Partner - A Movie Review

Cast: Salman Khan, Govinda, Lara Dutta, Katrina Kaif and Rajpal Yadav
Director: David Dhawan
Rating: **1/2 (Not bad at all)

It’s a jolly well accepted norm that you have to leave reason and logic behind at home to enjoy typical David Dhawan comedies. His latest ‘Partner’ too abides by the norm and for Dhawan film loyalists, the film will be entertaining.

‘Partner’ brings forth the comic pairing of Salman Khan and Govinda with success. David Dhawan has delivered majority hits with Govinda in the 90s wherein his pairing worked well with the likes of Sunjay Dutt and it’s like returning back to his roots for the actor who only recently made his Bollywood comeback. And despite the ageing and the weight and two recent misses ('Salaam-e- Ishq' and 'Bhagam Bhag'), one realizes that he still shows no sign of rust while doing what he is best at.

The film which has undertones of the Will Smith and Eva Mendes Hollywood flick ‘Hitch’ has Salman Khan playing the cool dude Prem (yet again), the ‘love guru’, one who sets up dates and has solutions to all problems connected to the heart. Govinda’s character Bhaskar Diwakar Choudhary is the ‘simple bumpkin but good hearted type’ who is desperate for some of Salman’s ‘gyan’ as he thinks he is the only one who can get him the lady of his dreams, the sophisticated heiress Priya (Katrina Kaif). There after follow their travails, adventures, misadventures wherein the comic timings and chemistry of the two get displayed full on.

In between Salman meets and falls in love with single mom Naina (Lara Dutta) and tries to get close to her bratty yet cute son. There is also some amount of special effects thrown in (watch the scene where Salman is chased by the missile his nephew makes). Foreign locations pass off as Mumbai but as said earlier don’t look for reason and logic here. That’s how the world of make believe is supposed to be in Bollywood comedy king David Dhawan’s films!

The film does have some hilarious moments and the one that deserves special mention is towards the end when Govinda keeps barging into Salman’s suite for advice on how to go ahead with his honeymoon. Sanjay Chhel’s peppy and witty dialogues help throughout as they succeed in stirring up laughter.

Some of the situations in the film are clichéd and chances are, they won’t appeal to the elite audience. Especially things like Lara printing the ‘love guru’ scandal in the paper she works for without confirming things with the love of her life, Salman are a little too hard to digest.

Camera work is topnotch and the frames look nice and colorful. The locations are appealing. Sajid Wajid’s music is foot tapping. The title song and ‘you are my love’ stand out. ‘You are my love’ deserves special mention as it has been choreographed and picturised well and scores with its international feel. However the placements of some of the songs don’t feel quite right. Again typical of a David Dhawan mindless masala entertainer!

Govinda is in form and ditto for Salman who looks stylish and hep throughout. He is his usual self and the distinctive Salman style is visible, complete with facial histrionics and all. The film belongs to Salman and Govinda and the ladies do what they are supposed to – provide support. Lara suits the role and must say her styling is really nice. Katrina too looks pretty and since the role is not very demanding, she doesn’t disappoint. The boy who plays Lara Dutta’s son does a good job.

Deepshikha, Rajat Bedi and Aarti Chhabria play really small roles and don’t have anything much to do. Surprisingly, the talented Rajpal Yadav as chota don (spoofing Don) too doesn’t get much of a chance to display his skills. Interestingly, producer Sohail Khan of the ‘Khandan’ is seen in a photo frame (way to make one’s presence felt?) as Deepshikha’s hubby.

All in all, recommended for the masses, especially all die hard David Dhawan/Salman/Govinda fans and those who have a soft corner for pure masala flicks.

Halla Bol - A Movie Review

Ashfaque (Ajay Devgan) is a small town boy aspiring to be a film star in the Hindi film industry. He joins a street theatre group run by a reformed dacoit Sidhu (Pankaj Kapur) who uses street theatre as a medium to bring about an awakening in the masses. Ashfaque struggles to give a creative vent to the actor in him in order to realize his dreams.

Ashfaque's determined struggle pays off and he gets a break in films. He gets a new screen name - Sameer Khan. With the passage of time, the roles start becoming better and he moves up the success ladder in a very short time. Soon, he becomes Sameer Khan the superstar - one who can enact any role with finesse, get under the skin of any and every character with ease and walk away with audience applause.

Sadly, amidst all adulation and applause, he slowly loses his own identity. He forgets his real self and imbibes all characteristics of the various roles essayed by him on screen. Corruption takes over his entire system, alienating him from all loved ones, including his wife Sneha (Vidya Balan).

