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Ram Gopal Varma coming up with his Rogue Methodology (using many tiny digital cameras) along with Amitabh Bachchan and Sanjay Dutt excited me a lot before the release of DEPARTMENT. But a recent interview of the director raised a strong doubt in which RGV loudly said that “A story can fail but genuinely innovative technique can never fail.” I frankly couldn’t agree to this unacceptable statement from the director which in fact was repeatedly proved wrong by his own failures in the last few years. So it was a mixed bag of expectations while entering into the theater with the doubt scoring more than the positivity.
Now as the lights went off, the film right away started with an action sequence and within next 30 minutes I was sure that my doubt was once again the winner here since DEPARTMENT had nothing in it which could be associated with the brand RGV. The film never picks up in its first half and post intermission too it fails to enthrall the viewer with the same ‘seen before’ twists in the old tale revolving around the underworld, police and politicians nexus. Putting it straight, there is no RGV in this RGV film and DEPARTMENT can easily be included in the 5 weakest movies from the master film-maker in his entire career.
Yes, it does have many fresh camera angles and shooting techniques with some amazing results on the screen. But more than 95% of the people don’t go to movies for only watching their technical achievements. They are there in the theater for some thrill, for some entertainment which is not visible anywhere in this film from start to finish. It doesn’t have anything new as far as its storyline is concerned. It doesn’t impress you with its action sequences, confronting scenes or dialogues. And it also has some pretty bad songs thrown in regularly just unlike a RGV film. On top of that the film has a loud and annoying background score which keeps experimenting with each new sequence bringing in some new sounds. So there is no consistency in the score which eventually fails to generate any hard hitting impact on the viewer as previously seen in RGV’s famous hits. And this is the same director whose film’s background scores used to be the talk of the town few years back.
In the performance section the film disappoints big time despite of having two big names of the industry. Sanjay Dutt is the same old cop as witnessed before. Rana Dagubati tries hard but remains emotionless throughout the film. Abhimanyu Singh overacts in his role along with Madhu Shalini and both Vijay Raaz and Deepak Tijori remain wasted. The over famous item girl Nathalia Kaur shows no promise with her weird & suggestive kind of dance performance in the minimum clothes. So the only saviors in the cast are Amitabh Bachchan and the two ladies Anjana Sukhani & Laxmi Manchu performing well in their short roles.
But RGV and his DEPARTMENT together made me recall the time of late 80s & early 90s, when we all used to go to watch each and every new film of Amitabh with great enthusiasm and spirit, only to return with a lot of sadness and disappointment. In the present times, Ram Gopal Varma is now again giving us the same kind of feeling of watching all those unsuccessful films of Amitabh with every new project from his so called Factory.
There was a time when movie lovers eagerly used to wait for RGVs next project and felt over-excited to see all the novel things in his path-breaking films. However now its time RGV should realize that “It is the script which actually requires to be considered more important than the technology and the technique alone cannot result in a HIT”.
May be he now admits the mistake after DEPARTMENT and returns to his good old form in his next……….at least for the sake of all his diehard fans like myself since SHIVA.
Rating : 1 / 5
Tags :
Department Movie Review By Bobby Sing, Department Review, RGV's Department, Amitabh in Ram Gopal Varma Films, 5 Weakest films of Ram Gopal Varma, New Hindi Films Reviews By Bobby Sing at bobbytalkscinema.com, Bollywood Movies Reviews at bobbytalkscinema.com, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
He is known for introducing many new styles of storytelling on screen right from his first film SHIVA released in 1989. He is known for moving ahead of the overused fixed format of film-making followed by directors in India from decades. And he is known for digging his own new rough paths without caring about any success or failure coming on the way, constantly in his career.
In few words as RGV says, “Its not about re-inventing rules…….......Its about destroying them.”
So the maverick is here to destroy the rules again with DEPARTMENT in which he has now introduced the Rogue methodology (Partially used in his “Not A Love Story” too). A technique in which tiny digital cameras are used to shoot the various sequences, planted at some unbelievable and never used before placements. Like along with a tea cup picked from the table, right on the head of the actors, on their arms, on their legs, on every corner and roof of a room.
