Rab Ne Bana Di Jodi Movie links

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Gajini (Hindi) Movie Download Link

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Jumbo Review

Jumbo (Animation)
Cast: Voice of Akshay Kumar, Lara Dutta, Dimple Kapadia


AKSHAY Kumar's foray into this still-virgin terrain suffers from a similar seriousness of tone and content. Although the animation has definitely improved, with the animals, the humans and the backdrop forming a picturesque collage, the story is completely outdated and the narration tedious.

Little Jumbo sets out to look for his lost father and ends up losing his mother (Dimple Kapadia) too. His search leads him to an exiled kingdom which seeks to regain its lost glory under a benevolent prince. Jumbo grows up to become the king's warrior elephant and leads him into battle for a final conflict with his arch enemy, the belligerent tusker, Bhaktavar (Gulshan Grover). Enroute, our warrior mammoth discover true love too, with his childhood consort, the pink and pretty, Sonia (Lara Dutta).

Jumbo draws its inspiration from Lion King in its coming-of-age theme where a young elephant must reclaim his lost family honour and emerge a winner. But the film not only lacks the grandeur of scale, but also the sheer joyousness of the cult film.

Obviously, Jumbo was not meant to be a Lion King , nor even a Finding Nemo , so we shall not compare....But why must Indian animators pitch their film at a five-year-old IQ? Also, why this Panchatantra comic book feel to the story which is still trapped in the prince-battle-kingdom kitsch? Sitting through a public screening of the film, you are struck by the fact that not a single kid's chuckle, giggle, guffaw, rings through the hall, as Jumbo pedantically teaches you about desh prem and devotion to family.

The voice-overs of Akshay Kumar and Lara Dutta fail to add the requisite spice. And the only time the film perks up a bit is when Rajpal Yadav chirrups for Dildar, the pesky messenger bird. Time for Indian animation to take a chill pill and bring out the laughs along with the mandatory moral of the story.

RATING: 2/5

Villu (Tamil) Songs Link

Download VILLU songs....
http://rapidshare.com/files/173677301/Villu__320kbps.rar

Vinayakudu Movie Review

Hi friends Sorry for giving dis review little late
A MUST WATCH MOVIE. VINAYAKUDA-Small Movie Big Hit
Vinayakudu

Cast: Krishnudu, Sonia, Suryatej, Poonam Kaur, Samrat, Prem Kumar Patra, Adarsh, Ankitha, Sathya Krishnan, Tulasi, Rakesh Mahankali, Mahesh, Aparna, Murali, Master Mittu, Waheeda, etc.
Script: Sai Kiran Adivi
Cinematography: P.G. Vinda
Music: Sam Prasan
Lyrics: Vanamali, Avinash
Editing: Marthand K. Venkatesh
Executive Producers: Rakesh Mahankali, Jyothi Kiran
Co-producer: Praveen Kumar Patra
Producer: Smt. Saritha Patra
Direction: Sai Kiran Adivi (debut)


Summary:
A big fat love story, like the makers tagged, quite unlike other "fatty" stories.

Karthik (Krishnudu), a soft, ever-happy kind of guy, comes to Hyderabad for a job interview at Hi-Rise, an ad agency. He gets selected, and in the office the next day, he sees Kalpana (Sonia) and likes her. He's generally not taken seriously by anyone because of his soft-spoken nature and his rotund personality, but he's the kind who doesn't take that seriously! Kalpana too doesn't care for him and finds faults with him, due to their initial interactions at work. Slowly though, she starts interacting with him more. Her parents, who leave to USA to visiting her brother's family (Mahesh & Aparna), initiate a matrimonial alliance for Kalpana with Rajeev (Samrat). Kalpana meets Rajeev and they both observe that they have a lot of tastes in common. Meanwhile, another thread of a budding relation is seen between Karthik's friend Altaf (Suryatej) and Kalpana's friend Sandhya a.k.a. Sandy (Poonam Kaur). At about the same time that Kalpana realizes Rajeev is not for her, she gets closer to Karthik but the hell gets loose suddenly due to a petty altercation between Altaf and Sandy. Eventually, Karthik and Kalpana lose even the friendly relation they have. What's the big fat love story then and how it evolves forms the rest of the story.

