hell yeah “it could be your love story”!!!

                                                     hell yeah “it could be your love story”!!!

The first thing I noticed when I started getting into the immature, crisp and lovely conversations between Varun (Nani) and Nithya (Samantha) is the way the how it is pictured with lots of simplicity and reality in it. Rather than exaggerating with unnecessary hype and tollywood’s commercial and fanatic taking, the story goes smooth and little verbose. What we do in our life is nicely resembled on screen thus justifying its novel caption “it could be your love story”. The only difference is it had some tunes playing in the background which we don’t have usually in our own love stories. Except that everything else articulates to the real life that we live.

                           Coming to the story it had nothing much to tell as it is merely conversations between the lovely lead pair Varun (Nani) and Nithya (Samantha). The movie opens with a song which is vaguely choreographed it lets the expectations down for a while, this little duration will make us prepared on how the movie is going to be presented. It had the tinge of short films that have been very popular in the recent days. But the story doesn't confront abrupt or vulgar comedy to fill the space and win cheap applauds. It has the dignity all over in its characters and the conversations. It is the best part of Gautham Vasudev Menon as a script writer and director.

                            The conversations are tedious in parts; you feel the talking part is dragged over and over sometimes. Director has made the visuals natural without using BGM in certain parts. It plays when it needs to be there to convey the emotion. Unnecessary recording is strictly overdone in this film which makes the film more unique and to be what it is actually. It can be regarded as an honest attempt for this. Certain scenes are much elevated with the soothing BGM which takes you to the place just where the story happens and you feel the love and emotion all around you. Ilayaraja was splendid in re-recording. But people who hate drama genre will certainly hate parts of the movie and may get derailed from the screenplay. Then it is exactly when people start to hate it despite of its novel and pleasant attempt.

                            Songs were already a great hit and they were nicely shot on screen. Coming to the characters Nani plays a pivotal part and does a magnificent job in executing his role to the maximum. Samantha was pretty; especially as a school girl her looks were adorable. Krishnudu who portrays as the only friend of Nani was decent and engaging. His female partner was eye catchy with a typical dialogue delivery. Cinematography was cleverly handled. Most of the shots were moving rather than being steady ones which added a great force to the reality quotient of the film. Editing was clean and flawless.

Ilayaraja will be the man of the show after all. “Kammani ni prema lekhale” was neatly remixed and beautifully sung by the vocalist. It keeps the audience in high spirits. Other songs like yedhi yedhi, layi layi were beautifully placed in the movie. BGM of the movie was stupendous. It can’t be regarded in this piece of note; it has to be relished personally in the theaters  In a single statement gautham and Ilayaraja can be given an equal status in building up this film.

                            Rather than ending up the conversation in a facile way, the director discusses every point between varun and nithya in a detailed manner, so dialogues seems never ending and quite natural but never appeals to be over dramatizing the situation. It resembles like we are overhearing a discussion between two people around us in our lives. It’s that simple and pleasant to watch. Most of us can empathize with varun and nithya as “it could be your love story”. On an ending note if you are a drama lover then it will be a classy one else it seems to be cheesy and tedious.

Three cheers for this adorable and soothing movie with wonderful music.

life of Pi is all about Life

                                                         Life of pi is all about life

What is life? Is it the mere existence in the most mechanical and stereotyped way? Or is it a cluster of phases that knots love, hatred, fear, dare, anger, happiness, sadness, helplessness, peace, hard work, ignorance, family, satisfaction, ideas and never ending threads of hope in a living being? The topic begins with lots of questions that will remain unanswered due to the lack of philosophy behind life. If someone questions “what is this shit all about?” then yes this is the only shit that you have been living with and will thrive to live further in the so called journey of life. Watching the movie “life of pi” one shall definitely be thank full to the director for polishing the sensibilities of life, god and existence in the life of people. If one watches this as a movie then one will definitely relish its depiction that has lots of beautiful colours, reflections, ripples and camouflage. But apart from considering it as the movie, if one realizes the soul of it then it will surely wakes you up, keeps you on a side for a moment and discuses the laws of life that are ignored in actual sense. This movie remains typical and hard to understand unless you get yourselves on the board, unleashed from all the worries around and get connected as one of the characters in the movie. It’s a worthy lecture that remains visually stupendous and emotionally arresting.

