Hindi
Inkaar: A love story badly told
MUMBAI: Inkaar has been widely promoted as a film on sexual harassment at work place. Ideally, the work place here is an ad agency. Ad agencies are generally identified with glamour because that is what they cater through their ads and are thought to be full of people with open and free minds. It helps the cause of the film because, otherwise, ad agencies are not the only place where romances, affairs or molestations happen. Whatever the perceptions created, Inkaar, in a nutshell, is just another love story.
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Producers: Tipping Point Films, Viacom 18. |
Arjun Rampal is a high flying ad executive, the CEO of a happening agency with a US tie-up. Since ad agencies are generally identified with their leaders, Rampal is a legend in his own right in the ad world. Like all good leaders he encourages and grooms his team. One such person he has chosen to groom and hone talent of is Chitrangada Singh, a sensuous, sharp and ambitious girl from a small town, Solan in HP. Even before she can prove herself, Rampal is struck by her poise and beauty; if you count his ogling her at all meetings and briefings that happen in any office, he is obsessed with her!
Rampal takes Singh under his wings, she shows sparks and soon her talent and contribution make her the blue eyed girl of the agency. The proximity leads to a romance between Rampal and Singh. The job creates many opportunities to travel and spend time together and soon the relationship becomes physical.
Singh has also impressed the owners, especially the American partner, and she is soon delegated to the American partner agency. On her return, before the romance can rekindle, a management move to make her the creative head of the agency leads to parallel powers in the agency. After all, she is an ambitious woman and has no reason to say no despite Rampal‘s suggestion not to accept as he thinks she was not yet ready for the responsibilities.
In the egos clash, romance is sacrificed, and this being a creative field, also sacrificed are some client accounts. Every time Singh needs Rampal‘s help, there are hurdles, or so she feels. Due to their past liaison, she smells a demand for sex whenever she encounters him. Exasperated, she decides to complain of harassment against her CEO, Rampal. You would expect a horde of woman activists to descend on him and newspaper headlines all over. But, no, here it is all hush, hush, no media and no activists, only one social worker; Deepti Naval sits on an inquest.
As both the parties are called to testify in turns, the film‘s narrative comes in flashbacks because the inquest hears a particular incident told by Singh, Rampal follows with an explanation. This leads to unfolding of the film in various flashbacks. This does not help the cause of gripping the viewer with a taut telling of the story and fails to involve him. Other colleagues also tell their part in the events over the years. While a bias is evident against Singh from most colleagues, Naval also thinks that with two attractive persons working closely, sex is bound to happen! When the matter is not clear, Naval asks the panel sitting with her to vote on guilty or not guilty!
When there is no inquest in progress, the ad world seems busy in revelry, drinking and generally having fun.
Rampal has decided enough is enough and SMSs his resignation and heads home to Shahranpur to meet his father of various flashbacks in the film, Kanwaljeet Singh. Before that, he has had a confrontation with Singh in the washroom. When asked by Singh about his attitude, his response is ‘Because he was angry and because he loved her‘. Singh remembers it and its time for her also to pick up her car keys and follow Rampal to Shahranpur!
Due to the piecemeal style of the script, the direction never gets a handle on the proceedings. Music lacks appeal.
Rampal, as a lover in flashbacks and an annoyed accused in present is good in latter part. Singh is mainly glamour. Rest have no definite roles to play.
Inkaar, has opened with poor response with little chance of improving.
Mumbai Mirror: Lacks face value
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Producer: Raina S Joshi. |
A guy wanting to be the clone of Salman Khan is understandable. After all, Dilip Kumar, Dev Anand, Rajesh Khanna, Amitabh Bachchan have had hundreds of them. But the hero here, Sachin Joshi, in his self financed film, also wants to clone a Salman Khan film! So, Mumbai Mirror is to be watched with Joshi as its hero but while imagining you are watching Salman Khan on screen.
Joshi, in his pretence of playing Salman Khan, brings along the same actor, Prakash Raj to play the villain. What lets him down is his thin voice.
Joshi is a police inspector in a station headed by his maternal uncle, Mahesh Manjrekar. He drinks, womanises, gambles on cricket matches and finally, also takes to snorting drugs. However, when it comes to action, he is never found wanting. Worst crime a man can commit, according to him, is raise a hand on woman of which he is unforgiving. Typically, he had a thing going with a bar dancer, Gihana Khan, who is now the don Raj‘s mole.
Raj is the biggest don of Mumbai owning almost 70 per cent dance bars in the city, a man whom no policeman can touch. Joshi and Raj are soon to be pitted as the latter wants to open a dance bar in Joshi‘s precinct which Joshi would allow as long as there are no dance girls involved. Joshi also learns that dance bars are just a front and the real business behind this façade is that of drugs.
The war between Raj and Joshi peaks and game of chess laid out in Raj‘s den now becomes real as both try to outwit the other. As a result, Joshi is suspended from the force. He continues his fight and, in the process, also meets a TV reporter, Vimala Raman, to add a mild romantic angle to the proceedings. Joshi adds another bad man, Aditya Pancholi, to the fight, turns Raj and Pancholi against each other. He is surprised to trace the source of drugs supply, and carries out the final elimination. Also eliminated is the corrupt CBI man and Raj‘s puppet, Sudesh Berry.
To fill up the screen and make the film watchable, there is a line up of some known talent in the cast. There is always some action on screen but the problem is that there is nothing new. Dialogue by Ghalib Asad Bhopali is good when not remixing old Salman Khan lines. Music is out of sync. With a seasoned supporting cast, the performances are good. Joshi, Gihana and Raman are okay.
Mumbai Mirror, lacking face value, finds no takers and is faced with no show situation.
Hindi
Dhurandhar the revenge storms past Rs 1,000 crore in a week, rewrites box office records
Aditya Dhar’s spy thriller sets fastest run to Rs 1,000 crore with record-breaking weekday hold
MUMBAI: The box office has a new juggernaut—and it is moving at breakneck speed. Dhurandhar the revenge has smashed past the Rs 1,000 crore mark worldwide in just a week, clocking a staggering Rs 1,088 crore and resetting the rules of the blockbuster game.
Backed by Jio Studios and B62 Studios, and directed by Aditya Dhar, the spy action sequel opened to the biggest weekend ever for an Indian film globally—and then refused to slow down. Unlike typical tentpole releases that taper off after Sunday, this one powered through the weekdays with rare muscle, posting Rs 64 crore on Monday, Rs 58 crore on Tuesday, Rs 49 crore on Wednesday and Rs 53 crore on Thursday.
The numbers stack up to a formidable first-week haul. India collections stand at Rs 690 crore nett and Rs 814 crore gross, while overseas markets have chipped in Rs 274 crore, taking the worldwide total to Rs 1,088 crore in just eight days.
The film’s opening weekend alone delivered Rs 466 crore, laying the foundation for what is now being billed as the fastest climb to the Rs 1,000 crore club in Indian cinema. Every single day of its first week has set fresh benchmarks, from the highest opening weekend to the strongest weekday hold—metrics that typically separate hits from phenomena.
A sequel to the earlier hit Dhurandhar, the film has not just built on its predecessor’s momentum but obliterated previous records, emerging as the biggest global blockbuster run by an Indian film to date.
At this pace, the film is not merely riding a wave—it is creating one.
