Gandhi My Father

Cast: Darshan Jariwala, Akshaye Khanna, Bhumika Chawla, Shefali Shah, Daniel Janks

Music: Piyush Kanojia

Producer: Anil Kapoor

Director & Writer: Feroz KhanGandhi

My Father is a powerful study of the nature and sufferings of the patriarchal relationship between one of the world’s most loved figures – ‘Mahatma’ Gandhi - and his misfortunate eldest son Harilal.

The film delves into a territory that has never before been visited by film, and will spark debate by bringing to light an unknown facet of the personal history of a man who transformed the soul of a nation, but who could not save the soul of his own son.

Based on his thought-provoking play, Mahatma v/s Gandhi, veteran thespian of Indian theatre and cinema Feroz Khan has combined his unparalleled talents as a writer and director with the production skills of fellow industry stalwart Anil Kapoor, to create the most affecting film of modern times.

Although inspired by the philosophies and teachings of one of the greatest men of the modern world, the groundbreaking Gandhi My Father is far from a biopic account or portrayal of Gandhi’s struggle towards India’s independence.

Delving deep into the personal tragedy that Gandhi kept secret from the world, Feroz Khan’s filmic tour de force focuses on the doomed relationship between a father respected by an entire nation, but rebuked by a son who was disowned, and whose bitter end was the result of years of abject alcoholism.

Coming from a family that has been involved in the art of filmmaking for the past 50 years, actor Anil Kapoor has entered the realm of production with Gandhi My Father, and brings thorough knowledge and wide experience to the craft.

He forays into independent production with his banner, Anil Kapoor Films Company, joining hands with the London-listed, leading integrated media and entertainment Company Eros International, to bring to the audiences a story that gives fascinating insight into Gandhi’s life; not so much as father of the nation, but as a father to his son, Harilal.

Courtesy: 123india.com

CHEENI KUM

Sugar-free Sarcasm

Keep the sweeteners low. Low fat, high sarcasm. No mush. No overt display of emotions. Rather put in some tingly humour. And spin the story around some ironical situations. The recipe of ‘Cheeni Kum’ is ready.

The movie, featuring Amitabh Bachchan in yet another brilliant performance, not just entertains you with its sarcastic humour, it also touches your heart with its emotional moments. The film has no pretension of being a laugh riot. It charts a narrow course by telling a bittersweet tale of romance between a 64-year-old man and a 34 year-old woman.

Buddhadev (Amitabh Bachchan) is the chef of what he calls “the best Indian restaurant in London”. He takes pride in his job and considers cooking more of an art than a culinary chore. The cooks under him dread him for his perfectionist streak.

Buddhadev’s reputation is challenged when a customer disapproves of the restaurant’s Hyderabadi Zafrani Pulao. The customer is Neena (Tabu), a tourist from India.

The acidic chef talks tough with Neena and she walks out of the restaurant. Later, she makes Buddhadev realize the mistake of the cook who had made the pulao.

Buddhadev feels an apology to Neena is due. But the ego in him won’t let him say “I’m Sorry”.

What begins as a bittersweet acquaintance between Buddhadev and Neena soon transforms into mutual attraction.

At home, Buddhadev has a ninety-year-old mother (Zohra Sehgal) who keeps asking him to join a gym. In his neighborhood lives a sweet little girl Sexy (Swini Khara), who suffers from blood cancer and is Buddhadev’s best friend.

The irony in ‘Cheeni Kum’ is that the high points of the romantic track of Buddhadev and Neena are matched with the tragic turns in the track featuring Sexy.

Paresh Rawal plays Neena’s 58-year-old diabetic father who is unwilling to accept a man as old as Buddhadev as Neena’s suitor.

Director R Balakrishnan has made a very feelgood movie. Balki keeps Amitabh Bachchan the driving force of the story. He keeps sentimentality out. The humour he opts for is tinged with sarcasm and rustiness. But behind the barbs, love is visible.

Amitabh Bachchan is touching a new height of charisma at his age. Not only does he look fabulous, he delivers a breezy, buoyant and convincing performance as the caustic chef.

