The boys can not pay at a five star restaurant and be beaten. Thus they discover only the importance in life of money and influence. For this reason, they want two rich women marry: Sheena and Rani! But their mysterious gym teacher (Tara Deshpande) makes them for the time being a spanner in the works. N. Chandra (Tezaab) goes with Style on college comedies terrain at least for a large part of style. This means that we benefit from Send Teens, garish clothes, infantile pranks and what-is-loves-the-teases-to-romance.
Nothing that you do not know already, even if it is from the first half of Kuch Kuch Hota Hai . Chandra is not able to give the topic a new twist - on the contrary the whole plot is a long time from the fact that the boys the girls play pranks. And vice versa. Only when Chandra strays them and is already including morality in the story, it goes slowly downhill. He hit rock bottom with the integration of a ridiculous thriller story.
He is too plump. In particular, the repetitive and inconsistent script is lousy and drags itself over the exaggerated term then. Better get the fresh players away, all of which are incorporated by debutants: Sharman Joshi is the most charming of the troops, but he has rather the potential for supporting actor. In fact, he came later than with Shaadi No.1 on this trip.
There also Riya Sen plays with again who took off a sexy debut here. Riya is a sweet girl and brought it from the team most - but lack of acting talent is well they will probably always delegated to the second row. Fadestes member of the quartet is Shilpi Mudgal, while the most striking Sahil Khan is. The well-proportioned guy tried in a muscular Schalk role that Salman Khan usually well mastered. A really good actor Sahil not, but this is the only newcomers he later proved the strength of the main roles.
Though in marginal films more is to Style just did not. The songs are average, the style will, of style can not talk big one. As long as is geblödelt which Chose remains reasonably entertaining, but with the drift towards Thriller loses momentum completely. Therefore "Style" is more than matter of interest because here debuted four subsequent B- and C-Stars. And because N. Chandra not soon gave up and two years later an unofficial sequel presented: Xcuse me!
No need to beat around the bush, I see this film as a masterpiece. You're not going to read an objective critique but a critique subjugated and accepted as such. There are cases where we proudly brandish his feelings. Here is one. Will you share this excitement? That's all the harm I wish you.
Sanjay Leela Bhansali is a director apart. Crazy and ambitious. Not hesitating to tackle difficult subjects and endearing as much importance to the form than substance. A kind of Karan Johar highbrow and sophisticated. His films always play the puzzles. Who appreciate his attention to detail, it is a treat to watch in the recesses of his films. And Guzaarish is his masterpiece.
Ethan Mascarenhas (Hrithik Roshan) is a magician. Not just any, the best in the world. Fourteen years ago he became a quadriplegic after a ride that ended badly. Since then, he lives in a large mansion Goa. Right after the accident, he pushed his relatives: his mother Isabel (Nafisa Ali), his assistant and girlfriend Estella (Monikangana Dutta) and agrees to see her friend Devyani (Shernaz Patel), doctor (Suhel Seth) and two servants. For twelve years, he uses a nurse, Sofia D'Souza (Aishwarya Rai Bachchan), who watches over him firmly but with great tenderness.
Gradually, he rebuilt his life with the constraints of his disability. He wrote a book, lectures on disability and his home runs "Radio Zindagi" (Life Radio), a radio station in which he tries to comfort those who suffer.
But his condition worsened and he had enough. He decides to die. For this he asks Devyani, a lawyer, to initiate proceedings to allow his euthanasia. Despite his reluctance, she runs. But euthanasia is prohibited by Indian law and, not surprisingly, his request was rejected by the judge. One day a young man was present at the manor: Omar Siddiqui (Aditya Roy Kapoor). His dream since childhood to meet Ethan and become his student. Realizing that he alone will achieve nothing, Ethan decides to put his case in the public square and to vote his listeners on his project: the project "Ethanasie".
Guzaarish is a great movie that I recommend you see urgently without even finish reading this article. Fabulous as it merges poetry and tenderness as rarely cinema. This is a film that can be enjoyed in many ways. First instinct, at the first sight. Then with delight by looking for clues scattered by Bhansali to refine its heroes. Scenario, actors, stage and music, these elements seem to have encountered alchemical ideal time to forge a movie masterpiece. And especially not Indian cinema but cinema itself.
Bhansali has already had the opportunity to show different facets of his talent. Sens screenplay treatment with Hum Dil De Chuke Sanam . Phenomenal sense of aesthetics with Devdas. Taste for dark melodrama with Black . But also no fear of ridicule with Saawariya .
He returned in 2010 with this film has in common with Khamoshi and Black theme of disability. But where Black was knitting a relationship, described the long painful path that will link two beings, Guzaarish appears more static way, like a pointillist painting. The table of true love, pure, free from the flesh, on pain background. And it is the viewer, through different emotions, which creates movement more than character development. For Bhansali is a filmmaker of suffering. Black took guts those who were sensitive. Guzaarish takes them to the heart.
