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Also, the film is said to be Ramu's tribute to The Godfather.

This film, however, is not about organised crime. In fact, Sarkar revolves around a politician and his family.

Amitabh Bachchan plays the patriarch, Subhash Nagare (is the rhyming with a certain politician in Mumbai a coincidence?), and the film revolves around him and his sons, Shankar (Abhishek) and Vishnu (KK Menon).

The promos (soon to be released on television) look fantastic and hard-hitting, shot crisply in black and white, with the Bachchan baritone booming menacingly throughout.

The promo kicks off with a Mahatma Gandhi quote: 'Think Rightly. Act Rightly. Live Rightly.'

This spell breaks with Amitabh's voice booming out, 'Mujhe jo theek lagta hai, main vohi karta hoon.' (I do things that look right to me).

The black and white shots include intense close-ups of Amitabh, his cup of tea, and the rudraksh beads hanging from his hand. By the last frame of the promo, we can see Amitabh in colour.

Sarkar is a K Sera Sera Production and is slated to release this summer.


Rehana (Tabu) is a housewife who must confront the fact that her husband Anwar (Kay Kay Menon) is being unfaithful to her. Preeti (Celina Jaitley) plays the third end of the tempestuous triangle.

Zia (Bhumika Chawla) is a fast rising Bollywood actress whose live-in relationship is about to break up with the man who groomed her for a film career, Neel (Rahul Bose). Divya Dutta features in a pivotal supporting role.

Anushka (Riya Sen) is a telephone receptionist who longs to discover tenderness in her relationship with a wealthy suitor Nikhil (Ashmit Patel). Meanwhile her office colleague, Tarun (Jimmy Shergill), loves her silently.

The working girl must decide between the two in a romantic finale that has a twist in the tale. Natassha features in an impactful role.

The three stories are weaved into a composite picture, with the woman coming together in an act of solidarity. Silsiilay has music by Himmesh Reshammiya while Sameer has penned the lyrics.


The city of Calcutta - 1962. A city so vibrant, so alive, so stylish - it was referred to as 'The Paris of the East'. This exotic backdrop serves as the perfect locale for the tender, immortal love story about to unfold.

A young girl Lolita (Vidya Balan), orphaned at an early age is sent to live with her Uncle's family, where destiny introduces her to a young boy Shekhar (Saif Ali Khan). Shekhar a budding musician is the son of an affluent businessman.

Together through childhood and adolescence, Shekhar and Lolita share joys and sorrows, fond memories and bittersweet experiences… and unknown to them a relationship of deep friendship and trust takes place. It is an unspoken right they hold over each other that metamorphoses into a love so intense; they do not even see it coming.

It takes the arrival of an outsider Girish (Sanjay Dutt) for them to discover their true feelings for each other. The chemistry between Lolita and Shekhar sizzles and sparkles until it explodes. But fate has something else in store for them.

Greed, deception and malicious intents are waiting to plague Lolita and Shekhar's deep and innocent love. Events twists and turn beyond their control, spin around them in a maze of misunderstandings and exploding tempers… till even their love cannot stop them from being torn apart.

Can true love conquer these insurmountable obstacles, or will it succumb to them? Will Lolita and Shekhar be forever swept apart by these tumultuous events or can they fulfill their destiny and come back together?

Watch the contemporary retelling of this engaging and timeless tale rich with human emotion and universal drama, enhanced by a brilliant musical score, and accented by unforgettable performances.

Come. Be captivated by the intensity and depth of relationships. Come immerse yourself in the sheer passion of love and the harsh anguish of separation.

Come and be a part of the world of Parineeta - the love story of a lifetime.

