Cast: Ajay Devgan, Vidya Balan, Pankaj Kapoor; Director:  Rajkumar Santoshi; Music:  Sukhwinder Singh, Vanraj Bhatia; Rating: ** 

When Sameer Khan (Devgan) refuses to testify in a murder he has witnessed, his conscience begins to prick him. He tries hard to assuage his guilt by paying off the victim’s sister but realises that he has to come clean and expose the sons of two powerful men.

Sameer who hails from a small town makes it big in Bollywood but at the cost of his integrity and honesty. So much so he even justifies his philandering ways to his wife Sneha (Vidya Balan) and the lack of social commitment to his teacher Sidhu (Pankaj Kapur).

But finally when he has to make a choice between the hollow showbiz life he has built for himself and the values he once abided by, he chooses the former.

Little does he realise however that his decision will cost him not just his reputation but also endanger his life and that of his near and dear ones.

Sure enough what follows is an ugly witch-hunt spearheaded by the politician (Darshan Jariwala) and liquor baron whose sons are responsible for the murder.

Sooner than later however, the estranged Sameer finds that he isn’t alone as his wife and guru rally beside him. But the war is far from over.

Halla Bol has some classic Raj Kumar Santoshi moments, which any hardcore Bollywood film viewer would enjoy. For instance there is a scene where Ajay goes to Darshan’s house and is infuriated by the blatant show of wealth. He is told about the rug from Persia, Ming vase from China, sofa set from Germany. In response he relives himself on the rug and says, “This one’s pure Indian. And you don’t need paisa, power or public for this. You need balls.”

Concept-wise too Halla Bol is strong. If you had no issues with Rang De Basanti’s concept, chances are that Halla Bol will work for you too.

And Vidya Balan may not excel in the two-bit role. But she certainly stands her own ground

Subhash K. Jha: I’ll be honest. Apart from a few exceptions, I don’t think 2007 delivered any outstanding films. I mean, I really liked Sriram Raghavan’s noire film “Johnny Gaddar”, but finally it wasn’t that one piece de resistance I was looking for, until the yearend when Sanjay Leela Bhansali’s ‘Saawariya’ wrote poetry on the screen with the calm controlling measured paces of historical engravings.Every one was a bit befuddled by the film’s bluesy mood and studio-confined romanticism. But as Preity Zinta, who recently saw the film in Toronto and raved, “It takes a while, but once you get into the pace you’re completely sucked in.”

I’ll have to go with that. I sincerely believe “Saawariya” is destined to be a retro-classic like Guru Dutt’s “Kaagaz Ke Phool” and Raj Kapoor’s “Mera Naam Joker”. Was it just a coincidence that the “Saawariya” lead reminded people of Waheeda Rehman and Raj Kapoor?

My second favourite film of the year was also slammed by the learned critics of Mumbai. But to me Pradeep Sarkar’s “Laaga Chunari Mein Daag” about a simple Varanasi girl’s journey into prostitution in Mumbai was a lyrical and evocative piece of art, echoing Ritwik Ghatak’s “Meghe Dhaka Tara” and K. Balachander’s neglected “Aaina”.

So there! And then comes R. Balkrishnan’s “Cheeni Kum”. The chemistry between the 60-plus chef Amitabh Bachchan and the 30-plus whatever Tabu was harnessed into a romantic comedy that lost its fizz in the second-half. Never mind. “Cheeni Kum” is still a modern classic.

Bhavna Talwar’s “Dharm” about religious bigotry and atonement in holy Varanasi was a timeless tale told with verve and virility. The key to the film’s tantalising tone was the knack of incorporating a critical social comment in an enormously watchable film.

You may have missed “Dharm” on release. But catch it on a DVD, and re-live a golden chapter of Hindi cinema in 2007.

Golden in its own right was Mira Nair’s “The Namesake”. Though strictly not desi stuff, it was so Indian at heart it put our contemporary Bollywood tales about hot dames and cool dudes to shame. Simplicity was never such a prized virtue.

Mira, take a bow.

The two qualities that made Imtiaz Ali’s “Jab We Met” so special were the disarming simplicity and the great outdoors. Imtiaz shot this artless love story about a mismatched couple in the remotest corners of India. Interestingly, “Saawariya” shot its romance completely inside a studio. Between the two films we have the two scintillating ends of the same spectrum.

