.`1.Linkin Park - Numb / Encore Lyrics

[Jay-Z:]
Thank you, thank you, thank you, you're far too kind

Now can I get an encore, do you want more
Cookin raw with the Brooklyn boy
So for one last time I need y'all to roar

[Linkin Park:]
Now what the hell are you waitin for?

[Jay-Z]
After me, there shall be no more
So for one last time, nigga make some noise

[Linkin Park:]
Get 'em Jay

[Jay-Z]
Who you know fresher than Hov'? Riddle me that
The rest of y'all know where I'm lyrically at
Can't none of y'all mirror me back
Yeah hearin me rap is like hearin G. Rap in his prime
I'm, young H.O., rap's Grateful Dead
Back to take over the globe, now break bread
I'm in, Boeing jets, Global Express
Out the country but the blueberry still connect
On the low but the yacht got a triple deck
But when you Young, what the fuck you expect? Yep, yep
Grand openin, grand closin
God your man Hov' cracked the can open again
Who you gon' find doper than him with no pen
just draw off inspiration
Soon you gon' see you can't replace him
with cheap imitations for DESE GENERATIONS

Now can I get an encore, do you want more
Cookin raw with the Brooklyn boy
So for one last time I need y'all to roar

[Linkin Park:]
Now what the hell are you waitin for

[Jay-Z:]
After me, there shall be no more
So for one last time, nigga make some noise

[Linkin Park:]
What the hell are you waiting for

[Jay-Z:]
[sighs] Look what you made me do, look what I made for you
Knew if I paid my dues, how will they pay you
When you first come in the game, they try to play you
Then you drop a couple of hits, look how they wave to you
From Marcy to Madison Square
To the only thing that matters in just a matter of years
(yea)
As fate would have it, Jay's status appears
to be at an all-time high, perfect time to say goodbye
When I come back like Jordan, wearin the 4-5
It ain't to play games witchu
It's to aim at you, probably maim you
If I owe you I'm blowin you to smithereeens
Cocksucker take one for your team
And I need you to remember one thing (one thing)
I came, I saw, I conquered
From record sales, to sold out concerts
So muh'fucker if you want this encore
I need you to scream, 'til your lungs get sore

[Linkin Park:]
I'm tired of being what you want me to be
Feeling so faithless lost under the surface
Don't know what you're expecting of me
Put under the pressure of walking in your shoes
(Caught in the undertow just caught in the undertow)
Every step that I take is another mistake to you
(Caught in the undertow just caught in the undertow)
And every second I waste is more than I can take

I've become so numb I can't feel you there
I've become so tired so much more aware
I'm becoming this all I want to do
Is be more like me and be less like you

I've become so numb

[Jay-Z]
Can I get an encore, do you want more (more...)

[Linkin Park:]
I've become so numb

[Jay-Z:]
So for one last time I need y'all to roar
One last time I need y'all to roar





2.Linkin Park - Crawling Lyrics

[Chorus:]
Crawling in my skin
These wounds, they will not heal
Fear is how I fall
Confusing what is real

There's something inside of me
That pulls beneath the surface
Consuming, confusing
This lack of self-control
I fear is never ending
Controlling, I can't seem

[Pre-chorus:]
To find myself again
My walls are closing in
(Without a sense of confidence,)
(I'm convinced that there's just)
(Too much pressure to take)
I've felt this way before
So insecure

[Chorus]

Discomfort endlessly
Has pulled itself upon me
Distracting, reacting
Against my will
I stand beside my own reflection
It's haunting
How I can't seem...

[Pre-chorus]



3.Linkin Park - Paper Cut Lyrics

Why does it feel like night today?Something in here's
not right today.Why am I so uptight today?Paranoia's all I got leftI don't know what
stressed me firstOr how the pressure was fedBut I
know just what it feels likeTo have a voice in the back of
my headIt's like a face that I hold insideA
face that awakes when I close my eyesA face watches every
time I lieA face that laughs every time I fall(It
watches everything)So I know that when it's time to
sink or swimThat the face inside is hearin' meRight inside my skinIt's like I'm
paranoid lookin' over my backIt's like a
whirlwind inside of my headIt's like I can't
stop what I'm hearing withinIt's like the face
inside is right beneath my skinI know I've got
a face in mePoints out all my mistakes to meYou've got a face on the inside too andYour
paranoia's probably worseI don't know what set
me off first but I know what I can'tstandEverybody
laughs at the fact of the matter thatI can't add up
to what you can butEverybody has a face that they hold
insideA face that awakes when I close my eyesA face
watches every time they lieA face that laughs every time
they fall(It watches everything)So you know that
when it's time to sink or swimThat the face inside is
watching you tooRight inside your skinChorusThe face inside is right beneath your skin
(3x)The sun goes downI feel the light betray
me (Repeat until end)



4.Linkin Park - Somewhere I Belong Lyrics

(When this began)
I had nothing to say
And I get lost in the nothingness inside of me
(I was confused)
And I let it all out to find
That I’m not the only person with these things in mind
(Inside of me)
With all the vacancy the words revealed
Is the only real thing that I’ve got left to feel
(Nothing to lose)
Just stuck, hollow and alone
And the fault is my own, and the fault is my own

[Chorus]
I wanna heal, I wanna feel, what I thought was never real
I wanna let go of the pain I’ve held so long
(Erase all the pain till it’s gone)
I wanna heal, I wanna feel like I’m close to something real
I wanna find something I’ve wanted all along
Somewhere I belong

And I’ve got nothing to say
I can’t believe I didn’t fall right down on my face
(I was confused)
Looking everywhere only to find
That it’s not the way I had imagined it all in my mind
(So what am I)
What do I have but negativity
'Cause I can't justify the way everyone is looking at me
(Nothing to lose)
Nothing to gain, hollow and alone
And the fault is my own,the fault is my own

[Repeat Chorus]

I will never know myself until I do this on my own
And I will never feel anything else until my wounds are
healed
I will never be anything till I break away from me
I will break away, I'll find myself today

[Repeat Chorus]

I wanna heal, I wanna feel like I’m somewhere I belong
I wanna heal, I wanna feel like I’m somewhere I belong
Somewhere I belong




5.Red Hot Chili Peppers - Californication Lyrics

Psychic spies from China
Try to steal your mind’s elation
Little girls from Sweden
Dream of silver screen quotations
And if you want these kind of dreams
It’s Californication

It’s the edge of the world
And all of western civilization
The sun may rise in the East
At least it settles in the final location
It’s understood that Hollywood
sells Californication

Pay your surgeon very well
To break the spell of aging
Celebrity skin is this your chin
Or is that war your waging

Chorus:
First born unicorn
Hard core soft porn
Dream of Californication
Dream of Californication

Marry me girl be my fairy to the world
Be my very own constellation
A teenage bride with a baby inside
Getting high on information
And buy me a star on the boulevard
It’s Californication

Space may be the final frontier
But it’s made in a Hollywood basement
Cobain can you hear the spheres
Singing songs off station to station
And Alderon’s not far away
It’s Californication

Born and raised by those who praise
Control of population everybody’s been there
and
I don’t mean on vacation

Chorus

Destruction leads to a very rough road
But it also breeds creation
And earthquakes are to a girl’s guitar
They’re just another good vibration
And tidal waves couldn’t save the world
From Californication

Pay your surgeon very well
To break the spell of aging
Sicker than the rest
There is no test
But this is what you’re craving

Chorus





5.Evanescence - Bring Me To Life Lyrics
{
Featuring Paul McCoy of 12 Stones}
How can you see into my eyes like open doors,
Leading you down into my core, where I've become so numb.
Without a soul, my spirit's sleeping somewhere cold,
Until you find it there and lead it back home.

(Wake me up)
Wake me up inside,
(I can't wake up)
Wake me up inside,
(Save me)
Call my name and save me from the dark.
(Wake me up)
Bid my blood to run,
(I can't wake up)
Before I come undone.
(Save me)
Save me from the nothing I've become.

Now that I know what I'm without,
You can't just leave me.
Breathe into me and make me real.
Bring me to life.

(Wake me up)
Wake me up inside,
(I can't wake up)
Wake me up inside,
(Save me)
Call my name and save me from the dark.
(Wake me up)
Bid my blood to run,
(I can't wake up)
Before I come undone.
(Save me)
Save me from the nothing I've become.
Bring me to life.
(I've been living a lie there's nothing inside.)
Bring me to life

Frozen inside without your touch,
Without your love, darling,
Only you are the life among the dead.

