Mere Brother Ki Dulhan Cast and Crew

Imran Khan, Katrina Kaif & Ali Zafar are sharing the screen space in Mere Brother ki Dulhan directed by Ali Abbas Zafar and produced by Aditya Chopra. Music Directors Shankar Mahadevan, Ehsaan Noorani, Loy Mendonsa score music for the tracks

Mere Brother Ki Dulhan is a romantic musical comedy set amongst upper middle class families in North India.

Fun filled ride of humour and romance where Imran falls in love with his brother`s Dulhan is the plot of the story.

The story unfolds with twists & turns which leads to hillarous comedy and the bubbly bollywood babe Preity Zinta is making her comback after pretty long gap as a glam doll.

Bubbly beauty is back in Bollywood to rock and shake and to entertain us with her pretty looks.

Dress up for 'Brother Ki Dulhan'`s marriage party

The trend of atypical masala entertainers began all over again with WANTED, which was effectively emulated by the super-successful DABANGG. The larger-than-life hero knocks down 50 thugs and sends them flying in the air with just one punch. He romances the heroine. Puts his life at stake by catching the bull by the horns. Emerges victorious in the finale... Come to think of it, the Indian audience is starved for true-blue masala entertainers that were admired and revered in the 1970s and 1980s. Oh, can we ever forget the serpentine queues outside cinema halls to watch those movies, starring our fav stars? With SINGHAM, the Ajay Devgn - Rohit Shetty team goes back to their roots; both started with action films, if you recall -- PHOOL AUR KAANTE and ZAMEEN, respectively. SINGHAM is one of those earthy, traditional, uncomplicated masala movies that most of us grew up on. The protagonist of SINGHAM is not the desi version of James Bond, nor is he any kind of a superhero.

SINGHAM pays homage to the action films of 1970s, which was known for the heroism, death-defying action sequences and pulse pounding thrills. It's an acknowledgement to one of the most successful genres of Bollywood -- action movies -- known for the trademark good versus evil themes and well choreographed stunts. Unlike many films recently, SINGHAM revives memories of the bygone era that stressed on raw action and was rich in fist-to-fist combat scenes. In fact, it has traces of action that Ajay's father [Veeru Devgn] and Rohit's father [Shetty] immortalized in their movies. But SINGHAM is a film of today, hence the stunts are extremely stylized and polished in keeping with the times. It's raw power presented in a slick demeanor.

Since the time the first promo of SINGHAM went on air, for some strange reason, I've heard people calling it yet another adaptation of DABANGG. The sole similarity between the two films is that both Salman and Ajay wear uniforms in the film. Also, like DABANGG, it's a hero-villain drama. But beyond these two factors, there's no commonality actually. For those who aren't aware, SINGHAM is the remake of the Tamil hit SINGAM, a role made memorable by the towering talent Suriya.

SINGHAM works for varied reasons: The conflict between the protagonist [Ajay] and antagonist [Prakash Raj], the high quality dramatic scenes, the raw action and of course, it mirrors the viewpoint of the common man on the rampant corruption, fraudulent politicians and spineless goons. In short, SINGHAM works as an entertainer, a complete package and if I may say so, it's Rohit Shetty's best work so far.
The backdrop is Shivgad, a small village on the border of Maharashtra and Goa. The film tells the story of an honest, diligent cop Bajirao Singham [Ajay Devgn], who fights against injustice and prejudice using his own ethics and principles. A sudden strike of destiny sets up Singham against the powerful criminal/politician Jaykant Shikre [Prakash Raj], challenging his morals and beliefs. Jaykant's powerful planning and force makes Singham land up in the ruling city of Jaykant Shikre, where he leaves no stone unturned to make Singham's life a nightmare to live.
Singham's supportive girlfriend Kavya [Kajal Aggarwal] and his tryst with late Rakesh Kadam's family [Sonali Kulkarni] makes him realize the importance to bring a change in the system by eradicating the root cause -- Jaykant Shikre -- by not going against the law of force, but by being a powerful part of it.

