Forget the saccharine theme tune from Kuch Kuch Hota Hai that has become the trademark anthem for the Dharma Productions logo. This time its a loud, frenetic drum beat that ushers you into the world of Agneepath. Debutant director Karan Malhotra, backed by producer Karan Johar, dive back into the loudness of 1980s Hindi cinema with this “restructuring” (not remake) of Dharma’s original Amitabh Bachchan-starrer cult classic, which was directed by Mukul S Anand. While in treatment and vision, this Agneepath is a huge departure from over a decade of honey-dipped Dharma films, as a standalone film it constantly hankers for an emotional power and gripping narrative that is never there. All said and done, the film actually belongs to its two villains.

Madwa village, the hometown of Vijay Dinanath Chauhan (Hrithik Roshan), is a place right out of filmy folklore. The film is set in 1977 but the village still seems outdated even for that era. It’s also the setting for a ravenous mob rule, where a holier-than-thou school teacher, Vijay’s father, is framed for rape. Then, in a long gruesome sequence, he is beaten and dragged up to a rocky ledge to be hanged from the symbolic banyan tree. The man who spearheads the vicious killing is Kancha (Sanjay Dutt), the unpredictable villain that a grown up and angry Vijay is determined to kill for the rest of the film.

It’s a classic revenge plot, with the suffering maa (Zarina Wahab), chirpy girlfriend Kaali (Priyanka Chopra), innocent younger sister Shiksha and an endless supply of goons thrown in. One of the biggest changes Malhotra makes to the original story is the addition of a second, competing villain, Rauf Lala (Rishi Kapoor). It’s an interesting catalyst to the traditional one-on-one setup of revenge plots and frankly, quite welcome in a script that otherwise draws on all the oldest tricks.

Hrithik Roshan’s portrayal of Vijay is just as angry as Amitabh Bachchan’s in the original, but also more humane. Roshan’s Vijay is loved and supported by an entire chawl full of people that are willing to orchestrate elaborate birthday parties for his sister whom he hasn’t seen in 15 years. He regularly gives to charity. He is someone that, “paisa nahin, aadmi kamata hai” (earns people not money). At the same time, he doesn’t think twice about slamming a few bullets or plunging a dagger into someone if that will get him one step closer to a face-off with Kancha. And somehow, through all this murderous rage, Kaali still has unconditional love for him. Chopra could have done so much more with her talent had her role been fleshed out beyond the usual pouting, giggling and crying at the drop of a hat.

While Roshan puts in his best efforts to play the conflicted, tormented “hero”, the most interesting parts of the film center around the two villains. Sanjay Dutt’s Kancha and Rishi Kapoor’s Rauf Lala are pitted against one another, both equally ruthless, vile and insane. Dutt relishes his role, with the sly grin, the giant persona, the creepy affinity for Hindu philosophy, and the second nature in doling out the most ghastly punishments to those that cross him. In the same vein, Kapoor rips his lover boy and lovable father images to shreds with his role as the filthy, flesh-mongering, drug lord that is locked in a perpetual battle with Kancha over their territories. More confrontations between Kancha and Rauf Lala would have made for significantly more enjoyable viewing.

One of the biggest issues with Malhotra’s retelling of Agneepath is the lack of contemporary relevance or points of reference. The village of Mandwa feels like another world entirely, especially Kancha’s “concentration camp”-esque governance of it. It becomes hard to digest the suggestion that such an extreme place exists in 1990s India, that too next door to Mumbai. Then there is the predictable nexus of corrupt cops and politicians that add fuel to the mafia wars. And perhaps most disappointingly, in an age of stronger female characters in Hindi cinema, all of the women in Agneepath are pretty much irrelevant to the plot, barring perhaps Vijay’s mother Suhasini who has a tense, conflicted relationship with her son.

The film’s loudness knows no bounds. If the gestures and dialogues weren’t vociferous enough, the background score by Ajay-Atul (who also composed the songs) will certainly beat you into submission, pummeling you with incessant drum beats and forcing you with grand orchestral music to feel emotion, whether you want to or not. Visually, fire is obviously the primary metaphor for, well, everything. The film is doused in saturated orange and yellow hues, and there are flames of some kind in almost every scene. It is a visually rich film, thanks to Director of Photography Kiron Deohans.

Agneepath’s stellar cast and powerhouse backing will no doubt make it a big opener at the box office. However, as a film and a story it ends up being rather lackluster. The sudden shifts in emotional tone, mood as well as the loopholes make it a strictly average watch. It’s not boring but it’s also not a film you’d watch intently. Malhotra succeeds in making the film dark and raw, but then makes the situations and characters very cliched. While Roshan successfully carries his intensity throughout, the film really belongs to Dutt and Kapoor for their wicked performances. And if you don’t feel anything towards the rest of the film, don’t you worry, the deafening background score will ensure you surrender to whatever emotion it wants you to feel.

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Right before the end of last year, we asked our readers to vote for their pick of the best films and soundtracks of 2011. You spoke loud and clear, and we now have our results tallied from the various social media platforms. So as the hundreds of award ceremonies take off in tinseltown, felicitating the same big stars and the same big blockbusters, our people’s choice best films and albums of 2011 is a far more eclectic and deserving bunch.

BEST MUSIC OF 2011

(5) Mausam

A surprise entry in our top five, this album by Pritam had the requisite love songs, bhangra number and qawwali. Come to think of it, it was also probably the best thing about the film as a whole.

