Now I'm ready to go to heaven': Tearful Jade Goody returns home alone without Jack after 'happiest day' of her life

She had gathered all her strength to walk down the aisle for her fairytale wedding.

But as cancer-riddled Jade Goody returned home last night she could no longer hide her agony.

Fighting back tears, the mother-of-two had to be helped into her Essex house by her new husband Jack Tweed and her assistants


Moments later, her devoted groom had to leave for his mother's home to meet parole conditions imposed after he was released from jail earlier this year.

jade goody, cancer patient, hollywood, television actress, images, pics, articles, news, photo gallery,


Her mum Jackiey Budden said: 'She's very tired. The wedding day was fantastic, but it has worn her out.'

Her publicist Max Clifford said: 'She was emotional and exhausted. It is possible she and Jack have just spent their only night together.'

Continue

Nauheed Cyrusi in a backless sari at Ayesha Takia Wedding Reception

Nauheed Cyrusi, images, pictures, stills, photos, gallery, Nauheed Cyrusi latest photos

Continue

Freida Pinto

freida pinto, stills, photos, images, pics, gallery, slumdog millionaire, pictures, Freida Pinto latest photos

Continue

Kangana Ranaut

Continue

Bollywood movie Gulaal Review

Accuse him of thinking abstract, but you cannot accuse Anurag Kashyap of following the stereotype. In GULAAL, the storyteller attempts to tell multiple stories in one film. Student politics, a separate state for Rajputs, an intense love story that has a disastrous end… Kashyap's GULAAL is intelligent, intense, disturbing, poignant and expectedly, cerebral.

GULAAL is thought-provoking and has the power to engage you at various points of the narrative. Honestly, it takes time to get the hang of things. Actually, you don't take to the sundry characters and the relationships instantly, but the complex relationships, their motives, the culmination, each layer is peeled as the story progresses.

Yet, at the same time, a film like GULAAL isn't the type that would cut ice with every strata of moviegoers. The expletives are aplenty [not required, actually; why does Kashyap have them in film after film?], the second hour meanders at times and most importantly, the material restricts it from reaching out to a universal audience.

Dileep [Raj Singh Chaudhary] comes to Jaipur to study. Here, he comes in contact with Rananjay Singh Ransa [Abhimanyu Singh], Jadwal [Pankaj Jha], Anuja [Jesse Randhawa], Dukey Bana [Kay Kay Menon] and Kiran [Ayesha Mohan].

Dukey Bana convinces Ransa to contest the college elections on behalf of the Rajputana party; Ransa and Kiran battle it for General Secretary's post. The rivalry between the two gangs intensifies and Ransa is forced to withdraw, which he resists. Eventually, this leads to his murder by Karan [Aditya Srivastav]. Dileep is compelled to contest elections in Ransa's place and made to win.

After losing the elections, Kiran tries winning Dileep's trust, gets close to him and pretends to fall in love. As he tries to fit into the shoes of the General Secretary, an insecure Dileep gets emotionally dependent on Kiran. Dileep finds himself trapped in political manoeuvres. It dawns to him that he is being used by Dukey.

Dukey Bana is masterminding a Rajputana movement, to have a separate state ruled by Rajputs. In a gamut of red faces [gulaal is put over the faces to mask their true identity], Dileep sees the truth behind Dukey and his actions.

Kiran takes charge as the General Secretary. As soon as in power, she refuses to meet Dileep and tries to get close to Dukey using her feminine charm. A lovelorn and rejected Dileep gets more and more frustrated, abusive and violent in desperation. Blinded by his love for Kiran, Dileep goes into a frenzy, becoming a sorry and inevitable victim of circumstances.

GULAAL isn't for the faint-hearted. Nor is it for those looking for escapist cinema. Anurag Kashyap movies are dark [this one's gruesome as well] and you either take to them or you don't. There's no in between!

