I loved this charming sweet film! Ayushmann Khurrana and Parineeta Chopra were both great in this best friends to lovers romance. First time director Akshay Roy did a fantastic job, and I can’t wait to see more films by him. I loved how he gave a wink and a nod to the Manic Pixie Dream Girl trope, and even directly referenced Natalie Portman in Garden State.
I went to see Sarkar 3 without seeing the first two films in the series beforehand. Margaret of Don’tCallItBollywood clued me in to the backstory from the previous films, which are heavily influenced by The Godfather films. I went to Sarkar 3 because I wanted to see Amit Sadh in this kind of role. I loved him in Sultan, and he was fantastic in Running Shaadi earlier this year. Here’s the video review I did for Bollyfools:
Under two hours is just not enough time for all the things this film wanted to be and do. I have been anticipating Noor for months and months, mostly because I heard comedian Kanan Gill was going to have his debut in a Bollywood film. If you’re not familiar with Kanan Gill, he has a hilarious Pretentious Bollywood Review Youtube channel, and is extremely amusing on Snapchat [@kanangill].
Kanan Gill plays the character Saad from the book Karachi, You’re Killing Me by Saba Imtiaz who is the childhood best friend of Sonakshi Sinha’s Noor (Ayesha in the book). There are films that have improved upon the source novel, but Noor is not one of those films. Karachi, You’re Killing Me at first seems like a Bridget Jones knockoff, but the unique thing about it is the city it’s set in — Karachi, Pakistan! In the book, Ayesha is a journalist with an incompetent male boss, and she covers everything from terrorist bombings to fashion shows. It gave you a true sense of her life in the city in all its variety — how she had to get her liquor from her bootlegger — and how she loves the city, but also yearns for an international life working for CNN. The novel reaches a real peak near the end when she and her boss are caught in a terrorist bombing, and her calm quick thinking saves her boss.
Noor the movie has some of the same fun light tone in the first half. Like Bridget Jones, Noor obsesses about her weight, snacks on junk food, drinks a bit too much, and feels that attractive young men are merely an “urban legend” in Mumbai. Changing the film’s setting to Mumbai just inherently takes away what was so unique about the novel. But I think Sonakshi does a great job still in playing Noor. She’s a modern young woman journalist, who cringes at doing a Sunny Leone interview when she really wants to be doing SERIOUS work.
The film keeps her Three Musketeer friendships with Saad (Kanan Gill) and Zara (Shibani Dandekar). I loved Noor’s friendship with club DJ Zara and I wish there had been a bit more of their interactions, but again, this film was really short for a Hindi film. Noor keeps the seemingly distracted but actually very supportive relationship of Noor’s widowed father. I liked the actor who plays Noor’s boss, Manish Chaudhary but they made him a sort of Lou Grant type. This was one of my biggest problems with the film adaptation because in the book, the boss is a total incompetent, and Ayesha’s mentor is another woman in the news business. Missing that strong female role just erases a lot of the feminist message of the book. If the boss is going to be a fusion of both book characters — then make it a woman for cripes sake!
Not only does Noor change the setting to Mumbai but the serious issue that Noor the journalist covers is now organ trafficking. They keep the romance with the sexy photo journalist, Purab Kohli as Ayan Banerjee. She gets betrayed in her career for the scoop she has, and that leads to Saad (Kanan) taking her away to his home in London to get her away from the danger she’s in.
Film stylist and costumer – I love you for giving Kanan this sweater/scarf look!
Kanan plays the devoted best friend with his signature snarky humor very well. You could see the loving looks he gives to Noor who seemingly never catches on. One minor quibble with the film adaptation at this point in the story is that Ayesha sees that the first photo prominently displayed in Saad’s apartment is one with her – not with any of his many girlfriends. That little realization moment is missing, but I can forgive because Kanan is so charming in these scenes.
This second half of the film gets super serious because of the organ trafficking plot with Noor’s maid’s brother. The actress playing Noor’s maid is one of the best things about the film. She will break your heart.
But I found the whiplash change in tone a bit too much. I think the film would have succeeded more if it had stayed more in the lighter rom com mode. Maybe if the film had been a more traditional 2 and half or three hour length, it could have incorporated this dramatic change in tone better.