The movie starts off with different animals beautifully grooming on screen, traditional Carnatic music playing and the titles getting camouflaged in the scenic backgrounds. Life of pi is the story of a boy “Piscine Molitor Patel” (gautham belur/ ayush tendon/Suraj Sharma/ Irfan Khan) who is named after the famous swimming pool in Paris. The name that sounds like “pissing” embarrasses the little one throughout his schooling. It actually forces this vegetarian, timid boy who lives in a zoo keeping family in Pondicherry to cut it short to “pi”. The story starts with a novelist who approaches pi in his late thirties and asks him about his life story to make it as a plot for his next book. The narration swaps back and forth unlacing the adventurous and meaningful journey that pi faces in his late teenage.

The story deals with lots of analysis about the things that everyone will certainly come across in daily routine. Rather than making its decisions and being judgmental  it makes us to think and allows us to flow with the things that comfy us. One can say it has the best path shown towards the approach of almighty, particularly the scene when pi thanks lord Krishna for introducing him to Jesus.  It opens up our thoughts and fills some meaning full stuff for a better living. The story doesn't stay on the lines of divinity either; it fairly supports the modern science with its engrossing and sensible dialogues.  The story has a perfectly cooked, unbiased touch to the rushing currents of life. It has the characters of pi’s parents played by Tabu and Adil hussain who evolve to build up the character of pi in a brighter way that helps him to survive his cast-away period. Though the roles of Tabu, adil Hussain and Sravanthi Sainath were very brief to portray they had lots of intentions and philosophy to speak about. The Bengal tiger which is accidentally named Richard Parker by some flawed records is literally engrossing. The scenes depicting his survival intentions are magnificently made. The cast-away period of pi remains the heart and soul of the film that teaches the sensitivity and philosophy behind living. The best part of the movie is one can easily correlate every intention behind a scene to one’s life. So it remains to be the part of the game throughout its duration with pi’s instance as an example. Coming to the technicalities it is just marvelous  The sets, cinematography, editing, visual effects are so good that any positive adjective will be a step behind in comparing them.

Audience go speechless in the scenes of jelly fishes floating all around, the sequence of floating islands and the mighty blue whale magnanimously flying over the little boat goes on par with the standards of James Cameron’s magnum opus Avatar.  They were visually stunning. Director Ang lee has no special mention in this little piece of review as it is not a sufficient credit to his superficial view in crafting the cinema. A piece of writing isn't sufficient to appreciate him perhaps a standing ovation is worthy of it. The very little flaw that one easily ignores in this movie is pi arguing with his father at an instance and slips out suddenly that “Columbus discovered India”. Sorry I am afraid it’s the Cape of Good Hope after all where he landed.

But on a whole the movie gives you a life time experience and sincerely speaking it’s just not a movie but it’s all about life. 

Four stars for this deeply engrossing tale.

Ps:

Uncountable cheers to Ang lee, the director who redefined the status of life and cinema.

A ROTTEN LOVE STORY

                                                  A ROTTEN LOVE STORY

The very first day of college, a boy happens to see a girl, he gets attracted, their looks meet, the boy who stays conserved around the girl  finally gets introduced to her, a cute friendly relationship blossoms, of course it doesn’t stay longer after all “love” comes into the scenario. The girl remains confused and keeps him struggling in the line. These are the few steps that have been happening around in any “routine love story” that we have been tolerating past few years. This so called routine love story is nothing special from the above said lines. The movie which holds the title “routine” as a part of it definitely remains eccentric in another way which I will be telling you in a moment.

 As of now, this story casts Sundeep Kishan, Regina in the leads and some veterans for the roles of hardly- supporting cast. Of course for any movie there will be a take off point for sure, it might be 10 min from the start, 20 min or at least after the boring first half. But here it keeps us waiting till 120 minutes (total run) and finally “takes us off” to the mood of relief as the movie ends. The movie clutches many flaws till its end. It starts with a dull notion keeping you lethargic to the seats and never amuses you. The director tries to alter the mood of the audience with the old tonics like the “routine” college tours where the hero gains sufficient sympathy points, never ending cat fights between the love-leads, the routine friends who concentrate more on the lead’s love problems rather than on anything else. But nothing keeps us in sync with the narration. From the first day the movie has been publicising that it’s entirely a novel story but titled as a “routine love story” for fun reason. Sadly they were true, it had nothing new to offer on the silver canvas. The irony is the title suits the story much better. It justifies perfectly. 