Tabu comes up with a fine act but her Hyderabadi accent is unmistakable in her dialogues. Paresh Rawal is certainly not at his near best. But that is not his fault. His role has been written in such a way that if offers very little scope for comedy.

Child artist Swini Khara is simply brilliant. Her role and her dialogues have been written very beautifully. Zohra Sehgal is delightful in a performance incredibly feisty for her age.

‘Cheeni Kum’ has different versions of the title song that play in the background in various situations. The movie’s highpoint is its end when the protagonist wins the hand of his woman but loses someone else very close to him.

Director R Balki has got almost everything right in his first feature film.

Do not miss this sugarfree spread.

(Naresh Kumar Deoshi, Film critic, ApunKaChoice.Com)

PIRATES OF THE CARIBBEAN: AT WORLD'S END

NYTIMES REVIEW

Back to the Bounding Main

“The immaterial has become material,” announces the East India Company’s scheming Lord Beckett (Tom Hollander) early in “Pirates of the Caribbean: At World’s End.” He could be referring to the recent resurrection of the pirate Barbossa (Geoffrey Rush), flush with life and his expanded role in the trilogy. Or he could be speaking of his newfound dominion over the Flying Dutchman and its squid-faced captain, Davy Jones (Bill Nighy), whose excavated heart is now in Beckett’s possession.

More likely, though, the words are a subliminal reassurance from the director, Gore Verbinski. After the bloated shenanigans of the previous entry, “Dead Man’s Chest” — perhaps the only pirate movie to see the need for a Ferris wheel — Mr. Verbinski is reminding us why we should ever trust him again

(Full Review)

(JEANNETTE CATSOULIS for NYTIMES)


WASHINGTON POST REVIEW

The saga of Captain Jack Sparrow comes to an end (or does it?) in this third installment of the Disney action franchise

Funner, biggerer, brighterer, bolderer, "Pirates of the Caribbean: At World's End" is not only okay, it may even be close to good. A lavish spectacle illuminated by Johnny Depp's swishing pirate captain, the movie has its dull moments, but not many.

Our hero from films one and two, Capt. Jack Sparrow (Depp), is dead. Not to worry. This is a movie based, after all, on a theme park ride, not a story, so there are no rules and no reason why he can't be fetched from the grim land he now inhabits.

(Full Review)

(Stephen Hunter for WASHINGTON POST)


HOLLYWOOD REPORTER REVIEW

Avast -- as in a vast improvement over the soggy previous installment

For what it's worth, the trilogy-capping "Pirates of the Caribbean: At World's End," represents a considerable step up from the soulless "Dead Man's Chest."

Johnny Depp's Captain Jack Sparrow's in fine flighty form and the enterprise as a whole has reconnected with some of that fun stuff that made it such a pleasant excursion when it first set sail back in 2003.

(Full Review)

(MICHAEL RECHTSHAFFEN for HOLLYWOOD REPORTER)


VARIETY REVIEW

The third voyage in the "Pirates" trilogy could be touted as "the biggest, loudest and second-best (or second-worst) 'Pirates' ever!" -- not necessarily a ringing endorsement, but honest. "Pirates of the Caribbean: At World's End" clocks in at more than 2¾ hours, but, unlike last year's bloated sequel, at least possesses some semblance of a destination, making it slightly more coherent -- if no less numbing during the protracted finale. A bountiful opening is assured. The running time could diminish this swashbuckler's staying power, but Disney would likely leap at "Pirates IV" in a heartbeat if the principals would enlist for another tour at sea.

(Full Review)

(BRIAN LOWRY for VARIETY)


USA TODAY REVIEW

'Pirates' goes down with the ship

The pirate ship has hit foul waters, and even the sharp wit and charm of everyone's favorite buccaneer can't save it.

One longs for more scenes featuring Captain Jack Sparrow, Johnny Depp's indelible and beloved character in Pirates of the Caribbean: At World's End (* 1/2 out of four), and less of everything else in this bloated, overwrought and convoluted three-hour misfire.

