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Bollywood 1:51 AM

Pathan - Movie Download [4K, HD, 1080p 480p]

Pathan is an upcoming Indian action thriller film directed by Siddharth Anand and produced by Yash Raj Films. The film stars Shah Rukh Khan in the lead role, and is said to be one of the most highly anticipated films of the year.

The film is said to be a high-octane action thriller, with Khan playing the role of a RAW agent named Pathan. The plot of the film is being kept under wraps, but it has been reported that the film will see Khan's character take on a dangerous mission to protect his country. The film is said to be shot on a grand scale, with action sequences taking place in multiple locations around the world.

One of the most interesting aspect of Pathan is the comeback of Shah Rukh Khan on big screen after 2 years. The actor has been away from the silver screen since the release of Zero in 2018. Fans of the actor have been eagerly waiting for his return, and Pathan is sure to be a major draw for audiences.

In addition to Khan, the film also stars Deepika Padukone and John Abraham in pivotal roles. Padukone is said to be playing the role of a RAW agent, while Abraham will be seen as the main antagonist. Both actors are known for their performances in action films, and are expected to bring a lot of energy and excitement to the film.

The film is being directed by Siddharth Anand, who is known for his work on high-octane action films such as War and Bang Bang. Anand is said to be working closely with Khan to create an action-packed film that will keep audiences on the edge of their seats. The film's action sequences are being choreographed by international action directors and will be shot in exotic locations around the world.

The music of the film is being composed by Vishal-Shekhar, who are known for their work on films such as War and Bang Bang. The film's soundtrack is expected to be a mix of high-energy tracks and emotional ballads, and is sure to be a hit with audiences.

Pathan is being produced by Yash Raj Films, one of the most successful and respected production houses in India. The studio is known for its high-quality productions and for its ability to bring together some of the biggest names in the industry.

The release date of Pathan is not announced yet, but is expected to be released in 2022. The film is one of the most highly-anticipated films of the year, and is sure to be a major box office hit. With a star-studded cast, a high-octane action storyline and some of the best talent in the industry working on the film, Pathan is sure to be a cinematic experience like no other.

In conclusion, Pathan is an upcoming Indian action thriller film directed by Siddharth Anand and produced by Yash Raj Films. Starring Shah Rukh Khan as the lead role, the film is expected to be a high-octane action thriller with a dangerous mission to protect his country. With the return of Shah Rukh Khan, the addition of John Abraham and Deepika Padukone in pivotal roles, and the direction of Siddharth Anand, the film is expected to be a major box office hit when it release. With the anticipation of fans and the level of production, it is expected that this film will be a cinematic experience like no other.a

Zampak

Thriller 2:39 AM

Satyameva Jayate (2018)

Watch Satyameva Jayate 2018 Full Hindi Movie Free Online

Director: Milap Zaveri

Starring: John Abraham, Manoj Bajpayee, Amruta Khanvilkar, Aisha Sharma

Genre: Action, Thriller

Released on: 15 Aug 2018

Writer: Milap Zaveri

IMDB Rating: N/A/10 (N/A Votes)

Duration: 131 min

Synopsis: DCP Shivansh has been tasked to catch Vir, the man behind police killings in the city. Both are eventually against the same enemy but divided by a fine line, the law.
Critic's Rating: 2.5/5
Satyameva Jayate Story: Veer (John Abraham) takes on the mission of killing corrupt cops in the Mumbai police force. Haunted by ghastly incidents from his past, he turns into a vigilante and Veer has his own mysterious plan of action. Meanwhile, honest and intelligent inspector Shivansh (Manoj Bajpayee) is given the arduous task of tracking down the cop killer.

Satyameva Jayate Review: Movies with themes of anti-corruption and misuse of power are relevant to our times, now more than ever before. ‘Satyameva Jayate’ (SMJ) is an action thriller that works on the simple premise of an angry man, fighting corruption with raging passion and violence. While the setup is pertinent, the execution is far from ideal. This masala entertainer has a huge hangover of the staple cinema that used to draw crowds during ’70s and ’80s. But the thundering background score (the Sanskrit chanting used to heighten the drama in several scenes), unrelenting drama and over-the-top action, make this movie feel a little too jaded.

The film starts off with Veer (John Abraham) burning a cop alive. It sets the tone for the rest of the film, which over a course of 2 hours and 20 minutes, does not deviate from the set path. Veer miraculously shows up every time a cop is committing a crime in various suburbs of the city. There is a twist in the story at mid-point, but even after the arrival of this unforeseen development, the screenplay stays focussed on the crusade against corrupt cops and setting them to flames. The narrative never changes gears from the cliched good versus evil scenario, while also doling out lessons on patriotism. The heavy-duty dialogues are written to play to the gallery, but more often than not they’re over employed and end up losing their intended impact. The rivalry between Manoj Bajpayee and John Abraham’s characters had a lot of scope, but the writing fails to explore it in a credible manner.

The performances are a lot better than director Milap Zaveri’s vision. John Abraham leads the charge in ‘SMJ’. While he’s tearing up tyres and beating the bad guys to a pulp, he infuses the angry young man role with passion and energy. Manoj Bajpayee as is in top form. His ace act as the fiercely determined and honest cop adds credibility to the film. Debutante, Aisha Sharma, has a confident screen presence, with a little more work on diction, she could do much better.

‘SMJ’ desperately tries very hard to sell the age-old idea of revenge and righteousness. But the big booming treatment is a little too hard to accept and digest. With John in the film, one can expect good action, but it’s gruesome and a little too bloody at times. Truth be told, the story is relevant in today’s times, but too many cliches in the story and the style of storytelling will make you want to cop out of this one.

Manoj Bajpayee says his latest film Satyameva Jayate is an edge of the seat thriller. The actor plays a police officer in the Milap Milan Zaveri directorial, which hits screens on August 15.

Manoj, who recently won the Best Actor award at the Indian Film Festival of Melbourne, feels his latest venture Satyameva Jayate is one commercial movie which grabbed his attention. During an exclusive chat with indianexpress.com, the maverick actor said, “It’s a massy film, which I’m not that much known for. But it’s a story which grabbed me by my collar. When Milan Zaveri narrated the script, I was sitting quietly through the narration. It didn’t even give me a chance to yawn. And I was on the edge of my seat. I said let’s go ahead and do it! I don’t have any problem with any genre. It’s just that commercial films which were being offered to me were not up to the mark and this is the kind of film I have grown up watching in my small town, in my village. It is a tribute to all those films.” Satyameva Jayate is Manoj’s fourth release this year. While he played a colonel in Aiyaary, he was a DIG in Baaghi 2. We asked him whether donning the uniform on screen is his new found love and he said, “That’s good na! And they (makers) think I do justice to the role. But at the same time, I would say I don’t play the uniform, I play the person who is wearing that uniform.” John Abraham is definitely a smart producer. From Vicky Donor, and Madras Cafe to his most recently released Parmanu: The Story of Pokhran, there’s no denying the fact that as a producer, he has always come up with something fresh and unconventional. In his latest production Satyameva Jayate, the actor takes on the subject of police corruption that has spread its ugly seeds all over Mumbai.

Veer (John Abraham) is determined in pursuing his revenge as he sets out on a bloody rampage against the crooked police department that wronged his deceased father, a righteous cop who never compromised to get along or to be accepted. Veer is not a man to be trifled with. He can tear apart a truck tire, pull out doors from police vans, dodges hundreds of bullets, in short, he can do anything even if it comes at the cost of logic.

DCP Shivansh Rathod (Manoj Bajpayee) has been asked to cut his vacation short and return to Mumbai as soon as possible because two police officers have been burnt alive in the city. Though the department wants to brush the news under the carpet, it spreads like wildfire. Consumed by anger, Rathod, an upright cop in a squad full of corrupt colleagues, is determined to expose whoever is behind this brutal crime.

Without a doubt, Satyameva Jayate raises many questions about India’s justice system and the ethics of turning a blind eye to inequity, but the depiction of it takes a popular route. The makers have tried their best to put the audience in a situation where they struggle with issues of morality and integrity, but the film’s thin plot remains far from reality. Then there are super dramatic dialogues. Even the basic conversation between characters is laden with heavy-duty punches and jingoism.

Also, just to assure the audiences that it’s an Independence Day release, film's director Milap Zaveri has ended up showing the tricolour on screen for countless times. There is a bright side to it as well. Unlike Bollywood cop dramas, Satyameva Jayate, at least, dares to bring the darker side of our system to the forefront and tries to present a balanced scenario.

In addition, there are a few sequences in the film that viciously unmask the corrupt in judiciary. One such scene is when a luxury car of a rich brat runs over a woman sleeping on a pavement. The culprit's parents are asked to not worry about anything and the victim's husband gets warning because "Kachre ko insaaf nahi milta, kachra sirf saaf hota hai." The sequence may lack the intensity, but it has some resonance in reality.

In terms of acting, Bajpayee will definitely captivate your attention as an honest police officer who is a fair combination of funny and serious. In Abraham's case, it's his bulging biceps that do most of the talking. Aisha Sharma's role is confined to looking beautiful and engaging our hero during his weak moments.

At nearly 150-minute duration, Satyameva Jayate has its heart at the right place, but a convoluted screenplay hampers its chances.

Bollywood actor John Abraham and his massive biceps are back. After he made Indian dream of becoming a nuclear power possible in Parmanu The Story of Pokhran, he is here to end corruption in Satyameva Jayate. As the first poster of the Milap Milan Zaveri film was revealed, finding a pride of place with John, his biceps and lot of fire in the backdrop -- a nod to the burning problems of today, perhaps -- was the film’s tagline. “Beimaan pitega, corruption mitega (Corrupt will be beaten, corruption will end),” it said. Ok then.

Sharing the poster, John wrote, “This Independence Day, Justice will roar! #SatyamevaaJayateOn15Aug @zmilap @BajpayeeManoj @SMJFilm @TSeries @EmmayEntertain @nikkhiladvani #BhushanKumar @aishasharma25.” The film also has Manoj Bajpayee in an important role.

The first look of the film was revealed in April this year and Manoj was seen pointing a gun at John in the image.

In the past few months, Manoj and John have tweeted about working with other. “So much fun and an honour working with Manoj Bajpayee. It’s a wrap for you and my work starts now. Thank you Avinash Gowariker for the picture! ‘Satyameva Jayate,” John tweeted, to which Manoj replied, “Likewise brother! Missing being on the set with you all already. Good luck with all the fists and the kicks.”

Satyameva Jayate is produced by T-Series’ Bhushan Kumar and Nikhhil Advani and is scheduled to hit the screens on August 15.

The film is likely to clash with Akshay Kumar’s Gold and Kangana Ranaut’s Manikarnika.

It's a clash of the Titans, as John Abraham's Satyameva Jayate collides with Akshay Kumar's Gold on Independence Day. While John's film is a typical action-masala film, Akshay's film is a sports drama.

Trade analyst Girish Johar told a daily in an interview that Satyameva Jayate is expected to earn Rs 10 crore on the first day. It has released in 2500 screens.

The film won't be entirely affected by Gold, as the two films belong to a different genre and cater to separate audiences, says Johar.

If this holds true, then 2018 is turning out to be quite a lucky year for John, whose previous film Parmanu The Story of Pokhran did good business at the box office.