Cast:

Krishnudu, one of the seniors of Happy Days, debuts as the main lead in this film. He has quite an ease in performing, and his role has ample scope for various emotions. However, the characterization, in a way, "limits" him to not show negative feelings much. One could say he's quite successfully executed the soft-natured role within the scope of the characterization. His fitting performance evokes empathy from the audience in some scenes. Though his future as a main lead could be limited, he does promise good performance in general and can thus expect appreciable career nevertheless. Sonia fits in the role of an ultramodern girl who upholds values and relations well. Her role is etched well, and she's quite a natural fit there.

Suryatej, who acted in Nandanavanam 120 km earlier, appears in a full-length role as the second male lead. His performance is okay for most part, and is good in the boozing scene. Poonam Kaur is cute and sweet in the role of a friend of Sonia. She has an expressive face that's put to use better in scenes with Sonia. Ankitha, who seems to have lost her charm completely already, appears in the role Shalini, of a career-oriented woman who doesn't care about society or "values". Sathya Krishnan appears as a caring sister of Krishnudu. Presenter Prem Kumar Patra plays the boss of Hi-Rise, the organization where the lead cast works, while yesteryear heroine Tulasi appeared opposite him in a two-minute role in a Pelli Pusthakam like climax. His rather inexpressive face is used effectively for the film. Lanky youth Samrat is adequate as the prospective groom, and Adarsh is natural as an uncaring casanova.

Technical Departments:
The story is not great but the treatment makes the film quite enjoyable. With a story line that has only one essential point, the development generally makes the pace seem slow, and that's what happens to this film too. However, a still appreciable aspect is that the film doesn't drag on; even if a film is just a bit slow, it doesn't really hit the film hard when the film's length itself is just a little over two hours. The screenplay may seem fabricated sometimes but is generally smooth and not nonsensical. Dialogues are enjoyable and impressive through most part of the film. But, how come the censor leaves off swear words in English, such as "a*s" and "b*st**ds"?

Debutant Sai Kiran Adivi who handled story, screenplay, dialogues, and direction is here to stay. He has shown a lot of care in executing his scenes, studding them with right dialogues, and leaving no space for much nonsense anywhere through the film. It's clear that he knows what he wants to show, and there are appreciable subtleties in his work that one can note. His handling of emotions, and developing a love track implicitly is remarkable. Visuals are naturally colorful throughout the film and did not need many extra effects. P.G.Vinda's camera work is pleasant and in sync with the film's theme. Picturization of songs was all through montages that were chosen well; the song varaveeNaa... needs a particular mention for the way the director used montages in the song to show the relations developing among the three pairs (Krishnudu & Sonia, Suryatej & Poonam Kaur, Rakesh Mahankali & Ankitha), thereby depicting how each individual is choosing one's priorities of life.

Lyrics are apt to the situational songs. Particularly trendy are the lyrics for the songs The times have changed... ( ham hai Hyderabadi...) and varaveeNaa..., both penned by Avinash who's just one movie old ( Krishnarjuna)! varaveeNaa... is a carnatic classical fusion song with completely English lyrics, probably the first of its kind, for which even the music director Sam Prasan ("Prasanth" of Manodu) needs a special applause. The tunes are generally good, and background score is appreciable too. Editing is okay. Production values of Prem Movies banner (which made Aa Naluguru earlier) are good.

Notable Scenes/Dialogues:

