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AIYYAA Movie Reviews - POST HERE (Page 7)

you2 IF-Sizzlerz

Joined: 26 July 2007
Posts: 12632

Posted: 11 October 2012 at 8:47am | IP Logged
Aseem Chhabra?@chhabs

@SufiyanaSoul I found the film very annoying - over-the-top loud irritating humor, with character behaving stupid!

Aseem Chhabra?@chhabs

@vilakudy I found it over-the-top, annoying with irritating characters. Prithvi Raj looked hot, but that's all he had to do in the film

@Fattiemama @SufiyanaSoul But Rani - despite her annoying character - looks charming. Prithvi Raj had nothing to do but to look hot!
Aseem Chhabra?@chhabs

@SufiyanaSoul There were brief funny moments, but mostly very silly.


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U-No-Poo IF-Sizzlerz

Joined: 15 June 2007
Posts: 23481

Posted: 11 October 2012 at 9:06am | IP Logged
Monali Thakur ?@monalithakur03

Superb dialogues! Melodramatic yet extremely sweet n enjoyable..Hilarious like how!!! Laughd my a** off :D Aiyyaa a complete entertainment!!

Raghuvendra Singh ?@raghuvendras

#Aiyyaa is a totally wakda entertainment. Never seen story n performances on screen. Rani M is fab as expected. Congrats team

Agastya Singh ?@agastyasingh

AIYYAA is a deserving watch. It's arresting, amusing, entertaining n of course thoroughly enjoyable, with Rani's splendid act-@taran_adarsh

Edited by U-No-Poo - 11 October 2012 at 9:15am

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Hello_kitta IF-Rockerz

Joined: 05 June 2012
Posts: 9054

Posted: 11 October 2012 at 9:12am | IP Logged
Smell the funny

The absurd can be sexy, subversive, lofty—according to how a great artist intends it. It is a tricky form for a film-maker if he wants his film to reach out, and be consumed. In Aiyyaa, a carefully crafted amalgamation of Bollywood kitsch and absurd, over-the-top story-telling, writer-director Sachin Kundalkar almost achieves a fine balance, a dramatic perfection, careful never to alienate his viewer. But for the loose and meandering lead-up to the climax in the last half hour—the film should have been at least 20 minutes shorter to leave the viewer on a powerful note—Aiyyaa has a strident imagination at work. It is a raucous and immensely enjoyable piece of film-making.
Aiyyaa is an extension of one of Kundalkar's short films, Gandha. Derivative in its absurdity and woman-centrism of Pedro Almadovar's films, at its core is a woman's journey for love and meaning. Kundalkar's world consists of the Deshpande family. A father who smokes three cigarettes at the same time using an antiquated gadget, a son whose only love is street dogs, a blustering grand old lady on a wheelchair, with dark goggles and gold-plated teeth, a daughter, Meenaxi (Rani Mukherjee) who, in her dream world, impersonates Sridevi, Madhuri and Juhi—more real to her than her state of wakefulness, when she loves a man using only her olfactory nerves. This is unlike any Deshpande family of Pune you will meet.
A still from Aiyyaa
The parents are searching for a groom for Meenaxi. To present herself in front of prospective suitors is an unavoidable rigmarole for Meenaxi. At her job, at the arts and crafts department of a local college, she befriends a colleague, Maina (Anita Date), an outrageously dressed, nonsensical bully, who sympathises with her love for Suriya (Prithviraj), a painter and art student in the college who enjoys a notorious reputation. Everyone considers him a drunkard and a druggie, and he never speaks to anyone. Meenaxi is fascinated. Despite her deparate attempts to reach out, he is insolent and indifferent. She follows his smell, which, she is convinced, is the smell of "drugs". Back at home, Meenaxi finally has a suitor, Madhav, a simple man with old-fashioned, safe tastes. Meenaxi is in a dilemma, and is on the throes of a life-altering decision.
Meenaxi is a robust character—a woman trapped by petty familial conditions, angry and yet not overtly rebellious, sexual and colourful in her fantasy. Kundalkar makes both her worlds engaging. The middle-class Indian woman, without much education, but with forbidden dreams. She is known to follow the enigmatic man to his home through unfamiliar routes and sob her eyes out, waiting for him. She is not afraid to love herself and love a man. She belittles anyone who can't appreciate the gaudy and fake world of 1980s Bollywood which she loves.
Kundalkar's visual vocabulary, realized in incandescent details by cinematographer Amalendu Choudary, is a function largely of colour and smell. Paintbrushes soiled by thick coats of electric blue enamel, colour merging into water shot from under the water, heaps of overflowing wet garbage, a haze-inducing fragrance which Meenakshi follows, dizzy in love—these are Kudalkar's refrains in the film. Sex also accentuates his narrative—in most instances, it is liberating and clandestine at the same time.
Mukherjee masters the role. She pitches it with plenty of histrionics—almost no character in Aiyyaa has a 'yes or no' or 'do or die' approach to their bizarre situations Meenakshi is high-pitched, a ball of nervous emotion and rage, and Mukherjee has dived right into her world. It never feels like she has caught the wrong note; she makes Meenaxi not only believable, but extremely likeable. Prithviraj has an ornamental role, the woman's object of love. The supporting cast is made of seasoned actors and they stay true to Kundalkar's over-the-top idiom.
Aiyyaa is triumph because its originality matches the director's assured film-making. Kundalkar is a director with a confident, uninhibited stamp.

