Subtlety thy name is Mahendran. When Tamil cinema was reeling under overrated emotions, a few directors tried to break the norms of Tamil cinema. As I already explained in previous posts, I would consider this as the golden period of Tamil cinema. Mahendran played a very important role in shaping up this period of directorial excellence

Mullum Malarum (1978)

Mullum Malarum is a movie that depicts the love between a ruffian brother and innocent sister. The movie had Rajinikanth, Sarath Babu, Shoba and Fatafat Jayalakshmi in lead roles with Balu Mahendra wielding the camera and Ilayaraja composing the score. It was produced by V.Mohan (Anandhi Films) and directed by Mahendran.

Set in a rural backdrop near Annamalai Hills in Tamil Nadu, it paints the story of Kali (Rajinikanth) and his sister Valli (Shoba). Kali is a winch operator in the hills and enters Kumaran (Sarath Babu), an officer and the boss of Kali. Interesting encounters between Valli and Kumaran blossoms in to a tender love between them. Kali doesn’t approve this love while he falls for Manga (Fatafat Jayalakshmi), a bratty village girl. In a freak incident, Kali loses one of his hands. Valli is torn between the love for her brother and Kumaran. The whole village tries to arrange for the marriage between Kumaran and Valli with the help of Manga. The climax tells you who Valli chooses to be with.

Why it’s so special?

1. Although brother-sister relationships have been portrayed a lot of times in the past (Paasa Malar, Pachai Vilakku), they were always filled with an overdose of melodrama. Mullum Malarum deliberately broke the rules to give more subtle, natural version of a brother – sister relationship. It broke the stereotypes and gave a honest portrayal of the relationship

2. The acting of the ‘actor’ Rajinikanth rather than the superstar. You would not believe that it was only the 3rd year in his film career. The anti-heroish act of the first half and the disabled man in the second half was simply brilliant. He was challenged in every quarters by the young Shoba (was just 16) with her portrayal of innocent sister. Her eyes showed more emotions than her face when she is torn between the love of her brother and lover.

3. The able supporting cast of Fatafat Jayalakshmi and Sarath Babu (some feel he is a miscast, but there couldn’t have been a better person given the choices for the director).

4. The brilliance of the man by the name Ilayaraja. If Senthazham Poovil is an evergreen classic, Raman Aandalum is still one of the most favourites of Rajini fans. Adi Penne is a uncelebrated classic and Nitham Nitham nellu choru provided a prelude to interesting rural orchestrations that Ilayaraja would do later in various movies.

5. The rusticity in the movie is the main reason for the honest portrayals. Balu Mahendra (Cinematography) and Mahendran have worked hard to preserve it. A deft screenplay, some wonderful writing and brilliant portrayals made the movie an instant classic

Why it’s in the list?

1. It broke the stereotypical portrayals of brother and sister relationships sans the melodrama
2. For the ‘actor’ Rajinikanth – one of his best
3. The subtlety of Mahendran

Trivia

1. Mullum Malarum is based on a short story by Uma Chandran that won the Kalki Silver Jubilee Issue award.

2.Mahendran had scrapped the “Senthazham Poovil” song in the original cut due to the budget constraints and producer couldn’t provide the money. Hearing this, Panchu Arunachalam gave some money to shoot the song as he thought it was too brilliant to be left out. We would have lost a classically shot song, if not for Panju Arunachalam.

3.The movie has two actresses who died of suicides, Fatafat Jayalakshmi and Shoba both committed suicide after a few years. Tamil industry lost two great actresses. Shoba won a national award for Pasi, a year later at the age of 17.

4.Mahendran was originally born as Alexander.It’s said that he changed the name in honour of a school senior, who was a famous athlete.

5.Mullum Malarum is the only movie where the 3 greats came together to work – Mahendran, Balu Mahendra and Ilayaraja. Incidentally, Kamal introduced Balu Mahendra to Mahendran.

If you think Mullum Malarum was a classic, the next movie that I am going to write about equals any international classic. A movie that I am proud that it was made in Tamil.