Krishnudu: " Flyovers avii ivii vacchaayigaa..."
Auto driver: " vacchinai, konni paDipOyinai kooDaa !" (talking about development in Hyderabad in the last five years)
A romeo: " How would you like to have your coffee?"
Waheeda: " Alone!"
" ee Dokku scooter ammEsi, daaniki konchem money add chEsi secondhand cycle konu!" (A cycling girl overtaking Krishnudu on an old Lambretta, mocking at Krishnudu)
Sonia: " nuvvu dayyaalani nammutaavaa?"
Krishnudu: " dayyaalu lEvanukO... kaanee, cheekaTlO dayyaalostE... adE bhayam!"
Sonia: " Coffee chEsindi nuvvE kadaa?"
Krishnudu: " baagundaa?"
Sonia: " naa peLLi choopulaki vacchina vaaLLani tarimeyyaTaaniki idE istaa!"
Samrat : " Yes cheppaTaaniki endukanta time teesukunTunnaav?"
Sonia: " No cheppaTaaniki time teesukunTunnaani enduku anukOvu?"
" vaaLLa mentalities, vaaLLa tastes okaTaitE they live happily ever after ani enduku anTaarE? ...That's such a wrong impression!" (Sonia to Poonam Kaur)
" yE society gurinchi maaTlaaDutunnaavu nuvvu? 'Prohibition-lO mandu taagitE tappu, prohibition lEnappuDu andarU mandu taagacchu' anE society gurinchaa?!" (Ankitha to Krishnudu)
Dialogues about the psychology of boys and girls, particularly about girls: " ammaayila psychology antE... pogiDinaa tiDataaru, tiTTinaa tiDataaru!" (Suryatej), " ammaayilu prEmalO paDDaakE overpossessive-gaa feel avutaaru. (Krishnudu: " mari paDaka mundu?") 'nee kharma' ani vadilEstaaru!" (Suryatej), " Expressive-gaa unDaalanTaaru... express chEstE tiDataaru!" (Krishnudu) and many more.
(Second) Booze scene between Suryatej and Krishnudu.
Krishnudu's soft-natured reaction when Sonia bashes him up verbally, and in the climax.
Samrat-Sonia breakup scene.


Vinayakudu is a feel-good movie with good dialogues, music, characterization, and decent performances. The slow pace that's typical of Sekhar Kammula school seems to have crept into this film too, but the slow pace is not felt because of aforementioned good factors in the film. Though the story's theme may initially seem like it's beaten up in several other films like Kobbari Bondam or Kithakithalu, Vinayakudu is in a totally different style and has a different story treatment that makes it worth watching. On the whole, those sections of audiences, particularly in the 'A' centers, that like a clean and sensible movie with ample dose of comedy would like the film. Don't have too many expectations because of the cast or crew (or this very review) and you can enjoy the film better!

RATING: 4/5

Manjeera (Telugu) Music Link

MANJEERA

Cast : Goutham, Sridevi
Music : Sekhar Chandra,
Director : Saibhanu

http://rapidshare.com/files/177327659/Manjeera__2008_.rar

Malli Malli(Telugu) Songs

Hi friends,
here is d link 2 download malli malli songs.......

Cast : Skanda, Kalyani
Music : S Thaman,
Director : Dinesh Kumar

http://rapidshare.com/files/177146896/Malli_Malli__2008_.rar

Maska Songs

Hi friends,
here is d link 2 download Maska songs
http://rapidshare.com/files/177185582/Maska__2008__www.bollycric.com.rar

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Villu (Tamil) Music Review

Produced by K.Karunamoorthy and C.Arunpandian (‘Aegan’ team), directed by Prabhu Dheva (his second with Vijay after Pokkiri) and starring Vijay, Nayanthara, Prakash Raj (villain?) Vadivelu, Kushboo( item number), Napolean and others. The story appears to be a comedy-cum-action romance! Vijay is sent abroad on a puzzling assignment to eliminate some people, where he meets his love interest (is that why we have the name Villu for him—he is merely an

instrument in his boss’s hands?) Is supposed to have been filmed in Italy and India. Music has been provided by the trendy composer Devi Sri Prasad (Santosh Subramaniam) who has tuned a hefty 8 songs! Are Vijay fans in for a treat?

Hey Rama Rama...
Lyrics: Kabilan.

A typical Vijay song, in terms of music, beats and sentiments! Is it the title song? With lines like ‘sattham inri udhavi seynja vazhum podhe sorgam varum--’ you can imagine the rest. Some fine rhythm arrangement we have here and a bit of violin. A miniscule effort from Sarala. Vijay fans are the target here, but haven’t they heard such songs earlier?!




Nee Kobappattaal...
Lyrics: P.Vijay.

A song that moves somewhat like a nursery rhyme, with simple lyrics and easy rhythm. The song of a love-stricken heart where the hero goes, ‘nee ennai marandhal mattum uyirai viduven’ and everytime he says that, the instruments-mandolin, later the sitar and the sax essay cute notes along. Appears set on Natabairavi scale. Small but nice inputs from live rhythms and the guitar.




Daddy Mummy...
Lyrics: Viveka

A surprise from the young actress Mamta! Strong but nasal voice. Quite a sexy song with somewhat distasteful lyrics. The creative rhythms hijack the whole song and make it foot-tapping. The instrumental piece that goes ‘ma ma ma ga ri ga ma pa --- ga ma ri sa’ keeps up the pace. Is it clarinet that we hear? Hard to tell!