(4) No One Killed Jessica

Composer Amit Trivedi and lyricist Amitabh Bhattacharya have now become synonymous with snappy, clever and incredibly imaginative film songs, thanks in large part to the brilliant Dev D album and now No One Killed Jessica. They also made sure that every time you see the name of India’s capital, it must be uttered as ‘D-D-D-Dilli’.

(3) Delhi Belly

If the previous entry was snappy, this one is just filthy. Filled with sexual innuendoes, cuss words and oodles of raw energy, this album by Ram Sampath and lyricist Amitabh Bhattacharya (we’re noticing a trend here) was too hard to ignore. Whether it’s the incredibly catchy ‘DK Bose’ or the hilariously bitter ‘Jaa Chudail’, the album is an incredibly fun listen. And whether or not that qualifies as “good” music can be left to debate.

(2) Zindagi Na Milegi Dobara

This one wasn’t a particular favorite of ours but our readers seem to disagree. The album by Shankar-Ehsaan-Loy was light and mature, going along well with the themes in the film.

(1) Rockstar

Here’s something we do agree on with our readers, wholeheartedly! A.R. Rahman’s brilliance manifested itself once again, this time in the form of the album for Imtiaz Ali’s Rockstar. Using the genre of sufi rock, Rahman took the influence and ran with it, creating one glowing track after another. It’s not only the best album of 2011, we would say it also falls under Rahman’s best work to date.

BEST FILMS OF 2011

(10) I Am Kalam

This simple, unassuming and un-jaded film about a boy’s quest for learning shows that you don’t need big money or big stars to tell an honest, effective story. Director Nila Madhab Panda tells a compelling story that is local and at the same time global in its appeal, channeling the inspiring efforts of former Indian president APJ Kalam to encourage education for everyone.

(9) I AM

Director Onir and producer Sanjay Suri’s crowd-sourcing experiment came off with flying colors. Onir effectively weaves four distinct stories into one continuum of humanity and the most fundamental search for identity, in whatever way, shape or form it may be. The film’s success at a wide range of film festivals around the world also proves that good stories backed by crowd funding can create good, meaningful cinema.

(8) Shor in the City

This edgy multi-narrative film about the trials and tribulations of a bunch of characters in Mumbai was definitely one of the highlights of 2011. Directors Raj Nidimoru and Krishna DK bring a good dose of realism into the stories, making the characters very relatable and their situations right out of life. This is also the first of two films under Ekta Kapoor’s ALT Entertainment banner that have made it to this list.

(7) Stanley Ka Dabba

In the same vein as I Am Kalam, director/writer Amol Gupte’s wonderfully simple film tells the story of a school boy’s desire to belong. Using such a basic slice-of-life element as a lunch box, Gupte has crafted a heart-warming story that leaves you thinking even after it’s over.

(6) Rockstar

This one’s a slightly controversial entry on our list. While it did well commercially and is already on several award nomination lists, and its music (as we’ve discussed earlier) is truly deserving, Imtiaz Ali’s film received a very mixed critical response. In our opinion, it’s a clunky script that is salvaged only by Ranbir Kapoor’s performance and the great music.

(5) No One Killed Jessica

It says a lot when one of the first releases of the year stays in the minds of people long enough for them to still see it as one of the best films of the year. Director Raj Kumar Gupta’s film is gutsy and provocative but also somewhat commercialized. Regardless, it tells an already fascinating (true) story in just as gripping a way.

(4) The Dirty Picture

Producer Ekta Kapoor and director Milan Luthria struck gold with their last release, which was also one of the last films of 2011. It’s an incredibly brave and bold film, with an outstanding performance by Vidya Balan, that ensures that female-centric narratives can be just as commercially viable and just as entertaining as macho masculine masala (forgive the alliteration) flicks.

(3) Delhi Belly

An unashamedly dirty (and naughty) comedy was one of the most loved films of the year. Producer Aamir Khan took a gamble by backing a truly adult comedy that didn’t even attempt to be worldly or distinguished. Director Abhinay Deo tells the story of three hapless friends and their spiral of blunders with aplomb. A well-timed, cleverly promoted, and hilarious script? Definitely. Masterpiece cinema? Maybe not.

(2) Dhobi Ghat

Clearly Aamir Khan Productions had a successful 2011, settling comfortably in both the third and second spots in our reader list. Director Kiran Rao’s debut film was the extreme opposite of its kin Delhi Belly, but just as intriguing. Rao meditates on the city of Mumbai as an organism that makes and breaks lives, and sees so much. The film drew mixed reactions but certainly represents a much welcomed style of filmmaking in Hindi cinema.

1) Zindagi Na Milegi Dobara

The winner of our readers’ poll is Zoya Akhtar’s calm and mature sophomore outing about three friends coming of age. The film not only proved once again Akhtar’s refined storytelling skills (after her impressive debut Luck By Chance), but it also asserts the growing clout (and deservedly so) of female directors in Hindi cinema.

Perhaps the biggest takeaway from this list of top ten films of 2011 is the substantially increased presence of women or women-centric films in Hindi cinema. While the top two films (Dhobi Ghat and Zindagi Na Milegi Dobara) were directed by women, three other films on the list (The Dirty Picture, No One Killed Jessica, I AM) had women-centric narratives and were appreciated immensely for it. We take that as a very positive sign of how the film industry is evolving and with that optimism look forward to what 2012 has to offer. Thank you to all our readers who voted and happy viewing in 2012!

