Rangrezz Review

*** This is a repost of the Bollyspice.com review ***

As the director of the 2008 National Award winning Tamil film,Kanchivaram and many other classics, Priyadarshan needs no introduction nor to be questioned if he can sparkle up the screen. But not everyone remembers this and time is what it is. Although not nearly as breathtaking, Rangrezz would probably fall into the same category of films he directed as Aakrosh andTezz, showing the serious/realistic cinema side of him. A remake from Tamil, it stars Jackky Bhagnani, Priya Anand, Vijay Verma and Amitosh Nagpal in lead roles. The original film, Naadodigal, has been remade into 4 other languages since its release in 2009. But the key here is whether Rangrezz will see the same success.

Now, we have seen our fair share of movies in Hindi cinema that depict love birds and the selfless friends that help them succeed in their love story. Yet, have we ever seen what happens to these friends AFTER the escapade they venture on, all in the name of friendship and their belief in that four letter word- LOVE. Rangrezz is about 3 men that step forward for a friend and take on the battle against the odds to get him his girl. And, after risking it all, shattering their own dreams and even losing part of themselves, what happens when they find out it’s all in vain.

This isn’t sob story. Nor is it an artsy film. It’s a commercial film. Street slang, comedy sequences and even a desi version of PSY’s Gangnam style is there but the major difference is, this is the kind of story that not only sheds light to how devoted a friend can be but also, how badly that four letter word is abused and how not every friend is worthy of a sacrifice nor every friend willing to let that fact slide.

The refreshing aspect of the film is that life is bound to introduce you to one or more of the characters in Rangrezz. A young man who dreams to go abroad. A father who is more like a best friend to his son. A girl who gives ideas to her sweetheart so she can marry him with her father’s approval. All of them. Seen them, met them or even are them. But the world isn’t perfect and there is a flip side of human nature, even if we don’t own up to it. There are those that will use and abuse that four letter word like newspaper. Purists will say love is divine and the same for all but life will show the emotion is tailored to each of us. Priyadarshan sheds light to this fact and the best bit is that it’s not an attack on love but the lovers themselves. Add in the blind faith friends go by and the outcome of inadequate understanding of relationships in a fast-food, faster-life generation run society that can and has changed lives and BOOM, Rangrezz.

With a topic that is relatable yet rips the mask off to show reality, it is imperative to have a cast that breathes life to the characters. Jackky Bhagnani plays Rishi Despande and shows much more promise (even if he still needs to work on his emotions) than his last film Ajab Ghazabb Love. Priya Anand was last seen in English Vinglish and if anyone missed her then, you will surely not miss in the role of Megha Joshi. She is cheeky cute and full of beans in a 3rd person talking role that you will learn to love. But along with Jackky, it’s his two friends that stand out the most. Amitosh Nagpal and Vijay Verma as Winu and Pakkya respectively, couldn’t be more worlds apart in their characterisation. Yet, they work amazingly well together, with Vijay stealing a little bit more limelight for sheer brilliance. Rajpal Yadav is almost a regular on Priyadarshan’s films and gets a few good lines but disappears after a while.

National award winning director-cinematographer Santhosh Sivan joins hands with Priyadarshan after almost 15 years and for those that remember their last venture, Kala Pani (dubbed as Saza-E-Kala Pani), you will remember how delightful their work together was. Rangrezz doesn’t skip a beat to their tune and its gritty dynamics make the film. With the base of the original story by director Samuthirakani intact, Mushtaq Sheikh tweaks the screenplay just enough to keep the authenticity and adaptation on par but while the adjustment is admirable, the film does flake in parts due to predictability and length. The realism in the first part of the film doesn’t continue consistently in the second, adding the woes. The editing by T.S.Suresh could have saved the film in those moments, but sadly does not, making it hard to keep the interest that the film secured in the first part.

Unfortunately, there are more woe points with the OST consisting of 2 composers. First we have Sajid-Wajid, who have clearly missed the bus on this occasion and Second, Sundar C. Babu, the original movie’s composer, making his debut in Hindi. The only song that stays with you is Shambo Shiva Shambo by Sundar which is also from the original film. Lyrically, it’s changed but the song has travelled with the story and has been used in every remake. So while OST has a 2nd version by Sajid-Wajid with Sukhwinder Singh on the mike, the impact Shankar Mahadevan has on the song is obvious and consistent as he sang for every other version of this song as well.

