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Be forewarned…

LOVE SEX AUR DHOKHA is not the archetypal/mundane/formulaic stuff that one has grown watching.

LOVE SEX AUR DHOKHA is not for the faint-hearted.
LOVE SEX AUR DHOKHA is not for the orthodox/conformists/moral watchdogs of society.

First things first! It’s not another version of Steven Soderbergh’s SEX, LIES, & VIDEOTAPE [1989], as widely rumoured. Now let me hit the nail on the head. Don’t expect the expected from Dibakar Banerjee. LOVE SEX AUR DHOKHA, helmed by the director of KHOSLA KA GHOSLA and OYE LUCKY! LUCKY OYE!, is a complete departure from what we have witnessed so far. It talks of voyeurism [it has been divided into three stories, each focussing on different plots pertaining to voyeurism]. It is brave. It is scandalous. Most importantly, it is path-breaking. You will either love it or loathe it.

LOVE SEX AUR DHOKHA is not an easy film to comprehend either. The constant shaking of camera [it's a digital film with a hidden camera playing a character by itself] may bother you initially, since this is the first time that a storyteller has used this technique in Bollywood to narrate three different stories in one film. But the material is so compelling [screenplay: Dibakar Banerjee and Kanu Behl] and the stories so captivating that you absorb this storytelling technique within a few minutes of its commencement.

Dibakar makes an attempt to tell you that there’s no privacy in today’s age, courtesy cell phones, spy cams, sting operations and MMS. Technology is not just a boon, but also a bane and the film reiterates this fact.

Final word? LOVE SEX AUR DHOKHA signifies the changing face of Hindi cinema. Ekta Kapoor’s first foray into experimental cinema has all it takes to be a cult film that might just trigger off a new trend in Bollywood. It’s courageous, disturbing and yet entertaining!

Story I: In a film institute in North India, a student gears up for his diploma film. With an amateur small-town cast, Rahul starts filming a love story and eventually falls in love with his heroine Shruti. They elope, get married and dream of a blissful future.

Story II: Adarsh installs security cameras in a small, upcoming 24-hour department store. In desperate need of cash to clear off his debts, Adarsh hits upon the idea of making a porn clip through the security cameras in the shop. The victim? Rashmi, who works in the store.

Story III: Prabhat - a sting journalist - attempts a series of failed suicides. He meets Naina, who is also trying to commit suicide. She had been promised a music video by Loki Local, a Hip Hop pop star. She slept with him for the same, but the video finally went to a Russian blonde. Prabhat and Naina decide to do a sting operation.

The first story starts off as a spoof on Bollywood, but you gradually realize that it bears an uncanny resemblance to at least two real-life love stories, which have had a heart-rending ending and which continue to remain in news to this date.

The second story - the MMS scandal - is scary. Just Google on MMS scandals and you will realize that so many girls have been victims of this technology. Unfortunately, in several reported cases, the MMS clips were distributed by the boyfriends themselves.

I’d like to add something more about this story… The sequence, however, is not meant to be seen as individual scene because it’s an integral part of the story. The nudity is not aimed to titillate, but repel you. The scene is so stark and shot so pragmatically that at the end of the story, you start feeling distressed.

The third story - a sting operation - mirrors an actuality, yet again. You can’t deny that the casting couch exists and people do resort to shortcuts to attain name, fame and money overnight. The sequence involving the Hip Hop pop star and the wannabe actress seems straight out of life. Also, we get a glimpse of how we consume news these days and journalists are forced to cover entertainment, instead of facts.

Director Dibakar Banerjee has a unique sensibility and a keen eye for the unconventional. His choice of subject and decision to shoot the film on a digital format needs to be lauded and also the intertwining of the three stories. LOVE SEX AUR DHOKHA is sure to shake you. It’s provocative and steamy, but it’s scandalous and startling as well.

There’s just one song in the narrative - the title track - which is already popular thanks to its catchy tune and filming. The DoP [Nikos Andritsakis] does a splendid job. Seems like the film has been shot on a handycam, security cameras placed in shops, underwater cameras and spy cameras, which is, again, very innovative. Editing [Namrata Rao] is perfect.