A shocking incident at a party changes everything, rocking Sameer Khan's lifestyle. He gets caught between his human self on one side and his corrupted superstar image on the other. Whether the conflict within him gives way to good sense and whether he is able to discard his corrupted image and emerge as a true life hero, becomes an integral part of this true life cinema.

Jodhaa-Akbar - Movie Review

Cast: Hrithik Roshan, Aishwarya Rai

Producer: Ashutosh Gowariker, Ronnie Screwvala

Director: Ashutosh Gowariker

Music Director: A. R. Rahman

Release Date: 12 October 2007

Jodhaa-Akbar is the sixteenth century epic that tells the story of Mughal Emperor Akbar The Great, played by Hrithik Roshan, and his Hindu wife, Jodhabai, played by Aishwarya Rai. Directed and produced by Ashutosh Gowarikar, who previously directed the Oscar-nominated Lagaan; Jodhaa-Akbar promises to be one of the most lavish films ever created on celluloid.

It writes the poetry of a marriage of alliances that inadvertently gives rise to true love between a great Mughal ruler and his Rajput wife. For Emperor Akbar, political prowess had no limits. After conquering the Hindu Kush, he further imposed authority that stretched from present-day Afghanistan to the Bay of Bengal, and from the Himalayas to the Godavari River. But one of his smartest moves was gaining the support and loyalty of the Rajputs, one of India's most confrontational groups. In attempt to fortify his relations with the Rajputs, Akbar decides to marry the defiant Rajput princess Jodhabai, who at the time was but a mere pawn in the political mindset of Akbar. However, it was this very bond that soon lit the flame of a candle made not of wax, but of true love.

Akbar's greatest obstacle now was not simply to win battles, but to woo Jodhaa and gain her love - a possession buried beneath the rubbles of hate and chauvinism.

A film that has been in the making for quite some time, Jodhaa-Akbar is a piece of work in which Ashutosh Gowarikar has invested a lot of time, dedication, and research. The film is also said to have a phenomenal soundtrack, which has been composed by Gowarikar-loyal A R Rahman and written by Javed Akhtar.

Some interesting points behind the making of Jodhaa-Akbar:

- A band of Rajput youths have threatened to sue Gowarikar, demanding that he prove that Akbar and Jodhabai were in fact married.

- Gowarikar had hired a research team of scholars and historians from New Delhi, Lucknow, Jaipur and Agra to help him keep his script as historically accurate and precise as possible.

- Jodhaa-Akbar is scheduled to release simultaneously in 26 different countries.

- Over 80 elephants, 100 horses, and 55 camels have reportedly been used in the shooting of this film.

- The soundtrack of Jodhaa-Akbar has twelve songs by Rahman.

Jodhaa-Akbar is scheduled to release worldwide on October 12, 2007

-glamsham.com

Aap Ka Surroor - A Movie Review

Cast: Himesh Reshammiya, Hansika Motwani, Mallika Sherawat, Raj Babbar, Shravan

Producer: Vijay Taneja

Director: Prashant Chaddha

Music Director: Who else but Himesh Reshammiya

Rating: *1/2

So the 'Moviee' which is the real finally releases and Himesh Reshammiya has finally made his debut as an actor.

Himesh or HR appears as himself, only on a more elevated scale as he is introduced as the biggest star from India . In fact at one point of the film he is referred to as the biggest performer on the earth – well we will allow that much of cinematic liberty.

He is on a tour to Germany where he is supposed to perform. And he lands up in the country fifteen days before his concert. We allow that as well as no matter how busy a star he might be, he ca always take out time for a small holiday before his concert. And it is in Germany that he meets Riyaa - played by Hansika Motwani, the child actor from Jaago fame. And it's love at first sight and no unlike Main Hoon Na where violins played when Shah Rukh sees Sushmita, here it is the Gayatri mantra. And next thing you see is that Himesh is remixing the Gayatri mantra in an earnest attempt become the Bhajan samrat from the rockstar that he is!

So while Himesh's best friend Shravan, played by debutant Shravan romances Riyaa's best friend, the shy HR and Riyaa start talking never expressing their love till Riyaa's father played by Sachin Khedekar decides to takes her away from HR to Goa. That's when HR reaches Goa to propose his lady love in front of the whole junta and this convinces papa that HR is not one of those who flirts from the entertainment world and who would merely use his daughter for a month and leave her.

On his performance night when he is arrested for the murder of a journalist apparently did a sting operation on him. The camera records HR's face while he kills the journo who happens to be the daughter of ex-cop Merchant (Raj Babbar). HR flees from jail in order to prove his innocence and that he does by getting the real murderer to agree to this in front of camera and some 100 people.