Sudeep kishan who had been damn promising in Prasthanam is just ok in this tedious script. Somewhere the shades of Prasthanam were still entangled around his looks and dialogue delivery, it looks odd at times. Probably we need to see him in lot many movies to get acquainted to the “lovable-boy” appeal on the screen. Heroine did what she was allotted neatly. The characters are not deep rooted and not at all intense so it doesn’t make an impact of any of the characters walking out of the hall. Music isn’t that good. Mickey delivered average tunes. Perhaps it was the narration that made it much weaker and rather instigated us to neglect it. Cinematography and editing were just normal. Director Praveen Sattaru who delivered a stunning debut with the cheerfully acclaimed “LBW”, stammers a lot this time with his poor story, screenplay and dialogues. Heavy expectations about the director will badly ruin our watch for this one. Nothing is good enough.

 Performances from Tagubothu Ramesh, Ms Narayana were just average and we never expand our lips giggling to their awful comic sense. Scenes depicting Ms Narayana in the second half are stupid, logic less and annoying. The movie ends over an amateurish note that delivers nothing relishing rather than few lines on “misogyny” and a moral “to buy something for the girl you love to make up your little fights and keep her happy”.

After the tiresome 2 hrs of effort rather than being a routine love story it turns out to be a “rotten” one. Ultimately we come out of the theatres wiping off the foreheads, playing our hands through the scalp for the relief, sighing heavily and finally realising that we have seen a “rotten love story”.

Giving one and a half stars makes me a Good Samaritan.

Ps:

 Don’t waste your money, time and good mood rather hit a “like” here for enlightening you...hahaha

POINT-BLANK THRILLER

                                             PERFECT POINT –BLANK THRILLER

What makes a good cinema....? Whether a good story or a tough screenplay or a grandeur presentation?  A sensible cinema should be a perfect gourmet with all the above ingredients cooked up in balancing proportions. Vijay starrer Thupakki is made up with the similar recipe which ultimately stands out to be a perfect meal for the cine goers.  Movies on the Indian Army, terrorism are not novel in their way of depiction in the Indian cinema; but what makes Thupakki a preferable watch?  There were many things that kept the pace of the movie pushing throughout its length. Every craft was just more than being perfect.

                          Thupakki is the story of a captain Jagadish (Vijay) of the Indian army. The story sets up in Mumbai while the protagonist visits his family for a vacation.  Story races up when the hero suspects some terrorist activities happening around; and finally the movie wraps up with the good winning over the bad. Though the story has no novelty on a whole the director injects the concept of “sleeper cells” into the script which appeals to be fresh.

                          From the beginning the director ensures to keep his narration crisp and taut enough. After the debacle of his previous (7am arivu) Murugadoss seems to be back to his senses and handled the project with utmost care. Not forgetting the havoc created at the box office by the poor screenplay of 7am arivu, this time he tightened up the laces of the screenplay and weaved it tight with a couple of knots (twists). His effort made the narration nail biting for the audience to glue their asses to the cushions for 165 minutes.

                        In spite of being introduced by a stalwart like Shankar, Vijay couldn't establish himself in Tollywood with his former film. But this time he ensures to make a better market for himself. As a young and charming army officer he did a convincing job. Kajal was restricted to a pool of scenes and songs that added humour and glamour respectively. Vidyuth Jamwal who played the role of clever antagonist is just ok. He hasn’t much to offer. The important aspect of the film is its high technicalities. Icons like Santhosh Sivan (cinematography) and Sreekar Prasad (editor) cultivated the movie to look more grand and gripping enough.

                       Harris jayaraj rather delivered some peppy numbers this time than sticking himself to melody. Except a couple of songs most of them were party numbers. They were just average. Choreography was not extra ordinary. It just filled in the space. But Harris offered a hair raising BGM for the movie. Throughout the movie the BGM constantly evokes our interest and easily pulls our attention into the happenings of the story. Exceptional work it was.

Despite being a perfect watch the movie has a couple of flaws of its own. To be candid;

1)      The climax appears to be unpleasing when the ruthless terrorist asks the hero to share his “last wish” before killing him and proceeds to drag on sometime with an unnecessary fight. In comparison with the wit and intelligence of the narration from the initial stage, the climax appears stupid.

2)      The movie lacks good music. Songs are mere waste. For a power packed thriller like this one a couple of songs can be freely chopped off.

In spite of its minor misfits the movie still remains to be a point-blank action thriller which out stands one’s expectations. It’s certainly a tribute to the Indian army. To deliver the ending note I would say “I am waiting.....” for more sensible and gripping thrillers yet to come in the Indian cinema like Thupakki.