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Hello_kitta IF-Rockerz

Joined: 05 June 2012
Posts: 9054

Posted: 11 October 2012 at 9:13am | IP Logged

It's raining come-backs what with  RaniPreity ZintaManisha Koirala & Sridevi  making a grand return to the screen, and their fans are extremely excited to know who'll make the biggest impact.

Judging by what I saw in the recently released English Vinglish and the impact that Sridevi has made, let's tell you, the audience whether Anurag Kashyap's & Rani Mukherji's 'Aiyyaa' has done the same.

The movie opens with the introduction of Meenakshi Deshpande and her quirks. Now if you thought the name was too clich, you're in for worse, especially when it comes to the screen depiction of a Maharashtrian family.

An Aai, Baba, Aaji and Bhau with the accents that you've seen time and again on TV come to life here. Rani Mukherjee herself seems to be the older, dark-circled version of 'Babli' from Bunty aur Babli, back with her fascination with cinema and dressing up like a wannabe.

The movie-mash-up in the first ten minutes shows how she aspires to be a part of the cinemas of the 70's and 80's. The story goes on to show how the Despande family is desperately looking for a groom for this 'eligible bachelorette', and that's when the men enter.

The twist in the tale is that according to Meenakshi, South Indians are the 'kaala's, who she is interested in, as against the 'goraa's', who the average girl is interested in. What catches her attention is the tall, dusky and well built Surya essayed by Prithviraj who is from the Malayalam and Tamil cinema. Surya, is the south Indian infatuation or rather obsession of Meenakshi. To add to her problem, she's now engaged to Madhav Rajyadhyaksha- also a Maharashtrian. Madhav is played by Subodh Bhave.

The rest of the movie revolves around the three- Meenakshi, Madhav and Surya, and how Meenakshi seems to be more attracted by even the body odour of Surya.

There are hardly any dialogues for Surya or Subodh, and the Rajadhyaksha and Deshpande families do exactly what real self respecting Maharashtrians don't. You get the gist - We are not too pleased with what we saw ofAiyyaa! It is not even your basic commercial escapist fare, in fact you want to escape from this ridiculous farce of a movie, which is a low iq and leave logic behind load of nonsense. It has characters that could have been moulded  beautifully, but have at best been turned into caricatures. Aiyyaa comes off as sleazy and cheesy with Rani, trying really hard to make a comeback as a full fledged heroine. When you say BBlackYuvaPaheliBunty aur babliHum TumNo one killed Jessica, who comes to mind? A supremely talented Rani Mukherji and after nearly 15 odd years in the industry she has decided to tear down all that hard work, with one fell swoop of an Aiyyaa.

Rani, it seems has made this movie just to showcase her talent and to show that she can do much better thanVidya Balan and belly dance better than Katrina kaif, and well yes she can, but it just seems to lack that bit of class.

The once most popular actress has tried too desperately but the overacting of the 'once-most-popular actress' will leave you disappointed as she goes over the top with the antics, actions, drama and dance. Rani is oozing oomph and energy, but is loud and obnoxious. She seems to have put all her strength or as they say in hindi,' poora zor laga diya hai' to make sure she makes a return as a full-on heroine. Prithviraj is ok, considering he just had to walk around like a stoney eyed zombie with nothing much to say or do.

One can't blame the cast and crew, as being over the top seems to be the brief given to them. Before the movie started they must have sent a memo out to the entire cast that it is a pre-requisite to overact!

The dance sequences by Vailbhavi Merchant are stereotypical, with the grand, Himmatwaala-esque sets of Dreamum Wakeuppum and the lavani song 'Sava Dollar', but having said that 'Dreamum' and 'Aga bai' are the only things that entertain you. Rani's bellydancing is phenomenal but belly shaking alone doesn't fit the bill. Music is functional .The movie has a 80's  feel to it. There was an innovative concept to explore and sure entertainment is what the movie is about, but Aiyyaa is not entertainment but trauma.

Rani, it seems has tried too hard to follow the recent trend of women- centric movies, barring  English Vinglish, that have gone the bold way but this movie is just twisted or 'wakda' in Aiyyaa speak! We are so disappointed in Rani, especially since we know what she is capable of. This quirky flick with its not so funny characters gets no  thumbs up from us.

