Top movies of 2006

Top movies of 2006
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As the year draws to a close, we asked our panel of Rediff Reviewers -- who we have selected from a contest -- to tell us which they thought were 2006's best movies.
Here are the films Vidya Pradhan -- who lives in California, writes for a local newspaper and is working on a children's novel -- selected.

Lage Raho Munnabhai

Comedy is perhaps the hardest genre in filmmaking. And to do it without resorting to slapstick is truly remarkable.

With a script reminiscent of Hrishikesh Mukherjee's movies and perfect timing between its lead characters, Lage Raho... was a sweet movie. Wisely deciding against a sequel to the sleeper hit Munnabhai MBBS, director Rajkumar Hirani made Lage Raho.. the second in the series of adventures of Munna and Circuit, played with great flair by Sanjay Dutt and Arshad Warsi.

This gave the director the freedom to change the story completely and recast the heroine. Vidya Balan as Jhanvi was a tremendous improvement over Gracy Singh. Lage Raho... is the story of a hoodlum transformed by the power of universal, unconditional love as preached by Mahatma Gandhi. In these cynical times, Hirani and producer Vinod Chopra dared to offer us an uplifting, hopeful tale about the essential goodness of man. No wonder the movie resonated with audiences jaded by the endless remakes of past Hollywood and Bollywood films and went on to become such a big hit.

 

[prakash_dudes]

Omkara​

It's a pity screenplays adapted from English works are not considered for entry into to the Oscars.

Dark and brooding, this remake of Othello stayed true to Shakespeare's vision of the jealous moor, despite being set in the fetid atmosphere of a small North Indian town.
Omkara is the lieutenant to a corrupt politician, and the battle against the Turks is translated to a turf battle for political control. Much has been said about the clever reworking of the original play and the little nods that the director Vishal Bhardwaj gives to Shakespeare's creation, like the black shawl Omkara wears to convey the black moor that Othello was.

But to my mind, one of the most remarkable things about this movie is its perfect casting. Ajay Devgan and Kareena Kapoor are exactly suited to the parts of Othello and Desdemona, with the latter's unmade-up face living up to the description of 'a skin whiter than snow and smooth as monumental alabaster.'

Both Ajay and Kareena give powerful performances but the scene-stealer of the movie is Saif Ali Khan as Iago, almost unrecognisable as a limping, pan-chewing, henchman with ambition. With his award worthy performance, Saif gives evil a human persona, all the more terrifying for being utterly credible. Rounding it all off is superlative music from Bhardwaj himself.

 

[prakash_dudes]

DOR​

In a year filled with star-studded remakes and sequels, this little gem managed to leave a lasting impression.

Bolstered by a great script and sweeping cinematography spanning the deserts of Rajasthan and the lush mountains of Himachal Pradesh, Dor weaves the tale of two women brought together by shared sorrow.

Ayesha Takia, as a grieving widow, gives a charming and mature performance. Gul Panag does a very creditable job as the woman fighting to save her husband's life. But the standout performance is that of Shreyas Talpade as the 'beherupiya'.

Having played a deaf mute in Iqbal, Shreyas can't stop talking in this movie, showing an amazing talent for mimicry and mining a rich vein of humour to highlight the serious subject of powerlessness of women in rural India.

Director Nagesh Kukunoor continues to grow with every movie. Special kudos to him for creating the character of a gutsy Muslim woman, who is able to support herself and her family and undertakes an unbelievably courageous journey across the country.

The only criticism I have of this movie is the casting of Kukunoor himself in a villainous role, at which is he is totally unconvincing. He should stick to Hitchcockian cameos and limit his appearance to a single blink-and-you-miss-it scene. While Dor is not as polished as it could be, it is still a very well crafted movie, able to hold the viewer's interest for two hours despite a skimpy storyline. I hope the movie made enough money to encourage filmmakers to consider investing in such pieces of work.

 

[prakash_dudes]

Rang De Basanti​

India's entry to the Oscars in the foreign language category, this is a passionate story about patriotism, an emotion that has almost been forgotten by a generation that never had to make any sacrifices.

Aamir Khan effortlessly blends into a talented ensemble cast without overwhelming the movie with his star power. Slickly edited, the movie follows a group of college students who get increasingly disillusioned by the workings of power and politics.

