RE: Mehbooba - 2008 (11. Juli) - 2

Good lord, Budapest mil gaya
Mumbai, July 11, 2008

Rating: *

Harrow. In New York, a man makes a woman flutter like an imprisoned sparrow. In Budapest, there's another pest. And in Rajasthan, she doesn't even have a moment to grab a desert sun tan. Or a camel ride. Woe betide.

That's Afzal Khan's delayed-by-nearly-a-decade Mehbooba which is not likely to make any viewer on this planet go huba huba.

Simply because it's archaic and annoying, abounding with continuity lapses. In fact, the actors put on kilos, lose hair, gain hair. And at some point, it even seems as if the heroine had blown up to size-hero. She looks tougher than all the guys going gadzooks over her. Tough cookie.

Indeed, Cookieji (Manisha Koirala, fluctuating from plump and plumper to plumpest) insults that New York guy who believes he’s-so-hot-ho-ho (Sanjay Dutt). Male ego battered, Ho Ho somehow gets engaged to Cookie anyway, snores with her on the same bed, and then tells her to go fly a kite. She doesn’t which is a pity.

Instead, Cookie Mehbooba wings off to Budapest – perhaps because she adored the city’s locales in Hum Dil De Chuke Sanam.

No, Sanjay Leela Bhansali isn’t there any more, but mercy be Ajay Devgan still is. Now he’s an artist who has been painting portraits of Cookie without even ever having seen her. Maybe he saw her in Saudagar or Love Story (not 2050, but 1942). Never mind. He loves her for some kinky reason. Even more kinkily, he doesn’t ever tell her his surname. Dhariwal. Nothing to be cagey about. Oof.

Next: Cookie tells Painter M F Dhariwal about her 'lost izzath'. Thunder-blunder, the lights go off all over Budapest. She even announces that there’s a 'daag' on her face, even though you can’t see it. Very odd. Indeed, this is turning out to be some sort of a Ram Gopal Varma ka Daag. Aargh.

More: Painter and Cookie are scheduled to marry in the Rajasthan Dhariwal Palace. And don’t faint. Painter’s brother turns out to be none other than the ho-ho New Yorker who ravished the heroine’s izzath. Now? Nothing. Plot goes totally Saajan (not the one with Asha Parekh, but Madhuri Dixit). Umm.

Supreme sacrifices are in order. You’ll have to make some too. Just watch Reema Lagoo making an unpublicised comeback as Her Highness Mata Dhariwal. Kader Khan fetches up too but vanishes faster than fresh vegetables from a market. With all this malarkey, if you were the painter, you'd go nuts. He does. Totally pistachios. Crunch.

Throughout, the attitude is regressive what with the woman pinging-‘n’-ponging between the brothers. Okay, she does complain that no one ever asks her for her opinion. In fact, that’s when Painter rushes off to commit suicide on the railway tracks. Chal chhaiya, I’m-leaving- the-earth-meri-maiyya, that sort of stuff. Huff.

Honestly, Ashok Mehta's cinematography of the Budapest locations is the only redeeming factor. Otherwise the set designs, choreography, costumes, the never-ending songs and editing belong to the Jurassic era.

None of the cast acts. Certainly don't waste three hours of your life on this time-na-pass.

Quelle: HindustanTimes

C'mon, give this a shot!
Posted On Saturday, July 12, 2008

There is a moment in this movie when the hero (Devgan) is finally close to getting the girl (Koirala), quite literally, of his dreams. Her image had been haunting him for many years in his sleep. He'd painted her across the walls of his stadium-sized living room. He finally sees her, and chases the pretty face across the streets of Budapest; keeps yelling, "You're my mehbooba, mehbooba (lover)."

She is a heart-broken girl, dumped out of vengeance by her ex-fianc. She candidly admits a huge problem to her new hero when he proposes. "Kya tum chal sakoge uss raaste mein, jisme kisi aur ke gande pau ke nishaan hai?" (Would you walk a street muddied by someone else's dirty feet). The reference is to the loss of the heroine's virginity. It isn't much before we find the good-boy hero throwing himself all over a 'mujra' girl. Guys, it appears, can have all the fun; most of it random.

This is more the case with the other leading man here (Dutt). He says every woman can be bought; only their prices vary: some you win over money; some others over promises or commitments. Really, now. Where on earth outside Osama's cave are you supposed to encounter such honest, public displays of misogyny in times so boring and politically correct such as these.

The voice of reason eventually emerges from the mother of the household. She tells her son, "Insaan chahe jitney logon se affair kar le, shaadi ussi se karta hai jisse woh pyar karta hai." I'm not going to translate that one. I just love it the way it is.

The movie itself, I felt, had probably waited nine years to stun us with the set-up of Sanjay Leela Bhansali's Hum Dil De Chuke Sanam once again. It's got practically everything shipped down from that unit. I just didn't know this one has already taken eight years in the making. I didn't realise as well it would take me on a nostalgia trip further many years.

