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BOMBAY VELVET BO collections and REVIEWS (Page 41)

princessunara IF-Stunnerz
princessunara
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Posts: 48840

Posted: 14 May 2015 at 3:45pm | IP Logged
Well some critics who have said that -  some will love it and some will hate it, seems accurate.. I doubt the movie deserves such a trashy review when many others have 3-3.5 reviews. so ya lol i can't really take those seriously! LOL

Anyway aarrghh waiting for Anupama and Masand's reviews..

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Khambatta

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Posted: 14 May 2015 at 7:16pm | IP Logged

thequint.com

Bombay Velvet: A Notch Away From Being a Masterpiece

3 QUINTS out of 5

Stutee Ghosh
Today, 3 hours ago


Director Anurag Kashyap conjures up a delicious slice of the Mumbai of yore. We sit captivated from the very first frame hypnotized by the flickering sepia toned images of trams chugging and an unadulterated skyline.

Supposed to be based on Gyan Prakash's book Mumbai Fables, it's a world where the typewriter spells out BOMBAY on a pale white sheet of paper with an avuncular familiarity. Bombay Velvet sucks us in.

It's 2 years after Independence we are told, the year of the Bombay Prohibition Act of 1949. Goa is still under Portuguese control and the newspaper headline screams "Godse will hang." A young bright eyed boy grows up into a handsome Johnny Balraj who when not cavorting around bars finds his true mtier in roughing up opponents double his size in bloody street fights. There is also a sweet faced little girl with a mellifluous voice singing at a church choir who transforms into a wide eyed beauty Rosie.

The story of a virgin city runs parallel to that of the central characters. The epic crime thriller, The Roaring Twenties makes a brief appearance in the movie and a lasting impact on the impressionable Balraj. "He was a big shot", reminisces Priscilla Lane cradling James Cagney in her arms.

It's this desire to take a shot at being someone big and influential that becomes the mainstay of the film. Balraj wants to make big money, Rosie aspires to be a famous singer and the city is ready to reclaim its share even from the sea. The pace of the story and its performances keep us engrossed.

A curly haired Ranbir Kapoor plays the street-smart Balraj with an endearing vulnerability. Anushka Sharma crooning away on stage in wondrous outfits melts into her character. Together, Ranbir and Anushka are delightful - their propinquity setting the screen ablaze.

Karan Johar makes his acting debut as a mustached villain Khambata who evokes some chuckles and a couple of full throated laughs at times unintended. Manish Chaudhary, K K Menon and Satyadeep Misra as Balraj's childhood friend Chimman, ensure that the "velvet" in Bombay Velvet definitely belongs to the first half. The Sorceress touch unmistakable thanks to top notch editing by Thelma Schoonmaker.

Set against the backdrop of some intoxicating Jazz music by Amit Trivedi and the lilting voice of Niti Mohan for company we are firmly ensconced in the beauteous Bombay of the 60's.

They say "all's well that ends well". Sadly it doesn't end well for Bombay Velvet. The sharp nosedive post interval is a pity particularly since the brilliant build up pre interval deserved a much better denouement.  The narrative flounders; the direction falters and the film loses steam with each passing frame. Somewhere close to the end a harassed looking K K Menon playing Inspector Kulkarni chucks away his cap in disgust as the music rises to a crescendo. This basically sums up the dejection we feel. A faux climax, coupled with a blurry and clichd narrative brings this 150 minute film to a grinding halt.

The end seems contrived, even silly, diminishing to a large extent the aura of an otherwise charming film. It falls short of being the masterpiece it had set out to be, but you still must go watch it.

I'm going with a very generous 3 QUINTS out of 5. For the love of a beautiful Bombay that beckons us all, it deserves to be seen at least once on the big screen.



Edited by Khambatta - 14 May 2015 at 7:27pm

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princessunara

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Posted: 14 May 2015 at 7:19pm | IP Logged
Mixed reviews.
Budget is huge but if wom turns out to be good,the movie will do well. All the best to the team. 

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princessunara

Khambatta Newbie
Khambatta
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Posted: 14 May 2015 at 7:33pm | IP Logged

(newsnation.in)

Bombay Velvet Movie Review: Ranbir, Anushka's smoky love tale is injurious to all

By: Ankit Pal

Critics Rating :

Cast : Ranbir Kapoor, Anushka Sharma, Karan Johar

Director : Anurag Kashyap

New Delhi : -

Ranbir Kapoor and Anushka Sharma's Bombay Velvet is now open for all; with a shiny and glittery outfit it seems striking, but stepping in it unveils the hooked boredom and unbearable tale.