Though a remake of a super-successful film, director Rohit Shetty ensures that he keeps a tight rein on the writing of the film throughout those 2 + hours. Oh yes, the hero is spotlessly white and the villain, all black, but despite the fact that you know it all, there's no boring or humdrum moment at all. In fact, the drama and also the execution of the written material keeps you completely hooked to the proceedings. Also, Rohit proves that he can deliver a masala flick with as much ease and proficiency as he can deliver a slapstick comic caper.

I'd like to make a special mention of the action scenes [designed by Rohit Shetty and executed by Jai Singh]. At a time when most film-makers opt for action directors from abroad for gadget-driven thrills, SINGHAM goes for the desi flavor and it works luminously. The raw, hardcore action is easily amongst the high points of the movie. On many occasions than one, you have your hearts in your mouths while watching the scenes and what makes it really special is the fact that Ajay has done those death-defying and hazardous stunts himself.

For any good versus evil film to click, it ought to have the protagonist and the antagonist on the same podium. In SINGHAM too, it's not just the hero who's powerful and mighty; the villain is equally ferocious. That's what makes the conflict all the more enjoyable -- it's a fight of the equals. Besides the sequences involving them, a number of dramatic sequences leave an indelible impression. Like the sequence when Ajay bashes up the goons who misbehave with Kaajal in a movie theatre. Also, the sequence between Ajay and the minister [Anant Jog] is terrific. And, of course, the finale, which is simply outstanding. The writing [screenplay: Yunus Sajawal], in a nutshell, is aimed at the masses and works big time.
On the whole, SINGHAM is a full-on masala film that works big time for varied reasons: The energetic drama, the terrific confrontations, the raw stunts and of course, for the three 'heroes' -- Ajay Devgn, Prakash Raj and director Rohit Shetty. It's a complete package of entertainment for the masses and devoted fans of masala movies. This one is sure to roar at the box-office. It has Blockbuster written all over it!

By and large, after graduating from school/university, before one steps into a fresh phase in life, friends do settle on having some fun… It could be an extended bachelor party. It could be an excursion. Living each moment to the fullest is what most of us are thinking at that point of time. ZINDAGI NA MILEGI DOBARA is also about living each precious moment, as if there's no tomorrow. It's a film that also deals with surmounting and overpowering our personal fears. In this case, it changes the lives of three youngsters who embark on a road trip to Spain.

Zoya Akhtar represents the new brigade in Bollywood. But the talented storyteller is mired in controversies pertaining to ZINDAGI NA MILEGI DOBARA. Is it similar to HANGOVER? Or is it a present-day adaptation of Farhan Akhtar's directorial debut DIL CHAHTA HAI?

Sure, ZINDAGI NA MILEGI DOBARA is a buddy film like DIL CHAHTA HAI or like any other film that focuses on friends. But comparing DIL CHAHTA HAI and ZINDAGI NA MILEGI DOBARA won't be correct. For, the difference lies in the fact that the individuals in both the films face diverse problems. Aamir, Akshaye and Saif's dilemma is different from that of Hrithik, Farhan and Abhay. Perhaps, people tend to draw parallels between the two films because both focus on male bonding and are also produced by the same production house [Ritesh Sidhwani, Farhan Akhtar]. While DIL CHAHTA HAI was about the friendship between three youngsters and the individual journey each of them undertakes subsequently, ZINDAGI NA MILEGI DOBARA is poles apart in terms of content [screenplay: Reema Kagti and Zoya Akhtar] as well as execution of the written material.

