bobbysing
Joined Nov 2007
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This real life inspired short film titled HOLDING BACK strongly points towards the one subject people are even scared of discussing and talking about, the only undeniable truth, the certain reality of our lives...... i.e. DEATH.
Directed by Wilson Louis, its indeed a worth praising effort inspired from an actual incident of 1999 and its really good to see the writer-director choosing this thoughtful, emotional subject moving much ahead than the usual 'attention-seeking' plots often seen in the world of short films.
Getting an appreciable support from the veteran actors and technicians, HOLDING BACK has Seema Biswas and Ananth Mahadevan playing the parents and Kunal Kumar, Raj Arjun and Aditya Lakhia as the other key characters. But without disclosing anything about its basic storyline (keeping the shock-value intact), the film revolves around a mother and the trauma she courageously goes through in an unexpected situation arising during their journey together in a train.
The true story strongly makes you think about the value of each and every second lived unconsciously, assuming that there is still a lot of time left in our given days..... whereas in reality we might not be able to see the next beautiful morning and even the present day's evening.
Personally it reminded me of a particular phrase of Guru Nanak in Sri Guru Granth Sahib where he says, "Hum Aadmi Haan Ik Dami". Meaning, we all are actually dependent upon the existence of only one breath.
Do watch it as a must and give it a thought. Cheers!
Directed by Wilson Louis, its indeed a worth praising effort inspired from an actual incident of 1999 and its really good to see the writer-director choosing this thoughtful, emotional subject moving much ahead than the usual 'attention-seeking' plots often seen in the world of short films.
Getting an appreciable support from the veteran actors and technicians, HOLDING BACK has Seema Biswas and Ananth Mahadevan playing the parents and Kunal Kumar, Raj Arjun and Aditya Lakhia as the other key characters. But without disclosing anything about its basic storyline (keeping the shock-value intact), the film revolves around a mother and the trauma she courageously goes through in an unexpected situation arising during their journey together in a train.
The true story strongly makes you think about the value of each and every second lived unconsciously, assuming that there is still a lot of time left in our given days..... whereas in reality we might not be able to see the next beautiful morning and even the present day's evening.
Personally it reminded me of a particular phrase of Guru Nanak in Sri Guru Granth Sahib where he says, "Hum Aadmi Haan Ik Dami". Meaning, we all are actually dependent upon the existence of only one breath.
Do watch it as a must and give it a thought. Cheers!
There are three basic ways to make a major impact on the Indian viewers always looking for some good entertaining cinema every Friday with the same excitement and passion.
One - Give them something entirely fresh with an unusual plot line never heard or seen before presented innovatively (which is extremely difficult).
Two – Transport them to a highly relatable, mesmerizing world with all lovable characters winning hearts right away through their individual mannerisms, looks and dialogues (despite having a predictable storyline).
Three –Come up with a hypnotic musical soundtrack with 6-7 spellbinding songs coming one after another at every 10-12 minutes creating some kind of 'romantic chemical locha' in their bodies reminding them of their own beloveds.
Thankfully after a painfully long wait moving ahead than the subjects of Comedy, Religion and 84, Punjabi cinema finds its lost musical soul back with ANGREJ, scoring the maximum on the second and third point mentioned above.
In short, despite having a routine, predictable storyline and budget constraints visible in the period film taking you back in the 40s before Indian independence, ANGREJ effortlessly wins your heart with its innocence, simplicity and honesty just like the people of those times living life through their 'hearts' and not 'minds' in comparison to the present era.
The film brings smiles on your faces within the first five minutes only and then that smile stays right till the end with all delightful characters getting introduced at regular intervals. In fact the most adorable one comes post intermission only making a sweeping impact right away with her charming presence and a charismatic smile. She is Sargun Mehta, the girl known for her TV appearances making her debut in Punjabi cinema with a bang. To give her the deserving credit, ANGREJ makes an instant connect with the young hearts due to her highly appealing performance and I can bet, 8 out of 10 boys would be feeling a crush for her coming out of the theatre (may be all the 10).
Getting valuable contribution from everyone in the cast including the talented singer–actor Amrinder Gill (as the innocent young boy caught in a love dilemma), Binnu Dhillon (as the funny but concerning friend in an unexpectedly short role), Anita Devgan (the cute mother) and the couple Sardar Sohi-Nirmal Rishi (providing the good old humour of the 80s), ANGREJ comes as a big pleasant relief for the audience who were being served the same usual content again and again by the Punjabi filmmakers irresponsibly.
