Every human being in order to fulfill his dream travel on the wings of desires to meet his destiny. Some do so within the walls of their villages, some travel to towns and cities and some cross over all the seas to distant lands. We have over the years, left a mark on almost every aspect of life, may it be UK, Canada, US, Africa, Fiji, Singapore, Australia, New Zealand, Middle East, and so on. Every day thousand from India land in these countries with dreams in their eyes. Almost all of them have success story to tell.They all know how to be successful, and are fully aware of what they are supposed to do, but are happy in not acknowledging it.
For an ordinary guy, Anthony Gonsalves has an extra-ordinary dream. His dream is to become an actor. Anthony works as a bartender in Jimmy's Pub in Bandra, Mumbai. His job is to run the joint smoothly, while the bosses concentrate on their own work of specialization.
To recreate the bygone era is not only strenuous, but a challenging task as well. It's equally arduous to capture the essence of Bollywood of 1950s and 1960s with precision on celluloid. In that respect, Sudhir Mishra's KHOYA KHOYA CHAND succeeds in transporting the viewer to the golden era.
Although the story doesn't focus on any person in particular or highlight any incident or event, the director drops enough hints to draw parallels with real life characters. So far, so good!
Sometimes, a short story of 10 minutes or a music video of 4 minutes has a better story to tell than most 2.30 hour movies.
It would be unfair to club DUS KAHANIYAAN in the same category as DARNA MANA HAI, DARNA ZAROORI HAI and SALAAM-E-ISHQ. Not only because the genres are as diverse as chalk and cheese, but because each 10-minute story in DUS KAHANIYAAN has something to say. At times, the message is loud and clear. At times, feeble. But there's no denying that DUS KAHANIYAAN is refreshingly different from the episodic films we've witnessed in the past.
Unconventional stories are being told on the Indian screen, thus breaking away from the monotony. STRANGERS, directed by Aanand Rai, is one such film. It charters a hitherto unchartered path altogether!
Substitute the Indian faces with non-Indian actors -- French/Italian/German -- and STRANGERS would easily pass off as a foreign film since the concept is very unlike what we’ve seen on the Hindi screen so far.
Welcome to the crazy, mad, funny, outlandish, outrageous, zany world of WELCOME, directed by Anees Bazmee, who gave us the rib-tickling NO ENTRY. Bazmee is a veteran when it comes to leave-your-brains-at-home comic capers, having penned and helmed non-stop laughathons in the past.
The question is, does WELCOME make you break into guffaws? The question is, does WELCOME measure up to the mammoth expectations surrounding it? The question is, will WELCOME be as big a hit as NO ENTRY?
Come to think of it, after two back-to-back hits [RANG DE BASANTI, FANAA], Aamir Khan could've given a positive nod to any masala flick and chosen to work with anyone he desired. But he preferred to make a film on a dyslexic kid, make him the focal point of the story and don three caps -- producer, actor and director.
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