There's concern that ZINDAGI NA MILEGI DOBARA caters to the urban centres of India chiefly. People beyond the metros wouldn't be able to relate with the goings-on. Sure, ZINDAGI NA MILEGI DOBARA is a refined film, a metro-centric film primarily, so what's wrong with that? Yes, it's unlike the masala films some of us relish with glee. But if masala means entertainment, amusement, hilarity, escapade, emotions and drama, yes, ZINDAGI NA MILEGI DOBARA has it all. Only thing, it's treated differently. Everyone has his/her style of interpreting a tale, after all.

ZINDAGI NA MILEGI DOBARA is real and can be rightly termed as a slice of life film. The protagonists don't play 'heroes' in the conventional terms; they are not presented as larger than life here. Zoya's ability in bringing offbeat elements in mainstream cinema needs to be applauded and appreciated. Zoya understands the intricacies of human behavior, which was evident in her debut film, and ZINDAGI NA MILEGI DOBARA strives to impeccably integrate authentic characters and bona fide situations on celluloid.

But the film is not without its share of blemishes. To start with, the drama is missing in the first hour. In fact, the first half comes across as a collage of some well executed sequences. Also, the comic scenes fail to evoke mirth. The three protagonists' attempt to scare strangers in a restroom, bar and on a lonely street doesn't gel well with their suave personalities on-screen. However, if the intention was to evoke laughter, sorry, these scenes fall flat. Besides, mocking at Doordarshan seems out of place and also appears in poor taste. Most importantly, the first half comes across as a showreel to promote Spain Tourism.

Another aspect that goes against the film is its running time. One tends to get restless after a point. In addition, the pacing is lethargic at places and it also gets talk-heavy. Zoya could've been ruthless in bringing down the length of the film. It would've only been more impactful.

Three young men take a holiday that changes their lives forever. Kabir [Abhay Deol] is engaged to Natasha [Kalki]. Kabir decides to go on an extended bachelor party, before he gets married. A 3-week road trip with Imraan [Farhan Akhtar] and Arjun [Hrithik Roshan], his two best friends since school. The only problem is Arjun is too tied up with work. After much emotional blackmail and cajoling, the boys set off on a journey they were meant to take four years ago. A fantasy holiday they had planned to take after college, which never happened. A road trip where each one gets to do the ultimate sport of his choice and the other two just have to do it with him. Whether they want to or not!

Kabir, Imraan and Arjun meet up in Barcelona and set off on an adventure that not only make them iron out their differences, but also face their fears, alter their perception, unravel their fabric, force them to break out of the box and teach them to seize the day. This holiday changes their lives forever.

A travel film is tough to shoot. And it gets all the more difficult when you have a story involving multiple characters. Unlike LUCK BY CHANCE, Zoya does something visually and thematically diverse this time around. In ZINDAGI NA MILEGI DOBARA, Zoya chooses an attention-grabbing story and garnishes it well with moments that may seem straight out of a person's memoirs. In fact, it's a completely novel take on comrades and camaraderie. While the first half has several wonderful moments [the strain between the two friends is well presented], the post-interval portions -- right till the well-thought-of culmination -- keeps your attention arrested.

Reema and Zoya have penned the script with a lot of care and concern, borrowing incidents from real life. Besides, the fresh dialogue [Farhan Akhtar] augment the impact of numerous sequences. The exquisite cinematography is another aspect that catches your attention. The spectacular locales of Spain have been captured on celluloid with dexterity by Carlos Catalan. In an era where earsplitting and tawdry tunes are working big time, Shankar-Ehsaan-Loy come up with tunes that the youth would take a fondness for instantaneously. The songs that appeal the most are 'Ik Junoon' and 'Senorita'.

The film boasts of an exuberant on-screen ensemble cast. As a matter of fact, it's an unusual mix of actors who are not prisoners of any image as such and one is curious to see how well they coagulate in this film. Hrithik takes up challenges for himself with every project he chooses to do and tries to outdo himself by pushing his limits. He is in terrific form here, interpreting an extremely intricate and exceptional character fluently, channelizing every emotion in the book through his eyes. The much-talked-about kissing scene in the film is also aesthetically filmed.

