Venkatesh: 2007

Wednesday, November 28, 2007

Monday, November 26, 2007

Mirror 1
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Sawariya (2007) Pre DVD-RIP

Sawariya (2007) Pre DVD-RIP
Screen shots:
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Athidhi (Online movie & Download)

Athidhi (Online movie & Download)
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Bayya movie download

Bhayya
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Sendspace Mirror:~
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OM SHANTI OM Download

Om Shanti Om (2007)
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(or)

180MB WMV version for low BW users
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Happy Days download

Happy days(new links)
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Direct download folder - You can use IDM and resume feature is also supported
Follow below link and login using username: directdown and pass: 123456
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Rapidshare
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Tuesday, November 13, 2007

Venkatesh new movie

Monday, November 12, 2007

Pawan Kalyan Has Sachin Tendulkar's Tennis Elbow!!!

PAWAN KALYAN has been creating a lot of sensations off-late for all the wrong reasons and other than CINEMA. But the latest revelation has been that the strapping band that he is sporting now-a-days on his right elbow is a TENNIS ELBOW!!! I think many of you would remember SACHIN TENDULKAR had a similar one and was in news for some time. So, how did PAWAN got this Tennis Elbow? Well, according to a popular website Telugulo.com, Pawan used to do farming activities in his free time at his farmhouse in Sankarpalli. According to them, while doing so... he must have used his right hand for plucking out the weeds to the extent that it gave him TENNIS ELBOW. And so following his doctor's advise, he is wearing a strapping. How ridiculous is that? I am not a medical expert, but heard that SACHIN got it because of his illustrious but punishing career. I wonder what must be the real reason behind this TENNIS ELBOW?

Sunday, November 11, 2007

Saawariya - Gone Case 1.5 Stars

First off, using the ever-fantastic words of Pete Townshend entirely out of context, The Kids Are Alright.

No, Ranbir and Sonam Kapoor -- megahyped bachchas sharing a surname but entirely different Bollywood legacies -- aren't, as the hype might have had you believe, the instant quick-mix superstars ready to take Bollywood into the next generation. He's occasionally likeable, she's undeniably attractive. And that's that. As said, they're alright.

The problem lies with their puppeteer, the all-conquering badshah of bluster. Sanjay Leela Bhansali [Images] takes Fyodor Dostoevsky's White Nights -- a stark, lovely story about romance born and rekindled over four nights -- and, picking out its barest heart, proceeds to smother it in mixed-up layers of trite melodrama. And money. And so this soft core, this tender tale, is hidden -- under several reams of indiscriminately wrapped silk and velvet, of loud noise and harsh light, of bewildering backdrops and the colour blue -- so deep beneath smug self-indulgence and a bizarre budget that you can't even hear the heartbeat anymore.

The story is simple: a minstrel, full to the brim with can-do enthusiasm, falls in love with a fair maiden. All would be well, except she is awaiting her faraway lover. Doggedly the singer tries to awaken her love, while she loyally stalks the bridge assigned to the some-night rendezvous. Over four nights, love, loyalty and longing are all born and questioned.

A still from Saawariya We're told, most redundantly, that this is a tale set in a different world. It is a fairytale realm reminiscent of the classic Prince Of Persia video game, with gondolas and prostitutes scattered around a wet Venetian nightmare. The architecture is whimsical, as is the generous use of flickery neon. Clock towers with hyperactive needles coexist merrily with sprawling mosque courtyards and numerous tiny cobalt by-lanes lead arterially out of the central tiny bridge area, most such roads seeming to lead to the exorbitantly built brothel or the one-resident-only guesthouse. It sounds fantastical and brilliant, and could certainly have been, except it doesn't really have a concept. Or a point.

Thus Omung Kumar gets to play madman art-director, Bhansali letting him go wild and asking only that he be theatrical and sporadic. 'Just paint everything blue and leave lots of room for Raj Kapoor film references,' the brief could well have read. And so runs the gamut, from azure to cerulean, with walls and pillars and peculiar choices of artwork.

