hazaaron khwaishein aisi
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chitrangada singh is an indian film actress. she is known for starring in hazaaron khwaishen aisi and for her first
hazaaron khwaishein aisi (2005) by sudhir misra is
a post - dated love letter to that lost generation .
( avjit ghosh, the telegraph) # indie10 urltoken
hazaaron khwaishein aisi digs into a section of this crazy chapter of history through its three protagonists – siddharth (kaykay menon), geeta (chitrangada singh) and vikram (shiny ahuja) .
sudhir mishra' s hazaaron khwaishein aisi reflects the intensity and fate of three young characters, who start out on the same platform but board different trains and reach a destination of their own making .
lost the plot on twitter :
hazaaron khwaishein aisi (2005) by sudhir misra is
a post - dated love letter to that lost generation .
( avjit ghosh, the telegraph) # indie10… urltoken
the dusky beauty ​has finally decided to split with her hubby of twelve yearschitrangda singh, ​who went into oblivion after making a sparkling debut with sudhir mishra‘s hazaaron khwaishein aisi made a sucessesful comeback to bollywood films few years ago. ​
hazaaron khwaishein aisi is the story of three characters whose lives intertwine across a decade. it is a love story set against the backdrop of a politically decaying india from the late sixties to the late seventies, often described as the indira gandhi years .
hazaaron khwaishein aisi a 2003 indian film made by director sudhir mishra in 2003, but released in 2005. set against the backdrop of the indian emergency, the movie tells the story of three youngsters in the 70s, when india was undergoing massive social and political changes .
sunset point was the turning point in chirangada’s career. she caught sudhir mishra’s attention and landed up her first film, hazaaron khwaishein aisi. her performance in the movie received a lot of critical acclaim and she was also nominated for quite a few awards for this film .
i hope it will not only showcase the talent of one of india’s finest living film makers but also bring centrestage three truly amazing new actors: chitrangda, kay kay menon and shiney ahuja. pnc is proud to present one of its finest productions: hazaaron khwaishein aisi .
there are a thousand reasons to watch hazaaron khwaishein aisi. but enjoy it as a last anthem for a generation who knew how to believe. watch it holding the hand of a woman you have loved and lost. and it would be nice if you have drunk some rotten whisky before .
ruchi narain, who wrote hazaaron khwaishein aisi before directing her first film, kal –yesterday and tomorrow (2005), picks the animated hanuman da damdaar for her next project. the film also carries the very clever line “ jahan na pahunche superman wahan pahunche hanuman! ” (hanuman can reach places even superman cannot conquer) .
yashpal sharma, a leading name in hindi films, is a graduate of the national school of drama and has worked in more than 20 films, including lagaan, apaharan, gangajal, bawandar, hazaar chaurasi ki ma, ab tak chhapan, and hazaaron khwaishein aisi. he has worked in nearly 55 plays with both nationally and internationally renowned theater directors .
though fond sud of france had supported the writing of the screenplay, hazaaron khwaishein aisi languished for 6 years for want of a producer. till pnc stepped in. sudhir mishra’s original title for the film was twist with destiny. chitrangda singh, heroine of the film and the year’s hottest discovery, however vanished from the scene as mysteriously as she had appeared .
hazaaron khwaishen aisi dir - sudhir mishra cast - kaykay menon, chitrangada singh, roshan' shiny' ahuja, ram kapoor and yashpal sharma. written by - sudhir mishra, ruchi narain and shiv subramanium. rating - * * *
her last couple of films, i, me aur main and inkaar, couldn’t garner great numbers at the box office. we wonder what the dusky babe is up to nextborn on march 28, 1976, chitrangda singh started her career in bollywood with hazaaron khwaishein aisi. the babe won accolades for her role as geeta in the film. she looked lovely [ … ]
back in 2005, we saw the release of the film ‘ hazaaron khwaishein aisi’ featuring chitrangda singh, shiney ahuja and kay kay menon. the film that was directed by sudhir mishra and produced by rangita and pritish nandy followed the story of three youngsters during the 1970 set against the backdrop of the indian emergency, when the country was undergoing massive social and political changes .
