I haven’t seen this one yet but presume we don’t have the “..with Emraan Hashmi, we wait for the point where his heroines are reduced to breathing through the nose” type attempts at asphyxiation (unfortunately for Hashmi, I know. So it’s only fair that he be allowed to channel some of his must-smother-with-a-smooch desperation into “smashing the display window of a jewellery store”). For if we did, then the movie would have been titled “Jahannum,” I think. Small mercies…

Now all the bird talk this week (yes, I’m counting Awaarapan’s “bird” metaphor as part of this week’s installment) reminds me of an Anne Lamott book I read several years back, “Bird By Bird.” It bored me for most part (because what I was really looking for was a memoir on the madness and magic of the writing life, not methods and mechanics), but its one redeeming facet was this central point she makes: “We may notice amazing details during the course of a day but we rarely let ourselves stop and pay attention. A writer makes you notice, makes you pay attention, and this is a great gift. My gratitude for good writing is unbounded.” I couldn’t agree with her more.

The script also features several farcical moments…one of my favs: terrorist/underworld kingpin Abu Ibrahim (played by Javed Sheikh) makes his money betting on cricket — but it never occurs to him that matches can be fixed until small time hoodlum Emraan Hashmi tells him! LMAO! The scene where this happens is priceless, you can see Sheikh staring at Hashmi, with the proverbial light bulb going off… simply hilarious!

Another great moment: Zoya loves Arjun (Hashmi) so much that she has him arrested so he can be reformed — and then starts working as an exotic dancer to make ends meet while he’s in jail, so they’ll have some money when he gets out… except she never bothers to keep up with him, and thus doesn’t even know when he’s released on bail (and continues working at this club until Hashmi randomly spots her)! LOL!

This film is so fake– Bhatt has no shame to go around likening this to Naam in any way, shape or form. I mean make what you want to make, but why pretend?

Other wonderfully farcical moments include the ones showing how Hashmi becomes a bookie. Apparently he knows nothing about cricket, nor is he fixing matches initially — he looks at a match on TV, screws his nose, and says sehwag will get out next ball…which of course he does! Once this happens a few times Hashmi’s got it made…LOL, who writes this drivel?

This is why Baradwaj is in a different league from the rest of us: imagine having to take this film seriously enough to write a full-fledged and even thoughtful piece on it!

Ravi K: Ah, thanks. That’s, er, “nice” to know

Alpesh: Yes, I’ve seen it. The gimmick that drives the film is taken from Memento, but there’s a lot of desi padding around that. So I wouldn’t call it a “copy”. What is this about, by the way?

I personally wouldn’t. I think Ghajini is as much a copy of Memento as Karma (subhash ghai’s film) is a copy of Sholay.

I think it would be a shame if people went to watch Aamir Khan’s Ghajini with preconcieved notions and be disappointed, rather than judging it on its own merits

http://www.itwofs.com/hindi-pritam.html