And while dollars are positively dripping from the scenery, nothing is spectacular. Remember MF Hussain's Gajagamini? Now replace the high concept in that film with a big budget. The result is Saawariya [Images], an underwhelming waste. Thousands of Bollywood songs are shot with madcap little unreal backdrops; Bhansali has just used one of those for his entire film. One imagines it'll be a while before Sony Pictures grandly bankrolls another Indian project.

Black, flaws and all, was very well shot. Here one can imagine cinematographer Ravi K Chandran stifling a yawn. And if, for God's sake, you're building an absurdist city-of-many-cities, at least leave physical room for some mindblowing camerawork. There are a few -- four, count them -- well-executed shots in Saawariya, most of them simple cutaway shots. What in the world has been thought-through in this movie?

Not the characters, certainly. Ranbir's Ranbir Raj tells Sonam's Sakina that she knows everything about him: his name, where he lives, what he does. One assumes that is all there exists in their character sketches as well. Oh, and the boy is told to be restless, the girl, patient. Outside of that, there is no depth, despite the actress' limpid eyes and the actor's sometimes cheeky grin. These are cardboard characters, lazily written and ineffective. In a stylised world impossible to relate to, at least the protagonists should have been flesh and blood.

Instead, the director hams.

Sanjay Leela Bhansali needs to be thwacked with a subtlety stick, much like Sakina messily beats carpets hanging around her. Everything is overblown and hyper-real in the director's head, and there is no room for soft reality. The characters populating his movie, therefore, cannot sob without hysteria or laugh without sliding off a chair. A glare is held for ten minutes, a coy glance for five. And the dialogue is immeasurably grating, making the film's sub-130 minute length seem twice as long.

It is a testament to the star-kids, then, that they've gamely gone through these dizzying motions without afflicting career hara-kiri. Ranbir, playing a character labeled over-lovable from start to scratch, is often painfully exaggerated and moronic, but he does salvage a few moments of charm where you feel for him -- even if only sympathy at his debuting in this production. There might be hope, sure. But then there's that towel song, the most homoerotic picturisation in Hindi cinema, which could likely take a few years to live down.

The gorgeous Sonam Kapoor [Images] is armed with a great laugh -- almost as infectious as her father's -- and one wishes she was allowed to simper softly, instead of having a clearly overdubbed plastic giggle plastered onto her. She has the worst lines and moments in the script -- save for Rani Mukerji's [Images], where Bhansali clearly cashed in all his Black chips -- but there is a merciful agility to her movement, a fluidity to her style. It is a character impossible to like, and yet she warms you up to her.

The only times in the film the kids really, really work are when the tension abruptly breaks and they burst into laughter. It is almost as if -- or, possibly, because -- the director yelled cut and two old friends dropped the painful masks and chilled. God, how much better a Jab We Met [Images] style debut would have been for these two.

A still from Saawariya It's hard to fathom what Bhansali expects anybody to like in this film. With close to a dozen songs assaulting us once every seven minutes, on average, there is no room for the narrative to flow. The background score is deafening, and the writing is so emotionally manipulative -- wait for the way Ranbir convinces Zohra Sehgal to let him bunk with her -- it makes you want to pen down an alternate script in immediate protest. And, despite conjuring up moments with legends like Sehgal and Begum Para -- irresistible when devoutly mouthing Mughal-E-Azam dialogues -- these are too few and far between. Are we actually supposed to enjoy Ranbir doing dad Rishi's rabblerousing lines from Karz, or laugh at Rani's pathetic half-malapropisms? Please.

What's the deal, Mr Bhansali? This isn't a Luchino Visconti remake, as many had feared, but a bizarre reworking, an overbaked version of a very simple romance. Dozens of dancing prostitutes do not a Federico Fellini make, sir.