As per his own explanation, “Rogue by definition is something which doesn’t confirm to a pattern which has been established over a certain period of time.”
Hence while narrating his new style to be used in DEPARTMENT, RGV explains to Amitabh Bachchan,
“I am trying a very different kind of technique in shooting ‘Department’. So it might be very dissoluting to you. Because you have been used to perform to a camera for nearly 40 years of your life and suddenly there is no camera or cameras are all over the place. Which means you can’t be performing to one camera. And that is the whole point.”
On being asked that “To which camera one should react to?”, he says,
“The whole point is that you shouldn’t react to the camera, you should not be aware. The whole idea is that. There is an actor you are talking to and if you don’t feel like looking at the particular character then you can look at anywhere you want.”
Further to the next question that then Which angle will be more likely used in the end”…….he replies,
“I don’t know as I am also at the field and I will look into them all on the editing table”
Now for many film makers and students of cinema, this might sound absurd and mad. But I do feel fascinated by the idea as that’s how the word ACTING can be brought out of Dramatization. That’s how you can make the scene completely free, free of any restrictions, any floor markings, strict angles or any particular directions. In this way two characters are free to talk with each other as they would do in reality without looking into any camera or worrying about any profile or angle because the director himself would like to select the angel on the editing table itself.
It might be tough, a little illogical and out of the box too. But it interests me as it sounds like synonym to the word Freedom. And my thought gets very well supported and confirmed when Amitabh responds to this new style of film-making in his words as,
“In a sense I feel that it liberalised me a lot because I was not conscious of the fact that this is where I have to move, this is where I have to go. There is a lot of freedom with what you do and its almost like doing a rehearsal and not knowing where the camera is, which is great for an artist.”
So as far as the technique is concerned I am excited to witness this cinematic experiment called “DEPARTMENT” tried with the veterans of the industry like Amitabh Bachchan and Sanjay Dutt. But at the same time, I am also not in an agreement with RGV in his second statement which actually remains the other hidden side of the picture, in which he feels that “Story can fail but novel technique can never fail”.
In his own words, “Story can fail. Genuinely innovative technique can never fail. When they made The Blair Witch Project with hand-held cameras, the Hollywood studios felt the audiences would be put off. When Steven Soderberg shot Traffic with hand-held cameras without using lights the producers felt audiences would get put off…Technical innovation can never go wrong. That's what I feel."
And here I would like to disagree with him as technology alone cannot impress or entertain all kinds of audience. In fact there is a very smaller percentage of viewers who are really interested in the technique with which a film is made. And a larger proportion of them are actually there in the theater for the entertainment factor alone, particularly in our part of the world. They don’t even care how it has been shot or with which camera it has been shot unless the technique either attracts them exceptionally or it distracts them awfully. But till it doesn’t go any either way, a normal moviegoer here is least concerned about the technical part of a film.
So with DEPARTMENT its quite possible that viewers might find their heads spinning with the unusual camera movements showing them the visuals from angles which have never been used on the screen before. It may be a tiring experience for many unexpectedly. But on the positive side the film may turn out to be a path breaking explosion on Indian Screen with all its tiny digital cameras reinventing the way films are being made here in Bollywood.
However, the fact remains that this whole package of experimentation essentially has to be presented along with a well written script and storyline. Because in absence of that its difficult for the technology alone to win over the audience. An excellent technical achievement without the backing of an engrossing script will be just like a naked gorgeous girl wearing some heavy beautiful jewellery. Where for a few it might be ART, but for many it would be an entirely contrasting & intolerable expression.
Hence for the sake of Cinema and its growth in Bollywood I would love to see this experiment work as then it will surely open many new roads for the budding film-makers ready with their own novel & unexplored ideas waiting to be canned in those tiny cameras.
Tags :
Maverick RAM GOPAL VARMA, Innovative Rogue technique, DEPARTMENT, A preview by Bobby Sing, Articles on Cinema, RGV reinventing film-making in India, Tiny Cameras in Shooting, Innovation in Bollywood.
