141min,35mm,1:2.35 aspect ratio,Dolby Digital,Colour,Hindi.2003.INDIA.IMDb

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Location: bombay, India

Son of a soldier, I was born in Sultanganj in Bhagalpur district, Bihar. My childhood days were spent in an earthy rural life. I was deeply inspired by the rich folk culture of Buddha’s own land, Bihar. Right from the beginning, I Grew up with real images of Melas, Ramleelas, Bahuripiyas, incredible rituals, strong religious milieu and the vibrant Mithila Art. Natural calamities like flood and drought gifted unforgettable images. Changing seasons of rural life on the bank of river Ganga matured into a sense of poetry and language. Wonder years passed chasing steam trains that passed through the fields of my native village. Listening to radio programs made for defense personals was my only window to the outside world. With such a treasure of inspirational experiences a story teller evolved. I am a practicing film maker in Bombay today.

Wednesday, August 23, 2006

Movies Previews
Praan Jaye Par Shaan Na Jaye

Cast :Raveena Tandon , Namrata , Rinke, Diya Mirza , Shweta menon ,
Preview : Praan Jaye Par Shaan Na Jaye co-inspirited by multi-star films like Lajja brackets another powerful female lead in a attenuated and potentially hard hitting film. Raveena Tandon, Namrata Shirodkar, Rinkie Khanna, Diya Mirza, Shweta Menon, Divya Dutta, Vijay Raaz, Shivaaji Sattam and Aman Verma are the respected cast members. Actresses like Divya Dutta and Shweta Menon have aptly described their roles as the first ones of substance. Script and screenplay writer Mahesh V. Manjrekar, who is also a producer in this venture, is also making a special guest appearance as a villain. As the title suggests, Praan Jaye Par Shaan Na Jaye is the tale of forty nine families living in forty nine homes all under one roof. A total of 239 people live in this chawl and all go through life?s struggles and happiness. Love, life, anger, joys, sorrow, togetherness are all what these families face under this one roof. They even share similar commodes.Praan Jaye Par Shaan Na Jaye parallels the specific lives of those women who struggle in this chawl. Those woman like that portrayed by Divya Dutta, a lower class woman whose husband is jobless and an alcoholic. Those women like Shweta Menon who must work night and day only to come home and face abuse. Those like the young Rinkie Khanna who stays strong even though her family is be ridden with turbulences. She is the sunshine hidden amongst clouds of darkness. And the woman portrayed by Raveena Tandon. The leader of these oppressed women, she will stand up, plea not only for the women but for everyone. Or those by Diya Mirza and Namrata Shirodkar who are in confused relationships called love. For, these villagers now has one more problem to deal with aside from the occurrences of their daily lives. A rich and powerful man Praveenseth has eyed the chawl and vows to make it into a "Patalwala Complex". He begins his torturous task of driving each chawl member out one by one by whatever means possible. To do so he has his group of powerful mean with him. Will the chawl members come together to fight them, or will the women stand up to do it themselves. Amidst their daily struggles, can they fight to keep their homes?

Tuesday, August 15, 2006

Review on: Pran Jaye Par Shan Na Jaye

Loud....noisy....and boring!
By: mouthshutdotcom May 03, 2003 08:32 PM (Updated May 04, 2003 09:21 AM)

Pros: Excellent star cast,Aman Verma,Raveena Tandon and Vijay Raaz
Cons: Poor Script,Poor direction,irrelevant scenes,Sushmita Sen`s role

Mindblowing movies ’’Praan Jaye Par Shaan Na Jaye’’,directed by Sanjay Jha and produced by Mahesh Manjrekar is a multi starrer film which stars the likes of Raveena Tandon,Sushmita Sen,Namrata Shirodkar,Rinke Khanna,Diya Mirza,Divya Dutta,Vijay Raaz,Shweta Menon,Aman Verma,Sachin Khedekar and Mahesh Manjrekar.
The film is about the middle class families who live together in a chawl.
The script is very different still the film failed to entertain!

The story of the film revolves around a society of middle class families who live in a chawl like a ONE BIG FAMILY.One day,the owner(Sachin Khedekar) of the chawl,comes to the chawl and order everyone to leave the chawl,as soon as possible.Everybody refuse and declare him that they would NEVER leave the chawl but the owner would not so easily,agree.The film revolves around many families.

