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Wednesday February 28, 2007

Main Awara Hoon (1983)

About the story: The widower Dinanath Kumar (Satyen Kappu) lives in Poona with his widowed sister Kalawanti (Shubha Khote), his daughter Payal and his two sons Rajeev, called Raju (Raj Babbar) and Sanjeev, called Sanju (Sanjay Dutt). Raju is educated and has a career, while Sanju works as an auto mechanic at Tahir Khan (Dinesh Higoo), has a penchant for alcohol and often gets into trouble. When he wanted to protect his sister from the stalking by Premnath (Ramesh Deo), but set fire to his house and was arrested, his father obtained Sanju's release by petitioning Premnath, but Raju, whose relationship with Sanju was never the best , has finally had enough of his younger brother and drives him out of the house. Sanju goes to Bombay and works for a short time in the bakery of Chandulal "Paowala" (Madan Puri), whose niece Bela (Jaya Pradha) loses her heart to Sanju while he falls in love with Archana (Rati Agnihotri), the daughter of rich Ganga Prasad (Col. Kapoor). Then he met Sahir Khan (Dinesh Hingoo), the brother of his employer from Poona, who hired him as a mechanic and taxi driver. One day, of all people, Raju gets into Sanju's taxi, who has meanwhile worked his way up to Company Director at Ganga Prasad, looks down on Sanju even more than he used to and also plans to marry Archana. In order not to stand in the way of his brother, whom he loves despite everything, Sanju decides to break Archana's heart ...

Main Awara Hoon (= I am a vagabond) - this title arouses associations with the classic Awara by Raj Kapoor with the famous song "Awara Hoon", and Sanjay promptly trills this song to himself on his first (drunken) appearance. However, the two films have only indirect links to one another; in Awara the focus was on a father-son conflict, while here there is a tense relationship between two brothers. What both films have in common, however, is the rigid adherence to prejudices as a conflict-inducing motive: in Awara it is the judge who is convinced that the son of a criminal can only become a criminal, and in Main Awara Hoon it is Raju, who thinks only the worst of Sanju and gives him no chance to prove himself. And both - the judge and Raju - end up having to pay a high price for their wrongdoing and also have to live with the guilt of asking an even higher price from their victims.

The "Awara" Sanjeev is a role that Sanjay played with the most beautiful regularity in the years from Naam onwards - a young man with a golden heart, but apparently useless or bad character, who faces tough tests in life and who nevertheless proves himself brilliantly . The fact that he tackled such a figure for the first time in 1983, at such an early stage in his career, admittedly amazed me - and even more the fact that he coped brilliantly with it. I still shed a tear or two at the thought of what a great film could have become of this beautiful and sometimes really poignant story if Sanju had made it, say, six or seven years later than when he was an actor was a quantum leap further. But he already plays this Sanjeev with a lot of commitment and a high sympathy factor, which increases continuously towards the tissue-eating Climax.

Raj Babbar makes the ungrateful role of the prejudiced older brother pleasantly reserved, which makes it easy for the viewer to give him a little pity in the end. Rati Agnihotri has fully rehabilitated herself here for her rather mixed performance in Johny I Love You - a nice achievement. Jaya Pradha should have flown even more hearts than her, if only because of various and sometimes quite unexpected twists in her role. At the top of the supporting cast, Shakti Kapoor convinces Kundan as a drug dealer. Main Awara Hoon is also remembered because of a lot of sometimes delicious details such as the scene in which Raju acts in front of a clearly reversed clock (was the film inserted the wrong way round?), Or Sanju's first appearance in which he was in his Drunk and with youthful cheek a life-size poster by Amitabh Bachchan.

In contrast to the rather lame predecessor Johny I Love You, Main Awara Hoon is a film for which I would strongly advocate a DVD release with subtitles. It contains a good story with some really unexpected twists and a Sanjay Dutt, who probably already loved such roles back then and acted accordingly relaxed and appealing. Among his early films, Main Awara Hoon is definitely one of the better ones.

Production: Shakti Samanta; Director: Ashim Samanta
153 min .; DVD: T-Series, without subtitles

Sunday February 25, 2007

Johny I Love You (1982)

About the story: Suraj Singh (Suresh Oberoi) suddenly decides to give up his bandit career at the side of Zalim Singh (Amrish Puri) when his wife Savitri (Gita Siddharth) dies in a scuffle. With his little son Raju, Suraj finds refuge with the Catholic priest Father John (Raj Mehra) and begins a new, honest life, renaming Raju Johny to protect him from possible persecution by Zalim. Years later, Johny (Sanjay Dutt) and Seema (Rati Agnihotri), the granddaughter of Suraj's employer Colonel (Om Prakash), fall in love. However, Seema's mother Meera (Tanuja) and the Colonel have other plans for Seema: She should marry the NRI Amar, who has returned from London. And Suraj also disapproves of his son's choice, since Seema, as his master's daughter, belongs to a higher class. Seema's and Johny's struggle for love seems lost when Amar and his sister Sheela show up and Johny is ready to submit to his father. But Amar and Sheela are in truth Zalim Singh's son Shakti (Monty), who murdered Amar and Sheela, and his girlfriend Julie (Jyoti Bakshi). When they also succeed in freeing Zalim - who had been caught some time earlier and sentenced to life - from prison, the latter takes over the regiment in the Colonel's house and slanders Suraj as Savitri's murderer, which ultimately leads Johny to conflict with his father ...

The plot of this film starts out promisingly and remains so for a long time; but at the latest with Zalim's escape from prison, the whole thing becomes rather crude and confusing, and that is certainly not only due to the missing subtitles. Strange cuts arouse the suspicion that the film was tampered with, as well as obviously missing scenes: I'm used to the fact that in Hindi cinema bleeding wounds can heal without a trace from one scene to the next - but if the other way round Sanjay in a scene with a flawless face acts and the same thing is beaten green and blue in the next moment and the corner of the mouth is bleeding without even seeing a hand that has raised against him, then something can definitely be wrong with the sequence of scenes. In the midst of the tense atmosphere during Zalim's reign in the Colonel's house, a colorful wedding celebration appears similarly confusing, at which Johny and Seema dance with visibly genuine happiness (I correct myself: hop around), although the whole thing is only a pseudo-wedding and the two in this critical one The situation certainly did not feel like such exuberance.

Sanjay was - if you consider that this was only his third film and he was still a drug addict at the time - all in all in a pretty good mood, even had some really good moments, especially together with his film father Suresh Oberoi, who played very confidently as usual. Amazingly, this time Sanju had problems with his emotional scenes, a lot seems tried and fake. That could of course also have been due to Rati Agnihotri, who looks older than her film mother Tanuja and sometimes acts completely over the top and in the process falls into a shrill screeching tone a few times, at which she need not be surprised if her partner's hand slips. What works all the better for Sanju are his hand-to-hand fights and outbursts of anger (and he has several) as well as the scene in which he tames a wild mare in order to be able to save her foal. His wardrobe - I think with a shudder, for example, of the white turtleneck and the red jacket with fur trim - I try to forget just as much as Amrish's silver-gray poodle curly wig ...

