Restructuring the long-gone era is an arduous task. It's also demanding, laborious and strenuous. Most importantly, the person taking on the mantle of narrating a real-life story ought to do wide-ranging research on the subject matter. There cannot be shortcuts. Besides comprehensive detailing that goes into making the story come alive on the big screen, the raconteur also needs to ensure that the cinematic interpretation is defined and based on facts.

Bedabrata Pain's CHITTAGONG takes you back to the 1930s. Around two years ago, Ashutosh Gowariker's KHELEIN HUM JEE JAAN SEY had traversed the same path, tracing the uprising in Bengal. A group of school boys and a young woman, led by a school teacher, took on the British Raj. Unfortunately, their plans went askew, but their courage and valor motivated freedom fighters in multitude.

Both KHELEIN HUM JEE JAAN SEY and CHITTAGONG tackle an important aspect of history, but Bedabrata's film comes across as a distinctive motion picture. KHELEIN HUM JEE JAAN SEY was from Surajya Sen/Masterda's point of view, while CHITTAGONG orbits around a 14-year-old teenager named Jhunku Roy. Jhunku gave up the comforts and luxuries to become a revolutionary. CHITTAGONG doesn't sacrifice the spirit of the uprising, yet narrates a story that's different from the one we watched in KHELEIN HUM JEE JAAN SEY.

What makes you connect instantaneously with CHITTAGONG is the fact that it highlights the victory of the ordinary people. Also, it's a heartening take on one of the splendid chapters of India's struggle for independence, not just focusing on the iconic heroes. It also drives home an extremely valid point: The common man can script a victory.

The drama, the tension, the fury... it's all there in CHITTAGONG. The cinematic endeavor of a real-life incident succeeds in moving you, just like its characters. Most importantly, what translates on celluloid is extremely captivating, truly enlightening and exceptionally inspiring. In short, CHITTAGONG salutes the heroes who fought valiantly for India's freedom and also evokes patriotic feelings. Every genuine effort needs to be encouraged, appreciated and applauded. CHITTAGONG is one such experience.

Set in the turbulence of the 1930s British India, Chittagong is a true story of a 14-year-old boy Jhunku [Delzad Hiwale] and his journey to find where he belongs. For the first time in Indian history, the British army is defeated by an army of schoolboys and their teacher, Masterda [Manoj Bajpayee]. Called a traitor by his peers, and let down by a man he trusts, Jhunku impulsively joins the movement.

As his world is turned upside down, Jhunku is forced to confront his self-doubts. As the leaders of the movement are caught or killed, Jhunku battles against seemingly insurmountable odds to win a victory of his own.

Bedabrata recreates this event with earnestness and fortunately, his interpretation comes across as compelling and persuasive. Also, hard-hitting/forceful that doesn't allow you to lose focus. It won't be erroneous to state that Bedabrata's endeavor also manages to drive a strong message: Triumph of the human spirit. On the flipside, the pacing could have been speedier and the tension-filled moments could have been lengthened for an enhanced impact.

The body language of people who lived in the long-gone era, the apparel and also the overall styling look bona fide. Bedabrata uses the songs [Shankar-Ehsaan-Loy] skillfully. The effective background score takes the film several notches above. The calm and serene locations add tremendous credibility to the Chittagong of the 1930s [the film has been shot in Lataguri in West Bengal]. The DoP [Eric Zimmerman] captures the lush green locales as well as the intensity of the characters with flourish.

The performances are earnest and genuine to the core. Delzad Hiwale is outstanding as Jhunku. Manoj Bajpayee gets to the character a certain authority. Nawazuddin Siddiqui, Raj Kumar Yadav, Vega Tamotia, Jaideep Ahlawat, Barry John, Dibyendu Bhattacharya, Vishal Vijay, Vijay Varma [as the grownup Jhunku], Sauraseni Maitra, Chaiti Ghosh, Anurag Arora and Alexx O'Nell, each of them leave tremendous impression in their respective parts.

