Movie Review: Via Darjeeling

Hindustan Times

Cast: Kay Kay Menon, Sonali Kulkarni, Parvin Dabbas
Direction: Arindam Nandy
Rating: **

Yak, do, teen. How much they talk. Seems a honeymoon went awry when the husband just evaporated into thin air. A few moons later, the investigating cop (Vinay Pathak) and a motley gang offer their different takes on the honeymoon mystery – ranging from the ho-hum to the ho-ho-hum.

Now before you bring up the ghost of Akira Kurosawa’s seminal Rashomon, desist. The main snag with Via Darjeeling is that the various stories just don’t mesh together. They are left suspended in mid-air, and the ending is as abrupt as a power breakdown. Honestly, you’re left with a quizzical frown.

On the more upbeat side, Kay Kay Menon, Sonali Kulkarni and Prashant Narayan, as a New York-returned boozard filmmaker, summon up competent performances. And the effort does try to step off the beaten track. Most importantly, it’s different enough not to have a thoda or thodi in its title this week.

Times of India

Critic Rating:
HERE'S your chance to give a perfect ending to a honeymooning couple, Ankur Sharma (Kay Kay) and Rimli Sharma (Sonali Kulkarni), on their way back home via Darjeeling. All you need to do is solve the mystery of the missing husband. And no prizes, only clues, for guessing that. For starters, there is the lead given by Robin Dutt (Vinay Pathak) who plays the kewl cop on the mysterious case. Taking off from there is yet another fine performance by Ronodeep Sen (Rajat Kapoor) with his editorial hunger for ‘unpublished scandals'. Next in line is Mallika Tiwari (Sandhya Mridul) who never trusts a man who smokes an unlit cigarette. That's another story, we realise as the movie progresses, that she trusts no man. Followed by decent performances by hostess Preeti Sen (Simone Singh) and filmmaker Kaushik Chatterjee (Proshanth Narayanan) with his who-needs-a-tried-and-tested formula to make movies work. As for the prime characters, Sonali does a smart tightrope between the sometime-steady-sometime-two timing wife, while it is Kay Kay, who as he moves from one part of the movie to the next, reaches a new level of excellence. As for why Darjeeling, keep guessing? Sadly, the film barely captures any scenic beauty of the place.

So do you really get to know whatever happened to Ankur? Well choose your pick from the versions given by sub-characters -- maybe Ankur was a con man, maybe Ankur was killed, maybe he committed suicide or maybe he was planning to kill his wife... Whatever it is, we really don’t know. Not even after the movie ends! So, is this an Indian Rashomon? Did we hear Kurosawa groan? Here's an experimental film that needed some more time in the petri dish.

Indiafm

Director Arindam Nandy's choice of the subject may not hold universal appeal, but it does hold your attention at times. The songs are well woven in the narrative. Cinematography is alright, but the beauty of Darjeeling hasn't been captured to the optimum on celluloid. Dialogues [Atul Sabharwal] are in sync with the mood of the film.

The performances are neat. Kay Kay is, as always, perfect. Sonali Kulkarni is the scene stealer here. Parvin Dabas looks right for the part. Vinay Pathak is frst-rate. Simone Singh and Rajat Kapoor, both handle their parts with precision. Proshanth Narayanan is topnotch. Sandhya Mridul is fiery.

On the whole, VIA DARJEELING is more of an experiment. At the box-office, it's a dud!

