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ViccoTurmeric IF-Sizzlerz

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Posted: 02 May 2013 at 12:02pm | IP Logged
WOW! :o This is surely gonna be the film of the year! Kudos to all the four directors for brining the best of them, and giving us a great film (going on reviews) This films will surely win all the awards!
Taran Adarash - Do You know only one rating of 4 stars! Aashiqui 2, SOTY and Bombay Talkies - Please stop licking ass and give ua a proper review!

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Bombay Talkies

The Critic has posted comments on this MovieSrijana Mitra Das , TNN, May 2, 2013, 08.09PM IST
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A still from the movie More Pics
Critic's Rating: Revised from to 3.5, based on popular feedback
Cast: Amitabh Bachchan, Rani Mukherjee, Randeep Hooda, Nawazuddin Siddiqui, Sadashiv Amrapurkar, Katrina Kaif
Direction: Karan Johar, Dibakar Bannerjee, Zoya Akhtar, Anurag Kashyap
Genre: Drama
Duration: 2 hours 7 minutes
Avg Readers Rating:

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Story: Four directors, four shorts - big enough for Bollywood's 100 years?

Movie Review:Bombay Talkies (BT) celebrates Bollywood's centenary - by deconstructing Bollywood's formula. Loving families, skin-tight genders, glittering stardom and happy endings get tossed about by the four directors here. Does this work? Yes - and no.

Straight up, Karan Johar's film smashes his own mould - forget about loving your parents, Johar shows a gay youth Avinash (Saqib Saleem) pummeling his father while quitting home. Avinash befriends glamorous Gayatri (Rani), wife to Dev (Hooda) with whom she has passionless, infrequent sex. Avinash meets Dev - sparks fly. While Saqib convincingly portrays odd-ball Avinash, Hooda simmers with tangible tension. It all ends in tears, delightful coming from the archetype of extra cheese himself. This is Karan Johar unleashed - and impressive with his taut film.

He's followed by Dibakar Bannerjee, adapting a Satyajit Ray story, featuring Nawazuddin Siddiqui as Purandhar, dreamer with a theatrical past - and a tiny Bollywood role. Dibakar quietly underlines how talent needn't dazzle the world but simply please the people we love. Siddiqui and Amrapurkar - popping up in a vision - crackle while Nawaz's act sans words is superb. However, elements like an emu are lost in translation, leaving you wanting less whimsy, more control.

Zoya Akhtar presents better balance. Little Vicky (Naman) loves being a girly dancer. Katrina Kaif's his muse - his manly dad isn't amused. This unpretentious flick explores childhood's innocence facing magical, kitschy stars. There's some meandering but tight acting makes up.

That isn't so with Anurag Kashyap's short from stereotypically scatological small-town-land. Vijay from Allahabad must have Amitabh Bachchan taste a (possibly fungal) murabba to please pitaji - he succeeds but fails. The trouble is, neither the dialogues nor the acting move you enough to care. Kashyap indulges himself and eulogizes the Big B - but also has chota shehris looking pretty banal. On the upside, BT's best song amidst a lackluster score's here - but there's too much sugar for this short to stay crisp.

So, BT's a good experiment, celebrating movies, mindsets and Mumbai's moods - but it isn't the coolest film doing so. Woh picture abhi baaqi hai, mere dost.

Note: You may not like this film if you like Bollywood inside its formula.
Desichiqneez IF-Rockerz

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Posted: 02 May 2013 at 1:41pm | IP Logged
nawaz rock!
gilmores IF-Stunnerz

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Posted: 02 May 2013 at 1:48pm | IP Logged
  1. Amod Mehra?@MehraAmod6h
  2. If you love buffet then go for #Bombay Talkies. It has a variety of 4 tasty main dishes & to top it ends with a fantastic surprise dessert..
  1. Aniruddha Guha?@AniGuha6h

#BombayTalkies is fantastic, each short film masterfully crafted. Expectedly, though, the Dibakar-Nawazuddin combo wins by a margin.