a real breath of fresh air in indian cinema, hazaaron khwaishein aisi is a very real, earnest, crackling - with - life portrayal of what it was like to be a college student in delhi in the late 60s and 70s with the opposing currents of marxism and gandhian totalitarianism. intertwined with the ideology and the politics is a love story of three people, who start off with different ideas and whose ideas criss - cross in the course of the film. superb direction, vibrant cinematography, slick editing, lovely music and superlative performances from all three protagonists make for a thoroughly satisfying cinematic experience. the surprise package is shiny ahuja, whose model - boy looks belie a prodigious acting talent. both kay kay menon and chitrangda singh deliver superb performances with chitrangda looking stunning throughout. songs: urltoken baanwara mann hazaaron khwaishein aisi mann yeh baanwara hey sajani na aaye piya (thumri) my sharona: the knack
bollywood has been abuzz with newcomers for a while now. but one person who can give a tough competition to the new generation of actresses is chitrangada singh. the 39 - year - old actress has spent an ample amount of time in bollywood, and she has come a long way since her debut in hazaaron khwaishein aisi. one thing that we can say for sure is that she still looks as sizzling as the first time we saw her on screen .
sudhir mishra has made a masterpiece: a bold, gritty story about those dark times, without ever losing sight of its characters. in fact, it is a story of desire, longing, love and lust. and it is this human touch that makes ‘hazaaron khwaishein aisi’ such a memorable watch. it doesn’t shy away from taking names and events (who dares to name ms gandhi and the congress party ?). sadly, this gem has been buried under all the trash that bollywood keeps churning. so this piece is my propaganda, to get as many people as possible to watch this movie, and experience it. in fact, i am going to go so far as to say that ‘hazaaron khwaishein aisi’ is, in my humble opinion, is one of the greatest indian movies of the 2000s. so, please, please, watch this one! and after that, if you still don’t feel the way i do; well go ahead, sue me !
that is exactly why, when i saw sudhir mishra’s 2003 art - house film ‘hazaaron khwaishein aisi’ (a thousand desires such), i was completely blown away. a commentary on the indian political atmosphere leading up to the emergency, this romantic drama focuses on three delhi university students, their dreams and aspirations amidst the turmoil around them. theatrically released in india in 2005 after being screened at numerous film festivals internationally, the movie received universal critical acclaim, and is today a regarded as a modern classic .
wrought in a sprightly technicoulour,' hazaron khwaishein aisi' is a heartfelt lament on india' s failed political ambition of the 70' s. riding on the shoulders of its splendid troika of characters, the dreams of an entire nation hurtle down a pitfall, their bodies crushed and dreams spurned by the political tyranny of the main powers. while' hazaron khwaishein aisi' isn' t always a pleasure to watch, - for it drags itself in parts in the middle, and is carried forward more by the strength of its characters than by the muddled political jargon that it carries with itself - - it is still wrought with high ambition, high cinematic adventure. right from the splendidly captured opening sequence of an inflamed placard of indira gandhi beside the tumult of the hindu - muslim riots, all the way to the rousing finale where all our beloved characters are crushed down, left bereaved and irreparable,' hazaron khwaishein aisi' is a splendid ode to india' s tryst with fire, that was all too coolly, extinguished .
director sudhir mishra & apos; s hazaaron khwaishein aisi is a post - dated love letter to that lost generation. through the disparate but crisscrossing lives of two men and a woman, mishra (is raat ki subah nahin, chameli) tells you the collective story of a restless generation with a thousand desires and one desperate dream. and he asks why the finest young men and women in the best of urban colleges got obsessed with the idea of changing the world. and, why even in that season of daniel cohn - bendit and bob dylan, some preferred to join youth congress .
their idealism breaks in bits and their destinations are irrevocably changed. the actors, even the minor players, are memorable. the pacing occasionally slows but never to the point of boredom. hazaaron is a finely crafted, textured film .
there always have been a dearth of hindi films that take up sensitive political themes as their subject matter. what is sadly missing is the quality of historicity, of acquainting the people with the course of history. the existing lacunae primarily have to do with the lack of perspective on the part of many film makers to see things in their socio - historical context and to grasp the link between the past and present. this perhaps could explain the reason why significant events, whether it is the naxalbari peasant uprising or the emergency, of our post - independent political history have not been made into meaningful films. after more than two decades of silence, sudhir mishra’s hazaaron khwaishein aisi (thousands of such wishes) comes to ‘reclaim the past’ .
all in all, ‘hazaaron khwaishein aisi’ is one of the few overwhelming cinematic experiences that bollywood has given me. it has a story that deserved to be told; a true story! yes, this is a tribute to those countless students from delhi university; educated, elite, rich students, who left their promising futures to effect a change; to end injustice and inequality once and for all. yes, their means were flawed, but at least they believed in something. they had a fire in them, a burning desire and unflinching faith in an idea, an idea greater than any individual. it is this intellectually charged environment that is missing in contemporary indian institutions. universities, where once ideas floated and freedom and liberalism were the catch phrases; has today turned into breeding grounds for right - wing fanaticism .
