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you2 IF-Sizzlerz

Joined: 26 July 2007
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Posted: 12 November 2012 at 5:42am | IP Logged
Son Of Sardaar
By Taran Adarsh, 12 Nov 2012, 16:49 hrs IST
****/***** STARS
S.S. Rajamouli, the creative genius, holds the enviable record of delivering stupendous Blockbusters in a row. His films, consequently, have been remade in various Indian languages... the Hindi film industry has woken up to his brilliance as well. VIKRAMARKUDU was remade as ROWDY RATHORE, EEGA was dubbed in Hindi as MAKKHI and now, Rajamouli's MARYADA RAMANNA gets a Hindi avatar -- SON OF SARDAAR -- after being remade in Kannada and Bengali languages. MARYADA RAMANNA, in turn, displayed a striking similarity to the 1923 Hollywood silent film OUR HOSPITALITY.

SON OF SARDAAR is the remake of a Telugu film, but the Hindi avatar is set in an entirely different precinct. Nonetheless, what remains unaffected are the set of regulations that make masala entertainers work. Be it the hero's gallant introduction, his breaking into a power-packed dialogue or confronting the opponent, also bashing up the rogues, like we swat flies and mosquitoes, romancing the heroine amidst the mayhem... every significant episode has been integrated with the objective of eliciting whistles, catcalls, roars and ovation. SON OF SARDAAR stays most faithful to the ideology of providing unabashed entertainment, while logic, expectedly, takes a backseat. But who's expecting a movie with smart repartee and loads of enlightenment anyway?

Deviating from the light comedies/slapstick humor that he's attempted in the past, director Ashwani Dhir follows the Rohit Shetty and Prabhu Dheva tradition of making formulaic films/entertainers that pack drama, humor, song-n-dance, thrills et al, with the 2.20 hour film brimming with just about everything available on the shelf. Since the setting is Punjab, everything that you witness in SON OF SARDAAR is larger than life, right from the hospitality and hostility, the humor, the jokes and the thrills.

With a skeletal plot to play around with, SON OF SARDAAR may give you the feeling of deje vu, but let's face it, it needs tremendous skills to pen a screenplay that never lets you lose focus. Dhir and screenwriter Robin Bhatt ensure that they throw every trick in the book to serve a no-holds-barred entertainer, with 70 mm herogiri at its best, to the amusement-seeking moviegoer. That's one of the prime reasons why SON OF SARDAAR hits the right notes.

Ajay Devgn works for his friend [Salman] and his uncle in London. He receives a notification from his hometown in Punjab that states that he is about to inherit a piece of land. Ajay sets out for his hometown in Punjab and bumps into Sonakshi Sinha while boarding the train. Both Ajay and Sonakshi are oblivious of the fact that the families have a long-standing feud.

Sonakshi happens to be the niece of Sanjay Dutt, whose brother was killed by Ajay's father many years ago. Soon enough, Sanjay Dutt and his nephews [Mukul Dev, Vindu Dara Singh] realize that Ajay is the son of the killer and even want to slaughter Ajay, but there's a hitch. Ajay has entered their mansion as a guest and as per the tradition, all guests are to be treated as God.

Like GHAJINI, WANTED, DABANGG, SINGHAM and ROWDY RATHORE, SON OF SARDAAR pays homage to the cinema of 1980s and 1990s. The trend of creating desi movies that emphasize on entertainment has already gathered steam and SON OF SARDAAR is one more big-budget extravaganza that aims at wooing the Indian mass audience. Sure, it's brash, outrageous, wacky, exaggerated, irrational... so what? As long as it's fun to watch, one shouldn't grumble. While the first hour is breezy and thoroughly enjoyable, the narrative dips in the second half as the focus shifts to romance, with vengeance taking a backseat. But the penultimate portions, especially the combat between Sanjay and Ajay, is the hallmark of the enterprise, with the film concluding on another euphoric note -- the song 'Po Po' -- which features Salman.