There was a need for fresh faces in order to portray the realism and the performances of each and every member of the cast are superb. Anshuman Jha [as Rahul], Shruti [as Shruti], Raj Kumar Yadav [as Adarsh], Neha Chauhan [as Rashmi], Amit Sial [as Prabhat], Arya Devdutta [as Naina] and Herry Tangri [as Loki Local] are amazing actors all.

On the whole, LOVE SEX AUR DHOKHA is original, innovative and ground-breaking cinema, which will shock and provoke you. The film is definitely not for the faint-hearted or those who swear by stereotypical fares, but for those who yearn for a change. The youth, especially in metros, should fall hook, line and sinker for this one. The volatile title as also the explosive content should make this low-cost film [budgeted at approx. Rs. 1.5 cr.] a commercial accomplishment!

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New Delhi, A furious Bachchan family has threatened to skip the prestigious Filmfare awards Saturday evening unless the Mumbai Mirror publishes a formal apology for spreading “false” news about Aishwarya Rai’s health.
The Mumbai Mirror and Filmfare both belong to the Times Group. Aishwarya Rai, who was supposed to perform at the event, has decided to [...]

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New Delhi, Megastar Amitabh Bachchan is in no mood to forgive and forget daily tabloid Mumbai Mirror for allegedly invading the privacy of his daughter-in-law actress Aishwarya Rai Bachchan and for claiming that she can’t risk pregnancy due to stomach tuberculosis. He has demanded an apology from the newspaper.
“The unprofessional and slanderous nature of this [...]

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MY NAME IS KHAN makes two strong statements…

The first: B.C. and A.D. are designations used to label years in the Julian and Gregorian calendars. There’s a third designation now - 9/11.
Post September 11, the world stands divided. Terrorist outfits continue to strike in the name of religion and the common man, not even remotely associated with these groups, is bearing the brunt. The world is not a safe place anymore.

The second statement: There’re two sets of people in this world - the good and the bad. No matter how strong the evil forces are, good always triumphs.

MY NAME IS KHAN mirrors the era we live in. Not a day goes by when you haven’t heard/read/watched news of terror attacks and innocents being killed. We live in turbulent times. Also, the movie states - and states very strongly, without mincing words - Not all Muslims are terrorists.

Karan Johar’s cinema got more real from KABHI ALVIDA NAA KEHNA onwards. In MY NAME IS KHAN, the storyteller attempts to make a social statement and succeeds completely. At the same time, it takes no sides. If the protagonist says ‘My name is Khan and I am not a terrorist’, it also exposes those who misadvise the youth with inflammatory and rabble-rousing speeches.

Karan’s take on the issue deserves the highest praise, since a subject like this is difficult to attempt. Final word? MY NAME IS KHAN is Karan, SRK and Kajol’s best outing to date. Do I need to add anything more?

Rizvan Khan [Shah Rukh Khan moves to San Francisco and lives with his brother [Jimmy Shergill] and sister-in-law [Sonya Jehan]. Rizvan, who has Asperger’s syndrome, falls in love with Mandira [Kajol]. Despite protests from his brother, they get married and start a small business together. They are happy until September 11, when attitudes towards Muslims undergo a sea-change.

When tragedy strikes, Mandira is devastated and they split. Rizvan is confused and upset that the love of his life has left him. To win her back, he embarks on a touching and inspiring journey across America.

Let me alert you. The story unfolds feverishly from the very start itself. So if you miss a scene or two, chances are you would’ve missed some vital links in the story. The fact is, there’s too much happening in the first half. Although the narrative tends to get leisurely-paced at times, the wheels continue to move from one episode to another.

A number of sequences are endearing. For instance, the romance between SRK and Kajol is subtle, yet charming. But it’s SRK’s relationship with Kajol and their kid that’s one of the best parts of the movie. Your heart bleeds when an accident occurs and their lives are torn apart. Kajol’s outburst - first, when her son meets with a catastrophe and second, when she confronts SRK - are truly shattering.