top - notch performances, touching back - ground score and its intense script take' hazaaron khwaishein aisi' to never - before - scaled heights of cinema. its a movie about believing in something so unconditionally, that you give whatever it takes to stand up for it. . even if it is your life. the film showcases the three selfless lives of free india' s first generation in their youth set in the back - drop of naxalite moment and emergency. shiny ahuja is dynamic as vikram. kay kay menon (siddrath) conveys more through his expressions and tone than this dialogs, once again proving his excellence as an actor. chitrangada singh (geeta) ligths up every frame not only with her flawless beauty but, equally with her deep performance as well. she is simply brilliant. this movie sets the standard for excellence in cinema. a true masterpiece .
at the heart of sudhir mishra' s political chronicle about three individuals during the india of the 70' s lies an inherent cry for reform that is valid even in the current age that we live in.' hazaaron khwaishen aisi' then, is not just an account of the naxal movement that rose, survived, faltered and eventually died in the dictatorial times of indira gandhi. as the title rightly suggests, it is about a thousand such dreams that have been left unfulfilled, or soured if realized! not since gulzar has a director managed to weave a political story with such assurance .
a thousands wishes like this, each one takes your life. a thousand cravings arise and still too less. three flawless characters in post independent india struck by poverty, illiteracy, riots and corruption find their love triangular way out from university education with completely different personalities, background and ambitions. the portrayal of vikram' s love for geeta and geeta' s love for sidhharth and sidharth' s dedication for his ideals of extremism can be easily compared with each other and still at the top of all that history could ever see. the movie depicts platonic love intertwined with the story line which deals with the tragedies in modern india and in some or other way with each three of them. i don' t know why but i tend to remember american history x while thinking about hazaaron khwaishen aisi, most probably by the untouched levels of brilliance of flawless acting of flawless characters achieved by the shiny, kay kay and chitrangada. believe me it could easily have been made its milestones with the name indian history x. but still sudhir mishra knows what he wants to show and for this matter
hazaaron khwaishen aisi
tells it all. the way romance has been portrayed with the love chemistry is breath taking .
a romantic triangle plays itself out against the backdrop of history in this drama from india. in 1969, three students are completing their education as india' s political climate becomes increasingly volatile. siddharth (kay kay menon) is a half - caste who believes the indian political system must be made more responsive to the needs of the people. vikram (roshan ahuja) comes from a wealthy family and isn' t especially concerned with the winds of change. and geeta (chitrangda singh) is from a middle - class upbringing, taking the middle ground, supporting positive change, but rejecting radicalism. while the three students are friends, vikram is infatuated with geeta, while she harbors an unrequited love for siddharth. as time passes, vikram becomes a successful businessman while geeta follows siddharth into activism, but the government crackdowns in 1979 find the three friends reunited under unexpected circumstances. hazaaron khwaishein aisi has also been screened under the english - language title a thousand dreams such as these. ~ mark deming, rovi
set against a backdrop of immense political turmoil of the late 60s and 70s in the country, hazaaron khwaishein aisi is the story of siddharth (kay kay), geeta (chitrangda) and vikram (shiney ahuja). geeta is in love with siddharth but politics is siddharth' s first love. vikram, however, is in love with geeta. while siddharth joins the naxal movement, geeta marries off in england without giving up her love for siddharth. vikram meanwhile, becomes a fixer in the corridors of power in a country that is in the throes of political chaos. when geeta eventually joins siddharth in his movement and they fall into deep trouble, vikram uses his connections to help geeta out. but helping siddharth lands vikram on the wrong side of the law. geeta is left with the choice of going with siddharth or choosing the man who put his life on the line for her. the protagonists find themselves in situations that only the quirk of density could decide. critically acclaimed at 13 international film festivals
it was sudhir mishra' s name that dragged me to the theater. while buying the tickets i read the name chitrangada singh. that made my decision to watch the movie more firm. how could i forget the face i had seen once in a magazine. a face that was way, way beautiful than today' s ash, etc. etc. and then the movie itself turned out beyond expectations. not only the story and screenplay, the direction too is slick and the characters are so real. especially shiny and chitrangada. why doesn' t every one make films like this one? why? hazaaron khwaishein aisi leaves me with thousands of wishes yet unfulfilled. one of them is working under people such as ruchi narain and working under dazed amazement with people such as chitrangada. (filmi buffs! here' s is the true beauty). thank you sir nandy and rangita for producing moneys' real worth. any vacancies at pnc or with ruchi (as assistant in production, direction, just about anything... please count me in !) thank you .
