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Film
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Rating: ***
Language: HINDI
Director: Madhur Bhandarkar
Cast: Sameer Dattani, Bipasha Basu, Minissha,
Kay Kay Menon, Payal Rohatgi, Raj Babbar, Harsh Chhaya,
Rajat Kapoor, Javed Akhtar, Deepshikha
Music: Shamir Tandon
But the real strength of the film lies in narrating
a dynamic story. The best of ideas evaporate into thin
air if entrusted to inept, inexperienced storytellers.
Thankfully, Madhur narrates CORPORATE in the most simplistic
fashion so that the common man can decipher the games
corporate entities play to stay at the top. Besides,
CORPORATE is as hard-hitting as CHANDNI BAR or PAGE
3. Beneath a strong storyline is an underlying message
that makes you think.
In a nutshell, CORPORATE is an astounding successor
to Madhur’s earlier achievements!
Aristotle had once said, ‘The secret of business
is to know something that nobody else knows.’
A century later, it could be rephrased as, ‘The
secret of business is to know what the other person
knows, and a little more.’
 Welcome
to the world of Corporates. A battlefield of power-hungry
people. A world filled with deceit and corrupted minds.
Where wealth, fame and success are fought over. And
rules don’t exist.
CORPORATE tells the story of two leading industrialists
in the food sector, led by Vinay Sehgal [Rajat Kapoor],
Managing Director of Sehgal Group of Industries and
Dharmesh Marwah [Raj Babbar], Managing Director of Marwah
International P. Ltd. Powerful, ambitious and relentless.
While there are many diligent people working for these
companies, there is also Nishigandha [Bipasha Basu],
a businesswoman with high aspirations and hunger to
move to the top. She is at the centre of all the action.
When the market opens up to international players,
competition gets fierce. And the battle for supremacy
begins. Moral codes are abandoned and ethics are forgotten
as these two bitter rivals embark upon a deadly game
of monopoly.
Success and prestige take precedence over everything
else. Good is no longer good enough. And people are
driven to the brink of insanity. All in the name of
business. If the war was just between two companies
then their battles should’ve remained behind the
scenes. Unfortunately, its implications have an impact
on the common man.
This film peeps into the mindset of the powerful people
and attempts to find out what makes them tick. It explores
the nexus between the corporate world and the political
and follows the trail of sex and corruption that hides
behind a glittering and glassy exterior.
The initial portions of CORPORATE and also the power
games that the high and mighty indulge in may seem like
Greek and Latin for the Hindustani junta. Madhur tries
to be as real as possible while laying the cards on
the table. Yet, there are several characters in the
narrative that you identify with instantly. Like the
scheming politician or the lecherous CEO of a company,
who has sex on his mind all the time.
 If
you don’t gather a powerful impression of the
first half, it doesn’t really come as a surprise,
but Madhur reserves the best for the post-interval portions.
It is in the second hour that CORPORATE does a somersault
and turns into a story that the commoners can identify
with. The twist in the tale -- when Bipasha is used
as a pawn in the game -- sends a shiver down your spine.
The razor-sharp developments thereafter, right till
the climax, come as a shocker and open your eyes to
a world that’s a complete sham.
Directorially, Madhur Bhandarkar enters an alien territory
yet again. Besides exposing the glitzy world of corporates,
the film works primarily because the emotional twists
and turns in the plot involve the common man. It’s
in the post-interval portions that Madhur shows his
competence, as a writer [screenplay: Madhur, Manoj Tyagi]
first and as a storyteller subsequently. The impact
the film makes from the pre-climax onwards proves that
Madhur has only bettered the art of narrating a good
story.
There’s not much scope for music [Shamir Tandon]
in a subject like this, but the three tracks are quite
tuneful. 'O Sikandar' and 'Lamha Lamha Zindagi Hai'
are appropriate and only take the story forward. Cinematography
[Mahesh Limaye] is of standard. The background score
[Raju Singh] is in sync with the theme. Dialogues [Aje
Monga, Manoj Tyagi] are sharp.