Shabnam Mousi

Not that SHABNAM MOUSI is a classic by any standard, but it does have its moments!
Shabnam [Ashutosh Rana] was born to a cop in Mumbai. The story begins with the eunuchs finding out that a new-born child is a eunuch and deciding to take her away.
The child is raised by Halima [Vijay Raaz], a eunuch, and grows under the influence and cultures of these eunuchs, who are her daily companions. One day, the head eunuch, Amma [Vishwajeet Pradhan], decides to sell Shabnam to a truck driver, but Halima gets to know of it and a fight ensues. Halima gets killed in a freak accident and Shabnam is falsely accused of her murder.
Shabnam flees Mumbai and takes refuge in a small village in Madhya Pradesh. One night, Shabnam saves a village belle, Naina, from getting raped by local goons. This is the handiwork of the local politician, Ratan Babu [Govind Namdeo], who doesn't want his son to marry Naina.
Meanwhile, its election time and Ratan Babu's opponent within the political party, Vinod [Ashok Samarth], who doesn't get the election ticket, convinces Shabnam to file her candidature against Ratan Babu.
However, Ratan Babu patches up with Vinod, who in turn asks Shabnam to withdraw her candidature, but she refuses. As a final resort, they hire a contract killer, Madan Pandit [Mukesh Tiwari], to eliminate Shabnam, but Madan has a change of heart when he confronts Shabnam and decides to help her.
In the end, Madan sacrifices his life to save Shabnam. Also, Shabnam wins the elections and emerges victorious!
Based on a real-life story, SHABNAM MOUSI has several engaging moments. A number of sequences in the first half are well executed and the pacing is just right. The viewer gets involved in the narrative since a story like this has rarely been told in Bollywood.
Yes, there has been TAMANNA [Paresh Rawal] and SADAK [Sadashiv Amrapurkar], but SHABNAM MOUSI is realistic no doubt, but presented in a commercial format. However, the pace slows down in the post-interval portions. The political drama holds no novelty since similar sequences -- election propaganda, et al -- have been witnessed time and again.
Some of the noteworthy sequences include:-
• The sequence in the police station, soon after Ashutosh Rana is accused of murdering Vijay Raaz.
• Vijay Raaz's cremation where Ashutosh Rana confronts Vishwajeet Pradhan.
• The local goon attempting to rape Ashutosh Rana in front of the entire village, but Ashutosh overpowering him in the process.
• The final confrontation between Ashutosh and Govind, after the election results are declared.
On the flip side, the making of the film is very tacky. Better production values/sets would've helped. Also, the post-interval portions can do with trimming. The election song, filmed on Mukesh Tiwari, can easily be deleted. It'll only tighten the pace and take the story straight to its finale.
Yogesh Bhardwaj's direction is satisfying. Handling a complex subject like SHABNAM MOUSI is indeed a tough job, but Bhardwaj doesn't go overboard with melodrama. There's not much scope for music in a film like this and the songs just come and go. Dialogues [Aadesh K. Arjun] are one area that deserves high praises. The lines are first-rate.
Ashutosh Rana has handled his part well. The precision with which he performs the role need to be lauded. Another watchable performance comes from Mukesh Tiwari, who enacts a small but significant role. Ashok Samarth is another actor who is sure to be noticed.
Vijay Raaz and Vivek Shauq are competent. Govind Namdeo is efficient. Vishwajeet Pradhan is excellent. Paintal, in a brief role, impresses. Avtar Gill and Navni Parihar are alright.
On the whole, SHABNAM MOUSI is a sincere attempt, but a theme like this holds minimal appeal for moviegoers. Lack of star-value and hype will prove deterrents!

Koi Mere Dil Mein Hai

What could've been a light, frothy entertainer runs out of gas as the story unfolds. The goings-on get predictable after a point and an overdose of songs only mars the impact further.

Raj [Priyanshu] is the spoilt son of a Mumbai-based millionaire Vikram Malhotra [Kader Khan]. Raj likes to live life to the fullest. Afraid that her son may be falling into bad company, Raj's mother [Reema] gets him engaged to Simran [Dia Mirza].

Simran, the daughter of a rich N.R.I. [Sadashiv Amrapurkar], studies in Dubai. Simran is naughty by nature and believes in enjoying life and having fun. Simran meets Sameer [Rakesh Bapat], a young singer and musician from Mumbai who has come to Dubai with the troupe to perform at various clubs.

Simran is totally taken by Sameer's charming character and innocence and falls in love with him. Raj, on the other hand, meets Asha [Neha], who gives tuitions to Raj's kid-sister Sonie. Raj is mesmerized by the simplicity and innocence of Asha and feels that she is the right girl for him.
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But there's a problem: Sameer and Asha are engaged.

Raj and Simran decide to create a rift between Sameer and Asha, so that it clears the way for Raj and Simran to marry their respective partners. Raj and Simran succeed in their 'mission' and decide never to meet again. But there's a new twist in the tale: Realization dawns upon Raj and Simran that they actually love each other!

After dabbling in the horror genre, the third generation of Ramsays [Deepak Ramsay] ventures into a different territory altogether -- romance. It's not sacrilegious to change lanes, but how one wishes the director and writer Humayun Mirza would've padded the film with attention-grabbing incidents.

KOI MERE DIL MEIN HAI doesn't have a faulty script as such, but it's definitely devoid of moments that would appeal to that young, popcorn-munching moviegoer. It appeals in bits and spurts and that's not enough to hook the youth -- the target audience.

Amongst the few sequences that do register an impact are the comic sequences. However, the heart doesn't go out to any of the four characters, which is so vital for a love story. The climax is also long-drawn and cumbersome.

Director Deepak Ramsay makes a decent debut, but he is letdown by a mediocre script. Music [Nikhil-Vinay] is just okay. The film has songs aplenty, but the one that stands out is 'Dosti Se Aashiqui Hai'. The remaining songs don't really elevate the status of this romantic-musical. Cinematography [Uday Tiwari] is nice; the beauty of Dubai is captured with élan by the lensman.

