RE: Halla Bol - 2008 (11. Januar) - 3

http://www.apunkachoice.com/scoop/bollywood/20071226-1.html

'Halla Bol' to inspire people to raise voice against injustice
26th Dec 2007 16.01 IST
By Agencies

Noted filmmaker Rajkumar Santoshi says that his upcoming film Halla Bol attempts to make people aware and react to developments happening around them.

Santoshi said, ''The biggest weapon in a democracy is the power to raise your voice against injustice and bring a change. You may not necessarily be directly affected, but some time it could be your turn.''

''My film aims to bring this fact to the attention of the audience. Today, I feel we are so disjointed and isolated from each other in country. People in one part of the nation do not seem to be bothered about what's happening in the other corner'', Santoshi said in Mumbai.

''Halla Bol'' starring Ajay Devgan as a protagonist is about a filmstar who has to choose between his fame and conscience when faced a truth. When asked why he chose Devgan to play the lead, Santoshi said Ajay's personality and look gels with his character of a common man who struggles to make it big in life. His transition looks convincing and real.

The filmmaker said the film was not far from what was happening around the country and made it clear that ''Halla Bol'', that also stars Vidya Balan and Pankaj Kapur , was not an inspired story. The incidents depicted are reflections and close to recent developments which have caught the nationwide attention.

The film has a dramatic story structure and handles an important issue about people in today's time who are not concerned about others.

''I have ensured that the film is not preachy. Films are for entertainment. Theatre is not a classroom and I am not a social reformer. I believe in engrossing, entertaining films which holds the people's attention'', he said.

He expressed happiness at the manner in which Chennai-based exhibitors and distributors Pyramid Saimira who have purchased the rights of the film have promoted it.

As a writer-director, Santoshi said he always felt that his films have not been promoted well. ''It is the job of the production house to market the film effectively and hype it. Marketing is extremely important these days because of which mediocre films are seen to be doing well at the box office,'' he felt.

Santoshi said his last film Khakee was a victim of bad marketing. The film had a magnificent cast line up who came up with fine performances.

'' Amitabh Bachchan for the first time perhaps played a realistic character portraying the dilemma and trauma of a cop on the verge of retirement. His performance was controlled and not overboard. While the film turned out to be the turning point in Akshay Kumar 's career. His character had a varied graph. He was humorous, corrupt cop and a matured policeman who faces death in a dignified manner. Even no leading lady has been shown in a menacingly grey character like that of Aishwarya Rai in the film,'' he recalled fondly.

Santoshi said he would like to work with Ash in future.

''I am waiting for a right subject. She is a fine actor and a human being. We share mutual respect for each other. I would like to bring out the new side of Ash in the film. I am grateful to her for doing 'Khakee'. She trusted me completely,'' he said.

Vidya Balan looking forward to 'Halla Bol'
30th Dec 2007 10.01 IST
By ApunKaChoice

Vidya Balan is all set to allure the audience with her character in Rajkumar Santoshi ’s Halla Bol .

Vidya plays the role of Ajay Devgan ’s wife Sneha in this movie, who always supports her husband and helps him to realize his true being whenever he needs to understand whether something is true or false, right or wrong. She always says the truth to her husband. Her love is the power in her to express the hardcore truth.

The film has Vidya playing a girl from a small town who gets married to a superstar. Santoshi thought of two different looks for the character. One was the look of a woman from a small town and the other one is the look of the wife of superstar.

But with the progression of shooting, he threw away the idea about the second look. That happened only when he realized the fact that when a character is going through so many problems, she cannot think of outfits.

According to Vidya, ‘Halla Bol’ shows that there are problems in everybody’s life and there are some people who try to solve them and some who just evade them. In this film all the characters are conscious about the odds and they all come together to face that. It teaches us the positive sides of unity.

Vidya described shooting at Haji Ali very memorable, saying, “Despite being a resident of Mumbai, I never went to that place. And even though there were crowds I felt the solemnity of the place. There’s a song in that place which is a plus point in the film.”

‘Halla Bol’ is scheduled to hit the theatres on January 11, 2008.

Quelle: http://www.apunkachoice.com/scoop/bollywood/20071230-0.html

Erste echte Review, gepostet in Ajays Forum von Mangesh:

By Taran Adarsh, January 11, 2008 - 12:24 IST

In the 1990s, rape, violence, power, crime, fraud and abuse -- issues that concern us daily, nationally as well as internationally, were being depicted on the Hindi screen with unfailing regularity. Films that raised a voice and raised an issue faded into oblivion because a different genre [comedy] gradually took over. The issues concerning the common man remained dormant on the Hindi screen.

But Rajkumar Santoshi raises one pertinent issue with HALLA BOL. A lot has been said and written about the film bearing an uncanny resemblance to the Jessica Lal murder case. Does HALLA BOL attempt to recreate the ghastly incident on celluloid? More on that later!

