Dum Maro Dum

Rohan Sippy’s Dum Maro Dum was surprisingly palatable. What I initially thought would be an endless wait for Deepika Padukone, turned out quite the opposite. It is also a good strategy to not give up your ace in the first 20 mins (I hope Farah Tees Maarkhan has noted)

The film is set in Goa, a paradise where alcohol comes cheap, women come cheaper and life, it’s almost free. Today the city is synonymous to ‘relax’. As per oxford - Relax: make or become looser/ make or become less intense or concentrated. People inhabit Goa from all over the world to achieve this state. A state also descended into if under the influence of alcohol or substance abuse.

A hippy haven for drugs, rave and sex, if you’d like, they say Goa runs deep. Gaining speed for its notorious reputation, ACP Vishnu Kamath (Abhishek Bachchan) has been given the responsibility to clean up Goa. Get rid of its unwanted debris and make the sea shores safe again. However, the drug lords are not willing to let go of their play ground just as yet or as easily. The film highlights a common known fact that Goa does house the biggest and richest international drug fests. But many say drugs run deeper than blood in Goa’s veins, and that most police, political guardians, locals, all have a share in this one big pie.

On ACP Kamath’s journey to resuscitate, his first arrest is a juvenile called Lorry. Lorry dreamt of attending university with his girlfriend in America. But due to insufficient funds he’s unable to do so and feels life has sold him out. This makes him an easy bait to the so called recruiters of drug trafficking. They promise him a one way ticket to his university and college fees in return for him being the carrier for their consignment. Lorry falls prey to his dreams but only reaches as far as the screening counter at the Goa airport.
He doesn’t make it to America but his arrest sets off a loop of leads. The first of which is the introduction of Loki, Rana Daggubati a local musician, whose life is narrated through quick flashbacks. Loki and his ambitious girlfriend Zoey (Bipasha Basu) were all too happy before her dreams too, took her high and far away from life as they once knew it. Her dreams of flying beyond the blue skies, for a simple trade off – smuggling hidden consignments across borders all came crashing down, the day she made headlines – “Airhostess caught with 80 lakh cocaine at airport”.
Sentenced to jail for 14 yrs, she was out just in 14 days. Loki’s boss, Biscuit (Aditya Pancholi) an influential businessman used his contacts to change her life imprisonment from the four walls of the jail to the four walls of his room. That was the end of her freedom, dreams and their love. Loki could do nothing but stand aside and watch. Five years later when the same happened to Lori, Loki decided to do something. This was all too harsh a punishment for dreaming big. He wasn’t about to sit back and let Loki become another Zoey.

He approaches ACP Kamath who by now has handpicked his squad to fight this nightmare. Kamath sees some truth in Lori’s innocence but Loki needs more evidence in order to prove it. However adding to their frustration is the existence (or the lack of it) of a mysterious drug lord, Michael Barbosa, who promises to make the chase no less difficult. Kamath and Loki are now at the brink of frustration on how an invisible man or his shadow can be the mastermind behind Goa’s darkest secrets. Loki seeks out Zoey, hoping that being involved in the drug circle for over 5 yrs she may be able to provide some leads, begs her to help save his brother from suffering the same fate. Knowing very well that treachery equals your body being mysteriously washed across some deserted shore, Zoey still decides to help (this strange thing called love I tell you, it only kills!). Unfortunately help doesn’t find Zoey in time.

Just as ACP kamath is close on the heels of unraveling the ghost called Barbosa, he too is mysteriously engulfed by unknown shadows. Loki now left flabbergasted decides to not let Zoey and Kamath’s death be only newspaper fodder. With substantial clues left behind, he finally puts the lights on, on Goa’s biggest rave party.
The movie is pacy and the non linear narrative sets the tempo steady. However, the use of one voiceover, while warning Lori of consequences if he belted was a big give away a little more than required at that junction of the story. Hate to say this but the biggest damper was Deepika’s sizzler. A 32 inch screen or You Tube did more justice to the song Dum Maro Dum visually, than the big screen. Up there, it just looked like an imitation of a bad RGV set trying very hard to be a ra(v)ge.

