Bikini wallpapers: Indian Movie Review

About hindi movie besharam and it's trailer

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Besharam is an upcoming Bollywood comedy film directed by Abhinav Kashyap. The film stars Ranbir Kapoor and Pallavi Sharda and is scheduled to release in 2 October 2013. Filming for Besharam was scheduled to commence on December 10, 2012, with part of it taking place on a film set in Film City, Mumbai  
The film's tagline has been stated as "Na sammaan ka moh, na apmaan ka bhay", translated as "No yearning for respect, no fear of humiliation". 
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Cast 
 
Ranbir Kapoor as Babli 
Pallavi Sharda as Tara 
Rishi Kapoor as Inspector Chulbul Chautala 
Neetu Singh as Head Constable Bulbul Chautala 
Javed Jaffrey 
Amitosh Nagpal' 
Hrithik Roshan (Special Appearance)  
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About hindi movie besharam and it's trailer

Besharam is an upcoming Bollywood comedy film directed by Abhinav Kashyap. The film stars Ranbir Kapoor and Pallavi Sharda and is scheduled...

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About hindi movie madras cafe

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Madras Cafe is an upcoming Indian political espionage thriller film directed by Shoojit Sircar and starring John Abraham, Nargis Fakhri and Rashi Khanna in lead roles. The film is set in the late 80s and early 1990s, during the time of Sri Lankan civil war and the assassination of Indian Prime Minister Rajiv Gandhi. The film was earlier titled Jaffna after the northern Sri Lankan city. 
 
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It is set to release on August 23. The trailer was released on July 12, 2013. 
 
As per John Abraham, "Madras Cafe brings us closer to what changed the political history of India." 
 
The film, set in India and Sri Lanka, is a political spy thriller set against backdrop of the Sri Lankan civil war. Vikram Singh (John Abraham) is an Indian Army special officer who is appointed by the intelligence agency Research and Analysis Wing to conduct covert operations in Sri Lanka shortly after Indian Peace-Keeping Force was forced to withdraw. As he journeys to Sri Lanka, with the intention of disrupting a rebel group, he discovers the larger issue. There he meets a British journalist (Jaya) who wants to reveal the truth about the civil war, and in the process he uncovers a conspiracy. 
 
Cast 
 
John Abraham - Vikram Singh (Indian army officer appointed by the Research and Analysis Wing to carry out operations in Jaffna). Singh is fictitious, Sircar said he had “used real references, portrayed rebel groups, revolutionary freedom fighters, Indian Peace Keeping Forces (and) shown how India got involved and the chaos”. "I didn’t want to make glitzy thriller like Ek Tha Tiger or Agent Vinod, which seem inspired by the Bond template. I want to show that intelligence officers are ordinary people who live amongst us. It is only that they have to solve issues where national security is at stake,” says Sircar. Sircar says he needed an actor who can easily get lost in the crowd but with John it seems next to impossible. “The role also requires a certain level of physicality and John Abraham has worked for the role. I agree this is a new territory for him but I think he has pitched it right. Let’s see how the audiences take him.” 
 
Nargis Fakhri - Jaya (a British war correspondent in Sri Lanka) (inspired by many war correspondents, including Anita Pratap) As for Nargis, Sircar says her voice hasn’t been dubbed. “Nargis Fakhri is playing foreign war correspondent. I needed a girl who looks Indian journalist but has an accent so there is no chance that audience will remember her Rockstar performance while watching Madras Café. She will converse in English and she is familiar with the language,” says Sircar. 
 
Rashi Khanna - Ruby Singh- wife of Singh 
Ajay Rathnam - Anna (leader of fictitious rebel group LTF ) - closely resembling Liberation Tigers of Tamil Eelam leader Velupillai Prabhakaran 
Leena Maria Paul - a Tamil rebel 
Tinu Menachery- a Tamil rebel 
Siddharth Basu - Robin Dutt, a key bureaucrat in Research and Analysis Wing. 
Agnello Dias - a Sri Lankan minister 
Piyush Pandey - a cabinet secretary of India 
Diban </div>

About hindi movie madras cafe

Madras Cafe is an upcoming Indian political espionage thriller film directed by Shoojit Sircar and starring John Abraham, Nargis Fakhri and...