Thoda Pyaar Thoda Magic Moviev Review

Boxoffice.com

The Good:

The screenplay is cleverly constructed to include everything possible that will entertain the audience without them losing interest in the story because there is nothing new in terms of story. What Kunal Kohli achieves is a very simple but engaging style of story telling. The screenplay is not taxing and has, just like the title says Thoda Pyar, Thoda Magic and whole lot of Masti. The masti is provided by the four kids who are the life and soul of the film. Especially the kid playing the role of a Sikh. He will bring a smile to your face every time he comes on screen because he is so endearing. Kunal Kohli along with Rohena Gera has scripted a film that entertains, sometimes preaches, sometimes educates & has a very clean heart & soul. Saif & Rani provide able support to the film. They have nothing new to explore in terms of their roles. Ameesha Patel in a short & sweet tailor made role provides the right dose of humor. She has never looked as Hot as she looks in the song Lazy Lamhe. The choreography of all the songs lift an above average music score by Shankar – Ehsaan – Loy to a visual delight of Animation and some good CGI. The background score by Sandeep Chowta complements each and every scene. He has used the song Pyar ke liye at all the right moments in the film.

The Bad:

If the script wouldn’t have been predictable this would have become a much better film. The gags are not original & the script seems to be heavily inspired by a lot of films like Mary Popppins, The Sound of Music, Lemony Snicket, Bruce Almighty, Nanny Mcphee etc. It is not something that will change the face of Indian cinema. It is like today’s version of Gulzar’s Parichay which in turn was an adaptation of Sound of Music. It seems we are going round and round in search of stories to tell.

The Ugly:

Nothing really, except the portrayal of Americans in one of the scenes of the film. I mean we don’t have to pull another country down to show that we are superior.

Final Few Words:

It is an ideal film to take your kids to & for you to become a child again. In this age of violent cartoons & mindless video games this is the right film for your kids because it is an edutainment film which gives out a very clear message that is “All you need is love”. A sure shot hit at the theatres and on the DVD circuit whenever it releases.

India Fm

Saif fits into the sauve millionaire part [Richie Rich - the poor little rich guy?] very well. And the best part is, he never 'acts'. He's a complete natural! It's a pleasure to watch Rani in a role that does justice to her talent. She's lovable. But why is she sporting the same outfit throughout? Ameesha doesn't work, mainly because her role looks like an add-on. And what is she wearing throughout the movie? But she sizzles in the 'Lazy Lamhe' track.

The four kids are adorable. Each of them is terrific, but the one who's bound to walk away with taalis is the cute Sikh kid called Iqbal. Watch him break into the 'Main Nikla Gadi Leke' song from GADAR; it's bound to bring the house down. Rishi Kapoor is likable in a cameo. Taraana is okay.

On the whole, THODA PYAAR THODA MAGIC is a simple story told very effectively and efficiently. At the box-office, it may be a slow starter, but should gradually gather momentum with a strong word of mouth. Business at multiplexes will be the best.

Go watch it, it's a treat for your entire family!

Times of India

Critic Rating:

Kunal Kohli turns his attention from seemingly adult tales -- Hum Tum, Fanaa -- to a desification of Mary Poppins. And like his earlier films, he displays a strong hold on the medium, despite shifting gears to sentimental family drama. Saif's good, Rani's commendable, but the show stealers are the babalog who carry the emotional parts to near-perfection on their frail shoulders. Truly, it's the age of WHIZ KID in Indian cinema!

Hindustan Times

Rating: **

Woof. A wonder dog refuses to eat non-veg on Tuesdays. Oof. Amidst fluffy clouds, angel girls toss their beauty parlour curls. And in a mega-museum, a geeky guard flies across the stratosphere on a broom. Zoom barabar zoom.

That’s director Kunal Kohli’s Thoda Pyaar Thoda Magic or Thodi Mary Thodi Poppins. Indeed, this purported mad-in-India fantasy has as much subtlety and grace as a carpenter’s hathoda. Plus, it makes you wonder for whom this was produced and why-why-why. Kids have access to far more sophisticated special effects fun flicks and the adults.. well.. what are they taken for? Nitwits?

Indeed, the 16-reeler incites you to email a petition to God – depicted here as a jolly-ho Rishi Kapoor garbed in vanilla white. He even breaks into an aao-twist-karen jigaloo. You want to address 10 questions to the supreme power in white:

One: Sir, why did you select Rani ‘Angel’ Mukherji to solve the dilemma of an ultra-wealthy man (Saif Ali Khan)? Surely, the suited-booted-necktied man could have handled four orphaned kids himself -- with the help of his ditzy girlfriend (Ameesha Patel, ewww).. whose clothes looked spray-painted on her. Surely the poor, the inflation-hit and the ailing needed the services of Angel Rani much more urgently.

