Shaapit - First Look

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Three - Love, Lies, Betrayal - Movie Review

Thrillers have been Vikram Bhatt's forte and THREE - LOVE, LIES, BETRAYAL, scripted by Vikram Bhatt and directed by Vishal Pandya, takes the legacy forward. This time, it's a simple setting, involving three people. But it's not as simple as you think. The relationships are complicated, the characters are crooked and double crossing is almost a habit for this trio.

Unpredictability is the strength of THREE. Also, the culmination should come as a jolt - that's a must that any suspense thriller - and the twist in the climax meets the requirements, catching you by surprise.

But THREE is not without its share of hiccups. The writing is not consistently engaging and also, the length could've been concise. Yet, all said and done, THREE is a notch above the ordinary.

THREE revolves around Anjini [Nausheen Ali Sardar], who is married, is also a violin teacher and runs the house with whatever she earns. Her husband, Rajeev [Akshay Kapoor], who has not been able to earn much, lives in her house and on her money, which is the reason for his anger and frustration.

Rajeev finally gathers the courage and asks her to sell her house and give him the money to invest in the business; she refuses as her house is her only connection with her parents, who are no more. She decides to help her husband and give one portion of her house on rent so that her husband can use the money for his business.

Sanjay [Ashish Chowdhry] comes to stay in her house as a tenant and reads the tension between the couple. He sympathizes with her and in the process, she falls in love with him. Is Sanjay's love for real?

Not once do you feel while watching THREE that it's helmed by a first-time director. Right from the shot compositions to extracting the performances, the debutante director seems in control of the situation. But the writing could've been cohesive and more impactful.

For instance, the wife is subjected to domestic violence at two vital points, but not once does she report to the cops. The women of today are well aware of their rights and wouldn't cow down to any abuse. Also, the game of one-upmanship towards the end gets a bit complicated and could've been simplified.

Chirantan Bhatt's musical score is pleasant. Raju Rao's background score enhances the impact considerably. Pravin Bhatt's cinematography is truly arresting. The veteran DoP captures the beauty of Scotland on his lens admirably. The dialogues [Vikram Bhatt] deserve special mention.

All three actors fit into their roles well. Nausheen Ali Sardar is a revelation. She's excellent all through. THREE should act as Ashish Chowdhry's showreel, frankly. He has gradually evolved into a fine actor and this film proves it. Akshay Kapoor enacts his part with complete understanding. He knows the grammar of acting right. Achint Kaur is first-rate. Wonder why film producers have ignored this talented actor for so long.

On the whole, THREE - LOVE, LIES, BETRAYAL is a well-made thriller, but it remains to be seen how it fares in the Ramzan period and also how it competes with simultaneous multiple releases.

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Three - First Look

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Directors pick Rani's best

Rani Mukerji turns 31 today. As she celebrates her birthday, we spoke to some of the directors she has worked with and they are well, (almost) unanimous in their decision that Black is her best performance so far. Read on to find out.

Vikram Bhatt, Director, Ghulam: Black would be my favourite performance of Rani Mukerji. It takes a lot of courage for an actress to de-glamorize herself and makes faces. It is very important for actresses to look pretty all the time and for an actress to sell all that for a performance that it noticed in mainstream Bollywood is commendable

Goldie Behl, Director, Bas Itna sa Khwaab Hai: I think everyone’s favourite performance if Rani would have to be Black and there are no two ways about it. I was awestruck by the way she carried herself and communicated without saying a single word. It was a sensational performance right from the first frame where she walks towards the Church.

Tarun Mansukhani, Assistant Director on Kuch Kuch Hota Hai, Paheli and Kabhi Alvida Naa Kehna: I loved Rani in Black. My favourite scene in the movie is when she calls her mother to tell her she has failed. It is am amazing piece of work to say so much without speaking a word. She makes you cry and feel your own failures and then realize that we are all the same and go through the same emotions in life.

Aziz Mirza, Director, Chalte Chalte: Rani is a very fine, natural actress. No matter what the roles, she shines in all her performances. I can’t pick a favourite performance. She was brilliant in Black and very good in Chalte Chalte.

Ravi Chopra, Director, Baabul: Black has to be Rani’s best performance. She was terrific, she made me believe she was the character she was playing and not anyone else. You felt for her character. My favourite scene was the last scene in which she gets her degree.

Kunal Kohli, Director, Hum Tum, Mujhse Dosti Karoge and Thoda Pyaar Thoda Magic: My favourite Rani film and performance would have to be Hum Tum. It was the first film with which I got success and she got her first best actress awards at all the functions. More importantly, she was a big support to me during the making of the film and I will always remember her very warmly for that.