All in all, Johny I Love You is by no means a fame in Sanju's early filmography. Aruna Irani's seductive item number "Rang Rangeele", in which she dances around Johny, who is completely drugged, doesn't change anything. Aside from her and some nice interactions between Suresh and Sanju, this one definitely doesn't have to be seen.

Production: Tony; Directed by Rakesh Kumar
Approx. 140 min .; VCD: Time, without UT
(There is also a DVD from B4U - also without subtitles)

Counting delay (1990)

About the story: After Captain Jaswant Kumar (Jeetendra) lost his left arm during a military operation, he left the army, settled in the Bombay suburb of Shanti Nagar and opened a car repair shop there. Soon he receives a visit from the "Protection Committee" Raksha Mandal, which has a firm grip on all of Shanti Nagar. When Jaswant refuses to pay protection money and is massively attacked by overseer Peter Gonsalves (Sharat Saxena) and the rest of the gang shortly afterwards, no one of the local residents comes to his aid, as they are all too afraid for themselves and have their families. Only the taxi driver Raju (Chunky Pandey) and the journalist Razdan (Shafi Inamdar) are impressed by Jaswants courage and henceforth join his resistance. Worried about losing Shanti Nagar, Taneja, the Don of the Protection Committee (Kiran Kumar), orders his assistant Jaichand Khurana (Sudhir) to set his best and most unscrupulous man on the resistance: Raka (Sanjay Dutt). But even he bites his teeth at Jaswants and Raju's determination - and then changes his tactics ...

Zahreelay is a film that calls for courage to resist - resistance against blackmail, but also against one's own fear and cowardice before seemingly overpowering opponents. Accordingly, the fronts are clearly divided: Jeetendra, Chunky, Shafi & Co. are the good guys, Kiran, Sharat, Sudhir & Co. are the bad guys. The only one who once again confidently evades such a black and white classification is Sanjay. His role is perhaps not as extensive as that of Jeetendra and Chunky - it takes a whopping fifty minutes before he even intervenes - but it is without question the most multifaceted. With his sneaky double game, this Raka is pretty much one of the meanest pigs Sanju has ever played, and at the same time one of the biggest losers (Sanju has seldom taken so much). Against Jeetendra and Chunky he was almost always a losing proposition - not only in terms of screen time. But his part was psychologically the most interesting because it doesn't stay the same from beginning to end, but develops and changes, and at the latest the end of the film leaves no doubt about who - also because of this development - is the real hero of the film. Sanju was able to play out his emotions in this film as well as his already pronounced coolness (some of them were already Musafir preliminary studies), and he looked incredibly good again (I just have to think about the scene in which he got his wounds "treated" ...).

In direct comparison with Sanjay's design of this multi-layered figure, it is all the more noticeable how deadly it is for the nominal heroes of a film when they are portrayed as stereotypes and then almost bored again in their perfection. Jeetendra has become the victim of such a role policy; his Jaswant must not do much more than fight with one arm and utter either heroic, rousing or fatherly, unctuous slogans with a darkly determined look. Chunky Pandey comes off better, especially since he is responsible for the entertaining element of the film together with his partner Juhi Chawla, who is almost sparkling with charm and zest for life, as Chamki; his best scene, however, is clearly the one in which Raju, drunk, lets out all his self-contempt for just cowardly watching Jaswant get beaten up by the gangsters.

In addition to the cranked Juhi, Sanjay's partner Vineeta, as Raka's friend Shabnam, recommended herself for further tasks with a beautiful classical dance number and soulful play - apparently in vain, as a look at her filmography shows. Bhanupriya remains rather pale in her role as Raju's widowed sister Seema, who has a silent affection for Jaswant. And the villain war is almost a complete failure - Kiran Kumar has almost nothing to do, and the others stand out more because of their hideous wigs than because of their lasting impressions, which also takes some of the tension out of the whole resistance plot. Had it not been for Sanjay with his shady character, who roams around both camps with unscrupulous selfishness, I fear that my interest in this film would have been very limited. But once again his performance alone is enough for a recommendation, at least for Sanjay fans.

By the way, anyone who has seen Jeena Marna Tere Sang and, like me, thinks with horror of the sometimes annoying trash scenes that the monkey Ramu triggers, may have their toenails rolled up at Sanju's first appearance in Zahreelay, as does Raka calls such an animal by the name of Raja his own. Fortunately, my fears in this regard did not come true, so I can give the all-clear on this point: Raja is okay. :)

Production and Direction: Jyotin Goel
157 min; DVD: Bollywood Films, English subtitles (songs not subtitled)
Hair factor

Saturday February 24, 2007

Inaam Dus Hazaar (1986)

About the story: Kamal Malhotra (Sanjay Dutt) works in Delhi for his uncle (T.P. Jain) as a representative for all kinds of articles, but hates this petty-bourgeois life and dreams of advancing into high society. He has developed a talent for sneaking himself into the parties of the rich and famous, and one day he ends up in the jewelery exhibition of the Nawab of Chandrapur (Raza Murad). There he is invited by Kamran (Viju Khote) to the house of the diamond dealer Seth Narottam Johri (Ramesh Deo), but as soon as he gets there, he finds himself at the mercy of a gang of gangsters who mistake him for the CID agent Kamal Malhotra and want to kill him. Kamal escapes, but when he sees Narottam again a short time later and takes on him, he dies - hit by a knife that was aimed at Kamal. Since the police are now looking for him as a murderer, Kamal sees only one chance to prove his innocence: He has to find the real murderer he saw at the scene: Luca (Gulshan Grover). A train ticket takes him to Bombay on Lucas track. On the way there, Kamal meets the model Sonia Shrivastav (Meenakshi Sheshadri) and falls in love with her. With their help, he makes the gang with their leader Captain S.P. in Bombay. Singh (Amrish Puri) - and at the same time discovers that Sonia is by no means just a harmless model ...

Should anyone after Naam still have the opinion that the surprisingly grandiose performance of Sanjay as Vicky would have been a unique moment of glory that he would not be able to repeat easily, he had to realize after the successful follow-up film Inaam Dus Hazaar: Sanjay had as an actor Definitely got the curve and finally left behind his sometimes clumsy and wooden early years as well as his drug addiction. As a personable charm bolt who acts with a lot of passion and energy, Sanju wraps his audience around their fingers at will and in the sometimes unexpectedly violent Climax already reveals promising approaches to becoming an action hero; a subject in which he would become the undisputed specialist just a few years later.

