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November 09, 2006
What’s on…
FILM
Woh Lamhe, another movie from the Vishesh Films stable, is partially based on the life of Parveen Babi and her tumultuous romantic association with director Mahesh Bhatt. Bhatt himself provided the story for the film which has Kangana Ranaut playing a Mollywood film star, Sana Azim, who walks out of an abusive relationship with another actor and into the arms of upcoming director Aditya Garewal (Shiny Ahuja). Aditya only aims to use Sana’s star power for his own purposes but starts falling for her despite himself. However, this provides no peace to Sana’s tortured soul as the demons from her past continue to haunt her.
The film is a disturbing and sad one, though perhaps not as moving as it should have been or could have been. Director Mohit Suri handles the proceedings proficiently if not with the spark of brilliance that he demonstrated in Gangster. Ranaut and Ahuja are both decent as well with Ranaut showing some growth since her debut in Gangster. Overall, I expected a little more depth here considering how close the story was to Mahesh Bhatt’s heart. Still, the movie is worth a look. Typically, for a Vishesh Films production, the film borrows a couple of musical numbers from Pakistan. One is a really bad cover of the soulful S.B. John number “Tu Jo Nahin Hai” (from the Pakistani Kamal-Shamim Ara starrer Savera) but Jawad Ahmed’s original version of “Tere Bin Kiya Hai Jeena” is used effectively.—Khusro Mumtaz
OR
Anthony Kaun Hai?, directed by Raj Kaushal, is essentially a remake of Hollywood’s Who Is Cletis Tout?, a film that came out in 2001, and featured Christian Slater and Tim Allen. Anthony re-teams the Munnabhai duo of Sanjay Dutt and Arshad Warsi and revolves around a 20-year old diamond heist and a blackmail attempt gone wrong. Dutt plays a contract killer obsessed with movies and Warsi is his intended victim, Anthony. But is Warsi really Anthony? And if he isn’t Anthony then who is?
Warsi, as usual, is completely watchable and Minisha Lambha is cute and does an adequate job as the obligatory romantic interest. However, Sanjay Dutt more or less walks through what is essentially an extended guest role. This comic thriller-caper movie comes off as a slick production and is a little different for a Mollywood film but it loses points for lack of originality. Worse, it lacks spark. A couple of the songs by Himesh Reshammiya are catchy, though. Only for a really slow afternoon.—K.M.
Classic Movie
Tennesse Williams’ Broadway smash A Streetcar Named Desire (1951) was brought to the big screen by director Elia Kazan with stunning results. This tale of a sensitive, delicate, aging Southern belle Blanche DuBois (Vivien Leigh) who comes to New Orleans to stay with her younger sister Stella (Kim Hunter) and boorish brother-in-law Stanley Kowalski (Marlon Brando), will break your heart.
Williams (who also co-wrote the screenplay) gives us, in the shape of Blanche and DuBois, the brutalisation of the ‘traditional’ by the ‘modern’ and the destruction of the graceful values of the old world by the energetic, ambitious new. Not that Blanche doesn’t have weaknesses of her own – she does, and perhaps too many of them – but she deserves better than she gets. Leigh is perfectly cast and won her second Oscar for the role (her casting has a particular resonance in that in Blanche we have what could have been Scarlett O’Hara in another life). Brando lost out to Humphrey Bogart (for Bogie’s performance in The African Queen) but forever stamped himself on the consciousness of cinema-goers with his “Method” style of acting and sheer physicality – the scene with him screaming for Stella with desire (“Stella, Stella”) and she responding almost unwillingly with physical yearning has become one of the most famous in cinema history. Hunter and Karl Malden (as one of Blanche’s suitors) also won Oscars in the supporting acting categories. The jazz score and the cinematography are also notable. Available on DVD in Pakistan.—K.M.
Single
Pop icon Janet Jackson needs to follow Mariah Carey’s lead and re-enter with a true comeback album. Her 20 Y.O. while full of pop melodies and all the right moves fails to capture your attention or lure you to the dance floor.
Once the artist was in Control of her life and made an entire Rhythm Nation move to her groove. Now, Michael’s little sister seems lacklustre and although she has titled her latest single So Excited, even she doesn’t look too excited about the tune in the video.
Her forever producers Jimmy Jam and Terry Lewis are still very much behind the diva, but there seems to be certain laziness to this track. Although it opens with a phat rip from Herbie Hancock’s classic Rockit, the tune soon loses steam. Madonna is ‘jumping’ in parachute gear on her latest single while JJ is losing steam just when things are supposed to be getting exciting?
The irony is the harder Ms Jackson tries to act sexy, the less she is so. Remember, the unfortunate Superbowl incident. Where’s the sweet seemingly effortless appeal of Love Will Never Do (Without You), Runaway and The Pleasure Principle? Sadly, there is nothing to get excited about with this track because it fails to capitalise on the artist’s enormous talents.— T.U.Dawood
Album
Once, Rod Stewart was renowned for his original lyrics, innate sauciness and great gift for a hook. Now, with the release of his fifth pure covers disc, it’s clear he’s determined to rival Michael Bolton for the title of remake king.
While his previous covers were of more pop songs, this time around Stewart tackles rock numbers. Titled Still the Same ... Great Rock Classics of Our Time, this CD is filled with favourite songs like I’ll Stand By You by the Pretenders, Missing You by John Waite and It’s a Heartache by Bonnie Tyler.
The songs are generally so innately good – they are all genuine classics – it would be hard to damage them. However, Stewart doesn’t add anything to them either. Even his arrangements are as close as possible to the originals. There is no fresh insight, experimental groove or any progressive touch. Stewart does not even vary his voice very much.
The problem with this album is highlighted in its title – “Still the same.” From a man who was a rebel and revolutionary musician, there is nothing sadder than a stale and stagnant album. The only thing that can get the fans excited now is the mega-talented Stewart taking a pen to write again.—T.U.D.
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