A few individualistic sequences leave a profound impact. Take the sequence when Raj Singh Chaudhary is stripped naked and thrown into a dark chamber. Take the sequence when Aditya Srivastav kills Abhimanyu Singh and the dialogue that precedes that sequence. Take the sequence when Ayesha Mohan does a complete somersault and refuses to meet Raj.

GULAAL has its share of shortcomings. With so many stories running parallel, the second hour takes a really long time to wind up things and reach the culmination. Besides, the confrontation in the end, between Kay Kay and Raj Singh Chaudhary, could've been shortened. Too much dialoguebaazi, even after Kay Kay has been shot.

Also, if the film talks of today's times, how come the police are shown as passive watchers to all the killings, abductions, murders, et al? Even the media, which is hungry for the smallest of story, is absent. The writing could've been tighter.

Rajeev Ravi's cinematography is first-rate. Dialogues are acidic and the expletives are difficult to absorb after a point. Piyush Mishra's lyrics are thought-provoking.

The film is embellished with supreme performances. Kay Kay is in splendid form. Raj Singh Chaudhary has the talent. Aditya Srivastav does well, but deserved more footage. Piyush Mishra is excellent. Abhimanyu Singh leaves a strong impact. Ayesha Mohan is top notch. Mahie Gill is perfect. Deepak Dobriyal is first-rate. Pankaj Jha is effective. Jesse Randhawa gets no scope.

On the whole, GULAAL is interesting in parts. The film may appeal to those looking for a change from the run-of-the-mill fares week after week. Its business will be best at multiplexes of metros.

Gulaal, Bollywood, Movie Review, Taran Adarsh, bollywood movies,
bollywood movies trailers,latest bollywood movies,new bollywood
movies,bollywood hindi movies,best bollywood movies,upcoming bollywood movies,
bollywood movie review,bollywood awards,bollywood previews

Continue

Bollywood Movie Jai Veeru Review

In the good old days, formula films comprised of 6 songs, 7 action films, 5 blast and chase sequences, a few emotional moments, a couple of comic scenes and of course, the romantic portions. A paisa vasool entertainer was what the doctors prescribed for the ailing industry then.

JAI VEERU remains faithful to the formula, except that it borrows from a not-too-popular Hollywood film BULLETPROOF [1996; starring Damon Wayans and Adam Sandler].

After attempting a real-dark-grim film I - PROUD TO BE AN INDIAN, director Puneet Sira plays to the masses this time. With JAI VEERU, the target audience is not the thinking viewer, but those looking for a complete farce in terms of plotline. Expectedly, JAI VEERU caters to the hardcore masses that are yet to embrace new-age cinema in this multiplex era.

Veeru [Kunal Khemu] is a small-time crook who steals cars and sells them to a buyer. By a chance encounter, he meets Jai [Fardeen Khan], a mechanic, who can break into cars. They become friends; the mutual admiration culminates into a fine partnership of crime.

But an unexpected twist changes everything. Jai and Veeru feel betrayed by the other. One person who hates them more than they hate each other is the ruthless gangster Tejpal [Arbaaz Khan], who wants to kill both of them. Jai and Veeru are on the run. Will they survive?

JAI VEERU is 2 hours of varied entertainment and the entertainment in this case is, good, average and bad. It's good in parts [a few twists if you haven't watched the Hollywood film]. It's average in parts because the pace picks up and falls intermittently. And it's pure bad because the writer, in an effort to pack just about everything, throws logic out of the window. The story jumps from one track to another, instead of sticking to the main plot.

Puneet Sira's direction is strictly okay. Bappa Lahiri's music is tuneful. A couple of tunes have the spark, especially 'Tenu Leke'. Cinematography [K. Rajkumar] is alright. The action scenes [Allan Amin] are top notch. The production values are tacky.

Fardeen Khan is below average. Kunal Khemu is better; the masses will like him. Dia Mirza and Anjana Sukhani don't have much to do, although Dia's character has an interesting twist in the climax. Arbaaz Khan is passable. Govind Namdeo is average. Rajesh Khattar and Rakesh Bedi are okay.