Farhan's character is totally different from his previous roles since he is playing the funster here. But beneath all the fun and jokes is a person who's looking for answers. He's concealing something even from his buddies, something that's disconcerting him persistently. Again, for someone who's not a veteran at acting, this is a character that needs to be handled with a lot of understanding and Farhan, thankfully, gets it right. In fact, Farhan is quite a scene-stealer on more occasions than one.

Abhay's choice of roles has always been offbeat and ZINDAGI NA MILEGI DOBARA reaffirms his stand on the kind of movies he wants to be associated with. Enacting the role of a rich, well brought-up youngster, Abhay is in supreme form, striking a super balance between light and dramatic moments. In fact, Abhay portrays the role with plentiful charm and magnetism.

Katrina is a revelation. In fact, the actress continues to surprise you with her performances in film after film. Besides making an impact as a glamour girl, she's all out to prove her mettle as an actress of substance with ZINDAGI NA MILEGI DOBARA. Kalki plays a Mumbai girl belonging to the upper crust and though it's not a typical 'heroine' role, Kalki infuses life into the character, fitting into the conceived character accurately. Naseeruddin Shah is remarkable in a cameo and so is Deepti Naval. Ariadna Cabrol doesn't get much scope.

On the whole, ZINDAGI NA MILEGI DOBARA has its share of plusses and minuses, highs and lows. It's definitely not for ardent fans of kitsch or those with an appetite for typical masala entertainers. This one's more for spectators with refined tastes and sensibilities. It's a film for a more evolved, mature and cinema-literate audience that's geared up to embrace and support newer genres of cinema.

Farhan Akhtar cancelled the promo launch of his hugely awaited Shah Rukh Khan starrerDon 2 but the promo is finally out. As expected, the promo will raise your expectations from the movie to another level.

It is evident from the promo that the movie is designed and packaged in a Hollywood style courtesy some sleek shots and breathtaking cinematography. There are chase sequences, explosions and everything one can expect from a hardcore action flick.
And the man himself SRK gives a good glimpse of his power and charisma, which will, hopefully, give a ride of their lives to his fans.
The wait for December 23, when Don 2 releases, begins right away!

Sahi dhandhe galat bande is directed by parvin dabbas and is action comdey thriller.Movie will release on 19 

august.Preeti jhangiani tried hard to get a good position in Bollywood but failed.Now she has started directing movies but her selection of Stars is not so good.According to me her movie will not get a good place ion box office.Movie is being produced by preti jhangiani and is a low budget movie.Lets see what happen..

A lot of us who've grown up on masala cinema of 1970s and 1980s will vividly recall two films made on ichhadhaari naagins - Rajkumar Kohli's NAGIN [1976] and Harmesh Malhotra's NAGINA [1986]. Can we ever forget the revenge of the naagin? Can we ever forget the gripping plot, the spellbinding drama, the lilting music and of course, the unforgettable performances by Reena Roy and Sridevi, respectively?

When a film-maker attempts to make a film on an ichhadhaari naagin in 2010, the viewer expects to watch all of the above, besides great visual effects of course. More so because HISSS is helmed by a Hollywood director - Jennifer Lynch. But, to put it bluntly, HISSS is a nightmare. The film has absolutely nothing to offer - no story, no screenplay, no songs, no performances... even the making is so tacky.

Final word? If there were Razzies in Bollywood, HISSS would win hands down.

The story is about the vengeance of an ichhadhaari naagin. George [Jeff Doucette], a ruthless American, travels to the jungles of India and captures her mate. She transforms into a woman [Mallika Sherawat] with absolutely no clue about contemporary civilization or the ways of mankind, and ventures into the city in desperate search for her lover with vengeance on her mind and venom in her fangs.

Vikram [Irrfan Khan] is entrusted the responsibility of solving the murders and tracking down the mysterious killer.