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The Dharma Productions slate is alive and kicking, never ceasing to churn out one romantic comedy after another. While the story and originality of the films is up for debate (and will be in our film reviews), the music of these films is a different topic altogether. Their next offering is Ek Main Aur Ekk Tu, pairing Imran Khan and Kareena Kapoor, and directed by Shakun Batra, yet another addition to Dharma’s growing stable of in-house directors.

The promos are trying hard to make it look like fresh, indie-like rom-com, but far more intriguing than the look of the film is the music. The power duo of composer Amit Trivedi and lyricist Amitabh Bhattacharya, in their first joint collaboration with Dharma Productions, deliver yet another hummable and refreshing album, albeit dialed down and sweetened significantly from their usually zingy albums.

The title track Ek Main Aur Ekk Tu kicks off to an instantly catchy beat. Sung by Benny Dayal, Anushka Manchanda, and Shefali Alvaris, the song is all about a couple having the time of their lives together. However, the lyrics are a bit of a letdown here. Bhattacharya seems to have been tamed significantly from his usually innovative and edgy lyrics, forced to resort to verses that don’t do much beyond just being saccharine and rhyming. Lines like “ghum ki baatein bhool ja, khushiyan sajaa, jo bhi hoga, I am with you” are fine and pleasant, but not when you expect so much more originality from the lyrics. Regardless, Trivedi’s tune makes up for it with it’s addictive quality. The Ek Main Aur Ekk Tu – Remix amps up the upbeat feel even more and is actually an enjoyable remix.

The next track, Gubbare, bears a strong resemblance to the brilliant ‘Sham’ from Aisha. It’s a chilled out, feel-good track with an incredibly hummable tune. Amit Trivedi does the honors as the singer here as well with his smooth vocals, joined aptly by Shilpa Rao, Nikhil D’Souza, and Amitabh Bhattacharya. The lyrics are much more inventive this time around, with the gubbare, or balloons, being used a metaphor for the roller-coaster of emotions in life – “Koi thoda zara bhara hai, koi dheela phoos pada hai, hawa pe khada hai, har ek mein maza hai…” Trivedi adds the jazz touch to this song, which he used as a common element throughout the album for Aisha. ‘Gubbare’ is one of the highlights this time around.

Even the most talented people can miss the target every now and then. Aunty Ji, sung by Ash King, is meant to be a fun and quirky party song but ends up being a grating experience. Trivedi gives it a retro-jazz sound, which would have worked much better had the lyrics and singing not come off as jarring. It will probably work better as a situational song and doesn’t carry the repeat or addictive value of most Trivedi compositions.

Trivedi quickly returns to form and redeems himself with Aahatein. It’s the most somber track of the album and both singers Karthik and Shilpa Rao bring to it the right amount of passion and romance to give it real impact. Bhattacharya’s lyrics are subtle, creative and explore the nuances of being in love. It’s one of those songs by Trivedi where the music, lyrics and singing just work so fluidly to establish the right mood. This one is probably the best track in the album, tempting you to play it on repeat. The Aahatein – Remix brings in Shekhar Ravjiani for the male vocals and carries a catchy techno beat. It would have been easy to ruin the original song with a remix but it is handled carefully as the remixing never goes overboard. Despite the techno and trance beats, the song still maintains its mellow romantic feel.

Vishal Dadlani makes his customary appearance in a Trivedi album with Kar Chalna Shuru Tu, joined by Shilpa Rao. The song continues in the vein of happy, upbeat songs from Trivedi-Bhattacharya, this time fashioned a motivational track about looking forward and not worrying about the past. The tune bears hints of the jazz sounds Trivedi seems to love so much, and is an enjoyable listen. However, the song isn’t as catchy or hummable as some of the better tracks in this album.

With Ek Main Aur Ekk Tu, Amit Trivedi enters the most commercial mainstream realm of Hindi cinema by composing for a Dharma Productions film. While his earlier albums for smaller, more independent films, exhibited his talents the best, this one doesn’t disappoint. It’s seems an apt compromise between Trivedi and Bhattacharya’s unique talents and the sugary romances that define Dharma Productions. How the songs fare in the film itself remains to be seen.

Listen to the full album here.

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“We just Skyped our magician last week.” That’s what happens when you place two curious filmmakers smack dab in India’s fabled Kathputli colony. Jim Goldblum and Adam Weber aren’t your garden–variety directors. Their rich, atmospheric, and fiercely ambitious debut Tomorrow We Disappear, slated for release in mid–2012, is nothing short of a feast. I catch up with the Brooklyn duo to unpack their search for myth, chai, puppetry, wilderness, and re–imagination.

What was the spark? What inspires two Brooklynites to immerse themselves in a far–off colony in India?

Adam: Our strongest bond— our favorite book, which we discovered independently, is Midnight’s Children by Salman Rushdie.

Jim: In it, the main character Saleem journeys to a magician’s colony and we were just so enchanted by it. We learned that the colony was sold to real estate developers and was set for bulldozing the following year. But, information was sparse. We had this thirst. We had to go there.

What’s the story behind Kathputli and why’s it so unique?

A: For centuries, itinerant artists canvassed India, recounting myths and performing for local audiences. They spread culture and were partly responsible for India’s unification. It’s why a story is the same from Kashmir to Kerala. With the spread of TV and radio, artists lost their itinerant routes along with their wanderlust. Many settled in slums scattered throughout Delhi.

