Gulshan Grover holds against almost with the model, although his rocking!

Exclamation over time be embarrassed. Johnny Lever is as silly as usual, and his queens-rise up an insult to all taste buds. Needless to say, that he is far removed from its original Michael Palin. Likewise hard it caught Director and Star Mahesh Manjrekar (Rakht, Pitaah, Astitva). He is so much worse than John Cleese in A Fish Called Wanda that it hurts. His comedy talent is as modest as his dancing talent. The only person who can keep up with almost the model, is Masumi (Chupke Se). The beautiful young woman has no Jamie Lee Curtis, but if only their appearance belies many shortcomings of time.

This applies especially to the songs in which she shows herself from the scantily clad variety. The songs are not the hammer and the last three as unhappy placed close that they bring the narrative pace to a halt - but always exaggerated sexy staging somehow fits into such a trashy movie. As I said: If so much around it fails, then you are almost even a few small highlights in Padmashree Laloo Prasad Yadav.

Now that I've typed this title several times, I should explain him sometimes: primary, it stands for the four main characters of the film, but for connoisseurs of the political scene of India's more than that: Laloo Prasad Yadav is even President of Rashtriya Janata Dal (RJD ) Party and flamboyant leadership figure of the impoverished and corrupt state ruled Bihar. He was only Chief Minister, later Minister of Railways of the state and his wife Rabri Devi was chief minister. It was long speculated the film play on Laloo to. This is not so, but Laloo completed at the beginning and end of the movie an uninspired and inappropriate guest appearance.

Because of this curiosity PLPY is worth a quick look, a second because of the shameless copy of A Fish Called Wanda. For the male audience a third because of the attractive female cast. Otherwise harmless, behavior comical farce involves merely involuntary gags and lengthy conversation. Two scarce stars. Quite scarce. But someone should the Indian critics perhaps provide a copy of A Fish Called Wanda, to make it on her little omission attentive.

Parinda is an Indian film, directed and produced by Vidhu Vinod Chopra released in 1989. Through the story of two brothers, played by Jackie Shroff and Anil Kapoor, describes the mumbaikar underworld dominated by Nana Patekar. The songs are composed by Rahul Dev Burman with lyrics by Khurshid Hallauri and interpreted by Asha Bhosle and Suresh Wadkar.

To ensure the education of his younger brother Karan, Kishen between the gang secretly dreaded Anna. After his training in the United States, Karan finds the criminal activities of his brother and witnessed the assassination, sponsored by Anna, his best friend, the Inspector Prakash who is also the brother of Paro he loves. In revenge, and despite the opposition of Kishen, Karan between the service and Anna began exacerbate conflicts between rival gangs in order to bring down the mafia. But he is shot and Paro, during their wedding night.

The film has four songs composed by Rahul Dev Burman with lyrics by Khurshid Hallauri. At a very young age, Kishen, to meet his needs and those of his younger brother Karan enters a gang. To prevent Karan does not follow the same path as him, he sent him to study in the United States. The years pass, Kishen (Jackie Shroff) is now the Anna henchman (Nana Patekar), a psychotic gangster. When Karan (Anil Kapoor) returns from America, his big brother tries to hide his illicit activities but Karan witnesses the murder of Inspector Prakash (Anupam Kher), his childhood friend and her brother he is in love (Madhuri Dixit), sponsored by Anna. Enraged, Karan decides to take revenge and, with the excuse of being the brother of one of his trusted men, to infiltrate the gang of Anna and provoke a gang war ...

Vidhu Vinod Chopra is a maverick filmmaker for many reasons: avoiding the traditional songs of Bollywood, he is known for his often atypical subjects. And if this gangster movie does not have the fluidity or the technical mastery of his later works, more ambitious ( 1942-A Love Story , Mission Kashmir ), it nevertheless has some sordid realism, meticulously describing the operating a gang of Bombay. The cruelty of the environment, its codes, and the moral dilemmas facing the young man infiltrated part of the tension and perverse ambiguity of the film to achieve its goals and to be accepted by the gang, Karan go-t to kill it, only means of upward mobility in this parallel society?

The film has a clever script, which plunges us into the depths of the mafia bombayite with relative authenticity unusual in Hindi cinema. We therefore regret that the director has sacrificed the ritual of the heroes of romance and songs, which unnecessarily lengthen the manly kind of film.

From the point of view of interpretation, the film is a bit dated: Anil Kapoor, not as late as in his more recent films, annoys excited by his game, while the solid Jackie Shroff, favorite actor Vinod Chopra Vidhu , tends to easily take and give in the theater (it will be better in roles of villains in Mission Kashmir and Eklavya ). The chemistry between the two brothers is therefore only partial, and it limits the emotion of some scenes, yet well fed.

But the fascinating Nana Patekar pulls out of the game despite a supporting role as a ruthless psychopath boss with a phobia of fire whose origin is cold in the back, and that will give rise to the most intense scenes of the film ... The classic reputation Parinda also takes less overall quality at the memorable performance of Patekar, one of the best one yet impeccable career.