What's noteworthy is that Santoshi succeeds in stirring and pricking your conscience. The accomplished storyteller, who started off with a bang with GHAYAL, DAMINI and GHATAK, films that raised a voice and issues, lost his touch in between, although he appealed greatly in THE LEGEND OF BHAGAT SINGH in the intervening period. With HALLA BOL, Santoshi is back with what he's best at -- hard-hitting drama.

Write your own movie review of Halla Bol
HALLA BOL is atypical Santoshi product, which re-opens wounds, is raw and hard-hitting and has life-like situations, with a savior who pricks your conscience. Frankly, HALLA BOL is, without an iota of doubt, a film that reflects the current times. You can easily draw parallels with real life. Of course, there're cinematic liberties; it's not a dry film.

In short, we've had enough of meetha [comedies] since the past few weeks, it's time to have something teekha [hard-hitting drama] for a change. HALLA BOL leaves that kind of an impact!

Ashfaque [Ajay Devgan] is a small-town boy aspiring to be a film star in the Hindi film industry. He joins a street theatre group run by a reformed dacoit Sidhu [Pankaj Kapur], who uses street theatre as a medium to bring about an awakening in the masses.

Ashfaque's determined struggle pays off and he gets a break in films. He gets a new screen name -- Sameer Khan. With the passage of time, the roles start becoming better and he moves up the success ladder in a very short time. Soon, he becomes Sameer Khan the superstar -- one who can enact any role with finesse, get under the skin of any and every character with ease and walk away with audience applause.

Sadly, amidst all adulation and applause, he slowly loses his own identity. He forgets his real self and imbibes all characteristics of the various roles essayed by him on screen. Corruption takes over his entire system, alienating him from all loved ones, including his wife Sneha [Vidya Balan].

A shocking incident at a party changes everything, rocking Sameer's lifestyle. He gets caught between his human self on one side and his corrupted superstar image on the other.

Rajkumar Santoshi interweaves a lot of plots in those 2 + hours. It tells you about the degenerating of a small-town person who gets swayed by money and power as he grows big in stature. It tells you about the games the rich and powerful play. It tells you that corruption has become a part of our everyday life. It tells you that a lone voice [raised against injustice] can multiply into millions gradually. It tells you that all's not lost, that honesty, integrity and courage still have an upper hand.

What starts off as a movie about a self-obsessed star changes tracks within 20 minutes of the start, when the rich, spoilt brats shoot a young girl at a well-attended party and everyone stands there as mute spectators. The sequence is simply hair-raising! The gradual change in Ajay's attitude is also well built and the film actually gathers momentum at the intermission point when Ajay decides to testify against the culprits.

But the story actually takes off after the intermission when Ajay, aided by Pankaj Kapur, wages a war against the unscrupulous elements.

The sequence at the minister's palatial residence, when Ajay urinates on the carpet, is an outstanding, clapworthy sequence. The viewers would go in a frenzy at this sequence! Note another scene: The media persons are grilling Ajay if his wife has walked out on him and Vidya shoots back, giving the media a fitting reply. Note yet another sequence: The corrupt minister's sidekick [Abhay Bhargava] trying to bribe Pankaj Kapur and Pankaj's reply. And here's another gem: Pankaj Kapur's lengthy outburst when Ajay lies in the hospital. Brilliant sequences all, which bear the stamp of a genius!

However, the film can do with some trimming in the second hour. A few sequences can be trimmed for a much stronger impact. Also, the climax could've been more powerful.

Santoshi is in form after a gap. The film brings back memories of Santoshi's earlier works. Sukhwinder's music is okay. 'Na Guzre Huwe Pal' is a wonderful track, while the cry of war, the title track, enthuses you. Cinematography [N. Nataraja Subramaniam] is perfect. Dialogues [Santoshi, Ranjit Kapoor] are raw, but appealing. In fact, there are a number of clap-trap lines in the enterprise.

Every performance in HALLA BOL stays etched in your memory. Ajay proves yet again that he's a magnificent actor. He conveys a lot through his expressions. Here's yet another award-worthy performance from one of the finest actors of the country. Vidya's role may not be as substantial as Ajay and Pankaj Kapur, but she's fiery in the sequences. Pankaj is awesome yet again. A power-packed performance. In fact, he's to HALLA BOL what Sunny Deol was to DAMINI. Darshan Jariwala is superb, changing expressions like a chameleon.

Anjan Srivastava manages to create an impact. Abhay Bhargava is efficient. The actress enacting the role of the victim's sister is very good.

The film has a host of stars making appearances, which include Tusshar Kapoor, Jackie Shroff, Sridevi and Boney Kapoor, Kareena Kapoor, Neeraj Vora and Aarti Chhabria.

On the whole, HALLA BOL is a powerful film that has its heart in the right place. At the box-office, HALLA BOL has the power to grow with a strong word of mouth.

Rating: 3/5

Quelle: http://www.indiafm.com/movies/review/13129/index.html

http://www.movietalkies.com/movies/edito...p?MovieId=19002

Halla Bol (2008)
Movie Review


A Rousing Cry for Justice
Rating (4/5)
By MovieTalkies.com, 11 January 2008.
Release Date : 11 January 2008


Raj Kumar Santoshi's Halla Bol, arrives with quite a bang at a very apt moment in the history of this city. The most heartening thing about this film is that the director has given a heartful treatment to the subject of public apathy and the corruption in the higher echelons of society. It's not a subject which is novel to commercial cinema, but what is novel is the manner in which Santoshi's treats the same.

