Movie Review : Band Baaja Baaraat

Rating : Very Good (4.5/5)
Genre : Romance
Year : 2010
Running time : 2 hours 30 minutes
Director : Maneesh Sharma
Cast : Anushka Sharma, Ranveer Singh
Kid rating : PG-13


BAND BAAJA BAARAT : A CHARMER OF A ROMANCE !

Finally ! A film from YashRaj which displays the heart that made YR succesfull ! Written and directed by Maneesh Sharma, starring newcomer Ranveer Singh, and 2-films-old Anushka Sharma, BBB is an almost believable Delhi based love-story.

Bittoo Sharma (Singh) is our lovable lafanga .i.e.; he who does not study (as he is supposed to, being a student), work or have any plans to. He is content to fritter away time and the family money, until things come to a head; his father turns up to cart him away to the family sugarcane business in Saharanpur. Unwilling to leave the bright city lights, Bittoo in desperation concocts up an imaginary business partnership, with Shruti Kakkad, a girl whom he has met just once before.

Bittu’s father leaves in a huff, but Bittoo realizes that it is in his interest to turn the “imaginary” partnership into a real one. But therein lies the problem. Ambitious Shruti is intent on setting up her own wedding planning business. Shrewd and vociferous, she is the no-nonsense kinds. The kinds that dismiss lazy loafers like Bittoo, right off the bat.

Will Bittoo be able to convince her of his sincerity ?

That’s the bare bones folks. Of course you know that they will meet, and complications will arise. The story itself is OK, not outstanding, but is sketched out so well, that it makes for an interesting film. Habib Faisal, director of “Do dooni char” writes the screenplay and dialogues, because of which this film glides along smoothly, carrying with it the sounds of sights of Delhi. The realistic sounding dialogues have subtle humor and feature a lot of the vernacular Hindi and Punjabi prevalent in Delhi-speak; words like “syapa” (trouble), “dhinchak” (loud/blingy), “kaand”(trouble/scandal) and others make an appearance.

Ranveer Singh, debuting in this film, is fabulous. He looks like a rustic version of Ranbir Kapoor, but emotes, dances and delivers his dialogues far better. I can’t quite see him in the urbane, city-boy type of role, but as unsophisticated Bittoo Sharma he is just perfect. You can’t quite help but root for him. And Anushka Sharma finally comes into her own as an actress, displaying to great advantage her till-now-hidden acting chops. As the middle-class rebel Shruti, teetering between her own ambitions and her family’s wishes for her to settle down, Sharma is wonderful and gives her character depth and spirit.

This movie also features some strong actors in supporting roles – there’s Shruti’s understanding Mom (Nirupama Verma), the flower supplier Maqsood (Neeraj Sood) and the caterer Rajender (Manmeet Singh). This film is shot in Delhi, and is full of its color, life and gaiety. BBB features some very energetic song-and-dance numbers, like “Ainvayi Ainvayi”, situated where else but at The Great Indian Wedding, and some light love ballads like “Aadha Ishq”. In short BBB is great good fun. One of the best Hindi films of the year, I highly recommend this one.

Kidwise : YashRaj films generally are a G-rating, since they are clean and free of innuendoes/cheap vulgarity. Even when they do get amorous, the scenes are so tepid, timorous and short that YR movies are pretty kid-safe. Not so this one. BBB is 90% kid-safe. However smack dab in the middle of the film is an intense kissy-kissy, love-making scene which goes on for a good 5-6 minutes, vaulting this movie right into the PG-13 zone.There’s some smooching towards the end of the film also, so be prepared if you’re taking kids along.

Posted in 2010, All Netflix, bollywood, dance, drama, family-friendly, Hindi movies on Netflix, rating-PG13, recommended | Comments Off on Movie Review : Band Baaja Baaraat

Movie Review : Dabangg

Rating : Above Average (3.3/5)
Genre : All-in-one
Year : 2010
Running time : 2 hours
Director : Abhinav Kashyap
Cast : Salman Khan, Sonakshi Sinha, Vinod Khanna, Dimple Kapadia, Mahie Gill, Arbaaz Khan, Sonu Sood, Tinnu Anand, Om Puri, Anupam Kher
Kid rating : PG-13

DABANGG : MASALA WELL DONE!