Regardless of the 'old-fashioned' appeal, Dhir imparts a novel touch to several sequences. He plays to the gallery blatantly and audaciously, but he also ensures that the film is held together by a mesmerizing screenplay that unfolds at a feverish pace. Besides, Dhir emulates his peers and packs a solid punch in the high-voltage dramatic sequences. The ones between Sanjay and Ajay in particular are the mainstay, actually. There's a strong undercurrent of emotions, courtesy Juhi Chawla, while the romantic scenes are more of window dressing, offering the director reasons to slot in the mandatory song-and-dance routine.

Action has always been the perfect component to straight away connect with the masses and SON OF SARDAAR has several of those South-style maar-dhaad scenes [Jai Singh Nijjar]. They might seem gimmicky, but the truth is they work big time with the spectator who relishes those kind of stunts. The climax fight sequence, when Sanjay and Ajay lock horns, is superbly choreographed. Aseem Bajaj's cinematography compliments the director's vision completely. It's top notch.

The soundtrack boasts of talented and accomplished names and in keeping with the mood of the film, the composers deliver songs with North Indian tadka. 'Bichdann', 'Rani Tu Main Raja', the title track and 'Po' [the Salman Khan number] come easily to the lips. The choreography of 'Po' in particular is imaginative and is sure to please 'Bhai fans'. Sandeep Chowta's background score is fantastic.

SON OF SARDAAR marks Ajay's return to action, a genre that was once dominated by him till he decided to diversify to romance and comic roles. The supremely talented actor takes charge of the film from the commencement itself and holds it tight all through. If you're a fan of Ajay, repeated viewings are assured for sure. Post AGNEEPATH, SON OF SARDAAR is another significant film in Sanjay's career. The actor is in his element here, handling the ferocious moments [when he gets to know Ajay's identity] and the sensitive ones [with Juhi and Sonakshi] with effortless ease.

Sonakshi's character is similar to the one she portrayed in DABANGG and ROWDY RATHORE and there's this fear of getting typecast, but she sparkles in the sequences that she appears in, which works to her advantage. Juhi Chawla is outstanding, adding so much weight to her character. Her sequences with Sanjay are thoroughly enjoyable.

Salman Khan appears in a fight sequence, a sequence thereafter and the song in the end credits and adjoins incredible star value to the project.

The film has a very strong supporting cast and I'd like to single out Mukul Dev for his fantastic performance. His performance is truly first-rate. It's a delight watching Tanuja, one of the finest actresses, after a hiatus. She's wonderful, especially in the final moments of the film. Vindu Dara Singh is hilarious, while Rajesh Vivek leaves an impression. Arjan Bajwa does well in a brief role. Puneet Issar and Mukesh Tiwari are efficient in cameos.

On the whole, SON OF SARDAAR is for lovers of hardcore masala movies. If you liked WANTED, DABANGG and ROWDY RATHORE, chances are you will relish SON OF SARDAAR as well. The North Indian audiences in particular and those residing abroad will be simply delighted by this chatpata, masaledaar fare. A wholesome entertainer in the festive period. Go, have a blast!

Edited by you2 - 12 November 2012 at 5:43am

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you2 IF-Sizzlerz

Joined: 26 July 2007
Posts: 12266

Posted: 12 November 2012 at 9:47am | IP Logged

'Son of Sardaar' Review: Go balle balle this Diwali with this masala entertainer!

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'Son of Sardaar' Review: Go balle balle this Diwali with this masala entertainer!GayatriSankar

A certain school of thought would believe that films need to exhibit cinematic values while the other would beg to differ. For them, movies are all about entertainment, entertainment and entertainment. And as Vidya 'Silk' Balan had rightly said in 'The Dirty Picture', it's all about providing entertainment, you see! So who cares? As long as you are able to leave your routine life outside the theatre and are ready to take a fairytale ride on celluloid, it hardly does matter.

So, as India gears up to celebrate the festival of lights, Ajay Devgn's 'Son of Sardaar' comes in as an entertaining treat. The multi-starrer action cum rom-com is quite a predictable story, but does unfold its share of subtle surprises.

'Son of Sardaar' aka Jassi (Ajay Devgn) opens the film with his incredible stunt, where he is shown riding on two horses (graphically designed, though). And it reminds you of his entry in his debut film where he dares to firmly stand across two speeding bikes. Ajay's entry is grand, larger than life and the opening sequence is more than enough to tell you that breathtaking action in store aplenty in this film. Salman Khan's cameo acts as icing on the cake.