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Hindi movie boss trailer and songs

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Boss is an upcoming Bollywood action comedy film directed by Anthony D'Souza, who had earlier directed Blue (2009). The film will be produced by Cape Of Good Films & Ashwin Varde Productions, and features Akshay Kumar, Mithun Chakraborty, Shiv Pandit, Aditi Rao Hydari and Ronit Roy in lead roles. Its a remake of Malayalam movie 'Pokkiri Raja' starring Mammotty, Prithviraj and Shriya Saran. The teaser of Boss was released on 14 August 2013, along with the Akshay Kumar starrer Once Upon Ay Time In Mumbai Dobaara! The theatrical trailer released on 27th August 2013, whilst the film is expected to release on 16th October 2013. 
Cast 
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Akshay Kumar as Boss 
Mithun Chakraborty 
Shiv Pandit 
Aditi Rao Hydari 
Ronit Roy 
Danny Denzongpa 
Johnny Lever 
Parikshit Sahni 
Prabhu Deva (Special appearance in song " Sari Raat Party") 
Sonakshi Sinha (Special appearance in song "Sari Raat Party")</div>

Hindi movie boss trailer and songs

Boss is an upcoming Bollywood action comedy film directed by Anthony D'Souza, who had earlier directed Blue (2009). The film will be pr...

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Once Upon A Time In Mumbai Dobaara –Movie Review

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Mumbai, Aug 15 (IANS) How do I put this politely? This is arguably one of the most awful, ill-timed gangster dramas with most performances so loud and unassimilated that these characters could easily be contestants in a Eid special segment of Comedy Circus where the theme is ‘Gangsta Rap’. 
Such utter crap, and done with heartbreaking seriousness. It takes some doing to wrap up such a time-worn love triangle into a pretence of modern storytelling. 
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Milan Luthria has never been a great filmmaker. At least his earlier films like “Kachche Dhaage” and “Dirty Picture” had some interesting conflicts between characters who are driven by a desire for revenge but are frustrated in their malevolence by their love for the very same people they want to hate. 
 
 
The problem with “…Dobaara” is that the two main characters who love each other to death are people we have met over and over again. Most notably in Ram Gopal Varma’s “Company” where Ajay Devgn and Viveik Oberoi played gangster and protege with great conviction and ballsy velocity. 
The subsequent spinoffs have gotten seriously diluted. 
 
 
This one is a sequel to Luthria’s not-so-engaging film where Ajay Devgn’s imposing personality had made the pale and sometime unintentionally funny proceedings bearable. 
Except for Sonakshi Sinha playing a starlet who talks too hard and too much and gets the male protagonists (who need to be spanked for playing with guns when their IQ level suggests video games would be more apt) into a serious conflict merely because she’s too dumb to see they both love her,”…Dobaara” has no redeeming qualities. 
Akshay Kumar as a Dawood doppelgang(st)er is a laugh. His dialogues meant to show his mastery over the hoary art of rhetorics, come out sounding like wimpy words of wacked-out wisdom picked up from messages in Chinese cookies, if not from forwarded sms messages. 
 
I don’t know who wrote the hideously bloated dialogues of this film. And I don’t want to know. I’d just like to suggest to the dialogue writer to go easy on the bumper-sticker wisdom next time. You can’t make the hero look heroic by spilling tacky wisdom all over the frames in the hope that audiences would applaud the bombastic words without thinking about their relevance. 
 
This film wallows in a kind of imbecilic irreverence where the protagonists seem bold brave, sexy and even brazen but are actually cardboard versions of the triangular lovers in Raj Kapoor’s “Sangam” and Vinod Kumar’s “Mere Huzoor”. But at least love triangles of the past were honest about their melodramatic intentions. “…Dobaara” cloaks its outdated radical ideas in a rumbustious display of trendiness. 
One of the ‘jokes’ that ties Sonakshi’s character to her lover-boy Imran Khan is his misuse of the word ‘intercourse’. The film uses the word over and over again like a school boy that has just found a non-punishable way to say ‘sex’ in the classroom. 
 
A flavour of flagrant criminality is created through back-projected nostalgia, like an archival cricket match ‘fixed’ by the all-powerful underworld don. Fleets of black and yellow Fiat cars ply up and down Mumbai’s streets in a show of periodicity. A wanton woman (Sophie Chowdhary, in a seductive cameo) cheats on her unsuspecting husband, making out with the dreaded don in backroom at noisy party. 
 