Dabang is a masala film with a difference. Situated in the rural badlands of Uttar Pradesh this film thinks it’s a Western, and it’s lone good-hearted cowboy ? Why, our Salman Khan of course. Khan, brimming with attitude, and some great dance moves, is Chulbul Pandey, or as he likes to call himself RobinHood Pandey. A corrupt cop, Chulbul has a heart of gold, takes kickbacks from the rich and the criminal to give to the needy.

Dabangg also has refrains of the 80s southie-based action films (remember Jeetendra and the Himmatwala types ?) in its stepson angle. Chulbul is the stepson of Prajapati Pandey (Vinod Khanna). His mother (Dimple) is the long suffering filmi maa who wishes to see her older son, Chulbul, and her husband on amicable terms, but her husband favors his biological son Makhandas (Arbaz Khan). Then there is the villain Cheddi Singh (Sonu Sood) a criminal politician, and the love interest Rajo (Sonakshi Sinha). Stir all these classic Hindi film elements together, infuse with stylized dramatization, and some great songs and background music, and you have a good old pot-boiler of a film. Pure masala but stylishly done.

There isn’t much of a story here – just some unresolved plot elements. The hero might seem strong but he must seek acceptance from the ever-critical step-dad. There’s your pathos – Chulbul wiping away a speck of a tear after another bristly episode with Daddy dearest. He’s got to get the girl, and bring the villain to book. Once he does all this the film will end, and you know all this almost at the beginning. Still, the ensuing journey, as Chulbul goes around doing the requisite amount of dhishum-dhishum and pelvis-shaking, is not unpleasant.

The film has village locales, which lends itself to fight sequences in godowns, and item numbers in the chowks. The heroine Rajo runs around in an almost backless choli, and a snotty attitude to boot. And Sonakshi (Shatrughan Sinha’s daughter), who plays Rajo, does an adequate job. Not quite 100% heroine material with her traditional looks, she suits the role of the rustic beauty. Salman, as the swagger-filled Chulbul is the star of the film; no one could have done this role better. It is because of him that Dabangg is the blockbuster hit that it is. Salman fills Chulbul with personality, delivering strong punch-lines and crassy jokes with equal ease. Chulbuls’s character is not written with much depth or logic, but Salman still makes him appealing.

This film runs along pretty smoothly, except for some time post-interval when it gets a little too cheesy. Director Kashyap guides with a strong hand. Dabangg has some beautifully executed fight sequences, in slo-mo, done very Matrix-style. The music also earns it brownie points; there’s the now famous “Munni badnaam hui”, pictured on a vigorously hip-swinging Malaika, and the soulful “Tere mast mast do nain” to do it credit. Dabang has all the ingredients of the masala perfectly placed. It does fallback to a older genre that I would deem “villagey”, tom-tomming the benefits of brawn (and un-education) over brains, but counters that with a sophisticated filming technique.

This film has mass appeal, is out there and outrageous, and unafraid of being what it is – no pretensions. You do not require a brain to view this film, and in that category (which has its share of idiotic films), this is one of the better ones. If you’re looking for a tangible story-line, nuance and character depth, Dabangg is not for you (pick “Do dooni char” instead). A bonafide Friday night entertainer, loud and deafening, Dabangg is worth a watch.

Kidwise : Might be unsuitable for younger kids, what with the hip-crunching, suggestive innuendoes, and the adult-sized doses of sleaze.

Posted in 2010, bollywood, rating-PG13, watchable | 3 Comments

Movie Review : The Next Three Days

The Next Three DaysDirector : Paul Haggis
Starring : Russell Crowe, Elizabeth Banks, Liam Neeson
Rating :4/5

Russell Crowe is John Brennan, a community college teacher living a contented life with his wife Lara (Elizabeth Banks) and Luke, their three year old son. Lara is a working professional, although she has been facing flak on the job from her female boss. Their suburban lives are turned upside down when one day the police barge in and arrest hot-tempered Lara for murdering her boss. She is taken away and later convicted and incarcerated for life. John, of course, believes her innocent, but must let the law take its course since the police have conclusive proof. Lara is already depressed and pleading her innocence, but is moved to attempt suicide when she hears that she will be moved to a prison even farther away from her family. John, then, decides to attempt the unthinkable – try and jailbreak his wife.