KOI MERE DIL MEIN HAI is primarily a film about four people, but Priyanshu and Dia stand out with effective portrayals. Rakesh Bapat and Neha don't get much scope to really register an impact. They are passable nonetheless. Amongst character actors, Kader Khan and Sadashiv Amrapurkar are impactful.

On the whole, KOI MERE DIL MEIN HAI is a routine fare, with nothing exciting to offer. At the box-office, the lack of hype as well as face-value will make it go unnoticed.

99.9 FM

Shawar Ali is a radio jockey who is the face of 99.9 FM. The narrative begins with his announcement that it is his anniversary. We see that he cannot simply wait to get back home to be with his wife [Raima Sen].

The narrative then moves back and forth with songs, sequences and flashbacks to reveal that Shawar has two women in his life, Dipannita Sharma, his lover and Raima Sen, his wife.

A love triangle, it culminates into a murder…

What could've been a 30-minute tele-film story has been stretched to 1.30 hours and that's where 99.9 FM falters. Debutante director Sanjay Bhatia seems confused thanks to a lifeless script. The film neither caters to the intelligentsia, nor does it appeal to the average moviegoer.

The only silver lining is the selection of songs, which are played in the background. Other than that, there's not much to look forward to.

Shawar Ali had the opportunity of displaying varied emotions, of a vibrant jockey, a possessive husband, an ardent lover, a cunning killer, but he fails to impress. In fact, he looks expressionless at most times. Raima Sen is pretty talented and that is visible on screen. Dipannita does not have a scene that remains etched in your memory.

On the whole, 99.9 FM is a poor show all the way.


Viruddh is the story of standing up against a well-established paradigm of power in defense of his/her convictions. It is about dissent, refusal of fear and of extraordinary courage and tenacity extreme pressure and adversity.

Viruddh is also about an ordinary sixty plus couple, Vidyadhar Patwardhan (Amitabh Bachchan) and Sumitra (Sharmila Tagore), who are forced to search for their faith in human values and society after the death of their only son. In this process they undergo the most testing struggle of their lives.

The ingredients of Viruddh and its theme are universally identifiable. Set in the networked and global milieu, it tells a tale that has classical elements and structure and can be relocated in almost any context.

The film expresses individual and social vulnerability in the face of a corrupt system and how this equation continues to be the same even as the ways of the society change.

Viruddh is being shot in the English version simultaneously, titled as Versus.

Jaane Hoga Kya

Siddharth has been experimenting with cloning for the past two years and has been unsuccessful. He even lost his colleague and friend in the process. But today he is confident of succeeding. He needs permission from the Indian Medical Research Centre and his Guru Dr. Krishnan (Paresh Rawal).

There are few people who don't approve of his experiment. Amongst them is Inspector Rathod (Rahul Dev). So Siddharth is shattered when Dr. Krishnan informs him that the permission to go ahead is not granted. Siddharth is shattered and his love, Aditi (Bipasha Basu) comforts him.

She also suggests him that she would speak to her father Mr Chopra (Tinu Anand) who is a big industrialist and could finance him for his project to help him go ahead with his dream of creating a human clone.

After much thought and hesitation Siddharth agrees to take Aditi's help. He builds his own lab in an old burnt mill and starts with his experiment. He first clones a mouse. In the meanwhile Inspector Rathod gets suspicious about the sudden disappearance of Siddharth and starts to trace him.

He meets people who are close to Siddharth but no one knows where Siddharth is. Time is running out as Inspector Rathod closes on to Siddharth's heels and ultimately Siddharth has to take a plunge and he begins to clone himself.

He succeeds but his clone goes missing and all hell breaks loose when suddenly Siddharth is put behind bars for assaulting a girl at a Night Club (Maria Goretti). Siddharth realizes that it is his clone who is doing all this. But he is helpless, as no one believes him that he has cloned himself, not even Dr. Krishnan.

The clone has other ideas. He wants to take over Siddharth's life and starts playing games. He flirts with Dr. Krishnan's daughter Suchitra (Preeti Jhangiani) and even impregnates her. For Siddharth's project report, the clone kills Dr. Krishnan and the blame comes on Siddharth. Inspector Rathod gets furious and promises Siddharth that he will not let him go out alive from jail.

Siddharth is in a major dilemma to prove his innocence of the crime that his clone has committed. But was Siddharth justified to go ahead and press the button to create the first human clone? Siddharth has to fight his own battle all-alone with his own creation, and the law is not on his side.

The climax of this sci-fi thriller promises to shock you and you will question to yourself “Can we pretend to be a creator or just be happy being the creations of the almighty”.