The first family is of:-

1.Laxmi Rathod(Raveena Tandon):Laxmi is the wife of Rathod,who has
a great pressure on him because he has to return loans to many people.On the other hand,Laxmi cannot give birth to a child.She wants to be a mother and she asks her husband to take loan for her operation which would cost Rs.40,000.

2.Suman(Rinke Khanna):Suman lives with her parents and whenever her father listens that the police is there,he starts crying because Suman`s brother was a don and when one of his companion killed someone,his name was also given in the list of the murderers.One night,when Suman was sleeping with her family,the police came and took away her brother and beat him severely.After some days,he died and that is why the word ’’POLICE’’haunted Suman`s father.

3.Mona(Namrata Shirodkar):Mona,dances in films,as an extra but for everyone in the chawl she is extra-ordinary.Everyone in the chawl thinks about her and wants her.They all sneak her from her door when she is changing clothes.Afterwards,everybody finds out that she is a prostitute.Mona agrees to this statement and tells that she is FORCED to do it,as her mother is ill and she has to get her younger brothers qualified.

4.Soundarya(Diya Mirza):Soundarya lives with her parents and everyday her parents call boys so that she would get married but she loves a boy in the chawl,who doesn`t even give her a look.Soundarya knows she is ugly and that is why she is complexed but,later she realizes that she is beautiful and so she changes herself completely.The boy whom she loves,regrets why he did not used to look at her.Since then,a line of boys come to Soundarya to propose her and she rejects every boy.

5.Dulari(Divya Dutta):Dulari lives with her husband,mother-in-law and two daughters.Dulari`s husband doesn`t work at all and instead of him,his wife works.He is always talking bad about Dulari and Dulari`s mother-in-law is also no less.She keeps on criticizing Dulari that she didn`t give birth to a son.

6.Sheela(Shweta Menon):Sheela lives with her parents,husband and her one year old kid.Sheela`s husband is good for nothing.Everynight he abuses Sheela and beats Sheela,infront of her parents.At last,she aborts her second child and that day she orders her husband to leave.

In this chawl,enters Aman Joshi(Aman Verma).He tells a man living in the chawl(Vijay Raaz),that he studies in a university and wants to live in the chawl to understand their ways of life.Everybody asks him for loans and he gives loans to everyone in the chawl but soon afterwards we realize that he had been betraying them and all those loans were given by the owner of the chawl and the people of the chawl had to return him the loan with interest.Aman Joshi,who entered the chawl with the intention of landing everyone into trouble,starts feeling for the people of chawl and becomes a part of the chawl.He promises everyone that he would help them all.But is it that easy???

The film could have been very entertaining but the way it has been treated makes the film boring.There is much more of loud noises than seriousness.Everyone in the film is loud and is shouting.

There are many unwanted and irrelevant scenes in the film like:

1.The ’’Sati’’ track where Raveena becomes Sati.

2.The qawaali scene about the ’’RUPA BANYAAN’’.

3.The scenes where the people of the chawl joke,instead of planning seriously and many other several unwanted scenes.

Sanjay Jha`s direction is poor and he could not handle mature scenes with maturity.
Rajeev Shrivastav`s cinematography and action is very poor.
Sanjay Pawar`s dialogues are superb and make us laugh.Dialogues are one of the saving grace of the film which are quite effective and bold.
Sudhakar Manjrekar`s sets of the chawl are very good and the place looks realistic.
Screenplay is poor and the sound effects are also weak.There are no clapworthy drama scenes in the film,which was very important.
The film from the beginning to the end could not grip the viewers attention.
Daboo Malik`s music is very ordinary.Like the makers of the film he was also non-serious while composing the music of this film.All the songs are trash except the song ’’Hum Tere Sanam’’in which Mahesh Manjrekar and Sushmita Sen have performed.The song has been picturized very cutely and Sushmita`s face expressions in the song are lovely.

And now the performances!