titled after the famous couplet by the legendary urdu poet mirza ghalib, ’hazaaron khwaisein aisi’ is essentially about human desires, and how they are influenced by people and times. siddharth tyabji (kay kay menon) is a young revolutionary, inspired by the fidel castro and mao, who joins the naxalite movement, in an attempt to end all discrimination and injustice by the state. geetha (chitrangada singh) is a sheltered middle - class girl confused about her life, and in love with siddharth. vikram (shiney ahuja) is the son of a middle class gandhian who wants to make it big, and is madly i love with geetha. how their lives transform, beliefs mold and passions change, in the politically volatile 70s form the crux of the story .
mishra doesn' t fall into the trap of making' hazaaron khwaishen aisi' into a generic political movie. in fact, the movie doesn' t even show us any political leaders of the time. what mishra does is use the cinematic language of allowing characters to be allegorical references to the whole! vikram' s failed love and his eventual state at the climax is just that - an allegory to what we have been left with. siddharth' s disillusionment also acts as a failure of the whole movement. and amidst all of this, geeta finds her true voice. her character assumes shape after going through upheavals of love, hope, disappointment, exploitation and finally comprehension! much like our country indeed! the recurring haunting track,' man yeh bawaraa' aptly captures the mood and ethos, and lingers in you long after you' ve left the movie .
' hazaaron khwaishein aisi' is basically a story of two antithetical classes of society represented by two male protagonists, a socially conscious rich kid, siddharth tayabji (kay kay) and a financially challenged, ethically depraved poor kid, vikram malhotra (shiney ahuja). it depicts how social and financial statuses play a definitive role in the development of individuals and their priorities. siddharth is an idealist who wants to change the world with his bare hands. highly inspired by the marxists school of teaching, he abandons the comfortable confines of his palatial home and sets out for a six month social service voyage to bhojpur, bihar; never to return back. vikram, on the other hand is an extremely practical guy who won' t mind stooping to any levels of integrity to achieve the lucre he has been devoid of all his life. the dictionary defines his state as suffering from plutomania. soon after college, he starts walking down the corridors of power and becomes a lobbyist working as a link between politicians who are looking for a quick buck and parties who have vested interests in interactions best described as' under the table'. stepping on many shoulders on his way, even siddharth' s at times, he attains what he set out for, pretty easily. he treats everyone like his personal chewing gum, masticating them long enough for his breath to be fresh and later throwing them away in pits he will never cross again when they grow tasteless .
but such minor quibbles left aside,' hazaaron khwaishen aisi' is a movie that must be seen by every collegian but sadly won' t! they are too busy following the fads of the johars and chopras! and mind you, this movie is not an exercise in history lesson! there are some fine performances that adorn this cinematic jewel. kaykay is as he usually is - competent. in an underwritten character, he manages to do exceptionally well. chitrangada singh is eerily similar to the late smita patil. she is almost a reincarnate! her emotional range aside, she is also a true indian beauty - dark and elegant! ram kapoor as her husband leaves a definite impression. eventually though, it is shiny ahuja' s performance that rivets you the most. in a virtuoso display of talent, he announces himself to bollywood. whether it his cocky smirk, his dormant rage, his hidden anguish or his genuine irritation - shiny is simply brilliant. easily one of this year' s best performances !
now years on we hear that the makers of the film have decided on making a sequel. confirming the same on twitter, sudhir mishra posted, “it’s not an accident that pritish produced hazaaron! i narrated d idea n he said go for it. nobody else had d balls. n now v will do d sequel though d final script is not ready yet. ” further talking about whether sequel to the film will feature chart busting music like the first sudhir added, “swanand n shantanu will hopefully agree to be part of the journey” .
it is a scene rich with comedy, irony and inexorable sadness. mishra rewinds to the 1970s, a time rife with angst when jawaharlal nehru' s dreams of a tryst with destiny gave way to disillusion with authority; when naxalism and the emergency redefined india; and when college students called each other comrade and dreamed of fashioning a better world. but hazaaron is far from a dry political treatise. mishra and his co - writers ruchi narain and shiv kumar subramaniam create a profoundly moving and engaging story of three people' s journey through this devastated landscape .
