Review of BMCM
ra...@rocketmail.com
An average entertainer. And once again for all you diehard BigB fans (if there
are any!), don't expect too much from the film.
It's Govinda who steals the show and keeps the interest alive.
There is no story as such. It's just a "double double role"
comic caper and the resulting confusion which occurs from mistaken
identities. One Pair of Govinda & AB are Cops; the Other pair are
crooks.
The screenplay is poor and fails to keep the narrative gripping.
The first half is dull and lacklustre. You see an introduction
scene, which must have been recycled for the 100001th time. Such
a poor start. And then the songs keeps coming off at frequent
intervals. To make it worse, you can't decide which is worse,
the music or the so-called dance to that music.
The tempo picks up in the second half with the introduction
of the Crookpair of AB and Govinda. The resulting confusion
raises a few laughs. Nothing original. But still, the light
comedy is fun.
The major attraction of the movie is Govinda. If not for him,
the movie would have fallen flat. It's sad to see
such a wonderful actor not being given his due.
Amitabh is a poorcaricature of his old self. We have
seen AB in countless angry cop roles in the past. It's difficult
to forget the image of the "inspector vijay" :-)
So, It takes some time to adjust to the "old, haggard, slow, pot-bellied"
character being played before us. Except for
a few scenes, Amitabh looks way below his original form.
Among the females, Raveena looks sexy. RamyaKrishna is ok.
Both of them don't have much to do other than dance at
regular intervals. Madhuri has a guest role (as herself).
Technical credits are below par. Music is average.
If you are in a mood for a light average entertainer, you can
check it out.
-- cheers
raj
ravi_krishna
> The major attraction of the movie is Govinda. If not for him,
>the movie would have fallen flat. It's sad to see
>such a wonderful actor not being given his due.
At the risk of irritating Govinda fans I can say that he is overrated.
I have seen quite a few movies of him and his roles are exactly the same. You
see one movie of him, you have seen all. No doubt he is great in comedy, but has
he done anything else. For someone to be called good/great he has to show some
more variety.
RK-
Ravi Iyengar
>I have seen quite a few movies of him and his roles are exactly the same.
You
>see one movie of him, you have seen all. No doubt he is great in comedy,
but has
>he done anything else. For someone to be called good/great he has to show
some
>more variety.
>
>RK-
Raj mentioned it in his mail:
"It's sad to see such a wonderful actor not being given his due. " .....
Its sad that pseudo elite people dont associate themselves with Govinda
movies and hence he is stuck with David Dhawan kind of directors .... if you
have similar directors, you have similar roles and similar scenes ....
Mani Rathnam wont make a movie with Govinda, 'coz he thinks he caters to
elite audience ... same goes for other "big" directors ...
not govinda's fault ...
cheers,
ravi
Roshan Diwakar
I can assure not many people would get irritated by your opinions. This
"Govinda-fan" definitely wont be. But I haven't come across
articles/opinions which has over-rated him. At the most they say he is not
getting the roles worth his calibre. And in all the inane movies he has
clearly outperformed the script. What I mean is most actors would have sunk
with the script itself. As long as he gets a challenging role where he has
to show his mettle you really can't degrade him.
>I have seen quite a few movies of him and his roles are exactly the same.
Blame the directors for this
>see one movie of him, you have seen all. No doubt he is great in comedy,
That itself is a compliment for him. Of all the parts it is the comedy which
is the most difficult one to emote. You can ham all other emotions.
What I like about him is like many good actors (Shivaji, Kamal, SRK)his face
is very expressive.
Cheers,
Roshan
Anand Tiwari
>
>
>What I like about him is like many good actors (Shivaji, Kamal, SRK)his face
^^^^
After this statement, Sivaji and Kamal must be hiding their faces in shame.
Anand
Ravi Iyengar
>After this statement, Sivaji and Kamal must be hiding their faces in shame.
>
>Anand
I take it you dont like Govinda? Well thats tough luck for you ..... I dont
care and I am not even gonna bother arguing about it .....
Here is an article which I personally thot was written in a style which
Govinda fans will love (folks like me) ... of course you wont
enjoy/understand it , its not meant for pseudo elites.
cheers,
ravi
~Govinda for Prez!~
~~~~~~~~~~~~
Govinda and the Reification of the Defeated PostColonial Subject!!