Without comparing the film to the classics of American or Japanese gangster movies, Parinda is a good genre film in Hindi language, even one of the best movies of pending Ram Gopal Varma (Company, Sarkar) or excellent Apaharan in which Patekar find a great part. One of the best features of a master of Bombay, this imperfect film remains a great reference of the 80s for its unique atmosphere.

Khuda Kay Liye is a Pakistani film that has a lot of talk in 2007. On one hand, because of the success he obtained projection in many festivals around the world (winner of the Cairo festival) and success Historical Pakistan with revenues of about 5 crores ... On the other hand, for the theme it addresses (religion), and the innovative and beneficial treatment that the director has devoted.

The Pakistani movie industry, commonly known as Lollywood (contraction of Lahore and Hollywood) was gradually disintegrated in the late 90s, particularly because of the measures taken by the government. If, since the atmosphere is rather gloomy, the film Khuda Ke Liye restores a semblance of life to this once prolific film (up to 100 films a year). Thus, it stands out from the usual productions (often influenced by Hindi cinema but with ridiculous budgets and very limited resources), which offer only little thin films, and often full of clichés.

Shoaib Mansoor's film is different because it explores the political dimension of a very serious matter, and that in fine enough so not to look like a series B. While Khuda Ke Liye is his first film, Shoaib Mansoor n is not a novice in the art world. Having collaborated strongly and even produced the rock band Vital Signs, he directed music videos and quite a successful series on PTV, Pakistan's state television.

The story takes place in Pakistan where Mansoor (Shaan) and Sarmad (Fawad) are two brothers from a wealthy family sharing their passion for popular music. They try to mount performances, often aborted by radical Islamists, who advocate the prohibition of music for Muslims. One day, one of two brothers sympathize with radical cleric Maulana Taheri (Rasheed Naz), who will find the words to gradually bring the young musician to join his family to join the holy war.

This then renounce his passion and will engage with the Taliban to pass a regressive post by the violence and hatred of others. His brother will follow a diametrically opposite way, since share his musical passion in music theory school in the United States, countries of the own freedom to the cultural mix. Alongside their history, Leila, a young Pakistani girl by her father and by his mother American, wants to marry her college boyfriend, a young average American. His father has other plans for his daughter, since he will enjoy his visits to Pakistan to marry Leila force to Sarmad.

But the events of September 11 will disrupt the lives of these three people, and insecurity will be experienced on both sides of the globe, Pakistan as the United States, where the concept of rights is no longer the same as before ...

Khuda Ke Liye (translatable For the Love of God and the name of God ), is a strong film, engaged, sobering. It depicts two completely different lifestyles, and raises questions about the representation of Islam in the world. The methods used by radical groups to recruit active members with the consequences of an event like September 11 on Muslim populations in the US, the film presents the facts and avoids Manichaeism. The good and the bad are everywhere and on both sides. We are therefore very quickly sickened by the tragic destinies of the protagonists of the main story.

Obviously, in images which one has been watered since September 11, either during newscasts, or in reports, the Pakistani point of view has rarely been exposed, and the film is an opportunity to have a different view of the events that preceded and followed that date rooted in memories.

Driven by an original music inspired merger, the soundtrack gives another dimension to the film. Some key scenes are gaining emotion through music Rohail Hyatt. The Pakistani composer is not a novice, having been one of the founding members of the Pakistani group Vital Signs, which reached its heyday in the late 80s from 1987 to 1995, the pop band released four albums, all produced by Rohail Hyatt, including containing the song ultrapo-pulaire Dil Dil Pakistan . We can not say, however, that the entire soundtrack is homogeneous because some errors of taste come scuttling pretty compositions that dominate the album.

The benefit side of the entire cast, it's solid. Without being either extraordinary, each player just plays.

The veteran actor Shaan offers simple game that is completely integrated to the tone of the film. Fawad Afzal Khan, the founder of the original singer of Pakistani rock band Paradigm (later Entity Paradigm) plays his score seriously, interpreting a weak and impressionable character. The former model Iman Ali has successfully converted because it hypnotizes the camera with her eyes and expressions.

A revelation that has already received proposals to play in Hindi films. The icing on the cake of this homogeneous cast is probably the presence of Naseeruddin Shah, which makes us the grace of an appearance towards the end of the film, with some really memorable scenes and speeches on his vision of Islam. The scene in the courtroom, where he refutes the allegations by Maulana Taheri, is a summit. One can also note that the English cast is competent, and does not irritate the viewer in stereotypical roles as is usually the case in many Indian productions.

Overall, Khuda Ke Liye is a successful film, full of highlights, including the political message is commendable. An important work that many people should see, and shows us the contradictions of a country and the dilemmas of his people. Note that the film was released there a few months in India, where he has enjoyed considerable critical success, especially in multiplexes, where he made ​​unexpected scores.

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Saturday, December 24, 2011 delete

very nice one buddy... its like happening to our buddies...IT field...