But that I‘d say was the last of the disappointments. AB baby has lot oodles of weight and has not done too bad a job. Bipasha Basu has either got a new stylist and makeup person or she sent them on a crash course 101 right before the film. Whoever, or whatever, she should hold onto them for dear life, cause with the lighting in this film she’s looked so Roman, so flowy, so feminine. Rana Daggubati should keep the stubble and stay away from intense roles and dialogues. He’s too yummy and it would be unfair for a hunk like him to not be accepted in Bollywood. Pratiek Babbar, nice as usual, loved the extra touch of going all croaky, added to his character of ‘puberty, just about getting there’

Pritam deserves a hug for his music score. Dum Maro Dum, revamped, is doing well, inspite of its constipated lyrics. But other songs like Jiyein Kyun and Te Amo are beautifully melodious and they just stick. While one is a very happy carnival, fallen so crazy in love kind of song, Jiyein kyun has the feel of sitting by the sea, reminiscing on some ‘what the f*%$ happened here’ kind of moments or maybe it’s just me.

Dum Maro Dum a good one time watch this one.

Mirch

I absolutely adored this film. One I’ve seen after ages (actually cant think of any other) that truly celebrates a woman. Without glorifying the cotton saree, the gas chulha, tears in her eyes, or a proud husband supporting her, this one reminds us of all that a woman can be.

Arunodoy Singh is a struggling writer. In the absence of star power, he has no takers for his film as producers believe, that commercial success will evade him. They find his story too dark and devoid of any element that could pull crowds to part with their dimes. Many argue that the subject of Mirch is not new, A film within a film format has been toyed with many times before. True, but this is where Vinay Shukla’s Mirch draws an end to this similarity. It’s a simple film, with no exaggerated sets, high production value, big stars or unnecessary frills. The film holds its own purely on the merit of intelligence and clever handling of an audacious idea – SEX.

Giving into the clichéd demands of his producer, Arunodoy Singh weaves a story with four tales across two time frames. The first two, are derived from the ancient Panchatantra apparently, where Raima and Konkana Sen play the leading ladies while Arunodoy Singh plays the resident object of desire.

The first story is set in a time period where husbands had to travel far and wide in the search of jobs. Rajpal Yadav plays Raima Sen’s smitten husband. One day, pressured by rumours of his wives promiscuous nature, he decides to spy on his beloved. Raima’s quick presence of mind, upon realizing that it is indeed her husband, hiding under the bed, spins a yard so thick that Yadav is left feeling humiliated for ever doubting the holiness of his wife, as she performs the ultimate service ever asked of a married woman, all for the longevity of her husband whom she considers not below any god.

The second story is set in a Kingly time, where young brides were added to harems purely as jewels to crown. Konkana Sen plays the bride as young and full of life, however, the King’s octogenarianism can barely match pace with his bride’s sensuality or her coming of age. Her lady in waiting, disappointed that a blossoming woman should wither away like an en passant, suggests that Konkana, should consider the companionship of the kings young advisor, Arunodoy Singh. Singh reluctant at first, realizes his determination stood no match when opposed by the daasi’s invariable persuasion, finally agrees to peg his service to the queen but only upon the fulfillment of three wishes
a) The queen must slay His Majesty’s prized Persian right before his very eyes
b) There after she must present the advisor with the Kings tooth
c) and to avoid betrayal of his kingship the coitus act must be performed in the kings presence and not behind his back.
Another tale of how the queen in her sparkle fulfilled the conditions, still emerging as a child.

The next two stories are a page from life in a metro. Raima & Shreyas Talpade are newlyweds. She’s madly in love with him and simply cant get enough, a reversal of roles definitely never shown of a woman before. Her high libido gets Shreyas a bit weary and he starts doubting that an attractive woman like her, may desire more partners than one. She stands victorious in the test of time but her soul is scarred upon realizing that her loyalty and affection was misjudged. A year passes by and we see the void enlarging in Raima’s emptiness. Till, she meets a painter. Circumstances rebirth the woman inside and she breathes again, unfortunately this time to be caught in bed by her husband. One would think what follows would be an ugly affair of lies, anger, deceit or tears but what leaves you is a smile.

