On one hand Dimpy, wife of the son of late BJP leader Pramod Mahajan claims to be physically harassed by her husband finds himself warning never to enter in the marital home at Worli and on the other hand his ex-girlfriend Payal Rastaugi claims he’s been torturing and threatening her with calls and messages.
On Friday, Dimpy held a press conference outside the marital home when she was asked to leave her home. 21-year old girl said, “We had a conversation. He has regrets about what happened. Both of us are upset. I am deeply hurt and need some time alone to think about this. I want to be left alone till then.”
She added, “Rahul has apologised. He regrets his action sincerely. I haven’t recovered from what happened.”
Well Rahul don’t be so rude to trouble the two beautiful ladies in your life….however, one is past and other is your present.
It’s the way he looks at the camera. Almost as if it doesn’t exist. Ajay Devgn as Sultan Mirza is NOT Haji Mastan, please note. He’s just this Robin Hood in the 1970s who happened to be a smuggler and who at some point in the taut plot, locks horns with a junior recruit who, please note, is NOT Dawood Ibrahim.
So who, in the name of immoral crime and haphazard policing, are these two men? So stylishly masculine, so sweaty in their realism and so menacing in their demeanour and complete denial of the existent morality they remind you of the anti-social heroes from Sam Peckinpah’s Westerns?
“Once Upon A Time In Mumbaai” takes us back to the beginnings of gangsterism in Mumbai. Milan Luthria excels in creating smouldering combustive stress between two mean menacing men… Remember Devgn (who back then was Devgan, just as Mumbai was Bombay when the film under review unfolds) and Saif Ali Khan in Luthria’s “Kachche Dhaage” and on a more satirical note, John Abraham and Nana Patekar in “Taxi No 9211”.
In “Once Upon A Time….” the conflict between Devgn (who is NOT Haji Mastan) and Emraan Hashmi (who is NOT Dawood) is placed in a far more complex and challenging scenario. The screenplay (Rajat Arora) takes into view the entire gamut of grime in the canvas of crime that cannot be hidden by the surface glamour and glitter.
The vintage cars, the costumes and that attitude of rebellious abandon comes through in the inner and outer styling of the characters. The people in Luthria’s panoramic view of Mumbai in the late 1960s and 70s are steeped in a cinematic realism. Neither a part of that period nor a completely true representation of an era gone-bye-bye the characters hover in a no-man’s-land populated by fascinating details of past recreated with a tongue-in-cheek broadness of purpose.
There are bouts of suppressed satire in the way the whole era of the genesis of the underworld is represented. For example Emraan Hashmi befriends and sleeps with a woman who looks a lot like a Bollywood actress whom Raj Kapoor had introduced in a film and Dawood had befriended and allegedly impregnated.
Often the characters are an amalgamation of furious folklore and long-forgotten newspaper headlines of the 1970s. Kangna Ranaut plays an actress from the 1970s who gets the hots for the Robin Hood-styled smuggler-hero. Later she is discovered to have a congenital heart disease (a la Madhubala who came two decades before the events of this film are supposed to unfold). But look at the irony! It’s her smuggler-hero lover who dies of a wounded heart.
Maybe we shouldn’t give away the plot. Because the plot never gives itself away. It never betrays a phoney intent of purpose. The narrative unfolds through the first-person narration of a troubled wounded cop, played with remarkably restrained bravado by Randeep Hooda. Indeed this is the most accomplished performance in the film. He’s partly a gallant law enforcer and partly a victim of a system that breeds inequality, corruption and finally, self-destruction.
Hooda is wry, cynical, bitter, anguished and yet able to see the humour of a situation that one can ride only by sublimating its gravity. As for Ajay Devgn, he continues to evolve with every performance. As a gangster from the 1970s Devgan brings on the table a clenched self-mocking immorality. He stands outside the character even while internalizing the performance.
Director Milan Luthria imparts a keen eye for details to the storytelling. Some bits in the second-half get shaky, such as the predicable club songs and the repeated use of overlapping editing patterns to convey the rising tension between the mentor and the protégé turned tormenter. But the director’s command over the language of outlawry is unquestionable.
Emran Hashmi as Devgn’s uncontrollable protégée gets the look and body language right. His courtship of Prachi Desai to the accompaniment of romantic hits from the 1970s (e.g Raj Kapoor’s “Bobby”) is engaging.
Understandably, the two ladies are reduced to pursing their lips and wringing their hands as the story progresses. The film’s best, most charming and heartwarming moments come in the early stages of the drama between Devgn and Ranaut. Their growing fondness for one another is recorded in scenes and words written by a poet who can see the humour behind mutual attractions.