Halla Bol tells the story of an aspiring actor, Ashfaque (Ajay Devgan), a small-town lad, who works in a street theatre group run by a reformed dacoit Sidhu (Pankaj Kapur). He has aspirations of becoming a Hindi filmstar, and soon his dreams do come true. He becomes the hot superstar Sameer Khan and gets entangled in the trappings of success. He gradually moves away from all that was once close to him and his loved ones, including his wife Sneha (Vidya Balan), his parents, and his mentor Sidhu. The jaded superstar's conscience is jolted by a murder that he witnesses at a party. The rest of the film goes into exploring how he responds to the call of his conscience, joining hands again with his mentor to bring the guilty to the fore.

One cannot help but think of the Jessia Lal case when one looks this movie and there are certain superficial resemblances to the incident as well. But those resemblances apart, the film excels in the first part, where it deals with the rise of Sameer Khan the actor and the fall of Ashfaque the man, till the point when the fateful party happens. Being a part of the industry, both Santoshi and his lead actor Devgan, are able to get all the details absolutely pat. Very early in the film, right in beginning in fact, the director manages to establish the deceit which has become a part of Sameer's mental makeup. He has absolutely no qualms about fudging the details of his past so that it makes a good story. His relations with his wife have reached a nadir. That fateful party makes him face himself and he realizes that he and his present existence is nothing but a sham. What makes it even more galling for him is the fact that he knew the victim. The victim's young sister is big fan of his and like all fans, finds it difficult to look at the man and the actor as two separate personas. All his friends and acquaintances present at the party refuse to confess to the murder and he does the same, fearing that it will spoil his image. When Sameer finally comes out and changes his statement at the police station, the outcome is expected but it is perhaps more than he bargained for as the two guilty men happen to be sons of a politician and a high flying lawyer.

From here onwards, the film moves towards a predictable conclusion, but not before Sameer and his family have been terrorized, his reputation torn to shreds by the media and finally, he is battered in broad daylight, with not a word of protest uttered. Halla Bol moves at a very decent pace and keeps the viewers hooked right till the end. But one fears that it is not the screenplay so much in the second half, as the brilliant acting by Pankaj Kapur, Devgan and Balan, which takes one's breath away. Even Anjan Srivastav in a cameo, is excellent. The only problem area, if at all, is the manner in which Devgan tackles the goons, or for instance, the manner in which he barges into the politician's house and breaks his glass window. These are very Hindi filmy reactions and one guesses that Santoshi could not do away with them, seeing that his lead actor has honed his reputation in action films as well.

Kapur gets another opportunity to hammer home the point that he is one of the most accomplished actors that we have around. It is Hindi cinema's loss that they have not managed to use his talent appropriately. He blends in perfectly into the commercial format of this film and shows how through a mere look or a seemingly casual action, one can portray better and more intensely than through reams and reams of dialogues. He has the his ‘dialogues' as well to deliver, specially when he addresses the crowd after he comes out of the hospital, but it is the manner in which he does so, which makes it so effective. Devgan is another actor who is known for the intensity with which he imbues his performance and Halla Bol is no exception. With a solid author-backed role, the actor is able to play the jaded superstar as well as the idealistic Ashfaque, in his inimitable understated style of acting.

Balan may have a very minor role in terms of screen presence and dialogues, but she manages to make very good use of what little she has. She has an extremely intelligent and extremely sensitive face and uses it well. This is not her film, but still, in a certain manner of speaking, is her film as well. Darshan Jariwala as the powerful politician and Anjan Srivastav as Ashfaque's father, too come up with very good performances. What helps most in a film like this is that the dialogues, for the most part, have been intelligently penned and are devoid of useless clichés. The film's music rightly takes a backseat but full marks to Sukhvinder Singh for making the two devotional numbers, one a Gurbani, and the other a quwali, the high points of the film's music.

In all, Santoshi is to be credited for making a film on such a topical subject. He manages to exercise full control of his film in the manner in which he lets the story take precedence over any starry egos. The action is never diluted by any so-called commercial compulsions, and the end result is a film that works well. Even though Halla Bol moves towards its conclusion in a somewhat predictable fashion, it does not take away from the honesty of the film's approach or its integrity. And its impact should be no less than – Halla Bol!

By Martin D'Souza, Bollywood Trade News Network

die ist nicht gut...

Rajkumar Santoshi’s HALLA BOL is a clone of his earlier hit film DAMINI. If you have seen the Sunny Deol-starrer, you know what to expect here. But then DAMINI was in a different league and was, so to speak, ahead of its time. Good performances, tight script and brilliant courtroom scenes. Sadly the same cannot be said here.

