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14th October 2008, 05:44 |
#16
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Mania Member
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User comments from Imdb.com
Author: bartman_9 from Belgium All those who are sick and tired of the tepid Nora Ephron type of ‘romantic comedies' that Hollywood keeps churning out, need to see Raja Hindustani. This is a movie not afraid of great feelings and great gestures, a movie not about love and romance, but about Love and Romance. Objectively speaking it may be full of flaws, from the clumsy directing to the nauseating overacting of the comic-relief characters, but the romance between Raja (Aamir Khan) and Aarti (Karisma Kapoor, Raj's grand-daughter) engrossed me in a way few other cinematic romances ever have and while the movie concludes with what must be the corniest scene imaginable, I must confess I was moved. It may be a bad film, but it's one hell of a great movie. Author: sharmakarma *** This comment may contain spoilers *** This film has all the usual masala elements of Bollywood - the fight scenes, the comedy etc - that we know and love AND one of the great erotic moments of Bollywood. Karisma Kapoor plays the sophisticated bombayite rich girl and Amir Khan the poor man, a taxi driver, besotted with her. They make a great pairing, Kapoor adorably cute and highly attractive (if not classically beautiful in an Aishwaira Rai sense). Khan a fresh-faced young guy and the ideal lead. Most Bollywood movies avoid kisses or they're 'blink and you missed it'. I have watched dozens of Bollywood movies and have never seen a kiss like it...it goes on...and on. The first 45 or so minutes of the movie is a slow burn buildup to the kiss. By the time the kiss comes Karisma Kapoor has teased Amir Khan almost beyond endurance with her coquettrey, in a variety of sexy outfits, like the time she goes shopping in town and changes into a red micro-mini dress and, seeing his embarrassment at not knowing where to put his eyes, teases him saying "You don't like my dress, my dress is very nice". The kiss when it comes is incredibly long ... it times out at around two minutes! For my money it's one of the great erotic moments in all of Bollywood. Author: abdullah-5 from Canterbury, New Zealand This has got to be one of the greatest Indian movies you will ever see. Yes, some of the acting is over the top, the first 15 minutes of the film drag before the story kicks in and sure, some points are laboured for Western audiences. However, petty criticisms aside, I keep coming back to this flick year after year as my all time favourite Hindi language film (after Khuda Gawah perhaps). Karishma Kapoor in particular is a real treat to watch - beautiful and intelligent, and above all a very talented and convincing actress. I am genuinely curious that such a breathtakingly gorgeous lady did not make an effort to enter Hollywood or the English language movies at all. Perhaps the most outstanding feature of the movie is the fantastic music. Catchy and hypnotic to the point where you cannot really ever forget the main motifs and themes. I can guarantee that even if you don't like the film that much the song & dance numbers will either enchant or entrance. You will never in your lifetime forget the gypsy dance number. Forget the art house stuff and enjoy pure Bollywood at its best. Author: guerraroberto2 from Peru *** This comment may contain spoilers *** This is one of the best films I have ever seen. I liked it a lot. I is plenty of good acting roles, music, dance; and the most important i think: "sense", "romance" and "dream". It is true that the film remains to 90s, but yesterday i saw for the first time, and the history was not so far for me. I enjoyed everything. I fell in love Karisma Kapoor again, she is a tremendous actress, her eyes expresses all the history needs. Aamir Khan is a classic actor, the serious and comic scenes are done perfectly by him. What to say about the music? i loved it. PARDESI PARDESI, is my best one. This film, these actors and this music won the film fare awards in 1997. Raja Hindustani is one of that films that will remain in my mind and memory, always coming to give me a good remember. Many greeting from my beautiful Peru. Atte Roberto Guerra. |
14th October 2008, 05:52 |
#17
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Mania Member
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Zubeidaa (2001)