Parallels are drawn to India's freedom struggle when hot-blooded young men felt that violence was the only way to make a statement. Though I was not convinced by the cause that Aamir and friends ultimately give their life to, the lovely sepia toned juxtaposition of the martyrdom of Bhagat Singh and his comrades with the contemporary struggle made for a powerful movie. Many viewers took umbrage with the ending of the movie, which seemed to endorse taking the law into your own hands, but this was first and foremost a commercial movie, where the aim was to entertain viewers.

 

[prakash_dudes]

Kabhi Alvida Naa Kehna

Love it or hate it, you cannot deny that this lavish ode to adultery created a buzz that spanned the continents. Shankar, Ehsaan, and Loy's memorable music framed the story of two unhappily married people who fall in fall with other people, setting in motion a train wreck of anguish and despair.

Amitabh Bachchan provided the comic relief but even his sparkling performance was not enough to lift the movie out of its emotional doldrums, making a repeat viewing of the film very painful.

Despite all the brickbats thrown at the movie, I thought it represented a genuine attempt at analysing the curve of an affair. Cinematically, it was a departure from Karan Johar's previous candyfloss efforts. The dazzle generated by having the five biggest names in the movie business (Big B, Shah Rukh Khan, Rani Mukerji, Preity Zinta and Abhishek Bachchan) was enough to make almost every Indian watch the movie.


Source: Rediff.

 

[manjotdullat]

Waris Shah - Ishq Daa Waaris (2006)

nominated for OSCAR

With their last three ventures bagging the national award, Sai Productions are credited with reviving the staid perception of Punjabi cinema. The expectations then, for Waris Shah were high from the outset. Starring Gurdas Maan and Juhi Chawala the film recounts the legend of Sufi saint Waris Shah and the real-life love that informed his epic poem Heer Ranjha. Presented against an authentic canvas, the film beautifully renders the pathos and poetry of the artist.

On his ascension to the throne, Mughal Emperor Aurangzeb declared that music be outlawed as it distracted from devotion to God. Facing certain death for his brazen celebration of music, revered saint Makhdoom calls upon Waris Shah (Gurdas Maan) to continue his legacy. Waris' growing love for village girl Bhagpari (Juhi Chawala) forms the basis of his poem Heer Ranjha. Their love is, however, thwarted by Bhagpari's betrothal to another and the meddling of Saabo (Divya Dutta). Betrayal, mistaken identity and murder ensue as art imitates life.

"THE DIALOGUE IS POETRY IN ITSELF"

From the glossy opening frames, Waris Shah bears the hallmarks of a quality production. While Gurdas Maan's performance is deeply touching, it is the beautifully crafted script, penned by Maan himself, which is the cornerstone of the film's success. The dialogue is poetry in itself, encapsulating the prevailing mood, while simultaneously portraying an authentic picture of early Punjabi life. While Juhi Chawala is characteristically endearing, Divya Dutta's is the stronger role, bringing a more sinister edge to the proceedings. With its allusions to history, the film is deftly executed, while the emotive songs add to its spirit. Waris Shah is an imaginative and heartfelt portrait of the Punjab's most celebrated poet.