The confusing posters of the film stressing more upon the 3D logo instead of the title gave a clear message about the confidence of its makers before the theatrical release of DANGEROUS ISHHQ. Besides, Vikram Bhatt (after re-discovering the horror formula of success), making a film on Past Life Regression as a comeback project for Karishma Kapoor somehow didn’t sound that exciting to me, keeping in mind all the recent movies of the director.
Still I watched it and so did many others in the theater expecting at least something exciting out of the rare combination of Past Life Regression plot, Karishma Kapoor and Himesh Reshamiya. But as it got over, there was only one question in my mind that, “Why on earth, Karishma Kapoor chose such a low grade movie to be her comeback venture in the Industry?” The question was posted at Facebook and it got a very meaningful reply from an experienced friend, who commented, “For the same reason she chose “Prem Qaidi” to be her debut film in the Industry.” And I think that should explain a lot to the readers about her DANGEROUS ISHHQ which undoubtedly remains one of the weakest & worthless projects released in the year 2012.
In short, the review is clearly written in the film’s title itself which warns the viewers that it’s highly dangerous to see it in theaters spending your time, money and efforts together. The subject of Past Life Regression, which could have easily been the strength of the movie, actually proves to be a curse for it. The poorly written screenplay taking the viewer into different eras of the past, fails to impress completely and the film simply appears to be a B class project in all its departments ranging from writing, acting, direction and presentation. Probably that was the reason why many people were not on their seats in the second half as the film started post its intermission.
As an experienced actress Karishma Kapoor tries her best to lift many lifeless sequences but in the process loses the battle. In reality, she shouldn’t have done this film as her comeback vehicle. Rajniesh Duggal continues to be in search of his talent and Jimmy Shergill, Divya Dutta, Aarya Babbar, Samir Kochhar, Ravi Kishan and more just perform as professionals working on an assignment. Himesh Reshamiya gives another average soundtrack of his career with nothing worth remembering. But more importantly don’t get fooled by the 3D logo placed prominently in its promotions. The film had no need of 3D technology at all and its just a gimmick to bring in more viewers into the theater. In fact DI also gives out a clear lesson both for the producers as well as the viewers that 3D format is not required and should not be used in every or any kind of film without giving it a serious thought. It’s all waste of time, energy and effort to use it for a film like DI.
Ending on a lighter note, Past Life Regression might be a therapy or method through which people try to find their peace. But in DANGEROUS ISHHQ it actually takes away that precious possession of the viewer in a more cruel way. So it will be real dangerous if you opt for this past life Ishhq in the theater.
Rating : 0.5 / 5
Tags :
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Post his National Award winning directorial debut DO DOONI CHAAR, I was pretty much excited to see writer-director Habib Faisal’s second venture ISHAQZAADEY. The well designed posters with the grungy look and its promos having guns all over, raised the expectations further along with Parineeti playing the lead. Besides I was also eager to see the rustic background of UP as depicted by Habib since he perfectly portrayed the middle class life of North Delhi with some straight out of real life sequences in his first venture.
However, the film came out to be just fine but nothing hugely exceptional going against my big expectations. It can easily be called a violent love story made on a fast moving script with sharp twists coming in its both halves to keep you engaged. But at the same time, its not a perfect take as all the elements in it collectively do not hit you hard with a 100% force. The first half of the film is thoroughly enjoyable as the various characters are introduced in the small town background entertainingly and one feels like watching a winner all the way. But post intermission the narration dips at many places leading to some weak sequences and a ‘could be better’ climax from the talented director.
Made around the subject of ‘Honor Killings’ (Hindu-Muslim Issue), ISHAQZAADEY is undoubtedly better than many other big films of 2012 featuring the saleable stars. But as far as perfection is concerned, it disappointed me majorly due to the confusing characterizations of its lead actors. Firstly the bindaas girl, who is daring enough to go and buy her own revolver illegally, who is bold enough to lead the election campaign for her father and who can even slap the grandson of the opposition leader. The same girl forgives & surrenders herself completely to the same boy so easily, just like that and plays being a big fool which strongly goes again her bold, tom-boy image. Secondly the rough guy who simply behaves like a no-emotion man when his own mother gets killed in front of his eyes and he weirdly takes it in a very strange, cool manner. The third are his close friends, who act like two born cowards and at once go against their own friend, the moment he decides to be a rebel. With such loosely written characters the film fails to sink in deep in the viewer’s heart and one never feels moved emotionally while watching it.