Many argue that strong sexual gestures especially in a woman make for very un-poetic cinema. Love when linked to lust tends to lose its lyrical luster. I disagree, I think it’s about time that a woman’s enigma is celebrated. Mirch is not about glorifying Infidelity but appreciating the unpredictable wit and satirical ways of a woman.

The last story is about a business man, looking to escape a nondescript routine, lies to his wife about being out of town, checks into a motel and awaits the arrival of his Harlot. To his shock when he unveils his guest, she turns out to be his wife. Try getting out of a situation like that. Again, never to be faulted, the woman, turns advantageous.

This film thus celebrates Striya Charitra – A Woman’s mystical character, often not easy to understand. She is a being soft at heart but if required can be ruthless.
After seeing the destiny of two films that have come of critical acclaim, Yeh Saali Zindagi and Mirch, I conclude Arunodoy Singh and his titillating act is what makes it all worth it :)

Thank You,Anees Bazmee latest offering stars Akshay kumar, Irfan Khan, Bobby Deol, Rimmi Sen, Sonam Kapoor & Celina Jaitely. I’m particularly glad that this film has shaped up well for the sake of two names Mr. Bazmee and AK Kumar himself, their last hit, and coincidently together, was Singh Is King. Wars have been fought and a World Cup has been won since then. It’s about time Friday shines down on them.

The story is a romcom seen before, but one doesn’t expect an Udaan or even an Omkara from the Bazmee camp. Entertainment is what they’re about. A tale of three casanovas Raj (Bobby), Vikram (Irfan) and Yogi (Suniel) cheating on their respective wives Sanjana (Sonam), Shivani (rimmi) and Maya (Celina), is full of light moments when accompanied with a bag of popcorn (cheese flavor :))

While Sanjana is blinded by the facade of her happy married life, Maya believes in keeping Yogi on a leash (due to his not so lucky past escapades). Shivani on the other hand is a typical wife and a typical husbands dream.

When Sanjana suspects her husband to be playing cat and mouse,her best friend introduces her to a private detective Kishen (Akki). As the story progresses, Kishen tries to bring the three boys to books, but a funny twist is added when the boys themselves hire Kishen in order to spy on their wives’ secret informer.
Every time Kishen lays a trap, he gets beaten at his own game and Raj emerges a hero. Thrown at being unable to solve the case, Kishen then decides to change strategy. Finally at the chapter of his success his victory is marred by the shattering of Sanjana’s world as she knows it. Unable to comprehend her husband’s infidelity, she decides to commit suicide.
(Just to deviate a little from the story here, when we actually shot this scene at the Niagara Falls, it was a beautiful, hazy, sunny, rainy confused morning . As a result of which, there were two different rainbows in the horizon. So beautiful! We actually shot against one of them in this scene, so yes its real. Ahhh!)

Anyway, coming back to the suicide attempt, I’d suggested LET HER, but the director obviously had a locked script in mind! Her innocence and pain, Kishen couldn’t bear, cause love was blooming here, from the very first stare!

While the lead triangle would be Akshay, Sonam & Bobby, I’d place all my money on Irfan Khan & Rimmi Sen. Irfan as the world knows it, is a versatile actor (he’s playing the lead negative role in Spiderman btw!) but I think, this is the first time he’s attempted a full fledged comedy. No, Hissssss is not included.
Rimmi has never looked prettier or acted better. These two are the underdogs that one needs to watch out for. Some lovely dry humour served up in lines and expressions. For me they take the cake!

Suniel Shetty inspite of carrying the baggage of ‘ Macho Man, will break into a punch any minute’ is nothing but C.U.T.E. His character is so naively sweet that you want to forgive him every time he gets caught with is pants down.


To kya Sonam ko uska pyaar wapas milega, Ya hogi Akshay ke saath shaadi?
Kya teeno sudhar jaenge ya phir hogi unki barbaadi?

Pritams' music is pretty entertaining too. If you suffer from the ‘Smita’ syndrome, famously named after a friend who rates films as ‘a must see’ depending on the item numbers, then this one will win your vote.
The spruced up version of the oldy Pyaar do Pyaar lo, is quiet saucy. Razia gundo main phas gayi, I know has played over and over again at random holi parties. Full Volume has a nice Richa Sharma touch to it.
All in all, a good way to bond with the family.