Are You Crazy...
Lyrics: Prabhu Deva, Akila, Ravi.

Just a quarter of a song , with the lady singer heaping abuse on a man and rounding off with ‘you,loser!’. Three people to pen this?




Jalsa Jalsa...
Lyrics: Rohini.

A song expressly designed for Vijay, as the singer himself remarks – ‘rock the floor ilaya thalapathy!’ Full of infectious rhythms—a groovy dance number rendered very neatly by Baba Seghal. A kind of Spanish meets native meets calypso kind of beats. Starts off with some Spanish words and a nice glide on the ‘paa’ swara. Adequate support from guitar, keys, drums and rhythm pads, of course. Look out for some breathless dancing from Vijay!!



Vaada Mapilley...
Lyrics: Kabilan

Ha, ha , a delightful native ditty using the Sankarabaranam scale where the song starts off like a singalese ‘baila’ number and, moves on! At last we get to hear some good guitar, nagaswaram and thavil beats in the interludes. Vadivelu’s ‘bale’ ‘bale’ adds zing to the song. Could be a hit in spite of the cheap lyrics. Tipu’s high pitched vocals balance Rita’s seductive ones.



Dheemthanakka...
Lyrics: Snehan

Oh, no, another relentlessly paced dance number, a duet of course! All rhythm pads, drums, guitar, keys, sax, and a bit of flute. But everything drowned out by beats. Some good poetic stuff from Snehan, but still a bit crude. We have the composer indulging his vocal chords here.



Jalsa Jalsa... (The DSP Mix)

You guessed right, this is the ‘remix cum cat-on-a-hot-tin-roof’ avatar of the earlier. Plenty of instruments, synthesized beats and a teeny weeny bit of tabla (surprise). Meant for dance floors.

Verdict:

As we can all see, this stylish composer has been carried away by the image of Vijay as a superb dancer! The record label mentions many live instruments but we barely get to hear them. None of the songs seem to contribute to the actual movement of the story. If the movie is a thriller, won’t the songs be a drag on its pace?

Finally,
RATING: 2.5/5

Updates

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check out for latest reviews on this blog.......
Comming next: Music review of MASKA

Reviews On Tamil Cinema....Comming Soon.....
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Sasirekha Parinayam Music Review

‘Sasirekha Parinayam’ starring Tarun, Genelia in the lead cast has been directed by Krishna Vamsi. Sunkara Madhu Murali has produced the movie on Karthikeya Creations banner. The movie brings in Tarun, Genelia and Krishna Vamsi together for the first time. Audience always has high expectations on director Krishna Vamsi’s movies and this one is no less speculated. Music composed by Mani Sharma lives up to expectations.
Among the total of seven songs, three are penned by Sirivennela Sitarama Sastry, and the rest by young lyricist Ananth Sriram.
Ilaa Entha Sepu 9703
The opening number of the album penned by Sirivennela Sitarama Sastry and voiced by Rahul Nambiar.
Sirivennela stringed beautiful words in as ‘Kanulanu munchina kanthi vo.. kalalanu penchina branthi vo’. Manisharma scores with a stunning opening in this song. The instruments are quite romantically orchestrated. This is one dulcet melody which will be splendid for repetitive listening.
Gundello Golisoda
The song has been written by Ananth Sriram and sung by Jai in a riveting voice. Young talented Sriram composed the lyrics with innovative expressions like, kallalo coca cola kasssantu paikosthunte, choopullo santhoshala chamakku chindaala. The club style tunes flows beautifully with the words. The song has an item number style and oozes energy all the way.
O Sari Naa

Ananth Sriram wrote lyrics for this song, sung by Ranjith.
The tune is westernized with energy to go with the lines ‘Verra yerrani chempallo.. sindhooralenno cheraai…’ and the song is speckled with English words all over. The beat is on a loop and doesn’t differ all through the song.
Sriram’s words advocate the hero’s love and his ways to express it to the heroine. Ranjith has done full justice to the song with his captivating voice. The beautiful music by Manisharma is an added asset.
Yedho Oppukonandi
Written by Ananth Sriram, this melodious number has been voiced by Saindhavi.
In the lines ‘Kalatha paduthunte lolona.. kasaru kuntutade naapaina..’, Ananth has bought in the expressions beautifully. Saindhavi's voice aptly suits the song and is soothing to listen. The music retains the feel of the song and doesn’t overshadow the voice.
Bejawada bachelor