The script is old. Very old. And you can predict most of the twists because you have seen it unfold a number of times on the big screen. So when the victim’s sister does a volte-face in a packed courtroom, you are not surprised. You are not surprised even when you learn the reason. As for the scene on the Persian rug where the film’s protagonist Ajay Devgan relieves himself, you almost implore him to do it!!!!

HALLA BOL is all about a small town boy who dreams of making it big in Bollywood. Ashfaque (Ajay Devgan) who later has a screen name, Sameer Khan, hits the jackpot. What values he stood for earlier, he conveniently forgets in the quest of moving up the popularity charts. But when he is a witness to the murder of a girl in cold blood in a night club, things change. Reluctant at first, he later relents and takes on the might of the powers that be, who play every trick in the book to get the accused freed.

It’s a pity a talented actor like Devgan is getting saddled in roles like these. He stands out in his scenes but it’s not enough because there is nowhere the film goes, script-wise. It’s a dead end. Pankaj Kapur as Sidhu a reformed dacoit who stages street plays to educate the junta, is top class. But how much can he do? Vidya Balan has not much of a role, but she does stand out in one scene where she takes on the media concerning the question of her marriage. But one scene does not make a movie!

To his credit, the director begins the proceedings with a bang and when he takes you to the point of thrill, reverses his car to get into flashback. And by the time he gets back to first gear to the point of the thrill, all excitement is lost. You almost forget which spot it was that he had reversed his vehicle. Has he lost his touch? Looks like, because even the court proceedings are so hurried that it looks like he had lost interest in the project. All the accused rush up to the ‘box’ and before they can say anything are charged “Guilty”. The end is abrupt!

Our verdict: “Mr Rajkumar Santoshi. Guilty”

To go or not: The verdict says it all!

Ratings : 1 / 5

Quelle: http://www.glamsham.com/movies/reviews/1...-bol-010801.asp

Halla Bol Movie Review

Halla Bol - The right mix to create halla at the box office
IndiaGlitz [Friday, January 11, 2008]

An Ajay Devgan-Rajkumar Santoshi combo film always creates those vibes irrespective of the box office success. Take for example The Legend Of Bhagat Singh which didn’t do too well at the box office but went on to receive the national award. With Halla Bol too, Santoshi has a lot to say through the film.

The film brings about the journey of a small town street theatre artist Ashfaque(Ajay Devgan) who under the discipleship of Sidhu(Pankaj Kapur) a reformed dacoit tackle societal issues with their street plays. Stardom beckons and soon Ashfaque makes his way through bollywood as superstar-Samir Khan. With the change in name, soon there is a change in Samir’s character too with a laid back attitude towards work, extra-marital affair. Soon Samir looses hold of his roots and loved ones-wife Sneha(Vidya Balan) and mentor Sidhu.

A shocking incident at a party changes everything as Samir is a witness to a murder of a girl. The girl is gunned down by two boys of great political influence, thus leaving all the who’s who of tinsel town absolutely mum. When interrogated by the media and the police, everyone including Samir refuses to have witnessed the murder. Samir’s conscience takes him for a toss and eventually Samir leaving behind his filmy image takes on the system in an attempt to find justice for the girl’s family.

Rajkumar Santoshi is back with a bang. The ace proves it again why a Santoshi film is worth all that Halla. The direction of the film is splendid and the flow of events within the film is so smooth that one is hooked on to the big screen right from the start. The film opens with Santoshi’s insights into the Indian film industry with how actors within the industry bitch about each other behind their backs while on the other hand act like brothers when they meet face to face. The very introduction of Devgan’s character at the autobiography launch where he reveals that his book is full of lies is such an opener. Various scenes within the industry like Artists promising of dates, relationships with women on the sets and endorsements of brands have been portrayed in a witty manner but with the right amount of reality.

The storytelling by Santoshi is absolutely gripping as the movie shifts from a film about the Indian film industry to a film that carries a relevant message. Santoshi seems to be inspired by the Jessica Lal case and its proceedings thus bringing about this real incident to reel format. The film also carries inspiration from the life of 'nukkad natak' pioneer and social activist, the late Safdar Hashmi. Thus, the protagonists bring about the power of streets play to address any issue, no matter how big it maybe. Santoshi also strikes at the media through the film where he expresses that their responsibility lies beyond filming and clicking pictures of a particular crime or form of injustice.

Santoshi’s film is high on content as it shows us what happens when an actor takes on politicians –right from the burning of his posters to the no-show at theatres. The characters in the film are so well sketched out that even the frustration in Devgan’s character is brought out in the form of his scuffle with the journalists and photographers. The finale of the Natak shot amidst a huge crowd brings out Santoshi’s technical brilliance which is similar to Bachchan’s chase sequence in Khakee.

Ajay Devgan is at his best in Halla Bol. After the back-to-back failure of the Ajay Devgan starrers, Cash and Ram Gopal Varma Ki Aag, his performance in Halla Bol is sure to win him accolades. He surprisingly carries the superstar image with ease; the care free attitude and his sense of humour are well expressed. Several sequences in the film are surely headed for a standing ovation from his fans- like the scene where Ajay gets to the politician’s (Darshan Jariwala) house and urinates on his so called Persian Carpet. Devgan does a modern day Bhagat Singh in this flick as he carries immense energy with his dialogue delivery and expressions.