Ria (Shamita Shetty) is a married corporate honcho and a client of Aditya's ad-agency. Due to the nature of the job the two meet regularly and in time Ria begins to draw emotionally close to Aditya. He spurns her in the beginning but eventually he succumbs to her charms. This leads to a rift between Aditya and his wife.

And then the unthinkable happens. Ria's husband is found murdered. Being the prime suspect, Aditya is arrested. Someone is also watching Aditya and blackmailing him for his affair with Ria.

Who killed Ria's husband?

Who is watching and blackmailing Aditya?

What will happen to Aditya's married life?

Bachke Rehna Re Baba

But if you have an appetite for masala flicks, which throws logic to the winds and all that matters is getting transported to a dream zone for the next two hours, chances are you might like BACHKE REHNA RE BABA as an entertainer that makes no false promises. It delivers what it promised in its promos!

Director Govind Menon follows the same path that David Dhawan followed at a point of time and made a success of his career. BACHKE REHNA RE BABA is aimed at the masses/frontbenchers completely: There's skin show in abundance [courtesy Mallika Sherawat], ample glamour [Rekha], two funsters [Paresh Rawal, Satish Shah] and situations that drive you nuts.

In a nutshell, the director and his team of writers have one thing clear on their agenda: Entertain the viewer, no matter what!

Leave your thinking caps at home before you buy the ticket to this sex-comedy and you'd not feel disappointed. As a film that doesn't test your intelligence, BACHKE REHNA RE BABA works fine.

When it comes to conning millionaires, the aunt-niece team of Rukmini [Rekha] and Padmini/Paddu [Mallika Sherawat] are real pros. First, Rukmini leads them to the marriage path. Then Padmini lures them into seduction... and a hefty divorce settlement!

After that, it's on to the next unfortunate victim.

Rukmini and Padmini play the games with a Punjabi big-shot [Paresh Rawal] initially and with a Sindhi entrepreneur settled in Mauritius [Satish Shah] subsequently.

The one rule that must not be broken is never ever to fall in love, but Padmini loses her heart to Raghu [Karan Khanna], a rich restauranteur.

But there's chaos: There's a dead body to tackle, plus the jilted Punjabi businessman lands up uninvited, also Padmini is torn between her aunt and lover now turned husband…

Director Govind Menon borrows heavily from director David Mirkin's comic caper HEARTBREAKERS [2001; starring Sigourney Weaver, Jennifer Love Hewitt]. And the Indianized version does tickle your funny bone at places.

Menon merges liberal doses of sex and comedy in the narrative, but the glue that holds the film [in most parts] is the choice of actors to carry off the roles. More on the actors and their performances later!

The execution of a few comic sequences does stand out. Although a section of moviegoers may find the statue ['nanga mazdoor'] track obscene, it works in a big way because it gels well with the mood of the film. Also, the sequence, when Paresh confronts Rekha, who is carrying Satish Shah's dead body, is simply hilarious.

BACHKE REHNA RE BABA is also high on the sex quotient. Mallika romping on the beach in beachwear and the blatant display of her natural assets throughout will only please her [male] fans, who expect skin show aplenty from a Mallika Sherawat flick. Also, the smooches in the film, like her earlier films, are hot and passionate.

Not that BACHKE REHNA RE BABA has no loose threads. The effort to make you laugh doesn't work at all times. There're times when the comedy falls flat. Most importantly, the humor is such that it would find patronage from the masses mainly, with the gentry/elite scoffing at it. Also, the post-interval portions are quite lengthy and long-winded and desperately in need of a skilled editor.

Director Govind Menon drew a blank in his last film KIS KIS KI KISMAT [similar genre], but succeeds in his 'mission' this time around. Comedy is a difficult emotion to capture on celluloid and Menon does handle the genre well this time around. Everyone seems to be going over the top, playing to the gallery, but that's what the subject demands.

Music [Anu Malik] is in sync with the times. 'Sharafat Chhod' [Mallika's introduction] and 'Tera Husn' are two erotic tracks that have been filmed imaginatively. The title track is foot-tapping as well. Cinematography [Thomas Xavier] is eye-pleasing, with the lensman doing justice to the babes as well as the beaches [of Mauritius].

BACHKE REHNA RE BABA belongs to Rekha, who delivers another knockout comedic punch as the protective mausi. Her outfits and makeup are exemplary. Mallika Sherawat may not be great shakes as an actor, but the lass oozes tremendous sex appeal. Her uninhibited antics are sure to send the guys into raptures.

Paresh Rawal doesn't get much scope in the first half, but stands out in the latter half. Satish Shah is outstanding, handling the role of a Sindhi tycoon with precision. Karan Khanna needs to loosen up in front of the camera and also work on his physique.

On the whole, BACHKE REHNA RE BABA is a masala entertainer with the masses as its target audience. At the box-office, the film should satiate the appetite of the hoi polloi, with its reasonable price being an advantage for its investors.

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