Though Satyameva Jayate has been panned by critics, it has opened on a good note and the morning shows at several cinema halls are running to full houses. It witnessed a 42.5% occupancy in its morning shows.

Satyameva Jayate, directed by Milap Zaveri, tells the story of Veer, a vigilante, who is determined to weed out corruption by taking law into his own hands. Manoj Bajapayee, an honest and intelligent police officer, is out to catch him before all hell breaks loose.
It's Independence Day and John Abraham, after Parmanu: The Story of Pokhran, is all set to infuse in you a strong feeling of patriotism with his Satyameva Jayate, amid a migraine-inducing background score.

The film is the latest in Bollywood's slew of nationalism-inducing films. It's another film where the flag waves dramatically, there are dishonest cops (that's become a permanent trope in films now), and people spew Sanskrit verses as if they were born with a Sanskrit textbook pressed in their hands.

Let's cut to the chase. John Abraham plays hooded vigilante Veer, who is on a ritualistic spree of weeding out corrupt cops by burning them on a stack of wood and reciting some bad poetry while he does so. It heightens the torture for the one being burnt and the audience. Veer is a merciless killer - but only the "bad" people are his targets. He doles out justice to the innocent people like it's his birthright.

That's at night, though. During the day he is your average Joe, who cleans beaches (approving nod at Swach Bharat Abhiyan), saves injured puppies and spends time with his lover, played by entirely forgettable newbie Aisha Sharma, who is just there to spout patriotic dialogues about soldiers and the Indian flag. She has a sad back-story that is somehow squeezed in at the end of the film.

Shivansh Rathod played by Manoj Bajpayee is the honest officer, something we're reminded every 10 seconds. He is on a mission to find Veer and is rather unsuccessful for the most part, even when there seems to be CCTV footage available. But let's not try to discover the crater-like loopholes in the film, because there isn't enough time in the world.

Understandably, Shivansh and Veer are in a cat-and-mouse chase.

There is a plot twist right before the intermission, but you're so wearied and nauseated by inept filmmaking and an overdose of patriotism by then, that you can just about widen your eyes in mere surprise. The second half tries to inject some reason behind Veer's doings, but fails miserably. There's more blood, gore and dramatic matchsticks flicked in the direction of the kerosene.

There are hardly any greys in the film of course (unless you want to count Veer). Apparently, corrupt policeman go around bleating that they're corrupt. We hope the corrupt ones listen to you, Milap Milan Zaveri.

It's understandable why John Abraham did this film. It is to stay true to his action avatar, which is his comfort zone. He beats up people left, right and centre, and never misses a chance to show his bulging biceps. You can always expect him to do a role that involves him breaking out of a tyre or jumping off dangerously high ledges.

But what is a gifted actor like Manoj Bajpayee doing in this travesty of a film?

It's hard to grasp exactly what the film's message is. Is killing corrupt policeman like mosquitoes in the name of nationalism something to be proud of? In this tug-of-war between high-sounding morals and propagators of justice, it's decent cinema that is sacrificed on a burning stack of wood, while director Milap Milan Zaveri spouts his brand of poetry.

You know what to expect from Satyameva Jayate. Nothing. Watch the film if you swear by John Abraham. If not, catch the other Independence Day release Gold.
Satyameva Jayate movie cast: Manoj Bajpayee, John Abraham, Aisha Sharma, Amruta Khanvilkar
Satyameva Jayate movie director: Milap Milan Zaveri
Satyameva Jayate movie rating: One and a half stars

A hooded vigilante is roaming about in Mumbai, setting fire to corrupt cops, easily evading capture, and notching up the gruesome numbers: you close your eyes, and another one goes up in flames.

The film takes its objective very seriously indeed. We are shown stacks of wood, kerosene cans and matchsticks, and burning human flesh, over and over and over again. And again, just in case we’d forgotten.

There was a time, in the 70s and 80s, when B grade cinema embraced this theme—weeding out corruption with extreme violence– with enthusiasm. Satyameva Jayate brings it all back, with all its dialogue-baazi, and relentless background music, piling one improbable, cliché-ridden sequence upon another.
Backstory of the hunter (Abraham), as the devastated child forced to see his honest policeman father being hounded and humiliated? Check. A ‘Deewar’-like strand, with the ‘good’ brother (Bajpayee) on his trail, conflicted, yet true to his oath as an enforcer of the law? Check. A posse of cops milling about uselessly as our man breezes blithely in and out of cops stations and hospitals and other well-guarded locations? It’s all there.

An effective vigilante film has its guilty pleasures: who doesn’t like a bad guy come to a worse end? But not when the plot offers creaky tropes, and revives all the forgotten horrors of this kind of movie, where you dispense good taste in the pursuit of hoots and whistles. There’s so much gore that even hardened viewers may flinch, and there’s something entirely gratuitous about characters being made to mouth thunderous lines against people taking the law in their hands, and then showing humans being burnt and beaten.

Some of the lines are in cringingly poor taste. ‘Pata lagao uski koi rakhail hai ki nahin’, thunders Bajpayee’s character. A toaster is used to make ghastly jokes about a guy who’s been burnt to a cinder. Macabre jokes work only when you do them well: here, they don’t land, because the whole thing is so inept.

We can get why Abraham is in this film: he’s done this kind of movie before, and this looks like an extension, all bulging biceps and flaring nostrils, and using hands and legs against the enemy. He does action well: you believe when a tyre is split by those muscled arms. But what possessed the excellent Bajpayee, who can lift a film just by his presence, to do this?

Dilbar ( Satyameva Jayate ) Song Lyrics

Dilbar dilbar…

Chadha jo mujhpe suroor hai
Asar tera yeh zaroor hai
Teri nazar ka kasoor hai

Dilbar dilbar…

Aa paas aa tu kyun door hai
Yeh ishq ka jo fitoor hai
Nashe mein dil tere choor hai

Dilbar dilbar…

Ab toh hosh na khabar hai
Yeh kaisa asar hai
Hosh na khabar hai
Yeh kaisa asar hai
Tumse milne ke baad dilbar
Tumse milne ke baad dilbar

Dilbar dilbar… dilbar dilbar…
Dilbar dilbar… dilbar dilbar…

[Ikka Rap]
Karti qatal na aise tu chal
Paheli ka iss nikalo koi hal
Husan ka pitara khilta kamal
Kar loonga sabar kyunki meetha hai phal

Tu mera khaab hai
Tu mere dil ka qaraar
Dekh le jaan-e-mann
Dekh le bas ek baar…

Chain kho gaya hai
Kuch toh ho gaya hai
Chain kho gaya hai
Kuch toh ho gaya hai
Tumse milne ke baad dilbar
Tumse milne ke baad dilbar

Dilbar dilbar…

Paniyon Sa – Satyameva Jayate Song Lyrics

    Satyamev Jayate (2018) Movie
    Director : Milap Milan Zaveri
    Producer : Bhushan Kumar, Krishan Kumar, Monisha Advani, Madhu Bhojwani & Nikkhil Advani
    Released date : Wednesday, 15th August 2018
    Starring : John Abraham, Manoj Bajpayee, Amruta Khanvilkar, Aisha Sharma
    Singer(s) : Atif Aslam, Tulsi Kumar
    Music By : Rochak Kohli
    Lyricist(s) : Kumaar
    Music Label: T-Series
    Movie Details : Satyamev Jayate (2018) (Wikipedia)

Other Satyamev Jayate (2018) Movie Songs Lyrics :-

Dilbar ( Satyameva Jayate )
Tajdar-e-Haram ( Satyameva Jayate )

Description :
Satyameva Jayate (2018) is an action thriller movie directed by Milap Milan Zaveri, Screenplay by Mi...
Jo tere sang laagi preet mohe
Rooh baar baar tera naam le
Ki Rab se hai maangi yehi duaa aa…
Tu haathon ki laqeerien thaam le

Chup hai baatein
Dil kaise bayaan main karoon
Tu hi kehde
Wo jo baat main keh na sakoon

Ki sang tere paniyon sa, paniyon sa
Paniyon sa behta rahoon
Tu sunti rahe main kahaniyaan si kehta rahoon
Ki sang tere baadalon sa, baadalon sa
Baadalon sa udta rahoon
Tere ek ishaare pe teri ore mudta rahoon
Ooo…

Aaadhi zameen, aadha aasmaan tha
Aadhi manzilein, aadha raasta tha
Ikk tere aaane se mukamaal hua sab ye
Bin tere jahaan bhi bewajah tha

Tera dil banke main saath tere dhadkoon
Khudko tujhse ab door na jaane doon

Ki sang tere paniyon sa, paniyon sa
Paniyon sa behta rahoon
Tu sunti rahe main kahaniyaan si kehta rahoon
Ki sang tere baadalon sa, baadalon sa
Baadalon sa udta rahoon
Tere ek ishaare pe teri ore mudta rahoon

Ooo…

Tajdar-e-Haram ( Satyameva Jayate ) Song Lyrics
Noor-e-khuda karam ki nazar ho
Maula meri duaa mein asar ho
Yeh mo.ajiza dikhaye Khudaya

Mere tadap ki unko khabar ho

Haal-e-dil ya Nabi aapke saamne
Sar jhuka kar kahenge hum

Tajdar-e-haram
Tajdar-e-haram
Ho nigahein karam ho karam

Tajdar-e-haram
Tajdar-e-haram
Ho nigahein karam
Hum gareebon ke dil bhi
Sawar jaayenge…

Tajdar-e-haram
Tajdar-e-haram

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Mouni Roy 11:03 AM

Gold 2018

Starring: Akshay Kumar, Kunal Kapoor, Mouni Roy

Language: Hindi

GOLD The official announcement of the film was made in October 2016 by its lead actor Akshay Kumar.The Arjuna Award winner and former Indian national hockey team captain, Sandeep Singh, was signed to train the actors to improve their hockey skills.

Major shooting was done in Yorkshire and The Midlands, England.

Director Reema Kagti said, “It’s a fictional take on what happened. Also, it is not just the golden victory in 1948 we will be looking at, but it will encompass 12 crucial years in India’s history.

Worth it's weight in gold

Gold Story: A fictional account, inspired by true events and people, of India’s first gold medal win as an independent nation at the 1948 Olympics in London. Tapan Das (Akshay Kumar), the team manager, leads the charge to assemble the country’s first all-Indian hockey team. His aim is to beat the Britishers at their own game, on their own turf.

Gold Review: There’s no greater pride in sport than to see your country’s flag being hoisted on an international stage. That sentiment gets amplified, when the setup is at the 1948 Olympics in London, where the Indian hockey team had to prove that their dominance in the sport from 1936 to 1948, wasn’t by mere chance. And what makes this sentiment stronger and the win historic, is the fact that the game was played just a year after India became a free country. ‘Gold’ recreates the journey of this spirited and lesser-known team that upstaged the British at the 1948 Olympics and made a statement against the English subjugation of 200 years.

The film begins in 1936, when India made big impact in world hockey and won its third consecutive gold at the Berlin Olympics. This team was called British India team and was managed by the British Raj. One wily and determined Bengali junior manager of the British India team, took on the audacious task to form a new team for free India to participate at the 1948 Olympics in London. His dream was to see the Indian flag furling high on British soil, which would be a moment of pride for every Indian.