 
You can almost smell the cheap perfume and the discount-rated champagne trying to pass as the genuine stuff in Shoaib’s party. This guy thinks he is menacing. He is actually a joke. And if the real Dawood is anything like the way he is portrayed here we have nothing to fear except his cheesy dialogue-baazi. 
Where in all this self-defeating noise and activity is the of slippery sinisterness on the streets of Mumbai? The gangster-villain (Akshay insists he is a villain, and who are we to argue with a guy who keeps smashing up furniture and appliances every time he doesn’t get his way?) and his cronies appear to have walked out of ‘loin’ Ajit den in the 1970s, not quite sure which way they are supposed to head in the present day milieu of such awe-inspiring gangster epics as Luc Besson’s “Taken” and Amit Kumar’s “Monsoon Shootout”. 
This one comes too late, and except for a skillfully-shot train robbery sequence featuring Imran Khan at the start, it has too little to offer in the way action and adventure. 
 
The stunts appear stunted. Except for Sonakshi who plays the self-seeking starlet with earnest airheadedness, Pritobash Tripathy who plays Imran’s sidekick with misplaced sincerity and Sonali Bhendre who delivers the only truthfully-worded monologue in this verbally-cramped drama, the other performances are all of the watch-me-ham variety. 
And really, what this film has done to the Mohd Rafi Qawwalli “Tayyab ali pyar ka dushman” would make Manmohan Desai wince if he was alive.</div>

Once Upon A Time In Mumbai Dobaara –Movie Review

Mumbai, Aug 15 (IANS) How do I put this politely? This is arguably one of the most awful, ill-timed gangster dramas with most performances ...

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D-Day – Movie Review 2013

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Fragrant pencils and the stench of blood… Irrfan’s character identifies flavoured pencils with his undying love for his son even when his life is soaked in the blood of traitors and other modern-day heroes. Funny, how two entirely disparate experiences can co-exist in a work of art! 
 
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And make no mistake, Nikhil Advani’s sixth feature film is an acutely accomplished work of art. It’s a thriller, yes. About the enforced extradition of a Dawood-like gangster.  
 
But what I came away with was a haunting love story between a mysterious Indian intelligence agent and a Pakistani sex worker, both wounded and scarred for life. She in ways that we can see. He in intangible ways. But pain, at the end of the day, is pain. It’s what binds together the sex-worker and the ex-army man. 
Shot in an expertly constructed brothel sets with the crowded colours of lurid sex suggesting the tragedy of lives lived in borrowed beds, the scenes between Arjun Rampal and Shruti Haasan are punctured by piercing silences and a haunting melody about love, loss and incomplete lives sung by Rekha Bharadwaj. 
Later, much later, the girl is tortured to painful death by a sadistic butcher, gleefully played by Chandan Roy Sanyal.  
 
In one of the most innovative editing techniques applied to a Hindi cinema (editors Aarif Sheikh and Unni Krishnan can take a bow), we see the scarred prostitute’s torture and death through Arjun Rampal eyes as though he were there when it happened, when he was not. 
And in the background a haunting Shankar-Ehsaan-Loy song “Alvida” plays with assertive evocativeness, reminding us that the end of love is always death. 
 
The love story could have been the entire script of Advani 
’s film. But “D-Day” — odd title since the antagonist is no more named Dawood — has a lot more to say, and it says it with in a tone of unfussy enrapturing elan that invites us into its midst without using gimmicky methods of enticement. 
The screenplay by Advani, Ritesh Shah and Suresh Nair constructs a collage of characters hell-bent on a collision course. Though rigorously researched, the erudition sits easily, spontaneously and unobtrusively on Advani’s narration.  
The story of a bunch of RAW agents on a mission in Pakistan to nab “India’s Most Wanted” is told in a tone that favours a detached distance from the proceedings while ensuring we see each character’s life in prismatic close-ups. 
Though a deeply patriotic film, “D-Day” indulges in no flag-waving. The Indian flag makes one guest appearance, and that too at the end. God bless Manoj Kumar. 
Every character in “D-Day”, even the dreaded caricatural Bhai (the don named, ha ha, Goldman), is a prisoner of his own lost dreams and aspirations.  
The RAW heroes are thrown in our face without elaborate preamble. The very attractive Huma Qureshi as the RAW agent Zoya has her personal life in shambles. But we never see her unhappy husband. We only hear him. And we’re happy that he speaks about their distressed relationship in the voice of the very talented Raj Kumar Yadav. 
Every character, visible or invisible, speaks to us in urgent desperate tones. And within 20 minutes of the playing-time we’re consumed by these doomed lives that seem to have lived on the edge forever and have nowhere to go except the abyss. 
With astonishing impunity Advani sketches half-finished all his characters. These are people whose dreams can never come true.  
 