I loved Anurag Basu’s “Life In A Metro” and Madhur Bhandarkar’s “Traffic Signal” for their ensemble cast of known, unknown and don’t-wanna-know. The portrayal of life in Mumbai as seen through two totally antithetical perspectives in the two films reminded us that between the elite and the street crowds, there’s the world that the creative artiste could inhabit if he or she wishes.

Shimit Amin’s “Chak De! India” was undoubtedly one of the year’s most spectacular achievements. Imagine a film on a female hockey team with India’s biggest superstar playing a burnt-out coach? Nah! Not work.

“Chak De! India” didn’t just run it, the movie breezed across all competition and assumed a cult status. It set the benchmark for all sports films in India.

The funniest film of the year was… no, not “Bhool Bhulaiyaa” (god forbid!) but another NRI film. “The Loins Of Punjab Presents” was Manish Acharya’s feisty, tasty, racy look at contestants in a reality show with the show’s highlight being Shabana Azmi crooning “Chura liya hai tumne”.

Cast: Sanjay Dutt, Nana Patekar, Arjun Rampal, Aftab Shivdasani, Viveik Anand Oberoi, Arbaaz Khan, Rohit Roy, Bipasha Basu, Tanushree Datta, Mandira Bedi, Neha Dhupia, Anupam Kher, Jimmy Shergill, Sammir Dattani, Sudhanshu Pandey, Tusshar Kapoor; Director: Vishal Bharadwaj, Apoorva Lakhia, Hansal Mehta, Sudhir Mishra, Jasmeet Dhodi; Rating: *

The most basic problem with Dus Kahaniyaan, the omnibus film featuring ten short stories, is that there is no common theme, nothing at all really, that merits these ten stories to be slapped together as one collection.

Unlike Ramgopal Varma’s Darna Mana Hai or its follow-up Darna Zaroori Hai which were both omnibus films whose short stories centred around one common premise — fear, there is no logical explanation or criteria for the ten shorts in this film to be assembled together.

Now you’re probably wondering why that matters — why should there be a common take-off point for all stories as long as they’re all interesting stories, right?

Well, that’s just it — with nothing at all to rein them in, no boundaries whatsoever to work within, several of the stories turn out bizarre, abstract and pretty much pointless, if you ask me. Had every one of them at least come with a twist ending, you’d have something to look forward to, but barring a handful that do, the rest are either predictable or plain boring.

Let’s talk first about the stories that work. Matrimony, directed by Sanjay Gupta, featuring Arbaaz Khan and Mandira Bedi as a married couple in a tale about faith and betrayal is an enjoyable watch, and comes with a surprise in the end that’s both clever and obvious in retrospect.

Meghna Gulzar’s Pooranmaashi starring Amrita Singh and Minnisha Lamba as mother and daughter in a story about unconditional love, is my favourite of the ten shorts, because it’s such a heartbreaking tale with such a real and solid dilemma at its core.

And Sanjay Gupta’s Manoj Bajpai-Dia Mirza starrer Zahir works because it’s a relatable story, it’s remarkably well shot, but most of all because of that shock ending. Three good stories out of ten, is hardly a report card to be proud of, and honestly it’s not enough to keep your interest alive in Dus Kahaniyaan.

Of the stories that don’t quite cut it is Hansal Mehta’s High on the Highway, a wildly indulgent and completely incohesive tale of two drugged-out lovers starring Jimmy Shergill and Masumeh Makhija, both performing way off-key.

Also Sanjay Gupta’s Neha Dhupia-Mahesh Manjrekar starrer Strangers in the Night, a cheap gimmick of a story that’s even more stupid when you go back and think about it, because if you ask me, the twist in that story is an offensive idea that’s disguised as a noble thought.Let’s talk first about the stories that work. Matrimony, directed by Sanjay Gupta, featuring Arbaaz Khan and Mandira Bedi as a married couple in a tale about faith and betrayal is an enjoyable watch, and comes with a surprise in the end that’s both clever and obvious in retrospect.

Meghna Gulzar’s Pooranmaashi starring Amrita Singh and Minnisha Lamba as mother and daughter in a story about unconditional love, is my favourite of the ten shorts, because it’s such a heartbreaking tale with such a real and solid dilemma at its core.