Crowe is, as always, fantastic. As an English teacher forced to think like a criminal, he lives the part of a law-abiding, meticulous man nervous about crossing over to the other side. He procures a gun, mixes around with drug-dealers and the like, learns to “bump” locks and push people around – so far out of his professor-ish world that he is all nerves and racing heartbeat. But it might all be for nought, since he is racing against time and an astute detective . . .

Directed by Paul Haggis, director of “Crash” and writer of films like “Million dollar baby” and “Quantum of Solace”, this film could be considered a tad meticulous for a “thriller”, since it is a detailed account of everything John does to accomplish his goal. Still, it remains engrossing and engages the viewer by portraying the hero’s desperate plight and the extreme measures he is forced to take. It has action packed sequences, huge jumps in emotion, and presents one challenge after the next. Yes, John wants to get Lara out of jail, but he is one person against a city full of cops. There is no way his crazy plan could succeed, is there ?

This film is a very competent thriller, cerebral, yet high-octane. It is also beautifully paced and put-together. And it doesn’t hurt that it also has a very compelling storyline – a normal, law-abiding, bookish person pushed, by insurmountable odds and desperation, to commit a crime. One of the best films of the year, this one is highly recommend.

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R.I.P. Manish Acharya

Manish Acharya, the young director of “Loins of Punjab”, and one of the narrators in “Sita sings the blues” passed away today in a road accident. Manish was also involved in Farhan and Zoya Akhtar’s “Luck by Chance”. Not even a month ago (November 11th) Pankaj Advani, the director of the fabulous “Sankat City” died of a heart attack.

Such talent and they were so young!

May they rest in peace.

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Movie Review : Atithi tum kab jaoge ?

Rating : Above Average (3.3/5)
Genre : Comedy
Year : 2010
Running time : 2 hours
Director : Ashwani Dhir
Cast : Ajay Devgn, Konkona Sen Sharma, Paresh Rawal, Satish Kaushik
Kid rating : G

ATITHI TUM KAB JAOGE : OVER THE TOP BUT FUNNY!
 
The title says it all – the guest comes visiting all right, but he has no plans to leave, which leaves the hosts wondering. This film is tailor made for Indian /desi audiences since the “houseguest” is supposedly a revered creature in our culture, however over-bearing he may be. “Atithi tum kab jaoge” then, is “Atithi devo bhava” (Treat a guest like God) under stress.

Ajay Devgn plays Puneet, or Pappu, a script-writer in Mumbai. His wife Munmun (Konkona Sen Sharma) is also a working woman. They have a son, and are generally rushing about big-city life trying to live their urban lives. When distant relative Lambodar Chacha turns up to visit, they welcome him in. Chachaji settles in, gargling and farting his way through the house. He also likes food, and demands delicacies of his bahu. Basically with his noisy habits and querulous behavior he manages to upset the household and the hosts. When he is still firmly ensconced in the small apartment a few days later, and hasn’t thought about leaving, his hosts can’t take it anymore . . .

Paresh Rawal is fabulous as Lambodar Chacha, as is Konkona; in one hilarious scene Munmun follows Lambodar Chacha around with an air freshener trying to mitigate his “scent”. Ajay Devgan isn’t a natural comedian, but does passably. This is a comedy and given the subject, you expect over-done. A mildly annoying guest would not be quite as entertaining. The director milks the unwelcome guest issue to the hilt, and you laugh at how outrageous it is. And it is so funny, because most of us have been put upon hosts one time or another; we identify.

A fairly strong script and screenplay keeps you engrossed. A strong directorial hand keeps this over-the-top comedy afloat. The only time it wobbles is when the director, in some scenes, tries to infuse some artificial emotion and family-style melodrama into it; blood is thicker than water and all. Fortunately we recover from that hiccup. This is not a sophisticated film by any means, but what it is trying to achieve, it achieves well. ATKJ is a good overall comedy and pretty clean – recommended.

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Movie Review : Break ke baad

Rating : Below Average (2.8/5)
Genre : Romance
Year : 2010
Running time : 2 hours
Director : Danish Aslam
Cast : Deepika Padukone, Imran Khan, Sharmila Tagore, Lilette Dubey, Navin Nischol
Kid rating : PG

BREAK KE BAAD : LACKS SPARKLE!