The film’s deep affinity to the business of unfinished lives gives a cutting edge to Advani’s narration. As the plot progresses, the narration gets only more and more involving and intriguing until from Karachi we reach breathlessly to the Indian side of the Indo-Pak border where Rishi Kapoor gives a sneering contemptuous speech on the Indian government’s inability to control terrorists and terrorism. 
This is as good a place as any to say “D-Day” is crammed with remarkable actors furnishing the anxious proceedings with a riveting life-force.  
 
Rishi as the gangster is, of course, first-rate. When is he anything less? While conveying the sinister slimy side of the gangster, Rishi also gives a comic interpretation to the rotund goggled perpetrator of mayhem. Yup, this guy is having himself a blast.  
The other actors too are entirely in their element. Arjun and Shruti’s tragic love story is played by the actors in muted mellow muffled shades. Arjun seems to become a more evolved actor with every role. As for Irrfan, his portrayal of a man on a suicidal mission trying to hold on to the memory of his wife and son is so vivid you can touch his anguish.  
Newcomer Sriswara is extremely credible as Irrfan’s wife, while Huma as the third member of the RAW team is effortlessly appealing and effective.  
Newcomer Akaash Dahiya as the fourth RAW team-member is so much on the edge, you want to hold him back from toppling over. 
The cinematography by Tushar Kanti Ray uses cluttered garish spaces to create a sense of spiritual emptiness during times of tremendous stress and anxiety. This is a film with world-class action scenes. But it is not an action film. It’s a film about love and loss. But it isn’t a love story. 
So what is it we are looking at here? Go find out for yourself. With this one film, Advani joins the ranks of the most accomplished young filmmakers of Hindi cinema and by far Karan Johar’s Dharma Productions proudest product. 
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D-Day – Movie Review 2013

Fragrant pencils and the stench of blood… Irrfan’s character identifies flavoured pencils with his undying love for his son even when his l...

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B.A. Pass Movie Review 2013

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B.A. Pass Movie Review 2013</div>
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Somewhere towards the end of the protagonist Mukesh’s descent into a self-created hell, we see him standing shamelessly at the roadside soliciting sex, being picked up by three drunken burly men. 
A little later, Shadab Kamal sobs in the bathroom, blood dripping to his feet in a trail of tell-tale brutality. 
 
The intense implicit violence that underlines this sequence reminded me of a similar process of sexual debasement undertaken by Mark Wahlberg in Paul Thomas Anderson’s “Boogie Nights”. 
 
That was a film about the porn industry in the 1970s. 
“B.A. Pass” is set in present day Delhi — Paharganj, to be more precise. Bustling with sights, sounds and smells of doom and despair, it is a gripping story of a young financially-challenged man’s journey into a world of prostitution. 
We could say, we have never seen this before. And we would be as close to the truth as this film tries to get. 
 
The taut screenplay by Ritesh Shah never allows room for superfluous moments. We follow Mukesh’s descent into a life of compromised morality with an absence of condemnation and censure. Mukesh’s environment and his circumstances as a displaced orphan are not exploited to generate pathos. 
 
No one in this film allows us to feel sorry for the derelict lives. The characters fit into the film’s wretched karma with disturbing inevitability, as though everyone we see in this motion picture was pre-ordained to suffer and fade away. 
 
By the time we arrive at the finishing line, we know the protagonist has exhausted all his options. It is the end of the road for the film’s achingly young gigolo-protagonist. Hard choices have to be made at this pen-ultimate juncture. 
 
