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Kejriwal resigns as Delhi CM

Kejriwal resigns as Delhi CM:

Arvind Kejriwal said, Our cabinet decided in our meeting that our govt is resigning. For Lok Pal Bill, I am ready to quit the post of CM one hundred times. I am even ready to sacrifice my life for the nation. If I have to give my life for the country, I will not hesitate. My Cabinet has recommended the dissolution of Delhi Assembly. We have recommended early polls in Delhi. We worked with all our hearts, we may have made mistakes, we are only humans. We have worked night and day for the last 48 days for the people of Delhi: Delhi CM Arvind Kejriwal addresses party members.
Delhi Chief Minister Arvind Kejriwal resigned on Friday over delays in the introduction of an anti-corruption bill he was pushing for.
Kejriwal, a former tax collector who heads The Aam Aadmi (Common Man) Party, seized a stunning victory in India's capital in state elections in December on an anti-corruption platform.
He resigned following a stand-off in the Delhi assembly. He had wanted the anti-graft bill immediately tabled and passed in the assembly but the Congress Party and opposition Bharatiya Janata Party said it must be approved by the central government first, which Kejriwal disputed.

Highway dishes out a trip that is definitely worth the price of the ticket
Director: Imtiaz Ali
Running time: 133 minutes
Music composed by: A. R. Rahman
Producer: Sajid Nadiadwala
Cast: Randeep Hooda ,  Alia Bhatt
 
A young city girl, full of life, is on the highway at night wiith her fiancé. They are about to get married in four days. Suddenly, her life is swung away from the brocade and jewellery of marriage to the harsh brutality of abduction. The same night, the gang is in panic. The girl is a big industrialist's daughter. His links in the corridors of power make ransom out of the question. They are doomed, but the leader of this group is adamant. For him sending her back is not an option. He will do whatever it takes to see this through. But as the days pass by, the scenery changes, the light changes, the sun sets and rises and the air changes, she feels that she has changed as well. Gradually, a strange bond begins to develop between the victim and the oppressor. It is in this captivity that she, for the first time, feels free. She does not want to go back but she also doesn't want to reach where he is taking her. She wishes this journey to never end. Maybe the highway will not really change her. Maybe this feeling is just a passing phase. Maybe not.
 
Shot on stunning locations spread from Delhi all the way up to the slopes of Himachal Pradesh and Kashmir, via the plains of Rajasthan and Punjab, the film yields bewitchingly beautiful images.
 
Writer-director Imtiaz Ali has hit a road less taken. The result is a stylish two-hander that is defiantly unconventional, if not entirely satisfying.

But it isn’t just the visual and auditory delights on offer that make Highway a sensitive, understated entertainer.
Its two exceptional characters sway to the kind of subtle emotional riffs that usually elude mainstream Hindi cinema.

Days ahead of her wedding, Veera Tripathi (Alia Bhatt), happy-go-lucky daughter of a politically connected Delhi tycoon, goes for a spin on an impulse in her beau’s swanky sedan.
At a deserted gas station off the highway, the city girl is abducted by a gang led by a gruff, rustic criminal, Mahabir Bhati (Randeep Hooda).

The petrified lass is shoved into the back of a mini-truck and driven off to a hideout in the city’s outskirts.

Realising that a ransom call to her dad would be an invitation to big trouble, Mahabir decides to go into hiding with his quarry.

Veera is whisked away first to Ajmer Sharif and from thence to a seedy bolt-hole in the middle of an erosive salt pan in Rajasthan.

When the shock subsides the Stockholm syndrome kicks in. The lady in distress develops a bond with the tormentor.

Up until this point, Highway, notwithstanding the off-beat captor-captive dynamics, looks like standard fare.
But the back stories that emerge as well as the ride ahead contain startling twists.

The loquacious Veera has a dark secret buried in her past. The strong-headed Mahabir, on his part, is nursing the effects of a rough childhood.
As they begin to chip away at each other’s brittle outer shells, an extraordinary love story, shorn of all hints of carnality and built solely on the need for mutual solace, takes shape.