Bhansali never leaves indifferent. Each of his previous films was the subject of complaints: Abuse aesthetics, swelling of the ego, self-absorption and hype, not to mention less artistic stories with insurance companies. But he has learned the lessons of the past and Guzaarish is a milestone in his career. She found a balance between all these excesses. For if he had to choose one word to define this film, it would be balance. However, it should not be confused balance and aseptic. The show has not provided sterile and tastes of the director for the images and extraordinary attention to details are still in the game. Aesthetic is still there, and there.
But for the first time, nothing exists to the detriment of the rest, and this aesthetic is only one component of the work and not its subject. Devdas dazzling red and yellow colors and songs to hide rest. Saawariya is délitait in a kind of blue and black luminous mist unreadable. Guzaarish plays green and dark red. Beauty picture beauty but especially in the service of the story. The ideal brush. In reality, Bhansali is a painter more than a filmmaker. He does not stage a world, it creates one. And this world is not the perfection of a smooth sphere but that of a sea urchin, bristling with pikes, rending feelings.
Although he takes the frame Sea Inside , Alejandro Amenábar a film, Guzaarish is primarily a personal work of the director by his approach and treatment. After the failure of Saawariya , he found himself in the same spirit Ethan: alone and misunderstood. This paralysis of the hero, it's a bit that of the creator who has to start a story. The finished script, the chemistry between history and actors multiplies the strength of the work.
2010 was not a very good year, nor for Hrithik, Aishwarya nor in terms of commercial success. Their two major films, Kites and Guzaarish for one, Raavan / Raavanan and Guzaarish for each other did not work with the public. Yet this year may remain in Bollywood history as one of these two extraordinary actors. For Guzaarish .
Historically, Aishwarya has a strong and trusted relationship with Bhansali. This is his third film with him (after Hum Dil De Chuke Sanam and Devdas). Legend says it has agreed to participate without even reading the script. Just based on the name of the director and his partner she crossed twice (in Dhoom 2 and Jodhaa Akbar ). The choice of this couple is finally perfect.
They make us both an impressive number. Hrithik faced a challenge: playing a paraplegic when he is known athletic body. But he has done enough to slip into the character, going long periods with real paraplegics. And the result is breathtaking. Once the generic, forget the bodybuilder to see only bruised and lifeless body.
It remained to give a soul to Ethan and again, Hrithik is fascinating. Her looks, her smiles, her tensions and even his positions in his wheelchair or his bed, he used to speak in nuance. An interpretation landmark.
As for Aishwarya, although physically the challenge was of a different nature, she made a feat by passing its beauty, yet still glaring in the background and clearing both a strength and a weakness stunning interior. Strength of faith in what we do and weakness in the face of a reality that overwhelms. This couple is amazing realism and fusion.
We must not forget the supporting cast. Whether or Shernaz Patel Monikangana Dutta, both are beautiful. Already in Black , Shernaz was poignant in her role as mother devastated. Here she plays a lawyer crushed between his friendship and responsibility in the draft Ethan. Difficult role she plays correctly. Monikangana is one of those models that loves Bollywood. This is his first role. It is short but crucial to the film and she comes out wonderfully in the scene where she endorses Ethan for his suicide. One of the most moving scenes. And all the other players are up and well into the soul of the film. Bhansali has succeeded perfectly cast.
The image alone would merit a book. The work on the sets and costumes are incredibly accurate. The choice of photos, objects, type of jewelry worn by Sofia, everything has been thought and worked. Color processing, mainly green and red, creates a particular climate, quite oppressive. Green evokes the life of nature, the outside world, reinforced by the landscapes of Goa in the rain, almost like the heart of the Amazon rainforest. One feels almost carnal primitive moisture. Red, meanwhile, recalls the human life, that of suffering Ethan. And while the film plays on these two colors. The sun is almost missing. Only traces of yellow in the magic bring a warmth and an almost divine light, magical. Special effects, such as digital decoration at the Sofia boat trip to go home, go unnoticed while contributing to the ambiance.
The music was composed by Bhansali himself. This is the first time he does for every film. He justified his choice by explaining that it was in the best position to understand his characters and thus their music. It is actually rather discreet and perfectly integrated into the film. Unable to evoke the music not to mention the Sofia dance sequence. A kind of liberation, rebirth of Sofia just after the judge has to take Ethan's wife. Under the misty eyes of the latter, it is literally transported by the music and by the mistake, revealing for her, and she seems to literally possessed. But the strongest is that it is also a release for the viewer, in whom Bhansali surreptitiously managed to create a latent sense of paralysis. This time, we begin to catch his breath on this dance. Incidentally, Aishwarya will once again shows his outstanding dancer and his natural class. A great moment of communion between the film, its actors and spectators ...
Bhansali is a director of drawers. Everything is studied in him and he always tells his stories on several levels. He sprinkles his works runs and symbols. The examples in Guzaarish its many and will be subject of another article, but you can name one: while Ethan's child, his mother sang in a cafe scene. His song ends as the boos of the audience and the projectiles, in a kind of lynching, stoning. She regains her box bruised. This is where the boy will create its first round of great tenderness bring a smile on the face of this mother martyrdom. The cafe where Isabel's mother, sings is called "Chez Martin". This name is displayed behind Isabel in a circle reminiscent of a halo. But Martin is the name of the last pope martyrdom.