His partner Meenakshi Sheshadri is at least as positive. Apart from the fact that at that time it was already to be seen as a plus point if a film also included a really well and excitingly thought-out character role for a woman who was not only an accessory and ornament for the man’s world, but also active Helped to shape the plot - but when this role is also embodied by such a great woman, then that's a double stroke of luck. Meenakshi looks fabulous, exudes a soothing maturity, plays great and dances fantastic. Can anyone explain to me why a) this woman apparently never made the real breakthrough in Hindi cinema and why b) she was not cast together with Sanjay more often? Because the two are a wonderful couple with a really sparkling chemistry - but the only film that they have together again on the cast list afterwards is Kshatriya, in which they as Madhu and he as Vicky do not have a shared second of screen time.Too bad, an opportunity for another screen dream jodi was really missed here.

Inaam Dus Hazaar (= 10,000 rupees reward) is an all-round successful entertainer with a good story (inspired by Hitchcock's North By Northwest), which is a pleasure to watch thanks to Sanju and Meenakshi. And of course thanks to Shafi Inamdar as rickshaw taxi driver Khan, who gives a lesson right across the film on how to create diaphragmatic comedy scenes without excessive noise and annoying slapstick.

Production and Direction: Jyotin Goel
158 min; DVD: Bollywood Films, English subtitles (incl. Songs); blurred picture

Friday February 23, 2007

Location Raho Munna Bhai (2006)

About the story: Murli Prasad Sharma, called Munnabhai (Sanjay Dutt) has been leaving a large part of his gangster duties in Mumbai to his right hand Circuit (Arshad Warsi) and spends hours every day in front of the radio listening to the voice of the presenter Jhanvi (Vidya Balan) that he fell in love with. Through a solid cheat, Munna wins a Gandhi quiz on her show and is allowed to visit her in the studio, where he pretends to be a history professor. When Jhanvi asks him to give a lecture about Gandhi for the seven seniors she looks after as her "children" in her house "2nd Innings", Munna spontaneously agrees - and inevitably spends the next days and nights in the library, to read. With the help of Gandhi's spirit (Dilip Prabhavalkar), who appeared to him there for the first time, Munna gradually developed into an expert on Gandhigiri, the teachings of Gandhi - and tried not only to actually practice them, but also to bring them closer to people. Above all, he tries out Gandhi's concept of non-violent resistance on the real estate lion Lucky Singh (Boman Irani), who has promised the entrepreneur Khurani (Kulbhushan Kharbanda) of all things Jhanvi's house - and is not at all impressed by Munna's provocative amiability ...

In case someone is wondering what about Dr. Suman, who married Munnabhai at the end of the film Munnabhai MBBS, or why Boman Irani suddenly plays a completely different character here than back then: Lage Raho Munnabhai (= Always on, Munnabhai) is a sequel to Munnabhai MBBS, but not a direct one Continuation of that film. Rather, only the two central characters Munnabhai and Circuit became main characters in a completely new story. A concept that already worked in the times of Stan Laurel and Oliver Hardy and in this case also enables an unlimited number of further future Munnabhai and circuit adventures; the next one, in which the two lovable gangsters will end up in the USA, is already in the works, and neither producer Vidhu Vinod Chopra nor director Rajkumar Hirani or even the two main actors Sanjay Dutt and Arshad Warsi (whose chemistry is getting more and more fantastic on screen) leave one in doubt that - as long as they don't run out of ideas and the audience still wants to see them - they are always ready to make Munnabhai films until they reach retirement age, if necessary.

So much for a foreword or outlook; back to Munnabhai the Second. Sequels often run the risk of failing to meet the high expectations placed on them, especially if the predecessor was as sensational as Munnabhai MBBS. But Chopra and Hirani have managed the feat of not only meeting these expectations, but even exceeding them. At the box office, Lage Raho Munnabhai became one of the most successful Hindi films of all time, and the prizes and awards this film collects, like other people's postage stamps, are more than deserved; because not only does he once again interweave entertainment, comedy, emotionality and seriousness with an incredibly light hand, he also triggered an unparalleled Gandhi renaissance in India: Gandhi books became bestsellers, universities took new seminars on Gandhi and his teachings and Principles in their program, and young people began to study the gandhigiri in earnest. For this alone, the film deserves a place of honor in the annals of Hindi cinema.

But even regardless of that, Lage Raho Munnabhai would be a must-see with no ifs or buts. I admit: I fell hopelessly in love with this film and made it my current favorite. With so much concentrated love and warmth, I just haven't been run over in a long time. As in Munnabhai MBBS, Chopra and Hirani convey their messages here too, without teaching or preaching forefingers. You pick up these messages while laughing or crying with Munnabhai and Circuit, or both together - and then the more they get stuck. Even the appearance of the ghost of Mohandas Karamchand Gandhi personally is not in the least misplaced or embarrassing, as Dilip Prabhavalkar decorates it with dignity, but also with a wink of humor, and his interactions with Munnabhai (who sees him as the only one) are completely free of exaggerated awe on the part of Munna - he talks away from the liver with "Bapu" as much as he does with his buddy Circuit.

As Munnabhai, Sanjay Dutt shines with his incomparable charm at the head of an overall exquisite and playful ensemble. Vidya Balan is magical as Jhanvi, and you can well understand that Munna falls in love with her warm-sounding voice alone (and especially when he sees her). Boman Irani is a pleasure as a vain real estate shark who, despite all his ruthlessness, is still so nice that one wishes him "get well soon" together with Munna and the others. Jimmy Shergill has less to do this time, but he plays the role of the desperate Victor d’Souza, whom Munna helps out of a difficult situation with his gandhigiri, just as convincingly as Diya Mirza her little part as Lucky Singh's daughter Simran. And once again I have taken to my heart Arshad Warsi, who this time is allowed to let out some real emotions in addition to the cold-blooded, cool bhai helper and also proves to be a congenial partner for Sanjay, who is known to be pure emotions on the screen can show how few besides him.

Not least because of this, the role of the gangster with the soft heart and the spirit of an innocent child in his hands is so well taken care of, especially since Sanjay shares many character traits with this character. "Sanjay Dutt IS Munnabhai", consequently stated the Rediff, "it's like a role he was born to play." That's exactly how I see it: Sanjay IS Munnabhai, it is the role of his life (just as the Circuit is probably also the role of life for Arshad). For his terrific performance in Lage Raho Munnabhai, he received several Best Actor nominations (Global Indian Film Awards, Star Screen Awards, Filmfare Awards, Zee Cine Awards, IIFA Awards) as well as trophies: the GIFA Critics Choice Award, the Star Screen Critics Award, the Stardust Star of the Year Award, the Zee Cine Critics Award, the India Splendor Award ... The film as a whole has also been showered with awards and accolades, including the prestigious National Awards.