And Sanjay Gupta’s Manoj Bajpai-Dia Mirza starrer Zahir works because it’s a relatable story, it’s remarkably well shot, but most of all because of that shock ending. Three good stories out of ten, is hardly a report card to be proud of, and honestly it’s not enough to keep your interest alive in Dus Kahaniyaan.

Of the stories that don’t quite cut it is Hansal Mehta’s High on the Highway, a wildly indulgent and completely incohesive tale of two drugged-out lovers starring Jimmy Shergill and Masumeh Makhija, both performing way off-key.

Also Sanjay Gupta’s Neha Dhupia-Mahesh Manjrekar starrer Strangers in the Night, a cheap gimmick of a story that’s even more stupid when you go back and think about it, because if you ask me, the twist in that story is an offensive idea that’s disguised as a noble thought.The most ridiculous of the ten stories however, is Rise and Fall starring Sanjay Dutt and Sunil Shetty in the kind of stereotypical roles you’ve seen them play in so many films before. They rattle off lines so indifferently, you can barely hear them as you struggle to make sense of this absurd film that’s all style and no substance.

Wide-angle lenses, sepia-toned photography, sharp cuts. But what the hell is going on? A fair question, I think, to Sanjay Gupta and Hansal Mehta, the two directors it took to come up with this nonsensical short. With six out of ten stories that sorely disappoint, Dus Kahaniyaan isn’t exactly pleasurable viewing.

And then there’s Rice Plate which is an easy watch purely on the strength of its performances. Shamelessly plagiarized from the celebrated short film Lunch Date which won the Palme d’Or at Cannes in 1990 for best short, also an Academy Award the following year, Rice Plate stars Shabana Azmi as a bigoted Tamilian Brahmin woman in a story about prejudices and fear.

Shabana delivers an incredible performance, and is complemented perfectly by Naseeruddin Shah who only appears in two scenes, but it’s the film’s director Rohit Roy who proves that even the finest material in the hands of an incompetent filmmaker can be reduced to nothing much.

He rips off the entire premise of that thought-provoking short film, replacing that film’s classic element — silence — with unnecessary spoon-feeding. The subtlety, the little nuances, the easy charm of the original film is lost under Rohit Roy’s third-class direction where everything must be spelled out.

In the end, how do you judge a film like Dus Kahaniyaan? It’s an interesting experiment, no doubt, but by no stretch of the imagination a successful one.

Look at the delightful portmanteau film Paris Je t’aime, a collection of some 18 shorts centred around the themes of love and Paris, directed by some of the most acclaimed directors from across the world — that film works because you enjoy each director’s individual interpretation of the same theme.

By the same yardstick, Dus Kahaniyaan is dull and boring because for one, there is no common premise, and also because barring maybe two films, there’s very little difference in the shooting or editing of most stories.

All things aside, judged very simply for the entertainment it’s able to provide, I’ll go with one out of five for Dus Kahaniyaan, watch it only because it’s a new format and enjoy the handful of stories that do entertain. For the most part though, prepare to be seriously bored.

A ‘comeback’ film always holds significance. Dilip Kumar [Kranti], Amitabh Bachchan [Mrityudatta], Vinod Khanna [Insaaf], Dimple Kapadia [Saagar], Mumtaz [Aandhiyaan] and Kajol [Fanna] are names you cannot erase from your memory since the celebrated actors returned to the big screen after a hiatus.

With Aaja Nachle, Madhuri Dixit, who reigned supreme, is back to the studios with the Numero Uno production house of the country. Does the actress still possess the charisma to ignite fire in water? Also, does the vehicle she chooses to make a comeback with, have the fuel to reach the winning post?
Sadly, Aaja Nachle is below the mediocre mark and doesn’t meet the humungous expectations that you associate with the Yashraj - Madhuri combo. What’s the problem? Without a doubt, the script! What starts off as a story that seems real and identifiable becomes a fairy tale in the latter hour. Also, with a title like Aaja Nachle and the story harping on music, the songs had to be chartbusters. That’s just not the case here!

In short, Aaja Nachle fails in the two vital departments — writing and music. The film doesn’t make your heart go dhak-dhak, nor does it prompt you to break into a nach at the end of the show.

After nearly a decade, an unexpected phone call shakes Dia [Madhuri Dixit] out of her dance rehearsal in New York. Makarand [Darshan Zariwala], her guru, is dying and she must return to Shamli, a town in India. The town where she grew up, the town where she learnt to live and to dance. Also the town she left on an impulse, severing ties with her parents and her people.