Anurag Kashyap's period crime drama, based on historian Gyan Prakash's book Mumbai Fables, takes you on back to 60s where love for women and greed for more is a common affair.

Film's story revolves around a street boxer, Johnny Balraj (Ranbir Kapoor), an aspiring jazz singer, Rosie (Anushka Sharma), a flamboyant Parsi media mogul, Kaizad Khambata (Karan Johar), and how their hopes and dreams collide with their individual realities.

Since, it's a crime drama it should have been serious, rugged and hard hitting but leaving some shots, staring at couple on a corner seat may turn out to be a better idea than gluing your eyes on 70 mm screen.

Acting-wise movie seems flawless but only till the time Karan Johar presents his not so scary laugh and pitches in the dialogue of the millennium - Rosie mein tumne aisa kya dekha jo mujhme nahi tha. Like seriously? Do Ranbir need to answer this question when lady like Anushka Sharma is Rosie. Not just dialogues but also Karan Johar's serious angry man looks can be the things to regret and also love about him. Karan's acting debut is a massacre.

In spite of a great effort by Ranbir Kapoor and Anushka Sharma, film barely finds a space where audiences can find an attachment. With every passing frame audiences love for popcorn and mobile beats the thrill movie generates.

Talking on a positive note Ranbir Kapoor has improved his choice, the film was definitely better than Roy'- which was the last attack he had done on audiences.

Full marks to Amit Trivedi for creating great background scores and Jazz music, it breaks the bond people have created with rock music.

Final verdict: It's like many dishes served on a single plate which is messy and fails to provide a single flavour that could stick on your mind. Watch the film at your own risk.



Edited by Khambatta - 14 May 2015 at 7:34pm
cougarTown IF-Rockerz
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Posted: 14 May 2015 at 7:45pm | IP Logged
Such bad reviews
100cr + budget


This ship has tanked. Whats next?

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Blazer7

dietcoke1 Goldie
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Joined: 02 February 2015
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Posted: 14 May 2015 at 8:38pm | IP Logged
Originally posted by cougarTown

Such bad reviews
100cr + budget


This ship has tanked. Whats next?

ranbir did say this movie is his titanic LOL
dont know about the random reviews but subhash Jha, Mihir fadnis n bollywood hungama all gave it between 3-4stars...and theres still anupama chopra n masand to come

it's in the audiences hands now whether titanic will sink or reach it's destinationLOL
briahna IF-Sizzlerz
briahna
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Posts: 14051

Posted: 14 May 2015 at 9:29pm | IP Logged

Raja Sen

Review: Anurag Kashyap's Bombay Velvet


There are some filmmakers who scoff at the very notion of historical accuracy " like Oliver Stone or Quentin Tarantino " and Anurag Kashyap is one of that bunch, a man who prefers to create his own sumptuous version of history. Bombay Velvet looks to be, then, his very own Bob-Fosse-meets-Scarface take on what might have been, instead of bothering with what really was. An indicator of the same lies in the opening credits, as they claim to be "introducing Karan Johar" whereas that particular director first acted in the most successful Hindi film of all time.

Not on Kashyap's watch, he didn't. And that's perfectly fair. We look to big, brassy cinema not to educate but to entertain, and let us not seek verisimilitude in this kind of cinematic explosion. And this Bombay Velvet is an obviously shallow film, an all-out retro masala-movie with homage on the rocks and cocktail-shakers brimming with clich. It is a take on the nostalgia soaked groovy-gangster movie: Once Upon A Time In Kashyapistan.

On paper, this sounds like dynamite. Kashyap, a gifted visual stylist and a distinctively bold storyteller, taking on the mainstream and riffing on it his way, subverting the system. Except, um, that's not what happens here. There is surprisingly little subversion, but that's fine too, provided the result is compelling on its own steam. Alas, Bombay Velvet runs out of breath less than halfway through, and huffs and puffs as it tries to breast the finish line.

The new film clearly wants to be many things " noir, grand romance, a Broadwayesque musical, Prakash Mehra, Brian De Palma " but ends up indecisively skulking around the shadows of giant films, despite editing goddess Thelma Schoonmaker blessing it with her scissors. Several components work strongly, particularly a sensational soundtrack and a few excellent male actors, yet the film disappoints, and, due to the potential on display, severely so. The scale is amped up to grandness, certainly, but despite majestic intent, what we find here is a watered-down forgery, an imitation you can spot from a mile away: this Dahlia is barely Black-ish; the cloth muffling this revolver isn't the real thing but merely velveteen.