Films like HISSS make you realize what's going wrong in Bollywood today. On one hand we celebrate the new stories being told in our movies and on the other, we churn out a HISSS, which is badly scripted, poorly enacted and carelessly directed. Believe me, it's easy to solve the crossword puzzle in newspapers than it is to understand what exactly is going on in this film.

As for director Jennifer Lynch, she needs a crash course in film-making pronto. The visual effects seem straight out of a B-grade Bollywood film.

Actors often tell me that they choose films based on the script, so what exactly did Irrfan Khan see in HISSS? Mallika has no dialogue all through the film, she changes lenses, then changes into a snake outfit and also goes full monty. That's it! Divya Dutta is wasted. Raman Trikha is passable. The actress enacting the role of Divya's mother is okay.

Expect ations will be in peak When the musice is by Shankar-Ehsaan-Loy, The trio is famous for their classic musical scores. They h ave tried to maintain the same spirit high for their upcoming Movie Zindagi na milengi Dobara. The movie is having light soothing songs which has got the same factors for the songs of Shankar - Ehsaan - Loy.
The album got nine songs and one notable thing in ZNMD is actors tried out a different ride of singing.
The opening song is Dil dhadakne. Before the movie hitted the silverscreen the song gained great popularity. Crooned by Shankar Mahadevan,Suraj Jagan and Joi Barua, the song starts with a bang and makes its presence felt. The chorus is foot-tapping and the part that creates maximum interest. The guitar is prominent. The song had given a good start for the movie.

Next in line is a multiple singer song Ik junoon (Paint it red) that has Shankar Mahadevan, Vishal Dadlani, Ehsaan Noorani, Alyssa Mendonsa and Gulraj Singh behind the mike. With a combination of English and Hindi lyrics, the fast-pacedyouthful song is nothing out of the ordinary. It is neither bad nor brilliant.

It also has a remixed version, which is equally average.Then comes in a song with a raw and fresh feel Khabon ke parindey with vocals by Alyssa Mendonsaand Mohit Chauhan. The hummable mush melody is an all and all Alyssa song since Mohit enters the scene only after more than two-and-a-half minutes. However, even though he makes a brief presence, Mohit's vocals add an edge and some kind of substance to the song. It's a track you would like to hear in loop.Then the actors take the mantle of singing with Senorita, which has been sung by Abhay Deol, Hrithik Roshan and Farhan Akhtar with ample support from Maria Del Mar Fernandez, who sings the Spanish lines in the song. A fun number, Senorita is catchy with Spanish influences and is a dance number. It is lively and energetic and adds colour to the album. The experiments paid off.

Senorita also has a remixed version.Der lagi lekin is a moderately paced track, which sounds like more of an unplugged version. It has vocals by Shankar Mahadevan and slowly grows on you. It's a sweet, simple song that picks pace towards the end.Up next is Sooraj ki baahon mein by Loy Mendonsa,Dominique Cerejo and Clinton Cerejo, which is another high power track. It starts with lyrics and then music follows in. With variations in vocals, the song is worth a hear.Finally Farhan Akhtar steps in with a philosophical monologue titled Toh zinda ho tum. With slight music, this almost 100-seconds narration is poetic.On the whole, the music of Zindagi Na Milegi Dobara is a good mix of Bollywood sounds and external influences. Shankar-Ehsaan-Loy have stuck to their signature style and have churned out a decent score.

Much before I watched DELHI BELLY, I was told very categorically that the film will reduce to rubble the image of Aamir Khan, the producer, which he has very painstakingly and meticulously built over the years. I disagree with this viewpoint. Sure, Aamir Khan steps into a territory that is least expected of him. Agree, DELHI BELLY is expletive-ridden, has several scandalous moments which give you a 440 volt ka jhatka and is just not for the faint-hearted. But DELHI BELLY is not outrageous just for the sake of it. It doesn't shock for effect. The truth is, DELHI BELLY has a novel story to tell and the cuss words/outrageous moments are integral to the plotline and have been juxtaposed seamlessly in the narrative.