All this time, I can't believe I couldn't see,
Kept in the dark, but you were there in front of me.
I've been sleeping a thousand years it seems.
Got to open my eyes to everything.
Without a thought, without a voice, without a soul,
Don't let me die here.
There must be something more,
Bring me to life.

(Wake me up)
Wake me up inside,
(I can't wake up)
Wake me up inside,
(Save me)
Call my name and save me from the dark.
(Wake me up)
Bid my blood to run,
(I can't wake up)
Before I come undone.
(Save me)
Save me from the nothing I've become.

Bring me to life.
(I've been living a lie there's nothing inside.)

Bring me to life.




6.Evanescence - Going Under Lyrics

Now i will tell you what I've done for you
50 thousand tears I've cried
Screaming, deceiving, and bleeding for you
And you still won't hear me
(I'm going unde-e-e-e-er)
Don't want your hand this time, I'll save myself
Maybe I'll wake up for once (wake up for once)
Not tormented, daily defeated by you
Just when I thought I'd reached the bottom
I'm dying again

I'm going under (going under)
Drowning in you (drowning in you)
I'm falling forever (falling forever)
I've got to break through
I'm going under

Blurring and stirring the truth and the lies
(So I don't know what's real, so I don't know what's real, and
what's not, so I don't know what's real and what's not)
Always confusing the thoughts in my head
So I can't trust myself anymore
I'm dying again

I'm going under (going under)
Drowning in you (drowning in you)
I'm falling forever (falling forever)
I've got to break through

So go on and scream
Scream at me, I'm so far away (so far away)
I won't be broken again
I've got to breathe
I can't keep going under

I'm dying again

I'm going under (going under)
Drowning in you (drowning in you)
I'm falling forever (falling forever)
I've got to break through
I'm going under
Going under (drowning in you)
I'm going under







7.Ronan Keating - When You Say Nothing At All Lyrics


It's amazing
How you can speak
Right to my heart
Without saying a word,
You can light up the dark
Try as I may
I could never explain
What I hear when
You don't say a thing

[CHORUS:]
The smile on your face
Lets me know
That you need me
There's a truth
In your eyes
Saying you'll never leave me
The touch of your hand says
You'll catch me
Whenever I fall
You say it best
When you say
Nothing at all

All day long
I can hear people
Talking out loud
But when you hold me near
You drown out the crowd
(The crowd)
Try as they may
They can never define
What's been said
Between your
Heart and mine

[Repeat chorus twice]

(You say it best
When you say
Nothing at all
You say it best
When you say
Nothing at all)

The smile on your face
The truth in your eyes
The touch of your hand
Let's me know
That you need me

[Repeat chorus]

(You say it best
When you say
Nothing at all
You say it best
When you say
Nothing at all)

The smile on your face
The truth in your eyes
The touch of your hand
Let's me know
That you need me

(You say it best
When you say
Nothing at all
You say it best
When you say
Nothing at all)




8.Roy Orbison - Oh Pretty Woman Lyrics

Pretty woman, walkin' down the street, pretty woman The kind I like to meet, pretty woman I don't
believe you, you're not the truth No one could look
as good as you. Mercy! Pretty woman, Won't you
pardon me? Pretty woman, I couldn't help but see,
pretty woman, that you look lovely as can be. Are you
lonely just like me? Wow! Pretty woman, stop awhile. Pretty woman, talk awhile Pretty woman, give your smile
to me. Pretty woman, yeah, yeah, yeah Pretty woman,
look my way Pretty woman, say you'll stay with me 'Cause I need you, I'll treat you right Come with me baby, be mine tonight Pretty woman,
don't walk on by Pretty woman, don't make me cry
Pretty woman, don't walk away, Hey, O.K. If
that's the way it must be, O.K. I guess I'll go
on home. It's late. There'll be tomorrow night,
but wait! What do I see? Is she walking back to me? Yeah, she's walking back to me, Oh, oh, pretty woman





8.Tatu - All The Things She Said Lyrics

All the things she said
All the things she said
Running through my head
Running through my head
Running through my head
All the things she said
All the things she said
Running through my head
Running through my head
All the things she said
This is not enough

I'm in serious shit, I feel totally lost
If I'm asking for help it's only because
Being with you has opened my eyes
Could I ever believe such a perfect surprise?

I keep asking myself, wondering how
I keep closing my eyes but I can't block you out
Wanna fly to a place where it's just you and me
Nobody else so we can be free

All the things she said
All the things she said
Running through my head
Running through my head
Running through my head
All the things she said
All the things she said
Running through my head
Running through my head
all the things she said
this is not enough
this is not enough
all the things she said
all the things she said
all the things she said
all the things she said
all the things she said
all the things she said
all the things she said

And I'm all mixed up, feeling cornered and rushed
They say it's my fault but I want her so much
Wanna fly her away where the sun and rain
Come in over my face, wash away all the shame
When they stop and stare - don't worry me
'Cause I'm feeling for her what she's feeling for me
I can try to pretend, I can try to forget
But it's driving me mad, going out of my head

All the things she said
All the things she said
Running through my head
Running through my head
Running through my head
All the things she said
All the things she said
Running through my head
Running through my head
all the things she said
this is not enough
this is not enough
all the things she said
all the things she said
all the things she said
all the things she said
all the things she said
all the things she said
all the things she said
all the things she said
all the things she said
all the things she said

Mother looking at me
Tell me what do you see?
Yes, I've lost my mind

Daddy looking at me
Will I ever be free?
Have I crossed the line?


All the things she said
All the things she said
Running through my head
Running through my head
Running through my head
All the things she said
All the things she said
Running through my head
Running through my head
all the things she said
this is not enough
this is not enough
all the things she said
all the things she said
all the things she said
all the things she said
all the things she said
all the things she said






9.Tatu - Not Gonna Get Us Lyrics

Not gonna get us
They're not gonna get us
Not gonna get us
Not gonna get us

Starting from here, let's make a promise
You and me, let's just be honest
We're gonna run, nothing can stop us
Even the night that falls all around us

Soon there will be laughter and voices
Beyond the clouds over the mountains
We'll run away on roads that are empty
Lights from the airfield shining upon you

Nothing can stop us, not now I love ya
They're not gonna get us,
they're not gonna get us
Nothing can stop us, not now I love ya
They're not gonna get us,
they're not gonna get us
They're not gonna get us

Not gonna get us
Not gonna get us

We'll run away, keep everything simple
Night will come down, our guardian angel
We rush ahead, the crossroads are empty
Our spirits rise, they're not gonna get us

My love for you, always forever
Just you and me, all else is nothing
Not going back, not going back there
They don't understand,
They don't understand us

Not gonna get us
Not gonna get us

Nothing can stop us, not now I love ya
They're not gonna get us,
they're not gonna get us
Nothing can stop us, not now I love ya
They're not gonna get us,
they're not gonna get us
They're not gonna get us
They're not gonna get us

Lyrics
Memories consume
Like opening the wound
I'm picking me apart again
You all assume
I'm safe here in my room
Unless I try to start again

I don't want to be the one
The battles always choose
Cause inside I realize
That I'm the one confused

[Chorus]
I don't know what's worth fighting for
Or why I have to scream
I don't know why I instigate
And say what I don't mean
I don't know how I got this way
I know it's not alright
So I'm breaking the habit
I'm breaking the habit tonight

Clutching my cure
I tightly lock the door
I try to catch my breath again
I hurt much more
Than anytime before
I have no options left again

I dont want to be the one
The battles always choose
Cause inside I realize
That I'm the one confused

[Chorus]
I don't know what's worth fighting for
Or why I have to scream
I don't know why I instigate
And say what I don't mean
I don't know how I got this way
I'll never be alright
So, I'm breaking the habit
I'm breaking the habit tonight

I'll paint it on the walls
Cause I'm the one at fault
I'll never fight again
And this is how it ends

[Chorus]
I don't know what's worth fighting for
Or why I have to scream
But now I have some clarity
To show you what I mean
I don't know how I got this way
I'll never be alright
So, I'm breaking the habit
I'm breaking the habit
I’m breaking the habit tonight

Dhoom 2 was interesting idea without doubt, but interesting ideas don’t necessarily translate into interesting, gripping, riveting, spellbinding films.What could’ve been an exhilarating film with pulse-pounding moments, ends up being a run of the mill saga, courtesy a half-baked screenplay.

