GHAZINI-MOVIE REVIEW

And at the end of this year, there's a bedazing blockbuster in Indian Box office. Here comes our maestro of perfection swaying on with a different genre from his previous ventures. Merely, producers wouldn't have considered Ghajini as an 'Empaling Speculation' for enormous reasons. Well, when you've South India's top-charting Director, Bollywood's superstar, Musical Maestro and versatile technicians teaming up, undoubtedly results are off grandeur. On the buttons, 'Ghajini' is so tremendous on all panoramas of narration and technical aspects. The film had raised everyone's expectations across far-flung corners as Tamil and its Telugu dubbed version had walloping critical acclaims.

So, what's special about Aamir's Ghajini? Thank God! It isn't a copycat of Christopher Nolan's 'Memento' and carries more divergence from Tamil version in latter half. Well, even for those who had soundly watched Tamil version, they're gonna experience an enhanced spirit on emotions. Of course, tho' it's an action-packed thriller, emotions are boundless….

Perhaps, Murugadoss's gripping motif, script and polished screenplay shores on corking grounds with Aamir's more have-to doe with on all vistas. Fine! Let's pretermit Direction and Music, just pick out editing… Mr. Perfectionist's touch is more revealing on Antony's editing. It's more illustrious with each and every cut in 'Bekha'.

Tales centering on amnesias aren't something new in Bollywood, but a unique of its type 'Short Term Memory Loss – An individual losing out his memory for every 15mins' surmounted everyone's expectations. And what else? Aamir's eight-packs had its turn of grabbing everyone's outlooks prior to film's release.

The film isn't as complicated as Memento. Ghajini is a head-spinning venture of Sanjay Sanghania (Aamir Khan) who has determined to avenge for his girlfriend Kalpana's (Asin) death. Protagonist seeking revenge for his ladylove's death; its so clichéd, isn't? Nevertheless, his greatest stumbling block is that his memory loses every bit of details for every 15mins. And what doesn't get bleached from his deep memory is death of Kalpana and the name 'Ghajini' (Pradeep Rawat) who murdered her. Again, the biggest obstruction is that Sanjay doesn't remember antagonist's identity.


With a Polaroid camera, a cell phone in his hands and alarms beeping on every 15th minute, Sanjay has to tread settling his scores.

Screenplay is narrated on two separate chronicles; present life and flashback sequences of Sanjay. It's so gripping that you would ne'er feel restless or look at your watches throughout the complete show of 180mins. Except, 45mins of next-to-last sequences, there isn't any slight changes from original version and characterizations have been marvelously depicted.

'Wordlessly stupendous' – Aamir Khan or Mr. Perfectionist, whatever you like to call him, he is simply brilliant. Just note this down, unlike his previous flicks 'Rang De Basanthi', 'Fanaa' and 'Taare Zameen Par'; he has nothing do with dialogues. Perhaps, it's Asin, Jiah Khan and Pradeep Rawat who jump on uttering more words. For everyone, who were fond of this line 'Actions Speaks More than Words', you'll witness it with Aamir Khan. He emotes spectacularly with his facial expressions and gestures. For instances, watch him out in 'Bekha' where he spells the most minute expressions with brightness. While taking revenge, it's not the furiousness that's disclosed on his face, but the outburst of emotions for his lost love.

Of course, Asin deliver an over-the-top performance on every scene. She doesn't strain a lot but creates a deep impact on everyone with her role. She's got a great time here in Bollywood and she will rock with her well-brought-up show.

Don't expect a lot from Jiah Khan, if you were spellbound with her performance in 'Nishabd'. It's about doing justice to her role and her well-enhanced show is evident in penultimate scenes. She has to thank Murugadoss for depicting her so exquisitely.

Pradeep Rawat takes on with a decent role and his portrayal is as powerful as his characterization is so powerful than Aamir.

A.R. Murugadoss – He crowns each of his films with 'Success' and his debut directorial in Bollywood isn't an elision. With a trenchant script and screenplay, he reveals of a detailed work on every frame and shot. Working with Aamir Khan, should've made him fine-tuning his before-now version that yields his laurels from universal audiences. A hunky-dory of its kind, you'll witness a vivid groundwork put forth by the auteur, especially a fine-ending unlike Tamil version. As you step out of theatres, it's all about good shades of protagonist arresting your senses and not about hero's act of vengeance filled with bloodsheds.