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B.O. Update: '1920' starts better, 'Last Lear'-'Rubaru' poor

The horror genre seems to be fast catching up. Few weeks ago, PHOONK took the industry by complete surprise by fetching a very good start all over. Now 1920 has taken an encouraging opening at places. The opening was 40% to 60% in Mumbai and Delhi. At other places, the opening was lower. The reports are decent and the trade expects the business to pick up on Saturday and Sunday.

RU-BA-RU started on a 10% note. The business was even lower at places. THE LAST LEAR got a lot of mileage for different reasons prior to its release, but the collections were uninspiring.

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1920 - Movie Review

Vikram Bhatt visits the horror genre again, after RAAZ. Also, like RAAZ, 1920 talks of love, lust and paranormal forces. But unlike RAAZ, 1920 is set in the bygone era and that makes RAAZ and 1920 as diverse as chalk and cheese.

After a series of watchable and avoidable fares, Vikram Bhatt is back with a vengeance in his latest endeavour. It may not be the most eerie experience, but it has its share of terrifying moments that one expects from a film that talks of supernatural forces. The best thing about 1920 is that the culmination to the story is most compelling, which is so vital for a horror-mystery.

Any hiccups? The narrative slows down at regular intervals and that robs the film of its shine. Besides, the flashback -- the reason why the spirit seeks revenge -- could've been more impactful.

All said and done, the pros easily outweigh the cons here. Most importantly, 1920 delivers what it promises: Eerie and scary moments aplenty!

The year is 1920 and the house isolated in the wilderness has a secret. It is waiting for the curse to come true. For years, everyone who has tried to pull it down has died of mysterious circumstances.

Arjun [Rajneesh Duggal] and his wife [Adah Sharma] move into the house. He has been given the task of pulling it down and making a hotel there. The house has been waiting for them. Strange and inexplicable events start taking place…

The period look and the castle [located in Yorkshire in actuality], which is an integral part of the story, give the film a distinctive texture. From the writing point of view [story: Vikram Bhatt; screenplay: Vikram Bhatt, Dhiraj Ratan], the love story is well structured and the obstacles the couple face are well depicted.

But the film actually gallops when the spirit takes over the girl's body. Thereafter, incident after incident catches you unaware. Note the sequence at the nursing home, when the spirit talks to the doctor. Or recall the spirit's warning to the priest. The finale -- when Rajneesh chants Hanuman Chalisa -- is another highpoint.

Without doubt, 1920 is amongst Vikram Bhatt's finest works. In fact, it's after a really long gap that Bhatt seems to be in complete command. Pravin Bhatt's camera captures the mood splendidly. The beauty of the castle has been captured very well by the DOP. Adnan Sami's music strikes a chord. 'Bichua' [singer: Shubha Mudgal; filmed on Rakhi Sawant] caters to the masses, while 'Tujhe Main Pyaar Karu' [Kailash Kher] and 'Vaada' [Pt. Jasraj] are aimed at the heart.

Both Rajneesh Duggal and Adah Sharma go through their roles confidently. Adah gets the meatier part and she takes to it like a fish takes to water. She's excellent! Rajneesh has the trappings of a fine actor and though there's slight awkwardness at places, it can be overcome with the passage of time. He has the potential. Anjori Alagh looks beautiful and leaves an impression in the second hour. Indraneel does well. Raj Zutshi [as the priest] is top notch. Vallabh Vyas [doctor] is as usual.

On the whole, 1920 is an engrossing fare that meets the expectations. It has the potential to work at plexes and single screens, metros and mini-metros, catering to all audiences.

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'1920': Vikram Bhatt is back

Vikram Bhatt made a remarkable impact with RAAZ. Later, Bhatt made all kinds of films, ranging from likable [AWARA PAAGAL DEEWANA] to engaging [ANKAHEE] to mediocre [LIFE MEIN KABHIE KABHIEE] to outright bad. Almost a year ago, he decided to take a sabbatical from work, investing his time and energies on just one project: 1920. So was the wait worth it? Oh yes, it is!

1920 is set in the pre-independence era, but before you jump to conclusions, it's not a patriotic film. It's an eerie film about an aatma that seeks revenge. Just don't mistake it for another horror film or a film where blood, gore, skulls and skeletons send a shiver down your spine. There's nothing of the sort in 1920.

1920 works because it's a combination of a captivating story [Vikram Bhatt], a watertight screenplay [Vikram Bhatt, Dhiraj Ratan; the second hour is spell-binding], expert performances [Adah Sharma is a discovery, a talent to watch out for, Rajneesh Duggal is competent], melodious music [Adnan Sami] and a stunning castle [located in Yorkshire; captured beautifully on celluloid]. The castle is important to the story and must add, it takes the film to a different level.

Last but not the least, 1920 marks the comeback of Vikram Bhatt. Watch him recreate the drama, watch him execute the conclusion with panache and you know that the talented storyteller is back and how!

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