Raveena Tandon gives a bravura performance.In the Sati track she stands out.She is really an excellent and talented actress!
Diya Mirza had to do nothing in the film.She had only two scenes,in which she was focused.Although,she looked pretty.
Namrata Shirodkar is PERFECT as Mona!She acts very well.
Divya Dutta gets into the skin of her character and plays it very well.
Shweta Menon is also very impressive and she lives the character of Sheela.
Rinke Khanna is also good and her face expressions and dialogue delivery are JUST right!
Vijay Raaz is another positive aspect of the film.His dialogue delivery,screen presence and acting are all first-rate.
Aman Verma acts like Dilip Kumar but is excellent and shows confidence after hosting the show ’’Khullja Sim Sim’’.
Sachin Khedekar is least convincing.He was disinterested in the film and it could be clearly seen whenever he appeared on the screen.After his excellent performances in Astitva and Freaky Chakra this performance is disappointing.
Mahesh Manjrekar was in the film just to show that he is the producer of the film and is involved with the film otherwise there was no need of him in the film.
Ditto,for Sushmita Sen.Sushmita Sen is totally wasted and she is not the actual narrator,what I thought.The actual narrator was Vijay Raaz.Sushmita Sen is used only to add star value to the film and there is no other reason than that.More and more,her song with Mahesh Manjrekar was put in the end.There was no need for that song in the end,though it was a very cute song(as mentioned above!).
On the whole ’’Praan Jaye Par Shaan Na Jaye’’is worth a miss but if you have nothing to do and can tolerate noises then,it`s alright to watch the film otherwise there is no point in watching it!Disappointing!

P r a n J a a y e P a r S h a a n N a J a a y e
Indien 2003,Reviewed 2003
Regie: Sanjay Jha


Chawls sind grosse Wohngebäude für Mittelstandsfamilien, in der Mitte ein Hof, sanitär nicht gerade perfekt, aber finanzierbar. Ein solches Chawl soll in Bombay einem neuen Wohnkoplex weichen, doch die Bewohner bocken. Das fasziniert den jungen Aman, der in das Chawl einzieht, weil er eine Arbeit über die Bewohner und ihre Macken schreiben will. Er freundet sich mit allen an, verwandelt Saundarya (Dia Mirza) in eine bildschöne Frau und gibt allen Geld. Er wird eine kleine Bank, bei der alle in der Kreide stehen. Niemand ahnt, das er für den Bauherrn arbeitet, der das Chawl abreissen will! Der hat nun mit den Schuldzinsen alle in der Hand. Selbst Aman bereut, was er getan hat. Da hat Laxmi (Raveena Tandon) eine Idee, wie sie an Geld kommen: Sie behauptet öffentlich, ihr Mann werde sterben und sie werde ihm als Sita-Frau ins Feuer folgen. Das sorgt für ein gewaltiges Medienecho und die Chawl-Bewohner sahnen bei den Besuchern des "Events" Geld ab."Pran Jaaye Par Shaan Na Jaaye" ist unbestreitbar ein ungewöhnlicher Film. Zum einen reden die Charaktere (v.a. Cameo-Star Sushmita Sen und Vijay Raaz) oft direkt in die Kamera, dann hört man den Regisseur Regieanweisungen geben und die Songs sind aus anderen Filmen geklaut. Das Resultat ist ein ironischer Blick auf Bollywood'sche Filmkonventionen - jedoch nie als primäre Funktion. In erster Linie ist PJPSNJ nämlich der indischen Mittelschicht gewidmet und handelt denn auch von den Alltagssorgen dieses Bevölkerungssegments. Allzu spannend ist das nicht, aber hin und wieder amüsant, dann politisch engagiert - vor allem in Frauen-emanzipatorischer Hinsicht. Von allem etwas, aber nichts richtig. Es fällt mir schwer, den Film wirklich zu kritisieren, denn Regiedebütant Sanjay Jha versucht ganz offensichtlich etwas Neues zu machen - doch loben mag ich ihn auch nicht, da er einfach zu heterogen wirkt und die ironische Distanz des Films zu sich selber eben auch eine Distanz des Films gegenüber uns aufbaut. Will heissen, wir können uns nicht so gut mit den Charakteren identifizieren.Dennoch ist die Meta-Ebene des Films halt schon witzig. Wenn Vijay Raaz gleich nach der Intermission in die Kamera redet und meint, er müsse noch etwas zum Publikum quasseln, weil in Indien die Leute einfach zu langsam ins Kino zurückkehren und dabei doch gleich eine wichtige Szene komme, dann ist das zweifellos witzig, aber eben: Es reisst ein wenig aus der eigentlichen Geschichte. Wie oben erwähnt sind die Songs ein spezieller Fall und deshalb noch ein paar zusätzliche Worte wert: Der Film beginnt mit einer Coverversion von "Ghanan Ghanan", dem Regentanz aus Lagaan, und mündet in eine kurze Song-Sequenz aus Bombay, bevor Backgroundmusik u.a. aus Sholay und "Mission: Impossible" zu hören ist. Es wird ja oft geklaut in Bollywood, doch hier hat das klar Hommage-Gründe. Und leicht ironische. Insbesondere der "Lagaan"-Song bekommt eine ganz neue Dimension. Dennoch, PJPSNJ ist letztendlich eine milde Enttäuschung. Erfrischend ja, gut gespielt ja, packend kaum.