J: The catalyst was designer Rajeev Sethi. He had spent years in New York and Paris working with Pierre Cardin and Charles Earnes, had been exposed to Andy Warhol’s ‘The Factory,’ and carried a Western ideal for artist collectives. Sethi saw genuine artists in Delhi’s slum dwellers and looked to forge a formal collective for traditional artists similar to those that already existed for journalists and lawyers. Kathputli (“wood puppet”) conceptualized a utopian society and hosted the “collective of lost and forgotten artists.”

What’s the film about and what do you want audiences to come away with?

A: The film broadly rests on Kathputli’s imminent destruction, but the story focuses sharply on three characters.

J: The life–force is this idea of “continuous beginnings.” We gravitated toward a bedrock notion in Hinduism— when you create something, you also destroy something. And this has shaped reality. Modernization has garnered obvious myriad benefits. But, we wanted to shine a spotlight on some of the things India has given up.

Do religious texts play into Kathputli’s stories and acts?

A: The colony is both Muslim and Hindu. While religious scripture inspires many themes, performers also draw from antiquity and royal court stories.

J: The magicians are the greatest swindlers. They quote the Bhagavad Gita or the Quran to suit their audience, invoke charity, and finally offer redemption.

What ran through your mind, what did you feel when you stepped off of the plane?

A: Brooklyn to India was not a seamless transition. It was uncharted territory and all we knew as that Kathputli was near the Shadipur metro station. After a 30–minute drive from the airport, we wandered into the slum, which was a labyrinth of shoulder–width alleyways. Kathputli is the center— an artist core with concentric circles of slums radiating outward.

J: Our first stroll was surreal. We passed a group freebasing black tar heroin. Kids clad in designer labels asked us if we liked Justin Bieber. As we snaked our way to the center, the art unfolded and we encountered acrobats and puppet carvers.

How did you fit into the community, were you swimming against the tide or did they pull out the red carpet?

J: Initially, we faced skepticism. But, we just kept showing up, met people, shared cigarettes, and made ourselves known.

A: Unlike the BBC and other journalists who swept into Kathputli before, we were there as artists who wanted to collaborate. We weren’t from an agency. We wanted to create something with them.

J: It’s easy to paint them as caricatures because they’re magicians and puppeteers. But, they’ve lived complex, incredible lives.

Tell us about the performers, what are they like, what are their stories?

A: Rahman is the main character and emblematic of Kathputli— he was born itinerantly then moved to the colony. His father was a famous magician. Rahman was born a magician. As a teenager he carved his own way, moved to the jungles, and made a living catching snakes for charmers, losing a finger in the process. But, he had an epiphany. His youngest daughter contracted typhoid and while carrying her through the forest to the hospital, he realized that his father had likely done this for him and his grandfather for his father. A sense of legacy and lineage took hold. He returned to Kathputli to become a magician.

J: Another, Maya, has been an acrobat since she was three. In Kathputli, acrobat parents often stretch their babies’ limbs to make them more flexible. When Maya was five she was struck by a drunken lorry driver and many thought she would never perform again. She worked tirelessly to regain her strength, refine her talent, and become Kathputli’s most celebrated acrobat.

A: Jim likes to tell a really emasculating story about me. Maya offered me a piece of rebar and said, “Bend this.” I tried to impress her, but didn’t get anywhere, my face turned beet red. She took the rebar, planted it on an angle, and with her neck, bent it into a U. She remade herself from a fragile, damaged girl to a beautiful, confident woman able to bend steel with her neck.

Who is the mustachioed man with the giant mask toward the end of your teaser?

A: That’s Puran Bhatt. He’s exceptionally talented and can bring life to a wood puppet with 15 strings— one for each finger, each elbow and shoulder, and neck. He won India’s version of the Academy Award for traditional arts in 2003 and has toured across Europe and in Tokyo. We met him in Chicago when he performed at the Harris Theater.

J: Puran brushes the larger existential issue of the colony. He’s well–recognized with the potential to leave the slum, but chooses to live there.

Kathputli has a rich history of artistic storytelling. Tell us about the stories.

J: A street magic show typically follows a trajectory— music to comedy to horror to rebirth. A timbre drum and a small flute will attract a small crowd, after which the actors will bob with jokes and banter— a son could poke fun at his father. The laughter draws in a larger crowd. The act then features something horrific— the father pretends to cut his son’s tongue out. With the audience locked in place, the father will offer to heal his son in exchange for money. It’s a continuous flow of rebirth.

A: The stories are earthed in tradition, mythology, and folklore, but they’re starting to change. Puran is currently writing a show about the colony and has carved a puppet in his own likeness— Kathputli is weaving itself into mythology.

Your cinematography, it’s brimming with textures, sights, sounds, colors, smells, emotions, and electricity. How did you capture all of this through the lens?

A: We bow to Will Basanta and Joshua Cogan, our photographers. For gifted cinematographers, a place hand–built by artists is a playground. It’s a natural interaction— Kathtputli is the greatest movie set ever built.

What was your most memorable adventure behind the curtain in Kathputli?

J: The wedding! We didn’t know what to wear. The lights were everywhere. Every home spilled out to the street. Fire breathers pitched the rail tracks. It was a blend of New Orleans big band, Diwali, and Chinese New Year, with lanterns, fireworks, and money being tossed in the air.

As a duo, you both finish off each other’s sentences. Why do you both work so well together?

J: We went to college together and lived together and we’re both neurotic.