MY NAME IS KHAN’s strength lies in the fact that you root for Khan all through. At the same time, you are weighed down when he’s in a vulnerable situation, especially when he’s labelled a terrorist and thrown behind bars. You don’t realize it, but the fact is that you, as a spectator, have already got entwined in Rizvan and Mandira’s lives.

There’s a slight hitch in the second hour, when SRK returns to Georgia to save a hurricane-ravaged hamlet. Also, the media exercise tends to add to the length of the film. Nonetheless, it’s a minor hiccup that doesn’t rob the film of its punch.

There’s just one word to illustrate Karan’s direction - exemplary. One of the finest storytellers of our generation, he deserves brownie points for deviating from ‘Karan Johar brand of cinema’ and attempting a film that knocks on your heart and stimulates your mind. With MY NAME IS KHAN, Karan takes rapid strides as a storyteller.

Shibani Bathija’s screenplay is truly arresting. Shibani and Niranjan Iyengar’s dialogues are noteworthy and many a times, applaud-worthy. Ravi K. Chandran’s cinematography is awe-inspiring. Shankar-Ehsaan-Loy’s music gels well with the nature of the film.

When a film stars two of the finest talents of the country, you expect nothing but the best. SRK, well, how does one describe his performance? To state that this is his best work so far would be cutting short the praise he truly deserves. In fact, no amount of praise can do sufficient justice to his portrayal of Rizvan Khan, who has Asperger’s syndrome. His latest work is several notches above anything he has done before. The only compliment that I can think of is, SRK has a new screen-name now. Raj is passe, Rizvan it is.

Kajol is pure dynamite and casting her for this character was the most appropriate decision. No other actress could’ve matched SRK in histrionics the way Kajol has. In fact, SRK and Kajol compliment each other wonderfully well and this film only proves it yet again. It’s a powerhouse performance from this supremely talented actress.

The film boasts of a number of capable actors, but the ones who leave a rock-solid impact are - in this order - Zarina Wahab, Sonya Jehan, Jimmy Shergill, Arjun Mathur, Parvin Dabas and Arif Zakaria. Sugandha Garg is confident. Navneet Nishan supports well. Vinay Pathak leaves a mark in a brief role. Tanay Chheda [young SRK] and Yuvaan Makaar [SRK and Kajol's son Sameer] are excellent. The American actors, especially the kid who plays Sameer’s friend, deserves mention.

On the whole, MY NAME IS KHAN is a fascinating love story, has an angle of religion and a world-shaking incident as a backdrop. It not only entertains, but also mesmerises, enthrals and captivates the viewer in those 2.40 hours. At the same time, a film like MY NAME IS KHAN is sure to have a far-reaching influence due to its noble theme. I strongly advocate, don’t miss this one!

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Ramgopal Varma is itching to tell a new story in his movies. You may garland him for his efforts or loathe him if you feel letdown, but you need to hand it to him for picking up stories that defy stereotype.

This time, in RANN, the maverick film-maker does an expose on the games the heavyweights in the media play to further their interests. RGV goes into the newsrooms and also behind it and throws light on the politician-industrialist-media nexus. Also, it’s an insider’s account of how news channels that are greedy for ratings sensationalize stories to grab eyeballs.

On surface, you don’t want to know what goes behind the scenes and how, at times, news are ‘created’ by vested interests. But RANN scratches the surface and opens a can of worms. RANN also mirrors the fact that just like there are good and bad people in every field, there’re some rotten ones in the media too who succumb to temptations and create news to climb the ladder of success.

RANN is a serious film and RGV knows what he’s talking this time. It wouldn’t be erroneous to state that you recall RGV’s SARKAR while watching RANN, even though the two films are as diverse as chalk and cheese. You recall SARKAR because RANN is an equally powerful film that shows a world we’ve only seen from the exterior.

RANN is for those who enjoy serious cinema. It’s more for the intelligentsia, for the thinking viewer. Definitely not for those who seek refuge in frivolous masala capers.