Hier auf DVD erhältlich Meine Disk (US): Code 0 NTSC. Hindi 5.1. mit englischen UT. Anamorphic Widescreen.

Saturday, August 12, 2006

Pran Jaaye Par Shaan Na Jaaye

Guest director Sanjay Leela Bhansali cut the negative of Mindblowing Movies’ Pran Jaaye Par Shaan Na Jaaye on November 2,'2002.
The film is jointly produced by Mahesh Manjrekar, Asoo Nihalani, Sagoon Wagh and Raj Lalchandani and directed by Sanjay Jha.
It stars Raveena Tandon, Namrata Shirodkar, Diya Mirza, Divya Datta, Rinkie Khanna, Shweta Menon, Kalpana Pandit, Shivaji Satam, Sachin Khedekar, Sayaji Shinde, Vijay Raaj, Vivek Shauq, Sanjay Narvekar, Aman Verma, Sushmita Sen and Mahesh Manjrekar.
The film also introduces new finds Abhijeet Satam, Bharat Jadhav, Ganesh Yadav and Jitendra Joshi.
The other creditsa are story and screenplay by Mahesh Manjrekar, music by Daboo Malik and Nitin Raikwar, cinematography by Rajeev Shrivastava, art direction by Sudhakar Manjrekar, action by Mahendra Verma, dialogue by Sanjay Pawar and editing by Santosh Parab.


Here’s a show of realism with a dash of lime and a pinch of salt.

Masala movie as they say it. Of course, a certain section of the audience (the so-called classes) may not find flavour with the subject for the treatment is quite raw and mass-oriented. But then we have had enough of those mushy kinda stuff and this one is indeed hatke.

Sushmita Sen plays the narrator and introduces us to a group of lower middle class Mumbaites, who live somewhere below the bungalows and above basti – in the chawl. Soon a co-narrator Ganpat (Vijay Raaz) takes us on a guided tour explaining the traumatic problems of each family. Then comes a builder who wants to construct a complex over the chawl but the residents refuse to vacate the place. Enter a new kind-hearted tenant (Aman Verma) who helps the other residents get huge loans. But soon it turns out that he’s an accomplice of the builder. And just when the builder starts feeling lucky, another chawl resident, Laxmi (Raveena) plays a new trick to drive him away.

In between are spread many varied characters, some with whom you sympathize and others at whom you laugh. Manjrekar’s screenplay alternates from intense outbursts to sarcastic humour.
Also, the director makes satirical remarks on everything from Bollywood, victimized Muslim, Hindu fundamentalists, feminist organizations to blind religious faith. And perhaps in its attempt to deal with so many aspects, the movie at times tends to become heavy and unstable.
The dialogues are a major highlight varying from wild and wacky to stark and hard-hitting ones. Of course, there are too many cusswords (I won’t say unnecessary) and ironically the censor board makes obvious attempts to drive your attention towards them by making deliberate punches.
The spoof scenes from movies like Sholay, Anand, Deewar (remember the'' mere paas maa hai''scene) and some song parodies are totally hilarious.
Also there’s a philosophical take off on R.K.Laxman’s common man.
Vijay Raaz takes the film’s best lines and is a real delight to watch. Aman Verma gets good footage. Diya Mirza is likeable in her typical south Indian blonde character. Divya Dutta and Shwetha Menon leave strong impact in the bold scenes where they are shown getting officially raped by their husbands. Sadly Sushmita Sen and Manjrekar are totally wasted. Other regular side artists from the Manjrekar camp lend adequate support.