Not all of it is convincing though. For one, the heroine’s shift from the initial pangs of fright to the ultimate sense of freedom in captivity appears arbitrarily rushed.
Moreover, the gangster’s messed-up mind is revealed only in sporadic, fuzzy snatches.
It is established a bit facilely that crime is the bitter man’s rebellion against wrongs heaped on his mother by an abusive father and an unfeeling society.

Impressive vistas and an eclectic musical score made up of a lullaby, a pop mash-up and Sufi ditties, among much else, provide the backdrop to the girl’s outward and inward voyage of discovery.

Highway bears the unmistakable Imtiaz Ali stamp. The songs are niftily integrated into the narrative; the focus is squarely on the plot; and the female protagonist isn’t a mere object of desire.

The film would have been a bigger triumph had the plot, which hinges on a collision between two diametrically dissimilar individuals and worlds, packed a little more punch.

As the slim storyline unfolds, it becomes clear that the hostage-taker and the victim, despite coming from different ends of the Delhi NCR social spectrum, have a lot in common.
Their scarred psyches draw them closer to each other, but not in the manner associated with standard screen romance.

It is here that Highway takes a wonderful detour into fresh territory.

It adopts a novel mode to address issues pertaining to the class and culture divide, the exploitation of women in feudal communities, and the safety, or lack of it, of the girl child within and without the family.

Imtiaz Ali litters the narrative with little touches that speak of human connections in ways that are disarmingly simple but effective.

Veera asks her captor: “What do you like more – the sea or the mountain?”
“I have never seen the sea,” Mahabir replies. “I love the mountains too,” the girl concludes airily.

A little later, Veera is perched on a rock in the middle of a gushing river, the waters swirling all around her.

We do not hear her, but see her guffawing and gesticulating uncontrollably, visibly asking herself why she is cracking up.

The audience does know the answer: the onset of true joy has opened “the knots” in her mind.

That is exactly what Veera would have wanted in the first place when she talked her feckless fiancé into taking her on a drive in the middle of the night.

The ever-dependable Randeep Hooda delivers a solid performance.
A measure of his confidence in his craft is provided by the restraint that he brings to the characterisation, never seeking to get ahead of the plot.

Alia Bhatt is a revelation. She responds to the demands of the role with all the skill at her disposal, nailing both the vulnerability and the tenacity of a harried but spirited ingénue.

The burden of the film’s message is: when the home and the world feel like a cage, the wide open road, no matter where it leads, is a surefire path to liberation.
Imtiaz Ali articulates this thought with a sense of quiet purpose, and with Zen-like serenity.

But that is not to say that Highway is anywhere near perfect.

It has many a moment that is endearing and exquisitely etched, but the film is not always engaging enough to be able to offset the occasional inertia that stems from its lack of physical action.

But doubtless, Highway is a must watch as much for what it is as for what it isn’t.

It is not a typical romantic drama, nor an average love story. It is a road movie with a difference.

 
 
 

Movie Review: SATYAGRAHA

Movie Review: SATYAGRAHA 

Rating: 4 Star Rating: Recommended4 Star Rating: Recommended4 Star Rating: Recommended4 Star Rating: Recommended   out of five

Cast: Amitabh Bachchan, Ajay Devgn, Manoj Bajpayee, Kareena Kapoor Khan, Arjun Rampal, Amrita Rao
Duration: 152 minutes


 
 

Director: Prakash Jha

What’s Good: A well intentioned social drama.

What’s Bad: Over dramatic, fractured script and a plot that goes haywire.