hazaaron khwahishein aisi doesn’t have your usual song and dance routines and certainly doesn’t have the most traditional bollywood filmy kahaani, but the characters and their stories pull you in and keep you asking for more. shiney ahuja truly shines (i couldn’t help myself) in his debut film as the hopelessly - in - love vikram. as much as i hated his character for refusing to move on with his life, i also admired his unconditional love for a woman who barely gave him the time of day. kay kay menon (not to be confused with singer k. k .) gave a powerful performance as the consumed - by - idealism - siddharth, but i can’t say much more because i really disliked his character overall. last, but certainly not least, chitrangada singh blew me away with her bollywood debut thanks to her graceful portrayal of the complicated and frustrating geeta. part of me hated geeta’s character because of her unrelenting tunnel vision, while another part me understood how and why she personified one of my favorite quotes from the once and future king: “perhaps we all give the best of our hearts uncritically - to those who hardly think about us in return. ”
he rush of youth defies description. it has to be experienced. but the outcome of its impulse and conviction of its ideology is what defines every individual' s coming of age .
it could be the story of three ordinary, or not so ordinary, people, depending on the given circumstances, if the setting of this drama wasn' t such a crucial time in history .
the late 1960s and early 1970s were turbulent times - - angst filled and strife scarred. it was the time of vietnam, of flower power, of the emergency and the rise of the naxal movement in india. and a booming population of restless youth was eager to wage war against anything that curbed idealism .
the three study in a prestigious delhi college and come from different stratas of society. in the beginning, the three friends are carefree and desultory. but as they get out in the real world, they learn the ropes of survival .
siddharth dreams of revolution. he becomes part of the naxal movement in the villages of bihar. his emotional attachment to geeta doesn' t stop him from his political pursuits .
post - college, geeta is married to an ias officer but she continues to see siddharth on the sly .
vikram too has always nursed unconditional love in his heart for geeta. but that' s all there is to his soft side. a small town boy once, vikram climbs the social ladder by networking in the big league unabashedly .
geeta ends her marriage and starts living in the village with siddharth. this is the time in the film when geeta' s character evolves. from a london - bred girl to teaching village women, or having a child out of wedlock or asking favours from vikram in hours of need to a lot of other gruesome realities, geeta discovers herself .
the story movies on. the characters mature and move on. they regret. they apologise. they change. their lives are not the same .
plays like a novel spanning a decade. while geeta is a picture of poignancy and inspires awe, vikram' s complexities leave the viewer perturbed. there is a lot to his greyness that is unsaid and yet subtly hinted through mere expressions. he is the most mysterious of them all .
siddharth is the most real. in the beginning, he appears to be a rebel for effect. gradually, his seriousness about his cause unveils. later, his aggravation at the futility of it all unfolds. his weaknesses as the man in a relationship aren' t hidden either. eventually, he changes the course of his journey. the fire of his conviction still smoulders, but the flame is missing .
the actors do complete justice to their brilliantly etched out characters. kaykay moves you with his intensity. and shiny is a startling improvement from the lacklustre cop he played in karam. but chitrangada singh, whose face draws inevitable comparisons to smita patil, is definitely someone to watch out for. she is a complete natural who zaps the camera with a passionate performance .
the protagonists act like metaphors for the maddening 1970s. the rush of youth is long gone. the restrain of experience has sunk in. the whiff of a bittersweet memory lingers. but that' s all it is - - a memory - - a chapter of history that has closed .
sub: sam: your crazy! this is an excellent movie. dont believ sam. . either he is crazy or dim! its amazing. . easily compared to a hollywood flick. must watch! posted by saonli
sub: great movie it' s a movie worth watching. so much to learn from the movie. posted by mehnaz
sub: movie is a gem! !! !! i saw this movie and i am in completely awe at the brilliance of it. this is a good quality indian cinema and definitely worth... posted by arun gupta
sub: most crapy movie i have ever seen hi please dont go by the reviews tis is one of the most crapy movie ever made. senseless. the director wants to justify his point... posted by sam
i believe in the ideology, man, but my dad' s too rich ,
says an inebriated college boy to his more committed leftist classmates in sudhir mishra' s superbly wrought new film .
i can' t leave all this .
every generation needs something to sell. in the 60s, they peddled revolution. the smart ones kept long sideburns, grew longer beards, got drunk on country liquor, wore lal salaam knickers and spewed dialectical materialism to pretty girls who often lost their hearts and virginity (not always in that order) to them. then both proceeded to study history of mentalities in yale and got married. preferably not to each other .