Three and a half stars for the point-blank thriller.

P.S:

Paisa vasool is an understatement here, go find some time and watch this flick.....

YASH CHOPRA'S ROMANCE

                                                    YASH CHOPRA’S ROMANCE

Romance.......people perceive it in many ways. Everyone has their version to define it but very few of them remain universally accepted and relished. Yash chopra’s romance is just one of them. Romance and emotions were always the cast of his fables. Though there were lots of things happening around the world which could probably be an amazing subject for a story, he strangely opts to portray simple stories that bore human relations and their emotions. It became his iconic style over decades. After a gap of 8 years yash ji might have found that the romance is mislead in the Indian cinema and probably now he comes forth with a story to put it back on to its tracks with his magical way of storytelling.

                                               Jab tak hai jaan is a simple story that depicts a love triangle between three people named Samar, Meera and Akira. Coming to the story line, Samar Anand (SRK) who is a cheerful youth in London happens to meet Meera (Katrina) and apparently falls in love with her. As every love story has its own problems even this story has one. The rest of the story deals with how they overcome those issues and come together. The movie remains gripping in the first half with sensible narration, effective emotions and magnificent taking. It’s just what we expect from Yash raj. Nothing lowers our hope. The movie gets even more complicated in the later half with some unexpected turns in the story and finally lands on a soothing note.

                                              Yash chopra who is a stalwart was very careful in depicting this story on the silver canvas. He doesn’t make the atmosphere of the film crowded with too many characters to speak and enact the script. On a whole we hardly come across five to six people carrying the story on their back till the end, this makes us claustrophobic but works very well in elevating the melodrama. Cameo performances from Rishi kapoor and Neetu kapoor were neatly weaved. Their presence made a typical positive impact on the narration.

                                              The story definitely takes us back to the times of Lamhe and Veer- Zaara which had a great drama in them. The approximate 180 min run is clichéd by some lines but it ensures us to stick on to the emotional drama thoroughly. Performances wise there was absolute perfection all over. SRK was splendid in his character; both as an angry major and a lovable boy in his late twenties.  A couple of scenes where he wore a hat resembled Indiana Jones ( inshallah lets hope he tries to attempt that in future). Anushka needs praise on a whole. Her character though remains as a supporting one to the female lead; it has lots of scope to act. Her role was perfectly satisfying. To cut short her presence ensures that we smile, touched and become emotional at times. Katrina justified her part with decent action and good dances. Cinematography and dialogues has nothing to complain. They were perfect.

                                               Though the movie has lots of emotionally dragging places it stays trimmed to subsequent levels. It never appeals to be sentimental but rather tickles our emotional instinct. It was apt to the present scenario. Songs were visually good. Saans and Jiya re were absolute treat. Though Ishq shaava tried to appeal like a “STEP UP” song; it couldn’t reach that level completely but it was okay. Rahman did a decent job overall. His BGM remains significant and carries all the emotion. It was convincing.

The movie suffers from its long run which could have been trimmed by 20 min at least. But keeping that aside it’s definitely a feast for the ones who are desperately waiting for a pleasant romantic story. It works that way.

                                              An actor in a movie says “it’s just not a love story..... It’s a saga”; similarly jab tak hai jaan remains to be a pleasant watch for this festive season.  Yash ji delivered his final and memorable romantic saga that will remain in our hearts........JAB TAK HAI JAAN........ JAB TAK HA JAAN.

THREE AND A HALF CHEERS FOR THE YASH JI’S ROMANCE

Red vs Khaki

RED VS KHAKI

Some films are usually made to make money, some are made to entertain but very rarely do we have movies that make us think. In general Prakash jha’s works are intended to instigate the viewer’s thought process. Be it Gangajal, Apaharan, Rajneethi or Aarakshan, keeping the results apart Mr.jha has always attempted the contemporary social issues. Chakravyuh is just one among his preferred genre of film making. My discussion may misinterpret the readers that this is something like a documentary stuff. But this is what in which Mr.Jha expertises in, he takes up the burning social issues and depicts them to the grounds of public interest. Neither of his works appears like art movies though the stuff conveyed has the scope for documentary style of taking. Chakravyuh is the story that deals with the challenging problem that India has been facing post independence period. Yes, it is naxal’s movement. Strictly it’s such a sensitive issue where one has many bounds in scripting it and it’s certainly a path breaking task for the people working off screen. It’s no exaggeration to accept that the director has pictured it nothing less than a nail biting and thought provoking action thriller.