A.R. Rahman with his tranfixing tunes steals the show. In particular, as everyone starts heeding to Mandolin's interlude on 'Guzarish', its claps, hails and whistles. Scenarios persist with 'Bekha' and getting to watch Aamir's acts and 6 get-ups, it's an appreciably innovative. 'Kaisa Mujhe' is sure to remain along with these two numbers on the charts of evergreen tunes.

Ravi K Chandran's cinematography requires special mention. Don't miss his stylish shots on exotic locations of 'Guzarish'. A grand round of applause for Location Manager for zeroing down an unforeseen never-never land. Costumes are so convincing and it's so nice to see Asin on finest looks in 'Aye Bachu'.

A matured touch of 'cuts' by Antony brightens up visual quality. Be it exposing Aamir's physiques or catching up for the mood of 'fast running notes in Bekha', he deserves best credits.

The film has whole lot 'A-FACTORS' of Aamir, A.R. Murugadoss, A.R. Rahman and Allu Aravind. Naturally, it's A-ONE quality rendered on their roles.

On the whole, Ghajini ends this year with a great Dhamaka for all universal audiences. For those who watched this year's releases with tentative thoughts, can head for Ghajini to witness 'The best film of this year'. For sure, all Khans, Chopras and Kumars should be eyeing on Murugadoss now while rest of the cast-crew would witness a great new dawn in Bollywood for this New Year.

Review of bommalattam

After watching Bommalattam, Bharathiraja's bilingual venture, one cannot help being overawed by the excellence of Nana Patekar – easily one of the best actors India has ever produced. Designed as a film within a film the movie explores the quintessential life of a talented film director viewed as an eccentric from time to time.

Bharathiraja is a name known for bringing rural India to life with scripts that are highly metaphorical in nature. The director who had also rendered an exquisite film noir in 'Sigappu Rojakkal' decades ago is back with a film that treads along the lines of murder under vicious circumstances.

The fallacies of a world that fails to recognize creative angst has been captured on celluloid rather effectively. Arjun plays a CBI officer (Vivek) thirsting after the truth while Rukmini Vijayakumar plays the heroine of the film that is shot by Rana (Nana Patekar).


The life of Rana (at the work place and at home) is shrouded by his eccentric nature that keeps all people around him not knowing what to expect….and yet a girl (Kajal Agarwal) who has a penchant for poetry admires him for his creative genius. From Rana's viewpoint she comes across as a breath of fresh air who even succeeds in revealing a pleasant side.

Filmmaking is tough work with provocation coming in as distraction all the time. This obviously irritates Rana….to boot there are dead bodies that are discovered. The CBI investigates the film director on suspicion of multiple murders. Flashes of the director's life are showcased and the audience do get engulfed with the suspense element from time to time.

Why does the director have such an affinity for his heroine? How can a man who loses his temper at the drop of a hat be calm and even sweet to some people? Who is responsible for the murders? These are the questions that are answered as the film unfolds.

Comic relief is provided by Vivek and Manivannan. Although funny at times their interludes derail the intensity of the story big time. Compared to the brilliance of Nana Patekar, every other actor appears ordinary except Rukmini Vijayakumar who has done justice to her role.

Cinematography is brilliant and the background score is passable. None of the songs impress. Though nowhere in the vicinity of Sigappu Rojakkal's brilliance, Bommalattam does succeed in arresting audiences' attentions during a major twist in the story which in actuality is the very crux of the film.

Nana Patekar's brilliance has been watered down considerably with an inappropriate voice (Nizhalgal Ravi). The Bommalattam think-tank could have had second thoughts on this and probably introduced a voice that goes with the intensity of the lead character.

review of ghazini music

On grounds of reality, one fine factor should've got your adrenalines shot with 'Ghajini'. Aye! 2-A factors (Aamir Khan-A.R. Rahman) had enthralled nook and corners with their previous ventures 'Rangeela', 'Lagaan', 'Rang De Basanti' and Aamir's Production 'Jaane Ya Tu Jaane Na'. And now, guess what could be your verdicts after heeding to album of 'Ghajini'. Well we've got it spelled on the tagline 'Run-of-the-mill musical' and merely it's passable score from ARR who fascinated with his spellbinding style in 'Yuvvraaj'. The maestro had hop-skipped different genres with each song to another; be it 'Dil Ka Rishta' or 'Mastam', they sounded great with grand orchestras and unique style of composition. Of course, it's been a mixed bag of simultaneous hits 'n' misses lined up from Rahman with his 'Rang De Basanthi'- 'Guru' – 'Jodha Akbar' – 'Jaane Ya Tu Jaanena' – 'Yuvvraaj' and now 'Ghajini'.