Another person to watch out for in the film is Pankaj Kapur who heads the nukkad natak group in the film. Pankaj is absolutely fabulous as the Punjabi reformer Sidhu. Right from his look in the film to his silent eye moments, Pankaj does a brilliant job. He is no less than Devgan and he too forms the backbone of the film. He scares with his eyes and his character is sure to stick on with the audiences. The scene where the media questions a handcuffed Sidhu as he leaves the hospital is one to watch out for.

Vidya Balan doesn’t have much scope in the film but she too makes a mark as the caring wife who stands by her husband. Vidya’s response to the media’s questions on the rift with her husband in the film brings out her potential to the max. Darshan Jariwala as the wicked politician is so natural and impresses. The film draws resemblance to Om Shanti Om with the enormous cameos by Tushar Kapoor, Kareena Kapor, Sridevi, Boney Kapoor, Jackie Shroff, Mukesh Tiwari, Neeraj Vohra and many more.

The music of the film is not the finest but ‘Jab Tak Hai Dum’ by Sukhwinder brings out the revolutionary theme of the film. ‘More Haji Piya ‘and ‘Is Pal Ki Soch’ are worthy of mention. A film of this nature has been carried off well by not including the usual dreamy or colorful song sequences that bollywood is fond of.

The cinematography of the film is good and above all the dialogues of the film are fantastic.

Halla Bol brings together Santoshi and Devgan after a very long time. Besides the combo, the film has the right mix to keep it going at the box office. In an era where our legal system is highly influenced by the wealthy and many cases be it the Jessica lal case, Priyadarshani Mattoo case have been creating waves; there isn’t a better time for a film of this nature.

Rating : ***1/2

http://www.indiaglitz.com/channels/hindi/review/9326.html

Erste Eindrücke der Kinobesucher

Wenn ich das richtig verstanden habe sind alle begeistert

Santoshi's back with Halla Bol
January 11, 2008 18:12 IST

Bollywood is suddenly discovering self-awareness, turning inwardly for inspiration as our scriptwriters come up with films about films. Rajkumar Santoshi's latest starts off like yet another of this lot, a film about a spoilt superstar endorsing vests, acting in cliched movies and pretending to fight off the starlets dying to clamber over him.

Ajay Devgan [Images] plays Sameer Khan, his character living nicely up to the ubiquitous Bollywood power-surname. Santoshi's experience is evident right from the first frame, his Bollywood caricaturing -- even when obvious -- feels always authentic. Khan is a ruthlessly ambitious egomaniac, a driven and single minded actor who has always kept his priorities straight: despite this clarity in goal making him decidedly mercenary.

Things chug along at this pleasantly watchable, quite unremarkable manner until there is a celebrity-filled party, where Khan meets an old fan, a pretty girl he advises to enter the business. The weary star retreats from the party, goes to the restroom where he believably postures cockily in front of the mirror, trying his hero-poses on for size.

Swaggering out of the loo, he almost runs into the same girl, her nose hemorrhaging fatally as she cries to him for help. He hesitates, jumping defensively back a second before she's shot dead.

Yeah, it's Jessica Lal [Images], no question. Except here every single witness clams up. The celebrities and businessmen present at the party collectively do a Shayan Munshi and merrily shut their traps, despite all having seen two kids of powermongers kill her, clear as day.

Khan, too, is content in his comfortable cowardice. He has everything to lose, he feels. Too much would be squandered on nothing, he explains to the dead girl's sister when she comes to him for help on the sets of a film. Fittingly, he's dressed like Ming The Merciless.

And despite the constantly loathsome behaviour Khan shows, he too is troubled and brooding. Alright, so this is largely expressed by him looking out the house or car windows while nursing a glass of scotch, yet it at least attempts to segue his damn-it-all mindset with his past. This past is shown in the form of a lengthy flashback detailing his young love with Vidya Balan (now his wife), and his streetplay-time acting guru taking hands-on action to combat parental opposition to young Ashfaque (The Sameer came from his first producers) becoming an actor.

It is this flashback -- an overlong monster of a memory -- that haunts him even more than the horrific visions of the bleeding girl screaming for help. This is a sequence that needs to be impactful, and this is where the film's hero enters. Pankaj Kapur plays the dynamic Sidhu, a dacoit turned theatre-director as adept at frying pakodas as tossing up one-liners. He is the film's point of integrity, the steadfast larger-than-life invincible character -- the inevitable raw nerve that beats through the best of Santoshi's cinema.

Ajay's performance works quite perfectly when he's Khanning it up for the cameras within the film, and not as brilliantly when he's dealing with trouble on his own. Vidya Balan [Images] does very well as his wife -- it's so refreshing to see her act again -- but the performance of the film unsurprisingly comes from Kapur. Admitted we all cringe a little when a movie like this descends into a filmi swordfight, but it's great to see the talwaar out of the hand of a burly jat and given to the finest actor in the country. Pankaj even makes trite believable, and when he barks out an immensely loaded line, you stiffen even if in spite of yourself.