On the whole, CHITTAGONG is a film of immense significance. Much like some of the hi-concept films that left an indelible impression on the minds of viewers, CHITTAGONG should also last longer in the hearts of cineastes. Not to be missed!

Ratings - * * * 1/2

Source - www.bollywoodhungama.com

When you hear a title like KLPD - KISMET LOVE PAISA DILLI, expect fun, humor and naughtiness rolled into one. Come to think of it, besides the content of a film, the titles as well as songs are getting interesting [read bizarre] by the day. So a title like KLPD - KISMET LOVE PAISA DILLI doesn't raise eyebrows anymore.

Like his directorial debut EK CHALIS KI LAST LOCAL, Sanjay Khanduri's KLPD - KISMET LOVE PAISA DILLI is set in one night. Nope, it's not a sequel, nor does it take off from where that film concluded. But, like that film, you are introduced to distinctive characters, unique situations and wacky circumstances in a single night. This time, the action takes place in Delhi.

Despite the wacky tone and concept of the film, KLPD - KISMET LOVE PAISA DILLI comes across as an underprivileged clone of Khanduri's first film. The energy is intact. It's just that the narrative lacks the inventiveness and ingenuity of his first film, which I regard as its major blemish. Also, this one is vulgar, offensive [the gay jokes especially], crass and embarrassing. Most importantly, KLPD - KISMET LOVE PAISA DILLI is handicapped by a lackluster script.

Set in Delhi, KLPD - KISMET LOVE PAISA DILLI is a one-night story of Lokesh [Vivek Oberoi] and Lovina [Mallika Sherwat]. Lokesh is a college-going middle class guy and Lovina is the girl next door, who misses her last metro back home and a series of episodes occur through the night.

One look at the promotional clips of KLPD - KISMET LOVE PAISA DILLI and you expect it to be crammed with dynamic moments, hysterical moments, anxious moments, outrageous moments. One expects the film to be a roller coaster ride that makes for a spicy, pleasurable viewing. But there's a hitch: Not only is the basic premise similar to EK CHALIS KI LAST LOCAL, Khanduri fails to pack it with amusing and engaging moments.

It is an acknowledged truth that your second venture dictates whether you are supremely talented and here to stay or were plain lucky in your first endeavor. Khanduri has the trappings of a fine storyteller, a narrator of wacky stories and let's give the credit where it's due, KLPD - KISMET LOVE PAISA DILLI has moments that charm you [in the second hour], but they are few and far between in this case. The problem with KLPD - KISMET LOVE PAISA DILLI is, you keep going back to his earlier film while watching this one, although the situations/sub-plots are completely diverse. The recall value of EK CHALIS KI LAST LOCAL is so strong, and with Khanduri borrowing a few occurrences from that film, KLPD - KISMET LOVE PAISA DILLI comes across as a deprived cousin. Additionally, what could've been communicated in a concise and snappy format is lengthened for no particular reason.

Besides, a number of sequences in the film are outright vulgar. Not just sequences, even gestures, dialogue and names/surnames too. It's loaded with toilet humor and lewd jokes. They make you uncomfortable after a point. What's more, some of the characters behave so ridiculously, like Ashutosh Rana [watch the sequence when the villain pumps bullets into him] and the delivery boy [who literally flies like a superhero], it gets on your nerves.

The soundtrack of KLPD - KISMET LOVE PAISA DILLI is a mix of racy and peppy tracks. 'Appy Budday' and 'Dhishkiyaon' are hummable. Cinematography captures the feverish goings-on well.

Vivek Oberoi has the boyish charm that makes him do outlandish and outrageous stuff. He does it all with sincerity. Mallika Sherawat enacts her part monotonously. Ashutosh Rana is wasted. Ditto for Neha Dhupia. The remaining actors just fill the bill.

On the whole, KLPD - KISMET LOVE PAISA DILLI is a comedy that neither entertains nor tickles. In fact, this comedy is more of a tragedy!