On the whole, JAI VEERU has something for the hardcore masses, but nothing for the elite/classes. Its business, therefore, will be restricted to the single screens, but multiplexes will be terrible.

jai veeru, kunal khemu, fardeen khan, amrita rao, review, bollywood review, images, stills, pictures, photos, gallery, stills, jai veeru review

Continue

Telugu Movie Drona Review

The Telugu film Drona has been in the news for National-Award winning actress Priya Mani's bare-dare act in a bikini!

The film is a regular masala one; a smorgasbord of the usual ingredients, typical of Telugu cinema action, romance, songs, dance, an item number by Rakhi Sawant al. There is not much variation from the staple elements. Director Karuna Kumar treads the oft-trodden path.

The storyline has the run-of-the-mill elements like lost and found son, mother pining for the son in absentia, a duty-bound conscientious police-officer-father, a jewellery heist and eventually the victory of good over evil.

It's only in the second half that the actual story unfolds. Drona (Nitin) runs away from home as his father (Mukesh Rishi) chides him for taking his gun. He resurfaces after a decade and lives with his parents as Chandu but does not reveal his true identity. His neighbour Indu (Priya Mani) who begins to love him finds out who he really is and reveals the fact. But here comes the twist. Nitin has a past which haunts and follows him.

Meanwhile, Sarkar (Kelly Dorjee) and his henchmen are on the hunt for Drona and his friend Bose, and they finally find Drona and put him behind bars. The mother Meenakshi (Seeta) is heartbroken and the father is duty bound. Drona then narrates his tale of how he was kidnapped by Sarkar (who also kidnapped several other young children), trained in an island, made to rob jewels etc.

There is nothing much to write home about the script. It is a motley of things and ideas. Some parts of the film defy logic and the scenes are weird. Neither the camera work nor music elevates the film. The only thing which is perhaps worthy of mention is the action. The fight sequences are well orchestrated; a lot of effort and special effects have gone into them. For example, bodies glide and suspend in mid-air. Then we have Nitin shooting at men in a helicopter all the while riding a bike.

Nitin revels in these action sequences. And it is fun to see him in them. He also shakes his leg with absolute ease. Unfortunately for him, the script does not have much to offer as far as acting is concerned.

Priya Mani is ooh la la glamorous and certainly ups the oomph quotient of the film by indulging in skin show. Kelly Dorjee seems quite out of place and rather uncomfortable while Mukesh Rishi plays a police officer for the nth time. Seeta plays the pining mother well. As for Rakhi Sawant, she doesn't set the screen ablaze with her item number.

Director Karuna Kumar's potboiler seems rather disastrous. Watch it only if you are a fan of Nitin, or if you want to see Priya Mani's bare-dare act.

Continue

Venkata In Sankata Review

with his new Kannada film Venkata In Sankata, Ramesh Arvind proves once again that he is an actor and a director par excellence. The film is a perfect entertainer for the family audience.

Ramesh has already directed two comedies earlier but he can proudly say that Venkata In Sankata is his best comedy yet. What makes the film enjoyable is its great packaging and excellent performances from veteran actors artists and newcomers.

Ramesh, who has written the screenplay along with story writer Thotapalli Madhu, has filled each sequence with comedy elements even though it may be slapstick at times. Venkata In Sankata comes as a breath of fresh air after watching bad films week after week. Ramesh has no pretentions on that count because he makes it very clear that logic is the last thing that he had in mind when he scripted the film. The hilarious first half is followed by an even better second half.

The absent-minded lecturer, the strict vice-principal, a terrorizing lady inspector, the police officer who doubles up as a security watchman are the characters that make you laugh uncontrollably whenever they appear on the screen.

There are some minor letdowns too. The climax is unconvincing, as it is unlikely that a Prime Minister would be present in a function with such weak security. The so-called jehadis are unbelievable too.