Of course, for me, Sanjay will always remain the incarnation of Khalnayak and Raghubhai (not to mention his godly Yamraj), but first and foremost he is and remains Munnabhai for all of us. May he make many more sequels as such!

Production: Vidhu Vinod Chopra; Director: Rajkumar Hirani
144 min .; DVD: Eros, English subtitles (incl. Songs); Bonus DVD with "M.B.B.S. Looking Back", "Making of Music 1 and 2", the Making Of, "Munna meets Bapu" and "Munnabhai M.B.B.S. to Lage Raho Munnabhai"
Screenshots
Showcasing LRM


P.S. According to Lage Raho Munnabhai, a small revision of Kabzaa is recommended, where Sanjay was confronted with Gandhi and certain aspects of his teaching as early as 1988 ...;)

P.P.S. In 2009, Om Books published the screenplay for the film in paperback: Lage Raho Munna Bhai - The Original Screenplay

Wednesday February 21, 2007

Anthony Kaun Hai? (2006)

About the story: The killer Master Madan (Sanjay Dutt) has received the order from Lucky Sharma (Chetan Hansraj) to kill the sensational journalist Anthony Gonsalves in Bangkok: He filmed Lucky while he was strangling a woman and blackmailed him with it. In fact, in the specified hotel suite, Master Madan meets a man who calls himself Anthony Gonsalves (Arshad Warsi), but when he realizes that this is about his life, he claims that his real name is Champak Chaudhary and that he has nothing to do with this Gonsalves to do. Since Master Madan still wants to wait until Lucky has transferred the money to him before completing his assignment, he gives Champ the chance to clarify the matter for him until then. Now Champ reports that he was a passport forger and that he met a man named Raghuvir Sharma (Raghuvir Yadav) in prison who buried valuable diamonds. After her release, he teamed up with Raghuvir's daughter Jiya (Minissha Lamba) and assumed the identity of a certain Anthony Gonsalves, whose body had been found shortly before ...

Anthony Kaun Hai? (= Who is Anthony?) Is not a sensation, but a well-made, solid film in which, for a change, Arshad Warsi is allowed to play first violin, while this time Sanjay supports his congenial partner from the Munnabhai films - a nice gesture, I think The role was not a particular acting challenge for him - Sanju plays figures like this sophisticated, unscrupulous contract killer with style (red Ferrari, excellent wine taste) from the left wrist. His appearance alone exudes an authority on the screen to which one submits almost automatically and to which Arshad's little crook Champ cuddles like an obedient child. Of course, due to the story, Arshad and Sanjay cannot build on the Munnabhai Circuit's great feats here, but you can still tell at any time that the two are a well-rehearsed team.

Arshad does well himself, from time to time his game suffers from the overall rather slow narrative pace of the film, but he succeeds in the most important thing, namely to give his champion so much sympathy that one feverishly with him for his life. Gulshan Grover offers a solid performance as Inspector Suraj Singh, who looks as if he has just switched over from the Tathastu to the Anthony set; but like all the other minor characters, he has precious little to do. Minissha Lamba is most likely to make a name for herself, but she only uses this opportunity in moderation, while Anusha Dandekar as Champ's former friend Roza has a lot more temperament and presence than her colleague, but can sum up her screen time in a nutshell.

The main focus of the film is clearly on Champ and his story - and thus also on the framework, in which Master Madan wields the scepter, the muffler gun and the wine glass. With this flashback narrative style, Raj Kaushal also affords himself a few lovable details, e.g. if Master Madan does not agree with Champ's presentation style and asks him to start again in a different form (e.g. in Yash Chopra style). Thanks to the solid performance of Sanjay and Arshad, this works very well. You can do the film for her at any time, even if, as I said, it is not a sensational work. He always offers two hours of entertainment. (And after that you can check out Amar Akbar Anthony again - or at least Amitabh Bachchan's number "My name is Anthony Gonsalves".)

Production: Nikhil Panchamiya; Director: Raj Kaushal
126 min .; DVD: Adlabs, English subtitles (incl. Songs); the DVD also contains a making of.
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Additional info: In a Stardust interview in August 2006, Arshad said that the idea of ​​filling Master Madan with Sanju came from him - and that he didn't even have to persuade Sanju:

They say you got Sanjay Dutt for his part in Anthony Kaun Hai? And that he then made this film a priority in his diary?

Arshad: That's right. I just had the feeling that Sanjay would be the ideal cast for Master Madan, and when I approached him and asked if he would do the film, he immediately called his secretary and nailed the dates for this film. I was really excited and happy that he made the film because I had managed to convince him.

Tuesday February 20, 2007

Taxi No. 9211 (2006; narrator)

In this film, Sanjay only acts as a narrator!

About the story: The millionaire's son Jai Mittal (John Abraham) has only ever been interested in the pleasant side of life and falls from the clouds when, after the death of his father, he learns that his father has given his entire fortune to his old friend Arjun Bajaj (Shivaji Satham ) inherited. He insists on another will, which makes him an inheritance, and files a lawsuit. But the evening before the crucial appointment, he has an accident and is therefore dependent on a taxi the next morning. He climbs into that of the choleric misanthropist Raghav Shastri (Nana Patekar), whom he quickly gets on the nerves with his arrogant manner. Then Raghav also has an accident, and while he gets into an argument with his opponent, Jai ropes down. But when he tries to get the will from the safe deposit box to present it to the court, he realizes that he has lost the key to it in Raghav's taxi. Jai is determined to get him back - but Raghav is just as determined to wipe out the fine millionaire, which is why the two soon fight each other by all means ...

When it comes to cameos and guest appearances, I always like to speculate who they might have done a favor with. That Sanjay Dutt opted for Taxi No. 9211 provided as a narrator (for which he was given "Special Thanks" in the credits), could have several reasons. Perhaps it was Milan Luthria, the director of Deewaar, who made “Allah's Pride” a joy here. Perhaps it was John Abraham, whom Sanju thanked in this way for the cooperation in Zinda. Or maybe Sanju just liked the movie. And that would be completely understandable.

Taxi No. 9211 is more than just a rich versus poor conflict. Both main characters are lovingly drawn in their character facets and with both negative and positive sides - that makes it difficult for the viewer to take sides, you basically grant both a success - and also go through a character development in the course of the film. Nana Patekar is the choleric and loser who even jeopardizes his happy family life with his wife and son for his pride by lying to his wife Sunita (Sonali Kulkarni) about being an insurance agent while he is actually driving a taxi. John Abraham gives the classic yuppie, who expects people to kneel in front of him just by mentioning his name, but who has to rethink tremendously when his friends turn away from him when he is about to lose his legacy - including Rupali (Sameera Reddy), whom he actually wanted to marry. John and Nana engage in a devoted guerrilla war over safe deposit box keys and wills, in which they don’t give each other anything, and at the same time they credibly shape the gradual change in their attitudes towards each other as well as towards themselves and their surroundings, whereby it becomes a key experience for both of them they are suddenly all alone and on their own.