There are things in life which are like fine wine; they only get better with time. Unfortunately Kunal Kohli’s films are not like that. His work, although it isn’t regressing, isn’t getting better either. His productions are still stuck in a time warp where characters speak in pithy, punchy dialogue (every time they open their mouths !), and are lost forever in a cloud of self-angst and deep-sounding psycho-babble. Where’s a shrink when you need one ?

Anyway, “Break ke baad” is about a guy, Abhay Gulati (Imran Khan) and a girl Aaliya (Deepika Padukone), both seemingly in love with each other. But trouble is near, because the girl wants to get away, and take a break from the relationship. He, of course, isn’t ready to let go . . .

Aliya is a rebel without a cause, a very privileged rebel I night add. She is supposedly scarred by memories of a bad Daddy, and lives with her beautiful mom Ayesha (Sharmila Tagore). Deepika as Aaliya overdoes it with the harrumping expressions and the over-arching impatience. Imran plays Abhay, an annoyingly cloying boyfriend, who’s apparently more mature than the flighty Miss Aaliya. He, however, can’t seem to emote.

Aaliya wants to explore, and spread her wings. Abhay, on the other hand, is cautious, can’t seem to find his passion or breakout of his Dad’s business. Now, while you’d think that the differing personalities would make for an interesting film, you’d be wrong. Yes, the characters are interesting, but are so inconsistently developed, that I could not feel much sympathy for either one of them. Then there is the mother figure for the motherless Abhay, a bua (father’s sister) played by the charming Lilette Dubey, spouting words of wisdom about love and life. And there’s the lovely Sharmila Tagore, as the mother who only wants the best for her thoughtless daughter.

While Aslam’s direction was adequate, the story was weak – more of an exercise in been there-done that nothingness. The film had very little “masala” and lots of inane dialogue. The film did get a little better after the interval, but really it was 2 hours of he said-she said, and then they said some more. The lead pair didn’t seem to sparkle, or inspire any dewy-eyed moments. The good : the music is great; I liked almost all of the songs. Also, (whew !) there were no cheesy cartoon characters in this film.

The film is shot in Delhi, and Australia, where apparently beach-side cabins come cheap, and are rented out by quirky owners with hearts of gold. Also, this beachy shack where Abhay and Aaliya hole up, seemed rather familiar – was it the same one that Saif and Preiti stay in in Salaam-Namaste (is Australia really that small or has Bollywood leased the place for the next decade?) ?

This film tries to be the next, big, new age romance. But in it’s trying to be hot and happening, and edgily thoughtful at the same time, it loses it’s way, becoming instead a war of words between two under-developed characters. It was 2 hours long, but felt much longer.

Kidwise – The film is free of cheap innuendo but has many references to adult situations/sex/getting laid. Every second word is “sexy”.

Posted in 2010, bollywood, rating-PG, romance, watchable | 5 Comments

Upcoming Films : November, December 2010

Tees Maar KhanBreak Ke BaadLots of big names at the end of the year! On Thanksgiving eve Kunal Kohli productions releases another new age romance “Break ke baad” (great soundtrack, btw), and I’m hoping that it will be the silver lining to this cloudy year. Farah Khan is in the fray with her total masala film “Tees Maar Khan”, as is Farhan Akhtar with his much awaited sequel to Don.And the trailers of “Band Baaja Baraat” promise at least an adequate (and family-friendly) entertainer.