Sonakshi did a good job as Noor, and I’m glad she’s getting these starring female centric films, but I wish she could get ones with better scripts. Kanan Gill did very well for a debut, especially in the lighter moments. I hope this leads to more roles for him.
The director, Sunhil Sippy, is my biggest problem with Noor. The direction was at times amateurish and horrible. Scenes felt awkwardly filmed or dragged on much too long — like Noor’s tearful, “Mumbai, you’re killing me!” diatribe monologue that miraculously goes viral online. I know the source material could have been a really great film, and that’s why I left the theater disappointed. It’s not Sonakshi’s fault, or Kanan’s or Purab Kohli’s. The fault lies squarely on the shoulder of the director. Sonakshi and Kanan deserve a better script and film. The last epilogue scene over the credits where Saad awkwardly proposes to Noor was adorable. Give us more of that!
The end credit song feels just completely tacked on — wait, we need a Badshah rap and throw Diljit Dosanjh in too, for no reason at all.
I wouldn’t run out to the theater to see Noor, but it would be fine to stream when it becomes available online for the a timepass. It tries to have a feminist message, with a modern Indian career girl at the center, so kudos for that at least.
Margaret of Don’t Call It Bollywood let me know that I HAD to go see Running Shaadi which I don’t remember hearing anything about before. I went in barely glancing at the poster, and not even seeing a trailer. I haven’t yet seen Pink, so this was my first Hindi film with Taapsee Pannu. (Just looking her up, I forgot she was in the wonderful Telugu film Mr. Perfect with Prabhas, as that movie is all Kajal to me.) But you can’t imagine my delight that the lead male actor in Running Shaadi is Amit Sadh.
When I saw Sultan last summer, I was really taken with Amit Sadh, who plays the MMA promoter who convinces Salman to come out of retirement. I remember thinking to myself, Who is that? I want to see a movie with him as the lead! Wish granted! Evidently, he was also in Sonakshi’s Akira, which I will be seeking out directly, and I had forgotten he was in Kai Po Che.
Running Shaadi reminded me in some ways of Vicky Donor, in that it’s an under the radar movie that deals with some serious topics in an amusing and ultimately very sweet way.
I was completely blown away by what happens in the very first 5 minutes or so of the movie. I have never seen a rom com start this way, but I won’t spoil it for you. Just know that the film begins with Amit working for Taapsee’s father in the family sari shop. Taapsee is in pigtails and her high school uniform and goes to Amit with an impossible situation. He is the only one she trusts to get her out of this jam.
Taapsee gives Amit a sweet kiss on the cheek afterwards, and you can just see how dumbstruck he is. They start dating at that point, but once she goes to college, he feels a gulf coming between them as she gains new sophisticated friends. He constantly thinks that he is not worthy of her, as he is an orphan that her father took a chance on and gave a job long ago. It’s a familiar filmi trope, poor orphan boy in love with the rich girl, but I love where this movie takes it.
They break up and he impulsively calls his uncle and finally agrees to the arranged marriage his uncle has wanted with a young Bihari girl. He quits his job and has an idea to start a business helping couples run away and marry the person they want, when their families are against it. He and his pal, played by debut actor Arsh Bajwa, start RunningShaadi.com (the .com was censored out constantly!) and they have to ask Taapsee for help as she has a credit card to secure the domain name.
They help out all sorts of couples, inter-religious, intercaste and even a same-sex couple. There is a wonderful undercurrent social message to this whole film, that of course love marriage is best, and the young people should be able to marry whoever they want. The schemes to help the couples get quite elaborate and amusing, but their “disguises” are pretty ridiculous.
Taapsee comes to Amit asking for his help for her own running shaadi. Amit asks who, and rejects that she’s joking when she immediately answers with you. Then she tells him she wants to marry her college classmate Shunty, and he demands that they meet. He goes through with the plan, and while they drive all night to the rendezvous point, Amit can’t help but look longingly at the sleeping Taapsee. She then reveals that it was all an elaborate ruse to force him to marry her. Zing! I loved this twist that she just takes her fate in her own hands, and forces the issue.
Her family chases after them, and the three of them are on the run. Taapsee gets injured and Amit is driven almost mad that he might lose her. He is so caring with her while she heals that I was ready to swoon. She goes out to buy condoms, and my jaw was about on the floor that that scene was in the movie. Fist bump up in the air for that touch!