Two: Lord, how did you ever create a judge like Sharat Saxena and give him such extra-constitutional powers?
Milord Sharat decrees that Suited-Booted must look after the orphans since he mowed down their parents in a car accident.. and then just glared, glared, glared. This ‘punishment’ lets Suited off the hook. He’s even back on the phone to strike a deal in Los Angeles. Come, come, now.

Three: Why did the tempo drag so much that you nearly fell asleep on the shoulder of a stranger in the next seat?
Scary.

Four: Why were none of the kids adorable?
When children ham, haw-haw and make those we’re-so-cute-faces before the camera, talk like mini-Amartya-Sens, your murderous instincts are aroused. Not done.

Five: Whatever happened to that fine actress called Rani Mukherji?
After Black, she’s been belting out black-out-from-the-memory performances. As a Geeta Poppins, she’s one-dimensional, either darting full blast smiles or tetchy scowls. Her costumes, too, are uneasy-on-the-eyes.

Six: Whatever happened to that likeable actor called Saif Ali Khan?
Sure, he’s supposed to play a humourless guy but he’s as stiff as starch.

Seven: Lord, why allow a weird tribute to old Chalti ka Naam Gaadi type of songs?
The car song medley’s a clever concept, but botched up. Also, Shankar-Ehsaan-Loy seem to be into a bad tune day. Prasoon Joshi’s lyric referring to a “chand” kept in a “tiffin”, indicates a Gulzarish moon obsession. One moon man is enough.

Eight: Sire, why doesn’t the direction keep one engrossed at all?
The Forrrest Gump-style morphing and animated interludes aren’t exactly fresh. The LA scene with an irate American businessman is a riot.

Nine: Lord, whatever made the legendary Razzak Khan, portraying a valet, look at a rose and then say, “Shakespeare!” Very unusual that but much too bard, very bard.

Ten: Would you, lord, impel viewers to see Thoda L Thoda M?
If you do, I’ll lose faith in you.

Khushboo Movie Reviews

If the focus is on new faces, you need to be doubly sure that the casting is just right. In this case, the newcomers don't disappoint, but the writing does. To start with, the bone of contention [the lead man is obsessed with America] and the subsequent conflict [the girl insists, the new-born will be a Sikh] look lame excuses, frankly. Besides, the culmination to the story is hardly convincing.

Director Rajesh Ram Singh has handled a few sequences well, but there's not much he can do given the kabhi-garam-kabhi-naram script. Adnan Sami's compositions are first-rate and practically every song is well filmed. Cinematography is topnotch.

Rishi Rehan uses his well-toned physique to his advantage. He has the makings of a fine actor, except that he needs to control his expressions. Avantikka is a natural, a competent dancer and acts her part confidently. But she needs to take care of her makeup and styling. Ninad Kamath does well. Prem Chopra is excellent. Himani Shivpuri is effective. Chunky Pandey, Raj Babbar and Shakti Kapoor are hardly there.

On the whole, KHUSHBOO is too ordinary a fare to leave any impression whatsoever.

Haal-e-dil Movie Reviews

Indiafm

Director Anil Devgan is off the mark this time. Frankly, his RAJU CHACHA and BLACKMAIL appear as classics when compared to this one. Music is the only saving grace. Every track has been filmed on a panoramic locale and acts as an eye candy. Cinematography [Rajeev Ravi] is efficient.

Nakuul Mehta may subconsciously be inspired by SRK, but you don't mind it. In all fairness, he's very confident, a bundle of energy and knows his job well. His expressions are perfect at all times. Adhyayan Suman definitely deserved a better launch. What's he doing in this film? He has the talent, which, unfortunately, hasn't been channelized at all in this misadventure.