Vijay Harshvardhan Malik [Amitabh Bachchan] is the founder of a private news channel, India 24/7. A hardcore upholder of journalistic ethics, his channel is battling for survival. Jay [Sudeep], his son, looks at his father’s news channel purely as a business enterprise that must make profits to justify its existence. He hates that his competition [Mohnish Bahl] is doing better than him.

The story takes a turn when a corrupt politician, Mohan Pandey [Paresh Rawal], decides to use the channel to his advantage by using Vijay’s son-in-law Navin [Rajat Kapoor]. Pandey aspires to be the Prime Minister and indulges in a vicious campaign against his political opponent.

Navin is the most insecure man on earth and won’t rest till he becomes the number one industrialist in the country. He, in turn, involves his brother-in-law Jay in Pandey’s game plan.

A film like RANN would fall into the pit if [i] its writing wouldn’t be razor-sharp and [ii] the choice of actors would be incompetent. RGV’s movies, generally, are embellished with competent actors who deliver super performances. In this film, every member of the cast shines in his/her role, the length of the role notwithstanding.

The writing is watertight and convincing. Besides, the subject matter has been presented in the most simplistic manner, which makes it easy to decipher. However, the episode showing Riteish’s investigation tends to get confusing at one point, but the climax compensates for the minor hiccups here and there.

Amit Roy’s cinematography is eye-catching. Dialogues are power-packed. In fact, one can identify with the well-penned dialogues. The background score plays a crucial role. It heightens the impact of various scenes.

Amitabh Bachchan is spectacular yet again, especially towards the finale. His speech and the way he delivers it are remarkable. Sudeep is terrific. To stand up to giants like Bachchan and Paresh Rawal is no mean achievement. Riteish is only getting better and better with every film. In fact, he surprises you constantly.

Paresh Rawal, seen in an RGV film after a long, long time, is at his vicious best. Rajat Kapoor is incredible. Mohnish Bahl gets the role of a lifetime and he sinks his teeth into it. This film should open new vistas for him. Gul Panag is natural and so easy on the eyes. Neetu Chandra does her part well. Suchitra Krishnamoorthy is too good. Rajpal Yadav contributes to some funny moments. Neena Kulkarni and Simone Singh are perfect for their parts.

On the whole, RANN is truly a well-made film. No two opinions on that. The film should be patronised by viewers of serious, sensible cinema. Recommended!

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New Delhi, Bollywood star Aamir Khan, who is riding high on the success of “3 Idiots”, couldn’t have asked for more. When the actor received the “wonderful news” of getting a Padma Bhushan, the nation’s third highest civilian honour, in the US Monday morning, his mother’s smiling face flashed in his mind.
“I’m so happy to [...]

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New Delhi, At 4 a.m. in New York Saturday, the last thing Priyanka Chopra was expecting to hear was that she had won her first National Film Award. She jumped out of bed in sheer joy when she got the news.
“It feels soooooo fantastic! It’s 5 in the morning here (New York) and my phone [...]

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Mumbai, Sudhir Mishra says the news of his unreleased film “Tera Kya Hoga Johnny” being available on the Internet came as a rude shock. The director, however, is confident that the unfinished version on the net won’t jeopardize the film’s prospects.
“After ‘Slumdog Millionaire’, the West is looking with much curiosity at the slum culture [...]

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Rann Film Trailer. Ram Gopal Varma’s Rann starring Amitabh Bachchan, Riteish Deshmukh and Paresh Rawal . Watch Rann online theatrical trailer.
Related posts:I wanted to be named Vijay in “Rann” too – AmitabhAmitabh Bachchan promotes his film “Rann”Bollywood stars at Rann film press meetRann is a men’s film – Ram Gopal VarmaAmitabh Bachchan to read news [...]

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New Delhi, Salman Khan has often been in the news for his relationships and break-ups but the superstar says he is very particular about his commitments – whether personal or professional.
“I’m a very committed person. If it (a personal or official relationship) breaks, it’s always the other person who breaks it and not me. [...]

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