Well, the movie had a decent story but the script is not. Scenes that should have been serious ended up being an unintentional comedy. Especially, the scene where HR deciphers the code to a lock in which the murder weapon is kept. Funny the murderer uses his own gun to kill and yet the police can't trace it!

Also the engagement scene where the song 'Jhoot nahi bolna' has been shot is filled with firangs, who are clueless about the dance they are performing. And wonder how they got so many firangs in Goa and so many Indians on the German streets. And if this is not enough, we have autowallah doing a jig on the roads, complete with their three wheelers, on the streets of Germany. Also while Himesh is in jail, he suddenly breaks into a 'Tanhaiyan' song where he is shown walking down snow filled streets carrying his ever sad face. Himesh's security guards also disappear as soon as he starts romancing Riyaa on the streets on Germany and are back when he enters home.

There are also some jokes on Himesh's personality for example, him singing through his nose, him being surrounded in controversies all the while, his arrogance and his cap.

The cinematography is probably one good thing apart from the hit music, which anyway falls into the typical Himesh mould.

Performance wise Shravan lights up the screen every time he appears. Hansika's performance is inconsistent at best, good at times and bad at others. Mallika Sherawat is funny and no she is not playing a villain. Contrary to reports she actually helps HR solve the case. Raj Babbar can do without a mention. That leave us with Himesh Reshammiya. And, the verdict is – Himesh you are a great music director and stick to that. Himesh fails to evoke any emotions neither in himself nor in the audience.

Director Prashant Chaddha's debut movie may take an opening due to the craze and curiosity among people but it should not make any mark in the box office, especially with two other movies releasing on the same day.

Awarapan - A Movie Preview

Cast:Emran Hashmi, Shreya Sharan, Mrinalini Sharma, Rehan Khan

Producer: Mukesh Bhatt

Director: Mohit Suri

Music Director: Pritam Chakraborty

Rating: **1/2

It seems, Emraan Hashmi sans kissing and love making scenes, is no better an actor. Thankfully, a relatively strong story line makes Awarapan an acceptable film.

Awarapan is the story of Shivam (Emraan Hashmi), an atheist gangster, who slowly begins to change after he meets Aliya (Shriya Saran) and falls in love with her. When their love is discovered by Aliya's enraged father, he takes a shot at Shivam but gets Aliya instead. Shivam is devastated by Aliya's death and he tries to shoot himself too, but he's unable to, so he runs away to Kowloon and starts working for Malik (Ashutosh Rana), hoping to forget his past.

Here, however, after successfully running a hotel for his boss, he is asked to keep an eye on the boss's girlfriend while he's away on a trip. Incidentially, Reema (Mrinalini Sharma), Malik's girlfriend, is a victim of human trafficking and was actually bought by Malik. Unfortunately for Shivam, Reema reminds him of his dead girlfriend and he begins to go into depression again.

In the process of shadowing her he finds out that she's having an affair with someone else, and promptly lets Malik know about this discovery. He is given the orders to finish her off and he cannot get himself to do it. Hence he has to, now, face Malik's wrath. In the process of running away, he realises that he can't keep running for ever. He cannot keep living the life of an 'awara' and here is when he's hit by the beam of enlightenment (literally) and he vows not to leave until he has set Reema free from the clutches of his lusty boss.

I'm not sure, whether the name 'awarapan' was meant for Shivam, the character of this film, or Emraan in reality, because the title is a complete mismatch. In fact, this is the only film in which he does not play the 'awara'.

The story is unusual and in the end one can relate to the plight of a lonely lover, so one does go through a certain degree of catharsis. But at a lot of points, the movie is hilarious, although I don't think the director intended it that way.

Like for example when Aliya's father shoots at Shivam, one would think that he'd try to protect his girlfriend who's behind him. Instead, with moves of a superhero, he dives out of the way letting his girlfriend take the shot. And he screams wildly in despair as he sees Aliya collapse. One wonders why? And then, throughout the film, we see the wandering shadow of a love lost Shivam who shows no guilt at all at his action. So when he finally 'sees the light' its difficult to sympathize with him. The whole scene, as impactful as it should have been, seems to fizzle out and settles for just being acceptable.

How he is hit by the beam of enlightment is another story. The man, he kidnapped in India only to later let him go, finds him in Kowloon where he's become a monk (god only knows why) and finally while running away from Malik he reaches the monastry where this victim takes care of him. Here looking at Buddha he finally begins to believe in god (again I'm not sure why). Simply having the hero pass out in front of the monastry and one of the monks helping him would have been so much more affective.