Ramesh plays Inspector Venkata, who lands into trouble because of his assistant Laddu. Venkata's grandmother takes him to a fraudulent palmist for advise, but he gets hooked to the palmist's daughter. Later, Venkata poses as a college student to pursue his investigation. What happens later is a laugh riot.

Ramesh puts his heart and soul into Venkata. His fans can enjoy his thrilling stunt sequences. Devadas Koppikad is brilliant. Ramesh and Devadas share good chemistry on screen.

Sharmila Mandre manages to look pleasing on screen. Both Meghana and Anusha look hot and have done justice to their roles. All the veteran artistes -- Umashri, Sanketh Kashi, Daththanna, M S Umesh, Bank Janardhan and Karibasavayya -- have done a good job. Telugu film actor Thotapalli is really funny.

Ricky Kej has composed two good tunes -- Kuniyonu Baa and Rain song. P K H Doss is brilliant behind the camera. This entertainer is worth a watch.

Continue

Delhi 6 Review

Let's cut a long story short: Rakeysh Omprakash Mehra misses the bus this time.
Rakeysh Omprakash Mehra thinks out of the box and it's more than evident now. First AKS, then RANG DE BASANTI, now DELHI 6. A two-liner of the story may give you an impression that it's similar to UTV's earlier outing SWADES, directed by Ashutosh Gowariker: An American of Indian origin returns to his roots and decides to stay back in India. But DELHI 6 bites more than it can chew.

Set in old Delhi, the screenplay [Rakeysh Omprakash Mehra, Prasoon Joshi, Kamlesh Pandey] takes its own sweet time to come to the point. In fact, the entire first half is dedicated to the sundry characters in the bylanes of old Delhi, where several stories run parallel with the main plot... The two warring brothers [Om Puri, Pawan Malhotra] and the wall that divides the two; the daughter of the house [Sonam Kapoor] aspires to be an 'Indian Idol' contestant; a moneylender's [Prem Chopra] wife has an illicit relationship with one of his lecherous debtors [Cyrus Sahukar]; an 'untouchable' [Divya Dutta] makes more sense than the so-called thekedaars of samaj; a friend of the family [Rishi Kapoor] has still not forgotten his first love [Tanvi Azmi]. Oh yes, there's also a 'Kaala Bandar' who spreads havoc in the locality. Really, Rakeysh tries to pack in multiple stories in those 2.18 hours.

But, alas, the problem is that barring a few individualistic sequences, you don't carry the film home. The film is engaging in bits and spurts. Worse, it tends to get monotonous, preachy and boring and the end is so bizarre, you actually want to ask the writers, 'Hey guys, you okay?'

DELHI 6 tells the story of a young American boy Roshan [Abhishek Bachchan] of Indian origin, who comes to India for the first time, to drop his ailing grandmother [Waheeda Rehman]. She wants to retire and spend the last leg of her life back home; dissolving into the soil she was born in.

In America, having led a very western lifestyle, Roshan is not familiar with the sites and smells, the food and culture, the religion and beliefs, this huge melting pot that India is. He believes that Dadi had left her family and loved ones back in America, only to realize that how wrong he was.

The warmth and affection of the neighbourhood embraces him with open arms. Amidst all this he meets the beautiful Bittu [Sonam Kapoor], who wants to break free from the typical Indian social structure, to whom Roshan is destined to lose his heart.

That Rakeysh Omprakash Mehra is an accomplished storyteller is evident in several individualistic scenes. Note the scene when Vijay Raaz slaps Abhishek and Abhishek slaps him back. Also, portions in the second hour, when a Baba [Akhilendra Mishra] triggers off the Mandir-Masjid talk and divides the two communities, is very well structured. The sequences are disturbing and the writers and director succeed in exposing the fickle-minded people residing in the locality.