(Full Review)

(Claudia Puig for USA TODAY)


ROLLING STONE REVIEW

The good news first: Keith Richards totally rocks it playing pirate daddy to Johnny Depp's Capt. Jack Sparrow. The deep rumble of his voice and those hooded eyes that narrowly open like the creaky gates of hell make him what the rest of this three-peat is not: authentically scary. It's fun to see Richards swagger, even sitting down. Watch him stage a macabre reunion for Jack and his dear old mum. Don't worry, I won't reveal her secret.

(Full Review)

(Peter Travers for ROLLING STONE)


LOS ANGELES TIMES REVIEW

Third 'Pirates' long on spectacle, short on sense

The third 'Pirates of the Caribbean' has plenty of . . . It's possible that someone, somewhere, has put together a flowchart or diagram tracking the many plots, subplots, digressions, divagations and flights of whimsy in "Pirates of the Caribbean: At World's End," which, depending on your tolerance for Byzantine complication for complication's sake, might have been alternately titled "At Wit's End."

The third in a series that appears to be hinting at immortality in more ways than one, "Pirates 3" demands intimate knowledge of the first two installments, not to mention a sterling memory and attention span. In other words, it pays to be prepared. Seriously, this thing is a stern master — walk in casually off the street and you risk nearly three hours of very high-octane confusion.

(Full Review)

(Carina Chocano for LA TIMES)


SAN FRANCISCO CHRONICLE REVIEW

'Pirates' takes on a lot of water in its 3rd voyage. Not even Keith Richards can keep this dud afloat

The competition is enormous, but with "Pirates of the Caribbean: At World's End," a case could be made for "Pirates" as the worst film series since Thomas Edison got the wacky idea that pictures could move. "Hellraiser," the previous titleholder, looked as though it might hold onto its crown, thanks to its disgusting effects. But the makers of "Pirates" cleverly diminished that advantage with gross undead seamen and lots of rotting teeth. And now it overtakes "Hellraiser" through sheer length and by a novel new effect: The story is so convoluted and impenetrable, so impossible to grasp hold of, that viewers sit there wondering if they've had a stroke.

(Full Review)

(Mick LaSalle for SAN FRANCISCO CHRONICLE)

Yatra

Jaded Journey

At one point in Yatra, a novelist (Nana Patekar) gives a fiery speech against materialism and the devaluation of aesthetics in a consumer culture. Later a guest remarks, "Kya taliayan baji". To which Patekar replies, "Yehi toh afsos hai ki taliyan bajti hain". The puzzled man says, "Main samjha nahin". To which the novelist asks, "Main kya samjha?" Exactly!!

Yatra is a deliberately opaque, intermittently engaging statement on just about everything. Ghose sets up an interesting premise: a novelist embarks on a literal and metaphorical journey revisiting an earlier work and his muse, the courtesan Lajwanti, who is now Miss Liza dancing to cheap remixes. But from the corruption of art.

Ghose moves to call centres, cell phone sex and even commenting on vulture-like TV journos who will ask a bleeding man how he is feeling. Rekha's attempts to recreate the magic of Umrao jaan with her celebrated tawaif adaas and Khyaam's music seem jaded.

Yatra is tired and plodding, like a journey without a destination.

(Anupama Chopra for INDIA TODAY)

SHREK THE THIRD

NEWYORK TIMES REVIEW

A Grumpy Green Giant Who Would Not Be King

For all I know, there may be an endless supply of “Shrek” sequels in the pipeline. That DreamWorks ogre’s skin is the color of money after all. But there is nonetheless a feeling of finality about “Shrek the Third,” a sense that the tale has at last reached a state of completion. In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws. The current installment finds him faced with impending fatherhood and something of a career crisis. Will he take over his father-in-law’s business or remain true to his vocation of bellowing and smashing things?

(Click to read full review)

(A.O.Scott for NYTIMES)


WASHINGTON POST REVIEW

Shrek's Funny, Yet Third Time's Not So Charming

"Shrek the Third" manages to be something of a paradox: It contains two theoretically self-canceling polarities. It's (a) quite funny and (b) quite bad.

Hmm, possibly that's actually harder to pull off than to make a movie that's (a) funny and (b) good or (a) unfunny and (b) bad. But the end result is that you laugh a lot and you go home grumpy.