This was the most awaited movie for me and it released after almost a year of tribulations with the censor board. It won the Grand Jury award in South Asian International Film Festival last year and it should have been celebrated here but the movie had to go through one of the worst bureaucracy in censor board.

Aaranya Kaandam is directed by a first time director,Thiagarajan Kumararaja who has an experience in making ad films and produced by SP Charan through his Capital Film Works. The background score is done by Yuvan Shankar Raja with cinematography from PS Vinod and edited by KL Praveen – NB Srikanth. The movie has Jackie Shroff, Sampath, Ravi Krishna, Yasmin Ponnappa, Somasundaram, Veyil Vasanth and Rambo Rajkumar as travelling characters.

The story starts with Singaperumal (Jackie Shroff) trying to have sex with Subbulakshmi (Yasmin Ponnappa) and abuses her because of his impotency. Singaperumal is a ageing don, who does illegal drug business with host of henchmen. His steadfast second fiddle Pasupathi (Sampath) rubs Singaperumal during an argument about a cocaine business, that belongs to their arch rivals Gajendran (Rambo Rajkumar) and Gajapathy. Singaperumal orders for the murder of Pasupathi but he escapes through a speaker phone mishap. Meanwhile, Subbu enters in to a relationship with Sappai (Ravi Krishna), who does the chores for Singaperumal group. She entices him to steal the money kept by Singaperumal to buy the Cocaine from the middle man. Through a confusion, the cocaine ends up with a drunkard ex-zameendar Kaalayan (Guru Somasundaram) and his son Kodukkapuli (Veyil Vasanth), who have come to earn money from cockfights to save their family from money lender. What happens to the cocaine and each of the characters is told in a stylish narration.

The subject matter of the story is the cocaine bag and the characters revolve around this, each one trying to outwit the other. The characters are meticulously etched and each evolve with the story based on their basic characters. Jackie Shroff makes a perfect debut to Tamil movie world with restrained acting and body language. The dubbed voice suits him to the ‘T’. Sampath on the other hand proves once again why he is being touted as one of the best character artists in recent times. He cake walks his role, in fact. The surprise packages are Ravi Krishna and Yasmin Ponnappa – the naivety of both the characters in the initial stages helps to sustain the suspense in the climax. But the people who steal the show are Guru Soamasundaram and Veyil Vasanth. Veyil Vasanth as Kodakkapuli is brilliant with his direct questions and spontaneous reactions. His interactions with his Dad and Sampath are a treat to watch.

PS Vinod has tried different angles from the normal and color tones give a nice setting to the movie. The editing duo should have worked overtime as the film happens in a day. This is the best background score that Yuvan has made so far, although it gives a spanish feel, the score is top notch. The use of old songs (mostly Ilayaraja’s) in the background for some scenes that depict the mood in the scene is smart (dunno whether it’s director’s idea or Yuvan’s) – for instance “Kaatu Vazhi Pora” when they encounter police on the road, “Va Va Pakkam Va ” when Jackie Shroff goes back to Yasmin etc., Another person who deserves kudos is the art director Videsh, loved the way he has used old movie posters to depict the scenes – eg: when Ravi Krishna is seduced by Yasmin, the wall reads “Mudhal Anubavam” (First Experience) – extremely creative

Aaranya Kaandam is one of the well written movies in Tamil in the recent past. Not a single scene or a single dialogue is wasted. The joke regarding sexuality of married women with respect to their liking towards Rajini or Kamal, Subbu’s comment on Baasha movie or even a simple dialogue that Ravi Krishna utters when he pulls Yasmin back in the road has back references during later stages of the movie. Although, you find minute similarities to Pulp Fiction and Tarantino style direction, Thiagarajan Kumararaja has made an mighty impressive debut with a near perfect screenplay and wonderful dialogue writing. The casting, acting and supporting technical wizardry are impeccable. Hope Aaranya Kaandam becomes a trend setter for the movies to come. Thiagarajan Kumararaja is a rare find and kudos to SP Charan for bringing him in to the realm of Tamil Cinema – #respect

Aaranya Kaandam – a whooping 4/5 and a must watch. Miss at your own peril.. it’s just too good to be true :)

Bala is from a rare breed of directors – peculiar and uncompromising in whatever they do. One director he can be compared to will be Mahendran. But sometimes complacency can strike you hard and it may end up as your downfall. Avan Ivan can become the demise of a one of the wonderful storytellers Tamil Cinema ever had.