Reema Kagti tells an insightful and entertaining story and take us back to that moment in history, which is not often spoken about or celebrated. Performances by the entire ensemble cast are spectacular. Akshay as the dhoti clad team manager (often referred to as Bangali), brings in a great deal of physical as well as gag-driven humour to his performance, but he’s also able to change gears in dramatic scenes with ease. Kunal Kapoor holds own as a senior player and later on a coach of the Indian team in a restrained but solid performance. Vineet Kumar Singh delivers a knockout performance once again. Amit Sadh is fantastic as an uptight prince who learns some valuable lessons in life while being the Vice Captain of the team. Sunny Kaushal, as a player with a heart and hot temper, shows a spark of brilliance. Mouni Roy, as the feisty Bengali wife, handles her brief role effortlessly.

‘Gold’ isn’t just a film on hockey, it’s also a period film that recreates an era long forgotten. More than that, it’s reminds us of the painful reality of partition and how that brutally tore apart our nation. The production design and costumes, which play an integral part in depicting the era, are top notch. The cinematography and the background score stand out with excellent finesse and technique. The hockey matches create a great amount of thrill, and even though you know the end result, you will find yourself sitting at the edge of your seat and rooting for team India all the way. The first half is slow paced and the film takes quite a while to establish the characters and set up the plot. The editing could have been a lot more taut and the narrative could have done without the songs Chad Gayi Hai and Naino Ne Baandhi.

The emotions run high in the film, as a handful of Indians put their personal differences aside to make the country proud. As we witness India winning its first gold as a free nation, you also see the Pakistani players cheer for Indians playing on the field. Moments like this, make ‘Gold’ a film which is more just a sports drama. This one is surely worth its weight in gold.

Director Reema Kagti's movie Gold starring Akshay Kumar, Mouni Roy, Kunal Kapoor, Vineet Kumar Singh, Amit Sadh and Sunny Kaushal has received positive reviews and ratings from the audience.

Gold is a historical sports drama film. Reema Kagti along with Rajesh Devraj have written the script for the movie, while Javed Akhtar penned the dialogues. The movie has been produced by Ritesh Sidhwani and Farhan Akhtar under the banner Excel Entertainment. The film has received a U/A certificate and its runtime is 2 hours and 33 minutes.

Gold movie story: Set in 1936 Olympics in Berlin, the film is about Tapan Das (Akshay Kumar), who is a general of British India's national hockey team. He is a great patriot and hates to salute Mein Fuhrer. He vows to win the gold medal in hockey for a free India. How he goes to many cities to choose hockey players and prepare them for victory form the crux of the story.

Analysis: Reema Kagti has chosen a brilliant subject, which is the perfect treat for Independence Day. The director has tried to showcase a historical incident in an entertaining way. The movie appears to be slow and predictable in certain parts and some scenes remind you of Chak De India, say the audience.

Performances: Akshay Kumar has delivered a brilliant performance and he is indeed the showman in Gold. Mouni Roy, Kunal Kapoor, Vineet Kumar Singh, Amit Sadh and Sunny Kaushal have also done justice to their roles and they are big assets to the movie, say the viewers.

Technical: Gold has brilliant technical values and the music, picturization, dialogues, costumes and makeup are the highlights on the technical front.

Gold movie review live updates: We bring you some viewers' verdict on the film shared on Twitter. Continue to see the audience response.

    Sumit kadel @SumitkadeI

    #Gold Patriotic BlOCKBUSTER. One of the best sports film came out of Hindi cinema amalgamated with legendary performance by @akshaykumar , towering act by Amit, vineet , Sunny kaushal & Kunal. Screen play is fast paced, Reema Direction is EPIC . Rating-⭐️⭐️⭐️⭐️ (4.5) #Gold has turned the entire cinema hall into a Hockey stadium, Saying this with full responsibility #Gold is @akshaykumar Chak De India & Lagaan . BLOCKBUSTER is written all over it. Rating- ⭐️⭐️⭐️⭐️ (4.5)

    Samhati‏ @Samhati_B

    #Gold is an outstanding film that will make you laugh and cry at the same time. This is a perfect gift for all of us on this #IndependenceDay . Kudos to the entire team. Thank you @akshaykumar sir for this film. @sunnykaushal89 You are truly a gem. Keep rocking guys.

    Abhilash Ruhela‏ @BoL_BLoGGeR

    What an awesome movie #Gold is! A perfect movie to watch on the Independence Day! @akshaykumar sir, kudos to you for working on such patriotic movies and entertaining us regularly. #GoldMovie

    Akshay Sabale GOLD‏ @AkshaySabale6

    Jst watched the #Gold.. n one can just say that it's a Pure #Gold which gives u goosebumps ri8 from the beginning of movie which is very rare nd @akshaykumar sir u r fabulous as usual..also loved the stunning,gorgeous@Roymouni #GoldMovie #GoldFDFS

    Khiladi_Manish...‏ @ManishKhati11

    Just finished watching #GoldMovie Claps and standing ovation at the end by audiences says it all.A movie for lifetime.A movie for ages..great work by team gold supported by excellent performances. @akshaykumar @Roymouni @sunnykaushal89 @kapoorkkunal @TheAmitSadh @ItsVineetSingh

    Roshan Goswami‏ @iRoshanGoswami

    #GoldReview : Amazing script, power-packed performance, fabulous direction, superb background score and cinematography, awesome music with lots of emotions. It's an out an out winner.Must watch #AkshayKumar's #GoldMovie

    Sumit kadel @SumitkadeI

    #Gold Patriotic BlOCKBUSTER. One of the best sports film came out of Hindi cinema amalgamated with legendary performance by @akshaykumar , towering act by Amit, vineet , Sunny kaushal & Kunal. Screen play is fast paced, Reema Direction is EPIC . Rating-⭐️⭐️⭐️⭐️ (4.5)

    Sanjana Krishnasarma‏ @Sanju1820

    #GoldMovie is one of the best films I have seen in a long time! All the actors' portrayals will no doubt awaken the patriot in you while keeping you on the edge of the seat the whole time!!! #GoForGold amazing job @reemakagti @akshaykumar @kapoorkkunal @Roymouni @excelmovies

    Ajith‏ @kate_aj13

    #GOLD Firstday Firstshow! @akshaykumar Sir u have been excellent throught out the movie. #Goosebumps Guarantee, one of the best patriotic movies . #GOLD crew members has done the fantastic job. Each one has played their role perfectly. Screenplay has been amazingly done.

    Anurag Pandit‏ @Anuraghindu86

    #Gold One word review :- ***BLOCKBUSTER*** A gift to our nation by Superstar @akshaykumar give on #IndependenceDay. Historical proud moments Brilliant acting , great story , Superb direction. Rating by @Anuraghindu86 ⭐⭐⭐⭐ Every one should watch it.

    Rohit Jaiswal @rohitjswl01

    #Gold 1st HALF M-I-N-D-B-L-O-W-I-N-G BLEND of Emotion, patriotism, comedy, and a brilliant msg indeed but only for those who can feel it 5*/5

    Saket kr jha‏ @Saket20885068

    #gold movie is such a outstanding movie. Every Indians should watch it. Brilliant performance by the cast @akshaykumar sir this is best performance by u. @sunnykaushal89 is surprise package. Overall 4.4 out of 5

    Priyanka Raina‏ @PriyankaRaina_

    #gold : too slow first half and Bit of CHAK DE INDIA in the second half (with lengthy dialogues) Gold is not all @akshaykumar movie ; I expected

    Bhargav Patel‏ @Khiladi_Time

    its interval & what a fun filled patriotic emotional... Every1 in Theater is loving the one ! #Gold

    Ravi Kapoor☯️ @RaviKapoor

    Just watched #Gold & @akshaykumar is absolutely phenomenal! What an act! An impressive debut by @Roymouni and @kapoorkkunal @TheAmitSadh @ItsVineetSingh @sunnykaushal89 were fabulous.

    Shilpa Lakhani‏ @shilpa_lakhani

    A well-paced first half and a gunning for #Gold second half with the last 30 mins being The emotions run high making you hoot and cheer and feel proud! @akshaykumar's Vande Mataram resonates long after you leave the cinema hall #GoldMovie 3 Gold characters in #GoldMovie @TheAmitSadh makes you say what an arrogant a** every time he's on screen,@sunnykaushal89 so endearing, doesn't hurt that he's also cute & of course the pagal Bengali @akshaykumar.The passion he shares for sports in real life makes Tapan believable Enough said...watch this forgotten/lesser known GOLDEN chapter of India's history. #GoldMovie The perfect Independence Day film, now in cinemas Enough said...watch this forgotten/lesser known GOLDEN chapter of India's history. #GoldMovie The perfect Independence Day film, now in cinemas

    Faridoon Shahryar @iFaridoon

    Reema Kagti's #Gold is a perfect film 4 this Independence http://day.You 'd stand up as the National Anthem plays at the end n what a feeling that is! Akshay Rocks n how!Amit Sadh is brilliant.Kunal Kapoor is excellent.Sunny Kaushal is the surprise package! MUST WATCH! Hey @kapoorkkunal super performance in #Gold .... Curious to know if your character Samrat is based on the Hockey legend Dhyan Chand?

    Alankrita Shrivastava @alankrita601

    And #Gold is such an engaging film! I loved its layered insight into team dynamics, and what makes a player great. The film is thrilling, emotional and fun❤ And @sunnykaushal89 delivers a breakout performance! Congratulations @kagtireema @ritesh_sid @FarOutAkhtar #GoForGold

    Umair Sandhu‏ @sandhumerry

    Review #Gold ! A Well Made Film in all Respects. @akshaykumar is Back with Another Solid Content ! He Stole the Show all the way. Terrific Performances by all supporting actors. Climax is the USP. Sure Shot BLOCKBUSTER on the way. 5/5 #HappyIndependenceDay2018

    AlwaysBollywood @AlwaysBollywood

    #Gold review : ⭐⭐⭐⭐... High on emotions and patriotism this @akshaykumar starrer is worth watching on this Independence Day...He has performed like he is the soul of this movie....A must watcher.. #HappyIndependenceDay

    Vivek Kumar‏ @ActorVivekIND

    #GoldMovie awesome & fantastic Opening days super collection Akshay Kumar is one of the best actor in our film industry today & #Gold #GoldMovie I Recommended watch this Movie (4/5)

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Sonali Kulkarni 10:48 AM

Hope Aur Hum (2018)

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Director: Sudip Bandyopadhyay

Starring: Naseeruddin Shah, Beena Banerjee, Neha Chauhan, Naveen Kasturia, Sonali Kulkarni

Genre: Comedy, Drama, Family

Released on: 11 May 2018

Writer: Sudip Bandopadhyay, Neha Pawar

IMDB Rating: 8.4/10 (19 Votes)

Duration: 96 min

Synopsis: A father obsessed with an old school copying machine wreaks havoc on the family, causing a change in their relationships. Explores the life of each family member and how their lives are intertwined with each other.
Story
An ageing widower can’t let go of his antiquated photocopy machine, which occupies too much space and breaks down constantly, leading to friction in his family.