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ViccoTurmeric IF-Sizzlerz

Joined: 04 July 2011
Posts: 16297

Posted: 11 October 2012 at 10:15am | IP Logged
These are mixed reviews :( 
I want it to be hit for Rani...

Edited by vedant123 - 11 October 2012 at 10:18am
TheRager IF-Addictz

Joined: 04 October 2004
Posts: 68721

Posted: 11 October 2012 at 10:29am | IP Logged
Uh-oh...movies like Aiyya need good WOM to work. So mixed reviews is not good news. Looks like public is telling 30+ actresses like Rani and Kareena to retire and retired actresses like Sridevi to come back.LOL

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-SalShah4eva- IF-Achieverz

Joined: 13 March 2006
Posts: 118305

Posted: 11 October 2012 at 11:26am | IP Logged
Originally posted by -ksh-

Uh-oh...movies like Aiyya need good WOM to work. So mixed reviews is not good news. Looks like public is telling 30+ actresses like Rani and Kareena to retire and retired actresses like Sridevi to come back.LOL
ur too funnyLOL

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you2 IF-Sizzlerz

Joined: 26 July 2007
Posts: 12632

Posted: 11 October 2012 at 11:56am | IP Logged
Printed from


The Critic has posted comments on this MovieMadhureeta Mukherjee, TNN, Oct 11, 2012, 10.21PM IST
A still from the movieMore Pics
Critic's Rating: Revised from to 2.5, based on popular feedback
Cast: Rani Mukerji, Prithviraj, Subodh Bhave, Nirmiti Sawant, Satish Alekar, Jyoti Subhash, Ameya Wagh, Anita Date
Direction: Sachin Kundalkar
Genre: Romantic Comedy
Duration: 2 hours 28 minutes
Avg Readers Rating:
More from Aiyyaa
Aga Bai
Sava Dollar
Dreamum Wakeupum
Story: A middle-class Marathi mulgi falls in love and romances a Tamil boy in her quirky fantasies, while her parents are looking for the perfect matrimonial match.

Movie Review: Arrey Deva, hey kai? Kinky Kanda-pohey topped with sexy sambar-chutney? Of course, this can't beat the madness of the dramatic Deshpandes. A family of 'weird-Ums' - With aai, baba, bhau, aajji and dream-girl Meenaxi Deshpande ( Rani Mukerji), who's truly the Queen of her filmi fantasies (she's revisited every dream sequence as Sridevi, Juhi, Madhuri). So what if this D-family is busy arranging 6pm and 9pm shows of 'Meet The Bride', this one is no Balaji brand bahu, really. She needs more tadka in her life than what a plain diet of varan-bhaat can give. Meenaxi spends time chasing her unique olfactory senses (read: nose) and slipping into long dream-um sequences (where jumping, pumping, thumping, laavni, belly-dancing and more happen) AGB!!!(read: Aga Bai!). When a studly, mysterious Tamil boy Surya (Prithviraj) walks in 'reeking' of manhood, sexuality and 'fragrance', this mulgi just doesn't want to wake up from her wet dreams (funnily, he's the one getting wet in all her dreams); so she starts reading books on Tamil fiction, watching Midnight Masala (Isshh!!), and turning aiyyaas to aiyyos. In the meanwhile, she also meets a potential groom, Madhav ( Subodh Bhave), who believes in filmi romance too, albeit the Farooq Sheikh - Deepti Naval type.

From top to basumm Rani is truly Wonderum! As Meenaxi, she's 'nose-dived' into the character, literally. She's looking fabulous (especially in her bronzed dream sequences), and has dished out a brilliant performance, slipping from traditionally simple to shockingly sexy in a heart-beatumm. Her comic-timing is a revelation and so are her belly-dancing skills. And even with all that boldness, she steals the thunder (more with talent than her thighs-sighs).

Prithviraj is simply Eroticumm! He exudes chiselled, raw sexuality in every scene; gets wet, adds Southern masala with his moves, but says nothing really. Adding to all the drama is the supporting cast led by an over-the-top Aai ( Nirmiti Sawant), chain-smoker Baba ( Satish Alekar), eccentric Aajji who hilariously zips around in a wheel-chair with dentures made of gold (saved for Meenaxi's wedding), Nana (Ameya Wagh as her bro) who prefers stray dogs to the human race, and her girl-friend, Maina ( Anita Date) - the Gaga-bai of the gang (modeled on Lady Gaga), - who lusts for John Abraham, thinks 'sex' and breaks away from the sweet Modak-mould of this typical Maharashtrian family.

Sachin Kundalkar starts out well, but while juggling between Marathi matrimonials and midnight-masala, his plot goes 'wakda' (read: digresses). After a few giggles, erotic gasps, and gaanas (Amit Trivedi), the story stretches pointlessly and loses its scent.

Even with such a talented ensemble, this one turns into a cultural showpiece, and gets lost in translation. That's the sad-partumm!

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