Entertainment Nimbu maarke!

Overheard snippets at the screening: Pran jaaye, sab kuch jaaye, par Mahesh Manjrekar ke mooh se gaali nahi jaaye. But then these same people were laughing and enjoying at his gaali-gags.

P.S. Warning: Viewing with conservative friends/family is not recommended to avoid embarrassment at times.


Rave reviews

People who have seen Mahesh Manjrekar's ''Praan Jaye Par Shaan Na Jaye'' have nothing but good words for it.
Starring Raveena Tandon, Sushmita Sen, Namrata Shirodkar, Rinke Khanna, Diya Mirza, Divya Dutta and Sweta Menon, the film has won a lot of praise for its treatment and hard-hitting theme. Raveena is the scene-stealer as Sita in this Sanjay Jha-directed flick, while Manjrekar is the surprise.

Says Menon, who is usually known as an item number girl (''Humko tumse pyaar hai ''from Ishq, ''Hai rabba'' from Prithvi and ''Main deewani main mastani' from Bandhan), says, "Some of my friends didn't recognise me in the film. My role is so deglamourised and has so much substance."
The film is slated to release April 25.

Friday, August 11, 2006


PRAAN JAYE PAR SHAAN NA JAAYE - (Reviewed By Komal Nahta)

Director: Sanjay Jha.

Music: Daboo Malik, Nitin Raikwar.
Various Producer: Asoo Nihlani, Sagoon Wagh, Raj Lalchanani
Starring: Raveena Tandon, Diya Mirza, Rinke Khanna, Namrata Shirodkar, Divya Dutta, Shweta Menon, Mahesh Manjrekar, Sushmita Sen

RATING: 0.5/10

Mindblowing Movies''PRAAN JAYE PAR SHAAN NA JAYE''(A), as the banner suggests, blows away the audience's mind with its explicitly vulgar scenes, obscene dialogue and often stupid tracks on which the drama moves. Story of the travails of the inhabitants of a lower-middle class chawl in Bombay city, it is almost a lesson in how not to make a film and what not to include in it if one is aiming to turn out a universally appealing fare.

The chawl is in danger of being demolished to give way to a commercial complex. The scheming builder is trying to hoodwink the chawl-dwellers into accepting slightly bigger tenements in a distant place but they won't budge. Enter the builder's man who comes to stay in the chawl under the guise of writing a thesis on chawl life. His ulterior motive is to get the signatures of the inhabitants on legal papers, granting the builder the right of demolition.

The man on the job is moved by the plight of the chawl-dwellers and their individual problems but still cheats them into signing the papers. He requests his builder-friend to use compassion and restraint in his dealings with the chawl-dwellers and actually believes that the evil guy would do as directed! When the builder informs the chawl-wallahs about their signatures and, consequently, the impending demolition, the builder's own man (who had cheated them into signing the papers) joins forces with them and ultimately, they thwart the builder's move.

Mahesh V. Manjrekar (credited for the concept and screenplay) and Sanjay Pawar (story and dialogue) seem to have fallen in love with their own sense of humour so much that they've gone on endlessly with what they must've considered funny but which would actually appeal to just a small section of the audience in Maharashtra. The rest of the cinegoers would scarcely be tickled by the comedy and may actually feel repulsed by the vulgar dialogue and scenes in the garb of comedy/authenticity. The chawl concept would barely be understood outside Bombay.

References to the functioning of the film industry (commercial viability of a project etc.), terms like Pitalwala Complex (indirect reference to Lokhandwala Complex), Nacheez Carpenter (architect Hafeez Contractor) are not just childish but also anything but funny. The Sati episode is incorporated and stretched so much because the writers seem to have lost steam mid-way.