Avan Ivan is a story of two half brothers Vishal (effeminate, theatre loving, squint eyed guy) and Arya (Brash, master thief) from a thief community. Although they have their own family, both are fond of Highness (GK Kumar), a zameendar who is like a God father to the whole village. GK Kumar gets in to a tussle with RK, an illegal butcher who kills GK brutally. The brothers take revenge for the death of their beloved. (Yes, that’s the story)

Characters don’t maketh a movie. There are 3 wonderfully crafted characters and it seems Bala had a confusion on how to bring his own brand of “Good wins over evil” concept in to the movie. Vishal as Walter is a surprise package and his introduction is impressive Yes he is effeminate, squint eyed – so what it doesn’t form any important role in the movie (for instance although a commercial potboiler, Varalaru’s main premise was based on the effeminate characteristics of the lead protagonist). Arya as Kumbdren Saamy on the other hand cake walks his role filled with Pithamagan type actions. GK Kumar as Highness steals the show with right dosage of acting. The scene where he is disappointed with Arya’s love affair and the comic scenes with Arya are simply brilliant.

Avan Ivan grossly loses the plot in execution. Bala could have concentrated in the screenplay instead of crafting such loveable characters and failing them. Ramakrishnan’s dialogue are crass and doesn’t evoke any laughter. The heroines Janani Iyer (Baby) and Madhu Shalini (Thenmozhi) fall in love with Vishal and Arya at the drop of the hat. I could not understand how Bala who crafted heroine characters like Abhi and Manju came up with such bad characterisations. Comedy doesn’t mean it should be illogical. The saving grace in supporting cast are the likes of Ambica, who just wins over you with her casual acting. Ananth Padmanabhan as the father is a misfit. Yuvan surprisingly had different compositions out of which couple of them are left out. The screenplay doesn’t provide much scope for his background score. Theni looks beautiful through the eyes of Arthur Wilson.

The story doesn’t start until half way through in the second half and when it starts, you can easily guess the climax of the movie. The same old brutal murder, the same old template fight with good triumphing over the evil – and you end up with a big yawn. Bala has to come out of his template picturisations and try something new. It’s painful to see a wonderful writer being spoilt by the commercial commitments and when Surya comes for a cameo to promote his Agaram, you can only sympathise for both of them. What could have been a wonderful movie with two different characters ends up like a crass third rated comedy, something which you don’t expect from a director with so much calibre like Bala.

A 2/5 just for Vishal,Arya and GK Kumar – not worth a watch

“She was very adamant that I should watch this movie as she loves Farhan Akhtar and Deepika. After I said I am going on Tuesday, she got jealous that I am watching this movie without her”

After a ‘Ok’ dinner, we 5 friends barged in to Seasons for Karthik Calling Karthik cracking gay jokes on two of our friends…. Farhan Akhtar as Karthik is a lame construction company employee who is bullied by his boss, peers and even the house owner. A low self esteem and an high self pity even doesn’t allow him to send 1300 odd emails which he had written to his office crush Shonali (Deepika), an architect who doesn’t even know that this guy exists. Everything changes when he gets a call from himself on the morning of his birthday. The voice empowers him, makes his career, gets his girl and changes him for the good. The ruckus starts when he reveals about his voice to Shonali. He loses all what he got as the voice playing havoc in to his life. He takes a blind journey to stop getting calls from the voice. The reason and the ending ends up after a long tedious journey for us.

The biggest problem of KCK is that it is not well defined – a romantic flick, a psycho thriller or romantic thriller? What it is?. You are just as confused as Vijay Lalwani the director. Farhan is awesome. We have seen him flamboyant in his previous movies, here he not even convinces but excels as a loser (in simple terms). Deepika is suave, stylish and sexy too.. (who is the costume designer). The romance in the first of the movie simply takes your heart away. Funny one-liners and interludes bring you smiles.