Still, the intelligent part of the script is that it moves at such a pace which doesn’t allow you to think about these weak chracterisations. Moreover with a violent (but lengthy) climax it ends like an attempt to create awareness around a social evil putting you onto a different track altogether. So the writer director very smartly covers up everything and one feels like having watched a fine film while walking out of the theater.
Frankly, I found the emotional touch missing in ISHAQZAADEY, both in the love as well as in the family relationship angle. The lead pair does show a great chemistry in their intimate scenes but I didn’t feel like watching an intense and passionate love story as a whole with feeling or depth. In other words, it all keeps on happening on the screen pretty fast without any real touch of hearts interacting with each other. To be honest, the narrative completely gave me the feeling of watching some well crafted plastic flowers with fine beauty & colour but no fragrance of their own. In fact there were only two scenes in the entire film where I felt the emotions coming out perfectly. One where the couple is running away from the girl’s house after their Idd visit and Parineeti’s father is blindly firing on them in anger. And second when Gauhar Khan is seeing them off with her moist eyes.
Performances wise it’s once again a Parineeti movie all the way after LADIES VS RICKY BEHL. The girl remains immensely likable from the first frame to the last with her next door persona and a fantastic bindaas style of acting. In her second film only, she goes pretty bold too in her on-screen kisses and is a real treat to watch particularly in the first half. Arjun Kapoor as the other Ishqzaada makes an impressive debut with a careless kind of attitude. He fairly manages to leave a mark with his cunning smile and rough looks. But the boy still needs to work hard in order to shine more brightly. And he can surely better himself working on some valuable tips coming from his mentor Salman Khan and uncle Anil Kapoor available to him as his family elders. Interestingly in his current get up he does remind you of the young Abhishek Bachhan too in few scenes. Apart from the Ishq couple, the supporting cast is fine but Gauhar Khan comes out as the sole winner here, giving a loving performance supported by a well choreographed dance number. Perhaps she has now become one of the favourites of Yash Chopra group after ROCKET SINGH.
In the technical department, Cinematography deserves a special mention, shooting on the actual locations and giving the same rustic feel to the project as shown in its posters. The action (especially the Chase Scenes) and the background score go hand in hand providing the much needed energy to the project and so does the well worked upon soundtrack from Amit Trivedi. I particularly loved the spirited title track “Ishaqzaadey” and “Pareshan” which has also been shot lovingly by the director in a great mood. However for “Jhalla Wallah” song, Amit takes a clear inspiration from Sai Zahoor’s “Saiyaan, Allah” track sung in the original Coke Studio version of Pakistan, which was also featured in the recently released “West Is West”.
In all ISHAQZAADEY becomes watchable mainly because of Parineeti and some good music alone. But being a film written and directed by Habib Faisal, it cannot be rated as a hugely satisfactory venture, vaguely made on the theme of honor killings.
Ratings : 2.5 / 5
Tags :
Ishaqzaadey Review by Bobby Sing, Iahaqzaadey Movie Review By Bobby Sing, Ishqzaadey Review, New Hindi Films Reviews By Bobby Sing at bobbytalkscinema.com, Bollywood Movies Reviews at bobbytalkscinema.com, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com
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Ram Gopal Varma coming up with his Rogue Methodology (using many tiny digital cameras) along with Amitabh Bachchan and Sanjay Dutt excited me a lot before the release of DEPARTMENT. But a recent interview of the director raised a strong doubt in which RGV loudly said that “A story can fail but genuinely innovative technique can never fail.” I frankly couldn’t agree to this unacceptable statement from the director which in fact was repeatedly proved wrong by his own failures in the last few years. So it was a mixed bag of expectations while entering into the theater with the doubt scoring more than the positivity. 
So as far as the technique is concerned I am excited to witness this cinematic experiment called “DEPARTMENT” tried with the veterans of the industry like Amitabh Bachchan and Sanjay Dutt. But at the same time, I am also not in an agreement with RGV in his second statement which actually remains the other hidden side of the picture, in which he feels that “Story can fail but novel technique can 