However, nobody else in the film acts at all, which hurts Halla Bol considerably.

The film unfolds, with the flawed protagonist struggling for redemption. The background score is as pita as ghisa gets, and there is much filminess as the characters trade punchlines. Yet as a film it stays immensely watchable, and even if predictable as a whole, you hardly see the next moment coming.

The rise of the nation happens in one quick montage, almost dismissively. Then again perhaps the movie wants to be a mere reminder, not a documentary, which is fair enough. In the midst of all the action and the Jessica-like unfolding, this unabashedly commercial film does make a valid enough point, and even if it isn't the kind of film that'll inspire individuals a la Rang De Basanti [Images] a couple of Januarys ago, it is an interesting look at the backlash that makes our overpaid actors shut up, to begin with.

Santoshi has always been a strong director with characters who spout lines harder than knuckles and break necks with glee. This is a film that could really have benefited from a more modern, edgier treatment, the flashback cut into smaller, more edible slices peppered through the narrative. But it isn't. And while watching Pankaj Kapur brilliantly mollycoddle a man trying to bribe him, you realise that there is a time and place for subtlety and that this isn't it -- despite the great moments with the carpet, or the nurse reading a movie magazine.

Enjoy the broadstrokes, the cliches, and, above all, the film's honesty.

This is, after quite a hiatus, vintage Santoshi, for which we should be glad. To paraphrase Kapur's Sidhu, 'voh director hi kaun jo badal jaaye?' ('What director is he who ends up changing?')

Rediff Rating: ***/5

http://www.rediff.com/movies/2008/jan/11halla.htm

Review
By Filmicafe.com, 11 January 2008

Raj Kumar Santoshi's Halla Bol, arrives with quite a bang at a very apt moment in the history of this city. The most heartening thing about this film is that the director has given a heartful treatment to the subject of public apathy and the corruption in the higher echelons of society. It's not a subject which is novel to commercial cinema, but what is novel is the manner in which Santoshi's treats the same.

Halla Bol tells the story of an aspiring actor, Ashfaque (Ajay Devgan), a small-town lad, who works in a street theatre group run by a reformed dacoit Sidhu (Pankaj Kapur). He has aspirations of becoming a Hindi filmstar, and soon his dreams do come true. He becomes the hot superstar Sameer Khan and gets entangled in the trappings of success. He gradually moves away from all that was once close to him and his loved ones, including his wife Sneha (Vidya Balan), his parents, and his mentor Sidhu. The jaded superstar's conscience is jolted by a murder that he witnesses at a party. The rest of the film goes into exploring how he responds to the call of his conscience, joining hands again with his mentor to bring the guilty to the fore.

One cannot help but think of the Jessia Lal case when one looks this movie and there are certain superficial resemblances to the incident as well. But those resemblances apart, the film excels in the first part, where it deals with the rise of Sameer Khan the actor and the fall of Ashfaque the man, till the point when the fateful party happens. Being a part of the industry, both Santoshi and his lead actor Devgan, are able to get all the details absolutely pat. Very early in the film, right in beginning in fact, the director manages to establish the deceit which has become a part of Sameer's mental makeup. He has absolutely no qualms about fudging the details of his past so that it makes a good story. His relations with his wife have reached a nadir. That fateful party makes him face himself and he realizes that he and his present existence is nothing but a sham. What makes it even more galling for him is the fact that he knew the victim. The victim's young sister is big fan of his and like all fans, finds it difficult to look at the man and the actor as two separate personas. All his friends and acquaintances present at the party refuse to confess to the murder and he does the same, fearing that it will spoil his image. When Sameer finally comes out and changes his statement at the police station, the outcome is expected but it is perhaps more than he bargained for as the two guilty men happen to be sons of a politician and a high flying lawyer.

From here onwards, the film moves towards a predictable conclusion, but not before Sameer and his family have been terrorized, his reputation torn to shreds by the media and finally, he is battered in broad daylight, with not a word of protest uttered. Halla Bol moves at a very decent pace and keeps the viewers hooked right till the end. But one fears that it is not the screenplay so much in the second half, as the brilliant acting by Pankaj Kapur, Devgan and Balan, which takes one's breath away. Even Anjan Srivastav in a cameo, is excellent. The only problem area, if at all, is the manner in which Devgan tackles the goons, or for instance, the manner in which he barges into the politician's house and breaks his glass window. These are very Hindi filmy reactions and one guesses that Santoshi could not do away with them, seeing that his lead actor has honed his reputation in action films as well.

Kapur gets another opportunity to hammer home the point that he is one of the most accomplished actors that we have around. It is Hindi cinema's loss that they have not managed to use his talent appropriately. He blends in perfectly into the commercial format of this film and shows how through a mere look or a seemingly casual action, one can portray better and more intensely than through reams and reams of dialogues. He has the his ‘dialogues' as well to deliver, specially when he addresses the crowd after he comes out of the hospital, but it is the manner in which he does so, which makes it so effective. Devgan is another actor who is known for the intensity with which he imbues his performance and Halla Bol is no exception. With a solid author-backed role, the actor is able to play the jaded superstar as well as the idealistic Ashfaque, in his inimitable understated style of acting.