Review
Letting go is tough, be it with people or with things. For Nagesh Shrivastav (Naseeruddin Shah), it is almost unthinkable when it is time to discard his faithful old photocopy machine that has served him well for decades. Mr Sonnichsen, as he calls the machine, is the only link to his glorious past as a copier for ministers and bureaucrats. His eldest son Neeraj (Aamir Bashir), who is forever chasing the elusive promotion at work, almost understands why, but for Neeraj’s wife, practicality supersedes nostalgia. The machine occupies space that their daughter could use as a study room. The only one who really understands Nagesh’s predicament is his youngest grandkid Anu (Kabir Sajid), a cricket-loving and commentary-spouting kid who is forever onto the next mischief. When Nagesh’s younger son Nitin (Naveen Kasturia) who works in Dubai, shows up with a state-of-the-art photocopier, Nagesh has to come to terms with retiring the machine, which has almost become a friend.

Several sub-stories run through 'Hope Aur Hum', almost all of which deal with themes of old versus new, letting destiny take its own course and even the more serious ones that deal with guilt and death. The entire segment where little Anu fights an inner battle about an act of his that could have serious repercussions is shown beautifully by the filmmaker and the young actor Kabir. Another place where the film scores well is the casting, which helps make it even more believable and the characters relatable. The dialogues, too, crack you up every now and then, which help because the film dabbles often with philosophical subjects. While the philosophising doesn’t get too heavy, towards the end one feels there could have been a better, more layered payoff rather than the simple one that is served. The film is more interesting in parts, while the whole feels a bit disjointed. A tighter script could have helped, but for now the little gags in the film work just fine.

Hope Aur Hum rating: 1.5 stars

Old age, old machine, old times, old haveli, old gramophone, old jazz record, and one really old box. Hope Aur Hum doesn’t believe in subtlety when it comes to drumming home its message of old giving way to the new, saddling Naseeruddin Shah with the burden of making audiences hope that, surely, there is something better around the corner.

But being much too obvious and doing injustice to Shah as well as Bashir, another great actor gone to waste here, isn’t even the worst of Hope Aur Hum’s crimes. That would be its insistence on straying off on tangents to yawn-worthy non-plots, one of which involves a Dubai-returned rich man looking for his phone for nearly 15 minutes of screen time. The talented child actor Kabir (Secret Superstar) has another plot that adds nothing to the central premise, but he at least is more delightful while at it.

In the Srivastava household around which Hope Aur Hum revolves, Kabir’s Anu and Shah’s Dadu form the two most interesting bookends. A finer film could have churned an entire story out of them, and some of their scenes will remind you of the endearing award-winning animation Up!. Anu’s Naani’s home, in a sprawling, decrepit haveli in the countryside, also has a charm about it and the hint of a mystery that yet another fine film could have spun into a tale of growing up during one lazy summer.

But, first-time director Bandyopadhyay doesn’t know when he has a nice thing going. So we have Anu and Dadu, Anu and Naani (played by the much-missed Beena Banerjee), Anu and cricket, Anu’s chacha’s missing phone, and even Anu’s chacha’s missing girlfriend. She, thankfully, remains largely missing.

And we haven’t even mentioned yet the highlight of Hope Aur Hum, the one thing Bandyopadhyay, by his own confession, recognised. That would be a vintage photocopying machine, made by German firm Soennecken, that Dadu loves and cares for. He sees it as his last companion, the last vestige of his former life in a fast-changing world. Bandyopadhyay, a fine arts student and an ad filmmaker, has talked about how he remembered one such 100-year-old machine from his childhood, and how he and his art director spent “blood, sweat and tears” and much imagination recreating it for Hope Aur Hum.

In its burnished-wood splendour, its big and scratched lens, its giant plates, its bellows that hang out at the back, and in the faded prints it belches out with much effort, ‘Mr Soennecken’, as Dadu calls it, is the character with the most heft and history in Hope Aur Hum.

Don’t ask what happens to it.

Rating: **

“Everything happens when it is destined to happen,” this dialogue and its essence is often repeated in this film while discussing the problem of old age, be it a man or machine. Debutant Director Sudip Bandopadhyay’s Hope Aur Hum is a slice-of-life film that drills the theme of destiny and change, in practically every scene of the film.

It is a competently told, plain and simple tale of ordinary people in ordinary circumstances.

It is a film about fate in an age that does not believe in fate. The innocuous title even reflects the film’s vision.

The characters have no motives and any criticism of this film on the basis of its realism misses the point and this is the film’s major weakness. Also the pace of the narrative is frustrating. It makes you restless as the plot is timid, outdated, forced and trudges on the middle path.

Acting is learnt, not taught: Naseeruddin Shah

Set in the suburb of a city, the film portrays the life of the Srivastava family, who are cramped up in a small-compact one storied house. Space is definitely a constraint. The house is occupied by the widower Nagesh (Naseeruddin Shah) and his married son Neeraj (Aamir Bashir) who lives along with his family. To add to the mess, we have Neeraj’s younger, unmarried brother Nitin (Naveen Kasturia) who visits them from Dubai. Apart from gifts for the family, he lands up with his baggage of issues; he misplaces his phone and desperately tries to locate it.

As the film opens we are informed that Nagesh runs a photo-copying business on the ground floor. He operates with an obsolete machine, which malfunctions practically every day. His customers are disgusted with him for the bad quality output his machine produces.

Naseeruddin Shah: Censor Board is afraid of female sexuality on screen

His daughter-in-law Aditi (Sonali Kulkarni), has an ulterior motive when she cajoles her husband Neeraj to convince his father to give up his business. But Nagesh is adamant. Emotionally hooked, he prefers to cling on to his oft-failing German brand machine.

Till one fine day, Nitin takes the reigns in his hands and replaces the out-dated machine with the latest digital photo-copying machine. That sets the stage for reconciliation.

Similarly one notices a change in the graph of Nagesh’s grandson Anu, who from a bubbly little boy turns into a scared, reticent child till he is told to fight his own demons.Kabir Sajid as Anu definitely steals the limelight from all his co-stars. The child actor is simply endearing. He emotes like an ace, delivers his dialogues brilliantly and holds his stead against stalwarts like Naseeruddin Shah, Sonali Kulkani and Aamir Bashir.

The film boasts of moderate production values. The background score by Rupert Fernandez is bright and chirpy. The songs; Aache bachche rote nahin and Aye Zindagi snuggly mesh into the narrative.

Overall, the film is slight too flat and straight.

Sudip Bandyopadhyay’s twee family drama is all over the place, but it has its moments. Hope aur Hum begins as an ode to ancient objects, meanders into a young boy’s irrational fears, and wanders off into unchartered territory – all in the space of 96 minutes.

Nagesh (Naseeruddin Shah) is devoted to his old photocopying machine, which should occupy pride of place in a museum but instead squats on vital real estate in his family home. Nagesh refuses to get rid of the contraption, reasoning that if it goes, so will he.

His adorable grandson Anu (Sajid Kabir) supports him, but he has his own demons to slay – playing in the gully cricket team, and getting out of his head the image of what he believes to be a ghost at his maternal grandmother’s home. The sprawling mansion is soon going to be converted into a hotel – a hint for Nagesh, perhaps? – and Anu runs into the ghost during a weekend visit.

Nagesh’s older son Neeraj (Aamir Bashir) frets over a promotion. Nagesh’s younger son Nitin (Naveen Kasturia) loses his mobile phone and finds love during a visit from Dubai. The most redundant character is Aditi (Sonali Kulkarni), who hangs around waiting for the men in her life to make up their minds.

The film’s central focus – something to do with the power of destiny– is as vague as its title, and Bandyopadhyay and co-writer Neha Paawar lose their grip over the proceedings early on. The film is set in the present – indicated by the presence of smartphones – but it feels stubbornly old-fashioned in its depiction of the tensions between the past and the present.

Some sweet moments of family humour and solid performances emerge through the pile-up. The knee-high Sajid Kabir is delightful as Anu, whose obsession with cricket gets a hard knock after that strange encounter with the ghost. Naseeruddin Shah is endearing as the patriarch whose heart lies in the past, even though his motivations remain shrouded in mystery, Although it is hard to imagine a movie in which a young boy matches step with an acting powerhouse, the kid and the thespian makes their scenes count.

In ad filmmaker Sudip Bandhyopadhay’s Hope Aur Hum, three parallel narratives flow side by side. Seeped in nostalgia, the film has many moments- some striking, some memorable and some fleeting- in a story told through three generations of the Srivastava family.

At the centre of this story is an old man Nagesh Srivastava (Naseeruddin Shah), who is attached with his old school photocopy machine. He has named it Mr. Soennecken after Friedrich Soennecken, the famous German office products supplier. And at a time when everyone is technology obsessed, Nagesh finds solace and refers to the work of Mr. Soennecken as art. He is still stuck in the era when he first brought the machine home and all his neighbours had lined up outside to get just one glimpse of it. His son Neeraj (Aamir Bashir), who is under constant pressure to get that due promotion at work, understands his father’s attachment but to his wife Aditi (Sonali Kulkarni), the room where the machine is kept can be used to provide their kids a more comfortable living and separate rooms. She keeps practicality over both emotions and nostalgia.
Nagesh comes from a time when even machines, gadgets and appliances, had a place of their own in people’s life. When his grandson retorts saying the machine is old and needs to retire now, Nagesh tells him, “ye machine bekaar nahi hai, yaadgaar hai.” Whether it was someone’s first car, first watch, first television or even the first photocopy machine - it meant more than just an electronic device. To them, letting it go means to let go a part of oneself. But, in his mind, Nagesh knows that whether it’s a human or a machine - it has to work because there’s always someone younger or advanced waiting to take its position. Shah is in his top form and delivers a wistful performance throughout. He speaks lines that have depth and delivers them with an impact that not many can boast of.

Nitin, from the second generation, has his life revolving around his phone which he loses upon his arrival in India. But who knew a lost phone can help find him love! His story relies more on chance encounters and destiny, but you wish to see more of it and more of Kasturia too. He is a talent to reckon with but doesn’t get enough screen time and enough shades to portray.

The third narrative, also the most prominent one, is that of the youngest generation - Anu. To let go of irrational fear and free oneself from the guilt of what would have happened or what could have happened is as tough for him as it is for his grandfather to let go off that old machine. Despite being a child actor, Sajid hooks you. His innocent yet enthusiastic commentary makes you smile and his fear and guilt make you worry.

While actors do their part well, the film in its entirety doesn’t seem well enough. The obvious connections between humans and machines is a strong base but that doesn’t come out the way it should have. The film tries to be a poem but the lines are not strong enough and the plot doesn’t convert to prose in totality. The metaphors relating to life and transition are in plenty but only some leave an impact. It also feels that the film is not worthy of the ending we are served with, but of something better.

Hope Aur Hum is a well-intentioned film. It has its heart in the right place and manages to seep you in its own nostalgia and think of things beyond the film. But there’s something that doesn’t quite make it through. The message of this family drama stays with you but the film, unfortunately, might not.