But when you enter in to the second part of the movie, you are just surprised whether it’s the same director who did the first half. The screen play goes haywire, illogical and the stupid justification which he gives how Karthik is Calling Karthik. Phir bhi Schizophrenia.. Give that psychological disorder a break guys. Shankar-Ehsan-Loy sound great in Hey Ya and Uff Teri Ada. The background score of Medival Punditz and Karsh Kale is perfect for a thriller. The movie seemed to be canned just to prove Farhan as a versatile actor. It proves  but don’t we know it. Farhan make more movies man, you are a better director than those craps running around…

Karthik Calling Karthik – missed call. Give the last half an hour a miss, even then you will understand the movie. 2.5/5

The worst part is after the movie one couple were discussing.

Girl : it’s a chic flick

Guy: nice thriller.

I was like ‘dudes’

PS: If you want a perfect portrayal of schizophrenia, watch a lesser known Tamil movie called Kudaikul Mazhai by Parthiban (if you get a headache, don’t blame me). You can also settle down with a DVD of  A Beautiful Mind :)

I don’t remember the last intense romantic movie that I saw in Tamil. I found the fact funny at the start of the review but that’s what the plight of Tamil Movies in the recent past. Get this right, Vinnai Thandi Varuvayava is not a classic but a honest and intense romance which has it’s heart at the right place.

The movie starts with one unanswerable question “of all the girls in the world, why did I fell in love with Jessie?” – a pertinent question asked by all the lead characters in the movie to the protoganist (Any guy in love would have asked this question atleast once in his life time). Karthik (Simbu), a mechanical engineer pass out and an aspiring director falls in love with a Malayali Christian girl Jessie ( Trisha), whose house their family stay as a tenant. A love at first sight, Karthik tries to woo Jessie with encouragement from his cameraman friend Ganesh(Ganesh, co-producer of the movie). Although initially the age factor of one year difference (Karthik is younger than Jessie) comes in to fray, the main reason for Jessie not accepting Karthik is the religion. Jessie’s Father ( Babu Antony) a staunch Christian would never accept for it. Jessie even stops her marriage at the altar as she could not decide about Karthik. She accepts his love as she couldn’t resist it. What happens next is shown in a more realistic way (I would not say different as other reviewers claim it)

The chemistry between Simbu and Trisha equals the chemistry of Sharukh and Kajol in DDLJ. It may be an exaggeration but the chemistry between the lead pair levitates the movie to unimaginable levels. An underplayed performance from Simbu speaks lot about his talent and how he has been wasting it so far in craps. Trisha looks like a poem. Gautham has this style where he makes you eventually fall in love with the heroine of his movies. Trisha’s character resembles Madhu of Sujatha’s Pirivom Sandippom a lot. But Gautham hasn’t dealt with the character deeply enough. It’s always tough to understand a girl’s decision when it comes to marriage and a shallow portrayal remains the biggest flaw of the movie.

Ganesh is a casting coup. A very normal but unmatchable dialogue delivery makes the character admirable. Babu Antony and Kitty have helped the movie to move forward. KSR’s cameo is not wasted. The real heroes of the movie are 3 people who were behind the scenes. AR Rahman – I have always been a critic of his background scores but he has graduated to a new level with Vinnai Thaandi Varuvaya. The violin piece in the intro scene of Trisha and the wise use of Aaromale in apt places bears testimony to the brilliance of Rahman. The non-linear musical experimentation in the songs with Thamarai’s lyrics is well received by the audience. Hosanna, Mannippaya and Kannukul are a rage in theatres.

The next hero is Manoj Paramhasa, the cinematographer. The color tones, right use of natural lighting and interesting angles is unbelievable for a new comer. Antony hasn’t hampered the movie with his fast multi frame cuts. The third hero is ofcourse Gautham Menon for giving a feel good romance after a long time. He knows where and when to touch the right chords of the viewer. Wonderful one liners and a well written climax dialogue explains the talent of the man.

The biggest and the only flaw I saw in the movie was the shallow portrayal of Jessie’s Character. A girl’s decision on marriage and love depends on innumerable reasons and her character craves for a better treatment. The movie takes a leaf out a lot of real life stories and don’t you know Gautham a girl’s heart is more deeper than what you have shown in Jessie.