However apart from Sargun Mehta and Amrinder Gill as the lead pair, the film gets a huge support from another debutant Aditi Sharma (playing the complex character of a confused girl) and Ammy Virk who simply bowls you over with his impressive screen presence and highly likable performance despite playing a negative character.
Having praised everyone in the cast above, the actual backbone of ANGREJ remains its heartwarming, nostalgic execution and fabulous writing with exceptional dialogues from the team of Simerjit Singh (director) and Amberdeep (story/screenplay/dialogues) reminding you of those pleasant times of the last century. The ethnic feel, the lost lingo, the heartfelt teasing and the cheerful interaction with everyone around by the young ones fills you with a different kind of positive energy not seen in the recent Punjabi films to be precise. It keeps progressing with all uplifting sequences without any drag hindering the overall pace. And there always exists a controlled comic feel throughout the movie that keeps the smiles coming along with the timely laughter.
Above all a peppy, melodious as well as meaningful soundtrack gives ANGREJ (Punjabi) a superior edge that was missing in a Punjabi film since many years. In other words, a soundtrack with each and every song bringing forward many traditional elements of Punjab's culture was not found in any of the recent hits or super hits to give you the exact picture. And when you have all exceptionally melodious tracks with highly lovable performers enacting them so wonderfully, then that itself becomes a reason enough to visit it in the theaters as soon as possible.
Talking about the people more interested in business point of view, ANGREJ should teach the makers, directors, composers and producers of Punjab that what a melodious score actually is and what a well- made incomparable soundtrack can do to a film in terms of its opening figures at the box office. And for this big musical achievement, the entire team led by Jatinder Shah and Amrinder Gill needs a special appreciable mention. Especially Amrinder, who always displayed a keen understanding of the melody, right from his early days of "Chann Da Tukda".
Coming to the downers, the biggest one remains a routine, seen before love-triangle plot that becomes entirely predictable post interval and offers nothing new in terms of story content. Plus I strongly felt the traditional ladies singing in the second half going into a bit longer length than required.
Other than that ANGREJ deservingly calls for a higher rating for the merits mentioned above. But here I personally would like to congratulate the person who did the casting of the two brilliant girls playing the key roles, especially Sargun Mehta.
So for all Punjabi film viewers and friends interested in taking a sweet, feel good cultural ride back in time to the mid 40s, buy a bunch of tickets for the entire family and visit your nearest cinemas at the earliest to celebrate love and music together in a pure cinematic form like never before with ANGREJ and have a great time.
One - Give them something entirely fresh with an unusual plot line never heard or seen before presented innovatively (which is extremely difficult).
Two – Transport them to a highly relatable, mesmerizing world with all lovable characters winning hearts right away through their individual mannerisms, looks and dialogues (despite having a predictable storyline).
Three –Come up with a hypnotic musical soundtrack with 6-7 spellbinding songs coming one after another at every 10-12 minutes creating some kind of 'romantic chemical locha' in their bodies reminding them of their own beloveds.
Thankfully after a painfully long wait moving ahead than the subjects of Comedy, Religion and 84, Punjabi cinema finds its lost musical soul back with ANGREJ, scoring the maximum on the second and third point mentioned above.
In short, despite having a routine, predictable storyline and budget constraints visible in the period film taking you back in the 40s before Indian independence, ANGREJ effortlessly wins your heart with its innocence, simplicity and honesty just like the people of those times living life through their 'hearts' and not 'minds' in comparison to the present era.
The film brings smiles on your faces within the first five minutes only and then that smile stays right till the end with all delightful characters getting introduced at regular intervals. In fact the most adorable one comes post intermission only making a sweeping impact right away with her charming presence and a charismatic smile. She is Sargun Mehta, the girl known for her TV appearances making her debut in Punjabi cinema with a bang. To give her the deserving credit, ANGREJ makes an instant connect with the young hearts due to her highly appealing performance and I can bet, 8 out of 10 boys would be feeling a crush for her coming out of the theatre (may be all the 10).