I found again the old Bollywood daddy I've missed for long: the one who wears velvety night gown, sometimes (as in this film's case), over his formal shirt and trousers, and black leather shoes in his home. The chandelier swings once in a while when the hero hits the family piano to a melancholic tune (Ah, kya melody hai!).

When we're happy or sad, we swig Scotch straight from bottles, most of the times, bottoms-up. Every song, and there is a pop-kathak with apsaras after a bit of disco before a raunchy or a romantic number, claims a collection of hundreds of shadow artistes; some with their violins, many others dancing in steps impromptu. If there is a party, a jashn, you will always spot a few extra-blonde goras at the corners, looking pleased with the state of affairs. There was Kader Khan I got to see after years, it seems.

"This 'open-weekend' (no other new release in the theatres); multi-starrer; hit film hai jee", is of course a "love triangle". Except the heroes are brothers. Beyond which you're unlikely to care.

The makers have spent crores and crores building for us one Taj Mahal after another. That is when we're not touring the Eurpoean country-sides, or getting bedazzled by the snazzy lights of New York City. The least we can do is spend a hundred or two, and break our heads against the wall after. Come on, that isn't asking for much. Risk it for memory's sake; in case you were up and about through the '80s and early '90s, when this was truly our staple source of entertainment.

Quelle: http://www.mumbaimirror.com/net/mmpaper....1944608ad704322

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übersetzt von soulsurfer:

Es gibt da eine Szene in diesem Film, in der der Held (Devgan) kurz davor ist, endlich das Mädchen seiner Träume (Koirala) zu bekommen. Sie hat in wirklich über Jahre hinweg im Schlaf heimgesucht. Ihre Bilder bedecken die Wände seines riesigen Wohnzimmers. Und endlich findet er sie, jagt durch die Straßen von Budapest hinter dem hübschen Gesicht her und ruft dabei: "You're my mehbooba, mehbooba."
SPOILER ANFANG
Sie ist ein Mädchen mit gebrochenem Herzen, aus Rache von ihrem Exverlobten verlassen. Freimütig offenbart sie sich ihrem neuen Helden, als er sie um ihre Hand bittet: "Ist es dir möglich jenen Pfad zu beschreiten, den die dreckigen Füße eines anderen beschmutzt haben?" Das ist eine Anspielung auf den Verlust ihrer Jungfräulichkeit. Danach verliert sich unser guter Junge völlig in dem "gefallenen" Mädchen. Jungs, so lernen wir, dürfen Spaß haben; meistens sogar ohne Folgen.
Das trifft auf jeden Fall auf den anderen Protagonisten (Dutt) zu. Für ihn ist jede Frau käuflich, nur der Preis ändert sich: Geld, ein Versprechen oder die Übernahme einer Verpflichtung. Also wirklich! Wo auf der Welt außerhalb von Osamas Versteck erwartet man in zivilisierten und politisch überaus korrekten Zeiten wie diesen noch einen solchen Frauenhass?
Die Stimme der Vernunft macht sich gelegentlich in Form der Mutter des Hauses bemerkbar. Sie sagt zu ihrem Sohn: ["Der Mann ist dazu bestimmt, sich die Sache anderer zu eigen zu machen und diejenige zu heiraten, die ihn liebt."] Ich werde das nicht übersetzen - ich liebe den Satz, so wie er ist.
SPOILER ENDE
Der Film selbst hat in meinen Augen neun Jahre vergehen lassen, um uns wieder mit Szenen aus Sanjay Leela Bhansalis HDDCS zu konfrontieren. Es ist praktisch alles wieder da. Mir war nicht klar, dass dieser Film acht Jahre Produktionszeit hatte und dass er mich auf eine Reise in die Vergangenheit mitnehmen würde.
Ich bin in diesem Film dem lange vermisste Bollywood-Vater begegnet: dem, der zu Hause immer diese samtenen Morgenmäntel trägt, manchmal (wie auch in diesem Film) über Hose und Hemd, mit schwarzen Schuhen dazu. Der Kronleuchter schwingt ab und zu sanft, wenn der Held auf dem Familienklavier eine melancholische Melodie anstimmt. (Ah, was für eine Weise!)
Und wenn man besonders glücklich oder traurig ist, trinkt man Scotch direkt aus der Flaschen - bis zum bitteren Ende. Jeder Song - wie der Pop-Kathak nach dem Discostück und vor der schelmischen oder romantischen Nummer - benötigt eine ganze Armada von Künstlern hinter den Kulissen; ein paar Geiger und viele, viele Tänzer. Gibt es eine Party, eine große Feier, sieht man immer ein paar blasshäutige Superblondinen in den Ecken, die wohlwollend alles verfolgen. Und es scheint mir, da sei Kader Khan gewesen, nach all diesen Jahren.
Dieser "freies Wochenende (kein anderer Release in den Kinos) und deswegen Hit" Film ist natürlich ein "Liebesdreieck". Nur dass die Helden Brüder sind, aber das wird euch nicht wirklich interessieren.
Die Macher haben viel Geld ausgegeben und lassen vor unseren Augen ein Taj Mahal nach dem anderen erstehen. Natürlich nur, wenn wir nicht gerade durch die europäischen Landschaften brausen oder uns von der glitzernden Kulisse New Yorks beeindrucken lassen. Dafür können wir ruhig ein- oder zweihundert Rupien springen lassen - und uns hinterher an den Kopf schlagen. Das ist doch wirklich nicht zu viel verlangt! Riskiert es einfach um der Erinnerung willen, wenn ihr welche an die 1980ern und frühen 1990ern habt - an die Zeiten, in denen Filme wie dieser die Krone der Unterhaltung waren.