Director Sanjay Gadhvi tries to camouflage the defect with stylish



execution, hair-raising stunts, eye-filling visuals, but let’s not forget that the moviegoer wants to listen to a captivating story at the end of the day. Everything else is secondary!

The story of DHOOM 2 takes off on an interesting note when Hrithik robs the train in Namibia, who leaves his trademark A there and off to his next mission in Mumbai . The director succeeds in building the excitement vis--vis the Hrithik Roshan character.. The goings-on become interesting, but the pace drops, picks up, drops again in the first half.

However, the pace slackens once the focus shifts to Aishwarya. From here, the story deviates to the romantic track, when she develops a affection for Hrithik, which culminates into love with a kiss. The story comes to a standstill at this juncture.. Also The goings-on are not as terrifying or pulsating as one would’ve expected them to be, thanks to a bland screenplay.

The second half has several unwanted sequences and how one wishes the editor would’ve used the scissors judiciously. For instance, a lengthy drab sequence between Bipasha ,Uday and ABhishek was not required .


The film lacks a haunting score so vital for a genre like this. Cinematography is good. Dialogues are just about okay. Editing is loose.

Casting is one of the film’s strengths. It would be hard to imagine anyone other than Hrithik as the super cool villian. His style is perfect for this role. His arresting performance is sure to sky-rocket his fan-following amongst the youngsters.Aish comes close second.Not only has she looked gorgeous, even her performance is flawless.

Abhishek Bacchan is an absolute miscast in the role of a cop. The role required an actor of calibre and though he tries hard, he does not succeed. In the first half specially, he looks awkward and ill-at-ease. Bipasha looks pretty and does a decent job. Uday is marvellous. His Tapori is sure to bring the house down.

On the whole, DHOOM 2 stands on a weak foundation – the script.The collections have started sliding downward this morning after a great start .

Country : Hong Kong
Year: 2000
Genre: Drama
Running Time: 1H38
Date reviewed: 1/10/2006
Producer: Ye-cheng Cha, William Chang
Director: Wong Kar-Wai

Cast: Tony Leung, Maggie Cheung, Ping Lam Siu, Tung Cho Cheung, Rebecca Pan, Lai Chen, Man-Lei Chan, Kam-wah Koo, Roy Cheung, Chi-ang Chi

Story: Hong Kong, 1962: Chow Mo-wan and Su Li-zhen move onto neighboring apartments on the same day. Their encounters are polite and formal - until a discovery about their respective spouses sparks an intimate bond. At once delicately mannered and visually stunning, Wong Kar-Wai's "In the Mood for Love" is a masterful evocation of romantic longing and fleeting moments in time.
Review: Integrity...
There is something so important about the truthfulness of ones ethics and morals. The fact that no matter what forces its way into your direction, that you'll stand up proud, tough and noble, preventing your inner desires from tripping you from behind and falling down a long stairway far away from grace. There is nothing far worst than facing the inalienable truths in your life on a daily basis, we know this. But what's important is how we succeed in this rather than failing in escaping it.
Some people find fate in true love, while others discover it in coincidence. Personally, I found fate in Wong Kar-Wai's "In the Mood for Love" simply for the coincidence of its two main characters, meeting and falling in love. But a love like theirs, this type of passion has never been explored in any other film. Whereas most films dealing with the subject of love and romance focus on two lovers having an affair and finding perfection in their bond, "In the Mood for Love" concentrates on the rejected and cheated on. Usually, the previous loves are always stereotyped with extreme imperfection in order to rationalize the adulterous acts of the lead, but Kar-Wai gives us a more interesting and complex look at characters that have a heart, who hurt and who do feel pain when discovering the people they have loved have loved another.
Though the "true love, no matter what" theory may be popular with audiences who believe that true love is the only and best love, I've always hated the type of romantic dogma that considers a more perfect love, giving it dimensions and plateaus that can always be left and conquered disregarding any other promises you've made before on behalf of your heart. I agree with it in a sense, but there is something so uncomforting and disturbing about a form of selfishness in love when you embrace a love a better than the one you currently have.
What amazes me the most about "In the Mood for Love" is that Kar-Wai decides to give some integrity and honesty to its characters in the face of emotional treachery? Though both Su Li-zhen (Maggie Cheung) and Chow Mo-wan (Tony Leung) know of their respective partners are having an affair with each other, Cheung and Leung never succumb to an affair of their own in order to exact revenge. Even when an emotional connection builds and they have a love of their own, their sincerity and devotion to each of their marriages remain and retain. It's such an original concept giving two betrayed characters the emotional threshold to be true to themselves and to the promises of their heart.
"We won't be like them" is a recurring theme that is spoken and expressed through the Cheung and Leung's characters. Such a small piece of dialogue that is so powerful in context that it resonates throughout your mind constantly in the picture. You're always wondering if the two will ever let each other fall victim to the same affair their own partners experienced. And after a while of admiring them for their strengths, you almost do throw everything out the window and just hope they get together. Maybe that's the strength of this film, the fact that you candidly hope for all the happiness in the world for these two. That you care so much that, for all their honor and loyalty they have to their husband and wife, that maybe a little sex and lust would help. It's a contradiction that I was ashamed to admit.
Another interesting situation Li-zhen and Mo-wan put themselves in is the role playing of the affair that their partners are having. Even acting out the beginning and how their husband and wife may have met on the streets is almost psychologically sadistic. But what starts out as an innocent pastime of "know and how" becomes the most fascinating and intimate version of living vicariously through play. The dynamics are unbelievable and the layers of every single interaction are so deep, even the mere motion of spooning some hot mustard on another's plate is significant.
Along with the marvelous direction of Wong Kar-Wai, his long time collaborator and friend, Christopher Doyle lends a hand at painting the beautiful and artistically stunning cinematography for "In the Mood for Love." The slow motion montages are eerily beautiful and sadly romantic at the same time, slowly giving the audience pieces of nostalgic ecstasy. These are intertwined with the many scenes of Cheung and Leung hanging about in alleyways, hotel rooms and noodle stands in bleedingly gorgeous colors that drown the picture, leaving no uncolored mark left without the blushes and blemishes of the skillful dreamy eyes of Doyle.
Accompanying Kar-Wai and Doyle are Mike Galasso and Shigeru Umebayashi in the composition of the music and ambience of the film. The score is my current favorite soundtrack that I listen to constantly mostly because I can actually see the film while I'm listening to it. The music is so distinct for many of the scenes that it was as if the notes and sounds were made to be brought together in this particular harmony, laid against the touching and poignant back drops of "In the Mood for Love."
I love the film for its sensitivity and cinematography; I love it even more for everything that it is not. Wong Kar-Wai weaves one of the most remarkable films of his career, something that most will watch and feel that it was made specifically for them. Its one of the best cult movie ever made though it don’t have that Chinese masala to allure people but it have something different and something may be emotional juice which created all magic .