Towards the end Shivam goes to Malik's brother (Ashish Vidhyarthi) to find out where Malik's kept Reema. Here when Ashish Vidhyarthi, amused, askes to no one in particular, "Kya hai? Kya hai is ladki mein ke mera bhai uske liye apni zindagi barbaad karne ko tayaar hai aur tu apni jaan dene ko tayaar hai?" he takes the words right out of the audience's mouths. We never really understand why the girl Reema is so important and, as Malik says, different.

But it was too much too handle when, in the end, the treacherous villain comes face to face with our hero, and he asks 'why so much for this girl'. Our hero gives some half baked story about freeing trapped doves and being graced by gods blessings (which seems so inadequate) instead of saying something about redeeming himself or about love. That not being enough, our hero simply shoots Malik after that, who drops dead without a fight, while his, surrounding, bodyguards and his son just stand and watch the fun. I thought he was faking it, until the movie got over. The main villain removed, the rest of the fight seems so pointless.

In the end, one is quite confused about what the moral, or rather, the main theme of the story was, because at first it seems to be about faith in god, then about the hero's escapism or 'awarapan' and after all that we find Reema, after escaping to India, talking to the press saying that we should all do something about human trafficking because "freedom is our birthright." A littile bit of a muddle, I must say.

Emraan Hashmi is his usual self. Ashutosh Rana is very good as the Malik, although not entirely exploited well enough. Salil Acharya, as the boss's son, is none to great. Ashish Vidhyarthi is good in his minor role, but completely wasted. Purab Kohli as Ashish's son does a very good job. Shriya's just used as a pretty face while Mrinalini's not too expressive either. The plight of a sex worker forced into the situation, is not visible in her.

Director, Mohit Suri, has been quite good with his past moves but does not really live up to the expectations in this one.

The music is good, as in all of his past movies. They are quite touching and definitely helps with the narration.

Altogether, the movie is worth a one time watch. It is entertaining even if it has its flaws.

Chain Kulii Ki Main Kulii

Cast: Rahul Bose, Zain Khan, Raj Bhansali, Rajesh Khera

Producer: Ken Ghosh and Namrata Rungta

Director: Kituu Salooja

Music Director: Salim Suleiman

Rating: *

This is one film that should have been released either during the World Cup or when the kids had their summer vacation. With school already on and cricket taking a back seat after the Bangladesh beating at the World Cup, I doubt this movie will have any takers. Although it deals with fantasy, it has a weak script and the director is trying to tell too many stories in one go.

There is an orphanage run by one Hitler (Rajesh Khera). I wonder which orphanage runs in the manner this does. Maybe, the director is fantasising. Then there is Karan (Zain Khan) who lives in the orphanage, who stumbles on Kapil Dev's bat. Pronto! He makes it to the Indian team against Pakistan. Obviously he's a star in the orphanage as well as the country.

There's Varun (Rahul Bose) the captain of the Indian cricket team who hates his father. Then there is this orphan boy who is jealous of Varun's success Raghav (Raj Bhansali). And yes, the story of how Kapil Dev scored 175 not out after India were reduced for 17/5 against Zimbabwe is still being told! That was in 1983.

To add to the spice there's Maru and Nadira. They are both commentators. Yes you don't have to be a genius to know who they impersonate! Mandira and Charu!! While the real Mandira has the best sarees, Malini needs a stylist. As for Maru, he has lots of hair. A good hair weaving job by Nasir Khan.

No, there's no story so I will not even attempt to tell one. Let's go straight to the acting. Rahul, given the weak script and the fantasy plot, does well. Zain Khan impresses as a new comer, so does Raj Bhansali. As for Rajesh Khera, the Hitler of the orphanage, all that can be said is that he has a good stylist.

Maybe, just maybe, if the focus was more on the orphanage than cricket, the story would have been different. But then again, they don't even know how an orphanage is run!!

Shootout At Lokhandwala - Movie Review

Cast : Amitabh Bachchan, Sanjay Dutt, Viveik Oberoi, Tusshar Kapoor, Arbaaz Khan, Rohit Roy, Sammir Dattani, Shabbir Aluwalia, Abhishek Bachchan, Aarti Chhabria, Neha Dhupia, Diya Mirza

Producer : Sanjay Dutt, Sanjay Gupta

Director : Apoorva Lakhia

Music Director: Strings, Euphoria

Rating: **1/2

The early nineties were exciting times to be a part of the underworld if not the Mumbai police! With Maya Dolas and his gang growing at a terrifying pace, it was clear that he would cross paths soon with the biggest 'Bhai' of all who then ruled from Dubai.