A: The fact that our favorite book is Midnight’s Children says a lot about who we are and what are priorities are. We’re fascinated by magical realism.

J: I’m platonically in love with Adam.

Jim, what’s your biggest pet peeve about Adam?

J: Adam’s biggest weakness is also, strangely, one of his greatest strengths. He has the memory of a 95–year–old man. He’ll forget that we did this interview. But, this also means that Adam is incredibly present.

Adam, who is your biggest influence?

A: I came from the film world. I worked in L.A. with some great people like Quentin Tarantino on Inglourious Basterds and still collaborate with Michelle Gondry. I look up to them. When you’re making a documentary, though, you’re more inspired by the stories.

Jim, Thums Up or chai?

J: Chai! I take chai intravenously.

What’s on the horizon for you both?

J: We’re returning to Kathputli to finish up filming and hopefully roll into some international film festivals with a caravan of magicians, acrobats, and puppeteers!

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This is a review of the soundtrack of Agneepath. For the full review of the film, click HERE.

In the ongoing trend of remakes of cult classics – and mostly the films of Amitabh Bachchan – comes another one to add to the pile. Producer Karan Johar revives the 1990 Dharma Productions film, Agneepath, which was directed by Mukul S Anand. This time, he ropes in newbie director Karan Malhotra, and brings in Hrithik Roshan to essay the iconic role of Vijay Dinanath Chauhan. Pitted against him is Sanjay Dutt as the wicked Kancha (played in the original by Danny Denzongpa) while Priyanka Chopra plays Kaali, the woman by Vijay’s side. From the trailers, Agneepath looks like the most non-Dharma Productions film from the production house in a very very long time. It looks dark, edgy, violent, and gritty, a far cry from the saccharine romantic comedies that has been Johar’s modus operandi for over a decade. If for that reason only, this incarnation of Agneepath already has an intrigue factor.

The musical team of Agneepath is also something you wouldn’t expect from a Karan Johar production. Composer and brother duo Ajay-Atul (who also did the music for Singham) join forces with lyricist wunderkind Amitabh Bhattacharya to deliver an album that is dark and intense, and stays well clear from the frothy sounds of previous Dharma films.

What is a film these days without an over-hyped item number? Not to be left behind, Agneepath has Chikni Chameli. Sung by Shreya Goshal, the song is pictured on Katrina Kaif, who seems to be in the business of racking up item numbers after her hugely popular ‘Sheila Ki Jawani’ last year. ‘Chikni Chameli’ is based on the Marathi song ‘Kombadi Palali‘ from the film Jatra, and is given enough punchy lyrics by Bhattacharya to make it catch on. However, perhaps it’s the saturation of such item songs, but Chameli doesn’t impress that much or stick after listening to it.

Next up is the romantic number O Saiyyan. No one does soulful singing like Roop Kumar Rathod and he gives this number his all. It’s a somber song about incompleteness and pain. It’s a pretty dramatic song, even more so by the interludes of heavy orchestration that punctuate the otherwise mellow piano track. Rathod keeps it from becoming downright depressing, his smooth voice carrying the song through and giving it repeat value.

The only song approaching an upbeat mood is Gun Gun Guna, sung by Sunidhi Chauhan and accompanied by Udit Narayan. The song is about a woman trying to make her man feel better and distract him from his troubles. And since it’s the character of Vijay, we know he has a lot on his mind. It’s a peppy song and Chauhan’s spunky rendition makes it a fun listen. Of course, the icing on the cake is Bhattacharya’s ever-imaginative lyrics: “Hai tere sar pe ye uljhanon ke ye tokre, la humko dede halka ho ja re tu chhokre” (These baskets of troubles on your head, Give them to me to lighten your load). The man knows his metaphors.

The moment Shah Ka Rutba kicks off, it sounds like ‘Tu Na Ja Mere Baadhshah‘ from Khuda Gawah, which is already a hint of the intensity level of this song. It’s a quintessential qawwali number sung by Sukhwinder Singh, Anand Raaj Anand and Krishna Beura. It’s a boisterous song, both in the heavy percussion instrumentals and the impassioned vocals. This one isn’t for everyone – it definitely needs an appropriate situation in the film to have its full effect.

The treasure of this album is Abhi Mujh Mein Kahin, crooned by Sonu Nigam in a way we haven’t heard him in a while. The song has a subtle piano tune throughout that flows in and out of string and percussion accompaniment. It’s a philosophical song, an internal dialogue of sorts. Nigam handles it expertly, offering his full vocal range to ebb and flow with the moods of the song.

What “angry young man” film soundtrack is complete without the trademark dramatic song dedicated to Ganesh? Deva Shree Ganesha is loud, fast-paced, and oozes enraged passion that combines with unwavering faith. Sung by Ajay Gogvale (one half of the composer duo), the track also has a heavy chorus of backup singers that give the song its depth and intensity. The chanting and drumming give the track a foreboding mood, the perfect setting for a showdown of sorts (speculation, of course).

Agneepath isn’t a pathbreaking album but it is a breath of fresh air in terms of music from Dharma Productions. Ajay-Atul, partnered with Amitabh Bhattacharya, bring an earthy, gritty and intense soundtrack to Agneepath. The songs definitely require a specific mood and there isn’t much of a feel-good factor. But that was never the intention. Going by the promos, this film is lightyears from feel-good and the album seems to be a good way to get ready for the film. As far as film soundtracks, go Agneepath is a high note on which to end the year.