Getting valuable contribution from everyone in the cast including the talented singer–actor Amrinder Gill (as the innocent young boy caught in a love dilemma), Binnu Dhillon (as the funny but concerning friend in an unexpectedly short role), Anita Devgan (the cute mother) and the couple Sardar Sohi-Nirmal Rishi (providing the good old humour of the 80s), ANGREJ comes as a big pleasant relief for the audience who were being served the same usual content again and again by the Punjabi filmmakers irresponsibly.
However apart from Sargun Mehta and Amrinder Gill as the lead pair, the film gets a huge support from another debutant Aditi Sharma (playing the complex character of a confused girl) and Ammy Virk who simply bowls you over with his impressive screen presence and highly likable performance despite playing a negative character.
Having praised everyone in the cast above, the actual backbone of ANGREJ remains its heartwarming, nostalgic execution and fabulous writing with exceptional dialogues from the team of Simerjit Singh (director) and Amberdeep (story/screenplay/dialogues) reminding you of those pleasant times of the last century. The ethnic feel, the lost lingo, the heartfelt teasing and the cheerful interaction with everyone around by the young ones fills you with a different kind of positive energy not seen in the recent Punjabi films to be precise. It keeps progressing with all uplifting sequences without any drag hindering the overall pace. And there always exists a controlled comic feel throughout the movie that keeps the smiles coming along with the timely laughter.
Above all a peppy, melodious as well as meaningful soundtrack gives ANGREJ (Punjabi) a superior edge that was missing in a Punjabi film since many years. In other words, a soundtrack with each and every song bringing forward many traditional elements of Punjab's culture was not found in any of the recent hits or super hits to give you the exact picture. And when you have all exceptionally melodious tracks with highly lovable performers enacting them so wonderfully, then that itself becomes a reason enough to visit it in the theaters as soon as possible.
Talking about the people more interested in business point of view, ANGREJ should teach the makers, directors, composers and producers of Punjab that what a melodious score actually is and what a well- made incomparable soundtrack can do to a film in terms of its opening figures at the box office. And for this big musical achievement, the entire team led by Jatinder Shah and Amrinder Gill needs a special appreciable mention. Especially Amrinder, who always displayed a keen understanding of the melody, right from his early days of "Chann Da Tukda".
Coming to the downers, the biggest one remains a routine, seen before love-triangle plot that becomes entirely predictable post interval and offers nothing new in terms of story content. Plus I strongly felt the traditional ladies singing in the second half going into a bit longer length than required.
Other than that ANGREJ deservingly calls for a higher rating for the merits mentioned above. But here I personally would like to congratulate the person who did the casting of the two brilliant girls playing the key roles, especially Sargun Mehta.
So for all Punjabi film viewers and friends interested in taking a sweet, feel good cultural ride back in time to the mid 40s, buy a bunch of tickets for the entire family and visit your nearest cinemas at the earliest to celebrate love and music together in a pure cinematic form like never before with ANGREJ and have a great time.
Post the unexpectedly huge success of GRAND MASTI, it seems the makers are ready and willing to cross more bolder limits to earn some quick weekend returns, finding the courage to promote the latest part of KYAA KOOL HAIN HUM series as India's first ever 'Porn-Com' or Porn Comedy in its promotional campaign.
However their 'visionary' plans are sure not going to work big time, since the film neither has anything enjoyable in terms of sex or comedy with everything simply falling flat without any likable mass appeal. Interestingly it all begins well with a bang, projecting that there's lot more coming next in the subsequent hours providing the expected content. But strangely the film never takes any major leap in the later reels and remains entirely dependent upon all badly written double meaning dialogues, suggestive moanings, cheap dragging-in of reputed names such as Karjatya (mocking The Badjatyas) and unengaging sequences presenting the same old plot of presenting a group of friends as members of one 'Sanskari family' in front of a visiting relative.
As a matter of fact, the word 'porn' is used in the tagline, since one of its lead actor Krishna is into making porn films in Bangkok as spoofs of the hit Hindi films like LICK instead of KICK, KHOLEY instead of SHOLAY and more bringing in the only few entertaining moments in the entire film. Apart from that KKHH3 doesn't have anything in either the screenplay, gags, dialogues or individual (erotic) performances wherein the director and his writer even use a rat, dog, horse and a macaw too (a long-tailed colourful parrot) in desperation to bring in the desired humour, which actually turns the film into a silly mess post intermission.