It's not just his directorial debut in Bollywood, but the first time we see Murugadoss and Rahman gearing up together (they hadn't teamed up for Kollywood projects). Tamil version of Ghajini had Harris Jayaraj tuning in laudable melodies and maestro strides with his own élan in the remake. The album comprises of 6 numbers with a duet, an instrumentals and rest of solos…

Guzarish – Elegance unveiled Listen here

Singers: Javed Ali, Sonu Nigam

Perhaps, with the sensational promos continually screened all over, 'Guzarish' should've really grabbed everyone's senses much before audio hitting the markets. All praises for Javed Ali as he turns entire glares with huskily-toned voice. Right from alpha; with his mesmerizing hum, Javed carries off the entire song with his plushy intonations. Well, does the song possesses Rahman's USPs? Obviously, synthesized-beats aren't so catchy. But don't miss the fantastic vistas of transfixing vocals filled-in and mandolin played by Seenu. Overall, it's a song that'll go straight into everyone's stereos and Ipods undeleted for long time.

Aye Bachchu – Suzanne's show Listen here

Singers: Suzanne

Hah! It's a bedazing piece from Suzanne. Her style of vocalizing illustrates her unstrained approach on rendering this song. Of course, she impinges on with her bold voice that more or less goes the same as Sunidhi Chauhan. Awesome indeed, the rhythmic notes on lead guitars by Ivan, Neil and Sanjeev make it happen as a live concert of western rock (but not the best as Shankar-Ehasan-Loy's score on guitar in Rock On). Srinivas' supervising on Suzanne's shifting of paradigms of vocalisms are over-the-top and somewhat noteworthy. Beguiling combos of percussions, guitars and fill-ins of single notes on bass instruments make the show more lavish. On the dot, Rahman seems to have coalesced Madonna's style of voice and rhythmic patterns that sounds alike ones in Backstreet Boys.

Kaise Mujhe – Heart-binding duet Listen here

Singers: Benny Dayal, Shreya Ghosal

Its synthesized harpsichords and fortepiano played on interlude with simple percussions mingled in the following seconds. With Andante cantabile set on rhythms, it's a melodious duet rendered by Benny Dayal and Shreya Ghosal. Well, both singers and brightly-spotted instruments tantamount and song would peak to the best once it goes on visuals. Nevertheless, this isn't as extraordinary from the trio Benny Dayal-Shreya Ghosal-Rahman as with 'Tu Hi Meri Dost' in Yuvvraaj.

Bekha – Off an unusual panache Listen here

Singer: Karthik

And again, the teasers are sure to have got the tunes lined in your minds. Bekha seems to be appearing on the screens as young lad falls for the beauteous missy. As the courtesy goes, couple of samples on rhythmic tunes seems to have been picked from samples4.com. Martin's booming saxophone adds rich colors to the tango-typed rhythms. The entire song is about Karthik's ostentatious modulations on tongue-twisting words that have been fabulously enunciated. Saxophone, trombones, strings and piano keeps flowing simultaneously for the complete 5mins. Yeah! Getting to watch Aamir Khan in 6 different stylish get-ups should again make it more pop.

Latoo – Middling on all vistas Listen here

Singer: Shreya Ghosal

Be it style, rhythms or kind of sound; nothing sounds the best as other numbers. Possibly, lets us doubt is it straight from the shoulders of Rahman? Nothing of his archetypal elegance is spotted other than choral vocalisms of Tanvi, Sakthi, Anisha and Suvi along with Benny, Karthik and Tippu. Shreya Ghosal's decent efforts look more appealing and Pravin Mani's English lyrics with atypical rhythms may sound more in disco floors.

Kaise Mujhe (Instrumental) – All praises for Kiran Listen here

Symphonious instrumentals of classic 'n' western styles mingled get us for a soothing ride of melodious tune. Fine! It's Kiran's flute that eclipses every bits of tunes including Shreya's voice in the second minute of song. Perhaps, Neil Mukherji's pleasant-sounding notes on guitars accompanies for making it more glistening. Interlude in the initial seconds played reminds us one of Rahman's recent tunes in Tamil (similar to 'I Miss You Da' from Sakkarakatti). Exquisitely as background scoring, the instrumental may enhance the emotional feel on screens.