The film is a journey which tells how the Anti Terrorist Squad, which was dismantled in 2003, actually came to action. It shows how ACP Khan, played by Sunjay Dutt, selecting right candidates for the squad before he launches his war against crime.

The film is basically a series of flash backs. The opening montage shows the blood drenched scene of the shootout. And then we find three officers – ACP Khan, Kaviraj played by Suniel Shetty and Javed Shaikh played by Arbaaz Khan facing questions from Advocate Dhingra who is enacted by the Amitabh Bachchan. Dhingra shoots accusations and questions the three. Among others, accusations against the ATS are of human rights violations and putting the lives of over 400 people of the area in risk. And the three answer with accounts from history which led to the shootout.

Abhishek Mahtre (Abhishek Bachchan) is an inspector who is shot by Khalistani terrorist who are trying to find a foothold in Mumbai city. Organised crime gets headway and ACP Khan wants secures permission for the new ATS cell – a model influenced by SWAT cell from LA. Meanwhile, Maya Dolas (Vivek Oberoi) along with his partners Bua (Tusshar kapoor), RC (Shabbir Ahluwalia), Fattu (Rohit Roy) and Doubling (Aditya Lakhia) grow up to defy their boss in Dubai. The clashes finally result in the boss lifting his hands off their heads leaving them to fend for themselves. And ACP Khan wastes no time.

But while the film shows the evil side of the underworld what makes it interesting is that each character in the gang is also given human flesh. While Maya has his Aai played by Amrita Singh, Bua wants to have a family with his love interest Tarannum (Aarti Chhabria). Fattu has his god fearing parents and RC is afraid of ghosts of innocent families he has killed. It's not just the gangsters. The police offers have their slice of family trouble as well. ACP Khan and Kaviraj have unhappy wives and Javed wants his son to do better than himself in school so that he grows up not to be a police officer but a respected 'doctor ya engineer' and earn good money.

Shootout at Lokhandwala Wallpaper

The story of the film is done well. And it has been carried out pretty well too. But the shootout scene which is supposed to be the central subject of the film however fails to generate much excitement. The background music as the shootout film reaches climax gives out some emotion and the cinematography is breathtaking at times.

There has been a rising tendency to shows chaos and action through lots of shakes and cuts in films nowadays. And Shootout at Lokhanwala exemplifies this. At times the shakes and cuts end up leaving your head dizzy and create confusion.

The playback music of the film did not have much scope and hence not too impressive except the track by Strings which is played during the end credits.

Shootout at Lokhandwala Wallpaper

Performance wise, the film is quite mediocre. There are so many actors that there is hardly enough time for each to do anything significant. In between all this however I would like to mention Amrita Singh. As the proud mother of Vivek Oberoi she stands, Amrita has done a terrific job. Amitabh Bachchan lends his charm when ever he is on screen. Sanjay Dutt also comes with a good performance, taking into account his troubled times during the shoot. Tusshar Kapoor has improved a lot as an actor. His expressions are good but then his vocal chords just let him down. May be Tusshar should stick to roles like the one in Golmaal where he need not speak! Debutant Shabbir Ahluwalia is also good as a goon. Overall, this is Vivek's film and he is good as a gangster. In him, there is the same spark as in Company.

After a stylish Ek Ajnabee Apoorva Lakhia's third film is a commendable effort. Especially since he handled such a huge star cast and story! Worth a watch not two!

Shootout at Lokhandwala Wallpaper

By the way, there are special thanks to both the Bachchans right in the beginning. Hmm, that's no doubt for waving off their fees.

-Sanskriti Media

Exclusive Photo Gallery from Shootout at Lokhandwala - Movie

Awarapan - A Movie Review

Album: Awarapan

Singers: Mustafa Zahid,

Lyrics: Sayed Quadri, Mustafa Zahid, Annie, Rafaqat Ali Khan

Music Director: Pritam Chakraborty

Rating: ***

After the successful inspiration lift of Najam Sheraz's "Mainu Tere Naal" into heart-throbbing "Bheege Honth Tere" (Murder), there seems to be cloudburst of singing talents from the land of Pakistan. Barring the exception of Shafaqat Ali Khan ("Mitwa" in Kabhi Alvida Na Kehna) and "Strings" ("Yeh Hai Meri Kahaani" in Zinda), there has been uninterrupted downpour of Pak rock brigade from esteemed Bhatt camp in the form of Ali Azmat (Paap), Atif Aslam (Zeher), Rahat Fateh Ali Khan (Kalyug), Glenn John (Woh Lamhe) and Jawed Sheikh (Woh Lamhe) into Mumbai filmdom. Awarapan, the thrilling love saga from Bhatt camp proves to be biggest launch of Pak rock brigade as their hot "n" happening talents Mustafa Zahid (lead vocalist of "Roxen -the band"), Annie and Rafaqat Ali Khan makes vows of great musical resilience with their chartbusting tracks. Pritam, the upbeat styled composer re-arranges their smash-hit compositions ("Toh Phir Aao" and "Mahiya") and refurbishes them to perfection. Besides these rehashed blistering soundtracks, there is generous dosage of divinity in the form of traditional Sufi work ("Maula Mere Maula").