Dont get me wrong, Rangrezz is definitely a film to watch. Even if the diluted message may not hit as hard home as the makers wanted it too. But take along your friends for good measure, and to make up for the rest.

Our Rating:  2/5

Gori Tere Pyaar Mein Review

*** This review is a repost from Bollyspice***

 

Redefining a genre is a huge and extremely difficult task but quite possible when you have a strong hold on the story of a film. Even if its with a basic plot and handful of actors. Punit Malhotra has said his latest offering of Gori Tere Pyaar Mein had the capability to do so. This writer is wondering what made him think so after seeing the final product.

 

 

The tour guide version of casanova boy meets social activist girl, their clashes, fun times, 2 songs, a few loving looks, a taboo topic and finally the fight that broke them up is told to Vasudha played Shraddha Kapoor like episodes of a tv drama. Tickles the interest with some catchy tunes, random wittiness and pretty scenes but doesn’t show the loopholes of depth. Just when you thought you had enough of the rather predictable love story proceedings of Sriram Venkat (Imran Khan) and Dia Sharma(Kareena Kapoor Khan), we are taken to Jhumli, a village in Gujarat where the Casanova, i mean Imran Khan becomes your average aam janta on a mission to get his girl, redeem himself and build a bridge for the townsfolk.

 

Amongst the predictability, and possibly the saving grace, is Nizhalgal Ravi and Anupam Kher who switch from comic relief to character artist/ villain respectively at random moments. Shraddha Kapoor is absolutely stunning but sleep walks throughout. Unfortunately the rest of the cast are a blur due to overcrowded-ness or lack of dimension. But of course the star attraction is our Ek Main Aur Ekk Tu duo making a comeback to the screen, Imran Khan and Kareena Kapoor Khan.

 

Imran Khan is supposed to play an American return Bangalorean Tamil, but neither sounds nor looks the part. Yes, yes we know the logic, or lack of, factor in rom-coms but besides the word Appa, both parent actors break out more Tamil than Imran and he looks like the misfit more than the actor he calls a misfit in the film. The actor does score points as he lets loose the awkwardness in the latter part of the film but he struggles for the most part, especially in his focus shots. The Kareena Kapoor Khan title has a certain ring to it but her character lacks punch. Leading lady and noted actress no doubt, her trainer has worked her out well and she looks a million bucks. Yet for all the hoopla about her 6 costumes and meaty role, you don’t walk away loving her character or her for doing it. Standing around with papers in hand, pouting or haphazardly trying to continue construction work doesn’t count when trying to show the strength of a character or conviction. Shame since her character could have given the story the necessary focus.

 

The two actors clearly are trying to make some sort of chemistry but nothing works. Even as they slip in the ‘she’s older’ lines to explain Kareena looking like Imran’s older sister than love interest, you don’t feel the mushy love bug emotion when they flirt or bashfully smile at each other. Even as they separate, you feel indifferent and the reason falls back onto the writing. While the wittiness helped the light hearted moments, there wasn’t much worthwhile in the story to root for them. And neither Manish Malhotra nor Salim-Sulaiman can help. The focus flutters from self analysis to society concerns to going the distance for love, without enough time or impact to make you feel this is important.

 

But what am I saying. This was always meant to be a love story. The social issues/family issues were simply a facade to cover a story known since Grandmother India. The editing that need to cut back the predictability, only worked for crisp scene alignment. The cinematography wasn’t supposed to show things as they really were, just make a brown village have colour block moments to go along with funny moments everything else like a Karan Johar Production, vibrant and beautiful. Right up to an awkward stanced Imran, running in a vetti (southern style dhotti). Even Vishal Shekhar are right on cue with bringing to table everything the movie needed at the set intervals, whether it be a dance number, a romantic melody or a Gujarati folk song. No comments on the lyrics but ‘Main Nahin Jaana’ has your foot tapping, like it was meant to. Yet, none of it matters how the film had no depth and overshadows the direction. Not even the fact it connects with audience on an entertaining level as much as lotto numbers are. You simply are supposed to laugh at people and customs being ridiculed, imitate the latest fashions and then walk out thinking ‘Next!’.

 

So take it as it is and you might enjoy Punit Malhotra mash up the first half of Mere Yaar Ki Shaadi Hai with a dash of southern stereotypes and Swades into an ‘original’ film. But then again, you might not. Either way, regardless if you will be able to turn off your thinking cap on the film, it leads back to the cliche but upgrades to stale wine in a bottle of Moët.

Our rating: