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Guru Granth Sahib
Composition, Arrangement & Layout
ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Theatre, Movies & Cinema
Ashdoc's Movie Review---The Xpose
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<blockquote data-quote="ashdoc" data-source="post: 197529" data-attributes="member: 15932"><p>It's the swinging sixties and a producer originally from the south ( director of the film Ananth Mahadevan playing the role of Subba Rao ) decides to introduce India's first sex symbol as India has never had one before . </p><p></p><p>Two babes are in the race for bagging the role . Interestingly both began their careers living in the same house as paying guests . But one of them ( Zara ) is ready to sleep with producers to get roles . The other ( Chandni ) is not . But naturally Zara bags the role of sex symbol .</p><p></p><p>So one of them is good and the other is not . No prizes for guessing then as to who gets murdered ( Zara of course ) and who wins the heart of the hero ( Chandni ) . The director could have hardly shown Zara as the heroine after she compromised herself for success by sleeping with men for roles . The heroine ( Chandni ) has to be pure and virginal even though she does show her sizzling body to us in bikinis . Inspite of this Zara looks better than Chandni---she simply is very stylish . Only in the bikini scene I found myself lusting for Chandni . Other wise Zara scores over her any day . </p><p></p><p>The hero---Himesh Reshamiyya is a man from UP who did well in south . Now he has been roped in Chandni's film as hero . </p><p>About Himesh---He looks leaner than before . But acting has not improved---this I am presuming , because I didn't bother to see any of his films before and haven't seen him acting before . Delivers his dialogues with a deadpan expression throughout the film . Above all in the fight scenes it seems he is not moving his arms at all . Fights with only his legs like a robot or automaton without expression or feelings . Simply looks unconvincing because he hardly looks or acts like the invincible superstar he is supposed to be , and does not look like a man who can beat several men at a time or even one man . Yet he is supposed to be a police inspector in the past who has killed a corrupt politician and so lost his job , thus turning him to acting . He and Chandni fall in love with each other but their romance lacks soul and substance .</p><p></p><p>Anyway Chandni gets a role in a film by a rival producer and her film does well at the box office , while Zara's film gets a bad start---thanks to the dirty tricks played by Chandni's film producer . Serious catfights erupt between Zara and Chandni and Zara falsely accuses Chandni of sleeping with men for success . </p><p></p><p>There is the character played by Yo Yo Honey Singh who marries an older woman , but he does not act great either .</p><p></p><p>In the midst of all this Zara gets killed by falling from the top of a building . So who is responsible for the murder . Watch the film for the answer if you can....</p><p></p><p>The whole way the film has been directed seems to be odd and different . Himesh shows attitude with some genuinely cheesy dialogues---so cheesy that they gave some entertainment to the audience , who laughed at the sheer stupidity of such an unfit character as Himesh bragging about his so called 'invincibility' in those dialogues .</p><p></p><p>Music is nothing to crow about and I was unimpressed . No work has been done on making the sixties era look authentic . Instead of sarees which were in vogue with actresses in the sixties we have both actresses and other women parading in modern western clothes .</p><p></p><p>But the film does get better towards the end as the murder mystery deepens and the director has some interesting answers as to who murdered the actress .</p><p></p><p>Verdict---okay film .</p></blockquote><p></p>
[QUOTE="ashdoc, post: 197529, member: 15932"] It's the swinging sixties and a producer originally from the south ( director of the film Ananth Mahadevan playing the role of Subba Rao ) decides to introduce India's first sex symbol as India has never had one before . Two babes are in the race for bagging the role . Interestingly both began their careers living in the same house as paying guests . But one of them ( Zara ) is ready to sleep with producers to get roles . The other ( Chandni ) is not . But naturally Zara bags the role of sex symbol . So one of them is good and the other is not . No prizes for guessing then as to who gets murdered ( Zara of course ) and who wins the heart of the hero ( Chandni ) . The director could have hardly shown Zara as the heroine after she compromised herself for success by sleeping with men for roles . The heroine ( Chandni ) has to be pure and virginal even though she does show her sizzling body to us in bikinis . Inspite of this Zara looks better than Chandni---she simply is very stylish . Only in the bikini scene I found myself lusting for Chandni . Other wise Zara scores over her any day . The hero---Himesh Reshamiyya is a man from UP who did well in south . Now he has been roped in Chandni's film as hero . About Himesh---He looks leaner than before . But acting has not improved---this I am presuming , because I didn't bother to see any of his films before and haven't seen him acting before . Delivers his dialogues with a deadpan expression throughout the film . Above all in the fight scenes it seems he is not moving his arms at all . Fights with only his legs like a robot or automaton without expression or feelings . Simply looks unconvincing because he hardly looks or acts like the invincible superstar he is supposed to be , and does not look like a man who can beat several men at a time or even one man . Yet he is supposed to be a police inspector in the past who has killed a corrupt politician and so lost his job , thus turning him to acting . He and Chandni fall in love with each other but their romance lacks soul and substance . Anyway Chandni gets a role in a film by a rival producer and her film does well at the box office , while Zara's film gets a bad start---thanks to the dirty tricks played by Chandni's film producer . Serious catfights erupt between Zara and Chandni and Zara falsely accuses Chandni of sleeping with men for success . There is the character played by Yo Yo Honey Singh who marries an older woman , but he does not act great either . In the midst of all this Zara gets killed by falling from the top of a building . So who is responsible for the murder . Watch the film for the answer if you can.... The whole way the film has been directed seems to be odd and different . Himesh shows attitude with some genuinely cheesy dialogues---so cheesy that they gave some entertainment to the audience , who laughed at the sheer stupidity of such an unfit character as Himesh bragging about his so called 'invincibility' in those dialogues . Music is nothing to crow about and I was unimpressed . No work has been done on making the sixties era look authentic . Instead of sarees which were in vogue with actresses in the sixties we have both actresses and other women parading in modern western clothes . But the film does get better towards the end as the murder mystery deepens and the director has some interesting answers as to who murdered the actress . Verdict---okay film . [/QUOTE]
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