Cast: Karisma Kapoor, Rekha, Manoj Bajpai Director: Shyam Benegal Reviewed by: Anish Khanna Reviewer's Rating: 9.0 out of 10 Rated by: 1839 unique users After "Fiza", the semi-autobiographical story of Khalid Mohammed, the writer presents his new offering - the tale of his mother - "Zubeidaa". This would definitely qualify as one of those many instances where truth is even stranger than fiction. The story of the actress who marries into royalty and dies rather prematurely is still shrouded in mystery, and though Mr. Mohammed does not attempt to shed light on the cause of her demise, he elucidates the circumstances surrounding the tragedy - leaving the audience to ponder over a life gone wrong. The film tells the story of a film journalist´s search for the truth that is his mother. Zubeidaa (Karisma Kapoor) is born into a Muslim film family that looks down upon their daughter as an actress. Her father (Amrish Puri) can have an affair with a leading actress of the studio, but he strongly objects when he catches his daughter doing a banjaran dance number for the man that buys the studio from him. Zubeidaa is then forced into a premature marriage with her father´s best friend´s son. She quickly becomes pregnant, and even as she delivers - a family feud errupts and her father decides that she must get divorced. Zubeidaa survives this trauma by finding solace in Rose, her father´s socialite/actress mistress. Rose takes Zubeidaa to a polo match where the young lady meets the royal prince - Victor (Manoj Bajpai). A romance quickly blossoms and Zubeidaa is forced to leave her child behind with her mother (Surekha Sikri) and move to a world of supposed freedom and royalty. After marrying Victor, Zubeidaa meets Mandakini (Rekha), Victor´s first wife who tries to teach Zubeidaa the etiquette of a princess. Zubeidaa immediately objects to a structured life, something she thought she had left far behind. Her loneliness and jealousy grow deeper when she sees Victor favoring Mandakini. When the threat of losing his kingdom to the new Indian government arises, Victor goes on the campaign trail - and takes his Hindu wife with him over his Muslim consort. Zubeidaa decides to interrupt this endeavour and unfortunately it leads to her downfall. The narrative style is particularly interesting in that the film constantly jumps back and forth between the past and present. At one point we see the glamour and beauty of Rose, a famous film actress, while in the very next scene we see an elderly, lonely alcoholic who passes her time talking to her cats. The flamboyant dance director (Shakti Kapoor in a great cameo) later becomes a bizarre slumdweller. The wise and beautiful Mandakini forever remains a decoration piece in her palace. And the periodicity of the old time is aided by brilliant art direction, costumes, hairstyles, and of course - perfect music (A.R. Rehman). continue... |
14th October 2008, 05:52 |
#18
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Mania Member
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The greatest strength of the film is simply Karisma Kapoor. Interestingly, the real life Zubeidaa is most famous for acting in the early talkie "Alam Ara" (1931) with Karisma´s great-grandfather Prithviraj Kapoor. Karisma breathes life into the child-woman Zubeidaa in a way that I can´t imagine anyone else doing. This is not an easy character to portray. At times her performance calls for extreme restraint while at others she is allowed to display her fiery histrionics. And Karisma meets the challenge head on. If "Fiza" might win her the critics´ awards for last year, "Zubeidaa" just might do the trick this time around. Rekha, for her part, looks gorgeous and plays her character with enough ambiguity so that we constantly wonder about Mandakini´s intentions. Manoj Bajpaye comes off in a similar manner, more so because his character seems to be far less developed than the other leads. The film is not without its flaws, though. Shyam Benegal´s direction is very intelligent, but at times the action moves so swiftly that we almost feel as if we are watching a documentary. The second half of the film is about emotion but the first half is mainly exposition. A big flaw in the story itself is that it presents Suleimaan, Zubeidaa´s father, as a control freak, but when she decides to leave her child and family to marry a Hindu prince, he seems to disappear from the story. Doesn´t one think that he would stop the wedding? This all aside, Zubeida is still great cinema. This is the kind of film that stays with you long after it is over. To entertain and provoke thought simultaneously is no easy task. And though the film never answers the question as to why Zubeidaa dies - I´m sure that each person walking out of the film will come up with a theory of his own. I know I have mine. http://www.planetbollywood.com/Film/Zubeidaa/ |
14th October 2008, 06:08 |
#19
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Mania Member
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FYI, film Zubeidaa ini sudah banyak melanglang buana di international film festival dan sudah menang beberapa award..... pembuatnya Shyam Benegal, sutradara senior yg karyanya, Nishaant (1975) pernah masuk nominasi Golden Palm award di Cannes film festival 1976...