Release Date Film Title Genre Director Actors
Nov 5 Golmaal 3 Comedy Rohit Shetty Ajay Devgun, Kareena Kapoor, Tushar Kapoor, Kunal Khemu, Arshad Warsi, Shreyas Talpade
Nov 5 Action Replayy Romance Vipul Amrutlal Shah Aishwarya Rai, Akshay Kumar
Nov 19 Guzaarish Drama Sanjay Leela Bhansali Aishwarya Rai, Hrithik Roshan
Nov 24 Break ke baad Romance Danish Aslam Deepika Padukone, Imran Khan
Nov 26 Allah Ke Banday Drama Faruk Kabir Vikram Gokhale, Sharman Joshi, Zakir Hussain
Nov 26 Phas Gaye Re Obama Comedy Subhash Kapoor Rajat Kapoor, Neha Dhupia, Amol Gupte
Dec 03 Khelein Hum Jee Jaan Se Drama Ashutosh Gowariker Abhishek Bachchan,Deepika Padukone, Visakha Singh, Sikander Kher
Dec 10 No Problem Comedy Anees Bazmee Sunil Shetty, Kanagana Ranaut, Paresh Rawal, Akshaye Khanna, Sushmita Sen
Dec 10 Band Baaja Baraat All-in-one Maneesh Sharma Ranveer Singh, Anushka Sharma, Manmeet Singh
Dec 17 Toonpur Ka Superr Hero Comedy Kireet Khurana Ajay Devgan, Kajol
Dec 23 Don 2 Action Farhan Akhtar Shahrukh Khan, Priyanka Chopra, Om Puri, Arjun Rampal
Dec 24 Tees Maar Khan Comedy Farah Khan Akshay Kumar, Akshaye Khanna, Katrina Kaif
Posted in 2010, bollywood, Previews | Tagged | 1 Comment

Movie Review : Bread and Tulips (Pane e tulipani)

Rating : 8.5/10
Language : Italian
Year : 2000

As I’ve said before, owing to Netflix, I am now watching films I wouldn’t have ordinarily picked out in a retail movie store. I’m not looking to read subtitles, although do have the propensity to watch “good” films from other languages (as a kid, spent many afternoons watching regional Indian films on Doordarshan). Still, have never ever walked into a local movie store and walked out with a foreign film, have you ?

Anyway, looking through the “streaming” films the other day, came across two that I thought would be interesting, and one I watched – the Italian “Pane e tulipani” or “Bread and Tulips”. Not a very romantic title, but it is a romantic film, with nice, comforting doses of humor.

Rosalba Barletta, a put-upon late-30ish housewife is on a vacation with her family. When she is delayed in the rest-room at a particular tour-bus stop, her family and the bus leaves without her. Miffed at the fact that her family has not missed her at all, Rosalba nevertheless answers her husband’s (Antonio Catania) phone 2 hours later, and agrees to wait for them at the stop. However she decides to hitch-hike back home, with a friendly woman, and later with a driver who is on his way to Venice. On the spur of the moment Rosalba goes to Venice with him, and there, seeks out lodging and food. When the next day, Rosalba misses the train which is to take her back home, she is not too upset. She thinks she might stay a little while longer . . .

This was such a wonderful film – well-directed and beautifully acted. The major attraction in this film is its heroine, Rosalba. Luminously played by Licia Magilietti (who looks a like a mix of Annette Bening and Marissa Tomei). Rosalba has an endearing personality, a mostly positive outlook and a friendly, helpful demeanor. In her hurt and bewilderment at being so totally taken for granted by her family, you totally get her. And you sympathize with her and root for her as she acts out her indignation. The other characters are also wonderfully sketched; there is the morose yet dignified waiter of the Italianian eatery, Fernando (Bruno Ganz) with his flowery, round-a-bout way of saying things, the friendly bindi-clad masseuse Grazie (Marina Massironi), the grouchy florist Fermo (Felice Andreasi) and the plumber/detective Constantino (Giuseppe Battiston).

“Bread and tulips” succeeds because it has a kind way about it. It is story told with humor, quirkiness and hinges upon the hope and unbidden desires which you did not know you had. Silvio Soldini delivers a gentle crowd-pleaser.

Highly recommended.

Posted in All Netflix, drama, foreign, recommended | 1 Comment

Movie Review : Hereafter

HereafterHereafter, as the title implies, alludes to the world/experience after death. It is three stories which intertwine towards the end of the film. The first is of Marie Zelay (Cecile De France), a French journalist who is caught in the Indian Ocean tsunami. The second is of British twin brothers, Marcus and Jason, children of an alcoholic/druggie mother, who are attempting to keep Child Protective Services at bay. And the third is of American George Lonegan (Matt Damon) a psychic who can “talk to” dead people.

Note that since the story stems from death and thereby loss, it can be a tad depressing to watch, although at the end of it all (and having shed some tears) it did end on a hopeful note. Post-watch describing it, the word which comes immediately to mind, is gentle. It is a gentle, nuanced film, handled very, very delicately. It has a deliberate pace, and takes it’s time wending its way around the many facets which give this film its rhythm. I’m quite in awe that Clint Eastwood, the director of films such as “Gran Torino” crafted this wonderful film, since it is so different from his “regular” genre.