the honest ones left for the countryside & apos; to the backwaters of bihar and the killing fields of bengal & apos; to manufacture a peasants & apos; insurrection. they bared their bottoms in the paddy fields, taught marx primer to starving farmers and battled both police and upper caste reactionaries with countrymade guns. some died; most were reborn either as ngos or professors of social science .
the movie ploughs through the mindscape of its protagonists. why shiney ahuja, the son of a gandhian, hates the idealists and becomes the finest fixer in delhi. why kay kay menon, a retired judge & apos; s son, gives up the good life to raise a revolution. and, you wonder if chitrangda, the sincere and refined england - returned girl, really loves kay kay, or just the idea of the man she thinks he is. it & apos; s all told with craft and control, with humour and that dirty word, passion. and in the end we have an intelligent, imploring movie that leaves you twisted like a cork and wistful like an old woman. and, you feel jealous of its characters & apos; of the lives they lived in those angry seasons of the almost young .
hka wouldn & apos; t have been the same without shantanu moitra & apos; s blend of folksy - classical music that helps the film travel inside your skin. or, without its actors, all superbly sensitive. what stays in memory though is debutante chitrangda & apos; s face: a complex map of beauty, mystery and symmetry with the colours of the setting sun .
kamalahasan & apos; s back & apos; this time on a rollicking ride aboard mumbai express. director singeetham sreenivasa rao, with whom kamal has teamed up earlier for a pioneering film like pushpak, almost manages to pull it off this time as well. slick editing, comic timing and brilliant dialogues give mumbai express a frenetic pace, though it does sag a bit in the second half losing steam as the story takes a new turn .
three crooks with the perfect plan to make it big overnight hit one hurdle after the other, forcing them to turn to a deaf (and dumb in equal measure) kamal for help. and help he does, by abducting the wrong kid & apos; that, too, a cop & apos; s son. as if taking the law head - on wasn & apos; t enough, the pesky little brat has them clutching their heads in desperation .
saurabh shukla is brilliant, but manisha, as the mother of the abducted child, has precious little to do, which doesn & apos; t come as a surprise for no one is allowed to take away the spotlight in a kamal film. however, while story - screenplay - dialogue - writer kamal carries the film on his shoulders, actor kamal is overshadowed by crazy crook vijay raaz and corrupt cop om puri .
om, as the cop eager to hide his double life with mistress manisha from prying eyes and vijay, as the kidnapping kingpin left licking one wound after the other by kamal, bring the house down. literally .
kamal, no doubt, drives mumbai express to its destination, but it & apos; s vijay and om who romp home with all the accolades. ah, yes! not to forget the horse for displaying amazing horse sense .
ever seen a guy make it up to his girl across a peephole and a closed door & apos; well, will smith does exactly that in hitch just minutes before the final credits start rolling. that, after breezing through the movie as the successful and elusive date doctor alex hitch hitchens, who makes a profession out of hitching up people and, in the process, stitching together relationships .
and that & apos; s what makes the movie so endearingly funny. hitch & apos; despite his smooth - talking ways and his unique gameplans for every lovelorn man in town & apos; realises that falling in love just might be the best thing to happen. that there is more to getting hitched than making the proper moves and brushing up on that perfect smooch. that a four - minute speed date and the right pick - up line at the bar are not what love is all about. as the movie goes on a crazy tailspin across a summery new york, it gets the romance element just right, without falling into formulaic, mushy cliches. will puts in a thoroughly smart performance and eva as the on - the - move gossip columnist is just about believable. it & apos; s the sort of light, zippy comedy you want to watch to keep your spirits up .
journalist turned filmmaker samar khan & apos; s debut has seriously put the indian railways cooking to shame, even that of the notoriously bland & apos; continental & apos; variety. indeed, so insipid and tasteless is kuch meetha ho jaaye that it might actually make you yearn for the hot water that is served under the pseudonym of soup, at 7pm on the rajdhani express. and this, despite the lucky ingredients of a & apos; k & apos; name and the presence of superstar shah rukh khan .
a motley group assembles at the fictitious ganganagar airport to catch a flight to delhi. a technical snag in the plane delays them for long hours, forcing them to put up with one another, leading to confrontations, confessions and reunions. a story like this, which has no movement in space and time, needs strong characters and engaging situations. this is where kmhj falls flat on its face. the characters are all one - sided, and the situations, school skit - like. samar khan & apos; s handling of relationships is amateurish and simplistic .
