Spectre English

SPECTRE, the 24th film in one of the longest running series 'Bond' hits screens today, the film that is the costliest one till date in the series yet again features Daniel Craig as the suave, gun totting, gentleman James Bond. Now add to this the inclusion of actor par excellence Christopher Waltz, Lea Seydoux, Monica Bellucci and wrestler turned actor Dave Bautista not forgetting the ever impressive Andrew Scott who thrilled us with his character in the 'Sherlock' series. But will this Bond film withstand the litmus test is the question of the hour.

SPECTRE starts off with a cryptic message from the past that sends Bond (Daniel Craig) on a rogue mission to Mexico City, where he meets Lucia (Monica Bellucci), the beautiful and forbidden widow of an infamous criminal. Bond infiltrates a secret meeting and uncovers the existence of the sinister organization known as SPECTRE. Meanwhile back in London, Max Denbigh (Andrew Scott), the new head of the Centre of National Security, questions Bond's actions and challenges the relevance of MI6 led by M (Ralph Fiennes). Bond covertly enlists Moneypenny (Naomie Harris) and Q (Ben Whishaw) to help him seek out Madeleine Swann (Léa Seydoux), the daughter of his old nemesis Mr White (Jesper Christensen), who may hold the clue to untangling the web of SPECTRE. As the daughter of the assassin, she understands Bond in a way most others cannot. As Bond ventures towards the heart of SPECTRE, he learns a chilling connection between himself and the enemy he seeks.

Right from the onset SPECTRE much like the earlier Bond films that feature Craig as the main protagonist focuses more on the interpersonal relationship that his character has developed over the years. Unlike the Bond films of the days gone by, Craig's Bond seems more attuned to his feelings developing attachments to those around him. While to a viewer who has followed the series, this diversion from the carefree, no strings attached Bond character, may appear a bit unconventional, but Craig's rough, brooding and intense Bond who despite narrowly escaping from a potentially life threatening situation remains composed is a refreshing take on the character. Christopher Walts as Bond's arch nemesis Blofeld does not come across as a fearful menacing character when compared to the one played by Javier Bardem in the previous film SKYFALL. However his power hungry, conniving yet charmingly suave mannerism does make him a bit intimidating, but it does leave the viewer wanting more intellectual and physical confrontations between the two.

On the other hand Lea Seydoux as Madeleine Swann is much better than Olga Kurylenko from QUANTUM OF SOLACE and Berenice Marlohe from SKYFALL, however in comparison to Eva Green's character in CASINO ROYALE, Seydoux who has a much more limited role pales despite her convincing performance. Andrew Scott who thrilled us in the 'Sherlock' series is yet again at his evil best, as he perfectly embodies the character of C, who is bent on scrapping the '00' programme. But the highlight of this Bond film has to be its action sequences, that though limited do feature enough adrenaline pumping scenes to make it appreciable. And here in comes the wrestler turned actor Dave Bautista as the mountain of a man Mr. Hinx. Bautista's entry sequence that sets the tone of the brutish action that will eventually be on display is just a teaser. In fact, despite being a rather functional character that appears every once in a while, Bautista and Craig's hand to hand combat on board a train in Morocco can easily be called as one of the best fight scene ever seen in a Bond movie. But while director Sam Mendes does do a good job if interweaving the previous four Bond film featuring Craig as a tribute, the massive story-arcs and the rather dark back-story of Bond does slow the overall pace of the film.

On the whole, SPECTRE that maintains the essence of Bond film with enough doses of gadgets, car chases, stunts, wine and women, could have featured a better title track, since Sam Smith's 'Writing's On The Wall' appears to be rather sluggish when compared to other Bond films. However SPECTRE that in essence features the return of Bond is definitely worth a watch.

Prem Ratan Dhan Payo

As a movie enthusiast, one awaits successful actor/director combinations to affiliate for yet another film project. Almost three decades ago, MAINE PYAR KIYA [1989] gave 'birth' to one such union -- director Sooraj R. Barjatya and actor Salman Khan. Their subsequent films raised the bar, with moviegoers certain that the duo would live up to the lofty expectations. The film fraternity was equally enthusiastic as well, since the duo struck gold at the ticket counters. Naturally, the hype surrounding PREM RATAN DHAN PAYO is tremendous, more so because Sooraj and Salman team up after more than a decade [HUM SAATH-SAATH HAIN; 1999] for their fourth outing together.

Rajshri, the banner founded by the late Tarachand Barjatya [Sooraj's illustrious grandfather], is synonymous with family sagas mainly. Sooraj has kept the tradition alive, making films that are seeped in Indian ethos and traditions, except that the canvas only got larger with every film he attempted. PREM RATAN DHAN PAYO has opulence in every single frame and one presumes, it's Rajshri/Sooraj's most expensive film to date. What remains consistent, however, is the intent of providing unadulterated entertainment, seamlessly merging romance, conflict, action and dollops of emotions. The supremely talented storyteller, who knows the pulse of Indian moviegoers, promises to offer a complete package in this almost 3-hour magnum opus too.

A few questions cross your mind as you saunter into a cineplex to watch this combo's fourth film together... Does PREM RATAN DHAN PAYO work in its entirety? Is it a worthy successor to the films helmed by Sooraj, with Salman in the lead? With Salman being considered an invincible force after a string of blockbusters, will PREM RATAN DHAN PAYO emerge a monstrous hit as well?

A few naysayers may opine that in this era of plexes, atypical family sagas seem archaic and may stand dim chances at the box-office. The acceptance levels are minimal by those who look Westwards for inspiration. However, you cannot turn a blind eye to the fact that if a film involves you, keeps you glued to the screen for most parts and you eventually root for the on-screen characters, it's bound to win hearts and also walk away with the pot of gold at the box-office. PREM RATAN DHAN PAYO is *that* film. A film that wins you over with its simplistic charm. A film that has all it takes to emerge a money spinner at the turnstiles!

Let's keep the plot line succinct. A conspiracy is hatched to eliminate the prince, Vijay [Salman Khan], days before his coronation is to take place, by his younger brother [Neil Nitin Mukesh] who eyes the throne, riches and power. A lookalike of the prince, Prem, steps in at this point, who loses his heart to the prince's beloved, Maithili [Sonam Kapoor]. What happens next?

Does the plot ring a bell? Well, there's speculation that PREM RATAN DHAN PAYO is inspired by L.V. Prasad's Sanjeev Kumar starrer RAJA AUR RUNK [1969], an Indian adaptation of Mark Twain's novel 'The Prince And The Pauper'. However, the story of PREM RATAN DHAN PAYO bears a striking resemblance to Anthony Hope's novel 'The Prisoner Of Zenda' [1894], which has been adapted innumerable times on film, stage, television and radio. Having said that, the serpentine twists and turns in the screenplay of PREM RATAN DHAN PAYO makes it dissimilar from the above named films.

Sooraj's hold on the script is evident from the commencement of the film itself as he moves from one episode to another swiftly. Like always, the hallmark of his films is the undercurrent of emotions and PREM RATAN DHAN PAYO depicts the familial bonding and the conflict amongst family members skilfully. Additionally, he uses vibrant colours [costumes, sets] and opulence to make it a visually arresting experience. In short, the drama is captivating, the emotional moments are punctuated wonderfully in the narrative [more so towards the second and third acts] and the finale, when the key questions are answered, enhances the seamless narrative.

Blemishes? A couple of them, frankly. The film could've done with a lilting score [more on that later]. Also, too many songs, in quick succession, could've been avoided. The villains' track is half-baked and so is their culmination. The run time could've been shorter too... Thankfully, the plusses easily outnumber the minuses here.

Like Sooraj's earlier films, PREM RATAN DHAN PAYO is embellished with too many songs, but the soundtrack this time ranges from excellent [title track] to hummable ['Jalte Diye', 'Aaj Unse Milna Hai' and 'Prem Leela'] to plain mediocre. The silver lining is, one doesn't mind the mediocre tracks that crop up since the strong narrative more than compensates for everything else. Besides, the title track is a chartbuster and its choreography is the icing on the cake.

Every frame is crafted wonderfully, with the DoP capturing the grandiose sets with splendour. The background score is effectual at most times. Action scenes are limited to the finale. Dialogue are in sync with the mood of the film. A couple of lines do stay with you for sure.

It's sacrilegious to envision any other actor enacting the part of Prem in a Sooraj R. Barjatya movie. When the reels unfold, you don't see Salman, you see Prem and that is one of the biggest strengths of the film. This time around, Salman is cast in a dual role -- while he takes to Prem, the simpleton, like a fish takes to water, he's equally competent as Vijay, the prince. What's interesting is, the two characters are as diverse as chalk and cheese, but it is Prem that's winsome and endearing and Salman makes sure he interprets it brilliantly. This is a Salman show from Scene A to Z.

Sonam Kapoor is earnest. She looks stunning, but more importantly, she carries her part effortlessly. Initially, her pairing opposite Salman did raise eyebrows, but when you watch the goings-on, you realise that Salman and Sonam do make a lovely on-screen couple.

The supporting cast is equally proficient. Anupam Kher is superb, his performance doesn't miss a beat. Cast in a negative role, Neil Nitin Mukesh underplays his part very well. Armaan Kohli, who appears in a biggie after a really long break, does a fine job. Swara Bhaskar is another talent who impresses with a power-packed portrayal. Deepak Dobriyal is fantastic and contributes to the laugh-out-loud moments. Deepraj Rana is first-rate. Manoj Joshi impresses in his part. Suhasini Mulay, Sameer Dharmadhikari, Aashika Bhatia and Sanjay Mishra are decent.

On the whole, PREM RATAN DHAN PAYO is the perfect Diwali entertainer for the entire family. The film will win abundant love [prem], while its investors will reap a harvest [dhan], making it a memorable Diwali for all concerned. This one's a record-smasher -- scoring from East to West and from North to South, scoring at plexes as well as single screens, scoring at metros as well as non-metros, scoring in the domestic market as well as in the international arena. B-L-O-C-K-B-U-S-T-E-R!

Download the Prem Game from: bit.ly/1PDF2B6


Even though there have been many films which have been made on the theme of weddings in Bollywood, there has never been a movie that dealt with the concept of destination wedding. This week's release SHAANDAAR is one such film that treads on the never-before attempted theme of destination wedding. Will SHAANDAAR prove to be a goldmine at the box-office or will it be bite the dust... let's analyze.

SHAANDAAR starts off with a cartoon animation (flashback) story narrated by Naseeruddin Shah, wherein he 'introduces' the audiences to Bipin Arora (Pankaj Kapoor) and his adopted daughter Alia (Alia Bhatt). The animated narration then moves on to a real life 'accidental meeting' between the wedding organizer Jagjinder Joginder (Shahid Kapoor) and Bipin Arora, when Jaginder's bike crashes into Bipin's car. Bipin is travelling with his wife and two daughters Alia and Isha (Sanah Kapoor) and this is when Jaginder's eyes spot Alia and he falls for her at that very moment. The story then moves to Isha's destination wedding named 'Shandaar' in the exotic countryside of UK. And the man in charge of the entire proceedings is none other than Jagjinder Joginder. The whole wedding is nothing but a 'financial arrangement' (read 'deal') between Bipin Arora's mother aka Dadimaa (Sushma Seth) and the 'richy rich' Sindhi family helmed by Harry Fundwani (Sanjay Kapoor), who wears his 'Sindhi-ism' up his sleeve and also around his neck! The bankrupt Aroras think that the marriage with the Fundwani family will get them out of bankruptcy. Understanding the 'importance' of her wedding with the Fundwanis, Isha starts to compromise at every step for the sake of her family, despite being endlessly ridiculed by her would-be husband Robin Fundwani and his friends. On the other hand, love starts blossoming between the two insomniacs Jagjinder and Alia, something that Bipin doesn't seem to approve of. While everybody is really busy with the wedding preparations, Jagjinder and Alia leave no stone unturned in making Isha feel special. During one of the wedding events, the whole family, desperate for veg food, ends up eating hash brownies and mushrooms and get high. It is during this time that Bipin rattles down a startling revelation about his real relationship with Alia. What is the actual relationship between Bipin and Alia, does anyone bother to listen to Isha and her feelings, does Isha ultimately get married into the Fundwani family for her family's sake, what ultimately happens to Jagjinder and Alia's insomnia and do they find a cure for the same through love, is what forms the rest of the film.

The film's director Vikas Bahl, whose last film was the National award winning QUEEN, makes a different kind of film this time. SHAANDAAR has a fairy tale kind of feel to it with lots of VFX, animations, exotic UK locations and big expensive sets. The film is very high on glitz and glamour. It is a larger than life film, with funny and quirky characters (dominating grandmother, scheming mom etc.) and to a large extent, that does the trick for the film. Vikas has extracted good performances from most of his actors. He has also tackled issues such as adoption, family relationships and sacrifice, 'compromised relationships', insomnia and most importantly one's body size and self-esteem issues due to the same, very smartly. Even though the film does not have a strong storyline, the humorous sequences keep the audiences engaged. The film starts lagging in its second half though but manages to save itself in time. The climax of the film is a bit silly, but it lands up working in the favour of the film.

Now for the performances. Shahid Kapoor, who was last seen in the hard-hitting HAIDER, does a complete U-turn with his character in SHAANDAAR. His performance is extremely endearing, affable and loveable. His onscreen chemistry with Alia Bhatt is excellent. He also has a funny jugalbandi of sorts with Pankaj Kapoor in the film. He maintains his youthful charm and grace throughout the film. And it is due to this natural charm of his, this Kapoor lad is bound to make his young fans go weak in the knees. On the other hand, there's Alia Bhatt, who seems to be getting better with every passing film of hers. By now, she has repeatedly proven that how effortlessly she can get into the skin of every character that she portrays. SHAANDAAR is no different. Her portrayal of her on screen character Alia will definitely find resonance with every dreamy eyed girl out there. The veteran actor Pankaj Kapoor is a (refreshing) delight to watch in the film. His chemistry with Shahid is good and extremely natural and believable. Sanjay Kapoor, as the 'over-the-top-and-boisterous' Sindhi is funny. On the other hand, Sanah Kapoor makes a lasting impact with her debut film. The rest of the characters help the film move forward.

The music (Amit Trivedi) of the film is enjoyable. The film's music definitely acts as one of the film's highlights. The veteran cinematographer Anil Mehta does an extremely superlative job in the cinematography department and is hugely responsible for making the audiences go spellbound with the film's visuals. SHAANDAAR boasts of excellent production values. The film's dialogues (Anvita Dutt) are simple and lucid which will definitely find resonance with the audience, especially the teenagers, who also happen to be the film's target audience. The film's editing (Sanchari Das Mollick) is good. Though the scenes like 'Mehendi With Karan' and 'Monday-becomes-Tuesday' seemed forcefully added and stretched in the film.

The film's highlights include the animation sequences, which sets up the mood and gives it a fairy tale look. Also, the 'qawwali' scene is definitely one of the scenes to watch out for.

On the whole, SHAANDAAR is a feel good movie that will make you leave the cinema hall with a smile on your face, despite its flaws. It will mainly appeal to the youth who seem to be the target audience for the film.

Pyaar Ka Punchnama 2

Sequels to succesful movies have been an ongoing trend in Bollywood for a while now. This week's release is PYAAR KA PUNCHNAMA 2, which also is a sequel of the 2011's sleeper hit PYAAR KA PUNCHNAMA. Will this comedy film about relastionships pack a 'Punch' at the box-office or will it prove to be a box-office dud... let's analyze.

The film starts off with the introduction of Anshul aka Gogo (Kartik Aaryan), Siddharth aka Chauka (Sunny Singh Nijjar) and Tarun aka Thakur (Omkar Kapoor). Amongst the trio, Tarun is the one who is highly paid (Rs. 3 lakhs per month). And it is due to this reason that Siddharth and Anshul live their life kingsize (alongwith Tarun, of course) without having to worry much about finance. Right from buying the drinks to paying the monthly rent of the flat, Tarun is the 'go-to' man for Siddharth and Anshul. Life for the trio is all about working hard and partying harder. Life is very 'normal' and routine for the gang ... till the time three girls enter their respective lives. While Anshul falls head over heels in love with Cheeku aka Ruchika Khanna (Nushrat Bharucha), Siddharth goes bonkers over the 'family inclined' Supriya (Sonalli Sehgall) and the 'gym-conscious' Tarun's heart skips its beat over the fit girl Kusum (Ishita Sharma). The three boys just cannot believe their luck with their respective partners. Life becomes one big party for the three couples until one day when the 'money-minded' Kusum speaks out her 'concern' towards Tarun spending his hard earned money to pay the dinner bill of his boys and their girlfriends. After that, the girls start taking control of the boys' lives and the boys slowly and gradually realise that their respective partners are not as cool as they seemed to be initially. All in the name of love, while Anshul lands up becoming Cheeku's multipurpose boyfriend who drives her and her gal pals around for their shopping, Siddharth becomes Kusum's 'ATM boyfriend' from whom she just keeps taking money, while Tarun ends up becoming house help of sorts to Supriya's parents. After a handful of meetings, the trio realise that befriending the girls was the biggest mistake of their lives and that they are being taken for a royal ride. Just when they are about to break up with their respective girlfriends, the girls start wooing their boys all over again in order to let bygones be bygones and give their relationship a fresh start. Will Anshul, Siddharth and Tarun forgive their respective girlfriends and give a fresh start to their relationships, will the boys move over these girls and find someone new, do the boys really get the love that they really need and what happens to the Cheeku, Supriya and Kusum ultimately... is what forms the rest of the story.

Let's begin with the storyline first. The story is similar to the first part. This film too is a guy film which focuses on issues which boys face in their relationships. There is a fair amount of simplicity to the screenplay that makes the full film relatable and fun. However, PYAAR KA PUNCHNAMA 2 has a weaker storyline as compared to PYAAR KA PUNCHNAMA. The sequel almost follows the same trajectory as PYAAR KA PUNCHNAMA, viz., how the three boys hook up, the initial honeymoon period and then the disaster begins. The dialogues are entertaining to quite an extent. The film is a satire on love and relationships and is not a typical conventional rom-com. The writers have done their level best to bring across the message that real life love story is not a bed of roses. A certain section of the audience may conclude that the proceedings in the film are misogynistic, but the narrative is from the perspective of boys in the film. Despite having complex situations and circumstances in the film, the film's narrative has been kept extremely simple. There are wild-whacky moments aplenty, but the smart integration of the heavy-duty drama towards the concluding moments camouflage the rough ends in the narrative. The movie has a reasonably breezy first half but the second half dips considerably until the climax that covers all the dots.

As far as the performances in the film are concerned, the lead actors and actresses seem extremely confident and are camera friendly which is one of the strong assets of the film. But, it is the child-actor-turned-hero Omkar Kapoor who comes across as a winner. He is a charmer on screen and quite a decent actor. The strip tease scene between him and Ishita will surely grab eyeballs. On the other hand, Sunny Singh is a natural actor and is thoroughly entertaining. While the film's director wanted him to have a Divyendu hangover (a la PYAAR KA PUNCHNAMA), yet Sunny brings his own unique charm to the film. Kartik Aaryan is decent. His 8 minute insightful outburst [monologue] is clap worthy and will be greeted with seetis and taalis. Amongst the girls, it is the lovely Ishita Raj, who put forth genuine performance. Sonalli Sehgall looks bold and beautiful and will charm the audiences. Nushrat Bharucha has worked hard on her funny character but many a times, especially in the second half, she ends up hamming a lot. The rest of the actors help in the film moving forward.

Luv Ranjan also needs to be applauded for having written funny dialogues. The lingo that has been used in the film is straight out of real life, laced with some crackling and witty one-liners.

The film's music (Hitesh Sonik, Sharib Sabri, Toshi Sabri) is strictly average. None of the songs stay with you. The film's background music (Hitesh Sonik) keeps the audiences hooked to the film. The film's cinematography (Sudhir K. Chaudhary) is decent, the film's editing (Akiv Ali, Ajay Sharma) is crisp.

On the whole PYAAR KA PUNCHNAMA 2 packs a solid punch with its unusual, yet relevant storyline. It is a film for youngsters who may patronize it in a big way. Recommended, go for it!

Wedding Pullav

Almost every week, Bollywood sees a new face making his/her debut on the silver screen. While there are a handful who make it on their own merit (read 'minus any proverbial godfather'), there are others who have their 'illustrious' parents' to help them take their baby steps into Bollywood. While a few 'star-kids' make their parents proud by their achievements, there are others who soon realize that they are not cut for this job. This week sees the release of WEDDING PULLAV, a film that marks the debut of Anushka Ranjan, the daughter of the illustrious parents Shashi Ranjan and Anu Ranjan who are known names in the entertainment circles. Will Anushka Ranjan make her parents proud with WEDDING PULLAV or will WEDDING PULLAV turn out to be a sour dish at the box-office… let's analyze.

The film starts off with the engagement ceremony of the 'affordable dream bike engineer' Aadi (Diganth Manchale) alongwith Rhea (Sonalli Sehgall). Despite being his engagement day, Aadi is not completely happy, as his eyes yearns to see his London based best friend 'Lambu' aka Anushka (Anushka Ranjan), who had promised that, come what may, she will attend his engagement ceremony. Merely a few minutes before the ring ceremony enters Anushka in a typical filmi band-baaja style. Rhea, who hails from an estranged family (with Parmeet Sethi as her father and Kitu Gidwani as her mother) gets introduced to Aadi's 'best friend' Anushka. The grand wedding is all set to take place in Thailand. Seizing the right opportunity, Anushka announces to Aadi and his gang that she is dating a London based painter Jay (Karan Grover), who does nude paintings of women for a living. Even though Aadi pretends to be really happy with the news, deep down he starts yearning to be with Anushka. Thanks to a sudden brainwave by the elders in the family, it then gets decided that Anushka and Jay also should get married alongwith Aadi and Rhea in Thailand. The film then shifts to the foreign shores of a grand hotel in Thailand, whose manager is (ironically called as) Luv Kapoor (Rishi Kapoor). The 'USP' of Luv Kapoor is that besides being the hotel's manager, he also doubles up as a 'situational psychiatrist' cum 'love counselor' cum 'a healer to the broken hearts'. While everyone is busy with the wedding preparations in Thailand, Aadi listens to his heart and starts spending more and more time with Anushka rather than his fiancée Rhea. This puts everyone in a suspicion about the relationship status of Aadi and Anushka, as both are on the verge of getting married to their different people. Seeing Aadi's proximity towards Anushka, he almost gets confronted by Jay… only to be saved by Rhea, who arrives at the nick of time and whisks Aadi away with her. Despite all this, Aadi's proximity towards Anushka (and vice versa) keeps on growing multifold, so much so that they (mentally) start regretting their decision of not realizing their love for each other in time. It is here when Luv Kapoor acts as a counselor to Aadi and tells him to listen to his heart and not to his mind. Will Aadi gather the guts to confess his profound love for Anushka and vice versa in front of everyone, will Anushka be courageous enough to speak about her love for Aadi when her marriage is just a few hours away and what ultimately happens to the love stories of Aadi, Anushka, Jay and Rhea… is what forms the rest of the story.

First things first. The very title 'WEDDING PULLAV' has absolutely zero relevance to the film and its story plot. The film's screenplay (Shashi Ranjan, Pooja Verma, Rahul Patel) is totally amateurish and has been done in an extremely haphazard manner. There are hardly any moments (of glory) that the film can boast about. The same applies for the film's storyline (Pooja Verma) as well. As far as the film's direction (Binod Pradhan) is concerned, one really feels sad to see such a veteran person's talent being wasted in such a senseless film. Binod Pradhan, being a veteran in the industry for many years, makes his debut as a director with WEDDING PULLAV. Despite having a weak script, Binod's directorial skills just do not go unnoticed. The film holds spark purely due to his direction. At the same time, one is forced to think that Binod Pradhan could have chosen a better film for his directorial debut rather than WEDDING PULLAV.

As far as the performances are concerned, the film's hero (debutante) Diganth Manchale fails to leave a strong impression on the audiences with his performance. There are a few scenes in the film, when he actually starts sucking up to the film's heroine Anushka Ranjan, which only leaves the audiences confused as to who is the 'real hero' of the film. Despite hailing from a filmy family, Anushka Ranjan fails to impress as a debutante actress. She has miles to go and lots to learn as an actress. There are a handful of scenes when she tries to put up a tomboy act, but fails miserably. On the other hand, Sonalli Sehgall, does nothing substantial than trying to look good on screen. The film sees another debutante Karan Grover, who tries his level best to get into the skin of his character as a painter, and succeeds to a certain extent. While the other actors like Satish Kaushik, Parmeet Sethi, Kitu Gidwani and Himani Shivpuri bring nothing new to the table due to their poorly written characters. The most shocking thing about the film's casting is Rishi Kapoor. One really wonders as to what on earth was Rishi Kapoor thinking while signing this film that has no head or tail.

The film's music (Salim-Sulaiman) is the saving grace and boasts of two hummable songs in the form of 'Party Karni Hai' and 'Oh Jaaniya'. On the other hand, the film's background music (Rohit Kulkarni) leaves no impact on the audiences. The film's cinematography (Gopal Shah) is decent. The film's editing (Sayyed Sameer) is very clumsy and could have been better by leaps and bounds. The film's poor script and screenplay, doubled up with sloppy editing lands up making a 'khichdi' of the dish called 'WEDDING PULLAV'.

On the whole, WEDDING PULLAV is a dish that is best avoided as it is bound to leave a bad taste.

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