As we watch the talented Shadab Kamal lay bare his character’s soul, we are suddenly reminded of how far we have come in his 95-minute journey from innocence and anxiety to despair and doom. 
 
Debutant director Ajay Bahl puts forward a little gem of story which radiates the colours of life’s most grim and harsh reality. There are so many young dreams dying every day in the metropolises. As one struggler in Bollywood once told me, “I came to Mumbai to kick ass. Instead I ended licking ass”. 
To envision the withering away of innocent aspirations in the merciless light of reality without a shred of self-pitying melodrama is not an easy task. Bahl does it with great confidence and sensitivity. 
 
That he has personally done the film’s cinematography is such a beautiful circumstance for the film. I doubt another cameraman could capture those places in these troubled characters’ lives that Bahl captures with such force and vitality. 
Moving fluently from the tender to the brutal, Bahl portrays the underbelly of Delhi with telling truthfulness. There are no false notes in this tale of seduction and debasement. What gripped me right away were the passages of screaming silence. 
“B.A. Pass” italicizes the character’s askew lived by bathing them in silence. The soundtrack (composed by Alokananda Dasgupta, daughter of filmmaker Buddhadeb Dasgupta) is aptly minimal austere and unsparing. 
 
The sex is suitably cold and detached. When the young virgin-boy hero arrives in the bored housewife’s home for the first time, she wastes no time in getting him to lie down on the sofa clambering over him briskly and unbuckling his trousers. 
The seduction is swift and businesslike; the sex, sometimes ugly, never satisfying. 
When a woman is caught with a gigolo, her husband rapes her doggie-style in front of the toy-boy to let the wife and her lover know who wears the pants in the house even when its down to his ankles. 
 
The film is mostly populated by unlikeable, loathsome people. And yet in their selfish manoeuvres they willy nilly end up being part of a plot that keeps the audience involved till the very end. 
 
A part of the film’s riveting charm originates from the authentic faces that populate Bahl’s nation of damnation. These are real people living out of authentic homes that exist beyond the director’s domain of ‘action’ and ‘cut’. 
While the supporting cast of unknown faces (barring Deepti Naval who shows up in a sad moment) extends a hand of sturdy believability, it is the dynamics shared between Shilpa Shukla as the housewife espousing a secret life of sexual indulgence, and newcomer Shadab as a casualty of rampant promiscuousness, who provide a centre to this melancholic ode to a life of fringe fatal benefits. 
 
Shilpa, seen in a strong performance earlier in “Chak De India”, doesn’t let us come near her character’s insecurities. She plays the fornicating housewife with stoic candour. 
Shadab’s character is gauche and flummoxed to begin with but quickly begins to grasp the importance of being sexually empowered. Shadab is a discovery.  
And Dibyendu Bhattacharya as the chess-playing vagabond raises some ‘grave’ issues. The cemetery never seemed less asymmetrical. 
 
“B.A. Pass” is a stark and brutal saga of seduction and betrayal. It is that unusual work of cinema which explores the darkest depths of the human consciousness without losing sight of the light that underscores life. 
 
It would be erroneous to treat this film as only a serious noire effort. It is that, yes. But it’s also a film that makes an impact in unexpectedly blithe ways, creeping up into our conscience when we least expect an intrusion and lodging itself cosily in a corner.</div>

B.A. Pass Movie Review 2013

B.A. Pass Movie Review 2013 Somewhere towards the end of the protagonist Mukesh’s descent into a self-created hell, we see him s...

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Policegiri movie review

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Policegiri movie review</div>
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Indian cinema is like a massive bouquet of wildflowers of different colours and smells. You really can’t judge “<a href="http://bikiniphotoshoot.blogspot.com/2013/09/policegiri-movie-review.html" target="_blank">Policegiri</a>”, Sanjay Dutt’s hefty homage to hero-giri completed before serving the remainder of his prison term, against the soft gently-undulating movements of the week’s other release “Lootera”. If Vikramaditya Motwane’s film is soft-petalled rose, “Policegiri” is a wild cactus flower from the desert. 
 
Why cactus? The landscape is populated with pricks, you see. 
It’s a roaring 21-gun salute to the traditional mainstream cinema’s ongoing obsession with the corruption-cleansing cop who goes on a rampage. The anti-establishment figure from Prakash Mehra’s “Zanjeer” has been slyly transformed into the khakee-coloured law-enforcer with shades of grey. 
 