Understanding Govinda and the Dialectic
The Hindi movie star Govinda has often been maligned (rather unjustly I
feel) for being tasteless, crude, vulgar, a horrible dancer, for portraying
characters without any similarity to real people. These criticisms typically
levelled by middle-class and bourgeois Victorians who unfortunately persist
in India's society. These people are the cause of the cancerous decay of
Indian society - they are the reason why India loses its cricket matches,
why Lalloo Prasad Yadav, inspite of everything he has done for the people of
Bihar, could never become Prime Minister. These Victorian prudes who have
never witnessed aesthetic modernity and content themselves to watch the
drivel of Amitabh Bachan betray their need for redemption.
Govinda has finally brought modernism to India
For those of you who think India is
modern, and mean it in any other sense than that India is a fractured
subject whose "center cannot hold" - the usage of modern here refers to the
aesthetic movement in Europe and America in the early part of this century.
Kafka, Woolf, Joyce, Proust and to a lesser degree Thomas Mann were all a
part of this movement. T.S. Eliot was almost its high priest. Among
musicians, Schoenberg is a famous modernist, among artists, Picasso, Braque,
Duchamp, Dali (though their schools are Cubist and Surreal) all belong to
this larger movement. Modernism plunges the aesthetic into a new realm - it
examines the relationship between the subject in the context of a capitalist
society. The disruption and reduction of the subject in modernity leads to
the dissonance that one feels from modernist works of art - many
perspectives coming in, challenges being made to absolute knowing, this
great pessimism rears its head. Anyway, returning to the subject (not the
destroyed unautonomous one), but rather the subject of Govinda, his movies
provide a new epistemology for India and also by challenging the traditional
sense perception techniques, he transcends the barriers of postColonialism
and modernism, because his reified self engages in an act of self-knowing,
while forcing the viewer into a state of praxis.
Govinda and the Construction of the Aesthetic
Govinda's new and innovative idea of the use of color challenges traditional
aesthetic norms - the combinations of bright red and yellow with green shoes
strike some as ludicrous or tasteless, but they are not - instead, they
promise finally a project of modernism in India. The bright colors represent
the situation of the culture that advanced capitalism has created in India -
the bright red and yellow symbolize blood and the sun respectively, and
extrapolating from this, blood and labor. The conditions of alienation and
estrangement that mark the fetishized commodity are captured in Govinda's
clothing - and through this, a subliminal reminder is sent out about the
oceanic sense and the idea of Gemeinschaft (community) instead of the
Gesellschaft (society), that the viewer can no longer be distinct or
separate from this alienation - the viewer too is alienated from his/her own
cultural products. This alienation combines with the fascist tendency seen
in the modern Enlightenment traditions that have captured Indian fancy like
democracy and liberty. The green shoes symbolize the color of the oppressed
Muslim minority community - the shoes reflect the lowest end of the body
which must bear all its weight. The fascism inherent in the Indian psyche is
displayed by Govinda's choice of shoes. As a healing Govinda promises a
reconciliation, a final coming together of subject and object, the film
itself transcends its reified status as a fetish commodity and becomes the
preservor of utopia - in Stendhal's words, une promesse de bonheur. The
aesthetic then serves as more than something pleasing to the eye, it creates
praxis in the viewer - while simultaneously, preserving in itself a promise
of the reconciliation.
Govinda's Aesthetic Theory.
Govinda borrows liberally from Western traditions to further suggest themes
of decolonization and the liberation discourse - his attempt to
simultaneously provide entertainment for the masses and pleasure for the
aesthetic purists is reminiscent of Medieval Italian geniuses Dante Aligheri
and Boccaccio. His uncompromising desire to preserve the purity of his work
is reminiscent of Nietzsche - in fact, one is tempted to call Raja Babu "The
Birth of Indian Modernity through the spirit of Music" - Raja Babu marks a
major turning point in Indian aesthetic traditions, working on entirely
different epistomologies from anything previously seen. It marks the
beginning of Govinda's aesthetics of misunderstanding - you think you
understand the aesthetic portrayed, because it seems cretinized and banal
but you really cannot - true understanding can only come from praxis and
engagement with the artwork. The artwork thus becomes hermetic and the
preservor of particularity.
Shridhar
>>What I like about him is like many good actors (Shivaji, Kamal, SRK)his face
> ^^^^
>
>After this statement, Sivaji and Kamal must be hiding their faces in shame.
>
>Anand
And Anand always shows his face in Ramli when SRK is mentioned!
Shridhar
Mo
Huggy Bear
please!!!!!!!!
Huggy Bear
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