But oh noes! Her family finds them again, and they must escape to Amit’s uncle’s, and that leads to dealing with the fact that Amit is still set to have his arranged marriage.
They figure out quickly that his intended bride doesn’t want to marry him either, and there’s an elaborate plot to give Amit his own Running Shaadi. When Amit and Taapsee finally are able to show each other how they feel, it was perfectly sweet, sexy and meaningful.
I absolutely adored this Rom Com. It was one of the best Hindi romantic comedies I have seen in years. I loved that it tackled some meaningful issues, and has a strong female lead who goes after who and what she wants. Taapsee wasn’t the best actress ever, but Amit Sadh was just wonderful in this. I cannot wait to see more films from him. This is a debut directorial film for former cinematographer Amit Roy. He also wrote the script which I thought was simply fantastic. Running Shaadi may exit quickly from theaters, but if you don’t catch it there, it’s definitely one to seek out on Netflix or ErosNow. Hindi movies with fresh actors can struggle to make a splash, but I will guess this film will gather fans over time. There was just almost no marketing for it, and the songs weren’t anything special to give it that pre-release push either. The film was only two hours and has just a couple of montage songs, and that was the only thing I had wished for — that it had more and better music numbers. I will definitely be buying this film on DVD to watch again and again.
I’ll be honest that I’ve been dreading OK Jaanu [OK Darling] because I love OK Kanmani so very much. I went to an A. R. Rahman concert in Chicago and I heard the song Mental Manadhil for the first time, and I was completely blown away. Rahman played this video while he sang the song, and I just had to see this movie.
OK Kanmani is a Mani Ratnam Tamil movie about two young people who are working in Mumbai, and thrilled to find another Tamil speaker. I didn’t know at the time that Dulquer Salmaan is actually from Kerala and known for his Malayalam films.
I’ve become like all those people in South India — the Southern original is so much better! There is an undeniable magic to the Mani Ratnam Tamil original. The chemistry between Dulquer Salmaan and Nithya Menen is amazing. And it’s one of my all time favorite A. R. Rahman soundtracks. I listen to it all the time. O Khadal Kanmani is the movie that started me on my journey of watching Malayalam films, because I just had to see what other films Dulquer and Nithya had done, which led me to Bangalore Days and on and on. It all started with the Tamil OK Kanmani, which I have watched multiple times.
So, I had trepidation about OK Jaanu. I like Aditya Roy Kapur okay, and Shraddha Kapoor. I saw Aashiqui 2, and they do have decent chemistry together. Then the Humma song came out, and I got excited. The song from this scene in the original movie is cute, but one of the weakest of the Tamil soundtrack. This is waaay sexier.
Then, something happened a week ago. My father became very seriously ill and he has been in ICU at the hospital for this entire past week. It’s been incredibly stressful, but he seems to have come out of the crisis. I’ve been exhausted and spending all my time at hospital with my parents. When I’ve had a moment to wind down, I’ve turned to Bollywood song videos as my sort of comfort food. And tonight, I decided I deserved a break, and went with a neighbor to OK Jaanu. It was just what the doctor ordered. It took me away from all my cares and worries for a few hours.
I think this is the best movie I have seen Aditya Roy Kapoor do. He was truly adorable. Because I know Dulquer’s performance in the original so well, I could tell when he was even trying to match Dulquer’s mannerisms, but he made it his own. Shraddha is no sparkling Nithya but she was good enough. Aditya was good in Aashiqui 2 and, not horrible in Fitoor (that movie had other problems), but I like him so much better quirky and cute like this than brooding and angry. I’m also one of the few people who liked most of Daawat-e-Ishq. (Not Aditya’s best look, but I still love this title song!)
The plot of OK Jaanu is basically identical to the original. Adi (Aditya Roy Kapur) is a young video game designer who has just arrived in Mumbai, and is staying in a room of the house of his brother’s former boss (Nasureedin Shah). Nasureedin’s wife has Althzeimer’s. Adi meets Tara and a torrid romance begins, but they both vow they never want to marry. He’s determined to move to the US, and she wants to study architecture in Paris. They convince Adi’s landlord to let them live in sin together in his room. All comes to a head when they both have to leave to follow their careers — will they choose love or their career? It does have a fantastic message that a girl shouldn’t have to give up her career for marriage — her career is just as important.