Like Ajay Devgn in “Singham”, Akshay Kumar in “Rowdy Rathore” and Salman Khan in “Dabangg”, Sanjay in “Policegiri” is a morally ambivalent do-gooder who bends rules to restore order in an inherently anarchic lawless town somewhere on the Andhra Pradesh border (hence the thick accents of junior artistes who seem to have seen better ‘daze’) run by a powerful goon-politician 
That the buffoon of a goon is played repeatedly by Prakash Raj is a boon. This talented actor from Priyadrshan’s unforgettable “Kanchivaram” plays the same rowdy idiosyncratic neta in almost every Hindi remake of a South Indian cop-on-a-cocky-trail remake. And he revitalises the character each time! 
 
Here in “Policegiri” Prakash Raj is a howl as a music-loving ganglord. In various self consciously staged confrontation scenes with Sanjay, Paraksh Raj is seen playing different musical instruments, from the piano to the tabla, quite badly we may add. 
“I don’t claim to be Mohammad Rafi in singing, but I am Mohammed Ali in my brute power,” brags Prakash Raj’s villainous character Nagori Subramnayam in scene after scene. 
 
Well, good for him. Be warned the heroic adversary is formidable. Like Salman in “Dabangg”, Sanjay’s cop character is quirkily immoral. We are not supposed to judge this bovine cop adverserly just because he collects money wrapped in a newspaper from the gana-wala goon. 
 
Flitting in and out of this tale of the goon-like coop and the gana-gata-goon is a romantic association between Sanjay and Prachi Desai. Age difference be damned, they even have a discreetly-done suhaag-raat scene where Prachi is allowed to make fun of Sanjay’s dhalti umar(advancing age). 
 
Ask Sanjay if he cares. He seems to sink into the fun quotient of the barbed jugalbandi with Prakash Raj without bothering with histrionic one-upmanship. 
The fun part of “Policegiri” is that no one, not even director K. Ravi Kumar, seems to take the proceedings seriously. Even when gruesome killings happen, they are done in the spirit of a comic-book caper where the hero has forgotten his cape home and he certainly doesn’t wear his underwear on top of his khakee pants.  
 
Sanjay seems to revel in the absurdity of a crime drama where the law-maker seems to share an affinity to moral ambiguity with the law-breakers. 
It is all fun to watch-loud, rumbustious, over the top, ear-splitting fun provided you are a “Singham”-”Dabangg” aficionado, and a Sanjay Dutt fan. 
 
And provided you don’t judge the film by the same yardsticks as “Lootera”.</div>

Policegiri movie review

Policegiri movie review Indian cinema is like a massive bouquet of wildflowers of different colours and smells. You really can’t judge...

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Satyagraha Movie Review

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Satyagraha Movie Review</div>
 
 
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Prakash Jha’s “<a href="http://bikiniphotoshoot.blogspot.com/2013/09/prakash-jhas-satyagraha-bears-no.html" target="_blank">Satyagraha</a>” bears no thematic relation to any of his earlier political dramas. It is certainly not a sequel to his “Raajneeti”, as has been reported in some sections of the media. And yes, it is most certainly based on the movement that Anna Hazare started against corruption. To say that Mr. Bachchan’s character Dwarka Anand in “Satyagraha”, lovingly called Dadujee by one and all, and Dadujee’s turbulent relationship with the go-getting NRI-turned-Gandhian-nationalist Maanav Raghvendra(Devgn) does not bear a resemblance to the Anna Hazare-Arvind Kejriwal equation, would be plain blindness.  
 