Balan may have a very minor role in terms of screen presence and dialogues, but she manages to make very good use of what little she has. She has an extremely intelligent and extremely sensitive face and uses it well. This is not her film, but still, in a certain manner of speaking, is her film as well. Darshan Jariwala as the powerful politician and Anjan Srivastav as Ashfaque's father, too come up with very good performances. What helps most in a film like this is that the dialogues, for the most part, have been intelligently penned and are devoid of useless clichés. The film's music rightly takes a backseat but full marks to Sukhvinder Singh for making the two devotional numbers, one a Gurbani, and the other a quwali, the high points of the film's music.

In all, Santoshi is to be credited for making a film on such a topical subject. He manages to exercise full control of his film in the manner in which he lets the story take precedence over any starry egos. The action is never diluted by any so-called commercial compulsions, and the end result is a film that works well. Even though Halla Bol moves towards its conclusion in a somewhat predictable fashion, it does not take away from the honesty of the film's approach or its integrity. And its impact should be no less than – Halla Bol!

http://filmicafe.com/movie_page.php?movi...88&value=review

By Ashok Nayak

Rajkumar Santoshi, director of hard-hitting films like Ghayal, Damini, Khakee is back with yet another hard-hitting socially relevant movie 'Halla Bol'. The movie is said to convey an awareness message amongst people to raise voices against exploitation, rape, corruption and illegal use of power and money. The movie also bears certain uncanny resemblance to Jessica Lal's murder case.

Ashfaque (Ajay Devgan) is a small town boy aspiring to be a film star in the Hindi film industry. He joins as a street play artist under the discipleship of Sidhu (Pankaj Kapur), a reformed dacoit who tackles societal issues with his street plays. Stardom beckons and soon Ashfaque makes his way through Bollywood as superstar-Samir Khan. With the change in name, comes change in his character too. He looses his real self with a laid back attitude towards work. Soon he looses hold of his roots and loved ones. A shocking incident at a party changes everything as Sameer witnesses a murder of a girl. His conscience takes him for a toss and eventually Sameer leaving behind his filmy image takes and attempts to get justice to the girl's family.

With 'Halla Bol' Rajkumar Santoshi is back with hard-hitting messages. In the first 15 minutes of the movie, Santoshi gives us an insight into the superficially hidden truths of the film industry. The very introduction of Devgan's character at the autobiography launch reveals to us one of the many faces of an actor. The endorsements of brands have been portrayed in a witty manner but with the right amount of reality. With a terrible incident that occurs at a party the reel shifts track from the Hindi film industry to a film that carries a relevant message. Santoshi has handled all the sequences deftly and a lot of scenes are executed brilliantly that they leave a strong impact on our minds.

Halla Bol is more a drama with the backdrop of a film. Some sequences leaves you spellbound, like the street play about a politician in the first half of the movie, Pankaj's reaction when he is offered bribe by Abhay Bhargava near the pool side and Ajay Devgan urinating on the carpet at the minister house. However at least 5 min from the first half could be easily chopped of to keep the thrill on. The climax is a let down. It was abrupt and not deep-seated for a movie of this sort. The dialogues are powerful. Cinematography is good.

The performances in the movie are power packed.

Ajay Devgan is a revelation. His performance in Halla Bol is sure to win him critical acclaim. Pankaj Kapur is amazing in his role. Right from his dialogue delivery to his silent eye moments, Pankaj does a brilliant job. Vidya Balan has limited scope but she too makes a mark as the caring wife who stands by her husband. Darshan Jariwala as the wicked politician is natural and impresses a lot.

To sum things up, Halla Bol discusses important social issues and also entertains. It's a movie packed with a powerful message and performances.

Rating - 3 / 5

http://nowrunning.com/film/review1.asp?movieNo=3722&r=1464

By Jahan Bakshi

Rajkumar Santoshi returns to the big screen this Friday with Halla Bol- and it's a pity that in a film from such an esteemed filmmaker, it's the surprisingly tacky execution that hits you harder than the material itself.

Cliché after cliché follows in what inevitably and ultimately feels like a dated version of Rang De Basanti, and succeeds only in leaving us mildly amused at the end of all the immense halla. Loosely inspired by the Jessica Lal murder case, Halla Bol is about Ashfaque Khan played by Ajay Devgan- a small town street theatre actor- turned arrogant star who witnesses a murder at a party and is haunted by the event even as his past continues to prick his conscience. He finally decides to get involved in the case and become a key witness despite the perils involved.

Santoshi tries to pack in everything- from the superficiality of the film industry, to the insensitivity of the media glare to the (yawn) corruption of the political system- but to little effect as the sheer triteness of it all gets mind-numbing and you are desperately waiting for Pankaj Kapur to return again (after a brief appearance in an overlong flashback) and rescue you and the film.