                                  To cut it short, it is the story of two friends from college whose ideologies repel. As life moves on one turns out to be a successful police officer named ‘Adil’ (Arjun Ram pal) and the later one ends up being a nobody with a disastrous career as an engineer turned entrepreneur. The later one’s role is casted by Abay deol, named ‘Kabir’. The story gets on to the track when kabir convinces Adil and joins the naxal movement as a police informer intending to help his fellow friend. Things get complicated from then; there comes a situation where their friendship gets crushed under “red” ideologies and filthy politics. The rest of the story deals with how they strive to safeguard the paths they have chosen for the rest of their lives.

                                   My discussion becomes pointless if it doesn’t include the groundwork that the scripting people have done to improvise this sensitive issue to an extravagant action-drama genre flick. The ground work is simply appealing on-screen with all the facts he stated under a rugged voice over and stunning visuals. Speaking about the best parts, the former one that I need to mention is the way how director has balanced the story. He doesn’t stay biased at any point and intuitively keeps us busy in involving with the characters and their situations. Though script being its plus point, it had many versatile people to portray it to the heights of excellence. Om puri and Manoj Bajpai were stupendous in their roles. Arjun ram pal makes a promising stay throughout the movie. Abhay who played a different role will certainly bag applauds for all the efforts he has put on. The movie has some breath taking stunts which were clean and spotless. Most of the action sequences were appreciably near to reality. Cinematography was just perfect. Sameera reddy who charms in a cameo for a song performs it very well (but the song is tiresome and it’s the least remembered, tune wise). The woman who played the role of Juhi (a woman comrade) was sharp and bold in her looks; her Jharkand accent remains the striking feature for her role. She was pleasing.

                                                                        The movie has the least scope for any vulgarity and the director has taken measures to maintain that till the end, it was superb. The movie packs up with a “never-ending” notion; perhaps the director played it safe by depicting the scenario rather than being judgemental with deciding “notations”. The title “Chakravyuh” has been justified in a perfect way that it has to be and it’s truly appreciable. Music sounds like Vishal Bharadwaj’s style of tuning. It was apt. There is nothing in particular that is a con for this movie. It all depends upon one’s view towards the concept that is discussed on screen. It’s completely a personal issue on how you accept these stories and the way it was portrayed in the director’s point of view.

On a whole the director manages the 152 min run to lead us happily through this breath taking and completely engaging social issue. A perfect watch for this weekend.

Three cheers for the “red” vs “khaki” fight.

puri tho rambabu

                                                         PURI THO RAMBABU

Post watching CGTR when I tried to re-“view” it; my head buffered with some nostalgic thoughts of my 5^th standard, where my English miss was dealing Tenses. Future tense was a night mare for me. Don’t ask me about “future perfect”. All the time when I was watching the film the line that played through my head was “it would have been better....” yes the creepy future perfect tense.

                                      CGTR is definitely one of the most anticipated movie for both Pawan and Puri fans. Yes, it’s a typical Puri film with an abnormal hero characterization and his witty dialogues. The movie opens with an interview that acquaints the audience with the recent political scenario and slowly gains it pace with the power star’s (Ram babu) entry. Ram babu reacts similar to that of pawan’s real life character and ideologies. The only thing that bothers the viewer is its lack of reality when Ram babu goes public.

                                      As a mechanic turned journalist Ram babu behaves far from reality. He easily takes down the law into his hands and is never questioned by the public officials. This segment is purely illogical. Meanwhile comes Tamannah (ganga) ,who is extremely good and with least hesitation one can consider her as a combo with glamour plus action. Her role is genuinely acceptable with a shade of tom boy mannerisms and one thing that needs a mention is her dubbing, which was pitched perfect.

                                       Where you lack a proper script, be it a power star or mega star that portrays the lead, the audience turn out scratching their scalps. The same happens with Puri’s Ram babu story. Puri tries to implement some humour from Ali who conducts some discussion portals that we see in news channel s regularly. It’s considerably engaging. The director doesn’t make an impact by gradual way of ascending Ram babu’s character; instead he becomes an iconic figure overnight. Though most of the scenes being boisterous; none of them turn out to be elevating the film any further. ‘Man of the show’ is Mani Sharma for his engaging BGM.