Damon, as the unwilling psychic, is quite delectable; he is slow and dithering here, just as he is the reverse in his overtly “macho” films. France as Zelay, the heavily accented Frenchwoman, who has her life turned around by her near-death experience, is marvelous too. And the young actors, Frankie and George McLaren, are a treat to watch.

Although I have watched films which seem to have unrelated threads run through them, only to have them come together later, in “Hereafter” it was not immediately clear that this was indeed happening. The film seemed to flow of its own accord; there did not seem to be a definite beginning or an end. It is probably the mark of a deft director, one so very sure of his skill, that the film continued engagingly (I was completely absorbed) in spite of its pace, and when it did finish it brought closure, and a sense of comfort and familiarity that I did not know, as a viewer, that I needed.

This film might not be everyone’s cup of tea, since it is not a “commercial” venture. It demands of you, your time and patience, and in return it gives you the opportunity to view a thing of beauty. Highly recommended.

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Movie Review : Jhootha hi sahi

Rating : Below Average (2.5/5)
Genre : Romance / Comedy
Year : 2010
Running time : 2 hours 30 minutes
Director : Abbas Tyrewala
Cast : John Abraham, Pakhi Tyrewala, Manasi Scott, Raghu Ram, Alishka Varde, Abheek Sinha, Anaitha Nair
Kid rating : G

JHOOTHA HI SAHI : FLAT ROMANCE !

Jhootha hi sahi is not a half-bad film, provided you can survive the listless first half. And I mean that nicely. Because really it looks like director Abbas Tyrewala is trying to do good here and go soulful and all, but he confuses subtle with brain-deadening. And it doesn’t have to be that way.

I thought the story was pretty innovative : Siddhaarth (Abraham) is a book-store owner in London (Notting Hill anyone ?). His usually humdrum life is upset when he is besieged with calls from desi people on the verge of suicide (a printing error where his phone number is listed as that of Dost – a suicide hotline). As he is unwillingly volunteered to be on the Dost hotline, he listens and counsels many distraught callers. One among them is a girl called Mishka (Pakhi Tyrewala).

Mishka soon becomes a regular caller, pouring out her troubles to her anonymous friend, whom she calls Fidato, since Sid, as per Dost rules, cannot give her his name. One fine day though, they meet and he realizes who she is. Life gets further complicated as Sid begins to fall for her, and Mishka, unknowing, continues to bare her heart to his alter-ego Fidato . . .

Pakhi Tyrewala plays the female lead and does OK acting-wise, but then it’s all relative, since John Abraham is no Al Pacino himself. However Pakhi fails to impress as heroine material, since she appears to be a shorter, older, less pretty version of Juhi Chawla, and has very little screen presence. John as Sid, is a leaner, geekier, more diffident version of himself. Exuding a simple innocence, he seems quite suited to the role, although his acting skills (and I’ve said this before) could take some polishing. And I must mention Alishka as Aaliya, Omar’s unwed, pregnant sister, and Manasi Scott, as Kruttika, for impressive portrayals of their characters.

This story seems to have it all – drama, love, humor, potential heartbreak, and I so wish it was better executed. To be fair, it does seem to come to life post intermission, where it sparkles with the warmth of camaraderie between the many characters. And there is humor, delivered ably by Sid’s buddies, Omar, played by Raghu Ram (of MTV Roadies fame) and Ankur, played by Abheek Sinha. Where the film fails miserably is in the screenplay, which seems to hinge upon some very quiet dialogues and slow, soulful (not very melodious) melodies. Low impact, little action and almost no character development (what is Mishka like really ?) make moi not so happy.

There is a slim silver lining although not quite enough to hold up this film; JHS is clean, NOT teeny-bopper, and has individuals who seem to think like adults (whew! ** wipes sweat off brow**) – not very rational adults, but adults all the same. This strained sentimental story, while it ended reasonably enough (hint : London has the “rising” Tower Bridge) fails to make my heart go pitter-patter or cause heady spasms of romance-well-done-o-mania. “Jhootha hi sahi” is a benign, insipid film; not quite the fire-cracker romance I’d hoped for.

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