उम्मीद पे दुनिया कायम है' और उम्मीद की यही डोर निर्देशक सुदीप बंदोपाध्याय की फिल्म 'होप और हम' में तमाम कलाकारों को एक माला में बांधे रखती है। कहानी में हर किरदार किसी न किसी उम्मीद की आस में है और फिल्म के क्लाइमेक्स में जब हर किसी की उम्मीद पूरी होती है, तो आप खुद उम्मीद के उन टुकड़ों के साथ सिनेमा हॉल से विदा लेते हैं।

कहानी बहुत ही सिंपल है। नागेश श्रीवास्तव (नसीरुद्दीन शाह) यूं तो बहुत ही समझदार और जिम्मेदार बुजुर्ग हैं, मगर जब उनकी बाबा आदम के जमाने की फोटोकॉपी मशीन को रिटायर करने की बात आती है, तो वे बच्चों की तरह उसे बचाए रखने की तिकड़म करने लगते हैं। असल में इस फोटोकॉपी मशीन ने उनके संघर्ष के दौर में परिवार को संबल और सुरक्षा दी थी। नागेश का बेटा नीरज (आमिर बशीर) प्रमोशन की जद्दोजहद में लगा है, जबकि उसकी पत्नी (सोनाली कुलकर्णी) चाहती है कि उसके ससुर उस मशीन को अलविदा कहकर उस जगह को बेटी के पढ़ने का कमरा बना दें। फोटोकॉपी मशीन से जुड़े नागेश के जज्बातों को सिर्फ उसका नन्हा पोता अनु (कबीर साजिद) ही समझ पाता है। नागेश को उम्मीद है कि पुरानी मशीन का खराब हो चुका पुर्जा कहीं न कहीं जरूर मिल जाएगा। उसी बीच नागेश का छोटा बेटा नितिन (नवीन कस्तुरिया) दुबई से अपने पिता के लिए नई-नकोर और अडवांस फोटोकॉपी मशीन लाता है और उसी दौरान उसका मंहगा फोन खो जाता है। यहां नानी के घर गए अनु से एक भूल हो जाती है और अब वो उस भूल को सुधारने की उम्मीद लगाए बैठा है।
निर्देशक सुदीप बंदोपाध्याय की होप और हम ने कहानी में कई लेयर्स और मुद्दों को गूंथा है। उन्होंने फिल्म में उम्मीद के साथ-साथ किस्मत के फलसफे को भी बयान करने का प्रयास किया है। उनके किरदार सच्चे और सहज नजर आते हैं, मगर फिल्म में कई जगह वे अपनी पकड़ खो देते हैं और कहानी सपाट लगने लगती है। फिल्म को स्क्रीनप्ले की सहायता से और दिलचस्प बनाया जा सकता था, हां फिल्म में कुछ हलके-फुलके पल हैं, जो मुस्कुराने पर मजबूर कर देते हैं।

नसीरुद्दीन शाह ने हमेशा की तरह अपने किरदार को सहज रखा है। वे नागेश श्रीवास्तव के रोल में विश्वसनीय लगे हैं। वहीं, उनके साथ बाल कलाकार कबीर साजिद ने उम्दा अभिनय किया है। नन्हे कबीर ने अपने बाल मानसिक द्वंद्व को बखूबी दर्शाया है। सोनाली कुलकर्णी के रोल में करने जैसा कुछ नहीं था। उन जैसी सशक्त अभिनेत्री के हिस्से में बेहतर सीन होते, तो कहानी संवर सकती थी। आमिर बशीर और नितिन कस्तुरिया ठीक-ठाक लगे हैं। फिल्म में संगीतकार रूपर्ट फर्नांडिस संगीत पक्ष को कर्णप्रिय नहीं बना पाए।

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Vicky Kaushal 11:31 AM

Raazi (2018)

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Director: Meghna Gulzar

Starring: Alia Bhatt, Vicky Kaushal, Jaideep Ahlawat, Amruta Khanvilkar

Genre: Action, Crime, Thriller

Released on: 11 May 2018

Writer: Harinder S. Sikka (based on the book ‘Calling Sehmat’ by), Meghna Gulzar (screenplay), Bhavani Iyer (screenplay), Meghna Gulzar (dialogue)

IMDB Rating: N/A/10 (N/A Votes)

Duration: 138 min

Synopsis: Raazi is a 2018 period-thriller film directed by Meghna Gulzar, starring Alia Bhatt and Vicky Kaushal in lead roles. The story revolves around an Indian spy married to a Pakistani man during the Indo-Pakistan War of 1971.
War, espionage and covert operations often inspire action-pa ..

This ‘recalibration’ extends to how she dresses, eve ..
Oh the talking, yes of course (laughs). I had to... because ..

he actual person who lived this tossed around existe ..
book on which Alia Bhatt-starrer Raazi is based, is all set for a mega re-launch in the national capital. After the film crossed the Rs 100-crore mark in India, the book also witnessed a widespread interest.

Written by Harinder Sikka, Calling Sehmat will be released by Chief of Naval staff, Admiral Sunil Lanba, on June 14 this year.

The launch will be organised at the official residence of Navy Chief at the Rajaji Marg in New Delhi. Formal invitations are being distributed for a private gathering.

The book is based on the life of a Kashmiri girl, who decides to marry into a Pakistani Army family to source information ahead of the 1971 Indo-Pakistan War.

The attempts by the girl provide India with significant information about a planned attack. The book details a dangerous expedition and a personally overwhelming journey of a young and brave patriot.

Sehmat, the book claims, extracted information about Pakistan planning an attack on Indian Naval ships. Her information saved India an impending strike on INS Vikrant, the only aircraft carrier.

At a recently-held meeting, author Harinder Sikka had gifted the book to the Naval Chief at the headquarters.

The event is expected to witness a host of dignitaries from the Armed Forces.

The recent edition of Calling Sehmat is published by Penguin Books. The first edition of the book was released in 2008, but turned into a bestseller after the release of Raazi.

There is no confirmation yet if the event would also reveal photographs of real Sehmat Khan, the Indian spy Sikka mentions in his book, as was initially claimed by the author.
In 1999, I had gone to Kargil. I had retired from the Indian Navy as a lieutenant commander six years earlier, in 1993. I was then working with the Piramal group in a senior position.

I went to Kargil as I was contributing to The Pioneer newspaper as a freelance journalist.

During my interaction with officials of India's intelligence agencies, I asked them angrily, 'How did the enemy come and sit on our head?'

I was blaming them for the intelligence failure (that led to Kargil).

It is at that time that a young military officer stood up and said that every person was not a traitor.

I told him to name one person who was honest and that young army officer said, 'My mother was not a traitor.'

When I returned to New Delhi, his words haunted me. I started digging up that officer's background. I wanted to know what he had meant.

I had this illusion that I was very brave because I had the courage to return to the battle theatre even after hanging up my military boots.

As I delved into this young officer's life, I realised my bravery was nowhere close to a Kashmiri Muslim woman, the officer's mother.

As I dug into the story, I had tears in my eyes.

Hidayat (not his real name), a Kashmiri businessman, sent his only child to enemy territory (Pakistan) as a bride to get information from the enemy.

He had an established business with the Pakistanis. Pakistani generals imported liquor illegally from India then. Possibly, they still do.

With his contacts, Hidayat married off his daughter in a Pakistani general's home.

The man who she married was a captain in the Pakistan army.

As his last wish, Hidayat told his daughter to listen to and observe the Pakistani generals and whenever possible send the information back to India.

The code name given to her was 'Sehmat'.In the 1970s, when any father on the death bed said something to his children, it was considered an order, which the children rarely refused to follow.

This young married woman readily agreed to spy for India in Pakistan, an assignment for which she was not professionally trained.

When my manuscript was read by former Jammu and Kashmir chief minister Dr Farooq Abdullah, he asked me to change some names in the book.

He knew Sehmat's family.

Dr Abdullah told me there are thousands of Sehmats in Kashmir willing to do anything for Hindustan.

After the Kargil war ended, I traced Sehmat to Malerkotla, Punjab.

She was a quiet and saintly person.

She was not willing to talk (about her past), but I was adamant.

After great difficulty, I managed to make her speak.

I asked her why she was staying in Punjab when she had a palatial house in Kashmir.

She told me she was staying in Punjab because Abdul (played by Arif Zakaria in Raazi) had lived there.

Abdul was the Syeds' servant.

The Syeds were Sehmat's in-laws in Pakistan.

On further prodding, she told me Abdul had died.

How?

I crushed him under the truck, she said.

I saw a lot of pain in her eyes when she spoke about the truck incident and refused to say anything further.

Review: Raazi is a rarity

When I left, I wondered what kind of bravery I had been displaying in my life.

Would I ever be able to send my only child to the battlefield?

And the answer is no.

She told Abdul before killing him, 'I am sorry Abdul, but I love my country more.'

And this line came from a Kashmiri Muslim woman.

We Indians consider Muslims, especially Kashmiri Muslims, as not patriotic. We use these words so harshly about them.

In my numerous visits to her home, she rarely encouraged me to sit for more than two minutes.

The maximum I sat with her was for five minutes.

I discovered how she taught the grandchildren of Pakistan's top generals in school. After the book was finished, I left the manuscript with her.

She returned the manuscript without reading it and asked me, 'What did you want to say by writing a book on my life?'

I told her I wanted to make a film on her life and I wanted to tell the world, 'Kashmiris are not traitors.'

She told me, 'Make a film on Guru Nanak.'

This coming from a Kashmiri Muslim woman to a Sikh like me was very difficult to digest.

I had never followed my religious duties and after her statement, I researched Guru Nanak's life.

I discovered that Guru Nanak travelled 30,000 km across the globe in the company of Bhai Mardana, a Muslim peer.

Sehmat had far more knowledge on Sikhism than me.

When she came back to India from Pakistan, she was in depression.

A saintly person cured her of depression.

I made a film, Nanak Shah Fakir, by spending Rs 40 crore.

The film won three National Awards including the Nargis Dutt Award for Best Feature Film on National Integration.

I knew this film could not have been made by an ordinary person like me without her blessings.

My book Calling Sehmat took eight years to research. I began my research in 2000.

The book was launched in 2008 on the INS Vikrant by the then naval chief, Admiral Sureesh Mehta. What better tribute to Sehmat!

The first copy of the book was received by T K A Nair, then principal secretary and advisor to then prime minister Dr Manmohan Singh.

The book was checked for many facts and after that, the book was received by Dr Manmohan Singh, in person.

I went back to Sehmat and told her I wanted to make a film on her life as I had fulfilled her wish by making a movie on Nanak Shah Fakir.

She did not respond.

Her non-response was a signal to me, that it was okay for me to go ahead and the movie could be made.

Calling Sehmat, which will be released by Penguin Random House, will be an eyeopener and remove many misconceptions about our brothers and sisters in Kashmir.

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Rajkummar Rao 11:02 AM

Omerta (2017)

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Director: Hansal Mehta

Starring: Rajkummar Rao, Rajesh Tailang, Blake Allan, Keval Arora

Genre: Action, Biography, Crime

Released on: 04 May 2018

Writer: Mukul Dev (story), Hansal Mehta

IMDB Rating: 7.3/10 (260 Votes)

Duration: 96 min

Synopsis: A recounting of the story of infamous British-born terrorist Ahmed Omar Saeed Sheikh, who kidnapped and murdered Wall Street Journal reporter Daniel Pearl in 2002.
Rajkummar Rao ('Newton') plays the cold-blooded British terrorist Omar Sheikh, famed for kidnappings, financing 9/11 and the murder of American journalist Daniel Pearl, in Hansal Mehta’s thriller.