Right at the start of the film we see Ajay Devgn as a young fellow who’s visiting a small town for his best friend’s wedding. The best friend’s dad (Amitabh Bachchan) is a siddhantwadi, principled sort of man, who used to be the principal of a local school once. Over a casual dinner at home, the best friend’s father (let’s call him BFF) asks young man Ajay the usual stuff, what his future plans are etc. Ajay merely tells him that he wants to set up his own business when he finishes his studies. Boy, this provokes the BFF enough to launch into a minor tirade accusing him and others of being greedy in a world where money is the only dharma and market the only morality. So far as I could tell he was only going to be pursuing a master’s degree at this point.
A new landmark, a revolution was created in the history of Ambikapur, after thousands of enraged commoners thronged on the streets to raise their voices against the corrupt and unjust system of the country. That's what the maverick filmmaker Prakash Jha has tried to portray in his new release Satyagraha, that features Amitabh Bachchan, Ajay Devgn, Kareena Kapoor, Arjun Rampal and Manoj Bajpayee in the leads. Jha's motive behind making Satyagraha was indeed positive at heart, but the half-baked script fails to make an impression on the audiences.
StorySatyagraha introduces us to the 'satyavaadi', Gandhian Dwarka Anand (Amitabh Bachchan), who bears an uncanny resemblance with the real life anti-corruption crusader Anna Hazare in the film. Anand's 'satyagraha' starts, after he loses his son Akhilesh (Indraneil) in an accident, that was later suspected as a cold-blooded murder. This movement was joined by Akhilesh's wife Sumitra (Amrita Rao), his friend Manav (Ajay Devgn), a journalist Yasmin (Kareena Kapoor) and a goonda-turned-self-appointed youth leader Arjun Singh (Arjun Rampal), who demands that the Government should clear all the pending public applications, dues and petitions within a month's time. Satyagraha is somewhat an onscreen portrayal of Anna's anti-corruption campaign, but the movie falters big time and doesn't do enough justice in making a strong impact on the viewers.Satyagraha lacks research and has been served too cold for the viewers to endure. There are indeed quite a few intense and touching scenes, but those unfortunately get lost in the ocean of a lame and weak script. Satyagraha boasts of a powerful starcast, and yes, you heard it right! Prakash Jha does a cameo in the flick. Yet, nothing manages to keep the audience engaged and convinced.PerformancesIn one word, there was nothing good in the Satyagraha, apart from Amitabh Bachchan and Ajay Devgn's stupendous performances. Kareena Kapoor is too artificial and made up for a journalist's role. Arjun Rampal doesn't get enough scope, while Manoj Bajpayee as the shrewd minister doesn't look or act shrewd enough. His lame jokes and unneccesary giggling are sheer blunders.And finally comes the biggest flaw - Amrita Rao! Rao is possibly the biggest disppointment in Satyagraha, who doesn't even manage to deliver a percentage of quality performance throughout the movie.VerdictSatyagraha is neither compelling, nor gripping. Unlike Jha's other hard-hitting political dramas, this one is too light and monotonous. The movie goes on and on with a poor script, at times testing your patience. Nothing can spare you in Satyagraha, until it concludes and you get a breather finally!

 

Charges against Asaram Bapu are correct: Police

Lucknow: The family of the girl, who lodged a sexual assault complaint against spiritual guru Asaram Bapu, Thursday alleged that they were being pressurized to let go of the matter.

Pooja Ben, a close disciple of Asaram Bapu, had come to the family's house and pleaded with them to end the matter, the father of the girl said in Shahjahanpur, Uttar Pradesh.

When contacted by a news agency, a spokesperson of Asaram Bapu's ashram in Indore said she had no knowledge of the matter.

The girl had last week alleged that Asaram Bapu had raped her during one of her stays at the seer's ashram.
 

A case has been filed by Rajasthan Police and Asaram Bapu has been served summons to present himself Aug 30. However, citing prior engagements till Aug 31, Asaram Bapu has sought more time to appear before police.

The seer has refuted all charges.

"She (Pooja Ben) came to our house, touched the feet of my wife and requested her to withdraw the matter and also admitted that Asaram Bapu had committed a grave mistake," the father of the girl alleged.

He, however, said he would not do so at any cost as the seer (Asaram Bapu) had "played with their faith and emotions".

"We always held Bapu as god, and look what he has done," he said.

The girl's father criticised the seer for claiming that the allegations against him were false and part of a conspiracy.

"If he feels so, let there be a probe by the Central Bureau of Investigation (CBI), if I am found guilty of conspiracy, I should be hanged and he is found guilty, he should be sent to the gallows," the man said.