Jassi, who is otherwise a happy-go-lucky Sardaar, shows his better side when instigated. He is a London resident and has no idea whatsoever about his family's past. It is only when his close associate discloses certain secrets that Jassi learns about his family, ancestral property in Punjab and most importantly – the family feud between the Randhawas and the Sandhus. And that's when he decides to pay a visit to his pind (village).

He comes across Sukh (Sonakshi Sinha) and Cupid strikes his arrow; one that goes past Jassi's heart and as expected, turns him into a victim of the love bug with the very first glimpse of Sukh. Make no mistake in predicting what's in store next, however. Yes, you guessed it right. Sukh belongs to the Sandhu family, headed by Ranvijay Singh (Sanjay Dutt).

The Sandhu patriarch firmly believes in showing great hospitality to his guest. And leaves no stone unturned in pleasing them, even if they tend to offend them by their words or actions. So, a helpless host that he is, Sandhu holds on to his emotions until the guest takes a step out his abode, so that he could show the other side of his hospitality quite clearly.

And Jassi is just a little too lucky to be a recipient of Sandhu's hospitality. Both the parties know that they are enemies. Will Sandhu break the tradition of atithi devobhava and avenge past atrocities? Probably a show near you will help you know the rest of the story!

SOS is a typical masala entertainer. It's got all the formula of an action-packed flick. Ajay Devgn is fabulous as 'Sardaar' and Sonakshi, (though a Bihari), looks apt as a Sardarni. Shotgun Junior has a meaty role to play and has done justice to it. And so has Sanjay Dutt. He comes across as a rugged man with a childlike heart. His romantic scenes with Pammi (Juhi Chawla) are certainly worth a wolf-whistle. Bubbly Juhi is still a treat to watch. Mukul Dev and Vindu Dara Singh steal the show with their comic timings. The sequences that feature the two will most definitely tickle your funny bone.

Ashwani Dhir's direction is quite commendable, considering the fact that the film follows a traditional formula. The action sequences are a completely fantasy. Even Rajinikanth might seek certain tips to incorporate such hard-to-believe action sequences in his next! Nonetheless, the film is meant to be such.

Himesh Reshammiya has stuck to his typical style but Sajid Wajid's composition 'Yeh jo halki halki khumariyan' sung by Rahet Fateh Ali Khan will undoubtedly please your ears.

Certain portions are a bit of a drag, but the comic sequences will make up for the monotony. The cast has put up a good show. Overall, SOS is worth a watch, a complete family entertainer!

Ratings: Three Cheers to this one!

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blue-ice. IF-Addictz

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theprince IF-Rockerz

Joined: 22 December 2010
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Posted: 12 November 2012 at 11:18am | IP Logged
for a story in it. It's all about entertainment. But you at least look for a film that works within the confines of commercial filmmaking. You need masala, some laughs, a love story and a few good songs. Son of Sardaar begins to offer these but after a point, it has no idea what to do with them. Mostly, the film infuriates and makes mindless commercial potboilers look bad.
Son of Sardaar is inspired by Our Hospitality (1923) which has one of the greatest stunts performed by any actor in the history of cinema. It is well known that the plot of Our Hospitality is not one of its strengths. The gags are ridiculously funny and Buster Keaton's charm makes the film tick. Why anybody would remake that story and not use any of its physical humor is beyond me. Although if this film is a remake, it seems more of a remake of the Telugu film, Maryada Ramanna by S.S. Rajamouli who made the masala film extraordinaire- Eega.

The plot goes like so: Jassi (Ajay Devgn) realizes he is caught in an ongoing family feud. The fathers of the two families died as a result of this but Jassi wants no part of it and wishes to sell off his land. Billu (Sanjay Dutt), however, seeks revenge. He also decides he won't get married till revenge is sought. (Really now?) Jassi ends up befriending Billu's niece played by Sonakshi Sinha, and lands up in their house. A part of the plot that it takes from Our Hospitality is that the guest cannot be harmed when he is in the house. It fits here as in India, somehow the guest is akin to God. There are several gags designed around this and till here, the film works.