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Last year, you, our readers, crowned Peepli Live as the best film of 2010. You also decided that Ishqiya and Udaan both had the best soundtracks of the year. That was our first go at inviting our readers pick their favorite films of the year, which we’re sure you would agree is a far more democratic assessment of films than the hundreds of award ceremonies that pop up every other day. It went so well last year that we’re excited to do it again. So here’s your chance – cast your vote and be heard. Tell us which film(s) gripped you, inspired you, tugged at your heartstrings or just made you fall in love with the movies all over again.

2011 offered an interesting platter of films. There were some unexpected surprises, and a surge of smaller, niche films taking the spotlight (yet again). However, it was also a successful year for big-budget masala blockbusters coming back with a vengeance. Here are some reminders and our take on the films and albums that stood out. Cast your vote in the comments section below this post (you can vote for more than one) and we’ll announce them soon!

The year’s first release, No One Killed Jessica, took the country by storm. It was an apt amalgamation of entertaining drama with a solid political message at its core. Never to be left behind, Aamir Khan Productions released two polar opposites, Kiran Rao’s love letter to Mumbai, Dhobi Ghat and Abhinay Deo’s “S#!t Happens!” comedy Delhi Belly. Both films received critical acclaim, but Delhi Belly walked away with the box office success. And DK Bose!

Speaking of producers playing it right, Ekta Kapoor, otherwise synonymous with the inexplicably popular franchise of rambunctious TV serials, also established herself as a producer of provocative films of substance. After launching ALT Entertainment last year with the innovative Love Sex Aur Dhokha, Kapoor presented Raj Nidimoru and Krishna DK’s Shor in the City, a captivating film about colliding lives in Mumbai. The icing on the cake for Kapoor and ALT Entertainment, however, was the recent release The Dirty Picture, a film that has rewritten the rules for female-centric narratives.

The smaller films packed just as much of a punch. Onir’s multi-layered I Am showed a slice of humanity in contemporary India, boldly tackling issues as diverse as alternative reproduction, Kashmiri political divides, child abuse and homosexuality. The film has been riding a wave of international film festival recognition and awards and deservedly so. Then there was the quiet scene-stealer in the form of Stanley Ka Dabba. Written and directed by Amol Gupte, the film was simple yet profound, and for once didn’t show children in a condescending or two-dimensional manner. In a similar vein, I Am Kalam too showed a child’s uphill journey from the depths of poverty to literacy and self-fulfillment. And in complete contrast to these films was Bejoy Nambiar’s Shaitan, a racy thriller about five young friends who get trapped in a dangerous situation that spirals out of control.

The big-budget potboilers cannot be ignored either. Financially, 2011 saw the box office cash register ringing over and over again, with several films bringing in the big bucks. While Salman Khan-starrer Bodyguard emerged highest earner of the year, his other release Ready also made a splash. Meanwhile, other biggies like Shah Rukh Khan’s pet project Ra.One and Ajay Devgan’s return to mean action hero in Singham also walked away with a significant chunk of change. Such masala fare has a long-standing reputation of being designed and packaged as money machines more than good cinema necessarily. Perhaps the most deserving of the big earners was Zindagi Na Milegi Dobara, a subtle, contemplative look at male bonding from director Zoya Akhtar. Regardless, the repeated box office success of masala films (Zindagi Na...not withstanding) proves that the format isn’t going anywhere. However, are they really the shining gems of Hindi cinema in 2011?

Musically, 2011 wasn’t a particularly accomplished year for Hindi cinema’s composers. The big masala films had their staple “dhinchak” songs, item numbers aplenty, but little to leave a lasting impression. Besides Amit Trivedi’s zingy album for No One Killed Jessica, there was Ram Sampath’s unapologetically fun contribution to the songs of Delhi Belly and the wonderfully eclectic collaborative album of Shaitan, composed by Prashant Pillai, Amar Mohile, Ranjit Barot and Anupam Roy.

Then there were individual songs here and there that dominated the charts, whether it was Akon’s impressive Hindi in ‘Chammak Challo’ in Ra.One, the incredibly fun rehash of ‘Sadi Gali’ in Tanu Weds Manu, or Usha Uthup’s seductive crooning in ‘Darling’ from 7 Khoon Maaf. However, the one album for us that absolutely dominated 2011 was Rockstar, composed by none other than A.R.Rahman. Every track held its own, and by blending new sounds and styles to create real gems, Rahman proved once again why he is seen as a musical genius.

So, there you have it, our overview of the year’s film and music. Now, it’s your turn to vote. Add a comment to the bottom of this post with your favorite film(s) and music album(s) of the year. You can even vote for films and albums not mentioned in this post. Surprise us! The results will be announced in a couple of weeks.

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There’s a serious condition ailing the mainstream Hindi film industry – the unnecessary compulsion to talk more and show less. In one sequence in Farhan Akhtar’s Don 2, the conniving lead (Shah Rukh Khan, back with his grimaces) explains in detail to his accomplices the plan to blackmail a high profile target. Once the accomplices nod and agree to the plan, they then execute the plan, exactly as was explained earlier. And after the same thing has been told and then shown, it’s told again in a summary of sorts where the cops hunting for Don realize the plan and feel the need to spell it out. Again. This, unfortunately, is what unceremoniously drags Don 2 down from its high expectations and even bigger hype into disappointment.

Akhtar has established himself as a quality filmmaker (amongst his many other talents), managing to balance style with story in a fresh, new age way. He has done this right from his directorial debut Dil Chahta Hai, and followed it with Lakshya and even the first Don film, which was a remake of the 1978 Amitabh Bachchan cult classic. Conjuring up an original sequel to a remake of a cult classic is akin to playing with fire. This is why Don 2 comes with such high expectations and is an unfortunate letdown. The script and dialogues become the biggest weakness of a premise that had the potential for oh-so-much.

The story continues some time after where the first one left off. It begins with the elusive Don resurfacing, creating some more havoc and in a surprise move, he turns himself in. His goal is to see Vardhan (Boman Irani) again, his arch enemy who was caught and imprisoned at the end of the first film. Whipping up another plan, Don now wants to collaborate with the one man he trusts the least, starting with plotting both their escapes from prison. The premise is intriguing and, knowing the dynamics between these two characters in the first film, the sequel could have been taken in so many different directions to make for a taut and thrilling ride. But the intrigue fizzles out soon after, as Vardhan is reduced to a mere sidekick for most of the film. He listens to Don’s plans, asks a couple of clarification questions and then agrees each time. Yes, he too has his own motives but his character’s dramatic weight is significantly lessened here.

Akhtar and his team have designed Don 2 as an action thriller, using the cat-and-mouse chase template that has proven to be such an entertaining genre. The problem with this film, however, becomes the sheer lack of depth in the story which drags the film considerably. The first Don had a lot going on – multiple players in a drug trade, a police department with embedded criminals, a powerful female lead with a personal agenda, a wronged man looking for vengeance, all encompassed within an intricate, if bizarre, master plan hatched by an all-powerful elusive villain. In Don 2, this master criminal just wants to rob a bank in Berlin.

The cop team of Roma (an uninspired Priyanka Chopra) and Malik (an even more uninspired Om Puri) are back on the hunt for Don as they follow him from Malaysia to Germany. Don’s new arm candy accomplice is Ayesha (Lara Dutta, oozing glamor), who is actually one of the more effective characters for how little she needs to speak. Her expressions and actions say it all as she dutifully and confidently helps put Don’s puzzle together. The other new character is the tech whizkid Sameer (Kunal Kapoor, functional but underused), who is hired by Don to execute his plan.

Good action films also need lots of one thing – good action. The few chase and action sequences Akhtar orchestrates are snazzy. The car chase as Roma tails Don through the streets of Berlin tries some new stunts and is a thrilling watch. But even the action sequences fade out in the second half and especially the climax. The part of the film that should have been the fastest in pace, filled with twists and should have left the audience breathless is instead riddled with mundane dialogues, as the characters literally stroll casually through a high pressure, time-sensitive situation.

The best thing in Don 2’s favor is its production quality. It is by far one of the slickest and most stylish films seen in Hindi cinema recently. In that respect, it more than lives up to one of Akhtar’s trademarks as a filmmaker. The camerawork by Jason West is a pleasure to watch. The one and only song-and-dance sequence in the entire narrative, Zara Dil Ko Tham Lo, is brilliantly shot and the action sequences have an artfulness to them that is still rare in commercial Hindi cinema.

At a runtime of two and a half hours, Don 2 simply doesn’t have enough to justify its length. While Khan managed to carry off the character effectively in the first film, he seems forced this time, turning his character from a wicked and clever baddie to just a nuisance. It’s hard to connect with him or any other character in the film, while the script leaves hardly anything to the imagination. If you must watch it, go for the visuals and the action scenes. Otherwise, it’s an underwhelming film in many ways from Akhtar, which is disappointing considering his impressive track record.

Image courtesy of Reliance Entertainment.

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I’m sitting in the grand ballroom of a swanky central London hotel listening to some of India’s top industrialists and marketing experts speak on the subject of ‘Indian Powerbrands’. Listening to how and why successful corporations are preparing to go global seems diametrically opposite to the sorry state of affairs the Brits and Europeans have got themselves into during the economic crisis.

At the same time, two floors below in a boardroom sits Farhan Akhtar, one of contemporary Hindi cinema’s leading lights. As a one man directing, producing, writing, acting and singing machine, he has been responsible for creating some of the most imaginative screenplays, songs and performances to come out of India of late.

As I move from the ballroom to the boardroom to take up my interview slot with Akhtar, I realise the transition Indian businesses have made over the past two decades is reflective of the kind of movies he is making. Confident, commercially successful and globally aware, everything about Akhtar screams ‘Incredible India’.

The fact that Akhtar is in London to collect an award as one of twenty leading icons to be inducted into the ‘PowerBrands Hall of Fame’ is no surprise. He may be an artiste, but he’s also one of Bollywood’s most financially flourishing filmmakers. Taking time out to talk about his latest project, Don 2, it’s clear to see how media savvy Akhtar, and his fellow Indians upstairs, have become.

So what’s it like being handed the ‘Rock Star of Bollywood’ award I ask Akhtar? He seems a little embarrassed by the title but grateful for the recognition. “Its nice that people appreciate the work I’m doing, so everything that comes along with that and as a result of that is always appreciated,” he answers modestly.

Bollywood has come a long way in the past couple of decades since India’s rise in economic power. However, there is still a big section of the world outside India who holds onto the kitsch stereotype of handsome heroes and dainty heroines running around trees in the rain. I ask Akhtar if the Hindi film industry could brand itself better in the west.