my review

Wat a movie !!!!!
Gurdas Maan woke up to Waris Shah and lived him inside his mind, his songs , his prayers . And finally turned it inside out and brush-stroked it with life-force, full throttle on 70mm . . . . Sai Productions' Waris Shah - Ishq Da Waris is someone's dream - woven tenderly , lovingly , longingly . And that explains the involvement of Maan - he plays Waris, simmers in his verse , sings him and lives out his journey of Heer. It strikes even better in the way director Manoj Punj places the verses at the right niches across the story and turns it a 'musical' . With Maan rendering allmost all the music , its a delicious offering . Its also a story of how love - at its most chaste-lords over cinders; how that kind of love wings up to the skies . And the film's is also the big step into a territory that can build its brand new story of excting cinema , unexplored territories , right here in Punjab . Gurdas Maan hmmmm . . . yes quite a sufi , smoky eyes , long 'poet' tresses. The eyes do break into little lines of age in close frames . . . but try thinking who else could have played the poet and answer never really comes . And yes, he performs with ease . Juhi Chawla - translucent skin , clear eyes , and an improved Punjabi diction - makes for delightful watching . The only problem they dont exactly string up a 'love story' we may come away hungering for . Divya Dutta lets out a few sparks in some frames . Does a fine job . Sushant Singh plays the insecure husband of ' Bhaagpari ' and yes his eyes deliver most of it . Manav Vij does a nice guest appearence as well . Manoj Punj delivers a colourful punch , with the way he plays with hues of fire , silhouttes against water at night and yes there's help with producer Manjeet Maan's costumes - leafy greens , inky blues , mustard yellows, bride pinks , smoky blacks . And yes the impressive set that was constructed at Rampur Kalan near Chandigarh is duly acknowleged . Jaidev Kumar's music strikes home - especially in Allah Hoo , Yeh Imitihane Ishq Hai , Khaas Shamma Ajj . . The pick of the album however would be ' Couplets Of Heer ' , with Maan being the voice of Waris , melody comes quite effortless . Since the film's more about a certain slice of Waris Shah's life than something more biographical , there's a danger of someone missing the ' punch ' a certain level of climax delivers. Actually one'd want to know what happened to Waris after Heer . But that aside there's something in every frame out there that leaps out and tugs at the soul . Must be in our blood somewhere . . . power of the past . And yes , a promising new story of Punjabi Cinema . Kudos to the team of Waris Shah for this remarkable venture . Another National Award . . . oh yes why not ! n OSCAR too

 

[manjotdullat]

:SugarwareZ-191:

DHOOM 2

The police are baffled by a master thief known only as Mr. A (Hrithik Roshan) because he leaves an 'A' symbol after each robbery. Mr. A steals the crown jewels of a queen by sky diving onto the train carrying them, and then disguising himself as the queen and as usual escapes the authorities. Meanwhile Ali (Uday Chopra) who is now a officer fouls up a mission and is narrowly saved by ACP Jai Dixit (Abhishek Bachchan). They soon meet ACP Shonali Bose (Bipasha Basu), who has been assigned to solve the case of Mr. A. Shonali and Jai are ex-classmates. Their apparent flirting makes Jai's wife Sweety (Rimi Sen) jealous. Jai realises that Mr. A is actually challenging everyone to catch him. His next theft will be in Mumbai. There are two places where he might strike, A jewelery shop, and a museum. Jai and Shonali stake out the jeweler while Ali stakes out the museum. Jai realises that Mr. A will rob the museum after learning that the supposed target of Mr. A is damaged. Mr. A manages to make his escape by roller-blading and using a magnetic device. Shonali is disheartened that Mr. A escaped and decides to resign. Mr. A is planning to leave the city, but at the airport he learns that someone else, using his name has announced that he will rob the sword kept in the Junagadh fort. Mr. A decides to meet the imposter. The imposter turns out to be Sunehri (Mallika ), who confesses that she is a fan of Mr. A and would like to be his partner. Mr. A is doubtful at first, but later he agrees. But Sunehri is actually working for Jai Dixit. Mr. A takes Sunehri to Rio de Janeiro to train her and also for their next heist. Jai and Ali follow them to Rio, where they meet Shonali's twin sister Monali (Bipasha Basu). Monali takes a liking to Ali. Mr. A finds out that Sunehri is working against him. After he confronts her, Sunehri decides to stop betraying him and work with him. Their robbery is successful. There follows a high-speed bike chase, ending with Mr. A and Jai fighting on a waterfall. Ali manages to capture Sunehri, to stop Mr. A. Sunehri shoots Mr. A so that he is not arrested by the police. Jai lets Sunehri go free, deeming it punishment for her to live alone. Six months later, Sunehri and Mr. A are shown running a restaurant in Fiji Islands, but Jai follows Sunehri and finds Mr. A. Mr. A gives Jai information on where to find the money from the previous heists. Jai later lets Mr. A and Sunehri go free as Mr. A is dead to the world and there is no point in catching a thief who's already dead. But he warns Aryan(Mr.A's real name) that if Mr.A ever returns, then he will catch him. Jai recieves a phone call from Ali, and tell Ali to return to India, as they've got a new case.