For about an hour or so, Son of Sardaar is funny even while none of the actors can pull off a Punjabi accent. Ajay Devgn's portrayal of an innocent Sikh is amusing, after I got past the stereotypes. Most of the jokes also hit home. Sadly, all this does not stick for long. There is a running quip throughout the film "Paaji kaddi hass vi liya karo" (Try laughing sometimes). This was funny a few times then it gets on your nerves and all I wanted to say was: "Paaji kadi hasa vi liya karo". (Try making us laugh at least)

Tanuja plays Billu's mother. She has a condition, which intermittently wipes off her memory and she forgets who she is talking to. Ashwni Dhir forgets what film he is making or what the story is. Especially during the last hour, there is no sense of comedy or drama and the film literally falls flat. Logic can be twisted but suspension of disbelief cannot be taken for granted. You can bend many rules of storytelling but not distort them completely till everything breaks.

I like the Rani Raja song and Po Po just because it is unabashed fun. But none of the other songs make a mark. The love story is the film's weakest link. After some assumptions by both lovers, they arrive at inane conclusions and that was when I lost interest in the film. The climax which involves a fight between Devgn and Dutt is amazingly tiresome and frankly, just plain bad. Ajay Devgn had been scoring hits during Diwali since the past few years. This year he doesn't have one man on his side: Rohit Shetty.

Currently, we have a trend going on in the industry where masala means slow-motion violence, one love story and the hero defeating the villain in an 80s style homage. Bollywood is a market of trends and each trend goes bad at some point. I wondered when the audience will get tired of these kind of films. Son of Sardaar could signal the start of the end. At least in my book, it does.


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theprince IF-Rockerz

Joined: 22 December 2010
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Posted: 12 November 2012 at 11:18am | IP Logged
Brawn trolls
Ashwani Dheer's Son of Sardaar is like lassi gone rancid. The most clichd Punjabi cocktail stripped of even its inane, familiar charm—when bhangra sounds like raspy cacophony and humour intending to be self-deprecatory amazes with its artlessness and dearth of wit.
The men are a despicable, dumb lot riding on horses and multi-coloured age-old ideas of familial rivalry and revenge by murder are glorified to a ridiculous degree. Worst of all, its action sequences, dependent entirely on special effects, are crude and gimmicky—in technical finesse, Son of Sardaar is like a bad eighties' Bollywood film. A particularly grating sequence involves the Punjabi hero's unfurling turban, looking exactly like glossy paper, flinging hulky non-Punjabi, mostly dark-skinned and white-skinned 'foreigners' around inside a London bar. This is the film's idea of Punjabi machismo. The bizarreness is not intentionally or unintentionally funny.
Ajay Devgn plays Jassi, who returns from London to his ancestral village because he has to stake claim to an ancestral property. His family had a history of ruthless violence against the village's most famous and ruling family led by Billu Paaji (Sanjay Dutt). Billu awaits the return of Jassi because he has to avenge the killing of his brother by Jassi's father who also got killed in massacre carried out with swords and axes. In predictable turn of events, Jassi meets Sukh (Sonakshi Sinha), Billu's younger sister, during his train journey to Punjab. They are smitten by each other. In the village, when Jassi accidentally enters the home of the goons whose only purpose in life is his murder, he resorts to the only means he has to protect himself—stay in, because this family does not harm its guests. Tanuja plays the family's demented matriarch. Juhi Chawla plays the only unique role in the film—a woman in love with Billu, who has vowed not to marry until he avenges the killing of his kin. An actor with proven talent for comedy, Chawla makes Pammi, her character, pathetic as well as feisty.
Devgn, Dutt and Sinha, the lead actors, are uninspired and go through the film like a rigmarole—mouthing loud dialogues like robots in a stale Punjabi scheme of things.
Son of Sardaar is the worst Hindi cinema has portrayed Punjabiyat.
Son of Sardaar releases in theatres on Tuesday

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briahna IF-Sizzlerz

Joined: 05 August 2012
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Posted: 12 November 2012 at 1:53pm | IP Logged
timesofindia review - 3/5

Edited by briahna - 12 November 2012 at 1:53pm

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HotMess IF-Stunnerz

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Posted: 12 November 2012 at 7:10pm | IP Logged
Movie review: Son Of Sardaar
Saibal Chatterjee
Monday, November 12, 2012
Cast:Ajay Devgn, Sonakshi Sinha, Sanjay Dutt, Juhi Chawla 
Director: Ashwni Dhir 

It takes a mini deluge to bring Son of Sardaar to an end. In the climactic duel between the protagonist (Ajay Devgn) and his chief adversary (Sanjay Dutt), the former is hurled against a water tank. On impact, the thick reservoir wall caves in and a torrent gushes out, carrying bricks, mortar and the two brawling men with it.