But the screenplay isn't foolproof. The romantic track is the weakest link in the enterprise. The love story falls flat. Also, the ending is so abstract that an average moviegoer would find it difficult to comprehend what the actual culmination is. The sequence in the end, when Amitabh and Abhishek have a conversation, looks weird. In fact, ridiculous. What was the need to have this sequence? It makes no sense. Even the Ram Leela sequences, interspersed at regular intervals, are forced in the screenplay.

Rakeysh's handling of the subject is exemplary at places. But the writing [faulty at times] as also the execution of the material isn't the type that would appeal to all sections of moviegoers. A.R. Rahman's music is outstanding; it's easily amongst his finest works. 'Masakali', 'Ye Dilli Hai Mere Yaar', 'Rehna Tu', 'Maula' and 'Genda Phool' are amazing tracks. Ditto for Prasoon Joshi's lyrics; they're gems. Binod Pradhan's cinematography is brilliant. Watch the Jama Masjid sequence [breath-taking] or the camera movements in the bylanes of old Delhi. Just one word to describe the output: Incredible!

Abhishek doesn't work. Also, his American accent looks fake. Sonam is likable. Waheeda Rahman enacts her part well. Rishi Kapoor is wasted. He deserved a better role. Amongst supporting actors, Om Puri [powerful], Pawan Malhotra [flawless], Vijay Raaz [tremendous], Deepak Dobriyal [genuine], Divya Dutta [admirable] and Cyrus Sahukar [likable] leave a mark.

Prem Chopra is alright. Atul Kulkarni looks like a buffoon. And what is Raghvir Yadav doing in this film? Supriya Pathak, Tanvi Azmi, K.K. Raina, Akhilendra Mishra and Dayashanker Pandey are passable. Amitabh Bachchan's presence in the penultimate minutes fails to evoke any reaction.

On the whole, DELHI 6 has a terribly boring beginning [first hour], an absorbing middle [second half] and a weak end [climax]. At the box-office, the business is bound to be divided. The film may record bountiful collections at multiplexes in its opening weekend. The popular music as also the fact that there's no major opposition will benefit the film in the initial days. But the business at single screens as also the mass belt will be a shocking contrast. However, the cracks will start appearing sooner than expected, even at plexes. Thumbs down!

Continue

Shilpa Shetty Goes Bald for Desire

The Famous Glamour Girl is going ghajini way. Shilpa Shetty is all set to shave her head for her upcoming flick Desire. when Media asked about her upcoming movie Desire she doesnt say a word about the movie. Shilpa is all set to get Deep into the character.

Continue

Raaz the Mystery Contines

Its worth to watch Raaz the Mystery continues rather seeing Chandni Chowk to China, The movie Revoles around three person Emraan hashmi, Kangana Ranaut & Adhyayan Suman. Kangana Ranaut Plays a Fashion Model, Adhyayan Suman plays a Famous TV Anchor In Zee News Called Andavishwas. Emraan Hashmi plays as an artist experiences mysterious and distressing visions about Nandita(Kangana Ranaut), Then on day he finds her and lets her that before seeing u i have created u painting and At first, Nandita refuses to believe him and dismisses him as an eccentric stalker. However,
Most of us have heard, witnessed or perhaps had a first-hand experience of supernatural. The present-day generation may, perhaps, term it as wild imagination or hallucination, while the believers may have their point of view. Mohit and screenplay writer Shagufta Rafique's characters in Raaz - The Mystery Continues are believers and non-believers, both.

Mohit smartly builds up the atmosphere. Sample these: Emraan and Kangna's first encounter at a mall and minutes later, inside an elevator; the New Year bash when Kangna is 'attacked' by spirits; Kangna's experience in her bathtub and also when she looks at the mirror; Kangna almost jumping off a cliff; the highpoint sequence, when angry bulls attack Emraan and Kangna. Incredible sequences all! Mohit has handled the most difficult portions with panache.