After smooth and sauntering Atif Aslam and his rock band "Jal", its sonorously paced Mustafa Zahid with his trendy rock contingent "Roxen-the band" making vows of irrepressible love in their worldwide hit soundtrack "Toh Phir Aao" (album -"Rozen-e-Deewar"). Pritam's rearranged "lounge" version makes first dent as the tranquilly pitched arrangements sets an aura of serenity that transcends gently with Mustafa's delectable voice. The haunting "lounge" impact is meticulously pulverized into contemporary soft rock ballad with impressive concoction of electric, rhythm and bass guitars in the backdrop. "Toh Phir Aao" makes theatrical appeal in its purest form as it minuses the recurring "lounge" impact but impresses to hilt in almost "unplugged" original version. It has booming back up vocals (Haider Halim) along with slow pitched drumming matched flawlessly with enthused guitar strumming (Jawed and Omar Halim) in delivering an amiable picturesque of excruciatingly expressive soundtrack. It boomed to substantial heights in their native land and much can be anticipated from Pritam's impressive rearranged works. "Toh Phir Aao (remix)", the reverberatingly pitched disco number electrifies senses as party animal's special track and well is counted high for it's visually spectacle decorum for a glossy promotional video track. Like "Woh Lamhe (remix)" (Zeher), this DJ Suketu's special is emblematically resounding where ear-splitting DJ beats and claps makes effective thumping that materializes well with thriving vocals.

"Tera Mera Rishta" comes out as original composition from rock band "Roxen-the band", a sentimental rock ballad with a strong musical backdrop of Southeast Asian music. This song about eternal bonding has peculiar auto-phonic musical base with ethnically matched sensual feminine "alaaps", exhibiting a situational mushy feel. The serpentine flowing flute notes along with quivering synthesizer notes sets an impressive prelude to the song. Mustafa's echoing vocals are skillfully submersed into this uncharacteristic style of arrangements where contemporary rock ethics strikes amiable equilibrium. DJ Suketu creates a pandemonium of frenzied events with contemporary "club" mix style rendition in racy and hip-shaking "Tera Mera Rishta (remix)". Like "Toh Phir Aao (remix)", it falls into cadre of promotional videos where flashy costumes, lavish set-ups and eye candy stars will be spotlighting the euphoric decorum of the film.

Pakistani "Spice girl" Annie scintillates as the first pop femme fatale from cross-border with her heart throbbing hit "Mahiya" (Album - "Princess"), an enchanting disco track refurbished through the silken "n" sensuous vocals of Suzanne D'Mello. Pritam's rearranged version is comparatively shriller and jarring from Annie's original version but reminisces the golden era of Nazia Hassan. The number sizzles out as bi-lingual offering as it cocktails the blend of roaring English lyrics (Asif Ali Beg) with frantic Hindi lyrics (Sayed Quadri) through its enthused rendition. "Mahiya (remix)" comes out as effervescently trendy disco number in Annie's vocal rendition with heaps of hip-shaking disco beats fillers and booming synthesizer notes. DJ Suketu's rip-roaring DJ claps; scratches and thumps collide effectively with racy paced musical backdrop in creating a havoc of emotions. This blazing musical offering is presumed to be ground-breaking in its cadre as the number proved to be globe-trotting hit and promises to be eye candy with its lustrous visual binge. If Bhatt's gambit of pitching female vocal talents succeeds as it did in male talents then the listeners can hear talents like Fariha Parvez, Abida Parveen, Farah Hassan and Shabnam Majeed in future.

Divinity strikes the final blow as the pious feel of "spiritualism" is ushered through the traditional Sufi works of twelfth century poet Baba Farid in sensitively delivered "Maula Mere Maula". Rafaqat Ali Khan, the last among Pakistani talents renders this spiritual number in a classical vocal mode with finesse of unadulterated classical instrumental work. It has classy appeal and acceptance as it flourishes in ethnic Sufi work where beats and rhythms from conventional instruments like "harmonium", "sarangi", "tabla", "sitar" strikes a fine "jugalbandi" with electric guitar strumming. Rafaqat's vocal finesse can be sorted in the genre of Rahat Fateh Ali Khan for its flawless classical textures.