The film has a plethora of characters, but the one
who breathes life into her role and emerges trumps is
Bipasha. She is competent in the first hour, but watch
her take rapid strides as an actor in the second half,
more so towards the finale. After Tabu [CHANDNI BAR],
Raveena [SATTA] and Konkona [PAGE 3], Madhur taps the
hitherto untapped potential of Bipasha this time around,
making you realize that there’s more to Bipasha
than just being a glam-doll.
 Kay
Kay too comes into form in the second hour, especially
during the twist in the tale. The supremely talented
actor exhibits his vast range yet again. Rajat Kapoor
is excellent as the shrewd industrialist. Raj Babbar
underplays his part beautifully. Harsh Chhaya is first-rate.
Sandeep Mehta [as the lusty CEO] is an actor to watch.
Vinay Apte is superb as the corrupt minister. Achint
Kaur is dependable. Bharat Dabholkar does a fine job.
Lillete Dubey deserved a better role.
Minissha doesn’t get any scope. Sameer Dattani
barely gets one scene, but is a silent spectator in
the remaining three scenes. In fact, both Minisha and
Sameer look completely forced in the screenplay. Payal
Rohatgi is alright.
On the whole, CORPORATE works for its gripping drama
towards the second half. At the box-office, the film
is targeted at the metros and the multiplex audience
in particular and has all it takes to keep its target
audience completely satisfied. For the producers, the
moderately-budgeted film has already proved a profitable
proposition and for its distributors, the merits coupled
with the open week will see the film growing from strength
to strength thanks to a strong word of mouth.
KRISSH
Is it a bird, it is a plane? No it's Hrithik Roshan!!!
Though there's sense of slackening in earlier portions
of the lengthy narrative, the last lap of this luscious
voyage into comic-book fantasy is undertaken in a spirit
of complete conviction and credibility.
You can't miss the sign-posts. We've seen so many Bollywood
heroes doing heart-in-the-mouth stunts. But never in
an Indian film have we seen a hero look so elegant and
relaxed as he glides over water and mountains to vanquish
the power-crazy villain.
 Though
the scripting in the first-half reveals signs of formulistic
fatigue (scenes where the village-bred Hrithik tries
to spook the globe-trotting journalist Priyanka Chopra
are straight out of a Joy Mukherjee-Asha Parekh musical
from the 1960s) the second half revs up proceeds to
an exceeding high precipitating the kind of action and
thrills that have so far been alien to Hindi cinema.
The scripting in the second-half specially the portions
that show Krissh's father (Hrithik doing a double role)
and the villain reading the future to see their own
impending deaths, are masterstrokes of plotting invention....more
PHIR HERA PHERI
Comedy is the flavor of the season. And sequels are
rare in India. So if a dream merchant decides to make
a sequel to an immensely popular laughathon, you fasten
your seat belts and wait with bated breath for reels
to unfold on the screen.
PHIR HERA PHERI is the sequel to HERA PHERI involving
the famous trio -- Raju [Akshay Kumar], Shyam [Suneil
Shetty] and Baburao [Paresh Rawal]. Only thing, the
film has not been directed by Priyadarshan [who directed
HERA PHERI], but Neeraj Vora, who has penned a number
of Priyadarshan movies............more
FANAA
 The
industry has been thirsting for a good film that works
at the box-office as well. With a majority of Hindi
films sinking faster than Titanic, all hopes are pinned
on the first big release this summer: FANAA. Quite naturally,
the expectations are humungous and there're two vital
reasons for it: Yash Raj and the principal star cast.
A Yash Raj film is special. The illustrious banner has
cemented its position as the Numero Uno production house
by churning out memorable films and successfully transporting
us to a world of make-believe in those three hours,
over the years. ...............more
'36 China Town' - Lacks the punch
 Abbas
Mustan have always been the kings of suspense thrillers,
and have given the audiences films like Soldier, Ajnabee,
Humraaz, Tarzaan and Aitraaz, all of which have been
exciting and have done well commercially. 36 China Town
too is no exception, as it falls into the genre of a
murder mystery. The film is set in Goa, where 36 China
Town is the address of one of the characters.
It is clear now why Subhash Ghai wanted to keep the
climax of ‘36 China Town’ a secret before
the movie’s release. The suspense is such a downer
that it would have earned bad publicity for the movie..............more
Darna Zaroori Hai
 Ram
Gopal Varma is back with Darna Zaroori Hai. DZH is
suppose to be a sequel to Darna Mana Hai.