                                         The movie resembles Business man (staring Mahesh) with a few similarities like Prakash raj’s character (his costumes were almost identical) and the way Puri handles the script. But sadly the director fails to elevate the levels of emotion that he pictured in his former film (Business man). Prakash raj, kota and bharani did a decent job all together. It’s again the same piece of cake what Prakash raj offers with his role. The first half offers an average watch with some catchy lines like “veedi chavuni nenu discovery channel lo chudali”, “naa pogaru calculate cheyataniki naa pogaru oppukovali kada” etc.

                                           Second half turns out to be the same in terms of screenplay and its portrayal. Here it bags a social message with a couple of songs. Songs were hummable. Except a couple of songs none of them were greatly choreographed, they just filled the space. Tamannah was splendid in “extraordinary” and “melikel” songs. As usually Brahmanandham shines in a couple of scenes which were smart enough to tickle oneself. But the saddest thing is part of his sequences are trimmed due to the recent Telangana agitator’s revolt. The sequence where Ram babu comments about the film actors is adorable.

                                           On a whole Puri had very little to say from this script. Cutting out the songs the movie runs for about 90 min where the director fails to idolize his concept. In parts the scenes were meaningful but on a whole they lose grip and fade out completely. Despite having some stalwarts in the film , it finally lets you down and records another average flick in Pawan’s career. To be precise ; if you are a fan of Pawan this is for you else don’t complain as it not a paisa vasool.

Two and a half cheers for puri tho rambabu’s effort.   

"students" of the year

                                                 “STUDENTS” OF THE YEAR

Student of the year.......the drama king KJO who was away from the megaphone past 2 years , here comes up with a story that happens in a no-man’s land, around a school named ST.TERESA. It’s definitely hard to believe and adopt the atmosphere that he exposed to the existing scenario of Indian sensibilities. From the titles part the movie appeals to be a visual grandeur excelling in costumes & art department. OK  first things first, it has been deliberately proven that KJO is still a consummate in picturing songs. The colors, sets & artists were always at their best dancing to the tunes of his film. Radha & disco dewane were magnificently pleasing. Coming back to the discussion, the films adapts a screenplay that swaps you back and forth in chronological order which engages the viewers.

                                              The “trio” (Siddharth malhotra, Alia bhatt , Varun dhawan) were simple and lovable. Dhawan & Alia need a special mention who made their presence more remarkable. Their innocent and cute looks were pleasing, in cut short a perfect stuff for bolly-wood has been delivered. Siddhartha’s role was restricted to more of the looks part and trimmed performance wise. It was a cake walk for him to deal the role. The movie forays heavy casting like Rishi ji(rishi kapoor), Farida ji(farida jalal), Ronit Roy who were surprisingly not used to their content. One who expects a greater performance from these veterans will turn off disappointed. Ronit roy who did an intensified job in the critically acclaimed “Udaan”(father's role) has nothing to offer here but some silly scenes to perform. Sticking on to the title, the movie completely balances on the younger cast on a large scale of its footage. The movie portrays some icing moments which immensely draws one’s attention, like the sequence at the wedding where the emotion is completely carried by the piano being played behind the colorful slow motions. It was impeccable. The film includes a couple of scenes that tickles the audience’s aesthetic sense.

                                        The premiere con of the film is its abrupt way of ending few scenes that has seriously downtrodden the emotional quotient of the viewer. Audience definitely feels uneasy at some part of the movie narration, it doesn't touch one’s instinct and most of us feel “where the hell is this SOTY(student of the year) competition leading us to...” then and there KJO imparts a dynamic performance from a new comer which stands out to be convincingly enough to accept and of course becomes the “soul of the film” to be brief. Unlike his previous films which had a great melodrama in them, this flick cuts out all the emotional blackmailing by the cast and stands out be a mild narration. It would have been a feast for the viewer if the director had given a little more emphasis to the script work to fill it in a more lucid and effective way. The female lead who seems to be confused in between the duo love interests doesn't justify any reason but end up marrying one of the male leads. It’s definitely not a worthy ending that one expects from KJO, who is terribly good in depicting love sagas.

                                           On a whole KJO manages the film to be falling in between being average and good. Performance wise everyone was good except Siddhartha malhotra, who needs to be flexible in his moves and expressions. Finally the movie appeals to be a meal without a relishing dessert but definitely a grandeur launch project for some promising "students"of this year (debuts).

Only two cheers for SOTY......