Awarapan proves to be launching pad for unexplored Pakistani pop talents as it delivers an assorted collection of their hot "n" happening upbeat tracks in a rearranged musical mode. Mustafa Zahid's stylish "Toh Phir Aao" (all versions) and Annie's voguish "Mahiya" are expected to be chartbusters in coming weeks while "Tera Mera Rishta" and "Maula Mere Maula" impresses for their strong melodramatic appeal. It would have been better if Mustafa's most saleable tracks like "Yaadein", "Aaj" or "Sapney" would have been given a boost in the album. Pritam adds one more feather in his cap and this time as a competent re-arranger than a composer.

-glamsham.com

Partner - A Movie Review

Album: Partner

Singers: Wajid, Shaan, Udit Narayan, Suzi Q, Clington, Shweta Pandit, Earl, Sonu Nigam, Kunal Ganjawala, Labh Jajua, Sneha Pant, Sajid, Sunidhi Chauhan

Music Director:Sajid-Wajid

Lyrics: Sanjay Chhel, Shabbir Ahmed, Jalees Sherwani

Rating: **

Music directors Sajid-Wajid used to be known for their melodious compositions; the duo were behind all of Sonu Nigam's initial albums including Deewana, Jaan and Yaad, but never really achieved the same success in their film compositions. Although Partner is not a great album, it is definitely better than some of Sajid-Wajid's recent work like The Killer, Jaane Hoga Kya, Shaadi Karke Phas Gaya Yaar etc. The problem with Partner is that none of the songs have originality but at the same time with a David Dhawan, Govinda and Salman combination, most listeners will not be expecting anything truly melodious or earth shattering compositions, but rather some fun numbers which will be further uplifted by the visuals.

The album begins with 'Do You Wanna Partner', sung mainly by Shaan and Udit Narayan. This song is the best of the album with some interesting combinations of musical styles and some fun lyrics like "lekin kintu parantu bandhu" by Sanjay Chhel. The song starts out with some swing music which immediately reminds you of 'Tumse Mili Nazar To Asar' from Main Madhuri Dixit Banna Chhati Hoon. Although the song is fun and peppy, there is nothing striking or original about it to the extent that even the sounds and instruments such as the brass and percussion combinations are very clichéd. The music in between the chorus and verse could have been a bit more interesting but all in all this track is fun from the onset and will want to make you get up and dance. As is the normal trend, these is a remix version of the song which is nothing to rave about but will achieve the purpose of giving something to DJs to blare at the discs.

The next track is 'You're My Love', sung by Shaan and Shweta Pandit. The song has very catchy flute (basuri) combined with a reggae / R&B style beats which makes for a very interesting listen. Again, nothing really original and it gives you a heard it before feel, but nonetheless worth a listen and the remix version will also find liking at discs.

'Dupatta Tera Nau Rang Da' reminds us that no Hindi film track is complete without a dupatta number. The number combines techno with a Punjabi flavour and gives the feeling that the song will be enhanced by the visuals. Sonu Nigam and Kunal Ghanjawala's voice blend very well together but Shreya Ghosal's voice seems a bit dull for this number and one can not help but wish that she had sung this number with a little bit more peppiness and masti like her male counterparts to suit the mood of the song.

'Soni De Nakhre' starts off with a very 70s disco sound and feel to it, and then quickly transcends into a hard core Punjabi, Jazzy B style number. This is definitely for the pucca North Indians and the NRI Punjabis living abroad, and the lyrics are Punjabi as well. The voice of Laabh Janjuwa is extremely distinct although it will not suit either Salman or Govinda and Sneha Pandit also does a decent job.

The last song is 'Maria Maria' which immediately gives you a hangover of several numbers including the Latino beats and style used in Dhoom 2 for "Dil Lage Na Dil" and "Touch Me" as well as the song "Osaka Mariya" from One Two Ka Four and so although the song is average, it gives nothing to rave about because you feel as though you have heard similar sounds and combinations in the past. Even the violin portions have been heard before.

Overall, Partner can at best be considered an average album since the songs are worth a once listen but don't give you much to want to keep listening to them over and over. Other than Do You Wanna Partner, the lyrics are also very clichéd and hence while listening to the album you feel as though all the songs are extremely familiar. Nonetheless with the Salman and Govinda combination, the picturization of the songs will add to their appeal and Do You Wanna Partner is a track which will probably climb the charts in the coming weeks. Simply put, the songs are fun to listen to once, but aren't anything great to add to your music collection.