Beset with the overwhelming task of making a worthy follow-up to his whopper of a directorial debut, the notoriously successful Munnabhai MBBS (2003), Rajkumar Hirani revisits the chaotic world of Bombay hustlers Munna and Circuit in Lage Raho Munna Bhai. With Sanjay Dutt and Arshad Warsi reprising the roles of goons with the hearts of gold, Hirani needn't worry. Bolstered by sparkling dialogue and a heart-warming sentiment, Dutt and Warsi's endearing characters and charming comic performances, contribute to making Lage Raho Munna Bhai an exemplary successor.
With his business flourishing, life is good for Munna (Sanjay Dutt). Now though, he has love on his mind, and daily loses himself in the dulcet tones of Radio Jockey Jhanvi (Vidya Balan). Making good use of his dada-giri ways, Munna contrives a way of meeting Jhanvi, who is unwittingly led to believe that Munna is a Professor of History. In the process of rectifying this minor misunderstanding and winning his love, Munna comes face-to-face with a figure from the past.
"EVERYTHING ABOUT THIS FILM WORKS"
In reprising the roles of Munna and Circuit, Dutt and Warsi faithfully don the characters like a second skin and are ably supported by a capable cast, led most notably by Boman Irani, who proffers a characteristically effervescent performance as Munna's money-minded adversary, Lucky Singh. Everything about this film works: the inventive story-telling; the uplifting song sequences set amidst a theatrical landscape of circus clowns and dancing elephants; the sparkling comedy complemented by moments of tenderness and endearing innocence.
It's rare to see a film that bounces between humour and sentiment so seamlessly. And it is rarer still to see characters become etched in the memory so enduringly that audiences become almost protective of them. It's testimony both to the quality of the writing and the performances, that Munna and Circuit have taken on a life of their own. Lage Raho Munna Bhai is the ultimate in feel-good cinema that leaves you feeling like anything is possible.
In Hindi with English subtitles.
End Credits
Director: Rajkumar Hirani
Writer: Sunil Munshi
Stars: Sanjay Dutt, Arshad Warsi, Boman Irani, Vidya Balan, Diya Mirza, JimBeset with the overwhelming task of making a worthy follow-up to his whopper of a directorial debut, the notoriously successful Munnabhai MBBS (2003), Rajkumar Hirani revisits the chaotic world of Bombay hustlers Munna and Circuit in Lage Raho Munna Bhai. With Sanjay Dutt and Arshad Warsi reprising the roles of goons with the hearts of gold, Hirani needn't worry. Bolstered by sparkling dialogue and a heart-warming sentiment, Dutt and Warsi's endearing characters and charming comic performances, contribute to making Lage Raho Munna Bhai an exemplary successor.
With his business flourishing, life is good for Munna (Sanjay Dutt). Now though, he has love on his mind, and daily loses himself in the dulcet tones of Radio Jockey Jhanvi (Vidya Balan). Making good use of his dada-giri ways, Munna contrives a way of meeting Jhanvi, who is unwittingly led to believe that Munna is a Professor of History. In the process of rectifying this minor misunderstanding and winning his love, Munna comes face-to-face with a figure from the past.
"EVERYTHING ABOUT THIS FILM WORKS"
In reprising the roles of Munna and Circuit, Dutt and Warsi faithfully don the characters like a second skin and are ably supported by a capable cast, led most notably by Boman Irani, who proffers a characteristically effervescent performance as Munna's money-minded adversary, Lucky Singh. Everything about this film works: the inventive story-telling; the uplifting song sequences set amidst a theatrical landscape of circus clowns and dancing elephants; the sparkling comedy complemented by moments of tenderness and endearing innocence.
It's rare to see a film that bounces between humour and sentiment so seamlessly. And it is rarer still to see characters become etched in the memory so enduringly that audiences become almost protective of them. It's testimony both to the quality of the writing and the performances, that Munna and Circuit have taken on a life of their own. Lage Raho Munna Bhai is the ultimate in feel-good cinema that leaves you feeling like anything is possible.
In Hindi with English subtitles.
End Credits
Director: Rajkumar Hirani
Writer: Sunil Munshi
Stars: Sanjay Dutt, Arshad Warsi, Boman Irani, Vidya Balan, Diya Mirza, Jimmy Shergill
Genre: Comedy, Bollywood
Length: 128 minutes
Cinema: 25 August 2006
Country: India

Genre: Comedy, Bollywood
Length: 128 minutes
Cinema: 25 August 2006
Country: India

Vishal Bhardwaj's Omkara is a flawed but worthwhile attempt to transfer Othello to the modern setting of Uttar Pradesh in India, and to render the story in a Bollywood style. It is appropriate, because Bollywood, with its liking for ingenuous fantasy and romance, has often seemed to me to resemble in style nothing so much as a late Shakespeare play. Ajay Devgan is Omkara, the Othello-figure who rises to power in the murky world of regional politics. He is a "half-caste" who has the temerity to marry Dolly (Kareena Kapoor), the beautiful Desdemona-figure. The Iago character is Langda (Saif Ali Khan), furious when Omkara promotes Kesu (Vivek Oberoi) ahead of him, and pours his poisonous calumnies in his ear. Perhaps the poetry of the original is neglected, but not its fervency.

Omkara’s soundtrack reflects the Utter Pradesh flavour very well.

What makes the soundtrack of Omkara unique is that every song is a story or an intense emotion, not a mere filler or excuse for jumping and dancing around trees.
Sukhwinder Singh introduces to
the dread and glory of’ sabse bade ladiya ’ (the greatest warrior) Omkara with such magnificence that you cannot help but fall hook, line and sinker for the thumping grandeur of this performance. I will bet that you shall play the song over and over again before moving onto the next track.

Even as you recover from the repeat value of the title track, the music director thrusts you with the velvety and mellifluous O saathi re . Sung by Bharadwaj himself along with Shreya Ghosal, this romantic duet does complete justice to Gulzar’s unmatched poetic lyrics.

Beedi’s colourful lyrics -- kitni sardi hai kisika lihaal layile, jaa padosi ke chulhe ki aag layile -- engross you with their uninhibited, rustic mischief. Coupled with Vishal’s flamboyance and Sunidhi Chauhan and Sukhwinder Singh’s fiery rendition, Beedi lights the fire good and proper.

Suresh Wadkar justifies his presence in the wake-up lullaby, Jag ja . Layered with tender flute, subtle piano and dreamy verse, Jag ja has the air of untainted innocence and loving indulgence.

Namak is Rekha Bharadwaj’s teasing ode to lust. Based on a traditional and classical music piece, this (a little raunchy) song is a tad too loud for its own good.

Rahat Fateh Ali Khan waxes eloquent on deception through the metaphor of a woman’s eyes. A punjabi folk song, Naina articulates the theme of Omkara , jealousy and suspicion extremely well. The emotion this song evokes is simply unmatched. I bet

you wouldn’t proceed to the next number without playing this song at least twice.

Laakad is a very dark and gloomy number. Rekha Bharadwaj is excellent again.

The album concludes again on a dark note with the instrumental The tragedy of Omkara .

To conclude, Omkara rocks! A MUST HAVE album to any music aficionado

kank
KABHI ALVIDA NAA KEHNA has generated tremendous heat within and outside the film industry. It's not the star cast alone that has resulted in unparalleled, unmatched and unprecedented craze for the film. It's also the person seated on the director's chair that makes KABHI ALVIDA NAA KEHNA special. Very special.

With KUCH KUCH HOTA HAI and KABHI KHUSHI KABHIE GHAM, his directorial accomplishments, Karan Johar has set such high standards that an all-important question crosses your mind as you walk into the screening: Will Karan surpass his own achievements with KABHI ALVIDA NAA KEHNA?
KABHI ALVIDA NAA KEHNA is also an acid test for Karan for yet another reason. It's the first time that Karan has changed tracks. Agreed, the supremely talented director has tackled romance and relationships in the past, but KABHI ALVIDA NAA KEHNA goes a step further. It takes a bold look at relationships and makes an equally bold statement on the institution of marriage.

Just don't expect KABHI ALVIDA NAA KEHNA to be a typical candyfloss entertainer. Or an archetypal fare that Bollywood is known for. In those 3.06 hours/22 reels, Karan packs in some solid stuff. And the conclusion to the story is bound to hit the orthodox elements hard. A film like KABHI ALVIDA NAA KEHNA is sure to have its share of advocates and adversaries no doubt, but it's a film that has the courage to say what it believes in.

There are bound to be comparisons with films of similar genre. But let's put certain myths to rest at the very outset. The story revolves around two couples, but it's not CLOSER [Julia Roberts, Jude Law, Natalie Portman, Clive Owen], it's not SILSILA either. The speculation should end there. Karan's take on relationships is fresh, bold and innovative. It takes you by surprise. It shocks you as well. And it's also trend-setting.

Frankly, a film like KABHI ALVIDA NAA KEHNA is akin to a big gamble. The subject matter has to be treated cautiously and delicately, or else it can boomerang badly. It might even hurt the sensibilities if entrusted in wrong hands. But Karan's skilled directorial abilities take the film to a different level altogether. The film charters a novel path as it progresses and gets bolder gradually.

In a nutshell, KABHI ALVIDA NAA KEHNA bears the unmistakable stamp of a genius -- Karan Johar. The master storyteller only polishes his skills further, proving yet again that he's a forward-thinker and also, a progressive storyteller.

KABHI ALVIDA NAA KEHNA narrates the story of two families -- Sarans and Talwars -- both not connected to one another. But circumstances bring them together. Dev Saran [Shah Rukh Khan] has an uneasy and troubled relationship with his wife Rhea [Preity Zinta] and son Arjun [child artist Ahsaas]. He resents his wife's growing success and in the process, ends up turning all his anger towards his loved ones.