Constant references to urine, sex etc. are in terrible taste and would serve to hurt sensibilities more than entertain people. Some scenes of sex and sexual innuendos (in particular, the scene of Divya Dutta's husband making love to her while she is disinterestedly narrating her tale of woes; the scene of Sayaji Shinde abusing his wife, in front of her parents) may have been meant to underline the plight of women but rather than sympathising with the womenfolk, the viewer feels nauseated by what he sees! In fact, one wonders if the censors were viewing the film with their eyes wide shut, so outrageously offensive to normal tastes are several scenes and dialogue!

Deletion of swear-words, ordered by the censors at many places, has been carried out by suppressing the objectionable words with a sound effect which is jarring to say the least.

Performances of most of the actors are limited by the inane scripting. Raveena Tandon does a fair job. Namrata Shirodkar is okay. Divya Mirza struggles to act but fails. Rinke Khanna is alright. Divya Dutta does a good job. Shweta Menon is okay. Vijay Raaz excels. Aman Verma gives a polished performance and is suitably restrained as the builder's man. Sachin Khedekar suffers on account of weird characterisation - at times, he behaves like a suave builder, at other times, he behaves like a buffoon.
Sayaji Shinde is natural. Vivek Shauq is full of life. Sushmita Sen hardly appeals in an ill-defined special appearance. Mahesh Manjrekar is alright in a guest appearance. His dance (with Sushmita) in the end (alongwith the rolling titles) is cute. Shivaji Satam, Sanjay Narvekar, Bharat Jadhav, Kalpana Pandit (guest appearance) and the rest lend the desired support.

Debutant Sanjay Jha's direction is fair but his choice of subject to start his career with couldn't have been worse. His handling of emotional scenes is dull. Some dialogue (Sanjay Pawar) are witty but some others would either go over the top or would hurt the viewers' sensibilities.

Songs are average and so are their picturisations. Camerawork and other technical aspects are okay. Production values are average. Action scenes are functional.

On the whole, ''Praan Jaye Par Shaan Na Jaye'' is a poor satirical comedy with some appeal for a section of the audience in Maharashtra only. Other than that, it would be rejected by the audience - that too, with contempt!