This is a rapid styled song penned by Aanath Sriram and sung by Naveen and Reta. ‘Dina takadina tai tai.. dina takadina tai tai…’ is the first line with rock beats. Music and lyrics sync well along with the singers voice. Drum beats are the main highlight. Instruments are not abundant yet the tempo of the song makes it a good number.
Yedo Oppukonandi
The already rendered melody song is repeated but this time with the lyrics penned by Sirivennela Sitarama Sastry. Saindhavi has sung this version once again and it’s a mellifluous number.
Ninne Ninne Allukuni

Sirivennela Sitarama Sastry penned the lyrics of this song and which has the dulcet voice of Chitra.
Sitarama Sastry's lines like ‘Ramani cheranu datinche Ramachandrudaa…, Radha madini vedinche Shyamasundara…’ take the audience to eternal bliss. Mani Sharma’s orchestration is slick in bringing the classical touch.
An interesting addition is, the earlier super hit tune based on veena taken from the song ‘Vasthadu naa raju eeroju’ of 'Alluri Seetharama Raju', has been used in this song in originality. The tune brings in nostalgic past to the listeners.
Another special in this song is that the tune from a song ‘Piluvakuraa... Alugakuraa.. Naluguri lo nanu o raja’ from 'Suvarna Sundari Kadha', a blockbuster movie of the 70's starring Akkineni Nageswara Rao and Anjali devi, is retained in the first part of the song while the previously said tune is in the second half of the song.

The music finally is awesome.

RATING: 3.5/5

Nachavule Review

*ING:

Tanish, Madhavi Latha, Kasi Vishwanath, Raksha, Narasimha, Naveen, Kamesh, Narayana Reddy, Prasad, Sarath.............

Music: Sekhar Chandra

Lyrics: Bhaskarabhatla

Cinematography: Sudhakar Reddy

Art: Narayana Reddy

Fights: Kanal Kannan

Choreography: Nixon

Editing: Marthand k Venkatesh

Screenplay: Satyanand

Story - dialogues - direction: Ravi Babu

Producer: Ramoji Rao

This film deals with the social problem of many teenage boys who just want to have a girl friend for the kick of it. It also touches the burning issue of ‘cell phone videos leakage’. Ravi Babu narrated the entire film from the hero’s point of view by making his narrate from the moment he is born. Ravi Babu has the experience of ad-film making. And he used that ad-film touch to his Allari and Soggadu (only first half). With the freedom given by Ramoji, Ravi Babu gave that touch to the entire film. There is a color pattern (green and bluish) and sophisticated humor angle. He dealt first half of the film very well. However, he could have done the last half an hour of the film (screenplay glitch) in a better way. The music by Sekhar Chandra (son of cinematographer Hari Anumolu) stands out. Pavu Takkuva Tommidi sung by Jassie Gift is extremely peppy and is excellently shot. The ‘black n white’ theme song with black articles fading away is very creative. Other songs also reflect the theme and mood of the film (neither forced duets nor routine songs). Cinematography by Sudhakar Reddy is very good. The art work by Narayana Reddy deserves mention. Dialogues are neat. The entire film is shot at Ramoji Film City (hence you see Margadasi advertisements in backdrop during most part of the film). Ramoji Rao should be commended for allowing Ravi Babu to shoot the entire film the way he wanted to. They stuck to a theme and followed it throughout.Lav (Tanish) is a kind of guy whose aim in life is to ‘patao’ a girl. Like innumerable teenage boys, he just wants to experience the feeling of having a girl friend. Anu (Madhavi Latha) is a responsible teenage girl who works part-time in a coffee shop. Lav wants to love her, but she is not of that type. In an occasion, he saves Anu’s father. Impressed with him, she asks him to ask for any favor. Lav asks Anu to be his girl friend for 15 days. Anu agrees to it on certain conditions (no physical touch). In the process, the detached Anu falls in love with Lav. And Lav is more excited to flaunt his girl friend to his friends than actually caring for her. The rest of the story is all about how Lav realizes what’s true love is.