Security has been enhanced at the girl's house. An inspector, four constables and two women constables have been posted there. Legislator Suresh Kumar Khanna met the family Wednesday.

Movie Reviews "Chennai Express"

Movie Reviews "Chennai Express"

Ratings:4/5 Review By: Taran Adarsh Site:Bollywood Hungama

On the whole, CHENNAI EXPRESS has the trademark Rohit Shetty stamp all over. You seek entertainment, entertainment and entertainment in a film like CHENNAI EXPRESS and the movie lives up to the hype and hoopla surrounding it. The tremendous craze surrounding the film, the Rohit Shetty - SRK - Deepika combo, the Eid release, besides the extensive release strategy by UTV, should ensure a record-breaking start for this biggie. Right from the paid previews to the opening weekend to Week 1, CHENNAI EXPRESS should be on a glorious march in days to come, setting new records in India and also in the international markets. All you lovers of masala movies, board this Express pronto!

Ratings:3.5/5 Review By: Meena Iyer Site:TimesOfIndia (TOI)

In an ode to his own cinema—read Golmaal series, Bol Bachchan, Rohit Shetty ishstyle, the director, who has grossers in Bollywood's 100-crore club, ups the scale for his Eid offering. Chennai Express (CE) is a magnificently mounted film. Never having been strong in the story department, CE too has a guillible plot line. For what is primarily a Hindi film, there's too much spoken Tamil. Note: You may not like the film if Bollywood potboilers leave you cold.

Ratings:3/5 Review By: Saibal Chaterjee Site:NDTV

It’s a somewhat long ride that occasionally teeters on the edge of tedium, but it certainly isn’t all wrong. Parts of Chennai Express, propelled by a spirit of inspired lunacy that holds the no-holds-barred action comedy in good stead, is markedly better than the sum total of the film. If only it had enough steam to sustain its momentum all the way to the very end, it would probably have been far more fun to watch.

Ratings:3/5 Review By: Subhash K Jha Site:IANS

So it’s finally here. The good news is that Chennai Express is a pleasant and likable film in parts. The bad news is, it does nothing for Shah Rukh Khan’s indomitable star power except to tell us he can still play a 40-year Rahul without faltering. That, we already know.

Ratings: 2.5/5 Review By: Sukanya Verma Site:Rediff

Does Chennai Express break away from it? Not always. But even with his overstating approach, it's decidedly more zany compared to all the Golmaal sequels and ilk he's doled out in recent years.

Finally, did I get my ten laughs? Well, I came *this* close. By the time the count had reached seven, Chennai Express decided to shift tracks from droll comedy to dreadful drama.

Ratings:2/5 Review By: Karan Anshuman Site:Mumbai Mirror

An individual opinion in such critic-proof films is like a smashed up secondary car in a Rohit Shetty convoy: it amuses momentarily. Deepika Padukone is perhaps the best reason to watch this movie and her absurd accent only adds to her charm. Of course it only works when the dialogue is comical. Imagine how everything derails when she talks like that in emotional scenes. As for Shah Rukh Khan, one hopes he smashes all box office records so that he may take a moment and consider doing a film along the lines of a Kabhi Haan, Kabhi Naa, Swades, or a Chak De. Films that were not about the math.

Ratings:1/5 Review By: Raja Sen Site:Rediff

As the film progressed I realized a few things. Sometimes critics should not be separate from the audience. In fact, I think critics should sometimes watch films with the audience and they might see a whole lot different film. As a critic I can advice the audience that most of Chennai Express is loud, very mindless. But I will also say that it is harmless.I realize there is value to this brand of Bollywood and it is not going to go away. Its purpose is to entertain the audience. And that is where Chennai Express delivers.

Ratings:3.5/5 Review By: Sarita Tanwar Site:DNA

This is a treat for all Hindi film lovers. It has it all you'd expect from a big commercial masala film. It has all the ingredients -- big star cast, drama, action, comedy, songs, the car chases and the big finish, all delivered in Rohit Shetty's unapologetic ishtyle. This one is a crowd-pleaser. There is just too much Tamil in Chennai Express. The sole purpose of Chennai Express is to entertain. And that it does. So grab a bucket of popcorn, sit back and enjoy the ride.