Maya Talwar's [Rani Mukherji] relationship with her husband Rishi [Abhishek Bachchan] is layered with a lot of self-doubt and question. She is unable to whip up enough passion for Rishi and is disappointed that her love for him does not match her own expectations of what it ought to be. This dilemma pulls her further apart from him, thereby causing a strain on their marital life.

One fine day, Dev and Maya's path cross each other…

KABHI ALVIDA NAA KEHNA starts like a nice romantic drama, with Abhishek getting married to his childhood sweetheart and SRK talking to his wife about the $ 5 million deal after he has won a game of soccer. But minutes later, the film does a 180-degree turn and establishes the friction between the two couples.

The tension between the couples surfaces gradually, but reaches the crescendo 20 minutes before intermission. The spat between SRK and Preity on one hand [Preity: “I wear the pants in this house”], followed by the heated argument between Abhishek and Rani [Abhishek: “You can't even bear a child”] is amongst the most remarkable portions in the film. These sequences hit you like a ton of bricks!

It's not that the first half is laced with tense-filled moments. In fact, the first hour-and-a-half has light portions in abundance. Amitabh Bachchan's philandering lifestyle provides ample moments of laughter and of course, eye-candy, what with some gorgeous firang babes jumping out of the closet.

In the post-interval portions, infidelities occur, betrayals are discovered and the couples' worlds go upside down. The sequence at the dinner [Sr. Bachchan hosts a sit-down dinner on Kiron Kher's birthday], when SRK expresses his feelings, or when SRK opens up to Preity and Rani to Abhishek about the affairs are master strokes from the writing and execution point of view. Note another scene: SRK waiting with a bouquet of roses for Rani and by a sheer coincidence, Preity walks in at that time at the signal crossing. This sequence [it depends on treatment alone] deserves distinction marks.

The end is powerful, but disturbing. Disturbing for those who believe in the age-old traditions. The film moves about in a serpentine fashion. Just when you thought that the couples have decided to go separate ways, there's another twist in the tale and yet another, in the end.

Karan Johar takes colossal strides as a storyteller. Films like K.K.H.H. and K.K.K.G. were the tip of the iceberg. Karan's take on relationships and marriages is refreshingly different because there's tremendous identification with the characters. You see it happening all around you these days. Technically too, this is Karan's finest work to date; he balances style and substance beautifully.

KABHI ALVIDA NAA KEHNA is not a date film and the writers [Karan Johar, Shibani Bathija] spell it out at the very outset. The screenplay balances the two extremes -- light moments and dollops of emotions -- with amazing ease. The relationship between the couples or even those between the parent and child [the Bachchans] is delicately handled. If there are moments that move you to tears, there are ample moments that bring a smile to your face as well. Another noteworthy aspect is its forthright dialogues [Niranjan Iyengar]. The lines sound straight of life and there also exist a host of interesting observations. Yes

The wait has finally ended!

KABHI ALVIDA NAA KEHNA has generated tremendous heat within and outside the film industry. It's not the star cast alone that has resulted in unparalleled, unmatched and unprecedented craze for the film. It's also the person seated on the director's chair that makes KABHI ALVIDA NAA KEHNA special. Very special.

With KUCH KUCH HOTA HAI and KABHI KHUSHI KABHIE GHAM, his directorial accomplishments, Karan Johar has set such high standards that an all-important question crosses your mind as you walk into the screening: Will Karan surpass his own achievements with KABHI ALVIDA NAA KEHNA?
KABHI ALVIDA NAA KEHNA is also an acid test for Karan for yet another reason. It's the first time that Karan has changed tracks. Agreed, the supremely talented director has tackled romance and relationships in the past, but KABHI ALVIDA NAA KEHNA goes a step further. It takes a bold look at relationships and makes an equally bold statement on the institution of marriage.

Just don't expect KABHI ALVIDA NAA KEHNA to be a typical candyfloss entertainer. Or an archetypal fare that Bollywood is known for. In those 3.06 hours/22 reels, Karan packs in some solid stuff. And the conclusion to the story is bound to hit the orthodox elements hard. A film like KABHI ALVIDA NAA KEHNA is sure to have its share of advocates and adversaries no doubt, but it's a film that has the courage to say what it believes in.

There are bound to be comparisons with films of similar genre. But let's put certain myths to rest at the very outset. The story revolves around two couples, but it's not CLOSER [Julia Roberts, Jude Law, Natalie Portman, Clive Owen], it's not SILSILA either. The speculation should end there. Karan's take on relationships is fresh, bold and innovative. It takes you by surprise. It shocks you as well. And it's also trend-setting.

Frankly, a film like KABHI ALVIDA NAA KEHNA is akin to a big gamble. The subject matter has to be treated cautiously and delicately, or else it can boomerang badly. It might even hurt the sensibilities if entrusted in wrong hands. But Karan's skilled directorial abilities take the film to a different level altogether. The film charters a novel path as it progresses and gets bolder gradually.

In a nutshell, KABHI ALVIDA NAA KEHNA bears the unmistakable stamp of a genius -- Karan Johar. The master storyteller only polishes his skills further, proving yet again that he's a forward-thinker and also, a progressive storyteller.

KABHI ALVIDA NAA KEHNA narrates the story of two families -- Sarans and Talwars -- both not connected to one another. But circumstances bring them together. Dev Saran [Shah Rukh Khan] has an uneasy and troubled relationship with his wife Rhea [Preity Zinta] and son Arjun [child artist Ahsaas]. He resents his wife's growing success and in the process, ends up turning all his anger towards his loved ones.

Maya Talwar's [Rani Mukherji] relationship with her husband Rishi [Abhishek Bachchan] is layered with a lot of self-doubt and question. She is unable to whip up enough passion for Rishi and is disappointed that her love for him does not match her own expectations of what it ought to be. This dilemma pulls her further apart from him, thereby causing a strain on their marital life.

One fine day, Dev and Maya's path cross each other…

KABHI ALVIDA NAA KEHNA starts like a nice romantic drama, with Abhishek getting married to his childhood sweetheart and SRK talking to his wife about the $ 5 million deal after he has won a game of soccer. But minutes later, the film does a 180-degree turn and establishes the friction between the two couples.

The tension between the couples surfaces gradually, but reaches the crescendo 20 minutes before intermission. The spat between SRK and Preity on one hand [Preity: “I wear the pants in this house”], followed by the heated argument between Abhishek and Rani [Abhishek: “You can't even bear a child”] is amongst the most remarkable portions in the film. These sequences hit you like a ton of bricks!

It's not that the first half is laced with tense-filled moments. In fact, the first hour-and-a-half has light portions in abundance. Amitabh Bachchan's philandering lifestyle provides ample moments of laughter and of course, eye-candy, what with some gorgeous firang babes jumping out of the closet.

In the post-interval portions, infidelities occur, betrayals are discovered and the couples' worlds go upside down. The sequence at the dinner [Sr. Bachchan hosts a sit-down dinner on Kiron Kher's birthday], when SRK expresses his feelings, or when SRK opens up to Preity and Rani to Abhishek about the affairs are master strokes from the writing and execution point of view. Note another scene: SRK waiting with a bouquet of roses for Rani and by a sheer coincidence, Preity walks in at that time at the signal crossing. This sequence [it depends on treatment alone] deserves distinction marks.

The end is powerful, but disturbing. Disturbing for those who believe in the age-old traditions. The film moves about in a serpentine fashion. Just when you thought that the couples have decided to go separate ways, there's another twist in the tale and yet another, in the end.

Karan Johar takes colossal strides as a storyteller. Films like K.K.H.H. and K.K.K.G. were the tip of the iceberg. Karan's take on relationships and marriages is refreshingly different because there's tremendous identification with the characters. You see it happening all around you these days. Technically too, this is Karan's finest work to date; he balances style and substance beautifully.

KABHI ALVIDA NAA KEHNA is not a date film and the writers [Karan Johar, Shibani Bathija] spell it out at the very outset. The screenplay balances the two extremes -- light moments and dollops of emotions -- with amazing ease. The relationship between the couples or even those between the parent and child [the Bachchans] is delicately handled. If there are moments that move you to tears, there are ample moments that bring a smile to your face as well. Another noteworthy aspect is its forthright dialogues [Niranjan Iyengar]. The lines sound straight of life and there also exist a host of interesting observations. Yes, the film is talky, but in a smart way. You never feel that the characters are talking to hear their own words or to fill up screen time.