Why do the best-crafted portraits of evil miscreants never get to the crux of what led them to become terrorists, murderers and serial killers? What one wants to know most is why British-born, well-educated Ahmed Omar Saeed Sheikh, who is currently serving a lifetime prison sentence in Pakistan, left the comfort of the middle class for the darkness of terrorism. Hansel Mehta’s biopic of the dangerous sociopath, Omerta, closed the Jio Mami Mumbai Film Festival with a bang. It's a gripping thriller about a brilliant career assassin, but leaves the audience no more enlightened about the protagonist’s motives than a TV newscast.

While the film may not reveal much about what goes on in a terrorist's mind, it is ably made and pushes all the right thriller buttons to keep the audience glued. In addition, Sheikh's connection to Osama Bin Laden and the 9/11 attacks, and his conviction for the murder of journalist Daniel Pearl a few months later, give the story a compelling hook for international audiences.

Michael Winterbottom’s 2007 A Mighty Heart, which centered on a memorable Angelina Jolie as Daniel Pearl’s widow, is probably Sheikh’s most well-known cinematic outing up to now, though he does appear as a character in Mehta’s own 2012 Shahid. Here, he is shown rising through native intelligence and sangfroid to kingpin status in terrorist organizations like the Kashmiri Harkat-ul-Ansar and al-Qaeda. This may give him more credit than is his due, as doubts have arisen about his real role in the attacks linked to his name.

Mehta’s regular star Rajkummar Rao plays the cool-headed, multilingual terrorist as a sinister boy-next-door. Bristling with chillingly amorality, Rao is unrecognizable as the same actor who portrayed the high-principled vote collector in Newton, India’s foreign-language film Oscar submission this year. The intro scenes fly by, briefly suggesting his privileged, preppy life in England beside a concerned but ineffectual father. He claims to have been radicalized on a trip to Bosnia during the war (not shown), when he was exposed to atrocities against his Muslim brothers.

Leaving England for his first test mission in India, he picks up three British backpackers in New Delhi and entices them back to his place for a chess game, adding an American woman for good measure. Once they’re inside, the tourists are dismayed to find themselves hostages with guns pointed at them and their fear, pitiful to watch, makes it a very effective scene.

As insidious and highly persuasive as Omar is, he’s not a very skillful kidnapper, and the police soon turn up to free the prisoners. He’s shot trying to escape. His first stint in jail, where he is tortured, doesn’t seem to faze him in the slightest; in fact, it brings out the mafia don in him — an icy, violent quality that makes others fear and respect him. He gets released in an exchange for the hostages on a skyjacked Air India flight and is soon back in action.

Aditya Warrior’s editing jumps around to follow his progress as he works his way up the ranks. Omar is tight with the Pakistan secret service and becomes an agent for them; later he’s seen recruiting young men to fight for Islam. He appears bearded and sporting gold-rimmed glasses In an Afghan training camp out of hell, where recruits show their fervor by jumping off mountains to their death as the survivors applaud. His hair-trigger temper is more prominent now, along with a streak of uncontrollable violence.

By 2000 he's a leader in Karachi and married to a trophy wife. The British link him to a money transfer to Mohamed Atta, the 9/11 hijacker. Then comes the kidnapping of Pearl, the Wall Street Journal reporter. Played by Timothy Ryan Hickernell as noble but naïve, he walks into a trap that stinks to high heaven. The film’s key scene is his murder, in which Omar appears as a blood-thirsty madman who wields the fatal sword himself. Like other major moments in the film, the tension is heightened by Ishaan Chhabra’s thrilling, portentous score.

The Italian word omerta, used mainly in connection with the mafia, refers to the attitude of ordinary people who look the other way and don’t betray the criminals. It’s a bit of a stretch to connect it to this story, except insofar as Omar appears to be part of a vast international terrorist network that protects its own. Ironically, though promised high-level military protection in Pakistan, he was tried and sentenced to death for Pearl’s murder, which was commuted to life imprisonment. But even from jail he managed to wreak havoc, making two hoax calls on a smuggled cellphone that almost brought India and Pakistan to war.

Production companies: Swiss Entertainment
Cast: Rajkummar Rao, Rajesh Tailang, Blake Allan, Keval Arora, Nisha Geoege, Asif Gillani, Timothy Ryan Hickernell, Ravi Khanna
Director-screenwriter: Hansal Mehta
Producers: Nahid Khan, Shailesh Singh
Executive producer: Jai Mehta, Shanaab Alam
Director of photography: Anuj Rakesh Dhawan
Production designers: Indranil Chowdhury, Payal Ghose
Editor: Aditya Warrior
Music: Ishaan Chhabra
Casting: Rachita Kapoor
Venue: Mumbai Film Festival (closing film)
World sales: Filmkaravan

Hansal Mehta’s latest feature dramatizes the life of Ahmed Omar Saeed Sheikh, a notorious real-life terrorist long behind bars — which hasn’t stopped him from being involved in various attacks, purportedly including 9/11. The compelling “Omertà,” whose title is an Italian term for a criminal code of honor that encompasses absolute non-cooperation with legal authorities, cobbles together speculation with what is known about the many-alias’d Saeed, a 43-year-old British national of Pakistani heritage who has been at the forefront of fundamentalist Islamic terror for nearly a quarter-century.

At the end of this slickly mounted film, there’s no lack of questions still dangling nor hoped-for insights that fail to arrive. Nonetheless, while you’re watching it, Mehta’s freely imagined biopic provides a fascinating Rorschach of a figure who is, unfortunately, truly a man for our times.

Scrambling chronology, Mehta and co-scenarist Mukul Dev lead off with an incident sure to grab Western viewers’ attention: In 1994, the young but already fervently committed Saeed utilizes his considerable skills as a multi-linguist and sociopathic actor to ingratiate himself with three British men and one American woman, all tourists in New Delhi. They find themselves held captive, their lives threatened if the Indian government fails to release 10 militants imprisoned in the fight for Kashmir independence. Perhaps because the hostages survive unharmed (though one perp and two policemen died in a shootout), this is one of the few crimes Saeed has actually confessed to.
The London-born terrorist — played with steely conviction by Hindi thesp Rajkummar Rao — is also glimpsed in a series of globe-trotting episodes detailing actions he hasn’t necessarily copped to in real life. (He’s been imprisoned in Pakistan for years, yet continues to be linked to various criminal plots, presumably given an excess of communicative liberty by Pakistani authorities.) The most notorious event in which Saeed was purportedly involved was the 2002 kidnapping and murder of Wall Street Journal reporter Daniel Pearl, played here by Timothy Ryan Hickernell. Mehta and Dev portray a particular version of this much-debated incident that fully involves Saeed, yet absolves him of the worst speculated abuses.

The earliest flashbacks from the protagonist’s young-adult days show an apparent political fervency, yet offer little insight into how he got that way. Repetitive scenes involving his appalled bourgeoise father certainly provide no clue. Saeed is married off to a trophy wife by the Pakistan government for services rendered, but the relationship is drawn in sketchy, remote terms. We get it: He’s a cold fish. Nonetheless, “Omertà” doesn’t penetrate deep enough to provide a resonant portrait of sociopathy. Nor does it spell out the specifics of Saeed’s political or (particularly) religious convictions.

Yet the film is taut throughout, an expertly staged thriller about a baffling paradox of a real-world man. Ishaan Chhabra’s original score tries to thrust conventional genre suspense beats on a convoluted story that shrugs them off yet fascinates anyway. In all other tech/design departments, this is an Indian feature unusually attuned to Western tastes.

Toronto Film Review: 'Omertà'

Reviewed at Toronto Film Festival (Special Presentation), Sept. 12, 2017. Running time: 96 MIN.

Production: (India) A Swiss Entertainment and Karma Features production. (International sales: Filmkaravan, Cupertino, Calif.) Producers: Nahid Khan, Shailesh Singh. Executive producers: Jai Mehta, Shanaab Alam.

Crew: Director: Hansal Mehta. Screenplay: Mehta, Mukul Dev. Camera (color, HD): Anuj Rakesh Dhawan. Editor: Aditya Warrior. Music: Ishaan Chhabra.

With: Rajkummar Rao, Kewal Arora, Timothy Ryan Hickernell, Rupinder Nagra, Rajesh Tailang. (Hindi, English, Urdu dialogue.)
Omerta Story: A biographical drama on Omar Saeed Sheikh – a British-born terrorist of Pakistani origin, who was responsible for the kidnapping of foreign tourists in India, including the abduction and execution of American journalist Daniel Pearl.

Omerta Review: Filmmaker Hansal Mehta, who is known for making films with emotional depth like 'Shahid', 'City Lights' and 'Aligarh', has undoubtedly found an interesting subject that can make for a compelling story. Mehta keeps ‘Omerta’ realistic by including documentary-style footage, but the scope of the film is relegated to just that – watching bone-chilling crimes without much of an emotional connection. His latest is like a three-act play; each act elaborates upon one of Omar’s terrorist missions to accomplish his nefarious goals. The film is gripping, not because of the narrative, but because you are keen to know more about its protagonist.

Then there’s Rajkummar Rao, who nails the part as the dreaded terrorist Omar Sheikh. From switching his stiff British upper lipped enunciations to a desi accent, or wearing a nonchalant smile while being arrested – Rajkummar has given a nuanced performance catching every beat of Omar’s chilling demeanour. Although there is not much scope for other actors to shine beside him, Timothy Ryan Hickernell as Daniel Pearl matches Rajkummar’s intensity in a few scenes.

The one sequence that stands out in 'Omerta' is the cold-blooded execution of Daniel Pearl. For the rest of Omar’s actions, the fear and dread are conveyed through high-decibel sound effects. This film had the potential to shake you to your core with the thought that people like Omar exist in the world. Instead, Hansal Mehta focuses on just the ideological aspects of the character, choosing not to delve into what makes him tick. The director has not invested much screentime into how Omar plans his complex actions or what drove him to such abhorrence. So while Mehta gets the mood right, and Rajkummar works wonders with his limited material, 'Omerta' fails to stir you emotionally.
Omerta: (among the Mafia) A code of silence about criminal activity and a refusal to give evidence to the police.

Hansal Mehta’s Omerta is not about the Italian mafia, or any code of silence. Its name, perhaps, is a play on the name of its central character, British terrorist of Pakistani origin Omar Saeed Shaikh. He is not the hero, he can never be. One of the most dreaded terrorists whose name is inextricably linked to IC-814 hijacking and the murder of journalist Daniel Pearl, he is no hero. He remains, however, Omerta’s lone focus with every other shot capturing him. With the film, director Hansal Mehta attempts to peek inside the mind of a terrorist, a murderer, without humanising him, with Rajkummar Rao bravely playing a man who continues to be linked to multiple crimes against humanity.

Mehta follows his subject as he begins his career of crime. A scene right in the beginning establishes Omar’s cruel mind and a pitiless heart. With censors deeming the scene too grotesque for Indian audience, what we see is a black screen and urgent, helpless cries.