RELEASE DATE: 2nd May 2003


Praan Jaye Par Shaan Na Jaye

By Joginder Tuteja, December 30, 2002 - 15:54 IST

Women power is back after a grand assemble` of six actresses - Rekha, Madhuri Dixit, Manisha Koirala, Mahima Chaudhary, Sonali Bendre and Urmila Matondkar in Raj Kumar Santoshi's women liberation cry - Lajja.
''Praan Jaye Par Shaan Na Jaye'' beats it with a huge casting of Raveena Tandon, Namrata Shirodkar, Diya Mirza, Rinke Khanna, Divya Dutta, Shweta Menon and Sushmita Sen (in a special appearance).
With no notable hero in the star cast, one may be forced to accept popular TV star Aman Verma as one.
But there is a horde of character artists from Mahesh Manjrekar's camp in this Asoo Nihalani, Sagoon Wagh, Raj Lalchandani production that is presented by Mahesh himself. These artists are - Vijay Raaz (the adorable 'flower-contractor' from Monsoon Wedding, Sayaji Shinde, Sachin Khedekar,Shivaji Satam and Sanjay Narvekar (our very own 'dedh-footiya' from Vaastav). To top it all, Mahesh Majrekar himself plays the role of 'trouble maker' Munna Hatela in PSPSNJ.
Now this must be so mething to look forward to as Mahesh's performance in recently released Kaante bagged the limelight despite the presence of heavyweights Big B, Sanjay Dutt and Suneil Shetty.
This comical movie is about a contractor who wants to take-over a chawl and how the people occupying this chawl rebel against him. So far so good !! The basic plot seems to be interesting, the idea of roping in leading ladies is exciting and the character artists are worth their salt.
But what about the music - if we can call so - by Daboo Malik and Nitin Raikwar? Let's analyze !!To be very up front in the start itself - music score of PJPSNJ is no short of a DISASTER from the word GO. Six tracks in the album are some weird pieces joined here and there and served in the name of music. A shrieky-scratchy album, it begins with an awful 'Aye Aye Ya'. No doubt, it is sung (?) by Vinod Rathod and Daboo Malik as only they may have been so compromising enough to render to such inane lyrics by Praveen Bhardwaj. A 'song' catering to Marathis and Punjabis alike, turn by turn, you just realize that your newly born child is howling listening to this one.
Some real innovation must have gone while writing and composing the VERY DOWNMARKET 'Loan De'. Lyricist and composer Nitin Raikwar assembles a bunch of rookies - Tulsi Maidasani, Leon Michael, Mitun De Sarkar and Harvinder along with Vinod Rathod and himself and 'attempts' a riot with Loan De. A 'song' about some individuals waiting for a loan due to their respective reasons - someone wants to get his daughter married, one wants to go abroad, one even wants to go and play a cricket match - such situations have been put together, to tickle your funny bone !! It fails to tickle your funny bone, but does make you lose a strand of hair or two out of frustration !!
The misery continues with the most horrible song composed in recent times - 'Hum Tere Sanam'. A meaningless song in all departments, it has down market music, cheap lyrics and absolute BAD vocals. This may have been the reason as to why the name of the female singer has not even been mentioned on the album cover as her vocals are amateurish to say the least !! Vinod Rathod continues to scream in this 'supposedly' love track which talks about something as "If I wouldn't have been your jaaneman, then I could well have been a 'POWDER' so that I could have touched your cheeks". Can the lyrics go more downwards than these? Yes why not, but then either it could have been in a C-Grade movie or some ragging scene in a boy's hostel !!You have listened to half an album and you know that the suffering will continue with the other half. But you still proceed because you have paid for it.
So why not continue and then later dispose it off !! Well, regardless of the warning bells, you play 'Lagi Ye Lagi To' by Vinod Rathod and another rookie Nayab Ali. But by now, you are not hit as hard as the previous number. Not that the song is marginally better, but because you have just surrendered yourself to colossal disasters. You are now not even in a position to decipher what exactly the song wants to convey. And why should one, when the parody 'Chaali Humko' just convinces you even more that you have made a blunder of your life by going for PSPSNJ.
Well, if you are still reading this review then this parody on the tune of 'Bharat Humko Jaan Se Pyaara Hai' from Roja is sung by Rathod (again), Nitin Raikwar, Tulsi Madasani and some others (?) Look what they have done to your composition Rehman - GO GET THEM !!
So you thought that after all this battering and hammering, there won't be any surprises in store. You are deceived once again, courtesy Daboo Malik and lyricsts Praveen Bhardwaj and Jitendra Joshi, who somehow convince Sonu Nigam too to be a part of this single-over game where Vinod Rathod has been clean bowled 5 times in the first 5 balls he has faced. Sonu Nigam faces the sixth ball. Well, what can poor Sonu do when the pitch (the compositions themselves) is so difficult to play on. He too succumbs like the Indianbatsmen in New Zealand this season and departs on the first ball he faces - Shaadi Ki Pehli Raat Thi.