Throughout the film, religion in the air. The lights are reminiscent of cathedrals, arms crossed evoke Christ sculpture is reminiscent of the crypts, the film opens to the sound of bells, etc. In summary, Bhansali has built a film of great sensitivity, but without sentimentality. What distinguishes a Black for example, is that we do not cry. The emotion is still there, but at no time there is trace of pity. All those people who suffer are shown with great dignity, compassion, proof of the delicacy and humanity Bhansali.
If you have not seen the movie yet, do it. Maybe you do not share the same enthusiasm, but there is a safe bet that your review will not be mixed. You will like a lot or not at all. Normal, remember that perfection according Bhansali is not that of the smooth sphere but that of the sea urchin. To keep in a memory area enjoying two wonderful actors directed by a great director that India can be proud.
Joseph Braganza (Nana Patekar) and his wife Flavy (Seema Biswas), both devout Catholics, are deaf. They give birth to a daughter they named it Annie and which, to their great satisfaction, is not reached their infirmity. Growing up, she even develops a taste for music and singing. One day, Annie (Manisha Koirala) met Raj ( Salman Khan ), and falls in love. But Joseph is against this union, because Annie is the only contact between the parents and the outside world.
Khamoshi - The Musical is the first film of Sanjay Leela Bhansali. Trained by Vidhu Vinod Chopra, who would become the greatest director of his generation in Bollywood and will have the privilege of seeing his works Devdas, Black. If the love story between the hero is honest but classic, originality lies in the approach to the silence, hence the title of the film. For Annie developed a passion for music, but remains frustrated not to be able to share it with his parents. The most touching moments of the film are the scenes as well as the communication is established between the deaf-mute couple locked in their cocoon and the outside world. Always treated with decency, these passages remain true emotional moments never really found later in the cinema of Sanjay Leela Bhansali.
The success of these sequences is largely due to the torque supporting roles, Nana Patekar and Seema Biswas, excellent in both deaf and dumb. Patekar gives us again a nervous performance, marked by a significant gesture excitement, especially in a scene where he made a moving speech in sign language translated as and measure. However, although this is one of its main roles of the 90s, it's a shame not to hear in this film the acid tone of voice especially of the actor, especially since it is known to his scathing replicas. As for Seema Biswas, noticed a year ago for his role in the acclaimed Bandit Queen , it recurs here with a memorable performance, full of restraint, offsetting his silence with a look of impressive distress. We find a few years later the two actors, Patekar and Biswas, the horror film Bhoot in 2003, again in very specific roles.
But the young couple is also nice. Salman Khan plays well, it's never as well-directed than in Bhansali master, who will offer him the successful Hum Dil De Chuke Sanam and controversial Saawariya his finest dramatic roles. Manisha, who was making his debut in the cinema at the time, is also to his advantage, both with a mental strength foolproof thanks to the symbiosis formed with his parents and weakened by their difference and fear of losing. Too bad that the actress has become a shadow of itself in recent years, appearing in second-class productions or by one of the news items.
Khamoshi - The Musical is a nice movie, considered by some as the work of the most successful and most endearing Bhansali, authentic and decorated with outstanding benefits. A movie not to miss!
Village of Charkhi, Pakistan, 1979: The widow Ayesha (Kirron Kher) lives with her 18 year old son, Salim. The latter is in love with Zubaydah, both being promised a beautiful union. But now Islamic fundamentalists coming to town, preaching a strict Muslim state. Fascinated by their faith, Salim became friends with them, what worries much his mother, who hides a dark secret dating back to 1947, the time of Partition ...
It is difficult to talk about Khamosh Pani without revealing some of the revelations, yet the surprise reserve is quite recent chilling to stay. Copyright kills Pakistani Film co-produced by France and Germany, this feature film is nothing that the detour for its leading actress, Kirron Kher's moving (Main Hoon Na, Veer-Zaara), which carries the film on his shoulders.
Intimate, this sensitive period film addresses a subject rarely treated: relations between Indian and Pakistani Muslims Sikhs. Created in the historical region of Punjab, the state of Pakistan was home indeed holy places for Sikhs, and those who had come to India after the Partition felt the need to make a pilgrimage. The film presents just one of them, granted by Pakistan and the frictions that occur between Sikhs and Muslims, with finesse and without ever taking sides with one of the two camps, among whom our aging hero finds himself torn for reasons that remain to be discovered.
Incidentally, the film is more than a naturalistic chronicle of an event at a particular time, it has a real scenario that plays within the limits of course psychological realism, flashbacks and revelations blazing to keep the viewer's attention and to discover the shocking truth, the film can only be, at least indirectly, based on real facts.
Khamosh Pani is a beautiful and small arthouse film that plays on the economy in light years of the great Bollywood original frescoes, yet it is an authentic history lesson on a very interesting subject, admittedly minimalist, with a slow introduction and too brief final sequence, but reserve painful surprises and several poignant scenes thanks to the overwhelming Kirron Kher.
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