Amita Pathak is a fine actor, no two opinions on that. But there's a problem. She looks too plump and her makeup makes her look mature. Very frankly, she looks much better in real life than on screen.

On the whole, HAAL-E-DIL is a complete dil-breaker. This one's gonna sink at the box-office!

Times of India

Amita Pathak exudes a raw appeal but her cold character barely permits her to smile wherein she loses on a charming screen presence. Also she appears elder to her male costars who are flawed with amateurish performances. Adhyayan Suman (thankfully) has pretty less to do. Nakul Mehtta goes overboard with his animated act and you get immune to his antics by the end.

Haal-e-Dil chews your brains to the extent that you wish it were named as ‘Khaa-le-Dimag’

Hindustan Times

Train means pain. In a gender reversal, Girl (Amita Pathak) is a bit mentally troubled on a slow chhook chhook gaadi. Boy (Nakuul Mehta) is the buk buk machine. And somewhere in Kalka (which is inhabited by Swiss folk!), there’s a guy (Adhyayan Suman) who’s doing his own number. Can’t tell you what that is because you’ll gag. Misery.

Two scenes stick out. One: Buk Buk steals moolis and turnips from a farm to suggest that this movie could well have been a more digestible product titled Ek Phool Do Mooli. Two: a Veerappan wannabe (Moustache Mishra) hangs upside down from a tree and goes, “Foodum writum me not happyum.” That needed subtitles desperately. What theyum sayingum?

More newcomers here but hello.. the best thing that can be said of Nakuul Mehta, is that he’s pleasant and has potential. Adhyayan Suman needs a re-launch pronto. Amita Pathak? No, no, no, comments at all.

De Taali Movie Review

India Fm
E. Niwas doesn't get in right this time. He knows the job well, but if you've noticed his last few outings as well as DE TAALI, you'd agree that he needs to concentrate on the script than making the frames look alluring. Vishal-Shekhar's music is a mixed bag. Barring the above-mentioned two numbers, the remaining songs lack fizz.

Riteish is lovable and his range is finally being tapped by film-makers. Aftab lends his part the required class. Ayesha Takia is getting better and better with every film. Rimi Sen spices up the otherwise bland scenario with her performance as a gold digger. Anupam Kher is wasted. Ditto for Pawan Malhotra and Mukul Dev.

On the whole, DE TAALI is a poor show. It's an apt case of the promos looking great, not the film.

Times of India

The film seems to be shot and edited in patches and the continuity lapses clearly show. The screenplay by Abbas Tyrewala has an exciting buildup but a weak and weird culmination. After a point of time, it simply takes your sensibilities for granted. The only redeeming factor is the few funny moments that the film serves in the initial reels before diverting to psychotic subplots.

Ayesha Takia puts up a confident act as the lovelorn friend but her puppy-fat keeps varying through the film. Despite her bizarre characterization, Rimmi gives an interesting shade to the grey streak of her character. Aftab is good as long as he lasts onscreen.

But it’s clearly for the impeccable comic timing of Riteish Deshmukh that you refrain yourself from ‘giving gaali ’ to this caper. Else it’s certainly not all that clap-worthy.

Hindustan Times

Now if you want to know what these actors are asked to do by the screenplay, don’t. Because a sane plotline is not on the agenda. It has something to do with falling in and out of love, friendship and Alcoholics Anonymous (represented by one bhoola bisra Mukul Dev). As for the finale, it’s set around a wedding pandal that should raise the ire of pundit mandals. Oh yes, there’s that golden dog, too, who refuses to carry out Anupam Kher’s instructions. Understandable.

The upbeat aspects involve a jibe at the permanently-lampoon-worthy Ram Gopal Varma ki Aag, the repartee between the three friends, fluid cinematography and the bright Bangkok locations.

So what’s the overall picture like? Okayish but so infuriatingly slow and tacky that it’s not likely to be remembered by anyone but poster-and-oddity collectors such as De Tulli.