Edited by chocolover89 - 02 May 2013 at 1:48pm
ZorZorSe IF-Rockerz

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Posted: 02 May 2013 at 3:04pm | IP Logged
its looks Nawazuddin film
sub_rosa IF-Dazzler

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Bombay Talkies [ Get Quote ] celebrates the language of cinema that permeated our system long ago, writes Sukanya Verma.

Hindi cinema is too a voluminous medium, and now a century old, to try encapsulating its glory in 25 quick minutes.

At the same time, the broad appeal of silver screen and its gift to forge unique association with every single member of the audience is much widespread to ignore.


And that's the idea behind Bombay Talkies, a cinema anthology, directed by Karan Johar [ Images ], Dibakar Banerjee [ Images ], Zoya Akhtar [ Images ] and Anurag Kashyap.

It's not a comprehensive probe into the nearly-religious fervour for the movies or the innermost workings of showbiz. Instead what play out are four individualistic, intimate tributes by contemporary directors with a distinct approach to filmmaking.

If Johar is known for glaze, Akhtar brings perspective; Banerjee's narrative breaks new grounds whereas Kashyap scores in nuanced writing. Their skill set varies from another.

To be willingly adjudged for their combined creativity, fully aware comparisons lie ahead, regardless of the fact that all four films are completely dissimilar in content, tone and texture reflects inspiring maturity, faith in one's self and a sense of, well, sportsmanship.

Having said that, there's a refreshing consistency in the intellectual aesthetics of all four shorts, it's like a visual proof to the phrase 'on the same page' and it's not something frequent. One could complain, where's the signature touch? But in collaboration, the closer they merge, the stronger they emerge.

It certainly holds true for Karan Johar who begins with his offering, Ajeeb Dastan Hai Yeh. It's not so much about moving away from one's comfort zone as it is about testing one's potential. It's fabulous to witness him open up behind the camera like never before.

There's an exchange between two characters wherein one says, 'You wanna come in?' To this the other responds, 'You wanna come out?' This scene, for me, defines the first segment of the story. What is it about? Let's just say it's an exploration into the anxiety, politics and provocations of urban relationships.

Where does the movie connect come? It's subtle.

Bollywood, here, is part of small talk, zany humour, sacrosanct ambiance or a fodder for amusing theories. A kid on the bridge sings Ajeeb dastan hai yeh (Dil Apna Aur Preet Parayee) and Lag ja gale (Woh Kaun Thi?).

A music enthusiast's study is filled with rare records and movie memorabilia. Or picking a favourite between Sridevi [ Images ] and Madhuri Dixit [ Images ] determines, er, you'll have to book a ticket to find out.

While a reserved Randeep Hooda [ Images ] and impudent Saqib Saleem articulate different kinds of intense, it's Rani Mukerji [ Images ]'s flawless artistry as an imprisoned soul wearing a mark of normalcy, (even if you see those lovely freckles in all their splendour), which elevates the emotional core of Johar's story, is its dignity and strength.

Speaking of strength, there's tons of it on display in Dibakar Banerjee's Star, which follows immediately after. Based on Satyajit Ray [ Images ]'s short story -- Patol Babu, Film Star, Star features Nawazuddin Siddiqui as a struggling actor residing in a rundown chawl who wants to soar in the eyes of his daughter more than anything else.

Star, which celebrates the ties between opportunity and spirit, features an Emu, a supporting cast of ladies with melting smiles, some sprightly assistant directors and a masterfully utilised Sadashiv Amrapurkar.

And the camerawork by Nikos Andritsakis is simply brilliant in putting all of it across. Just that standalone moment with real cars rushing past a remote-controlled toy vehicle, their co-existence on an active street is so mesmerising.

Soon after the focus shifts on the figure controlling the remote, 'Hum sirf bhai ko dekhta hai,' he dismissively responds when informed of a movie star shooting nearby. And in one brief moment, Banerjee conveys the veneration reserved for the superstar of the masses --Salman Khan.