Her two partners - Sonali Kulkarni and Sameera Reddy - provide wonderful support; Kurush Deboo makes a delicious contribution as the safe deposit box manager Batliwala, and Priyanka Chopra also enriches the film with a short and very spirited guest appearance. Not to mention Sanju's unique voice right from the start. Overall, though, the movie belongs entirely to Nana and John and, in short, it's great. An absolute recommendation.

Production: Ramesh Sippy; Directed by Milan Luthria
114 min .; DVD: UTV, English subtitles (incl. Songs); the DVD also contains a making of and comments from Milan Luthria on the film. A colored brochure with information about the film, actors and crew is integrated into the packaging.

Tathastu (2006)

About the story: Ravi Rajput (Sanjay Dutt) lives a modest but contented life with his wife Sarita (Amisha Patel) and their little son Gaurav (Yash Pathak). But when Gaurav collapses one day during a cricket match, a nightmare begins for the parents: Ravi can barely scrape together the 30,000 rupees for the first treatment in the clinic, and when the doctor (Darshan Jariwala) tells them that Gaurav has a weak heart and can only be saved by a heart transplant costing 1.5 million rupees, Ravi experiences one setback after another in his desperate efforts to raise this money. In addition, there is now another candidate for the available donor heart: a politician from the ruling party. In order to save his child, Ravi sees only one possibility: He gets a gun, takes thirty people hostage in the hospital and tries to force his son to have an operation. While he was with the doctor Dr.Nita (Jaya Pradha), who meets with understanding from his friends and ultimately even from his hostages, has Deputy Commissioner Rane (Gulshan Grover) bring up the snipers in front of the clinic ...

A father who fights for his child and does not hesitate to commit a crime. Of course, one immediately remembers another Sanjay film, namely Pitaah. But there is a fundamental difference between Pitaah and Tathastu: In Pitaah the father reacts to an injustice that has already been committed by his deed, while the father in Tathastu tries to prevent an injustice that has not yet been committed - namely, that a young boy refuses to undergo life-sustaining surgery just because his father is too poor to pay her. Especially since it is to be expected that one would hardly ask the other heart patient, who probably has the money for it in the coffee box, to pay because of his position as the ruling politician.

I credit Dus director Anubhav Sinha for giving the counter arguments to all - and also expressed from many sides - understanding of Ravi's desperate action: Where would we go if everyone was unjust feels treated, worried a gun and taken hostage? Not every free rider would be as careful with his victims as Ravi. And when a spectator in front of the hospital asks the question whether you can risk thirty other lives for one human life, then you have to admit: the question is not unjustified. As well as the question of how one ultimately has to evaluate and judge such a crime, committed out of a feeling of helplessness. Tathastu (= then it should be so) offers stimulation in many ways.

Sanjay Dutt is the emotional plot center of this film. All his co-stars can actually be wiped aside with the stroke of a pen, even if there were a few very successful depictions such as that of Jaya Pradha (a nice reunion with Sanju's permanent partner from his very early films) or Gulshan Grover; and if you ignore her completely unsuccessful crying scenes, then even Amisha Patel was all right. But the plot stands and falls with Ravi - and thanks to Sanjay she stands on two bombproof feet. Sanjay embodies the desperate father who is ready to sell himself for his son, skin and hair and moves with his emotional outbursts to tears several times. Thanks to its strong performance, the film hits you right in the heart. I even go so far as to say: Without Sanjay it might not have worked at all. Because this required a main actor who could become a figure of identification through unconditional credibility - and Sanju succeeded in doing that all round.

A review in the Hindustan Times City wrote of Tathastu: "The film belongs to Dutt. Once again it proves that it is easy to go beyond the script." There is nothing to add.

Production: Nitin Manmohan; Directed by Anubhav Sinha
111 min; DVD: Shemaroo, English subtitles (incl. Introductory song)

Vaah! Life Ho Toh Aisi! (2005)

About the story: In a big, old house in Lokhandwala near Mumbai lives an extended family with grandmother Dadi (Suhashini Mulay) and uncle Harish (Prem Chopra) at the helm; However, the responsible head of the family is the auto mechanic Adi (Shahid Kapoor), who is the surrogate father for all eight children of the house after the death of his brother and sister-in-law and because of the alcoholism of his other brother Sunil (Mohnish Bahl). In order to secure a good match for his sister Anjali (Radhika Apte), he accepts a horrific dowry demand, borrows money for it and mortgages his house for it. The real estate shark Hirachand (Sharat Saxena), who has been keeping an eye on the house for a long time, immediately snaps up, buys the mortgage and fakes the repayment date. But the family soon had completely different worries: Shortly after Adi and the children's head of house, Priya (Amrita Rao), discovered their love for one another, Adi had a fatal accident and, together with the little, also deceased Shakti (Adil Badshah), died Yamraj, the god of death (Sanjay Dutt) picked up. At Adi's pleading, Yamraj grants them another seven days on earth. Through the medium of Fakira (Arshad Warsi), the two spirits acquire the necessary skills to protect Adi's family from the machinations of Hirachand & Co. - while Yamraj becomes acquainted with various human achievements such as discos and whiskey ...

Mahesh Manjrekar's versatility never ceases to amaze me. An accomplished actor in front of the camera, behind the camera director of films as diverse as the Bhai classics Vaastav and Hathyar, thought-provoking stories from combative heads of families like Kurukshetra, Pitaah or Viruddh, horror thriller thrillers like Rakht - and now a cheerful and motley family film that would do a Disney credit. Yes, Manjrekar can do that too. The story about the surrogate father of a spirited horde of children is extremely sympathetic and without the unbearable addition of lard, and Manjrekar shot the mourning scenes after Adi's death, without revealing them to the public laughter, with a lot of respect for the feelings of people who actually experience such a misfortune. After all, not everyone, like Adi, encounters a god of death who from time to time also has his emotions.

If the Munnabhai films didn't exist, then it would be Vaah! Life Ho Toh Aisi! (= Great, that's life must be) without question Sanjay's most delicious comedy. As the god of death Yamraj with a penchant for alcohol and emotional outbursts (read: fits of crying) he kneels down and is "godful" in the truest sense of the word! If he says "No emotional blackmail!" protests, yes, even if he only glances at the whiskey bottle, then I'm already on the floor. Sanju has a wonderful, subtle sense of humor and extremely lively facial expressions, thanks to which he can express more without words than most of his colleagues can do with the help of large gestures and words. And for me that is a higher art of acting than expressive drama, for example.