However, the entire flashback part, towards the pre-climax, is not as convincing. The ending too could've been better in terms of writing, although Mohit has filmed it exceptionally well.

Mohit's choice of the subject as also the actors is right. This is, without doubt, his finest effort to date. Shagufta's screenplay is watertight at most times. Like always, the Bhatts come up with a lilting musical score and at least two songs -- 'Soniyo' [Raju Singh] and 'Maahi' [Sharib-Toshi] -- are first-rate compositions. Ravi Walia's cinematography is up to the mark. The effects are impressive.

On the acting front, both Emraan and Kangna vie for top honours. Emraan is excellent. He conveys a lot through facial expressions and that's the sign of a proficient actor. He's just getting better and better with every film. Kangna is top notch. After FASHION, this one's another power-packed performance from the actress. Adhyayan Suman is super-confident and registers a strong impact, especially towards the climax. He shows promise. Jackie Shroff is quite okay in a brief role.

On the whole, Raaz - The Mystery Continues is rich in the horror quotient and that is one of its major USPs, besides the highly competent performances by its principal cast and a lilting musical score. At the box-office, this one will continue the winning streak of Mahesh Bhatt and Mukesh Bhatt's Vishesh Films. The 4-day weekend [Monday, January 26 in a holiday] will only cement its status further. Go for it!

Continue

Those who care about India: Dont See Slumdog Millionaire

The emperor’s new clothes! That’s “Slumdog Millionaire” for you… Five minutes into this celebrated patchwork of illogical clichés and you are struck by the jarring dialogues. The cumbersome delivery in a language which doesn’t come naturally to most of the actors sounds like someone scratching on walls with one’s finger nails; it ruins the possibility of a connection… Had this film been made by an Indian director, it would’ve been trashed as a rotting old hat, which literally stands out only because of its stench, but since the man making it happens to be from the West, we’re all left celebrating the emperor’s new clothes. The film borrows an undoubtedly interesting narrative style – from films like “City of God” – but then uses it to weave in a collection of clichés from the Third World’s underbelly for the viewing pleasure of a First World audience. The real slumdog in the movie is not the main protagonist but India as a whole… The makers and those celebrating this movie’s hard-to-spot brilliance are actually serving up India as the accidental millionaire, which in fact happens to be a slumdog… and like shameless fools we are gloating over its success without realising that it makes a caricature out of India.

The film does not have the sincerity and honesty of a “Salaam Bombay” or a “City of Joy” and nor does this slime covered fairy tale have the integrity or the rootedness of the above mentioned scripts, or even a “Shantaram” for that matter; the soundtrack and the performance of the child actors are the only bits in the film which live up to the hype. The real slumdogs who’ve hit the jackpot after wallowing in acres of human waste are the makers of this film who are now raking in millions while those court jesters who’ve critiqued the film and showered tributes and awards need to ask themselves why, scores of years after our independence, they still feel the need to suck up to the gora sahibs. It’s not a question of xenophobia… it’s definitely a well cinematographed film… but the film has no soul, especially after little Jamal has jumped off the train and become a teenager… The rest of the film is just a modern version of the West’s view of India where slums, slumdogs and Bollywoodian clichés have replaced the elephants and snake charmers. It’s a well made caricature of a country and a caricature can never be a Mona Lisa, for a masterpiece can’t be one dimensional juxtaposition of sadistic extremes… and that’s my grouse with the celebrations…