From there on, Omerta moves back and forth in time, giving us glimpses of Omar’s training in Pakistan and Afghanistan, his first meeting with an ISI officer, a top Al qaida leader, apart from his time in Tihar jail in India. The movie delves into some of his crimes and just touches upon others -- the failed kidnapping of tourists in Kashmir, his involvement in 9/11, the the Taj terror attack and journalist Daniel Pearl’s murder.

Mehta bravely reiterates the religious fanaticism that leads to such radicalism. He also places a Muslim cleric, an ISI officer and the Pakistani government deftly as the propagators of terror.

The biggest challenge while making a film on a negative character is to not get vacuumed into the criminal mind. The danger of justifying criminal acts while trying to make sense of them is always there. Omerta does not fall into the trap - mainly because Mehta and Rao conscious decision not to do so, but also because the film fails to go beyond the three major incidents in Omar’s life.
Who is Omar Saeed Sheikh, the terrorist Rajkummar Rao plays in Omerta?

That is also where the movie disappoints. It never shows why an educated man drops out of London School of Economics to take up the violent path of ‘Jihad’. We never get a portrait of Omar’s mind with the director focusing more on events rather than intentions and ideology.

With ample use of real, news footage from these incidents, Hansal gives a documentary feel to the film. At no point does the film try to dig deep into the terrorist’s psyche or his surroundings.

Perhaps, the fact that little is known about Omar Shaikh Saeed in the public space is the reason behind this approach.

There are, of course, a few mentions of how the system, police and even the public have certain religion-based perceptions. For example, when Omar tells a cop his name is Rohit Verma, the police officer stares at him suspiciously and says, “Mulla lag raha hai.” The cop even goes on to say, “Kyu, bura laga? Biwi Muslim hai kya?”

You can’t justify what Omar does, says Rajkummar Rao on Omerta

Omar’s handlers and trainers often remind him (and, the audience) that their ‘cause’ needs a well-educated man like him. One person even goes on to tell him, “Jihad ko tumhare jaise padhe likhe logo ki zarurat hai. Anpadh ganwar Jihadiyon ki koi izzat nahi karta. Lekin jab logo ko pata chalega ki tumhare jaisa foreign-educated insaan humare saath hai, tum hero ban jaoge.”

With crisp editing and a runtime of 97 minutes, the film never lets you lose attention and the gripping narrative style ensures you are on the edge throughout. Rao proves his mettle once again as he smoothly gets into his cold character who can switch accents and personalities with equal ease – and does it all for the sole purpose of serving the ‘holy war’. The actor makes us believe he is the terrorist who turns into a meek guide for tourists, drinks milk as they chug beer and aims a gun at them in just the next moment. The silences and close-ups that Omerta uses to showcase Omar’s cold character and flinty stares establish his chops as an actor.

As the film does not delve much into the particular subject’s personal life, it becomes more of a larger comment on communal hatred and the futility of religion when it is used to propagate violence and evil purposes.

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Vinay Pathak 10:53 AM

Khajoor Pe Atke (2018)

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Director: Harsh Chhaya
Starring: Seema Bhargava, Vinay Pathak, Manoj Pahwa, Alka Amin
Genre: Comedy
Released on: 18 May 2018
Writer: Harsh Chhaya
IMDB Rating: N/A/10 (N/A Votes)
Duration: 116 min
Synopsis: The trouble starts when the member of middle class family in held in the ICU.
Story: Hilarity ensues when a member of the Sharma family tethers between life and death as his relatives from across the country set up camp in Mumbai waiting for the inevitable that seems to have been delayed, indefinitely.

Review: As Devinder Sharma’s life hangs in the balance in an ICU in a Mumbai hospital, his close family have no choice but to travel to the city to be with him in the time of crisis. The only thing is that Devinder isn’t blessed with the perfect family; they’re all perfectly dysfunctional instead. And perfectly middle class, too. As the eldest brother Jeetendar (Manoj Pahwa) pays double for air tickets for his entire family against the wishes of his wife, the younger one, Ravinder (Vinay Pathak) pinches pennies instead, hoping to get a cheaper deal to fly to Mumbai. They’re not being awkward here. This is how middle-class families operate. As days go by and Devinder does not show any signs of improving, his extended brood try to make the best out of their time in the big city which include shopping sprees and trips to the parlour by the women in the family, while the younger men trek out to take in the sinful nightlife that Mumbai has to offer. A niece named Nayantara (Sanah Kapoor) even goes for auditions with help from her shady Facebook friend. As the kids run amok, the elders too, figure out ways to pass time as their stay in the city keeps on lengthening.

Harsh Chhaya, in his directorial debut, has presented a dark yet hilarious portrayal of a family in crisis, which may seem over the top, yet is totally relatable. Performances by the entire ensemble cast, mainly the husband and wife duo Manoj and Seema Pahwa, are top-notch, and are the strength of the film along with the dialogues. While not all sub-plots are that interesting, with some even being a tad clichéd, there are several moments when the story takes over and you find yourself giggling at the goofiness unfolding on screen. The characters are well developed though, which keep you engrossed. Comparisons with the Marathi film Ventilator could have been valid, had the emotional angle in the film been a little strong. For now, 'Khajoor Pe Atke' is a funny situational comedy that lacks emotional depth, but delivers belly laughs by the plentiful.
Devender – the second of three brothers – is in the coma and later put on a ventilator. His siblings – Jeetender (Manoj Pahwa), Ravinder (Vinay Pathak), and Lalita (Dolly Ahluwalia) – live in different parts of India and hurry to Mumbai with their broods to be with the brother’s family in this difficult time. His condition neither improves nor worsens, keeping everyone’s private life in limbo as they wait it out in the hospital. The younger lot of set about exploring Mumbai and get into a lot of misadventures while Jeetender’s daughter Nayantara (Sanah Kapur) falls in tangles of a romeo type who promises to make her a heroine. Then there is also the fate of Mumbai property at stake.

The writing is bang on. Younger brother Ravinder for instance wants to wait it out in order to get a better deal on air tickets, the sister has faith of godmen and arranges for a baba to visit the hospital and bless her younger brother while the mother wants to fix the daughter’s wedding in the hospital because she doesn’t want to let go of a good opportunity. The wife is panic eating all the time and the elder brother takes up drinking again because he can’t handle the tension. We can all relate to such traits and situations. Despite their different personalities, you can feel that the members of this hugely dysfunctional family have lot of love towards each other.

First time director Harsh Chhaya (who has done a smallish cameo in the film) was known for his understated roles but here he has let the proceedings go over the top. You don’t mind the broad strokes because it’s a comedy. He has also written the screenplay and dialogue. The basic premise has been taken from the Marathi film Ventilator (2016) but Chhaya has given his own twist to it. It doesn’t carry the same emotional punch as Ventilator, limiting itself to being a slapstick comedy. The cheeky dialogue adds to the fun. Chhaya has also widely invested in performers. The husband and wife team of Manoj and Seema Pahwa who are acting as a couple in the film can be relied upon to deliver any given day and here, their jibes at each other and their fights sound genuine. The same is true of Dolly Ahluwalia or Vinay Pathak who too have a knack of becoming their character, the rest of the ensemble cast is nice too. Mention must be made of Sanah who is a delight as a Bollywood wannabe.

Watch the film if you’re in mood for some OTT comedy carrying good performances. You’ll not be disappointed…
Story: Hilarity ensues when a member of the Sharma family tethers between life and death as his relatives from across the country set up camp in Mumbai waiting for the inevitable that seems to have been delayed, indefinitely.

Review: As Devinder Sharma’s life hangs in the balance in an ICU in a Mumbai hospital, his close family have no choice but to travel to the city to be with him in the time of crisis. The only thing is that Devinder isn’t blessed with the perfect family; they’re all perfectly dysfunctional instead. And perfectly middle class, too. As the eldest brother Jeetendar (Manoj Pahwa) pays double for air tickets for his entire family against the wishes of his wife, the younger one, Ravinder (Vinay Pathak) pinches pennies instead, hoping to get a cheaper deal to fly to Mumbai. They’re not being awkward here. This is how middle-class families operate. As days go by and Devinder does not show any signs of improving, his extended brood try to make the best out of their time in the big city which include shopping sprees and trips to the parlour by the women in the family, while the younger men trek out to take in the sinful nightlife that Mumbai has to offer. A niece named Nayantara (Sanah Kapoor) even goes for auditions with help from her shady Facebook friend. As the kids run amok, the elders too, figure out ways to pass time as their stay in the city keeps on lengthening.
Harsh Chhaya, in his directorial debut, has presented a dark yet hilarious portrayal of a family in crisis, which may seem over the top, yet is totally relatable. Performances by the entire ensemble cast, mainly the husband and wife duo Manoj and Seema Pahwa, are top-notch, and are the strength of the film along with the dialogues. While not all sub-plots are that interesting, with some even being a tad clichéd, there are several moments when the story takes over and you find yourself giggling at the goofiness unfolding on screen. The characters are well developed though, which keep you engrossed. Comparisons with the Marathi film Ventilator could have been valid, had the emotional angle in the film been a little strong. For now, 'Khajoor Pe Atke' is a funny situational comedy that lacks emotional depth, but delivers belly laughs by the plentiful.
'कंटेंट इज किंग' का बोलबाला इन दिनों जोरों पर है और उस कंटेंट में 'स्लाइस ऑफ लाइफ' शैली वाली फिल्में खूब बन रही हैं। बिना स्टार पावर की मजेदार कहानियों वाली फिल्मों के लिए अब सीमित ही सही, मगर एक अलग दर्शक वर्ग तैयार हो रहा है। उन्हीं दर्शकों के लिए है, हर्ष छाया निर्देशित 'खजूर पे अटके'। जिंदगी और मौत के बीच झूलनेवाला एक शख्स कैसे अपने रिश्तेदारों को इकट्ठा होने पर मजबूर करके जीवन की विसंगति से परिचित करवाता है, इसका मजेदार चित्रण निर्देशक हर्ष छाया की इस फिल्म में देखने को मिलता है।