If Darna Mana Hai was big, the
supposed sequel Darna Zaroori Hai is colossal. Bigger
stars and multiple directors! Here again the movie
has six separate episodes that end up to a common
climax. Interestingly each of the six episodes is
directed by a different director. So each story should
expectedly be divergently different from the other
in terms of the theme and treatment of the individual
directors. Darna Zaroori Hai is the first Hindi film
to be directed by six directors. ..................more
Gangster
 The
question everyone's asking, first: Is Gangster based
on Abu Salem's life? Yes and no. Yes, because he is
a gangster and she is a one-time club dancer (a minor
variation there: Monica Bedi was a one-time starlet).
No, because fiction - in this case at least - is stranger
than the facts you've seen on the news channels.
Gangster, the latest from the Bhatt stable, is definitely
one of the better Bollywood flicks this year. Don't
go by the title, it's not a mafia movie. Although
there is a dose of blood in the script, director Anurag
Basu by and large takes the traditional love triangle
route. ..................more
'Pyare
Mohan' - Mundane
 Pyare
Mohan lacks heart, soul and everything besides having
such a talented director of MASTI and Fardeen Khan who
did a good job in NO ENTRY and ofcourse Boman irani
who is always dependable
Barring a few sequences, the humour in ‘Pyare
Mohan’ is pretty mundane.
Given the movie’s basic story idea, ‘Pyare
Mohan’ could have been an interesting flick. Two
friends – one blind and the other deaf –
go about their lives with fun and masti without letting
their handicap become a weakness. ...............more
'Humko
Deewana Kar Gaye' Mushy
 Akshay
Kumar's films are becoming classier by the month. There's
a certain restrain in his presence here. The way he
conveys the pain and hurt of an impossible love, is
quite surprising for an actor who until recently was
counted among the wooden.
Director Raj Kanwar's recent efforts to polish up his
act have yielded tepid results. Dhai Akshar Prem Ke
and the boxoffice hit Andaz were louder than the lyrical
aspirations of their creator.
Filmmaker Raj Kanwar’s previous movies have bore
an indubitable stamp of melodrama and romantic mush.
HDKG is no exception. ................more
Saawan
 "You'll
die this Friday." No, that isn't a trade pundit
predicting doomsday for this hopelessly loopy and washed-out
take on the vagaries of life. That's just the 'desi'
Nostradamus, played by Salman Khan, predicting sure-death
for the film's pert heroine (Saloni Aswani).
The film's feverish take on the matters of fate is so
hopelessly out of sync with the times, you feel sorry
for the perpetrators of this celluloid atrocity.
Poor Salman. He's given the thankless task of shouldering
this creative carcass. ............more
Shaadi
Se Pehle
 The
title SHAADI SE PEHLE gave an impression of it being
a sex comedy and Mallika's presence just strengthened
the belief. But the motion got wiped off immediately
after the movie starts rollin'. This ain't no sex comedy,
this is an ex-comedy!
Well, read the story first. Ashish Khanna (Akshaye Khanna)
and Rani (Ayesha Takia) are very much in love. Ashish
suffers from hypertension and one day he misunderstands
it for cancer after overhearing his doctor's (Boman
Irani) conversation on the phone. Ashish is devastated
and then embarks to turn nasty so that Rani starts hating
him and does not have to face the suffering of his death.
....................more
Banaras
Starring: Urmila,
Naseeruddin Shah, Dimple Kapadia, Raj Babbar, Ashmit
Patel.
Director: Pankuj Parashar
 Ashmit
Patel has a problem. It's not that he can't act. Director
Pankuj Parashar has taken care of that issue admirably,
skirting his skills and asking him to smile vacantly
at everyone. This is what Bollywood, bred on a diet
of melodramatic histrionics, calls 'subtle.'
No, his problem is peculiar. A shy, silent orphan named
Soham, he's a bit overwhelmed by the unashamedly frank
proposal come his way from the overenthused Shwetambari
(Urmila). The randy little rich girl is thrilled about
Soham's music classes, and singing is clearly not foremost
in her thoughts. But, Soham asks himself, is this right?...................more
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