And I say all this not because I don’t know what is India. I know its poverty and the real statistics around it a little better than most others – especially the Indian film critics who have given “Slumdog…” an average of 4 to 4.5 stars! But the fact is that the film’s entire narration seems like the germination of a terribly sadistic and complex mind with the sole aim of satisfying the western idea of India – and its new found growth instincts at their cost - and it is done through a combination of illogical happenings in order to show everything in a disgustingly negative vein. Not that it doesn’t exist, but it surely doesn’t exist in this fictitious manner. While “Salaam Bombay” had realism, “Slumdog…” is just every scrap of dirt picked up from every corner and piled up together to try and hit back at the growing might of India. And the awards almost seem like a sadistic effort to show the world – look we knew that this was India, and these are the slumdogs we are outsourcing our jobs to. It stinks of racial arrogance and it’s such a shame now on second thought to see the Indian faces – including that of the undoubted master, AR Rahman - celebrating its success. There is nothing positive about the film and it seems that a deranged sadist has painted his insecure negative self in each and every character of the movie. It illogically shows every negative thing about India happening in the protagonist’s life... slums, open-air lavatories, riots, underworld, prostitution, brothels, child labour, begging, blinding and maiming of kids to make them into ‘better beggars’, petty peddlers, traffic jams, irresponsible call centre executives… everything apart from western pedophiles roaming around in Indian streets!! And its winning of so many awards and nominations only goes on to prove strongly that the paradigm of cinema and recognition of films are in the hands of a few retarded imperialistic minds. It’s a crying shame that our media hasn’t seen through this ruse and is touting “Slumdog’s” nominations to claim that India is shining at the Oscars, while in fact it is lauding a film that mocks and ridicules the idea of ‘India’, pigeonholing its identity into the straitjacket of depraved poverty for a global audience.

When the West wanted Indians to embrace them and their companies to come to India and capture the lucrative markets, suddenly we had all the Indian women, some very beautiful and some not necessarily so, winning all the Miss Universe and Miss Worlds. Today, they are in a crisis and India is looking unstoppable despite its slums and poverty, and they are losing their businesses to us. Isn’t it the best time to paint India as the Slumdog Millionaire?? All in all, the film is nothing but an endorsement of an erstwhile imperial mindset of the West and its blinkered vision of India. An English master has made an Indian slumdog. Don’t even waste your time watching this film in the theatres. It sucks and there is nothing great in it as a film too. Amitabh Bachchan was spot on when he said that Bollywood has made far better mainstream films. Take out a DVD of one of his old films instead…

Continue

Kannada Movie Circus Review

After a long fight with director S Mahendar, producer-cum-director Dayal Padmanabh is out with Kannada movie Circus. The director has really stressed hard himself in weaving the story of the movie Circus. Golden star Ganesh's movie runs like a railway compartment and reaches the happy end. The movie is a pure entertainer. It will fulfill the dreams of the director, who is expecting Rs 7 crores.

Dayal's story, dialogues and the direction and Ganesh's performance will really rock the audiences. The movie could have been failed if Ganesh had not given his usual performance. The director has got good grip on the story, which runs like a train facing bridges and tunnels here and there. He has got strong hold on the story, which looks like compartments. And the of the movie has filled the fuel to the train to run faster. Shekhar Chandru's camera done a magic in the movie.

Life is like a train and if train misses the track, then it is sure to fall in ditch. Ganesh and his other three friends play a prank, which challenges all the lives of the passengers in the train. How they manage to save all the lives is the whole gist of the movie.

Like the railway station, the movie is also filled with many people. Sometimes Dayal fails to take the advantage of all these characters and he pulls the chain of the train here and there. Ganesh and his three friends, terrorist who are trying to explode the train, the heroine, who does not understand the hero, Sadhu Kokila and Avinash all look like passenger in the raiway station. Dayal has created Ganesh's character like a train engine, which drags all along with it.

Ganesh has got a different look in this movie. He does not have too much of artificial things as it used to be in his movies. Shekhar Chandru's camera, which seems another proof to this, has caught the changing feelings on his face properly. Though Dayal himself has written the dialogues of the movie, Yogaraj Bhat's way is clearly visible here and there.

Actress Archana Gupta, who does not know Kannada, has failed to lure the Kannada Audiences. She is merely a doll, who does not even understand what the other characters around her are speaking. Even the director has failed to use the actress in a proper way.