Anil Mehta's cinematography is awesome. The film has been filmed in New York and the lensman captures the various seasons and colors with gusto. The outcome is easily comparable to the best in Hollywood. Shankar-Ehsaan-Loy's music is melodious. 'Mitwa', 'Rock N Roll Soniye' and 'Where's The Party Tonite' appeal also due to the vibrant choreography [Farah Khan]. The styling and the production values are topnotch. Editing could be tighter. A bit of trimming, in the first half mainly, would only sparkle the film further.

In KABHI ALVIDA NAA KEHNA, the actors get a chance to shine and no one shines brighter than Shah Rukh Khan. Let's just state one thing here: This is SRK's finest work after D.D.L.J. His sequences with Preity specifically, when the couple has their spats, or in the climax, when he just stares at Rani from inside the train, proves that he's undoubtedly the best in the business. The ferocity with which he delivers his lines and the restless energy he imparts to his character electrifies every scene that he's in.

Rani is remarkable yet again. In fact, if you consider BLACK to be her most memorable performance so far, then watch her in KABHI ALVIDA NAA KEHNA. This surpasses her work in BLACK or VEER-ZAARA and PAHELI. Her makeup as well as her overall appearance is tremendous. She's never looked as good before!

It would be unfair to describe either Abhishek Bachchan or Preity Zinta's performances as 'lesser'. Abhishek is brilliant, especially when he gets serious towards the end. His penultimate sequence, when he gives a golden advice to Rani, is outstanding. Preity not only looks gorgeous, but the dedication to her role shows at vital points. Her penultimate scene with Rani, when she confronts her at the marriage reception, is fabulous.

Amitabh Bachchan is in superb form. The naughty streak that he displays soon disappears in the second half, when he realizes that something is amiss. In fact, his expressions at the dinner first and also in the hospital only reiterates the fact that he's an icon. Kirron Kher excels in a brief but significant role. Arjun Rampal looks perfect for the part. Kajol and John Abraham [both appear in songs] add to the glamour quotient. Child artist Ahsaas looks cute and acts well.

On the whole, KABHI ALVIDA NAA KEHNA is an outstanding film from the writing, performance and execution point of view. It has style, substance, it takes challenges and doesn't follow formulas -- and that is its biggest strength. At the box-office, the film will embark on a hurricane-like start, establishing new records in days to come. The first weekend will be superb, while the weekdays [15th and 16th August is also holidays] will result in a record-shattering first week billing. With no opposition in sight for the next few weeks, KABHI ALVIDA NAA KEHNA will have a dream run at the box-office. Its business in Overseas will also be remarkable. Has the potential to prove the biggest money spinner in this territory, the film is talky, but in a smart way. You never feel that the characters are talking to hear their own words or to fill up screen time.

Anil Mehta's cinematography is awesome. The film has been filmed in New York and the lensman captures the various seasons and colors with gusto. The outcome is easily comparable to the best in Hollywood. Shankar-Ehsaan-Loy's music is melodious. 'Mitwa', 'Rock N Roll Soniye' and 'Where's The Party Tonite' appeal also due to the vibrant choreography [Farah Khan]. The styling and the production values are topnotch. Editing could be tighter. A bit of trimming, in the first half mainly, would only sparkle the film further.

In KABHI ALVIDA NAA KEHNA, the actors get a chance to shine and no one shines brighter than Shah Rukh Khan. Let's just state one thing here: This is SRK's finest work after D.D.L.J. His sequences with Preity specifically, when the couple has their spats, or in the climax, when he just stares at Rani from inside the train, proves that he's undoubtedly the best in the business. The ferocity with which he delivers his lines and the restless energy he imparts to his character electrifies every scene that he's in.

Rani is remarkable yet again. In fact, if you consider BLACK to be her most memorable performance so far, then watch her in KABHI ALVIDA NAA KEHNA. This surpasses her work in BLACK or VEER-ZAARA and PAHELI. Her makeup as well as her overall appearance is tremendous. She's never looked as good before!

It would be unfair to describe either Abhishek Bachchan or Preity Zinta's performances as 'lesser'. Abhishek is brilliant, especially when he gets serious towards the end. His penultimate sequence, when he gives a golden advice to Rani, is outstanding. Preity not only looks gorgeous, but the dedication to her role shows at vital points. Her penultimate scene with Rani, when she confronts her at the marriage reception, is fabulous.

Amitabh Bachchan is in superb form. The naughty streak that he displays soon disappears in the second half, when he realizes that something is amiss. In fact, his expressions at the dinner first and also in the hospital only reiterates the fact that he's an icon. Kirron Kher excels in a brief but significant role. Arjun Rampal looks perfect for the part. Kajol and John Abraham [both appear in songs] add to the glamour quotient. Child artist Ahsaas looks cute and acts well.

On the whole, KABHI ALVIDA NAA KEHNA is an outstanding film from the writing, performance and execution point of view. It has style, substance, it takes challenges and doesn't follow formulas -- and that is its biggest strength. At the box-office, the film will embark on a hurricane-like start, establishing new records in days to come. The first weekend will be superb, while the weekdays [15th and 16th August is also holidays] will result in a record-shattering first week billing. With no opposition in sight for the next few weeks, KABHI ALVIDA NAA KEHNA will have a dream run at the box-office. Its business in Overseas will also be remarkable. Has the potential to prove the biggest money spinner in this territory.

kank
KABHI ALVIDA NAA KEHNA has generated tremendous heat within and outside the film industry. It's not the star cast alone that has resulted in unparalleled, unmatched and unprecedented craze for the film. It's also the person seated on the director's chair that makes KABHI ALVIDA NAA KEHNA special. Very special.

With KUCH KUCH HOTA HAI and KABHI KHUSHI KABHIE GHAM, his directorial accomplishments, Karan Johar has set such high standards that an all-important question crosses your mind as you walk into the screening: Will Karan surpass his own achievements with KABHI ALVIDA NAA KEHNA?
KABHI ALVIDA NAA KEHNA is also an acid test for Karan for yet another reason. It's the first time that Karan has changed tracks. Agreed, the supremely talented director has tackled romance and relationships in the past, but KABHI ALVIDA NAA KEHNA goes a step further. It takes a bold look at relationships and makes an equally bold statement on the institution of marriage.

Just don't expect KABHI ALVIDA NAA KEHNA to be a typical candyfloss entertainer. Or an archetypal fare that Bollywood is known for. In those 3.06 hours/22 reels, Karan packs in some solid stuff. And the conclusion to the story is bound to hit the orthodox elements hard. A film like KABHI ALVIDA NAA KEHNA is sure to have its share of advocates and adversaries no doubt, but it's a film that has the courage to say what it believes in.

There are bound to be comparisons with films of similar genre. But let's put certain myths to rest at the very outset. The story revolves around two couples, but it's not CLOSER [Julia Roberts, Jude Law, Natalie Portman, Clive Owen], it's not SILSILA either. The speculation should end there. Karan's take on relationships is fresh, bold and innovative. It takes you by surprise. It shocks you as well. And it's also trend-setting.

Frankly, a film like KABHI ALVIDA NAA KEHNA is akin to a big gamble. The subject matter has to be treated cautiously and delicately, or else it can boomerang badly. It might even hurt the sensibilities if entrusted in wrong hands. But Karan's skilled directorial abilities take the film to a different level altogether. The film charters a novel path as it progresses and gets bolder gradually.

In a nutshell, KABHI ALVIDA NAA KEHNA bears the unmistakable stamp of a genius -- Karan Johar. The master storyteller only polishes his skills further, proving yet again that he's a forward-thinker and also, a progressive storyteller.

KABHI ALVIDA NAA KEHNA narrates the story of two families -- Sarans and Talwars -- both not connected to one another. But circumstances bring them together. Dev Saran [Shah Rukh Khan] has an uneasy and troubled relationship with his wife Rhea [Preity Zinta] and son Arjun [child artist Ahsaas]. He resents his wife's growing success and in the process, ends up turning all his anger towards his loved ones.

Maya Talwar's [Rani Mukherji] relationship with her husband Rishi [Abhishek Bachchan] is layered with a lot of self-doubt and question. She is unable to whip up enough passion for Rishi and is disappointed that her love for him does not match her own expectations of what it ought to be. This dilemma pulls her further apart from him, thereby causing a strain on their marital life.

One fine day, Dev and Maya's path cross each other…

KABHI ALVIDA NAA KEHNA starts like a nice romantic drama, with Abhishek getting married to his childhood sweetheart and SRK talking to his wife about the $ 5 million deal after he has won a game of soccer. But minutes later, the film does a 180-degree turn and establishes the friction between the two couples.