And that he does, surely- making even the most embarrassingly corny scenes and lines credible and proving again what pure class really means. Pankaj Kapur is Halla Bol's real hero- the only person who injects some life into the film and audience- and even makes us chuckle, whistle and clap as he chews up the scenery whenever he's on screen.

Ajay Devgan meanwhile puts the kind of good performance that you obviously expect and are tired of seeing from him, and it is perhaps time for Ram Gopal Varma and Devgan to find each other's company again and rescue each other from the mess they are in. Devgan is earnest, quite like the film but that clearly isn't enough as his character's internal and external conflicts and struggle barely manage to affect us.

Vidya Balan, meanwhile is predictably sidelined, and is reliable as usual- though it is sad to see her waste her talent in this role, where her biggest moment only comes when she gets to mouth what is unarguably the films most shocking and consequently laugh-out-loud moment when she says to a swarm of media persons- 'I am proud of my husband. He's got balls!' (A while later, as if to prove it, Devgan urinates on the Persian carpet at the chief minister's residence, right in front of him.)

Halla Bol is filled to the brim with such ludicrous moments and dialogues and it doesn't help that the rest of the cast goes absolutely hysterical, lead by a super-hammy Darshan Zariwala. The film also has a painfully loud score by Sukhwinder Singh, who's clearly more at ease at singing than at composing music.

Finally, while despite all the brickbats- it might be unfair to call Halla Bol mere sound and fury signifying nothing; it does have its moments, however far and few in between. But we surely deserve far better from you, Mr. Santoshi.

Rating - 2/5

http://nowrunning.com/film/review1.asp?movieNo=3722&r=1466

Halla Bol
11 Jan, 2008 03:31 pm ISTlGaurav Malani/INDIATIMES MOVIES


Cast: Ajay Devgan, Vidya Balan, Pankaj Kapur, Darshan Zariwala
Director: Rajkumar Santoshi
Rating:*

Halla Bol is a call for revolution. A revolution demands change. And we as audience would ask the same from director Rajkumar Santoshi – a change in his perspective of making films. A formula dated more that a decade back to the Damini era doesn’t appeal in the current scenario. Haven’t we had enough of the ‘insaaf-ki-ladaai against the system’ films?

Picture this plot. The hero becomes witness to a murder. The victim has to be a hapless girl and the murderer has to be the minister’s son. After initial ignorance to the incidence, the hero’s conscience awakens and he decides to get the culprits punished. The minister tries to bribe our hero to retract his complaint. Of course our morally-correct hero doesn’t comply. The minister then claims to have doosre raaste to get things go his way. The alternate ways obviously are threats and attacks to the hero’s family. In the court the forensic reports are changed and the murderer is set free.

Are you yawning reading this? Just imagine the ordeal of having sat through it. Wait it’s not over yet. Picture abhi baaki hai... mere dost . Only this time you complain – why?

Now visualize this scene. The hero’s car is sandwiched by the villain’s truck. The truck’s accelerators are vrooming. Another collision and all’s gone. But then, can the hero die? Stupid question! So who’s the saviour? A cheaper version of Sunny Deol (Pankaj Kapur) arrives on the scene from nowhere. Six bullets are fired on him but our man is unfazed. Can this saviour, save this sinking film? Another stupid question! Too much harm has been done by now.

Our Sunny substitute calls for a revolution amongst the junta. But how do you provoke the passive public? The idea is through a street play that will arouse and awaken the society against the system. How I wish if revolutions were so convenient, I would have revolted against this banal attempt at filmmaking.

The screenplay is replete with many more idiosyncratic histrionics. In a scene the hero urinates inside the minister’s mansion on his Persian rug. The minister is so ‘pissed-off’ that he gets his palace demolished. In another scene, the hero is interviewed by a hamming Aaj Tak anchor which appears more of an interrogation and accusation session.

Halla Bol can be tagged as Rajkumar Santoshi’s most shallow and feeble attempt at entertaining us. The conventionalism of the script just turns you off. Even the film industry setting that Santoshi opts for by casting the lead protagonist as a Bollywood superstar doesn’t differentiate the film from the regular rut. In fact the film industry characters and situations shown in the film are typically stereotyped putting the glamour world in a negative light, something that the media is held guilty of.

Halla Bol falls in the genre of formulaic masala potboilers like Divyashakti, Hulchul , etc that Ajay Devgan used to feature in, more than a decade back. Having upgraded to more sensible cinema, this is certainly a wrong U-turn for the actor. The actor does nothing path-breaking and fails to impress.

Vidya Balan is criminally wasted. So is the potential of Pankaj Kapur who fails to rise over the script in his commercial heroic character. Darshan Zariwala hams hysterically.

The loud and clichéd message of the film is to stand against anything wrong that you witness. If I had to accept the message the first thing I would stand against would be this film itself, for witnessing it isn’t less than being subjected to a trauma.

Halla Bol attacks your senses and doesn’t touch your soul.

http://movies.indiatimes.com/moviereview/2692668.cms