There is no liveliness in the music of the movie. Songs like 'Akashakke Yeni', 'Baro Geleya', 'Pisugudade' will not touch the hearts of the audiences. A song from Dr. Raj starrer movie Amar Gite, 'Jeeva Huvagide' has been remixed in the movie. Even this song has also failed to impress the audiences. 'Jinke Mari' fame Emile's music runs monotonously through the movie.

Director Dayal would have been more successful, if he had given a touch of real life to the movie. Instead he has followed the success formula, which has turned the movie a pure entertainer. One can watch once and enjoy it.

movie circus review, archana gupta, director dayal padmanabh, golden star ganesh

Continue

Govinda Daughter In Bollywood Moives

2008 has been a decisive year for Govinda. After working with Mani Ratnam he has decided to work only with directors of a certain caliber.

And now in 2009 Govinda has far more to look forward to. His daughter Narmada will finally be facing the camera and that too with a home production.

Confirming these radical developments in his life Govinda says, "After weighing all the pros and cons I decided I'm the best person to do the needful. I don't want anyone else no matter how well-meaning to take the credit for launching my daughter. So yes, Narmada will finally be launched anytime in 2009."

The director to do the needful for Govinda will be finalized in the next couple of weeks. Those on Govinda's wish-list are Nikhil Advani and Shaad Ali.

"Ideally," says the anxious father, "I'd have liked Narmada to be launched by Sanjay Leela Bhansali. He's among our best. But since that's not possible we're looking at some other names. My daughter has to be directed by someone who has a vision and an aesthetic sense and also respects the work that I do."

Continuing to speak on his favourite subject Govinda says, "I've struggled all my life and I continue to do so. All kinds of strange stories are planted about me. The question is not, why. But by whom? Narmada has also faced very harsh and hurtful incidents (she was involved in a terrible road accident) so early in her life. I feel today she's emotionally equipped to face the camera."

While focusing on his daughter's career Govinda has also taken some hard career decisions for himself. "Six of my releases are ready. But now, after my so-called comeback I've again stopped signing new films. After working with Mani Ratnam I can't go back to doing chalta hai roles in routine films. I'll work only with directors who are as organized and disciplined as Mani Ratnam. He's clear-headed about everything."

Shooting in the jungles wasn't easy. "But it wasn't so tough either," laughs Govinda. "I've spent my childhood in a village. So I'm used to being cut off from city life. Shooting in the jungles with Mani, Abhishek and Aishwarya was very invigorating."

Says Govinda, "For now I'm saying no to all future assignments until I get something comparable with Mani's film. But I'm in negotiation with Ravi Chopra for his next film after Banda Yeh Bindaas Hai which is now complete and being released in February, and for the sequel to Partner with Salman and David. But for now, I'm focusing on giving my daughter the best career launch any father can give."

Continue

Delhi - 6 Songs

Click Here for Songs

Click Here to Downlaod Songs:-
Right Click & Save Links As for Downloading the Song
Masakalli
Bhor Bhayi
Noor
Aarti (Tumhare Bhavan Mein)
Genda Phool
Dil Gira Dafatan
Hey Kaala Bandar
Rehna Tu
Dilhi 6
Arziyan

bollywood movie songs, abhishek bachachan songs, dilli 6 songs, delhi 6 songs, bollywood movie delhi 6 songs download, sonam kapoor,

Continue

Kannada Moive Posters

kannada movie wallpapers, kannada new movie posters, kannada posters, kannada stills, kannada photos, sandalwood movie posters, birugaali, hage sumane, ambari, athmiya, bang bang kids

Continue

Hot Images of 17 Janauary 2009

Continue

Bollywood New Movie First Look

Continue

Minisha Lamba Hot Video Shoot

photoshoot Minissha Lamba explores Vicky Idnani's camera with her lately developed awesome sex appeal. Minissha sashays her way in your heart with those sinuous moves and captivating physical appeal. Delirious watch experience!

Continue

Kangana Hot Pics

Continue