It's tricky to discuss my favourite segment in Bombay Talkies without revealing too much. So I'll just say this, even a 25-minute film can change the way you look at, the additions not extras, who fills the frames. Siddiqui's rehearsal scene and the actual filming are moments that inspire, motivate and create a cinema worth paying tribute to whether 100 or 10 years old. His Marathi is slightly rusty but when he excitedly divulges, 'Tula mahiti hai papa ne aaj kai kela?' against the stirring score of Rabindranath Tagore [ Images ]'s song ---Tobu mone rekho, an accent seems too trivial a technicality to pit against his day's achievement.

After the feel-good Star, it's Zoya Akhtar's turn to enchant with Sheila Ki Jawani. When I saw the promos, I thought her portions resembled Sudipto Chattopadhyay's Pankh but I couldn't be more wrong.

As children, watching your mother get dressed up, especially the delicate art of applying lipstick intrigues most of us. The only thing unusual here is that instead of a girl, it's a little boy (Naman Jain) who shares this fascination.

Pressurised by his well-meaning but stern father (Ranvir Shorey [ Images ]), he doesn't care for football and harbours Katrina-Kaif inspired dreams. One might try to read more than there is in this premise but there's just no need. Kids indulge in all sorts of silliness. Not every action needs to be rummaged for deeper undertones.

Recall a similar plot in Kabhi Alvida Na Kehna where Shah Rukh Khan [ Images ] disparages his son for picking music over sport. Akhtar, however, concentrates on the simple conflicts of childhood with dialogues that reflect their age, instead of the maker. So when one says, 'Do you want to be an air hostess?' The profundity in the other's reply is as straightforward as, 'No I want to be a passenger.'

The eventual pay off is reminiscent to Shashi Kapoor's Bilva Mangal moment in Aag. Both the young members of the cast -- Naman Jain and Khushi Dubey do really well as a pair of siblings looking out for each other. Jain gets extra brownie points for those terrific moves in the segment's spectacular even if simplistic climax.

Anurag Kashyap's tribute to cinema, Murraba is dedicated to Amitabh Bachchan [ Images ]. Personally, I found it weakest of all the four film because its movement gets a bit repetitive after a while. Moreover, an overzealous Vineet Kumar as the Allahabad native fails to endear himself or gain sympathy in his fervent pursuit of Big B [ Images ].

Also his fixation is indirect so the hysterics don't register convincingly.

There are some fine moments too. Despite all that build up, Kashyap doesn't compromise and turn the superstar into an accessible entity. He is used like an apparition, a believable, tangible apparition and he lets that aura remain. What I liked most was how he uses Mumbai [ Images ], its people and how they survive on spunk and sense of humour without darkness taking over their being or livelihoods.

Bombay Talkies may or may not celebrate cinema in the direct sense. Except for its hopelessly tacky end- credits -- a complete waste of star power and resources, Bombay Talkies is an absorbing ode to the language of cinema that is part of our collective system.

It honours the imagination and enthusiasm that attracts so many young men and women in this country to embrace a life of risk and rush – filmmaking.

Rediff Rating:

Sukanya Verma in Mumbai
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Bombay Talkies movie review

Saibal Chatterjee
Thursday, May 02, 2013

Bombay Talkies movie review

Cast:Rani Mukherji, Randeep Hooda, Saqib Saleem, Nawazuddin Siddiqui, Katrina Kaif
Director: Karan Johar, Zoya Akhtar, Dibakar Banerjee, Anurag Kashyap

The expectations were firmly set as soon as it was announced that a quartet of contemporary Mumbai directors was making four quickies to mark the centennial of the Hindi movie industry.

The primary point of interest was inevitably focussed on how each filmmaker would interpret the medium that has defined Indian popular culture for a hundred years.

Bombay Talkies serves its principal purpose quite well: each segment of this cinematic anthology underscores in bold relief the defining creative impulses of its maker.

To that extent, Bombay Talkies springs no surprises at all. You get more or less what you expect.

Karan Johar, in the opening segment, stays put in his comfort zone – in the world of a yuppie couple (Rani Mukherji, entertainment supplement editor; and Randeep Hooda, TV news anchor) and a spunky gay rebel (Saqib Saleem) who turns their married life on its head.

