November 23, 2006

FILM
Well-known film editor Shirish Kunder (films that he’s worked on include Main Hoon Na and Matrabhoomi) makes his directorial debut with Jaan-E-Mann, which he also wrote. But he needn’t have bothered. The movie has lot of flash and money behind it and the promos looked pretty good. But despite lifting various scenes and ideas –– mainly from Hollywood (the “six smiles” bit is from A Date With Tad Hamilton, for instance) but some from Mollywood too –– Jaan-E-Mann still finishes up as an unsatisfactory product.

The plot resembles something from a Cary Grant-Irene Dunne screwball comedy from the ‘30s –– divorced gentleman (Salman Khan) wants to find a suitable husband for his ex-wife (Preity Zinta) so that he doesn’t have to pay alimony anymore and decides to coach a loser (Akshay Kumar) into working his way into his ex-wife’s heart. But, of course, he finds old emotions resurfacing in the process.

There are only a couple of decent scenes here while the comedy is played way too broadly. Zinta and Kumar are fine but Salman Khan is particularly irritable with his shirt-off routine (could somebody please just tell him that we’ve had as much of that as we can stand?) and put-on American twang. Our own Javed Sheikh does well, however, in a brief role as Preity’s father. Give it a miss. —Khusro Mumtaz

OR

Don is a remake of the 1978 Amitabh Bachchan smash hit of the same name. When an underworld kingpin is killed by the police a look-alike (Shahrukh Khan) is sent in by the police to infiltrate his gang and break up an international drug ring. The movie, adapted and directed by Farhan Akhtar, doesn’t stick slavishly to the script of the original (co-written by his father Javed Akhtar). It’s also not true – as some critics of the movie have said – that this remake is all show and no substance with too much attention being paid to Khan’s wardrobe and look and not enough on the script.

Yes, money has been spent on the movie’s look and it shows. The stunts are also fairly well done. But Akhtar Jr, has also worked out an intricate screenplay with a number of intriguing plot twists that weren’t there in the original. That’s all to the good – after all, a scene-by-scene remake wouldn’t have meant much especially when the original is still fairly easily available on DVDs. If there are plot holes and some suspension of disbelief required then that’s par for the course for movies of this ilk.

However, what is not so pleasant is the tone of the whole enterprise. The original can never be considered a great film but it had a certain joy about it – the song “Khaiee Ke Paan Benares Wala” being a prime example of that. The remake, on the other hand, is replete with a sense of cynicism that just leaves a bitter taste in the mouth. So for that I’ll still take the original over the 2006 version.

The movie also stars Priyanka Chopra, Arjun Rampal, Boman Irani, Isha Koppikar and Om Puri. A “healthy–looking” Kareena Kapoor is also on hand for a cameo and to dance to the new version of “Ye Mera Dil.” But the original number sung by the great Asha Bhonsle is an all-time classic. The new version doesn’t linger in the memory, the same going for this movie’s “Khaiee Ke.” —K.M.

OR

Rocky is straight-forward angry-young-man revenge flick. You really don’t need to know any more than that and you really don’t need to see the movie either. Zayed Khan is the angry young man in question, Isha Sharvani (the only good thing in the awful Kisna) and Minissha Lambha are his love interests and Rajat Bedi is the bad guy that he whales on. The only good things about this movie are the aforementioned Sharvani (wouldn’t mind seeing more of her in the films) and the catchy soundtrack by Himesh Reshamiyya.—K.M.

SINGLE

Depeche Mode has a new single out and there is only one word to describe it: Wow! Martyr is one of the most brilliant songs of the band’s career and underscores their relevance even in today’s music scene.

Despite the religious connotations of the title, the single is actually about being a martyr for love. Dave Gahan, in some of his best vocals, sings I've been a martyr for love/And I will die in the flames/As I draw my last breath/As I'm closing on death/I will call out your name.

Almost upbeat (for a Depeche Mode song), Martyr is essentially a hynoptic disco-pop-electronic-synthesiser driven track that feels like it was discovered locked away in a safe for two decades. It’s just retro enough to please forever fans and yet so fresh and fun, it will attract new fans to the band.

Originally recorded for 2005’s Playing the Angel, this track was dropped because it was very different in style from the rest of that album. Wise decision as it fits beautiful on the band’s new Best Of CD which will mark their 25th anniversary.

The dance feel of this single has not been heard from Depeche Mode since their earlier albums Music for the Masses or Violator. Simply brilliant. Fans don’t walk – RUN – to download or pick up this sensational single.—T.U.Dawood

ALBUM

Cat is back! `70s superstar Cat Stevens (born Steven Demetre Georgiou) defined a generation with his poetic pop songs such as Morning Has Broken, Peace Train, Moonshadow, Wild World and Father and Son. His late `70s concerts featured fire-breathers, jugglers and other innovative showstoppers and his fan base was continually growing. Stevens converted to Islam in 1978 after a near-death experience, changed his name to Yusuf Islam and disappeared from the music scene, focusing his time in helping those less fortunate.

Now, after 28 years away from the musical spotlight, Yusuf Islam has released a long-awaited pop album that lives up to the hype. An Other Cup is a delightful album and it’s clear that he has neither lost his vocal control nor his talent for melody.

Midday, Heaven/Where True Love Goes, and Maybe There's a World are all gems and will likely be favourites for most long-standing Cat Stevens’ fans. Other songs on the album range in quality. Don’t Let Me Be Misunderstood goes all out musically and Green Fields, Golden Sands feels like a long-lost John Denver song, but neither has the effortless catchiness of some of this better work.

There is maturity to the lyrics but the vocals are as strong as ever and it’s clear Yusuf Islam hasn’t lost his musical touch. —T.U.D
 

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