It is a poignant and troubled return; not only has her guru passed away but the institution that he so lovingly nurtured is in decay and under threat of demolition. Ajanta theatre, the once vibrant hub of the community, the place where Dia’s fondest memories are embedded, must now be brought down because the local political authorities feel it a waste of prime real estate.

With the help of Doctor [Raghuvir Yadav], the caretaker of Ajanta, Dia sets out on a mission to prevent the destruction and resurrect the spirit of Ajanta. In an atmosphere of mistrust, ridicule and active hostility, Dia picks up the gauntlet and agrees to achieve the near impossible task of putting together a theatrical production. She must also ensure that every member of the production is from Shamli town. She has only two months to prove her point or the bulldozers will be waiting.

Bearing a striking similarity to the Brazilian film XUXA REQUEBRA, Jaideep Sahni’s screenplay is the biggest culprit here. The protagonist [Madhuri] knows that there would be hurdles galore on her way, as she embarks on a journey to realize her guru’s dreams. But she hardly struggles to achieve the impossible. Even the corrupt politician [Akhilendra Mishra] or the shrewd businessman [Irrfan], who could’ve proved to be tough nuts to crack, give in so easily.

Besides, the goings-on get too unbelievable. The first question that crosses your mind is, how does Madhuri raise the funds to put up this spectacular event [the set design in the penultimate song is marvellous]? Okay, that’s a cinematic liberty, but, seriously, there should’ve been at least some reference to where the money would flow in to fund this mammoth, lavish and extravagant event. What starts off as a ‘real’ film, drifts into a ’surreal’ world as it moves ahead.

Debutante director Anil Mehta knows the importance of frames/visuals since he’s an accomplished cinematographer. But Mehta ought to know by now that it’s the content that does the talking eventually. The writing is too commonplace to make any impact whatsoever. In an effort to strike a balance between believable and make-believe, Aaja Nachle falls like a pack of cards.

Salim-Sulaiman’s music is another minus point. You expect the songs to linger in your memory even after the show has ended… that’s what makes a musical tick, right? It’s not the case here. Dialogues are wonderful at places, especially the ones delivered by Akshaye Khanna and Madhuri. Cinematography [Mohanan] is splendid.

Madhuri has always delivered qualitative performances and the fire continues to burn to this date. She’s top notch, but how one wishes the script would’ve done justice to her talent. It doesn’t offer her a pedestal to take that big leap. The loyal Madhuri fans would surely feel disillusioned and saddened.

Akshaye Khanna is tremendous. In fact, it’s a treat to watch Madhuri and Akshaye together, after a hiatus. Kunal Kapoor is likable; he enacts his part with natural ease. Konkona is nice, but when compared to her previous work, it’s definitely not in that league.

Irrfan, in a brief role, is okay. Divya Dutta too is relegated to the backseat. Ranvir Shorey is first-rate. Ditto for Raghuvir Yadav. Darshan Zariwala does a fine job. Yashpal Sharma is alright. Vinay Pathak and Sushmita Mukherjee are adequate. Akhilendra Mishra is as usual. Jugal Hansraj gets no scope. Vinod Nagpal and Uttara Baokar, as Madhuri’s parents, have nothing much to do. Felix D’Alviella [as Steve — Madhuri’s lover] is passable.

On the whole, Aaja Nachle disappoints big time. At the box-office, the film has embarked on a poor start and coupled with weak merits will only emerge as one of the major disappointments of the year.

Cast: John Abraham, Bipasha Basu,Arshad Warsi,Boman Irani; Director: Vivek Agnihotri; Rating: **1/2Think of sports-based films made in India and visuals of lagaan and chak de india flash across your mind. Will Dhan Dhana Dhan Goal fall in the same league as these immensely popular flicks, is one vital question that crosses your mind as the reels of UTV’s new sport-based film [their second this year, after HATTRICK] Dhan Dhana Dhan Goal are about to unfold.

Goal is a simple story that packs not just the sport, but also dabbles with issues like racism and fanaticism associated with this sport. Issues that Westerners can relate to more than Indians, especially racial discrimination.

