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OSO Review :: The Telegraph, Kolkata [SPOILERS]

Discussion in 'Movie Reviews - Media' started by jg2k, Nov 10, 2007.

  1. jg2k

    jg2k The.One

    Om Shanti Om

    Two Oms. Two Shah Rukhs. Two Deepikas. Two halves. Two very different films. “Ladies and gentleman”, Om Shanti Om is perhaps Bollywood's first “grindhouse” experience. Back in the 60s and 70s in Los Angeles’s Broadway and Hollywood Boulevards, they used to show two B-movies back to back in drive-in theatres. OSO is very much a two-in-one movie, a double feature… matlab bole toh ek ticket mein do picture mamu. Sachchi? Muchchi!

    Film One, set in the 1970s, is about a junior actor called Om, born to parents who are junior actors and named after Om Prakash. (Remember Sharmila’s “jijjajee” in Chupke Chupke? Eggjactly!) But Om wants to be a superstar and more importantly romance Shanti(priya), Bollywood’s new Dreamy Girl. Aise kaise? Rule 1: Agar kisi cheez ko dil se chaaho to poori kaynath use tumse milane ki koshish mein lag jaati hai.

    Film Two, after the interval, is set in present-day Bollywood and is about a star son called Om Kapoor (or rather OK). He is the biggest superstar in the country but also one of the worst actors around. “Overacting to mere khaandaan mein hai,” he quips. When OK is not salvaging films with item numbers and hobnobbing with other stars in the cine sky, he has a fire phobia. No, no, not RGV waala Aag. It’s his past because one lifetime is not enough for some love stories. Aise kaise? Rule 2: Hamare filmon ki tarah hamari zindagi mein bhi end tak sab kuch theek hi ho jata hai aur agar theek na ho, to woh The End nahin. Picture abhi baaki hai mere dost.

    Kaash picture baaki nahin hoti.

    Half One of OSO, right from the original and eponymous Karz number with SRK in Chintoo’s white shoes, is so fab that how you wished it went on and on till the end credits rolled. It’s 70 minutes of a Bollywood buff’s dream come true. We keep harping on how in Kill Bill Tarantino used the whistling from this movie and the sushi recipe from that movie and wagera wagera but what Farah Khan has done here is equally emphatic.

    It won’t be surprising if with time millions of websites are dedicated to point out Farah’s tributes.
    Like the badminton sequence which pays homage to the Leena Chandavarkar-Jeetendra Humjoli number Dhal gaya din or the first fire scene that happened on the sets of Mother India or how a young Sooraj Barjatya got the idea of Maine Pyar Kiya. The eye for detail is superb. (Watch out for the old-school billboards of Ovaltine, Exide and Dulux in the background.)

    The song picturisations are even better — Farah even manages to give SRK and Deepika long moments of solitude in the crowded red carpet sequence of Ajab si adaayein hain. Main agar kahoon has the two of them romancing in a still car while the roads pass by on the white screen behind them. Yes, just like in those good ol’ movies.

    And then there’s “anna rascala”! SRK as Quick Gun Murugan is a riot. That in itself could have made a blockbuster. A mustachioed Shah Rukh flying in the air (on the crane) and fighting a stuffed tiger with wild shouts of “naughty *****”!

    But while Half One is a true-blue tribute to the white shoes and pleated skirts and braided hair, Farah is not sure what to do with Half Two. She wants to hang on to the comic book tone of the 70s but at the same time take digs at everything from the indispensability of the item number to the bias towards star children to the craze for superheroes. And suddenly, SRK again becomes SRK, which perhaps is a good thing for his fans, but not for the film.

    The two gimmicky songs — Dard-e-six-pack-Disco and Deewangi-spot-the-star-Deewangi — try to keep the interest going but why couldn’t Farah develop the love story between OK and Sandy (that’s Shanti post-interval) ? The emotional connect of Karz is just not there.

    But there are a couple of great moments in the second half too.
    Like on the sets of Apahij Pyaar where OK plays a deaf-and-mute hero without limbs and eyes. And then at the awards ceremony when fake movie trailers (just like Grindhouse) are shown for the nomination announcement.
    Wish Farah actually goes on to make Return of the Khiladi with Akshay.

    Anyway, by the time the Main Hoon Na-like end credits roll, where everyone connected to the film — from producer Gauri Khan to the spotboys — walk the red carpet for the fake OSO premiere, everyone’s smiling.
    Yes, it could have been so much better but there’s enough for the Diwali crowd to go “gao Om…”

    SRK the actor is brilliant in Half One but in Half Two he is SRK the star. So if you love him, you will love the film even more and if you hate him, you will struggle in the last 90 minutes. But it is SRK the producer who sets new benchmarks with his VFX team at Red Chillies.

    Deepika Padukone smashes her way to glory in her Bollywood debut, something father Prakash would have been proud of on a badminton court. Kirron “beta-tu-aa-gaya” Kher is hilarious as the filmi maa. Shreyas Talpade continues to surprise (pleasantly) with every film. Arjun Rampal is very good as the 70s Mukesh but as Mikey he is all ham.

    Technically, OSO is right up there — from Manikandan’s camerawork to Shirish Kunder’s editing to Vishal-Shekhar’s score.

    But it’s three cheers for Farah Khan (no reference to the triplets here), who’s done what no woman director in India has ever been able to do — make two back-to-back commercial blockbusters.

    As someone puts it in OSO, the Satyajit Ray angle and the Guru Dutt angle are fine, but it is the Manmohan Desai angle that does the trick. Samjha kya?

    Pratim D. Gupta


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  2. chatranisrk

    chatranisrk Well-Known Member

    Very funny review! I wish I could understant the bits in Hindi, I've grab some but.... Even without having seen OSO, I can tell I will love it! I cn't wait to see the box office on Monday! :D
  3. KKhan

    KKhan Well-Known Member

    thanks for the review im sure the whole film is really good

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