Source - Movietalkies.com

Jhoom Barabar Jhoom

Cast: Amitabh Bachchan, Abhishek Bachchan, Preity Zinta, Bobby Deol, Lara Dutta

Producer: Aditya Chopra

Director: Shaad Ali

Music Director: Shankar-Ehsaan-Loy

Rating: **1/2

Yash Raj Films is back again with yet another crossover flick. After Ta Ra Rum Pum's luke warm performance in the box office, it is Shaad Ali's Jhoom Barabar Jhoom's trial at the box office. A colourful fun filled fare, Jhoom Barabar Jhoom sure entertains but seems to have ignored the necessity of a sturdy storyline. Basking entirely in its technical expertise, Jhoom Barabar Jhoom is a flimsy script stylishly camouflaged in exotic locales and captivating music and dance.

Like any other YRF movie, two words to describe the movie would be "Colourful entertainer". Colourful not just visually, but also in the areas of screenplay, music and choreography. Expertly crafted, Jhoom Barabar Jhoom lacks just one fundamental aspect – strong storyline. The movie enthralls the senses and leaves one yearning for more by the end of it. Jhoom Barabar Jhoom is the age old boy meets girl - fall in love and thrown apart by ego story. There is absolutely nothing more to it.

The story summed up - two strangers meet in the railway station and fall in love. No we are not talking about Ek Chaalis ki last local! This is Waterloo Railway station and the protagonists are Rikki Thukral (Abhishek Bachchan) and Alvira Khan (Preity Zinta). When Rikki and Alvira bump into each other by chance sparks fly. They spend two hours with each other pretending to wait for their respective fiancé's. Rikki is an uncouth Punjabi living in London who makes his living by selling pirated DVDs and smuggled antiques. Alvira is a cultured British Asian woman who believes she is more British than Pakistani. Alvira tries to avoid Rikki initially and tells him she is already engaged and that she is waiting for her fiancé` Steve (Bobby Deol) to arrive. To keep up his side of the story, Rikki lies to Alvira as well and tells her that he is waiting for his fiancée` Anaida (Lara Dutta) to arrive. They both narrate to each other their self invented love stories to each other just to kill time. By the time their trains arrive they realize that they are mutually attracted to each other. They exchange numbers and leave. Cupid strikes and both Alvira and Rikki try to think of ways to win each others' hearts. Alvira calls Rikki and Rikki invites her and her fiancé` to attend the Mr. and Ms. Southall dance competition. Alvira asks Rikki to come with his fiancée`. A mad rush begins to find fake fiancée's for Alvira and Rikki. Alvira asks her friend Sukhvinder (Bobby Deol) to act as Steve for the night and Rikki asks Laila (Lara Dutta), a prostitute to act as his fiancée` for the night. What ensues is a totally fun filled nach-gaana sequence. Rikki and Laila are declared as Mr. and Ms. Southall. The rest of the story revolves around how Rikki and Alvira discover that they are not engaged to Laila (Anaida) and Sukhvinder (Steve) and are in love with each other. Sukhvinder and Laila somehow meet and fall in love with each other and lock lips. The film ends with Rikki and Alvira confessing their love for each other and locking lips in the suburbs of London.

Abhishek Bachchan as Rikki Thukral delivers a fine performance. His portrayal of the tapori guy with absolutely no refinement is up to the mark. Preity Zinta has made an honest attempt but hasn't worked on her accent enough. She doesn't look British Asian. Lara Dutta has delivered a truly fantastic performance both as the French Asian and the prostitute. Bobby Deol struggles to bring in Steve's suave look. Sukhvinder suits him better. Amitabh Bachchan is item number. He plays the British busker who keeps reappearing with the peppy title track all through the film. Though insignificant to the story, this busker keeps alive the screenplay every time it begins to spell boredom. Dressed like a rainbow, Amitabh Bachchan charms as always.

Shaad Ali's narrative is impressive. He juxtaposes reality and fantasy through the conversations between Alvira and Rikki. A very fresh and fine initiative wasted by a flimsy script. Ayanka Khan impresses yet again with vivid visuals and effervescent colours.

Music is the highlight of the movie. The title track will top the charts for weeks to come. Ticket to Hollywood is another track that lingers.

All in all, Jhoom Barabar Jhoom entertains but lacks substance. Though it has three lip-locks (Abhishek Bachchan - Lara Dutta, Bobby Deol – Lara Dutta and Abhishek Bachchan – Preity Zinta) and an A certificate Jhoom Barabar Jhoom can pass of as a complete family entertainer. Jhoom Barabar Jhoom is pastime.