As a film, Goal has its share of highs and lows. If the first hour is strictly okay, the pendulum swings in its favour in the second hour — in the last 20 minutes, to be precise. The sport succeeds in arousing patriotic feelings, besides involving the viewer in the fight-to-finish finale.

Conversely, there are times when you feel that the film falls back on the predictable, tried-n-tested mundane stuff. And packs in something [’Billo’, the song] that’s just not in sync with the mood of the film.

To sum up, Goal is a simple story, well told. Notwithstanding the hiccups, this film hits a Goal, courtesy its brilliantly executed finale.

Southall United Football Club is facing its deepest crisis ever. Bankrupt, with no stars, no coach, no sponsors, no takers, no spectators and most importantly, no owner. After the City Council sends an eviction notice, it’s the last chance to save the ground, the club and their honour. Shaan [Arshad Warsi] takes up the challenge to save the club from extinction. After a disesteemed ex-player, Tony Singh [Boman Irani], joins them as the coach, Shaan and he begin work to gather the worn out team.

Sunny’s [ John Abraham ] dreams to play for England crashes after his club does not select him. The reason is apparently not his game, but the colour of his skin. Sunny and Shaan never see eye to eye. Adding to their personal chaos is Shaan’s cousin sister Rumana [ Bipasha Basu ], who is in love with Sunny.Tony manages to convince Sunny to play for Southall United. It takes a while before Shaan and the team warms up to Sunny. With Sunny joining Southall United, the team gradually starts climbing the points tally. The City Council is worried. Johny Bakshi [Dalip Tahil], a commentator and a frontman of the Council, plans to lure Sunny away from Southall United.

Director Vivek Agnihotri combines style and substance in his second outing Goal. Take the sequence at the very start, when an English woman and her frontman [Dalip Tahil] reveal their plans of coming up with a shopping complex on the ground. The director opens the cards at the very outset. But the narrative dips, rises, hits a low and ascends unfailingly till the first hour ends. The sequence prior to the intermission — at the Manchester United Stadium — leaves you awe-struck and makes you look forward to a powerful second hour.

Fortunately, the drama only gets exciting in the post-interval hour. The cold vibes that Arshad and John share as also John’s volte-face, when he decides to abandon his club for the riches, give the film that extra dimension, camouflaging the defects that raised their head not too long back. The film dips at times in this hour too, but the journey to the finale is well structured. Yes, John’s change of heart is slightly filmy and cliched, but the climax is astounding. The penultimate 20 minutes in the stadium are awe-inspiring and that’s what you carry back home.

Vivek Agnihotri knows what he’s talking and though you know that he got swayed by technique in his very first film chocolate, in Goal, he never lets technique overpower content. The story is simple, but absorbing and presented stylishly. He’s truly evolved into a fine storyteller.

There’re just two songs in the narrative — the anthem Dhan Dhana Dhan Goal/excellent and ‘Billo’/well-tuned, but the mujra doesn’t go well with the mood of the film. Attar Singh Saini’s cinematography is striking. The camera movements — so difficult in a film like this — are exemplary.

Both John and Arshad are the ‘Men of the Match’. John is a revelation. Wrongly dubbed as a clotheshorse in his earlier films, he hits a goal in Goal. John lends the right texture to his character. He not only looks right for the part, but also plays the sport like a pro. Goal should occupy the top slot in his body of work!

Arshad Warsi is superb. An incredibly talented actor whose versatility speaks volumes. Cast in a sober, serious role this time, Arshad enacts the part with as much ease as he portrayed Circuit. Bipasha Basu may not have a lengthy role, but she adds zing to the goings-on as and when she appears. Her love story with John is really cute.

Boman Irani is top notch. Note his roar at the intermission point or the uneasiness he displays whenever his team locks horns with the rivals on field. It’s a flawless performance. Raj Zutshi is first-rate. Dalip Tahil carries the venomous part well. The actor enacting the role of Arshad’s wife does a commendable job.

On the whole, Dhan Dhana Dhan Goal has an ordinary first hour, but the post-interval portions, especially the exhilarating climax, makes up for everything. At the box-office, the producers [UTV] have already recovered the cost of production from various sales and in-film advertising. The theatrical business will only add to the booty, considering the film has the merits to work with moviegoers. Another factor that goes in its favour — and it’s an important one — is the fact that the moviegoers haven”t seen a new release post-Diwali. That should reap dhan for Dhan Dhana Dhan Goal.