This film opens with Ranbir, off-screen, persuading a whore to listen to two lines of song. She deigns to listen and he picks up his blue six-string. And instead of an eager-to-please youth fumbling with a scratchy guitar, we get -- after a sudden title screen with the star-kids' name, a la Rajnikanth [Images] -- a mega song-and-dance production, a full-blown intro. No wonder the heartbeat is muted.

As Gulabjee, lady of the night, would say, I don't likes.

Thursday, November 8, 2007

OM SHANTI OM(Movie Review)

Rating : (4/5)

Cut the crap, cut the gyan-baazi, cut the will-it-won't-it work naatak. Shah Rukh Khan and Farah Khan's OM SHANTI OM is a true-blue masala entertainer. If MAIN HOON NA was a chauka, this one hits a sixer!

Wait, a word of advice to all netizens/readers across the globe. Don't, for God's sake don't, raise exclamations like kab?, kyun? kahan? as OM SHANTI OM begins to unravel. This is atypical Manmohan Desai film presented in a novel avtaar by Farah Khan. It's definitely not for pseudos or advocates of arthouse cinema.

Now let's clear some myths surrounding OM SHANTI OM. Is it the 2007 adaptation of Subhash Ghai's immensely likable reincarnation film KARZ? Does it have traces of KUDRAT? Or MADHUMATI? Or MILAN? Or KARAN ARJUN? Hold on, there's a dash of KARZ, a bit of KARAN ARJUN, a sprinkling of KUDRAT, but beyond that it's a film that makes you nostalgic about 1970s Bollywood.

To sum up, OM SHANTI OM is paisa vasool entertainment. We haven't seen SRK in a hardcore masala film since quite some time. He had drifted to other genres, which proved his range as an actor of repute and cemented his status further. With OM SHANTI OM, he gives back to the audience what he himself grew up on -- a thorough entertainer that will have the audience thirsting for more.

This Diwali, have a blast!

OM SHANTI OM tells the story of Om [Shah Rukh Khan] and Shanti [Deepika Padukone]. Om is a junior artist in the 70s. Shanti is the reigning superstar. He is her biggest fan. He is in love with her. Om dreams of being a superstar, but an incident changes his life forever.

Om dies in a mishap, but is reborn into the present day. He attempts to discover the mystery of his demise…

The general feeling is, Farah Khan has remade Ghai's KARZ from Frame A to Z. False! There're similarities, but it's not a rehashed version of Ghai's film. For, OM SHANTI OM takes you by complete surprise at several points.

The first twist in the tale [Arjun - Deepika's heated confrontation, with SRK listening to this important conversation] comes as a bolt from the blue. The second jhatka comes slightly before the intermission, when Arjun takes Deepika to the set of his film 'Om Shanti Om' and the entire episode that follows, right till the intermission, is spellbinding. That's a brilliant stroke from the writing [screenplay: Mushtaq Shaikh and Farah Khan] as also the execution point of view. When the opulent set is set to flames, it leaves you wide-eyed and awe-struck. Such is the impact!

The post-interval portions only get better and better! If the initial portions are laced with humour [the premiere of 'Dreamy Girl', the Manoj Kumar episode, Ghai directing Rishi on 'Om Shanti Om' song, et al], the second half moves into a new zone completely.

It's punar-janam now, but thankfully, there're no lightening, no fireworks, no zooming of the camera on the idols of Gods. The drama builds up gradually. The voices that SRK keeps hearing, the 'fire' soon after the 'Dard-E-Disco' track, the mother [Kirron Kher], an old lady now, chasing Om's car [reminds you of Raakhee of KARAN ARJUN], the flashes of SRK's earlier birth while receiving the Filmfare Award -- the incidents that make him realize that his life was cut short in his earlier janam have been well structured.

When Deepika re-emerges as well, the viewer is confused, but the mystery is resolved towards the end, which, again, takes you by complete surprise.

Given the fact that OM SHANTI OM is a Manmohan Desai kind of a film set in the present-day, it would be foolhardy to ask questions, raise eyebrows and look for logic. But the second half could've been crisper [length: 18 reels/2.46 hours], although Shirish Kunder's editing is perfect.