Ratings:2/5 Review By: Rajeev Masand Site:rajeevmasand.com

Chennai Express attempts to marry the puppy-dog sentimentality of a typical Shah Rukh Khan romance with the broad humor and the crash-bang-boom thrills of a Rohit Shetty action comedy. But the film does little justice to either genre. A big reason for that is the lethargic pacing. Shetty has pulled off cornier stories in the past, delivering gags and stunts at breakneck speed. This film, however, is a tough slog because the jokes aren’t funny, and the set pieces entirely rehashed. In place of a real performance, Shan Rukh resorts to the sort of facial gymnastics that could shame an Olympian. To endure this indulgence, you have to be a die-hard fan. I’m going with a generous two out of five for Chennai Express. How to put this politely? It’s a big, fat bore. A bloated vanity project for an actor capable of so much more.

Ratings:-- Review By: Mihir Fadnavis Site:Firstpost

Fillim ke sab shortcomings mai ignore karti agar comedy funny hoti. Ye film comedy lagti jaise lingam gonorrhea comedy lagti. Shah Rukh ek scene me “nature’s call” bolke sussu finger dikhaati, fir nature ko phone se call karne ki acting karti. Mai facepalm karti. Shah Rukh Rajini aur Balaiyya jaise comedy stunts try karti, lekin execution me embarrassing belly flop karti.

On top of that, Sharukh laugh mining ke liye cringe inducing overacting aur ham karti. Itna ham hoti, mai Shah Rukh ko Babe the pig bulati. Ek scene mey Shah Rukh uska chewing gum gunda ke face se bounce karke chew karti, phir tongue bahar nikalti. Mera lunch pet se bahar nikalti. Poora jokes fillim me funny facial expressions and gimmicky noises se juxtapose hoti. Shah Rukh real life mey bahoot smart, witty and funny hoti. Sharukh ko ye sab bokwas backround noise aur facial exaggeration zaroorat nahi lagti. Fillim se mera ek hi takeaway hui. Hero-heroine against 80s’ style small town don Himmatwala me bokwas hui, Chennai Express me bhi bokwas hui. Ada chi.

Ratings:2/5 Review By: Anupama Chopra Site:The Front Row (Hindustan Times )

Chennai Express plays neither to Rohit’s strengths nor to Shah Rukh’s. It’s a strangely sloppy mishmash of cheesy humor, half-hearted romance, half-baked emotion and head-banging action. But mostly the film is a slog. Rohit’s movies have never been about plot or character or performances. His films have only one function: to entertain you by whatever means necessary. But sadly a film specifically designed not to bore does exactly that. So, despite the years of devotion and huge affection, I cannot second Shah Rukh’s command to get on the train baby. I’m going with two stars.

Ratings:2.5/5 Review By: Shubhra Gupta Site:Indian Express

Chennai Express began chugging along , I found myself laughing out loud in a place. Or two. The laughs came intermittently through the first half, and I was still sitting in my seat at the interval. And then it turned into the same old story.

Still, this is a pair trying to have some fun, and coming up with some genuinely funny moments. Padukone looks lovely and sticks to a spunky over –the- topness, and doesn't waver, till she's made to go all emotional. That's when her graph dips. That's when Shah Rukh's raffish charm slips. And that is also when `Chennai Express' derails. And wannakum becomes wannago.

Ratings:-- Review By: Komal Nahta Site:ETC Bollywood Business

There is just too much use of the Tamil language in the dialogues, making it irritating and boring for non-Tamil-speaking people. On the whole, Chennai Express will meet with a mixed response – it will be liked by one section of the audience but its comedy will not find favour with another section of the public. This will come in the way of a long run for the film. No doubt, its business will be good because of the release during the bountiful Eid festival but collections, especially in circuits like U.P., Bihar, Rajasthan and East Punjab, will not sustain for too long after the initial euphoria dies down.