The initial half an hour of the film is excellent. First half of the film is good. Second half is adequate. The last half an hour should have been dealt better. The plus points of the film are humor and romance. On the flip side, the last half an hour should have been dealt better. On a whole, Nachavule is worth a watch for being a different flick and a theme film.

RAKESH RATING: 3.75/5

King Review

King – The most anticipated movie of Akkineni Nagarjuna is now out for all his fans to feast on. The month of December has always been considered as a lucky charm for Nag as his movies 'Manmadhudu', 'Mass', 'Don' were all Dec blockbusters. Now, it is a widely known sentiment of his among the film fraternity. On the same hope, 'King' the extravagantly made movie of 2008 got released worldwide on Christmas eve. This is the first time ever for a Nag movie to be released with the most number of prints. 'King' is an expensive highly expectant movie with a first time combination of Nagarjuna – Sreenu Vaitla & Trisha. It is produced by D.Siva Prasad Reddy on Kamakshi Kalaa Movies banner.
Here, I present a concise review on the film.
The story starts off in Khairatabad area where Gyaneshwar (Srihari) is a vagagabond. The area is under his control and he's the only one authorized to do settlements upon petty issues. In comes Bottu Seenu (Nagarjuna) who is a tough competitor for the established don. The new entrant takes over his area and starts settling things on his own. This act of Bottu Seenu enrages Gynaeshwar who threatens him to get out of the place and he's the only one who is for this job. But, Bottu lends a deaf ear to his warning and carries forward. At last, Gyaneshwar has no where to go. So, as a last resort he compromises with Bottu for a 10 percent share in the profits. The deal gets done.
On a beautiful interlude in a rainy day, Bottu Seenu comes across Sravani (Trisha). He falls in love with her and makes utmost efforts to woo her heart. But, bad luck for Bottu as Sravani was already in love with a software engineer Sharath (the second Nag). Bottu gets disappointed yet a twist of fate awaits there. The girl he loved was his arch rival Gyaneshwar's sister all the time.
Gyaneshwar dotes his sister and wants a happy life for her. He knows clearly that as he is a rowdy no one respects him if not for fear. Moreover, he never got married due to his illegal business and this in turn will surely affect his sister's life too. So, to keep her away from his other world, he leaves her in the care of their aunt (Sana) and uncle (MS Narayana). Gyaneshwar keeps his identity under cover to protect his sister and stayed aloof from her.
Meanwhile, he gets to know Sharath's love for Sravani. Happy over her sister's good times, he gets them betrothed in a ceremonious occasion. Again a sudden twist reveals that Gyaneshwar has made a blunder by committing his sister with no other than the villainous Bottu Seenu. Seenu impersonates Sharath which he fails to acknowledge. So, to make things right he takes further steps to get rid off Bottu Seenu and give his sister to Sharath.
In comes the third Nag, when associates of Dasu Appaji (Jaiprakash Reddy) abducts Bottu Seenu, believing him to their 'King' Raja Chandra Varma (third Nag). They take him to assert his throne at Coimbatore Rajmahal. A whole lot of commotion and revenge prevails in the palace with Bottu in King's place. In the palace stays Pooja (Mamatha Mohandas), who awaits to take revenge on King's brother Ajay (Deepak) by murdering him.
Leaving a whole load of questions like Who's 'King'? In what way Sharath, Bottu Seenu and King related? Who's Pooja and why she is revenging against Ajay? Who does Sravani get married to? And finally Where is the real 'King'?, the plot goes forward keeping us glued to the seats. Watch 'King' to get your queries answered in the most entertaining way

In a focused idea to entertain in and outm 'King' is made. With an exception of few pit stops that slows the narration towards the end along with the missing of few logical questions, the movie in a nutshell is a 'King Size Entertainer' for Nag's fans this year. Surely, Nagarjuna's December sentiment is going to be made evident in 'King' once again. The making value for SivaPrasad Reddy's banner is also on the raise this time.

RAKESH RATING: 3/5

Gajini Review

The film's makers have ludicrously attached a disclaimer that says that because their film's protagonist suffers from a little-known medical disorder called anterograde amnesia, there is a likelihood that their story could feature elements common to other stories and films. Riight. Must be easy to be a specialist in the field then, a doctor who just needs to check the patient for a series of tattoos.
And while Ghajini might feature Aamir Khan going through the exact same condition Guy Pearce does in Memento yet -- despite the tattoos, the polaroids, and the vengeful hero with a penchant for post-its -- this is a pretty original desi picture, yes sir.