Sanju is clearly enjoying the role as a modern Yamraj with a convertible and computer equipment ("we have 2005, boy!"), He designs him as a lovable big child, that is: under the cool exterior (very attractive in the meantime in a bright red suit - then the god of death becomes smooth as hell) hides the mind of a toddler, which makes this Yamraj stubborn or a classic crybaby. But neither here nor in the scenes in which Yamraj gets drunk, Sanjay ever succumbs to the danger of overacting. As a Yamraj he is just a pleasure. In Shahid Kapoor he has an extremely likeable young partner who in places (not only in the pyramid dance scene with the sweet Amrita Rao) is strikingly reminiscent of Shahrukh Khan. The rest of the ensemble, including the well-cast child actors, is also very good, and Arshad Warsi is a particular delight in the, unfortunately, far too short supporting role of the pragmatic medium of fakira.

Finally, Mahesh and Sanjay do a Sanjay film quiz for advanced students, so to speak. If you don't want to spoil your curiosity about it, you should avoid the P.S. to read following this review. For them and everyone else, the only thing that can be said in conclusion is that you simply have to see Yamraj. Cheers, Yamrajji - make us emotional! ;)

Production: Sangeeta Ahir; Director: Mahesh Manjrekar
135 min .; DVD: One, English subtitles (incl. Songs); Complete UT failure in one scene after approx. 105 minutes. The DVD contains a making of (with pictures from the music launch), deleted scenes and the deleted song "Dil Ke Maare".

P.S. As a god of death, it is not easy to look like the film star Sanjay Dutt. You have to be confused all the time! When Yamraj presents himself to Adi's family in his visible form towards the end of the film and they burst into a surprised “Sanjay Dutt?”, Yamraj initially reacts angrily: He has gradually thickened the faxes - he is constantly being addressed by a completely strange name, he Munnabhai, Khalnayak and Raghubhai have already been mentioned (= the three most successful roles of Sanju) - only to relax a bit and to say with his broadest grin: “Should you ever meet this Sanjay Dutt, tell him that he is like Yamraj looks. "(The main motif from Munnabhai MBBS is constantly playing ...)
A short time later, his figure reappears in front of Adi's house, but when he is now happily greeted with a general “Yamraj!”, He reacts extremely puzzled: It must be a mix-up; his name is Sanjay Dutt, he plays small roles in the film every now and then, and whether he could have a glass of water. Then a cheerful film quotation develops among the children, with which they prove that they are very familiar with Sanju's film work from Vaastav to Munnabhai MBBS. The scene ends with a collective "jadoo ki jhappi" - where is it? who knows it? ;)

Sunday February 18, 2007

Zinda (2005)

About the story: The software engineer Balajeet Roy (Sanjay Dutt) has everything he could wish for: a good job in Bangkok, his wife Nisha (Celina Jaitley), with whom he has been happily married for a year, and his reliable childhood friend Joy Fernandes (Mahesh Manjrekar). But from one second to the next nothing is as it was: Bala disappears from Nisha's life without a trace. Nobody suspects that he is being held captive in a gloomy cell, in which a television is his only contact with the outside world; so he learns some time later that Nisha was murdered and that he is considered her murderer. Bala spends fourteen years in complete solitude without ever finding out who is holding him captive and why. Then one day he is suddenly free again. With the help of the taxi driver Jenny Singh (Lara Dutta), Bala sets out to find the answer to the questions who and why. The trail leads him to a man named Rohit Chopra (John Abraham) - and soon Bala has to realize that he is still a prisoner even in freedom and that his nightmare is far from ending ...

Theater, once wrote Aristotle, should have a catharsic, i.e. purifying effect on the audience. If that also applies to the actors themselves, then the potential of the film Zinda for Sanjay was enormous. Just remembering the scenes in his dungeon freezes me, and I wonder where he got the strength for it - that must have been one cruel déjà-vu for him psychologically and a bitter memory of the months of his solitary confinement in which he hadn't seen anyone either and also didn't know how long he would be held. The experience that the release from prison does not automatically mean freedom is something that Sanjay knows only too well through the many years since his release, which have been regulated by the bail regulations, as well as the longing for family members whose presence is forcibly withdrawn.

However, Sanjay has submitted to this catharsis to the highest degree voluntarily, because Zinda is a production of his own house White Feather Films, directed by his friend and partner Sanjay Gupta and "in loving memory of Dutt sahab" commemorating his father Sunil Dutt. Mahesh Manjrekar can almost be seen as a kind of mascot for White Feather Films; the director with the acting roots had worked in front of the camera in every White Feather film up until then and this time he also provided Sanjay with good support in the role of Joy Fernandes. Lara Dutta is convincing, and the scene in which Bala is given a loving touch by Jenny for the first time in fourteen years is just as discreet and tastefully filmed as its counterpart in Shabd. All the others don't have too much to do - apart from Sanjay's great opponent, of course: John Abraham gives him a strong presence and intensity, which makes his scenes together with Sanjay into high points, in which the two fight emotionally gripping duels. When the rediff writes in its review of the film: "Dutt shines in Zinda", then to be fair you have to add: and Abraham sparkles. A great achievement - by both!

For me, Zinda is a very strong film - dark, cold (not least due to the extensive use of blue filters), intensely getting under the skin and to a certain extent also exciting. Of course, some scenes are tough stuff, and by that I mean less the psychological ones, but above all the physically demanding ones - I don't want to spoil too much, suffice the warning that a lot of blood is flowing and that not every body is overgrown in body and limbs makes ends meet. The hatred that drives both Rohit and Bala after the fourteen-year torture leaves no room for gentle courses. They are - as a surprising and pleasant contrast - rather created by the music, which this time works more in the background and gives the film an additional inner tension. Zinda is not perfect all round, he definitely has his small weaknesses; but the gripping subject and the two excellent leading actors are easily enough for a recommendation. Provided you're not prepared for two hours of relaxing cotton candy entertainment.

Production and Direction: Sanjay Gupta
114 min .; DVD: Eros, English subtitles (incl. Songs); the DVD also contains two music videos (“Zinda Hoon Main” and “Yeh Hai Meri Kahani”) and an interview with Lara Dutta about Zinda.

Ek Ajnabee (2005; end credits clip)

In this film, Sanjay only designs the final credits clip!