arshad warsi is genuinely good & apos; funny, sensitive and endearing. mahima is okay, but then, her role doesn & apos; t demand much. self. the rest of the cast are all wasted .
the boss is back, the posters declare. meant to chill our bones with terror or tickle them to laughter as to when exactly did he go away & apos; weren & apos; t his posters always staring down at us as we hurried past them to meet our own bosses, perhaps. or indifferently stared back at them, as we sipped roadside tea. but, with dada, that indifference will turn to desperate pleading, dada dearest, we love you and all that stuff, but please go back to wherever you are saying you are back from .
take all those white clothes and hop into that helicopter that & apos; s so mysteriously always at your disposal, anyway. away into those dark clouds, perhaps, under which you try to dance as delightedly as aamir in kale megha song. after you have done the other khan act that not shordi, khaashi, maylaria, bhalobhasa is the problem. here, we sympathise. at your age, two women falling all over you can be stressful .
take them with you as they are stressful for us, too. but don & apos; t put them into that train running through mysterious landscapes and tunnels only to stop at burdwan junction. along the track they may find more of the sword - wielding men that director t. l. v. prasad was so busy recruiting that he never really got a chance to get down to the story, plot, or any development remotely logical. all of which fails to give the tiniest clue, even if we agree you were away, as to why you are back .
a family gathers in a quaint cottage in idyllic himalayas. a quirky guest arrives one day. one night, an earthquake destroys the bridge that connects them to mainland. electricity goes off. water runs out. food ends. panic begins & apos ;
watching sandip ray & apos; s nishi japon induces a sense of deja vu. it reminds one of two satyajit ray films in terms of its treatment, thematic content and characterisation. kanchenjunga, because of nature metaphors like mountains and landslides symbolising inner avalanche of human emotions. and shakha proshakha, which shows hidden discord breaking down semblance of congenial familial relationships. some images are downright dittos. like bedtime conversation between husband and wife while she applies night cream on her face and neck. is it a deliberate device used by the director to acknowledge allegiance to his filmmaking gharaana & apos; maybe. because what prevails is a sense that time is suspended. it & apos; s neither past nor present. which is fine. except when disaster hits in a seemingly contemporary world, one wonders where the cellphones are. or for that matter, the landline, television, or radio .
an excellent ensemble cast shares great chemistry. especially, two seasoned thespians with shared & apos; ray history & apos; & apos; soumitra chatterjee and deepankar de. sabyasachi chakraborty is a straight - talking, irreverent army doc with a penchant for bird hunting (literally and connotatively) and rituparna sengupta is his beautiful, dutiful wife. parambrata chatterjee is the reticent younger brother, with some kind of & apos; never made known & apos; angst. and raima sen, with her fluid child - woman face, dulcet voice (rabindrik inflections in perfect lip - sync) and doe eyes, is definitely bengali cinema & apos; s lambe race ki ghodi .
a charming feature of the film is its subtle humour. like the dig at bengali sartorial sense when young parambrata, wearing & apos; muffler & apos; goes to fetch & apos; monkey cap & apos; . or a delightful coinage like & apos; aabaar khaabaar & apos; reinforcing a legacy of memorable rayisms .
pj. harvey appeared flat and bare - chested on an album cover and hell broke, precisely because women, bodies and all, universally, are circumscribed by expectations. and precisely at a time when we have increasingly proliferating standards of conformities to go by & apos; impaling navels, practising the right jut of one & apos; s hip under a thong & apos; trust a classicist bong to focus our collective confused gaze back where it belongs, apparently. to all cultural mammaries / memories, translated into the familiar bangali polemic of the haves and have - nots. after all, by the film & apos; s own admission, the lithe veejays and anorexic models are far too hip by bong standards .
but more than what women want or are made to want for their bodies (& apos; the history, philosophy and mathematics behind the female anatomy & apos ;), this film is a plea to tortured men who haven & apos; t somehow managed to get past the adolescent fixation of looking at women as overstuffed walking bras. as tota roy chowdhury & apos; s character puts it, sympathetically, & apos; though it is impossible for a man to feel any kind of attraction for that body, there are certain things one learns to compromise on & apos; . as long as she breeds well. very charitable, no doubt. and quite likely a very grave issue of marital discontent in bangali families that we don & apos; t really get to know of. the film does end up revealing the utter ridiculousness of the husband & apos; s & apos; narrow - mindedness & apos; and the pathos generated by it .