For director AR Murugadoss doesn't take that 'story' credit lightly: He's taken the Memento plot, set its non-linearity into chronological order, taken out the actual investigative intrigue and replaced it with a series of convenient coincidences and -- this one's the clincher -- added a full-blown backstory about how the hero met and fell in love with the murder victim, complete with a bunch of songs. It's hard work making good masala, for God's sake.
And Aamir Khan knows it well. It's dubious as to just how much that body needed to be beefed up -- heaven knows Guy Pearce didn't resemble a steroid commercial -- but Khan's dedication is impressive, no question. As Sanjay Singhania, the killing machine dedicated to tracking down his lover's killer, the actor plays a frenzied killing machine, clinical yet with a twisted, macabre fondness for gore. And he does really well.
His anterograde condition kicks in every fifteen minutes, which means he has to now restart investigation, scribble refreshed notes, and get back on track. And he's very well-versed in habit; at a point when he's suspicious despite having no self-scribbled clue to guide him, he analyses breathing patterns. It's a role that requires much consternation -- and Khan is truly wonderful when his character is bewildered -- as well as much over-the-top, frothing at the mouth rage.

That would have been it for his job description had this been a standard, well-produced action movie, but there is a hardcore filmi romance smack bang in the middle of it all -- one that has possibly a few minutes more screentime than the action section. And while Khan can still pour out the smitten-schoolboy charm at 43, the entire romantic part of the film is so depressingly obvious that it doesn't work at all, and only serves in slowing down the momentum of what would be an entertaining action film.
A large part of this blame must be assigned to the leading lady. Granted, Asin is straddled with a character that begs the suffix -ine to be tagged onto her name, but a strong performance could certainly have salvaged this half of the film. Her Kalpana is one of those do-gooder heroines soaking in earnestness and sympathy, the kind of character that went out of style back when Juhi Chawla was a heroine, and it needed much verve to actually make this work. She doesn't deliver -- her chirpiness is most painful -- and resultantly this rather stereotyped he's-rich-she-doesn't-know romance always seems underwhelming.

Even with the romance getting in the way, Murugadoss' version of the amnesiac killer could have been a very compelling watch. There are times when they take huge departures from the original film, and the what-if possibilities are most intriguing. Until, you discover, that nothing is done about them. In a chilling scene, the villain's goons strap Khan down and, after painting over his meticulously graffiti'd walls and his investigative charts, take out a tattoo gun and crudely rub out all his tattoos, the clues he's investigated for so long.
This sets you up beautifully for a sequence where Khan discovers this, one where he wakes up to realise that all his investigations have been in vain. Does he even know he was investigating in the first place? And how does he feel waking up to see a body covered in hideously scratched out tattoos? It's a trauma the character begs to be dealt with, but alas... the moment is ignored, possibly in favour of giving more time to the half-hour climax. Sigh.
This is a violent film, but there is no call for that besides shock. The gore seems gratituous -- there is a tap scene bordering on the laughable -- and while Khan leaps into his adversaries with an alarming intensity, somehow its hard to stomach a film where he stands in the middle of an alley and fells seven-with-one-blow. It is the kind of cinema we thought we'd seen the back of, and even if there's nothing wrong with escapist mainstream masala, both audiences and Aamir seem a little less used to it.
Pradeep Rawat plays the titular villain with undisguised glee making up for thespian skills, and Jiah Khan, glimpsed here after Nishabd , is actually quite decent in a character better written than that of the heroine. Unfortunately, the only time she does look super-hot (in white, in the Lattoo song) is the one song where the director keeps cutting away to the action, darn it. The songs are completely extraneous narrative killers, but Rahman's turned in a marvellous soundtrack and we'll lap them up uncomplainingly.
Watch Ghajini, though. Watch it for Aamir Khan, because I don't think I've seen him having this much fun as an actor in a very long time -- and that's always great to see. Not that I mean it's as good as Teelu, of course.
The film itself is impressive in bits, with some terrific sequences, but the romance takes away its thunder. It is a breezy watch that could have been a really crackling one, and while there really is timepass fun to be had, the overwhelming feeling is one of regret.
For what can you say about a film on memory loss that turns out forgettable?

RAKESH RATING: 3.5/5

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