Ratings - * 1/2

Source - www.bollywoodhungama.com

Priyadarshan returns to the comic genre, after attempting intense movies like AAKROSH and TEZZ. One expects KAMAAL DHAMAAL MALAMAAL, his new outing, to tickle your funny bone, entertain and enchant viewers, besides striking a chord at the box-office. Does Priyadarshan succeed in his endeavor? Let's find out!

 Okay, let's get one thing straight! KAMAAL DHAMAAL MALAMAAL is not a sequel to MALAMAAL WEEKLY. The sole similarity is a lottery ticket. That apart, KAMAAL DHAMAAL MALAMAAL has a fresh premise and is set in a different village as well. Sure, a few actors from the earlier film [MALAMAAL WEEKLY] feature in KAMAAL DHAMAAL MALAMAAL as well, but they are portraying diverse characters. So, there!

Now to the valid question: Does KAMAAL DHAMAAL MALAMAAL deliver as a film? Does it provide ample laughs, something you expect from a film of this genre? Does it please the entertainment seeking viewer who expects a wacky entertainer from an accomplished director? Unfortunately, KAMAAL DHAMAAL MALAMAAL fails as a film, fails as an entertainer, fails to tickle your funny bone.

Johny [Shreyas Talpade] is petrified of everything and everyone. So much so that he's labeled 'Bakri' by the entire village. Son of David [Om Puri], Johny does nothing other than buying lottery tickets every week. The only thing going in his life is his love for Maria [Madhhurima], the daughter of the sworn enemy of David -- Peter [Paresh Rawal]. Armed with his tough-looking sons, Peter goes all out to make sure his daughter and Johny never marry, until one day, hope comes in the form a silent, strong but very hungry man, Sam [Nana Patekar].

Priyadarshan's comic entertainers have a similar template and KAMAAL DHAMAAL MALAMAAL is no exception. It takes off as a light-hearted entertainer and the comic doses, a few of them, are amusing. Unfortunately, in view of the fact that the film boasts of a powerhouse of talent and the fact that the man at the helm of affairs is Priyadarshan, one expects a lot of dhamaal, with several kamaal situations woven in the plot. But the kamaal and dhamaal are limited to the title, not the script or the performances by its actors.

While the first half has a few interesting episodes, but seems stretched, the second hour seems never-ending, with not much meat in the screenplay. Nana's past is as lame as the love story, while the enmity between Om Puri and Paresh Rawal appears fake as well. Even the drama that leads to the finale lacks the punch. In short, the screenplay is lackluster and uninspiring. There's nothing that stays with you once the movie concludes.

The film lacks the by-now-famous Priyadarshan stamp. One would expect Priyadarshan to return with a slam-bang entertainer, but KAMAAL DHAMAAL MALAMAAL is not in league with his earlier accomplished works. Priyadarshan's movies -- most of them -- lack a popular musical score, but one expects the music of KAMAAL DHAMAAL MALAMAAL to be pleasant, courtesy Sajid-Wajid, who are known for delivering chartbusters. However, the musical score is dull again.

With such extra-ordinary talent on board, one expects the performances to be top notch. Nana is wasted and so is Paresh Rawal. At least Nana gets ample screen time, but Paresh doesn't even get that. Om Puri is his usual self. The sole actor who stands out is Shreyas Talpade, who enacts the part of a loser with credibility. He's first-rate. Madhhurima hardly gets any scope.

Neeraj Vora provides a few laughs. Shakti Kapoor, Asrani, Razzak Khan and Pratima Kazmi are gap fillers. Rajeev Pillai, as Paresh Rawal's son, is perfect. Anjana Sukhani's song in the concluding stages seems forced.

On the whole, there's no kamaal or dhamaal in KAMAAL DHAMAAL MALAMAAL. This one's a dud!

Ratings - *

Source - www.bollywoodhungama.com

It actually transpired in 2008 in Nebraska in the United States. A Senator filed a lawsuit against God, seeking a ruling against "God's harmful activities". The grievance got instantly dismissed by the court because God could not be notified for the lack of a proper address.