“There are people who are interested in the films only their countries make and those who are interested in films in general. The latter have a general understanding of what our films are like. To a certain extent that’s an old fashioned notion of what our films are like, but there is a growing awareness that things are changing. By changing I don’t mean that songs will no longer happen in Hindi movies etc.,” he says.

What does he mean then? “We’re talking about different subjects a little more maturely maybe. Also the way we are telling our stories has changed. The melodrama has been cut out, which is a great thing. Compared to the 70s when Salim-Javed were writing films, the language they used wasn’t very flowery. They were doing contemporary stuff back then but they were an exception to the rule.

Now the rule is that you don’t write flowery language – you write everyday language. If you are writing a film in Mumbai you’ll write it in a different way than you would for a film set in Bihar for example. You write it true to a certain region and strata of people.”

With Don 2 as about as contemporary in look as it is in storyline, there is no doubt Akhtar is about modern films for a modern audience. By the looks of his slick trailers, Don 2 could easily fit into the Hollywood mould had it been made in English language. But where does Akhtar himself see Don 2 fitting in – within Indian or international cinema? “It’s an Indian film made for a primarily Indian audience or people who speak Hindi. Whoever else, by seeing the trailer, hearing the film or being excited that Shah Rukh khan is in it, wants to go and see it I’m sure they will enjoy it,” he replies. “It’s difficult to narrow down your options to say these are the people who should watch it. Any filmmaker in the world over would tell you that they would want everyone to watch their movie.”

Many Indian directors are in search of the elusive crossover hit but Akhtar doesn’t come across as one who is motivated by non-Indians admiring his films, as he explains. “I think that happens a lot more from filmmakers telling stories that they feel appeal more to a sensibility or an aesthetic of someone who’s not the so called mainstream Indian viewer. On some level there is some truth in it. There is a segment of society that would one hundred per cent watch those movies, but it wont be the kind of numbers that will go in to see a Don 2. If you feel that a movie requires people to shed some inhibitions about sexuality or caste or something else, it’s a different thing. There are many issues in India and you come up against resistance at times.”

So is Don 2, the sequel to his 2006 hit remake of the cult classic originally penned by his father Javed Akhtar, issue free? “Don 2 is an entertainer. A through and through action thriller flick. The closest we’ve come to a controversy is why Don is smoking,” he laughs. “We are allowed to smoke on screen again, but now the only thing we have been requested to do is add a disclaimer before the film starts, which essentially says that smoking is bad for health. I don’t have a problem with that, so long as I don’t have to change scenes in my film because of it.”

With his lead actor a self proclaimed smoker, I ask Akhtar how one would stop Shah Rukh from smoking? “You don’t need to stop Shah Rukh smoking. He knows what he’s doing. He is an adult as well as a chain smoker,” he jokes.

Akhtar is not wrong about Khan. He does know what he is doing. Having produced and starred in Ra.One, India’s first 3D Bollywood feature, he was the first to realise the commercial and cultural importance of the new format and bring it to Indian audiences. Akhtar is about to follow suit by releasing his sequel in 3D. I wonder what kind of challenges that bought to him as a director and producer.

“When I was making the film I didn’t really think about 3D or doing a conversion into 3D. It’s only when I saw a test of a trailer being converted into 3D where I was like wow, this could actually really work. The challenge really lies in post production when you’ve done the edit, where you feel on some level as a director that your work is over. Then 3D opens up a whole new can of worms and requires you to get involved again from the creative process from the very beginning.”

Does that mean Akhtar would do it differently next time round? “I think if I wrote a script that I wanted to be in 3D I’d probably shoot it in 3D instead of converting it. The technology now to shoot in 3D is available and is working really well. It’s just expensive. It also depends on the nature of the film is. If it’s a small, private film about individuals you may not need to go down the 3D route, but if the visual aspect of your film offers you the scope and scale to make the experience a lot larger that is exactly what it does. With Don 2 we’ve shot in such amazing locations in India, Germany and Malaysia that we felt it would work.”

One thing that has always worked in Akhtar’s productions is the music. From Dil Chahta Hai and Rock On to Don and Zindagi Na Milegi Dobara, the soundtracks have always been well received and stood out for their catchy numbers. Unfortunately, Don 2 hasn’t enthused Indian music fans as much as expected. Akhtar defends his soundtrack. “The soundtrack to me is true to the film. It’s not the kind of film that has too many frills in it. It’s very direct about what it wasn’t to achieve. That is the biggest difference in this one and the Don that went before. There was a romantic angle and family aspect with the kid there. This one is about Don who wishes to get from Point A to Point B and the people in his way who want to stop him. It’s focused on that one point. The background score, the music and everything else that fall into this film has to support that. I didn’t want to take any detours just to create a song.”

The high light for many people will be seeing Khan reprise a villainous role in Don 2. Akhtar agrees. “He’s a cool character but ultimately the bad guy. It’s probably the first time any kind of sequel has been made for a villain. I feel it’s a good change for an actor like Shah Rukh to get the chance to play someone who is not clean cut and good all the time. Villains are interesting people and always make for great viewing and performances. I’d love to play one.”

Was he tempted to put in a cameo, Alfred Hitchcock style? “No, not at all.” What about a Don tattoo like the one supported by Khan in the film? “No I didn’t actually. Once in a while we wanted that while we were filming, but not permanently,” he laughs.

Don 2 opens in the UK Dec 21st and worldwide Dec 23rd.

http://don2thefilm.com

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