About the story: The rich Indian businessman Ravi Rathore (Vikram Chatwal) lives in Bangkok with his wife Nikasha (Perizaad Zorabian) and their little daughter Anamika (Rucha Vaidya). When Ravi is looking for a new bodyguard for his daughter, the former soldier Shekhar (Arjun Rampal) recommends his former superior, the retired Colonel Suryaveer Singh (Amitabh Bachchan), from whom traumatic war experiences and alcohol have made a mean wreck. He is not enthusiastic about the prospect of having to guard a child, but gradually the bright little one wins his heart and the two become close friends. When Anamika is kidnapped and finally killed, a world collapses for Surya too. He has only one goal left: revenge - and step by step he uncovered incomprehensible truths ...

Amitabh Bachchan's days as an “angry young man” may long be over - but as an “angry old man” he is still impressive (if you disregard the fact that nobody should seriously buy him a hand-to-hand combat victory over young, well-trained opponents). After Black and Viruddh, Ek Ajnabee (= A Stranger) is another very strong performance by Big B from his successful year 2005, which cemented his position as a living legend of Hindi cinema more than ever.

Sanjay only makes a short appearance (at the beginning of the film with “Special Thanks to Mr. Sanjay Dutt”): He designs the “They don't know” clip that runs during the end credits. So to look at Ek Ajnabee specifically because of him would be pretty nonsensical. But if you like Amitabh Bachchan in strong roles, maybe also has a weakness for Arjun Rampal (who - with sharp tattoos - delivers a convincing performance) and wants to see a great newcomer with potential in Rucha Vaidya, do this excitingly constructed film Certainly nothing is wrong and on top of that I get a little bit of Sanju gangster rap, to which Sanju said in Filmfare 12/2005: "I made the song because Apoorva Lakhia is my friend and the film is from the AB Corp. The number is very stylized and I had a lot of fun. "

Production: Bunty Walia & Jaspreet Singh Walia; Directed by Apoorva Lakhia
136 min .; DVD: Eros, English subtitles (incl. Songs); the DVD also contains a making of and an interview with Amitabh Bachchan about the film.

Shaadi No. 1 (2005)

About the story: The friends Raj (Fardeen Khan), Aryan (Sharman Joshi) and Veer (Zayed Khan) got married on the same day, but since then have had to share their wives with “rivals”: ​​Raj's wife Bhavana (Ayesha Takia) prays all Tag with her guru, Aryan's wife Sonia (Soha Ali Khan) is a lawyer and is more concerned with her cases than her husband, and Veer's wife Diya (Esha Deol) is focused on her career as an actress. That's why they have no qualms when their employer Kothari (Satish Shah) asks them a favor: They should court his three beautiful daughters Dimple (Sophia Chaudhary), Madhuri (Riya Sen) and Rekha (Aarti Chhabria) and then break their hearts so that they consent to a marriage arranged by their father. But promptly the three actually get caught, and they are already making plans how they can arrange double marriages when an unexpected obstacle stands in their way: Lakhwinder Singh Lakha, called Lucky (Sanjay Dutt), who has only one goal: the three screwing up the tour thoroughly ...

Ouch. The film didn't have to be - in no way.By that I mean, unfortunately, unfortunately also Sanjay, who after Ek Aur Ek Gyarah I have now caught a veritable batch role for the second time; and my hope that the first one was a one-time slip by Sanju, vanished to the wind ... But the film as a whole leaves something to be desired in pretty much every respect. Dhawan is now no slapstick too stupid; Worse still: He's joking with people's justified fear of terrorist attacks. To avoid being exposed to his affair, Zayed calmly picks up the phone and seriously claims that a bomb has been placed in a packed amusement park, whereupon the park is evacuated immediately and people run in fear for their lives. Hello? Can it be any more irresponsible? Do you still have to wonder about free riders in real life? And what the hell did Sanju ride to join in and also crack his bomb-blast joke?

The nice insider gags with allusions to various Madhuri Dixit and Shahrukh Khan films, including Sanjay's blockbuster Munnabhai MBBS, no longer help: The film is to be forgotten, and I can really only advise against it, unless someone gets up the young leading actors (of whom I would only like to give a positive mention to Ayesha Takia and Sharman Joshi) or in ridiculous to unspeakable Dhawan slapstick - or is so Sanjay fanatical that he also endures this role that was probably meant funny, but it is unfortunately is not. Sorry, Sanju, you know I love you, but please: Never ever again do something like this Lucky!

Production: Yashu Bhagnani; Directed by David Dhawan
134 min .; DVD: Eros, English subtitles (incl. Songs); the DVD also contains a making of and reports from the music launch and the premiere.

Viruddh (2005)

About the story: Vidhyadar Ramkrishna Patwardhab (Amitabh Bachchan) and his wife Sumitra (Sharmila Tagore) have had a happy marriage for many years, which is characterized by little everyday squabbles as well as loving mutual care. Her son Amar (John Abraham) is studying in London and is planning to return home for his birthday. To the surprise of his family, he has his girlfriend with him: the likeable Jenny Mayer (Anusha Dandekar), who only speaks a few bits of Hindi, but tries hard to learn it, and with her cheerfulness quickly wins the hearts of Amar's parents. But shortly after Jenny's and Amar's wedding, the harmonious family happiness comes to an abrupt end; Vidhya's and Sumitra's lives are in tatters, and Vidhya finds himself forced to fight a battle for his son's honor. He finds support especially from the mechanic Ali Asghar (Sanjay Dutt), who has become the best friend of the house after some initial friction ...

Mahesh Manjrekar tailored his straightforward and songless film Viruddh entirely to Amitabh Bachchan, and Big B thanked him with a terrific performance. He plays the roller coaster ride from cheerful and carefree comedy to abysmal despair and anger with a range of emotions that is second to none, and above all I have rarely seen him work with such sophisticated gestures - there are many things that Amitabh needs no words for in this film , his looks and gestures are more than enough. Sharmila Tagore, too, with the warm-hearted but nonetheless resolute authority of the former teacher is great, and her harmony with Amitabh is dazzling. Especially in the first half of the film, the two laughs on the assembly line succeed, and quite a few Indians - like Jenny actress Anusha Dandekar tells it about herself in the Making Of - have recognized their own parents or grandparents in Vidhya and Sumi.

Manjrekar originally wanted to cast the part of Amar with Sharmila's son Saif Ali Khan, and some details of the script such as Vidhya's remark that Amar looks exactly like Sumitra (in fact, Sharmila and Saif are very similar), or a nice allusion to that Saif film Kal Ho Naa Ho still remind us of that. But then Saif had to cancel for scheduling reasons, and John Abraham stepped in. He plays discreetly and tastefully, is very popular and obviously has a good chemistry with Amitabh, which he wasn't able to deepen in this film due to the scope of the roles. A pleasant new discovery is Anusha Dandekar from Australia, who enchants with her fresh and uncomplicated nature; she just can't cry, because in Hindi cinema she is really only beaten by Amisha Patel.