Sunday, August 06, 2006

By Taran Adarsh, May 3, 2003 - 15:25 IST

Mindblowing Movies' PRAAN JAYE PAR SHAAN NA JAYE, directed by Sanjay Jha, is a story of middle class people living in a chawl and their fight with their new owner, who is hell bent on vacating the chawl and constructing a huge complex in its place.The current owner, Praveen Seth [Sachin Khedekar], is the grandson of Popatlal, who originally constructed this chawl. The grandson wants to vacate the chawl and make it into a huge complex.The ensuing war between the residents and Praveen Seth starts tilting in favour of the owner, until Laxmi Rathod [Raveena Tandon], a resident of the chawl, plays a trick.Now Praveen Seth is afraid even to be seen anywhere near the chawl. The rest of the story is all about the struggle of the chawl residents to find an answer to somehow save their homes.
PRAAN JAYE PAR SHAAN NA JAYE is nothing short of an experiment in terms of its story and narration. Although several films have been made with a chawl as the backdrop, this particular venture centers entirely around a chawl. Also, the narration is different in the sense that everything is satire-based.To an extent, PRAAN JAYE PAR SHAAN NA JAYE reminds you of JAANE BHI DO YAARO. There are references to every issue that one encounters in our daily routine. But, mainly, the film depicts the grit, determination and spirit of the common man, who is trying to survive in the face of adversity.
Director Sanjay Jha must be complimented for tackling a theme that defies the norms of commercial cinema. However, a concept like this is Mumbai city-centric, which should find patronage mainly in Mumbai/Maharashtra.Certain sequences between Sayaji Shinde and Shweta Menon or the much talked-about scene of Divya Dutta do leave an indelible mark. But, on the other hand, there are several sequences that not only look long drawn, but also seem to be forced in the goings-on. The Sati track is one such example.Also, prior to that, the enmity between Sachin Khedekar and Aman Verma should've been treated seriously. Giving it a filmi touch takes away the much-desired seriousness.
From the writing point of view, there are scenes talking of the upliftment of the fairer sex, but simultaneously, referring to them as prostitutes or using expletives is in bad taste. Dialogues [Sanjay Pawar] are witty and at times, superb. However, families may not appreciate the generous dose of foul language in several scenes.Music [Daboo Malik, Nitin Raikwar] is merely a gap-filler. Cinematography [Rajeev Shrivastava] is alright. The set of the chawl [art director: Sudhakar Manjrekar] looks authentic.Amongst the performances, Vijay Raaz towers above the rest with a spellbinding performance. He is brilliant in the sequence when he talks about his deceased wife and kid. Aman Verma is a complete natural. Extremely confident and camera friendly, he essays his part with utmost sincerity. The six leading ladies – Raveena Tandon, Namrata Shirodkar, Diya Mirza, Rinke Khanna, Divya Dutta and Shweta Menon – fit into their roles comfortably. Raveena gets the maximum scope and her expressions towards the latter half show the growth of an actress. Divya Dutta is excellent.Mahesh Manjrekar, in a small role, is just about okay, while Shivaji Satam, Sayaji Shinde, Vivek Shauq, Sanjay Narvekar, Bharat Jadhav, Abhijeet Satam and Sachin Khedekar don't get much scope.Sushmita Sen, as the sutradhar, is wasted. Her song with Mahesh Manjrekar comes towards the end and is also not connected to the story.
On the whole, PRAAN JAYE PAR SHAAN NA JAYE has some well-executed scenes, but when viewed in totality, the outcome fails to convince. Also, in terms if its setting, language and the overall ambience, the film is targeted at the Mumbai/Maharashtra audience, thereby limiting its prospects in other states. Business in Mumbai/Maharashtra should prove to be better.


Sanjay Jha-directed " Praan Jaye Par Shaan Na Jaye "is the story of number of middle class families living in the cramped confines of their 100-odd square foot homes in' Popatlal Chunilal Garodiya chawl' in Mumbai.The film revolves around their lives, their petty problems and their fight with their new landlord, who is hell bent on vacating the chawl and constructing a huge complex in its place.

The movie begins with Sushmita Sen playing the sutradhar (narrator) and introducing a viewer to the residents of the chawl.The habitants of this chawl include Durga (Raveena Tandon), an unhappy housewife who is barren and cannot conceive a child. Moreover, her husband cannot afford to get her treated.In the same chawl live Suman (Rinke Khanna) and her slightly disoriented father lament. They are bereaving the loss of family’s sole son (Sanjay Narvekar) in a police encounter.Then there is Dulari and Sheela (Divya Dutta and Shweta Menon) who are in distress because of their good-for-nothing husbands' constant need for sexual gratification.There is a girl named Soundarya (Dia Mirza) who is traumatised by her supposedly unattractive face.On the other hand, there is also bombshell Mona (Namrata Shirodkar) whose good looks attract too many admirers outside her window, causing her much grief. As it turns out, Popatlal (Sachin Khedekar), the chawl's wicked owner, wants to get all the tenants evicted as he wants to build a multi-storeyed apartment block and shopping mall in its place.Enters the film's hero Aman (Aman Verma) who at the first glance seems the kind-hearted savior who helps the tenants by getting them huge loans. But it turns out he is actually Popatlal's friend who is helping him ensure they are forced out of their homes.Praan Jaye Par Shaan Na Jaye boasts of a fine cast and a promising story, but loses its way because the director tries too hard to be clever. There are certain instances in the film where humor is forced in the narrative. The first half of the movie is pleasant in parts but the second half takes an unbelievably silly turn and the film loses its focus. The script by Mahesh Manjrekar is replete with satirical gags that are going to appeal to those who are tired of seeing Govinda’s crass and slapstick humor.