Some of what made the original special is lost in the Hindi translation. Part of what drew Adi and Tara together was that they were two Tamil speakers alone in the big city of Mumbai. That plot point is gone. Naseeruddin Shah is of course his excellent self, but I so adored the big hulking Prakash Raj, who so often plays the big villain, being the tender devoted husband to his ailing wife in the Tamil OK Kanmani. The sets are certainly bigger and more expensive looking.
One thing that is a welcome addition are the new songs. Enna Sona, sung by Arjit Singh is gorgeous, and the film turns black and white during this sequence as Adi is missing Tara while she’s away on a work trip.
My neighbor thought OK Jaanu was better than the original. But she doesn’t really speak Tamil (her husband does) and watched it without subtitles. She said Dulquer Salmaan’s accent was so thick she couldn’t understand him. The original will remain one of my favorite films, and if you live in the US, I urge you to watch it on Netflix. But, the Hindi remake is quite enjoyable. It’s partly my frame of mind with all I’ve been going through but, this movie allowed me to forget my troubles for a few hours. Thank God for Indian Cinema and that it is there whenever I need it. I told my husband what a comfort it is to me in times like this. I think I’m being more generous than some other reviewers may be, so sue me. It’s no hardship to watch Adiya being this adorable for a couple hours!
I love Ajay Devgn. Unabashedly love him. In Hum Dil De Chuke Sanam, I am totally Team Ajay. One of my Desi friends expressed amazement that I like Ajay and was looking forward to Shivaay, “What? He’s so ugly!” She’s still my friend even though I now wonder both about her eyesight and her mental acuity. He has superb screen presence and can actually act, but he just has an unmistakable swagger as an action star. The Shivaay trailer just blew me away. We’ve never seen this level of stunt work and action cinematography in Indian cinema. I had heard mixed things about Shivaay once it came out, but there was no way I was going to miss this film on the big screen.
With Shivaay, it’s almost like Ajay the director is trying to combine an action thriller like Taken with the emotion and family heart of Bajrangi Bhaijaan. The action sequences are fantastic, and really thrilling. They measure up to the quality of Hollywood films, and the Bulgarian scenery is just gorgeous.
I absolutely adored Ajay’s relationship with his young mute daughter. She was a terrific child actress. Did she have to be mute? — maybe that was a way to get around the plot point that she doesn’t look like her Indian father and the actress wouldn’t be able to speak good enough Hindi. As Margaret of Don’t Call It Bollywood points out, this is really a special father/daughter relationship on screen. It has nothing to do with a daughter leaving home for marriage, and we have an adoring single father.
Why did this film not touch me in the heart the same way Bajrangi Bhaijaan did? It has more serious peril with human trafficking by the Russian mafia, and a cute kid and all, I can’t quite put my finger on why it didn’t work for me. Shivaay was just that much darker and had few moments of lightness and fun. Ajay also didn’t have anyone supporting him of the quality of Nawaz or Kareena.
There was maybe too much time spent in this romance plot with Polish actress Erika Kaar, who does not have the acting chops of Kareena Kapoor Khan. The villains are also mostly interchangeable Eastern European bad guys. The big reveal of the ultimate bad guy mastermind was pretty predictable, and the final battle was pretty damn awesome. The title track by Badshah is great, but the rest of the music tracks also don’t have level of Bajrangi Bhaijaan’s soundtrack.
Ajay is a solid action director. I wish the script had been a bit better, and aside from the delightful child actress, the supporting players of better caliber to match Ajay’s intensity. I would still recommend catching Shivaay in the theater, because the action scenes look amazing on the big screen. Ajay’s showing the way — you can play a dad, and still have swagger and cool.
And wield wicked weapons like those rock climbing hooks!
Three and a half stars out of five for the great action.
Paheli, Shahrukh Khan’s 2005 movie about a ghost or spirit is one of my all time favorite Shahrukh Khan movies, even if it is not one of his blockbusters. It’s not a scary Halloween movie (like maybe Darr, which is more creepy than scary), but it does have a ghost! Paheli means riddle.