Much earlier, in 2001, in an Australian movie THE MAN WHO SUED GOD, starring Billy Connolly and directed by Mark Joffe, a fisherman defies an insurance company which rejected compensation for a destroyed boat, since, the insurance company claims, it was damaged due to an 'Act of God'. Distressed, the fisherman files a claim against God, naming church administrators as ambassadors of God and thereby the respondents.

And now we have our very own Kanjibhai [Paresh Rawal], a businessman, filing a lawsuit against God and challenging the insurance company, which refuses compensation for a destroyed shop because of an earthquake, since, the insurance company argues, it was destroyed due to an 'Act of God'. Troubled, the businessman files a claim against God, naming various godmen or dharmagurus as delegates of God and by this means, the respondents.

Be cautioned! Paresh Rawal brings up sensitive issues in OMG - OH MY GOD!, discussing the Almighty and godmen. In fact, he mocks at the malpractices of phony godmen, takes pot-shots against superstitions and the unfounded rituals that we sightlessly pursue and hits out at the money-making industry that religion has developed into in the present day. Chances are you may find his sarcastic and scornful statements offensive.

Also, a graceful silk dhoti, gold circlet/headdress and jewel-studded ornaments… that's the way God was depicted in most Hindi movies of yore [YEHI HAI ZINDAGI]. But films like VAAH! LIFE HO TOH AISI! [2005] and GOD TUSSI GREAT HO [2008] made an exception, portraying God in a modern avtaar, like the Hollywood movie BRUCE ALMIGHTY [2003] did. Now Akshay Kumar appears elegantly dressed in formal suits and designer outfits, depicting the role of Lord Krishna in OMG - OH MY GOD!.

OMG - OH MY GOD! is an adaptation of the enormously admired play 'Krishan Vs Kanhaiya'. For those who have viewed the play, get ready to be surprised by some fresh sequences/episodes that have been integrated in the movie. But those who haven't watched 'Krishan Vs Kanhaiya', then watching its film interpretation should be a fine experience. It has all the elements that make a movie work: an interesting premise, amusing episodes and an underlining message that settles with you.

Kanji Mehta [Paresh Rawal] is an atheist, who runs an antique shop. For him, God and religion are nothing more than a business proposition. He purchases idols of God and sells them as antique idols at double or triple its original price. His wife, on the other hand, is a devout believer.

When a slight tremor of an earthquake shakes the city, it causes the destruction of only one shop in the entire city -- Kanji's shop. The insurance company invokes this act of God and promptly rejects the claim. Frustrated, and left with no option, Kanji decides to file a case against God on the premise that if God is responsible for his loss, then it is God's responsibility to compensate him for his losses.

Kanji sends legal notices to the various high priests and heads of various religious sects. In the court, Kanji argues his own case, not because he doesn't trust any lawyer, but because it's difficult to find a lawyer who is willing to put God on trial. The proceedings begin. An agitated crowd gathers outside the court premises and upon sighting Kanji emerging from the court, run to attack him.

Just as Kanji begins to lose ground, a man enters... riding a bike. He swoops Kanji off the road straight on his bike and speeds off. The man introduces himself. His name is Lord Krishna... the God.

OMG - OH MY GOD! carries a social message, a significant one, but the best part is, it does so without losing the wit and humor. Most importantly, it doesn't get preachy, nor does it deviate into the sermonizing mode. The film demonstrates Kanji as a nastik or a non-believer in God at the very outset, who, paradoxically, uses religion to run his business. The episodes in the first hour raise a chuckle, in fact you wear a smile ceaselessly. The turn of events in the latter part gives the film that extra sheen, thus raising the bar. The courtroom drama is transfixing and the underlying message that God dwells within us is profoundly heartwarming.

Director Umesh Shukla keeps you involved in the on-screen happenings, courtesy an absorbing screenplay. Also, Umesh's choice of actors for supporting roles adds a lot of sparkle to various sequences. On the flipside, the film is stretched in the second half [more towards the final stages]. Also, the execution of a few sequences is plain ordinary. To cite an instance, the introduction of Akshay could've been more dramatic and spectacular.