On the whole, Rahman's musical on 'Ghajini' looks quite middling as compared with his trenchant work in 'Yuvvraaj'. Indeed, amongst all his ventures with Aamir Khan, the melodies spelled by maestro aren't attention-getting. With promos continually hitting the screens of television round the clocks, Aamir Khan would extend his brilliant tactics and make the songs topping out.

Verdict: Moderate-yet-impressive

review of vaaranam aayiram

Varanam Aayiram - Memoirs of a heart with abounding memories


The film designed as a tribute to Gautham Vasudev Menon's father comes across as emotions spelt out in a reserved manner and thereby proves to be a tame affair. One can understand the director's angst at losing a parent, and trying to make a film about the loss, but then the man's (father) enigma never takes center stage throughout the film. Probably the biggest drawback of the film.

The narration of the film has been designed to follow a 'classic approach'. Unfortunately, all the ingredients that go into the making of a classic are missing thereby making the screenplay stagnate at times to irritable proportions. All films that have been successful in being called classics portray enduring human emotions that can be related with instantaneously. Gautham has most definitely missed the plot with 'Varanam Aayiram' giving more emphasis to incidents rather than connecting them well. The story follows the lead characters (the protagonist and his father) through decades. Much effort has been taken to bring out authenticity to the 'period' effect which is praiseworthy.

The story starts off with a senior citizen Krishna (Suriya) getting his hair trimmed in a saloon only to die after reaching home. The news is conveyed to his son, Major Suriya (Suriya) who is part of a rescue mission. With gritty determination, the young man declares he wants to go ahead with the mission. But the son in him overwhelms the Major that he is and events of his life unfold as flashes in his mind.

What a fantastic dad he had had! The story is narrated through montage sequences – the time his father had met his mother in college (as told to him by his mother) and the innovative way he had made known his love for her – his birth and the way he had always looked up to his dad as a real hero – his sister's birth and the happy little family that they were – his peek at adolescence – his misadventures and the moment he was engulfed by the electric sensation of love etc.


Suriya's adolescent days come across as a breath of fresh air. The antiques he indulges in once he sees Megna (Sameera Reddy) on a night train and his train of thought that goes on in his mind to woo her, gets across to the audience very well.

After the interesting introduction, the determined Suriya goes to her house to see her. Megna is surprised but then is not convinced that his love for her is true. She reveals her plans to study in America and her preparations to leave in a week's time.

The happy-go-lucky Suriya does some business and using the gift of being a good guitarist makes money. And then he is off to America, not for a career, not for studies but to win his girl's heart and marry her. They do meet in America and the interesting character that he is wins Megna's heart. An unfortunate incident happens and Megna dies.

A reckless Suriya then starts smoking, drinking and becomes a horrible drug addict. His parents take care of him through these torrid times. His parents even want him to go away somewhere to find himself and come back as the person that he really is.

Suriya walks the streets of Kashmir and Delhi and even indulges in daring endeavors like rescuing a kidnapped child. Then the military bug bites him and he joins the armed forces. It is about this time that the director has made maximum usage of his good looks and the famous six-pack ab. After six years in the armed forces, he becomes a major and also has loving thoughts of a girl (Priya played by Divya Spandana) he had known for a long time but had really not given any kind of attention to. Does time wither away the association they had had?


The flashes of reminiscence stops and reality dawns….he is part of the rescue mission now, fighting terrorists….

The earthly presence of his father might have gone away forever….but will always have a home in his heart….probably thoughts that Gautham Vasudev Menon has….

Suriya the actor rocks throughout. The variety of emotions he has portrayed is very good and a strong mention has to be made about his good looks and charm. He looks unbelievably like a person in his early twenties in some sequences that require him to be so. Something very few actors can really do.

Harris Jayaraj has rendered a beautiful set of songs with this film. The Background score is good in patches and compliments the brilliant cinematography by Rathnavelu. The cinematographer needs special mention for a refreshing tone which he has infused especially in the youthful sequences.

Sameera Reddy has been casual and fits the role aptly. Simran has garnered all her experience and does justice. Divya Spandana with her girl-next-door looks performs a role that lightens up a depressed protagonist with good effect.

One gets the feeling Gautham could have used all of Suriya's efforts with a better narration AND with all-round emotions to connect all the incidents in the script which would have made it more interesting.
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