This One Comes Straight from the Heart
Rating (2.5/5)
By MovieTalkies.com, 12 July 2008.

Afzal Khan's magnum opus, Mehbooba comes as a relief for those who hanker after the cinema of yore. Call it old-fashioned if you will, but there is a certain charm to the film, which may have a little to do with mostalgia but it also brings alive an era of lavish opulent sets, high drama, and melody. It that charm which is bound to entice the audience. This was the brand of cinema that was seen so often in the films of Nineties when the multiplex kind of films had yet to catch on. Mehbooba is good, old world Hindi cinema, which still rings true today.
There is no taking awy from the fact that the film has a certain dated look, a surefire give away is the presence of Manisha Koirala, who was the reigning queen at a point of time. But besides the look of the actors, there is nothing else that one can hold against the film. One can feel the love and the money that hs been spent on the film, the lavish sets and the scenic locations abroad. In that sense, it reminds one of the likes of Sanjay Leela Bhansali, and the lavish scle on which he made his films like Hum Dil De Chuke Sanam and Devdas. This is the kind of film which should do really well with the traditional goers of Hindi cinema as found in the UP-Bihar belt, the traditonal stronghold of Hindi cinemas. In recent times, this region has been quite ignored by filmmakers, thus leading to rise of the Bhoijpuri film industry.
The film's story is about Shravan (Sanjay Dutt), a rich playboy in New York, who believes that every girl is his for the asking. He believs that he is irresistible to women because of his charm and his money. That is until he comes across Varsha. (Manisha Koirala). She refuses to be floored by him and does the unthinkable, when she refuses his advances. Having never been thwarted before, the rejection is something that Shravan is unwilling to stomach. He does appear to be penitent and apologises to Varsha for his boorish behaviour. Lust seems to have changed for love when he asks for her hand in marriage. Varsha is reluctant initially but is finally won over when her father persuades her that Shravan is definitely a changed man and that he genuinely loves her. They get engaged, make love and then comes the shocker. Shravan reveals that everything was a sham. He just wanted to sleep with and hence pretended to be in love and proposed marriage. Varsha's life is shattered. To add to the shock of Shravan's behaviour comes the death of her father. The film now moves to pictureque Budapest. That is where Varsha goes to start her life afresh as Payal. Karan (Ajay Devgan), who is Shravan's brother, meets her and falls in love with her. He now plans to marry Payal, opening the film up for all kinds of possibilties.
What really works for the film is the direction by Afzal Khan and Manisha's acting. Despite having a melodramatic story, it is the gripping manner in which Khan manages to build up the story that is commendable. His handling of the confrontation scenes between his protagonists and the climax is truly commendable. The film's story has been written by Rumi Jaffery, who is now all set to make his debut as director with God Tussi Great Ho, this time produced by Afzal Khan. Despite the film's story being slightly cliched, the film still manages to grip you, and the credit for that should go to the director, who seems to have made this film with his heart.
Of the performances, one can safely say that this is Manisha Koirala's film. How one wished that it had come before as it would have done wonders for her career. Since the film was made when the actress was ta her peak, she looks lovely and gives a wonderful performance as Varsha. The film more or less centres around her and she does full justice to it. Sanjay Dutt and Ajay Devgan match up and put in commendable performances as well.
The film's music is its other asset. It is opulent, and lavish like the film itself. Ismail Darbar fully understood the demands of the film and its mood and his music which complements the feel of the film. This is music which has recall value. Best of all, the songs have been picturised really well.
With someone like Ashok Mehta behind the camera, there is not much that can go wrong. The cinematography is excellent. The lavish sets have been constructed by the peerless Nitin Desai. The result is, like we said before, a film which comes straight from the heart. The production values are excellent, the look is gorgeous, the music melodious, and the acting commendable. A little more attention to the dialogues would have worked wonders. But all in all, the film has lots going for it, if one can overlook the slightly dated feeling.

Quelle: http://www.movietalkies.com/movies/edito...p?MovieId=18542