At the other end of the spectrum, in the fourth short film, Anurag Kashyap settles for a characteristically cheeky, earthy and breezy style in telling the story of an Allahabad man (Vineet Kumar Singh) who sets out on an improbable mission to meet his dad's movie idol, Amitabh Bachchan, and give the superstar a taste of home-made murabba.

Similarly, while Zoya Akhtar cannot quite break free from the lure of a Bollywood diva (Katrina Kaif) even as she comes up with the unconventional tale of a boy (Naman Jain) who aspires to be a girl, Dibakar Banerjee gives full rein to what he is good at – capturing the joys and despairs of "that little man" in the crowd (Nawazuddin Siddiqui).

Each segment of Bombay Talkies has its moments, either in terms of the quality of the acting or in the little narrative sleights that hit home. What is disappointing is that, barring the Dibakar Banerjee segment, none of the films is an attempt to showcase cinema as a self-contained medium of expression. They only explore its external manifestations.

Two of the segments – Zoya Akhtar's and Anurag Kashyap's – are about the dynamics of movie stardom and how it exercises a hold on the lives of common people.

Karan Johar's story, essentially a relationship drama bolstered by fine performances, establishes no more than a fleeting linkage with the movies through a pair of classic 1960s Lata Mangeshkar numbers (Ajeeb dastaan hai yeh kahaan shuru kahaan khatam and Lag jaa gale ki phir yeh haseen raat ho na ho) that a girl on a railway station footbridge sings for a few tokens of appreciation from passerby.

Despite the obvious stylistic divergences, all the four stories dwell upon lies and truths, and make-believe and struggles to escape the drudgery of real life. But is that all there is to this amazingly multifaceted medium?

The fact that cinema is the youngest and the most modern of art forms forever changing shape and constantly evolving is eloquently underlined by lyricist Swanand Kirkire in the film's lively musical prelude, Lo aaya aaya aaya main hoon movie madaari. But that spirit isn't wholly reflected in the films that follow.

To their credit, in the end credits or anywhere else, the filmmakers do not make the claim that Bombay Talkies is a tribute to one hundred years of Indian cinema as a whole.

As the title suggests, the film recognizes only a single strand of the vast diversity that the cinema of this vast subcontinent represents and stops at "celebrating 100 years of cinema in our lives".

It is only Banerjee's short film that seeks to penetrate the heart of the raconteur's art through the dawn-to-nightfall story of an ordinary man who stumbles upon extraordinary magic in his life, if only for a brief moment, when he strays into a film shoot after a failed job hunt and is roped in for a bit part.

Loosely adapted from a short story by Satyajit Ray (Potol Babu, Film Star), the film is set in a soul-sapping Mumbai where a one-time folk actor from Sangli cannot even find the inspiration to create a simple story that can perk up his listless young daughter.

When the man does rediscover his inner self, Dibakar Banerjee and his lead actor, Nawazuddin Siddique, turn the last few minutes of the segment into an exhilarating exhibition of the pure joy of mime and music, extracting every ounce of energy from silent hand and body gestures as the father transmits the excitement of the moment to his entranced daughter.

The scene plays out to the accompaniment of a soulful instrumental rendition of a lilting Tagore song (Tobu mone rekho), which roughly translates as "even so, remember me if I stray far away; remember me even if old love is suppressed by the mesh of a new affection".

Nostalgia, poignance and the depth of the human imagination all gently spring forth from this construct – it becomes a perfect summation of the magic of storytelling and instantly imprints itself on the mind. Nawazuddin is a marvel, a master of mimetic minimalism.

Such moments of epiphany are rare in Bombay Talkies. One is left with the feeling that a once-in-a-century cinematic experiment should have had more heart and heft.

But do not let that put you off. In encapsulating the dreams, disappointments, falsehoods, flashes of truth, elements of emotional artifice and inescapable realities of life, these four stories, each distinct in emotional timbre and visual feel, do present, within their limited ambit, a range of cinematic expressions that are in themselves laudable.

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