OMG - OH MY GOD! is the cinematic adaptation of a play, but in keeping with the splendor of Hindi movies and the requirement of the script, the sets/production values [right from Kanji's shop to his Bhuleshwar home to the courtroom] are most appropriate. There's not much scope for songs in the movie, but the 'Go Govinda' song is full-on energetic.

Akshay Kumar and Paresh Rawal -- this is a deadly combo when it comes to satirist flicks. The duo is by now famous when it comes to keeping the audience in splits with their faultless humorist timing. Paresh Rawal is acknowledged as a supremely accomplished and consummate actor of our times. The veteran carries the film on his shoulders and executes this challenging character with candor. He's the show-stopper, the scene stealer. Akshay kumar is significantly present in the second half and is fabulous in a role that seems tailor-made for him. His sequences with Paresh contribute enormously to the delightful moments.

Mithun Chakraborty is incredible in a role that has negative shades. Om Puri is exceptional in a cameo. Mahesh Manjrekar is effective. Govind Namdev leaves a strong impression. Nikhil Ratnaparkhi is satisfactory. Murli Sharma and Poonam Jhawar are alright. Sonakshi Sinha and Prabhu Dheva sparkle in a song.

On the whole, OMG - OH MY GOD! is a thought-provoking adaptation of a massively successful play. A movie tackling a sensitive and an untouched subject matter, it will find its share of advocates and adversaries, but the social message the movie conveys comes across loud and clear and that's one of the prime reasons why OMG - OH MY GOD! becomes a deserving watch.

Ratings - * * * 1/2

Source - www.bollywoodhungama.com

Actress Aishwarya Rai's daughter Aaradhya Bachchan will turn one year old on November 16. The whole world has been eagerly waiting to see her face for the past 10 months. The Bachchans have closely guarded her looks. But Pinkvilla has unleashed the first photo of the Beti B on the internet yesterday.

The website claims that the picture of Aishwarya's daughter Aaradhya was snapped at the Mumbai International airport, while they were leaving for Chicago on Monday, September 17. Ash was looking stunning in her black attire. As usual, she was trying her best to hide Aaradhya from all the paparazzi.

But alas! this time Aishwarya Rai could not hide her face completely. A photographer of Pinkvilla has managed to click a couple of pictures of Aaradhaya when Ash unknowingly loosened her tight hold on her head. The website has uploaded two photos of the baby with her mother and they do not seem to be morphed as it used to be in the past. They look real stills of Aishwarya and Aaradhaya.

However, Abhishek Bachchan is busy shooting for his upcoming movie Dhoom 3 in Chicago. Aishwarya Rai and her daughter Aaradhya have joined the actor on Monday. They will be with him until he completes the shooting schedule there. Amitabh and Jaya Bachchan will also join them.

Madhur Bhandarkar held a special screening of his upcoming film Heroine starring Kareena Kapoor. The screening was specially arranged for superstar Salman Khan, Salman's family and veteran actresses. The screening of Heroine, produced by UTV Motion Pictures and Bhandarkar Entertainment, was held at Ketnav in Mumbai.

Madhur Bhandarkar's wife Renu played the perfect hostess at the special screening of her husband's latest film Heroine. Veteran actresses like . Asha Parekh, Sadhana, Waheeda Rehman, Shammi Aunty were there to see Heroine. Also, Salman Khan's father Salim Khan, his mother Salma Khan, step mother Helen and sister Alvira Khan (married to actor/ filmmaker Atul Agnihitri) also attended the special screening of the movie Heroine. Interestingly, Salman Khan's ex-girlfriend also accompanied Salman khan and his family to the screening.

Heroine is the story of an actress and her journey towards stardom. It is said that the movie is based on the real life incidents of Bollywood actors. The movie stars Kareena Kapoor in the lead role.