Farah knows what her priorities are and most importantly, knows exactly what her target audience is. The execution of a number of sequences clearly shows Farah's growth as a storyteller. Mushtaq and Farah's writing works because the writers pull out several surprises in those 2.46 hours.

V. Manikanandan's cinematography captures the gloss and grandeur to the minutest. The opulent sets [Sabu Cyril] deserve distinction marks. Dialogues [Mayur Puri] are witty and do raise a chuckle at several points. Background score [Sandeep Chowta] is effective.

Vishal-Shekhar's music is first-rate. The score is in sync with the content of the film and what accentuate the goings-on are the choreography and execution. Although every song is visually enticing, the 21-star track as also 'Dard-E-Disco' will have the masses going into a frenzy.

Now to the performances! SRK proves his supremacy yet again. If you thought that playing to the gallery came easy to certain actors only, watch SRK spin magic in OM SHANTI OM. He's magnificent, the star attraction, the soul of this film, the true baadshah.

Deepika has all it takes to be a top star -- the personality, the looks and yes, she's supremely talented too. Standing in the same frame as SRK and getting it right is no small achievement. She comes as a whiff of fresh air!

Arjun Rampal is a complete revelation. Cast in a negative role this time, he enacts his part with panache and style. Shreyas Talpade is another surprise. A complete natural, he stands on his feet all through, not getting swayed while sharing the screen space with the topmost star.

Kirron Kher is superb as the over the top mom. Javed Sheikh is alright. Bindu adds to the funny moments.

On the whole, OM SHANTI OM is Bollywood masala in its truest form and also, at its best. At the box-office, the film will set new records in days to come and has the power to emerge one of the biggest hits of SRK's career. Blockbuster hit!

Tuesday, November 6, 2007

Statistics prove wide gap between OSO & Saawariya

Om Shanti Om’ v/s ‘Saawariya’
‘Saawariya’ v/s ‘Om Shanti Om’

A battle has reached the war zone. And one always thought that movies were means of entertainment!

Entertainment it surely is, especially with Diwali weekend promising to bring millions of Bollywood lovers into theaters. Still, even with the cry of battle resonating to deafening degrees, it is difficult to ignore the talks amongst one and all speculating, deciding and even passing judgments around:

Which movie should one watch first?
Which movie is going to be the better of two?
Whether one or both the movies may turn out to be a damp squib?
Which movie would provide wholesome entertainment?
Which film would warrant repeat viewing?
Which of the three debutants, Ranbir Kapoor, Deepika Padukone & Sonam Kapoor, would make most impression?
Whether Shahrukh Khan would make mincemeat out of the newcomers?
Whether Farah Khan’s ‘masala’ offering would upstage Sanjay Leela Bhansali’s cinematic vision?
Which movie would see a wider theatrical release?
Which movie would take a bigger box office opening?
Which movie would eventually turn out to be the bigger box office earner?

etc. etc.

Number of questions. All speculative answers. No one outside the makers and their closed associates has seen any of the two films. No one would see them till the makers want them to. Still, everyone is having his/her own opinion.

Opinions, which are based on promos, trade talks, newspaper columns, celebrity interviews, office cubicle talks, local train hustle-bustle, idle coffee shop conversations, kitty parties, blogs. The list is endless. The talks centered only on one topic - OSO v/s Saawariya.

With an aim of putting all speculations to rest, bare facts and figures based on 3 vital parameters –

Awareness and Popularity
Fan following
Web pages/videos

Of course, these facts and figures are based on information as collected from the world of web; hence one can expect that the indications would be primarily for urban centers. However, this is what matters when one talks money because urban centers are where the multiplexes are and multiplexes are where the moolah is! Of course the single screens in B and C centers matter too but the percentage contribution is relatively smaller!

So tighten your seat belts as we take you through a journey that lays down raw facts, as verifiable on internet, and indicates which way is the tide turning!