The real hero of this film is the writing. Rajat Arora’s dialogues flow from the storytelling in a smooth flow of poetry and street wisdom. Aseem Mishra’s sharply -evocative cinematography gives to this rugged-and-razorsharp look at Mumbai’s mythic mating with crime, an urgency that simply can’t be ignored.
53-year-old Noel Tata will be managing director at Tata International, which is a leather and engineering trading company having a presence in 10 African nations. The company is looking for increasing its revenue two fold to $1 billion in two years. Noel Tata grew the retail business more than 10-fold in less than a decade.
Ratan Tata, the 73-year-old chairman, on Thursday said, “we pledge to sustain his legacy.’ A senior Tata Sons executive on the move to appoint Noel to head Tata International said,” Africa is one of the largest markets and any business plan needs to be tested there to succeed,” Some analysts are seeing the assignment a test for Noel Tata to prove his mettle to get the top throne.
Tata’s increasing revenues from overseas markets and acquisitions of high profile companies like Jaguar-Land Rover have not yet given it a high profile status of are yet to an international commensurate. Ratan Tata told a conference in November,
“The successor, I would hope, would have integrity and our value systems in the forefront and hopefully would carry on the path that we have tried to set for the company’s growth,” While some believe that a professional will be more suitable to head the Tata empire, other feels that the surname of Tata will be more dedicated to the cause of the business.
Hollywood actress Lindsay Lohan is spending time in jail by “creating art” and eating sweet snacks, says her lawyer.
“She’s good. She’s eating some (licorice candy) Twizzlers. She looks gorgeous. She’s writing a lot. She’s creating art. She’s a beautiful, talented, creative woman, and she’s going to come out and surprise you all!” contactmusic.com quoted attorney Shawn Chapman Holley as saying.
The “Mean Girls” star is currently incarcerated at the Century Regional Detention Facility in Lynwood, California, where she is serving part of a 90-day jail sentence for violating her probation relating to a 2007 DUI arrest. She is expected to be released as early as Sunday.
The lens has two small lenses side by side; each transmits light to the camera’s image sensor. The image will be from a slightly different viewpoint to exhibit the illusion of depth and appear to be in three dimensions. It will go well with Lumix cameras that use the “G Micro System” mount and would be made available by the end of 2010. There are no more details from Panasonic. The Lumix lens looked to be around a centimeter deep and the two lenses were within the diameter of the lens mount.
Many other rival camera makers have already launched their first 3D photography systems. Panasonic has said that advantages of its lens will make 3D photography easier. Images show no distortion between left and right images and even for moving objects. You can use a 3D television to view the 3D images.
Micro blogging website Twitter is apparently testing inline videos and photos. It is planning so after enabling location based updates. Twitter was also reported to be testing a new setting called Twitter Media for a couple of hours with select people. This setting would allow users to view photos and videos in their stream.
Several services exist with their own version of URLshortner. At times watching photos and videos from the links shared on Twitter can be a menace. The user has to leave the page and go to the site where photo or video is posted. Twitter is testing inline multimedia viewing feature to solve this issue.
Twitter has in a statement said, ‘’We’re constantly exploring features and settings. What you saw was a small test of a potential consumption setting for inline media. We show inline media on our own iPhone and Android apps’’. To a few users this feature was made available only for a short period of time. It isn’t online for everyone at the moment. .Multimedia showing Twitter stream will be a great experience for the users especially for hand held devices.
Ravi Baswani, the 63-year-old Bollywood actor, passed away after suffering a massive heart attack in Shimla on Tuesday. He was responsible for bringing a fresh dose of comedy in the Hindi films and sophistication to the craft.
when comedy often meant either slipping on banana peel or running on the streets in underwear, Ravi, in the Bollywood of 80s, displayed a great sophisticated sense of comedy in films like Sai Paranjpe’s “Chashme Buddoor” (1981) and Kundan Shah’s “Jaane Bhi Do Yaaro” (1983). These films got both critical plaudits and success at box office. The film’s director Kundan Shah said. “His was a crucial casting (for Jaane Bhi Do Yaaro). He even helped Naseeruddin Shah flesh out his character,”
Baswani played Jai in “Chashme Buddoor”, a college student rather looking desperately for a girlfriend. His talkative eyes imbued the part with credibility keeping the humor intact. Baswani formed a wonderful comic team with Naseeruddin in “Jaane Bhi Do Yaaron”, both playing professional photographers. there were no antics or mimics from Baswani but he still managed to tickle the funny bone. He won the Filmfare Award for the best comedian for the role. In “Ab Ayega Maza” (1984), Baswani was outstanding as foreign-returned guy with a funny accent. His lines — Dharmendra kidhar rehte hain-was humorous and tickled funny bones of the audiences.