Let me introduce you to DELHI BELLY. It is Bollywood's most daring, cheeky, irreverent, blasphemous, raunchy youth film to date and the lurid content, I am certain, has never been witnessed on the Hindi screen before. Even some hugely popular reality shows that have the participants using the most appalling, colorful lingo to garner attention and TRPs, would pale into insignificance. Belonging to the same genre as THE HANGOVER and LOCK, STOCK & TWO SMOKING BARRELS, DELHI BELLY is the ultimate culture shock for Indian audiences. It is a raucous, boisterous, potty-mouthed caper featuring the antics of three hapless young men.


DELHI BELLY is a verbally explosive comical crime-caper, with a smart screenplay and witty dialogue as its aces. It is funny, has a lot of energy and most importantly, as you protest that Hindi movies thrive on beaten-to-death formula, a film like DELHI BELLY defies the stereotype and comes alive with a brand new recipe [writer: Akshat Verma]. The writing is airtight and the movie moves from one episode to another furiously. Original in style and thoroughly entertaining, backed by colorful characters and superior acting, there's no film quite like this one or should I say, there is no film that matches the sheer brilliance of DELHI BELLY. It's a top-quality comical thriller made with guts and gusto. I can assure, you will exit the auditorium with a grin on your face.

If a film like DELHI BELLY works -- which I am sure, it will -- it will propel film-makers to explore this untapped genre of cinema. It will encourage them to push the boundaries and undertake risks. It will usher in a new era of comedies of this kind that have never been explored on the Hindi screen.

Tashi [Imran Khan], Arup [Vir Das] and Nitin [Kunal Roy Kapur] -- flat mates, buddies and partners in crime. Tashi is to get married in a month to the glamorous Sonia [Shenaz Treasury]. Arun has been dumped by his girlfriend and also has an annoying boss [whose idea of creativity is sketching a smiling banana]. And Nitin is about to discover that eating delicious Tandoori Chicken off a street vendor is going to give him the worst case of Delhi Belly he's ever known!

Transformers: Dark of the Moon (3D)
U/A; Action
Dir: Michael Bay
Cast: Shia LaBoeuf, Josh Duhamel, Rosie Huntington-Whitely, John Malkovich, Patrick Dempsey, Ken Jeong, John Torturro, Peter Cullen, Tyrese Gibson
Rating: *1/2


Did the cinema audience  need another epic cinematic clash between Autobots and Decepticons? After the crushing disappointment of Transformers: Revenge of the Fallen, I expected the series to lay low but I probably did not account for Michael Bay's enthusiasm and the studio's greed for lucre.

Dark of the Moon is coherent -- every little detail is explained to everyone's satisfaction but the lay-up towards the final climactic plunge is so boredom enhancing that you would find it difficult to stay awake behind your 3D glasses.

The film is about the war between the Autobots and Decepticons, shape-shifting fighting machines belonging to fierce extraterrestrial rival tribes. Of course the villainous Decepticons are intent to secure Earth in order to support their home Planet Cybertron. Optimus Prime wants to revive Sentinel Prime from his ancient slumber.

Sam Witwicky (LaBeouf) jobless in Washington DC, living with hot gf Carly (Huntington-Whiteley), and temporarily abandoned by Bumblebee, jumps into the fray and soon butts heads with national intelligence director Charlotte Mearing (Frances McDormand).

Revisionist history also proclaims that John F Kennedy fast-tracked the moon landing in order to secure a site where a giant Autobot vessel had crash-landed after a war on Cybertron.

But that is not a piece of history you can care for here. The overly-detailed script by Ehren Kruger is more like an encyclopaedia on the world of Autobots and Decpticons, than a high-octane action movie script. The narrative plays out smoothly but it's a tedious wait before the advent of advanced CGI wizardy can make a show of it at the end. Each frame takes longer to move on  and the 3D enhanced shape-shifting, though it is cohesively done, fails to enthuse.