In the performances, continuing his mastery achieved in such silly portrayals Tushar Kapoor irritates instead of entertaining, whereas Aftab Shivdasani remains okay as his close friend. Krishna as their common buddy once again becomes a victim of a bad script that fails to exploit his known talent on the bigger screen. Plus in the female cast there are girls willing to shed off their clothes as per the requirement, who just wished to be the heroine of a Hindi film, even if it is a 'porn-com' not in any way concerned about their acting talents. So we have Gizela Thakral and Claudia Ciesla trying to titillate the viewers through their repetitive 'suggestive moanings' and 'dropping pallus', along with the beautiful Mandana who also gets simply used as a leading glamour doll and nothing else. In addition the film also features Shakti Kapoor, Meghna Naidu, Darshan Zariwala and few forgettable cameos too that fail to lift up the proceedings in many manner.
In the musical section, a catchy song among all mediocre ones is unable to make any impact due to the otherwise silly story progression. And the same can be said about the background score, editing and cinematography too trying hard to deliver individually. Actually being the major culprit behind this poor dud, director Umesh Ghadge tried to make a project assuming that the Hindi film viewers are ready to accept anything and everything in the name of sex, without caring about any enjoyable content in terms of funny sequences, witty dialogues or comic performances.
In short, it's a film that has been blindly made to encash the controversial genre in a quick span of time with all available actors, shot in probably one schedule (with the location/bunglow also looking the same as last seen in Akshay's ITS ENTERTAINMENT). Hence you can watch it at your own risk if you must or in case you have become a big fan of Mandana post the latest season of Big Boss and wish to watch her on the bigger screen in much lesser clothes.
However their 'visionary' plans are sure not going to work big time, since the film neither has anything enjoyable in terms of sex or comedy with everything simply falling flat without any likable mass appeal. Interestingly it all begins well with a bang, projecting that there's lot more coming next in the subsequent hours providing the expected content. But strangely the film never takes any major leap in the later reels and remains entirely dependent upon all badly written double meaning dialogues, suggestive moanings, cheap dragging-in of reputed names such as Karjatya (mocking The Badjatyas) and unengaging sequences presenting the same old plot of presenting a group of friends as members of one 'Sanskari family' in front of a visiting relative.
As a matter of fact, the word 'porn' is used in the tagline, since one of its lead actor Krishna is into making porn films in Bangkok as spoofs of the hit Hindi films like LICK instead of KICK, KHOLEY instead of SHOLAY and more bringing in the only few entertaining moments in the entire film. Apart from that KKHH3 doesn't have anything in either the screenplay, gags, dialogues or individual (erotic) performances wherein the director and his writer even use a rat, dog, horse and a macaw too (a long-tailed colourful parrot) in desperation to bring in the desired humour, which actually turns the film into a silly mess post intermission.
In the performances, continuing his mastery achieved in such silly portrayals Tushar Kapoor irritates instead of entertaining, whereas Aftab Shivdasani remains okay as his close friend. Krishna as their common buddy once again becomes a victim of a bad script that fails to exploit his known talent on the bigger screen. Plus in the female cast there are girls willing to shed off their clothes as per the requirement, who just wished to be the heroine of a Hindi film, even if it is a 'porn-com' not in any way concerned about their acting talents. So we have Gizela Thakral and Claudia Ciesla trying to titillate the viewers through their repetitive 'suggestive moanings' and 'dropping pallus', along with the beautiful Mandana who also gets simply used as a leading glamour doll and nothing else. In addition the film also features Shakti Kapoor, Meghna Naidu, Darshan Zariwala and few forgettable cameos too that fail to lift up the proceedings in many manner.
In the musical section, a catchy song among all mediocre ones is unable to make any impact due to the otherwise silly story progression. And the same can be said about the background score, editing and cinematography too trying hard to deliver individually. Actually being the major culprit behind this poor dud, director Umesh Ghadge tried to make a project assuming that the Hindi film viewers are ready to accept anything and everything in the name of sex, without caring about any enjoyable content in terms of funny sequences, witty dialogues or comic performances.
In short, it's a film that has been blindly made to encash the controversial genre in a quick span of time with all available actors, shot in probably one schedule (with the location/bunglow also looking the same as last seen in Akshay's ITS ENTERTAINMENT). Hence you can watch it at your own risk if you must or in case you have become a big fan of Mandana post the latest season of Big Boss and wish to watch her on the bigger screen in much lesser clothes.