Fantasy film seem to be unusual in Hindi cinema, and in this film Shahrukh Khan plays both a number counting merchant husband, and a bhoot, or a ghost or spirit (sort of a genie, really) who takes his place. Rani Mukerji is the bride who captivates the Ghost, with Amitabh as a wise shepherd in a cameo. It’s a fable that is also about women’s empowerment, and the scene where SRK tells Rani he’s a ghost is one of my all-time favorites. She laughs at first, because it sounds ridiculous! But her real husband barely noticed her, and wouldn’t sleep with her on their wedding night, but this ghost is obsessed with her every since he saw her at the well he haunted.
He could have lied and just taken her in the guise of her husband, but he loves her enough to give her the choice. Swoon!
Rani and SRK have always had great chemistry, but man do they smolder in Paheli. Yowza.
The costumes are just stunning, and the music in the film is just fantastic:
Amitabh Bachchan has a fun cameo as the wise shepherd who must solve the riddle of the two husbands. Juhi Chawla, who co-produced the film, plays Rani’s sister-in-law whose husband (Sunil Shetty) had disappeared. Naseeruddin Shah and Ratna Pathak play puppet narrators and of course Anupam Kher is the father.
I love Shahrukh in double roles and these two roles he makes completely separate people. The husband is comedic and obtuse, and the ghost playful and sultry.
Plus, I love the idea of a ticklish ghost! Paheli has been overlooked but I love it. And I love its message of female empowerment and choice.
I realized that Ae Dil Hai Mushkil is actually the first film directed by Karan Johar that I have seen on the big screen. Sure, I’ve seen Johar/Dharma productions, like Kapoor and Sons, on the big screen in the two plus years that I’ve been watching Indian cinema, but this is the first totally Karan Johar film.
I went to the first day, first show, at my local theater and they were NOT prepared for the Diwali crowds. The theater was pretty full, and there was a long line at the ticket window. Interestingly, I was not the only non-Desi there. There were two women who were fans of Aish from Bride & Prejudice, but didn’t even know what the title of the film meant or who SRK is. (!!!)
This will be as spoiler free a review as I can make it. We know the film is about unrequited love. If you think about it, many of Karan Johar’s films are about unrequited love, be it from a lover or a parent.
Anushka and Ranbir meet when they are both fighting with their boyfriend/girlfriend. They kiss and Ranbir sweetly hugs her, and Anushka pulls away. “What kind of kiss was that? Save those kinds of hugs for your family!” There is no sexual chemistry from her side, but they are soul mates in every other way. They both love old 80’s films, quote dialogue to each other and sing old song lyrics to each other. I caught some of the filmi references (like them doing the Kuch Kuch Hota Hai finger to the noise bit), but there were many I didn’t catch. (Can’t wait for Margaret to do a full summary on Don’t Call It Bollywood where she can instruct me on all the ones I missed!)
We knew about the Shahrukh Khan cameo as Aish’s ex, but there are some other fun ones. Alia Bhatt and Lisa Haydon! Fawad Khan’s role has been cut down so much that it’s not much more than an extended cameo.
I wish the songs in the film had had subtitles, because I felt like I was missing meanings from the lyrics now that I was seeing them in the film itself. Anushka is his friend, his best best best friend, but we can see that Ranbir wants more. He declares himself after she returns to her former love, but it’s too late.
Then he has the passionate relationship with Aish, and I loved her as this mature seductress! She and Ranbir had great chemistry, and the cameo with SRK was a delight. Shahrukh and Aish just give off that old lovers vibe and it was perfection for this film.
There is a twist in the final 15 minutes or so of the film that I mentally said to myself, “Oh, Karan, really, you’re going there?” But damn it. Karan made me cry! It was predictable, but he played my emotions like a violin and the tears were running down my face.
The music as we know, is just sublime in this film. The title track and the way Ranbir perform it is so amazing. Really his performance through the film is excellent. But I was most impressed with Anushka. She just gets better and better with each film.
Anushka criticizes Ranbir’s singing in the film (he wants to be a singer) and says he can’t really sing with emotion until he’s experienced heartbreak. And that, I think, is ultimately the message of the film. Great art, be it film, music or poetry, comes from heartbreak and pain.