Actually there is not enough energy in the set-up and development to justify the all-out action towards the end. It's hard to sit still watching metallic characters hammering one another in a unnecessarily protracted battle (ironically held at the corner of Michigan Avenue and Wacker Drive in Chicago) for the Universe.

The attempt to boost-up the action towards the finale with an almost orgiastic pile-up of machines and humans looks quite hollow. The replacement for the luscious Megan Fox, British model Rosie Huntington Whitely  looks beautiful but she doesn't have either the  magnetic screen presence of her predecessor nor can she generate sizzling chemistry with co-star Shia. So that appears to be another spanner in the wheels of this mega fantasy in Imax 3D. Just Too bad!

What did you learn at the movies today? It is with this cryptic question that A O Scott, the respected film critic of The New York Times, begins his latest write-up. I found it interesting that it is published in the issue of Friday, June 24 – the very day on which ‘Bol’, Shoaib Mansoor’s spectacular follow-up to ‘Khuda Kay Liye’, was released across Pakistan after glittering premieres in Karachi and Lahore for invited audiences.
Now, Scott’s lengthy piece relates to another world where movie-going is a popular cultural experience, particularly in summertime “when hot weather and idle hours drive young scholars into the multiplexes”. And he raises the question whether “popular commercial movies are, or should be, intellectually undemanding, easily digestible, requiring no special knowledge and offering none in return”.
In Pakistan, of course, going to the movies is not something you do on a regular basis. Besides, going to see a Pakistani movie would hardly be the choice for a discerning and cultured audience. In this environment, a Pakistani production that rises to international standards is sure to become an event in our social life. There was ‘Khuda Key Liye’. And now we have ‘Bol’.
I am fond of telling my younger acquaintances that in the sixties, when the population of Karachi may have been less than one fourth of what it is now, there were over one hundred cinema houses in the city.
Yes, more than one hundred. I would say that I was almost brought up on Hollywood movies. To return to the first sentence of this column, there was surely a lot to learn from those movies. Also, to dream. Look what has happened to the city now and I am sure one symptom of this devastation is the dearth of such cultural activities as going to the cinema. Pakistan’s own film industry is a waste land and another measure of the drift of the Pakistani society that we find afflicted with violence, intolerance, bigotry and cultural decadence.
Incidentally, these are some of the themes that have been tackled in ‘Bol’. This is one reason why making it, with those obligatory cinematic embellishments, was an act of courage. There is always this danger of someone nasty getting very annoyed.
But ‘Bol’ has come with some good luck. It is the timing. After the events of May and some other emotionally unsettling episodes, Pakistan has gone into a contemplative mode. Serious thinking on not just our national sense of direction but also on the glaring brutalisation of our society is the need of the hour.
However, the regret is that one excellent movie does not make a summer. We are desperately in need of a cultural and intellectual revival. It calls for a revolution that must begin in the minds of our youth. This is very possible while they continue to sing their songs with the likes of Atif Aslam.
To conclude, let me refer to what I had learnt from an old Hollywood movie, ‘Teahouse of the August Moon’. Its central character, Marlon Brando, began with these words: “Pain makes a man think. Thought makes a man wise. Wisdom makes life endurable”. There are some dialogues in ‘Bol’ that its young viewers may fondly recall many, many years hence.