The tension between the couples surfaces gradually, but reaches the crescendo 20 minutes before intermission. The spat between SRK and Preity on one hand [Preity: “I wear the pants in this house”], followed by the heated argument between Abhishek and Rani [Abhishek: “You can't even bear a child”] is amongst the most remarkable portions in the film. These sequences hit you like a ton of bricks!

It's not that the first half is laced with tense-filled moments. In fact, the first hour-and-a-half has light portions in abundance. Amitabh Bachchan's philandering lifestyle provides ample moments of laughter and of course, eye-candy, what with some gorgeous firang babes jumping out of the closet.

In the post-interval portions, infidelities occur, betrayals are discovered and the couples' worlds go upside down. The sequence at the dinner [Sr. Bachchan hosts a sit-down dinner on Kiron Kher's birthday], when SRK expresses his feelings, or when SRK opens up to Preity and Rani to Abhishek about the affairs are master strokes from the writing and execution point of view. Note another scene: SRK waiting with a bouquet of roses for Rani and by a sheer coincidence, Preity walks in at that time at the signal crossing. This sequence [it depends on treatment alone] deserves distinction marks.

The end is powerful, but disturbing. Disturbing for those who believe in the age-old traditions. The film moves about in a serpentine fashion. Just when you thought that the couples have decided to go separate ways, there's another twist in the tale and yet another, in the end.

Karan Johar takes colossal strides as a storyteller. Films like K.K.H.H. and K.K.K.G. were the tip of the iceberg. Karan's take on relationships and marriages is refreshingly different because there's tremendous identification with the characters. You see it happening all around you these days. Technically too, this is Karan's finest work to date; he balances style and substance beautifully.

KABHI ALVIDA NAA KEHNA is not a date film and the writers [Karan Johar, Shibani Bathija] spell it out at the very outset. The screenplay balances the two extremes -- light moments and dollops of emotions -- with amazing ease. The relationship between the couples or even those between the parent and child [the Bachchans] is delicately handled. If there are moments that move you to tears, there are ample moments that bring a smile to your face as well. Another noteworthy aspect is its forthright dialogues [Niranjan Iyengar]. The lines sound straight of life and there also exist a host of interesting observations. Yes

The wait has finally ended!

KABHI ALVIDA NAA KEHNA has generated tremendous heat within and outside the film industry. It's not the star cast alone that has resulted in unparalleled, unmatched and unprecedented craze for the film. It's also the person seated on the director's chair that makes KABHI ALVIDA NAA KEHNA special. Very special.

With KUCH KUCH HOTA HAI and KABHI KHUSHI KABHIE GHAM, his directorial accomplishments, Karan Johar has set such high standards that an all-important question crosses your mind as you walk into the screening: Will Karan surpass his own achievements with KABHI ALVIDA NAA KEHNA?
KABHI ALVIDA NAA KEHNA is also an acid test for Karan for yet another reason. It's the first time that Karan has changed tracks. Agreed, the supremely talented director has tackled romance and relationships in the past, but KABHI ALVIDA NAA KEHNA goes a step further. It takes a bold look at relationships and makes an equally bold statement on the institution of marriage.

Just don't expect KABHI ALVIDA NAA KEHNA to be a typical candyfloss entertainer. Or an archetypal fare that Bollywood is known for. In those 3.06 hours/22 reels, Karan packs in some solid stuff. And the conclusion to the story is bound to hit the orthodox elements hard. A film like KABHI ALVIDA NAA KEHNA is sure to have its share of advocates and adversaries no doubt, but it's a film that has the courage to say what it believes in.

There are bound to be comparisons with films of similar genre. But let's put certain myths to rest at the very outset. The story revolves around two couples, but it's not CLOSER [Julia Roberts, Jude Law, Natalie Portman, Clive Owen], it's not SILSILA either. The speculation should end there. Karan's take on relationships is fresh, bold and innovative. It takes you by surprise. It shocks you as well. And it's also trend-setting.

Frankly, a film like KABHI ALVIDA NAA KEHNA is akin to a big gamble. The subject matter has to be treated cautiously and delicately, or else it can boomerang badly. It might even hurt the sensibilities if entrusted in wrong hands. But Karan's skilled directorial abilities take the film to a different level altogether. The film charters a novel path as it progresses and gets bolder gradually.

In a nutshell, KABHI ALVIDA NAA KEHNA bears the unmistakable stamp of a genius -- Karan Johar. The master storyteller only polishes his skills further, proving yet again that he's a forward-thinker and also, a progressive storyteller.

KABHI ALVIDA NAA KEHNA narrates the story of two families -- Sarans and Talwars -- both not connected to one another. But circumstances bring them together. Dev Saran [Shah Rukh Khan] has an uneasy and troubled relationship with his wife Rhea [Preity Zinta] and son Arjun [child artist Ahsaas]. He resents his wife's growing success and in the process, ends up turning all his anger towards his loved ones.

Maya Talwar's [Rani Mukherji] relationship with her husband Rishi [Abhishek Bachchan] is layered with a lot of self-doubt and question. She is unable to whip up enough passion for Rishi and is disappointed that her love for him does not match her own expectations of what it ought to be. This dilemma pulls her further apart from him, thereby causing a strain on their marital life.

One fine day, Dev and Maya's path cross each other…

KABHI ALVIDA NAA KEHNA starts like a nice romantic drama, with Abhishek getting married to his childhood sweetheart and SRK talking to his wife about the $ 5 million deal after he has won a game of soccer. But minutes later, the film does a 180-degree turn and establishes the friction between the two couples.

The tension between the couples surfaces gradually, but reaches the crescendo 20 minutes before intermission. The spat between SRK and Preity on one hand [Preity: “I wear the pants in this house”], followed by the heated argument between Abhishek and Rani [Abhishek: “You can't even bear a child”] is amongst the most remarkable portions in the film. These sequences hit you like a ton of bricks!

It's not that the first half is laced with tense-filled moments. In fact, the first hour-and-a-half has light portions in abundance. Amitabh Bachchan's philandering lifestyle provides ample moments of laughter and of course, eye-candy, what with some gorgeous firang babes jumping out of the closet.

In the post-interval portions, infidelities occur, betrayals are discovered and the couples' worlds go upside down. The sequence at the dinner [Sr. Bachchan hosts a sit-down dinner on Kiron Kher's birthday], when SRK expresses his feelings, or when SRK opens up to Preity and Rani to Abhishek about the affairs are master strokes from the writing and execution point of view. Note another scene: SRK waiting with a bouquet of roses for Rani and by a sheer coincidence, Preity walks in at that time at the signal crossing. This sequence [it depends on treatment alone] deserves distinction marks.

The end is powerful, but disturbing. Disturbing for those who believe in the age-old traditions. The film moves about in a serpentine fashion. Just when you thought that the couples have decided to go separate ways, there's another twist in the tale and yet another, in the end.

Karan Johar takes colossal strides as a storyteller. Films like K.K.H.H. and K.K.K.G. were the tip of the iceberg. Karan's take on relationships and marriages is refreshingly different because there's tremendous identification with the characters. You see it happening all around you these days. Technically too, this is Karan's finest work to date; he balances style and substance beautifully.

KABHI ALVIDA NAA KEHNA is not a date film and the writers [Karan Johar, Shibani Bathija] spell it out at the very outset. The screenplay balances the two extremes -- light moments and dollops of emotions -- with amazing ease. The relationship between the couples or even those between the parent and child [the Bachchans] is delicately handled. If there are moments that move you to tears, there are ample moments that bring a smile to your face as well. Another noteworthy aspect is its forthright dialogues [Niranjan Iyengar]. The lines sound straight of life and there also exist a host of interesting observations. Yes, the film is talky, but in a smart way. You never feel that the characters are talking to hear their own words or to fill up screen time.

Anil Mehta's cinematography is awesome. The film has been filmed in New York and the lensman captures the various seasons and colors with gusto. The outcome is easily comparable to the best in Hollywood. Shankar-Ehsaan-Loy's music is melodious. 'Mitwa', 'Rock N Roll Soniye' and 'Where's The Party Tonite' appeal also due to the vibrant choreography [Farah Khan]. The styling and the production values are topnotch. Editing could be tighter. A bit of trimming, in the first half mainly, would only sparkle the film further.