मुंबई के नामी अस्पताल में देविंदर शर्मा मौत की आखिरी घड़ियों को गिनते हुए आईसीयू में भर्ती है। उसके दो भाई और एक बहन का परिवार मुंबई से दूर रहता है। इस मौके पर उसके करीबी रिश्तेदार उसके अंतिम दर्शन करने आते तो हैं, मगर अपने व्यक्तिगत अजेंडे और तोड़जोड़ के साथ। जितेंदर (मनोज पाहवा) बड़े भाई के आईसीयू में भर्ती होने की खबर सुनकर भावुक हो जाता है और अपनी पत्नी (सीमा भार्गव) की मर्जी के खिलाफ हवाई जहाज के महंगे टिकट खरीदता है। उसके बाद वह अपने बेटे तथा बेटी नयनतारा उर्फ रोजी (सना कपूर) के साथ मुंबई आ धमकता है। छोटा भाई रविंदर (विनय पाठक) एक अरसे से अपने बिजनस का एक कॉन्ट्रेक्ट पाने की तिकड़म में है, मगर दुनियादारी के डर से उसे भी अपनी पत्नी और बच्चे समेत मुंबई आना पड़ता है। उनकी लाली दी (डॉली अहलूवालिया) भी अपने पति से तू तू मैं मैं करके वहां आ पहुंचती है। मुंबई के अस्पताल में देविंदर शर्मा की पत्नी (अलका अमीन) और बेटा मौजूद है। हालात तब बड़े अजीब से हो जाते हैं, जब देविंदर दुनिया से जाने में देरी करता है और उसके अंतिम दर्शन करने आए रिश्तेदार अपने-अपने जुगाड़ में लग जाते हैं। युवा भांजों को लड़कियां ताड़नी हैं और डांस बार जाना है। नयनतारा फेसबुक फ्रेंड के साथ ऐक्टिंग के ऑडिशन देने लगती है। रविंदर की पत्नी (सुनीता सेनगुप्ता) पार्लर जाकर अपना हुलिया दुरुस्त करने की फिराक में है। और तो और देविंदर की पत्नी इस नाजुक हालत में भी दिन-रात खाती-पीती नजर आती है, जबकि उनका बेटा शरद इस बीच गर्लफ्रेंड से मिलना नहीं भूलता। इसी अफरा-तफरी के बीच एक दिन आखिरकार देविंदर का राम नाम सत्य हो जाता है, मगर वो जाते-जाते सभी को जिंदगी के सबक दे जाता है।
निर्देशक के रूप में हर्ष छाया की पहली कोशिश मजेदार है, मगर उनकी इस फिल्म पर मराठी वेंटिलेटर की छाया साफ नजर आती है। हर्ष ने फिल्म को जिंदगी और उसके चरित्रों के काफी नजदीक रखा है, मगर इंटरवल के बाद कहानी हिचकोले खाने लगती है। हालांकि फिल्म के संवाद और कई दृश्य आपको मुस्कुराने पर मजबूर कर देते हैं।

फिल्म की कास्टिंग परफैक्ट और दिलचप्स है। मनोज पाहवा और सीमा भार्गव ने अपने किरदारों को बड़े मजे से जिया है। सीमा ने किरदार को अपने चेहरे के फनी भावों से मनोरंजक बना दिया है। विनय पाठक इस बार औसत रहे जबकि अलका अमीन ने अस्पताल में दिन-रात कुछ न कुछ खानेवाली पत्नी की भूमिका को बड़ी सहजता से निभाया। सना कपूर क्यूट लगी हैं, तो डॉली अहलूवालिया ने भी अच्छा-खासा मनोरंजन किया है। रॉकी दिलवाला के रूप में प्रथमेश परब ने खूब हंसाया है। सहयोगी कास्ट भी रोचक है। फिल्म का संगीत औसत है। बिक्रम घोष इसे फिल्म के मुताबिक संवार सकते थे।

क्यों देखें-पारिवारिक और हास्य फिल्मों के शौकीन यह फिल्म देख सकते हैं।
Indians are considered a sappy bunch when it comes to responding to the inevitable conclusion of life. While this implies much chest-beating and bouts of nose blowing, most of the melodrama is often improvised to keep up with expectations. So, when an elderly gent in this film is plugged onto life-support, his siblings pour in to commiserate with his wife and son. Their consistently doleful tone often cracks but their internal monologue conveys their ulterior motives which couldn’t be any furtherfrom sympathetic. Enough fodder for a black comedy? Perhaps, but this one goes a bit overboard, and the practical humour they hoped to conjure seems only too laboured.

When a certain Devendra is admitted to the ICU in a near-critical state in Mumbai, his siblings — Jeetendra (Manoj Pahwa) from Lucknow, Ravindra (Vinay Pathak) from Indore and Lalidi (Dolly Ahluwalia) from Bhopal — rush to see him, their families in tow. After all, in such situations, one can never predict when “seriousness sadness mein badal jaye”. They collaborate in consoling the patient’s distraught wife (Alka Amin) who is forever chomping on something — from a vada pav to chocolate pastry — to expunge her feelings. While this sensitive construct obligates the relations to hang around the hospital, the plateaued state of the patient gets the visitors restless overtime. One of them even compares the situation to the traffic light that’s stuck in yellow, refusing to go red or green. It’s easy to imagine the inevitable turns that would follow to break the lull of waiting for a comatose relation to come around. While one decides to indulge in tourism, another finds the occasion suitable to forge a marital alliance for their daughter. These socially awkward adventures render mild hilarity but every gag is repeated without rinsing and over-explanation diffuses its impact.
Manoj and Seema Pahwa, who reprise their off-screen relationship in the film, are surely the most compelling couple from the cast. Seema’s subtle and Manoj’s exaggerated reactions to the singular situations their characters find themselves in elevate the proceedings. Vinay Pathak’s Ravindra hopes to evoke humour through the sufferings he endures but the track becomes repetitive and tedious. Dolly Ahluwalia’s Lalidi tops the obnoxious meter and her character’s loud and laboured shenanigans are almost insufferable. In one scene, Lalidi is seen trooping into the intensive care unit with a baba who smears the patient’s forehead with ash to bless him.

In his directorial debut, Harsh Chhaya also makes a fun cameo as himself — a once-popular TV actor who has faded from memory but can be recognised as that-actor-from-that-show. In a scene, we find him jogging by the sea, when he’s mobbed by tourists who close in for a selfie while rattling off names of TV shows where they assume they’ve seen the actor (none of which are correct). Behind the camera, Chhaya manages to furnish sequences that would deliver a situational comedy but doesn’t manage to contain his content for optimal impact.

Khajoor Pe Atke also delves into the unspoken resentment that siblings sometimes harbour against each other. But the screwball-TV-show-grade of writing dilutes the emotion. When Ravindra catches Jeetendra secretly downing a glass of whiskey, he’s initially shocked. Then the elder brother pins it to his traumatized state and even offers him a swig from his glass. The two swap stories about their comatose brother, and alternately alter the composition of the drink to match their taste. The sentimental exchange fueled by liquid courage strives to hit emotional peaks but plunges since the dialogue can’t keep up. This can be said about the film too — high on idea but hardly heady in execution.
On hearing news that one family member in Mumbai, Devendar, may pass off anytime soon, his siblings – Jeetendar, Ravindar and Lalita, rush down to be with him and his family for support, along with their families from across the country. It’s another matter that Devendar’s wife and son would prefer to not deal with his truly ‘item family’ all at once.

However when the patient neither improves nor passes away, everyone’s life is in a state of flux as they are unable to enjoy being in Mumbai, nor are they able to go back to their lives in their own towns and homes.
But life must go on and so too does the hilarity in their lives continue, because ultimately they are who they are and well, that itself is enough to create chaos.

They are stuck in the flux of wanting the status of their loved one to change, one-way or the other. Also given the fact that the final decision on the ancestral property rests with the dying brother adds to the anxiety. The film is a tongue-in-cheek look at what a typical family goes through when on the outside one is supposed to behave politically correct but from the inside, each one is desperately frustrated and restless due to the tormenting uncertainty.

What will happen to the patient? and how will his family deals with the situation?

Film and television actor Harsh Chayya’s directorial debut goes over ground previously covered by Rajesh Mapuskar’s Marathi movie Ventilator (2016): a family assembles in a hospital where a relative is in a coma. In Ventilator, the extended clan wants to hurry things up because the Ganpati festival is around the corner. In Khajoor Pe Atke, inheritance is causing impatience levels to rise in the hospital lobby. If Deven croaks, it is hoped, the property will pass on to his brothers and sister.
The big difference between the two films is about the degree of sentimentality on display. In Ventilator, the family members are overbearing but ultimately well-meaning. Khajoor Pe Atke is far less sanguine about the humanity of its characters. In a refreshing change from the cloyingness that characterises families in Hindi films, the siblings don’t seem to care for each other very much. When Jeetu (Manoj Pahwa) gets a midnight call from his nephew, his first reaction is irritation. His pragmatic wife Sushila (Seema Pahwa) has the next best reaction: what will the plane tickets cost?
Each relative turns out to be deeply self-serving: Ravinder (Vinay Pathak) is more worried about a lucrative deal that is in danger of being stymied by his comatose brother. Lalita (Dolly Ahluwalia) uses the moment to gush to everybody about the miracles wrought by the godman she follows. Jeetu’s daughter, Nayantara (Sanah Kapoor), is happy to come along on the Mumbai trip so that she can fulfill her dreams of becoming a movie star. Her brother and his male cousins treat Mumbai as an Indian outpost of Las Vegas, filled with the promise of sin and easy women.
The “sadness” – as Jeetu refers to Deven’s situation – takes its time to be resolved. While we are waiting, Chhaya offers a few nifty character sketches. The humour is scattershot in a production that feels like a play and is shot like a television show, but it is welcome when it hits its target. The constant bickering between Jeetu and the rest of the world produce the best scenes, with Manoj Pahwa, Seema Pahwa and Vinay Pathak acing all their screen moments. Dolly Ahulwalia proves to be a redundant and hammy add-on to the often forced mayhem, and the track involving young Nayantara and her Bollywood dreams only drags the film down.
The humour is often biting, especially when it comes to the happily hypocritical siblings, but it actually needed to have been even more savage. The background music, which acts like a laughter track and keeps trying to alert viewers that a joke has been cracked, adds to the film’s inability to trust the material and be subtle. There isn’t enough of a plot to extend over 119 minutes. With a tighter script and trimmer running time, Chhaya might have actually been on to something special.
Khajoor Pe Atke is a dark comedy revolving around a probable death in a family, but the film never touches the required urgency to ensure that the audience remembers it for long.
Actor-turned-director Harsh Chhaya doesn’t waste much time in introducing the motives of his characters. Jeetendra (Manoj Pahwa) decides to go to Mumbai when he is informed about his younger brother’s illness. Though the relationship of the two brothers has lost the warmth over the years, but childhood bonding doesn’t die easily, so Jeetendra couldn’t resist the urge of being at the bedside of his dying brother.
Jeetendra and his family are soon joined by the youngest brother Ravinder’s (Vinay Pathak) family.
The hospital, where the second brother is admitted, turns into a conference room, and nobody is really concerned about the patient’s health.
Harsh Chhaya sets up the premise and lets the drama unfold. It works initially when families from small towns find Mumbai really tough to navigate. There are hilarious scenes between Manoj and Seema Pahwa, his wife in the film.
In fact, Seema Pahwa adds charm to the drama. Completely indifferent to the ongoing crisis, she keeps pushing her own agenda against everybody’s will. She is cheeky, manipulative and brazenly funny.
Manoj Pahwa and Vinay Pathak stay away from slapstick humour, but they are never allowed to provide enough thrust to the relationship drama. Whenever a scene starts to gain momentum, the director decides to switch to another.
It also suffers from the problem of plenty. There are at least five plots jostling for screen space. In the end, none of them accumulates enough steam.
The director begins well but soon resorts to a predictable storyline. There are sequences that divert the attention from the central plot -- it’s understandable though. He couldn’t keep playing inside the same space for a long time.
Sanah Kapoor, Shahid Kapoor’s real life sister and Manoj Pahwa’s daughter in the film, is the only one who gets a chance to showcase her talent. Thanks to more screen time, she gradually adjusts to the premise. Her track stands out despite clichéd writing.
By the time climax kicks in, Khajoor Pe Atke has turned messy and is all about mistimed phone calls. You know, the type when characters trapped in tragic circumstances keep receiving phone calls from people all over the world. You have been there, seen that.

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