In addition to these four main parts, there are also a number of secondary characters, lovingly designed by veterans such as Sachin Khedekar, Shivaji Satham and Prem Chopra - all comrades-in-arms from previous films that Manjrekar was able to win for this production - who provide wonderful support above all to Amitabh. This also includes Sanjay "in a dynamic appearance", as the credits say. His Alibhai is a small but fine role, from which Sanjay, as usual, gets almost more out of what is actually in it; He very credibly depicts the change from a cheeky and cheeky contemporary to an understanding and trustworthy friend. It's a shame that Manjrekar hasn't expanded the part a bit in one or two places; it would have been possible. But even so there are some funny to absolutely heart-rending interactions between Amitabh and Sanjay (the two are just great together on the screen) and in addition to a very delicious encounter between Sanjay and Sharmila, which once again shows that Sanju Has enough sense of humor to piss himself off.

Viruddh is a very, very worth seeing film, but you should keep your handkerchiefs ready - for tears of laughter as well as tears of pity and anger, because seldom has the discrepancy between cheerfulness and despair been greater and a plot twist more devastating than in Viruddh. The reason for this twist is spoiled in the first scene - but not the consequences. That's why I hold back in this regard and only recommend: take a look and find out for yourself.

Production: A.B Corp Limited & Satyajeet Movies Pvt. Ltd .; Director: Mahesh Manjrekar
131 min; DVD: UTV, English subtitles (incl. Opening song); the DVD also contains a making of and deleted scenes (including, after a good ten minutes, one with Sanjay).

(A big compliment, by the way, for the making of, which comes up less with interviews and all the more with real glimpses behind the scenes during filming - in combination with humorous subtitles 38 minutes of informative entertainment!)

Saturday 17th February 2007

Dus (2005)

About the story: The Indian special anti-terrorist unit ATC (Anti Terrorist Cell) under the direction of Siddhant Dheer (Sanjay Dutt) is on the trail of a plan by the terrorist Jambwal, in seven days, on May 10th, an attack will kill 20,000 people kill. But that's all they know - they don't know the place, exact time and type of attack. When Siddhant learns that Himmat Mehendi (Pankaj Kapur), an employee of Jambwal's, has turned up in Canada, he sends two of his best men there: his brother Shashant (Abhishek Bachchan) and the bomb specialist Aditya (Zayed Khan). Together with ATC agent Neha (Esha Deol) and the Indian-Canadian policeman Danish (Suniel Shetty) they grab Himmat, with whose help they track down and eliminate Jambwal. Little did they suspect that Siddhant and his colleague Aditi Kumar (Shilpa Shetty) in Delhi have unmasked an informer in their own ranks and found out through him that even the Prime Minister's Security Department is involved - and that Jambwal very much still living...

Dus is a film in which the audience participates in a permanent countdown - the seven days up to the known date of the terrorist attack are counted down as well as the minutes and seconds until the decision is made towards the end - in the investigations of the ATC and its active operations against terrorism leaves. The tension is not necessarily dangerous for your fingernails, but you can hardly avoid it. The fact that the whole thing takes place in a rather stylish ambience doesn't matter, because the people who work there are people across the board despite their cool (or pretending to be cool) appearance - with strengths, but also weaknesses and above all feelings.

Above all, Sanjay Dutt is impressed with an uncompromising role interpretation, who once again crawls completely into his character, only pulls out the authoritarian boss when it is absolutely necessary, but otherwise is more of the balancing element in his troop. The harder it then hits him to discover that he has a traitor in his own ranks, and his big scene with him is already reaching its emotional limits. It gets even worse when in the end a downright inhuman decision is required of him and Sanjay literally collapses under this burden. At the latest here, any coolness is broken - by everyone involved, but especially by Sanjay, who lets his pain run wild without restraint.

All in all, his partners are also very good: Abhishek Bachchan, who also regards Sanju as his big brother in real life (and at the same time addresses him lovingly and respectfully as "Sanju Sir"), is convincing all round as Siddhan's younger brother with a tendency to forbidden cigarettes in service, which you can always rely on 100%. Zayed Khan obviously felt at home in the role of the extra-cool youngster, who sometimes addresses a ticking bomb with “yeah, baby, I love you too”, while with Suniel Shetty, conversely, one has the feeling that he is not entirely happy with his role was and probably would have preferred any of the other main characters to have played his own. Fortunately, he's experienced enough to make up for the resulting deficits, especially in the private scenes between Dan and his wife Priya (terribly pale: Raima Sen), and as soon as the action starts, he's back in his element anyway.

The ranks of terrorists are well filled with Gulshan Grover as Irfan Khan and above all Pankaj Kapur as Himmat Mehendi at the top, while women are not always lucky: Diya Mirza as Siddhants and Shashant's sister Anu hardly ever appears, and Esha Deol, sorry, is a total failure. But for that Shilpa Shetty is all the more great and, next to Sanjay, the real highlight of the film. I take the tough ATC agent from her every second, as well as the woman who feels sincere affection for Siddhant, even if when asked why she only thinks of "He has style" - but with all due respect: she has so right!

Incidentally, two credits at the beginning of a film have seldom touched me like this: "In fond remembrance" is a reminder of the director Mukul Anand, who eight years earlier was working on another film called Dus (also with Sanjay Dutt) had died - and with “Dedicated to late Dutt sb. from the Team of Dus “the team dedicated the film to Sanju's father Sunil Dutt, who had died shortly before. I can't know if Sunil would have liked the film - I like it a lot, and even if I wouldn't call it a must-see, the two and a half hours with it are by no means wasted.

Production: Nitin Manmohan; Directed by Anubhav Sinha
145 min .; DVD: Shemaroo, English subtitles (incl. Songs). The DVD also contains a making of, the bonus song “Jaaniya Ve”, trailers, promos and a photo gallery.


Additional info: During the shooting of Dus in Canada (2004) there was a real smear campaign against Sanjay. The local media demanded that the Canadian government should not allow a "terrorist like Sanjay Dutt" to set foot on Canadian soil. Not a day went by without Sanjay receiving new headlines and attacks from the Canadian press. His arguments that he had done nothing and that the presumption of innocence should apply until someone was convicted did not interest the Canadian media. Buckets of dirt were thrown at Sanjay. As a result, Sanjay stopped filming prematurely because he could no longer stand this war of nerves. On his departure, the Calgary Indian community gathered at the airport to apologize to Sanjay for having been so badly treated and publicly branded a criminal in their new home. Sanjay was understandably deeply hurt: "I've never been so humiliated and hurt in my life. They talked about my 'Islamic connections' and called me a terrorist. They pretended the charges were already proven. How could they just let me know damn it? I was a guest of the Canadian government, is that how they treat a guest? What right do these journalists, who have no clue about the case or the background, brand me a terrorist? "