Bin bulaye baarati is upcoming action/comedy movie which will be released in July 2011. Bin bulaye baarati release date is 8 July 2011. Aftab Shivdasani is playing leading role in this movie. He is very talented actor but fail to prove himself and badly need success film to remain alive in industry.
Bin Bulaye baarati cast includes Aftab Shivdasani, Priyanka Kothari, Om puri, Malika Sherawat, Shakti Kapoor, Vijay Raaz, Gulshan Grover, Mukesh Tiwari, Hemant Pandey, Sanjay Mishra, Johny lever, Razzak Khan, Shweta Keswani, Manoj Joshi and Dinesh Lamba.
Director of bin bulaye baarati is Chandrakant Singh and producer is Dhanraj Jethani. Music director is Anand Raj Anand. Overall this upcoming comedy movie has some good stars in it and Malika Sherawat is performing item number song. Expectation are very high with this movie but we have to wait for the its release for final conclusion.

Bin Bulaye Baarati Release Date/Releasing Date: 8 July 2011
Bin Bulaye Baarati Cast: Aftab Shivdasani, Priyanka Kothari, Om Puri
Bin Bulaye Baarati Director: Chandrakant Singh
Bin Bulaye Baarati Producer: Dhanraj Jethani

Director Rajkumar Gupta has quite satisfactorily dramatizedthe much talked Jessica Lall murder case. The director has wonderfully represented the aftermath of the murder with help of main characters of Sabrina Lall (played by Vidya Balan) and a journalist (played by Rani Mukerji).
The murder case, which mainly accused Manu Sharma, the son of a renowned politician, created a furor among the media and common people in Delhi, where it happened. The film showed how Sabrina with the help of media broughtjustice to her late sister. Manu Sharma eventually got life imprisonment after a forced retrial.

Gupta has wisely chosen the topic, which has emotional touch with everyone in the country. It offers reality mixed with some fiction to keep the entertainment level intact.

Vidya Balan has convincingly played the role of Sabrina and her drab look withspectacles is totally opposite her murdered sister Jessica, who was a renowned model. Vidya has brought the anguish and strength in her character, which have been experienced by Sabrina in real life.

Rajesh Sharma as the cop has also done a good job. His character openly disclosesSabrina that he has taken bribe in the case and that is quite normal.

Rani Mukerji has turned a strong and open minded journalist Meera, who helpsSabrina to handle the pressure and reopen the case to establish the charge on Manu Sharma. Rani is foul mouthed and smokes in the film and that only establishes the independence and strength of her character in the film.

The film will bring different emotions like anger, bitterness, sadness and above all the confidence to fight for the justice.

So, don’t miss to watch out the strongest movie of the first month of 2011!

Director: Rajkumar Gupta

Cast: Rani Mukherjee, Vidya Balan, Myra Karn

Music: Amit Trivedi

Genre: Drama

Movie Review
Directed by Samir Karnik, Yamla Pagla Deewana is a frothy and fun-filled movie that will have the audience in splits. It is a film that is all about the Deol trio of Dharmendra, Sunny and Bobby who conjure up a great on-screencamaraderie to dish out a laugh riot.

The film is firstly and thankfully not a slapstick though there are hints of spoofy gags. It also relies on the image of the Deols while outlining their characters. For instance, Bobby has been presented mostly as a lover boy while Sunny breaks bones and also mimics the now-famous hand-pump scene from Gadar.

Dharmendra is a delight to watch and will tickle your bones with some of his witty one-liners. The entire film is a comedy of errors with a pretty hotchpotch storyline. Bobby plays Gajodhar and wants to marry Saheba (essayed by newcomer Kulraj Randhawa). But Saheba’s brothers decide to accept Sunny Deol as their potential ‘damaad’.

Sunny plays Paramveer who reunites with his lost dad and brother in the first few minutes of the film. Thereafter, the trio indulge in their antics and draw huge guffaws from the audience.

Though the performances are commendable, the music of the film is weak and has got only the title track to boast for. But chuckles are guaranteed with some genuinely hilarious moments. However, had the editing team done a better job, the film could have been much better. Nevertheless, it is a watchable flick if you wanna laugh out loud.

Direction: Samir Karnik

Cast: Sunny Deol, Bobby Deol,Dharmendra, Kulraj Randhawa, Anupam Kher