All hate is washed away in a jiffy and the woman (Juhi Chawla) who has waited a quarter century for this moment of reckoning in order to marry her lover promises to bear him two children and name them Happy and Ending. Tickle yourself. The ending is welcome indeed, but happy it certainly isn't. 

When a movie tries too hard to be funny and the effort shows in every frame, it only ends up being an unintentional joke rather than a genuine laugh riot. Son of Sardaar is one such abomination.

To give the principal actors their due, everybody on view gives it the best shot that they can. But it is impossible to help something as spectacularly ludicrous as this rise above its morass of mindlessness.

Son of Sardaar is a vengeance drama in the garb of a slapstick comedy ' a tangled mess that has no way of working its way around the sloppy screenplay, co-written by director Ashwni Dhir himself.

The Singham and Bodyguard kind of stunts typified by flying human bodies, airborne vehicles and other suspended objects have lost their novelty. Son of Sardaar has a surfeit of outlandish action choreography that makes it all the more difficult for the audience to relate to this tale that goes around in meaningless circles. 

Son of Sardaar opens with a long title song that extols the many virtues of a community. It then stages an equally long action sequence to establish exactly how invincible the eponymous hero is ' the Phagwara lad lays low a bunch of Brit hunks in a London nightclub with a bit of help from a tough Pathan buddy (Salman Khan in a special appearance). 

You know where the film is headed when the protagonist is required to return home to sell a plot of land that belonged to his dead father and is told that back in Phagwara, one vicious family is lying in wait to settle old scores with him.

He walks into the cauldron and gets caught up in a cat-and-mouse game as his enemies hatch a plan to catch him unawares and dispatch him to his doom.

The only safe place for the hero in this village is the home of the very family that wants to kill him ' their traditions do not allow them to misbehave with, let alone eliminate, a guest within the four walls of the house. 

When the hyper-ventilating men who people this landscape aren't flashing their guns and swords, they fling such inanities at each other that the audience's sanity is severely tested.

The actors, as already indicated, try their darnedest not to look stupid but in vain.

A turbaned and muscular Ajay Devgn even gives us a glimpse of a dance of his pectoral muscles to prove that the central character, Jaswinder Singh Randhawa alias Jassi, is no ordinary man.

Sanjay Dutt, in the guise of Balwinder Singh Sandhu alias Billu paaji, a perennially growling and scowling patriarch of a particularly violent clan itching to avenge the killing of a family member by the male protagonist's deceased father, is given cringe-inducing dialogue to deliver.

As things get worse with each passing scene, Dutt strains at the leash to keep a straight face even when he spouts line like Buddhe ke mooh mein toffee aur mehmaan ke mooh mein maafi achchi nahi lagti. He pulls it off. Well, nearly.

Sonakshi Sinha, who now appears to have become the lucky charm of all such unabashedly trashy cinematic vehicles, endeavours to be pretty and dainty amid all the madness. She plays Sukh, the girl that Jassi meets on a train from Delhi and falls in love with. Trouble is she happens to be part of the very family that wants Jassi dead.

After propagating a rustic blood feud for over two hours, the film, by way of closure, invokes the wise words of a spiritual apostle to advocate peace. Forgiveness yields love and love yields God, one character pipes up. No offence meant, Son of Sardaar deserves no form of absolution, no matter who or what your God is.

Poppycock in Phagwara: that is what the film should have been named. While the men on the screen defy gravity at will, the narrative defies logic without a care. Looking for genuine fireworks this Diwali? Look elsewhere.

Edited by HotMess - 12 November 2012 at 7:14pm

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