What Jha and his very able astute and politically informed co-writer and long-time collaborator Anjum Rajabali have done, is to collect together the thematic threads of Anna Hazare’s mass anti-corruption movement and weave it into a gripping, thoughtful, hard-hitting and inspirational drama which contains all the resonances of a newspaper headline, and wrap it up in the semantics of cinema with as little creative violence as possible even while addressing an inherently violent issue. 
From the time Jha made his intensely political drama “Damul”, there has been a constant strife between the director’s personal political ideology and its rendition into cinematically interpreted language. Drama and emotions have always been Jha’s bete noire. In his predominantly brutal domain of interpersonal politics, the human drama is played out austerely, often at the cost of squandering away the chance to draw the characters’ innerscape in an elaborately-charted schem . 
In Jha’s “Aarakshan”, we had seen that trademark emotional austerity in the way he portrayed Mr. Bachchan’s relationship with his screen-daughter Deepika Padukone. In “Satyagraha”, one feels the relationship between Mr. Bachchan’s character and his widowed daughter-in-law (Amrita Rao) could have gone a little further. But then Mr. Bachchan is the kind of extraordinary actor who can say so much about his character’s emotional environment in the most meagre playing-time. Here, he has that one moment with Amrita Rao when hearing her sob in the dead of the night, he goes into her room to console her… And we know the kind of deep bonding this powerful patriarch shares with his cruelly widowed Bahu. 
There is little time for emotions in Jha’s world of politics and national awakening. Dwarka Anand gets just one sequence to show how much he misses his son. It’s the moment when he returns to the scene of his son’s death… The father’s anguish here is palpable, throbbing with unexpressed grief. And then before we can wallow in the moment, Jha’s editor Santosh Mandal mercilessly tears us away from this poignant scene of a father’s loss. 
In my favourite sequence, Mr. Bachchan shares a son-like camaraderie with Devgn’s character telling him how he would miss Devgn when he leaves the next day. It is a deeply contemplative moment where Devgn reacts to Mr. Bachchan’s supple emotions with rare care and attention. 
Hold on to these infrequent episodes of emotional expression in this turbulent tale of awakening the nation’s conscience where there is no room for individual’s self-indulgence. In fact, Devgn’s growing fondness for the TV journalist Yasmin Ahmed(Kareena Kapoor, lighting up every frame) and the sudden burst of a acutely romantic song seems to belong to some other time-zone. 
You see, there’s the business of the country’s future to be attended to. And who better at creating a cinema of socio-political reform than Prakash Jha? The director constantly wrenches away from his individuals’ personal feelings to focus on the broader picture. 
Jha’s narration gets busy with the business of swooping down on huge crowds of anxious restless people looking for a way out of the country’s scam-frozen destiny. It’s a world built on the premise of socio-political reform that Mahatma Gandhi and Jayaprakash Narain dreamt of and Anna Hazare attempted to bring to fruition. 
There’s an abundance of references to mobilisation of youth power through the Internet and mobile. “Satyagraha” probes and questions the validity and motivation of any mass movement that is born out of an inividual’s genuine passion for reform. The pitfalls of such a mass movement are brought into play with a vingery mixture of broad drama and subtle humour. 
It is no coincidence that the film’s arch-villain is a politiciam portrayed as a kind of evil clown. Manoj Bajpayee plays the scummy ‘scammy’ brazely corrupt politician with lipsmacking relish. His smirky villainous neta act works as a perfect foil to Mr. Bachchan’s controlled never overdone messianic act. 
Devgn, in the all important role of the ambitious entrepreneur who becomes a catalyst for social change, could have taken his character much further down the road of self-articulation. On the other hand, Arjun Rampal has limited scope as a goonda-turned-self-appointed youth leader. He has great fun sinking his teeth into the rustic accent and boorish body language. 
While the three main actors play off with each other with supple grandeur, some other supporting actors and characters are played at much too broad a pitch to be effective. When a corrupt policeman takes off his uniform to join the mass movement, you feel the script is teetering dangerously towards over-idealism. 
But the message must be, and is, loud and clear. It is time for the nation to chase away damnation before it’s too late. Jha’s film is a timely wakeup warning, a massive clarion call for the conscience, brilliantly manifested in Prasoon Joshi’s title song which tells us enough is enough, and listen… getting Gandhian on the cancerous community of corrupt politicians is a symptom of cowardice. 
“<a href="http://bikiniphotoshoot.blogspot.com/2013/09/prakash-jhas-satyagraha-bears-no.html" target="_blank">Satygraha</a>” conveys the uncontrollable anger and energy of a nation on the brink. For telling it like it is and for creating a compelling film out of the raw material of present-day corruption, the film deserves a standing ovation. </div>

Satyagraha Movie Review

Satyagraha Movie Review Prakash Jha’s “ Satyagraha ” bears no thematic relation to any of his earlier political dramas. It is cert...

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