In KABHI ALVIDA NAA KEHNA, the actors get a chance to shine and no one shines brighter than Shah Rukh Khan. Let's just state one thing here: This is SRK's finest work after D.D.L.J. His sequences with Preity specifically, when the couple has their spats, or in the climax, when he just stares at Rani from inside the train, proves that he's undoubtedly the best in the business. The ferocity with which he delivers his lines and the restless energy he imparts to his character electrifies every scene that he's in.

Rani is remarkable yet again. In fact, if you consider BLACK to be her most memorable performance so far, then watch her in KABHI ALVIDA NAA KEHNA. This surpasses her work in BLACK or VEER-ZAARA and PAHELI. Her makeup as well as her overall appearance is tremendous. She's never looked as good before!

It would be unfair to describe either Abhishek Bachchan or Preity Zinta's performances as 'lesser'. Abhishek is brilliant, especially when he gets serious towards the end. His penultimate sequence, when he gives a golden advice to Rani, is outstanding. Preity not only looks gorgeous, but the dedication to her role shows at vital points. Her penultimate scene with Rani, when she confronts her at the marriage reception, is fabulous.

Amitabh Bachchan is in superb form. The naughty streak that he displays soon disappears in the second half, when he realizes that something is amiss. In fact, his expressions at the dinner first and also in the hospital only reiterates the fact that he's an icon. Kirron Kher excels in a brief but significant role. Arjun Rampal looks perfect for the part. Kajol and John Abraham [both appear in songs] add to the glamour quotient. Child artist Ahsaas looks cute and acts well.

On the whole, KABHI ALVIDA NAA KEHNA is an outstanding film from the writing, performance and execution point of view. It has style, substance, it takes challenges and doesn't follow formulas -- and that is its biggest strength. At the box-office, the film will embark on a hurricane-like start, establishing new records in days to come. The first weekend will be superb, while the weekdays [15th and 16th August is also holidays] will result in a record-shattering first week billing. With no opposition in sight for the next few weeks, KABHI ALVIDA NAA KEHNA will have a dream run at the box-office. Its business in Overseas will also be remarkable. Has the potential to prove the biggest money spinner in this territory, the film is talky, but in a smart way. You never feel that the characters are talking to hear their own words or to fill up screen time.

Anil Mehta's cinematography is awesome. The film has been filmed in New York and the lensman captures the various seasons and colors with gusto. The outcome is easily comparable to the best in Hollywood. Shankar-Ehsaan-Loy's music is melodious. 'Mitwa', 'Rock N Roll Soniye' and 'Where's The Party Tonite' appeal also due to the vibrant choreography [Farah Khan]. The styling and the production values are topnotch. Editing could be tighter. A bit of trimming, in the first half mainly, would only sparkle the film further.

In KABHI ALVIDA NAA KEHNA, the actors get a chance to shine and no one shines brighter than Shah Rukh Khan. Let's just state one thing here: This is SRK's finest work after D.D.L.J. His sequences with Preity specifically, when the couple has their spats, or in the climax, when he just stares at Rani from inside the train, proves that he's undoubtedly the best in the business. The ferocity with which he delivers his lines and the restless energy he imparts to his character electrifies every scene that he's in.

Rani is remarkable yet again. In fact, if you consider BLACK to be her most memorable performance so far, then watch her in KABHI ALVIDA NAA KEHNA. This surpasses her work in BLACK or VEER-ZAARA and PAHELI. Her makeup as well as her overall appearance is tremendous. She's never looked as good before!

It would be unfair to describe either Abhishek Bachchan or Preity Zinta's performances as 'lesser'. Abhishek is brilliant, especially when he gets serious towards the end. His penultimate sequence, when he gives a golden advice to Rani, is outstanding. Preity not only looks gorgeous, but the dedication to her role shows at vital points. Her penultimate scene with Rani, when she confronts her at the marriage reception, is fabulous.

Amitabh Bachchan is in superb form. The naughty streak that he displays soon disappears in the second half, when he realizes that something is amiss. In fact, his expressions at the dinner first and also in the hospital only reiterates the fact that he's an icon. Kirron Kher excels in a brief but significant role. Arjun Rampal looks perfect for the part. Kajol and John Abraham [both appear in songs] add to the glamour quotient. Child artist Ahsaas looks cute and acts well.

On the whole, KABHI ALVIDA NAA KEHNA is an outstanding film from the writing, performance and execution point of view. It has style, substance, it takes challenges and doesn't follow formulas -- and that is its biggest strength. At the box-office, the film will embark on a hurricane-like start, establishing new records in days to come. The first weekend will be superb, while the weekdays [15th and 16th August is also holidays] will result in a record-shattering first week billing. With no opposition in sight for the next few weeks, KABHI ALVIDA NAA KEHNA will have a dream run at the box-office. Its business in Overseas will also be remarkable. Has the potential to prove the biggest money spinner in this territory.

31th Aug 2006 20.50 IST
By chetan

It is good to see filmmaker Dharmesh Darshan try something different from his usual melodramatic style of storytelling. Stepping out of the rut, Darshan tries to mesh drama with light moments and comes up with a movie that is fairly watchable, but only in parts.

Aap Ki Khatir is heavily inspired from the 2005 Hollywood film ‘The Wedding Date’, starring Debra Messing and Dermot Mulroney. Although the basic premise of the story remains the same as the film’s Hollywood counterpart, certain changes have been incorporated to make the film palatable to Indian audiences, particularly the family crowd who have a taste for Sooraj Barjatya kind of cinema.




‘Aap Ki Khatir’ stars Akshaye Khanna , Priyanka Chopra , Amisha Patel , Sunil Shetty , Dino Morea , Anupam Kher and Lillette Dubey .

The film have an dabba story. it manages to bug off people in the first half and in the second half as welll. Things get heavy as the film approaches its boring ( typical bollywood movie)end.

Anu (Priyanka Chopra) is on the rebound after a bitter break off from her ex boyfriend Danny (Dino Morea) for whom she still harbours some feelings. When she goes to London to attend the wedding of her stepsister Shirani (Amisha Patel) to a New York-based Gujarati businessman Kunal (Sunil Shetty), Anu plans to make Danny jealous. She knows that Danny will attend the wedding as he is a friend of Kunal.

She hires an unassuming but flamboyant Aman (Akshaye Khanna) to escort her to the wedding as her boyfriend.

Like a man eager to do his job well, Aman plays Anu’s boyfriend with utmost conviction. The two go shopping, partying and doing other miscellaneous things that any two lovers indulge in.

It is in this fake romance between the two that we find light-hearted banter. On the parallel, the families of the bride and groom-to-be chip in some tongue-in-cheek hilarity. Shirani’s parents (Anupam Kher and Lillete Dubey) are loud-mouthed Punjabis. Kunal’s parents (Tiku Talsania and Kamini Khanna) are overexcited Gujaratis who love munching snacks and speaking twisted English.

As the movie progresses, a stark revelation puts the story on a different track. It turns out that Shirani, the bride-to-be, also had an affair with Danny whom Anu is so desperately trying to make jealous. On the other hand, Aman begins to feel romantic feelings for Anu. There is confusion, chaos and confessions.

Will Kunal accept Shirani as his wife? Does Anu continue to harbour feelings for Danny? Will Aman be able to win Anu’s love? How will Kunal confront Danny?

Although the movie’s story is not at all interesting .

Himesh Reshammiya’s songs make for melodious interludes in the story. The camera work is plain average and the cityscape of London could have been captured with more flourish.

The chemistry between Akshaye Khanna and Priyanka Chopra works only to an extent. The teasing banter between them has exuberance. But there are hardly any romantic sparks between the two. The fault for this partly lies in the script that doesn’t give much meat to their bonding.

Still Akshaye Khanna keeps the audience interest from waning solely with his charming presence and good acting. Priyanka Chopra carries her role with ease. There are moments when she underplays herself (in the second half) and there are times when she goes a bit over-the-top (initial reels).

Not much histrionics are required of Amisha Patel. She has a cardboard character of a girl with blushes, overdone eyelashes and a shocking revelation to boot. Sunil Shetty doesn’t get much scope except in the closing reels. Dino Morea suits his character of a suave philanderer well.

In short, ‘Aap Ki Khatir’ is waste of money it is better to tear off bill instead of watching this movie



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Dharmesh Darshan
Aap Ki Khatir
Akshaye Khanna
Priyanka Chopra
Amisha Patel
Sunil Shetty
Dino Morea
Anupam Kher
Lillette Dubey