Shyam Benegal at The Del Mar India's master filmmaker discusses his 2001 hit 'Zubeidaa' By Richard von Busack Art and Artifice Bollywood glitz collides with indie substance in Shyam Benegal's 'Zubeidaa,' starring Karisma Kapoor. In India, they call it "parallel cinema." Parallel to the mainstream, that is, films engaging the problems mere entertainments try to ignore: poverty, prejudices, sexism and the dead hand of the past. In short, it means films that are not just the same old song and dance of Bollywood. Advertiser Links Foreclosures - Real Estate Investing Your Online Real Estate Investing Resource. San Jose.com Real Estate Relocating to San Jose or Silicon Valley? Let San Jose.com introduce you to some expert area real estate agents. The director Shyam Benegal has carved out a 30-year career for himself dealing mostly in parallel cinema. Sangeeta Datta, who authored the definitive study on Benegal, has said that the director "is the only man besides Satyajit Ray who has put Indian cinema on a world platform." This week, Benegal will be touring Northern California, spending Sept. 5-7 in Berkeley at Berkeley's Pacific Film Archives (PFA). He arrives here at the Del Mar Sept. 8 to screen his musical film Zubeidaa, starring Karisma Kapoor. (And because of his upcoming appearance at an internationally famous film festival, expect the West to hear a little more about Benegal this year.) In Santa Cruz, Sept. 8 is Shyam Benegal Day by mayoral proclamation. The local visit has been organized by Santa Cruz's Satyajit Ray Film and Study Collection, administered by UCSC professor Dilip Basu. A loose group of Indian film societies imported neorealist films from Europe to India in the 1940s. Satyajit Ray himself began a circle of foreign film aficionados in Calcutta. This was shortly before Ray created his Apu Trilogy, the peak of parallel cinema. Ray's Pather Patchali, Aparajito and Apur Sansar concern the journey of a young man from the country to the city. These three films are religious and they are sensual; they focus on the smallest matters and pull back to reveal the canvas of human migration. "To miss it is like missing the sun and the moon," said Akira Kurosawa. The ferment of the 1970s spawned a second wave of indie Indian cinema, of which Benegal is the best-known filmmaker. At a Benegal retrospective in London in 2002, the filmmaker's collaborator (and Indian minister of culture) Girish Karnad described the Hindi film industry of the '70s as "an absolutely closed shop, with doors and windows locked and bolted. No one was allowed outside." To what Karnad deemed an "obese and inward-looking" show business, Benegal came. And he stayed, making 21 features and two documentaries. He had a late start as a feature filmmaker, commencing his career at age 39. According to programmer Steve Seid of the PFA, Benegal had made some 600 TV commercials by the time he started making films. His résumé includes work on the Indian sequences in Powasqaasti, Godfrey Reggio's follow-up to Koyaanisqatsi; a 1984 documentary on Pandit Nehru; and a 53-hour made-for-TV history of India, shot on 35 mm film. In his later career, Benegal's impatience with the limitations of narrative film led him into the field explored by Iran's Abbas Kiarostami. Benegal began to create true-life stories, told within the frame of a filmmaker's journey to capture them. "Fearless Females" is the title of a three-film Benegal retrospective at the PFA. His first succès d'estime from 1974, Ankur (Sept. 5), concerns the adulterous cross-caste affair between a property owner and his poor and desperate housekeeper. Like Ray, Benegal avoids the easy melodrama of victim and victimizer, instead showing the social pressures that warp hapless people. Also like Ray, Benegal specializes in a cinema that shows women as underdogs who still have some bite. Bhumika (1977), playing Sept. 6, is a fictionalized adaptation of the scandalous life of Hansa Wadkar. Benegal describes it thus: Wadkar "was a Marathi film actress whose career spanned from the late '30s into the 1950s. ... And she wrote a superb autobiography ... which was also seminal as the most extraordinary feminist work to have appeared in India." In a cinema that customarily forbade depicting women drinking alcohol, Benegal was dealing with a veritable Amy Winehouse. The film flopped on its initial release and only succeeded later on rerelease. Wrapping up the retrospective is Zubeidaa (2001). It's based on the true story of writer Khalid Mohammed's struggle to recapture his mother, an ill-fated actress whose ambitions were crushed by an arranged marriage. Benegal's generosity can be gleaned from a story he told in 2002. Mohammed was a critic who despised Benegal's films before Benegal phoned him up and recruited him as a screenwriter. Zubeidaa may be this director's most accessible film to the West. It's a hybrid, in which the phosphorescent colors of Bollywood are met with a serious parallel exploration of modern memory in India. Movie Times SHYAM BENEGAL discusses 'Zubeidaa' with UCSC's Dilip Basu after a screening on Saturday, Sept. 8, at noon at the Del Mar Theatre, 1124 Pacific Ave., Santa Cruz. Tickets are $8 general/$7 students http://www.metrosantacruz.com/metro-...ambenegal.html |
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