(Click to read full review)

(Stephen Hunter for WASHINGTON POST)


HOLLYWOOD REPORTER REVIEW

The third time is not the charm

You can't help but miss Shrek. You know, that ornery, mammoth, flatulent, trumpet-eared, icky-green-colored ogre. Oh, he's still large and green (and brilliantly voiced by Mike Myers) in his third movie outing, "Shrek the Third." But his manners and disposition have improved to the point he is threatened by middle-class respectability. Nor is he the only character to have changed for the worse. Donkey (Eddie Murphy) is less the hilariously annoying motormouth companion to Shrek and more a helpful, even empathetic pal. That's bad enough, but he is no longer very funny either.

(Click to read full review)

(Kirk Honeycutt for HOLLYWOOD REPORTER)


VARIETY REVIEW

While still mirthful and eccentric enough to amuse his hordes of admirers, the irascible green ogre begins to show signs of encroaching middle age in "Shrek the Third." After a buoyantly funny first half-hour, stylish animated comedy takes a breather before ramping it up again for a rambunctious, girrrl-power finale that provides a convenient springboard for further adventures to come. As the $920 million in worldwide B.O. for "Shrek 2" three years ago nearly doubled the take of the 2001 original, there can be little doubt about similarly monstrous results this time around.

(Click to read full review)

(Todd McCarthy for VARIETY)


USA TODAY REVIEW

Royal lineage of laughs goes on

Shrek remains a savvy showman. And the shenanigans of his eccentric coterie are still fun, if a bit familiar and a jot more bland.

It's pretty tough to resist a curmudgeonly ogre and his spunky royal wife, a loquacious donkey and a dashing cat in a plumed hat. Not only are the characters in Shrek the Third (* * * out of four) endearing and their antics consistently amusing, but the witty dialogue also feels up-to-the-minute and a fairly natural progression from its predecessors.

(Click to read full review)

(Claudia Puig for USA TODAY)


ROLLING STONE REVIEW

Shrek ain't dreck, it's just that the third chapter in the life of the bilious-green ogre is listing from taking on the heavy load of virtue, a poor substitute for mischief. I mean, really, isn't it way early in the sequel stage for our boy Shrek (again voiced by Mike Myers) to be facing a midlife crisis? With the king dead, should Shrek wear the crown? With wife Fiona (Cameron Diaz) knocked up, should Shrek embrace the responsibilities of fatherhood? Decisions. Decisions. What the hell happened to the swamp where Shrek farted without fear during his mud showers? Who wrote this thing, Dr. Phil? Actually Chris Miller, who co-directed with Raman Hui, is one of the four screenwriters it took to spoil the fun with "to-thy-own-self-be-true" message mongering. I just flashed on another sequel with Shrek as Lear. Yikes!

(Click to read full review)

(Peter Travers for ROLLING STONE)


LOS ANGELES TIMES REVIEW

'Shrek the Third' is way too grown up

The success of movies like "Shrek" and "Shrek 2," with their giddy, free-associative referencing of grown-up pop memes and in-jokes, has for some time now made me wonder if there's really such a thing as a kids' movie anymore. Having just seen "Shrek the Third," I'm now wondering if there's really such a thing as a kid.

Possibly not. If "Shrek the Third," directed by Chris Miller and Raman Hui from a screenplay by Jeffrey Price & Peter S. Seaman and Miller & Aron Warner from a story by Andrew Adamson (whew), is any indication, what kids these days want from their stinky green ogres is a lot of Gen-X parenting anxiety and career agita mixed in with plenty of winky elbow-nudging about celebrity lifestyles.

(Click to read full review)

(Carina Chocano for LA TIMES)


SAN FRANCISCO CHRONICLE REVIEW

Shrek is back again (again), and this time out the ogre gets to rule the kingdom. Thing is, he doesn't want to

Anyone who has ever watched a sitcom for a few years already knows the pattern. First, the setup. Later, the main characters are married off. Finally, when the writers get really desperate, they bring on the babies. The "Shrek" series is following that road map, and yet something funny is happening along the way: "Shrek the Third" gets back the mood, the pleasure and even some of the freshness of its first installment.

(Click to read full review)

(Mick LaSalle for SAN FRANCISCO CHRONICLE)