the performances. are credible and the cinematography, soundtrack, baulgaan are tasteful and segue well, and there & apos; s only just the one hideous sculpture near the end. but even then, my male friends unanimously insist that they & apos; re plagued much more by their own relative sizes than the swell of their counterparts. now that is something truly rendered silent by the norms of society and patriarchy. so why not film a series on those anxieties, one each, on all the penile malfunctions that dr lodh & apos; s posters promise to set straight instead & apos ;
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geeta rao has two admirers - one is siddharth tyabji and the other is vikram malhotra circa 1969 west bengal that is witnessing it' s struggle against the ruling congress party, joining... see full summary »
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“thousands of desires, each worth dying for… many of them i have realized…yet i yearn for more. ”
india is a mystery for contemporary historians. reeling under a century or so of colonial subjugation, extreme poverty, a non - existent social structure and more importantly, a vicious hindu - muslim conflict; no one in their right minds believed that this nation would last as long as it did. on 15th august 1947, when our forefathers led by pandit nehru made a tryst with destiny, they had an “idea of india”, a secular, liberal, democratic republic. and surprisingly enough, we continue to be one even today .
but that is not to say we never faced challenges, some which even threatened our very existence. the most potent among them would probably be the 1975 emergency, imposed by ms indira gandhi, and the nation - wide anti - government protests led by gandhian jayaprakash narayan (known as the jp movement) that preceded it. the darkest period in our country’s post independent history, this attack on democracy brought india to its brink .
the sad part is, young india knows very little of these times — and the struggle that the people mounted in a quest for equality and change. one of the reasons might be the lack of quality cinematic works depicting these times. how many movies can you think of, which chronicles the tumultuous times of the 70s in india? none, i presume .
right from the very first frame, i realized that there is an earnestness and honesty in the filmmaker, which reflected in his work. there is no overt melodrama, cinematic flourishes or pitched sequences. instead, the proceedings are very mellow, with the script and the performances doing all the talking. the screenplay, co - written by mishra himself, is taut and displays a strong control over its characters; their conflicting ideas are depicted with a sincerity that floored me. we care for the people we see, though stop short of loving them, as they are not great people. they all have their flaws, but the sheer realism ends up emotionally moving you. though there is a strong political undercurrent of naxalism, revolution and state excesses; this is a story of people, and their lives in the backdrop of these difficult times, which ends up making a greater impact .
technically flawless, the movie’s soundtrack is worth special mention. without typical bollywood song - and - dance numbers, this soundtrack, composed by debutante shantanu moitra, is soulful and heart - wrenching. it complements the story, leaving a tremendous impact on the viewer .
without the performances that the movie had, it would have been half as good as it turned out to be. kay kay menon in one of his finest performances till date, completely gets into the skin of siddharth, and portrays him with the layers and depth the character deserves. a man driven by the fire in him, and his eventual transformation is wonderfully effected by menon. shiney ahuja too impresses in his debut, as the no - nonsense power broker in the corridors of the government. a man you might loathe, his redemption is in his unflinching love for geetha, which eventually transforms his life.
hazaaron khwaishein aisi is an indian film made by director sudhir mishra in 2003 but released in 2005 . set against the backdrop of the indian emergency , the movie tells the story of three young people in the 1970s , when india was undergoing massive social and political changes . the title is taken from a poem by urdu poet mirza ghalib . it went to 12 film festivals in 6 months including turkey , estonia , river to river ( florence ) , berlin , edinburgh , washington , goa , bite the mango ( bradford ) , commonwealth ( manchester ) , india ( los angeles ) , dallas , and pacific rim ( california ) . 
hazaaron khwaishein aisi is an indian film made by director sudhir mishra in 2003 but released in 2005. set against the backdrop of the indian emergency, the movie tells the story of three young people in the 1970s, when india was undergoing massive social and political changes. the title is taken from a poem by urdu poet mirza ghalib. it went to 12 film festivals in 6 months including turkey, estonia, river to river (florence), berlin, edinburgh, washington, goa, bite the mango (bradford), commonwealth (manchester), india (los angeles), dallas, and pacific rim (california).
hazaaron khwaishein aisi is an indian film made by director sudhir mishra in 2003 but released in 2005. set against the backdrop of the indian emergency, the movie tells the story of three young people in the 1970s, when india was undergoing massive social and political changes. the title is taken from a poem by urdu poet mirza ghalib. it went to 12 film festivals in 6 months including turkey, estonia, river to river (florence), berlin, edinburgh, washington, goa, bite the mango (bradford), commonwealth (manchester), india (los angeles), dallas, and pacific rim (california).