There is much promise of magic, especially as the film begins. A raffish crook watches The Roaring Twenties, and, too weak in English to recite James Cagney's lopsidedly-delivered lines, settles instead for the film's famous last words, pointing a kerchief-covered finger at the mirror and saying Gladys George's line about how her dead flame "was a big shot", thus recreating a voiceover instead of playing a role " ironically making a wish and jinxing himself all at once.

Johnny Balraj is a character with character, a zoot-suit wearing tomcat with his eye on the prize, and Ranbir Kapoor plays him with slithery elegance. Spry as if eternally scalded, Kapoor glides restlessly through the film - hitching rides from people, situations and passing buses - without a second thought, forever sidling away from the real, the nitty-gritty. Balraj masochistically spends his nights TylerDurden-ing inside a steel cage (a la Amitabh Bachchan in Naseeb) and there are times the preternaturally talented Kapoor absolutely shines: a scene, for example, where he leers wickedly and stubbornly (but far from lasciviously) at his girl, while a tailor measures her bust, is priceless.

Balraj rides the coattails of Kaizad Khambatta, a sinister media baron with his nimble fingers in many oily pies. Karan Johar is a revelation as this character so obsessed with his all-powerful, all-controlling image that " in the film's brightest moment " he steps out of a room in order to have himself a good giggle. The film ostensibly mirrors some tabloid duel from back in the day (Khambatta is once referred to by the rival tabloid as "a fruitcake!") but real-life parallels can't save a boring plot.

The striking production design and nudge-nudge-wink-wink Bombay allusions are merely window-dressing, though. This film suffers from fundamentally flimsy storytelling. Not just is it spelt out how some strips of negative hold the key to Bombay itself, but we're shown how breezily (and even comically) said negatives were acquired, and they matter only because the film doggedly insists they do. It never feels vital enough. For some reason Bombay Velvet seems firmly opposed to the idea of mystery, showing off a weak McGuffin right at the start and later, after an explosive twist (albeit an obvious one) we are flashed that card too, in the very next scene. Robbing the audience of surprise isn't the smartest idea for what turns out to be a predictable film.

Neither is it wise to entrust so much of Bombay Velvet to the earnest but woefully miscast Anushka Sharma, a fine actress entirely out of her depth as a stage-conquering crooner. She lacks the presence and vivacity, and it takes just two scenes featuring Raveena Tandon singing on stage " think Bianca Castafiore turned sexy " to show us the difference between prima donna and pretender.

Satyadeep Misra is terrific as Balraj's best friend, Chimman, a loyal pragmatist who, unlike Johnny, looks before he leaps. Misra delivers a consistently measured performance, and his body language is masterful. A scene where Johnny and Khambatta trade platitudes has Chimman casually but forcefully motioning that the money be fixed on first, and Misra manages to convey, through one flick of the fingers, both the fact that he knows his place and that price matters more than place. The infallible Kay Kay Menon plays a police detective, sharply turned-out in a hat and high-waisted trousers but is given silly clues to smile at and decipher, and a laughably bad final scene. Quizmaster Siddhartha Basu shows up looking suitably authoritative and officious in that way that often accompanies ruthlessness, while Vivaan Shah bumbles around with a moustache, looking for all the world like a young Kader Khan.

There is a lot happening, all the time. Yet, after a while, as the corpses pile up - with increasing meaninglessness " and the Tommy guns appear, it all ceases to matter. Everything, it appears, can be solved by murder. This might sound like heresy, but even that awfully cheesy Once Upon A Time In Mumbaai movie had characters worth caring about despite the moronic dialogue they recited; Bombay Velvet has the skills but makes it awfully hard to feel anything for guy, girl or the world they're in. With no true stakes, the film plods messily along to a climax that feels emotionally unearned and interminably stretched.

One song, however, makes time stand still. Amit Trivedi's superb soundtrack comes to us mostly in snippets mimed by stage crooners, but, for one devastating moment, Bombay Velvet gives way entirely to let a song called Dhadaam Dhadaam take the stage. An emotionally overwrought aria " complete with black tears brimming down kohl'd cold eyes " the song transcends the film and strikes operatically at the heart. Both movie and audience hold their collective breath, and despite the tedium that follows this track, this cinematic sucker-punch is enough to remind us of Kashyap's potent flammability. Too bad the rest of the film doesn't really sing " or singe.

Rating: 2 stars



Edited by briahna - 14 May 2015 at 9:30pm

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hedwig_fawkessam.

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Posted: 14 May 2015 at 9:30pm | IP Logged
Lol Raja Sen gave Action jackson -3 stars

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