What could have been the next Mouna Raagam or the next Kadhalukku Mariyathai, just stays as yet another nice movie

Vinnai Thandi Varuvaya – Watch it for the Chemisty, AR Rahman and Gautham – 3.5/5

What’s the easiest way to do a movie about India? Take a book about India, add scenes from Salaam Bombay, Black Friday, Mani Ratnam’s Bombay, City of God ( exactly in the same order) end it up with SRK type final scene in the railway station . Ahmm, forgot you should go back

I don’t think I should elaborate the plot. It’s discussed in length and breadth in lot of forums. You can see it here in wiki.

Let’s come to the review. The lead actors have done their part well. Anil and Irfan was simply superb. But the best of the lot is the younger Jamal, who steals your heart. I wouldn’t deny that the movie was enjoyable but even all other masala movies of India are enjoyable.

I could not understand why people make analogies with the other classics like City of Gods and Children of Heaven. May be because it took inspiration (copy?) from some shots of these movies. The Mumbai riot scene with the back ground score sounded very similar to Bombay.

I don’t understand the Golden globes and Oscar nominations for this movie. The back ground score was not even up to the standard of what ARR can do. The only award it deserves is the best screenplay award as he has made a believable screen play on a unbelievable story line.

Above all, I have my reservations on the plot. I accept there are in numerous slums, people living in extreme poverty, fighting for their daily life, mafias, terrorists but these make up only one side of the true India. There is another side of the middle class India, which buoys the economy of this country.

Danny Boyle why couldn’t you think of a movie on the 80+ young man, born in a minority community, lived in a big family with no money, became the leading scientist of India and eventually the people’s president.

Why can’t you think of that cheeky eyed, soft spoken young man from the suburbs of Mumbai, who changed the way cricket was played, who is the only uniting force of billions of Indians and still be humble about it.

Why can’t you think of that man who created an empire out of nothing with only dreams to ponder.

Is it because you can’t hype it up to get an Oscar or Golden globe? My earnest request to all those Anglo Indian authors, movie makers,don’t give a one sided portrayal of India to the world. India’s world is so enormous and diversified. Don’t make movies just because you want awards.

I felt so hurt when my friend in a foreign country asked me “is this real India, which they show in these movies?”
I was dumbfounded.

If such a bad movie like Slumdog gets an oscar, I could say only one thing to D: “it’s written”.

Dasavatharam – One Intelligent Affair with Chaos Theory.

When you go to a Kamal’s movie, you expect two things. One, it will be different from other usual Tamil Masalas and it will make you to think when you come out of the theatre. Dasavatharam did achieve both.

One Man. 10 roles. One mega blockbuster with a insipid message woven. How many of the movies in Tamil have come so far which speaks about the future, scientific theories, extinctions, theism, religions….you can number it easily. This movie speaks everything.

From the anti-christ symbol in the head after his first injury to the skeleton woven hand tied to the big statue in the last scene, the movie is full of symbolisms. Even Robert Langdon will take some time to figure out things. And the names of each character, uff, Kamal has made a scoop of sorts. You can see only the names of Narayana Avatars as the names except for George Bush (a little research would even put him inside the naming convention).

From the initial “Om Namo Narayana” of Rangarajan Nambi to the atheism of Govind, he discusses the length and breadth of religion.

From the simple refraction coming in to play when Chris shoots Yuga in the tub to the complex butterfly effect in the last scene, he has spoken more science than a school teacher. My school physics teacher would be one of the happiest person to see the movie.

The different mannerisms he showed for each character was so admirable. The innocence of Kalifullah, the gait and the eyes of Shingen Narahasi, the lifted shoulders of Poovarahan, the shorter Krishnaveni Paati, the actions of Avatar Singh, the style and accent of Chris Fletcher ( I got reminded of two people, Robert Patrick of Terminator and Ajith in Billa…Dunno why) and above all my favorite Balram Naidu, he was simply superb ( Sir can talk 5 languages in telegu).

The supporting cast was carefully chosen too. You can see why MS Bhaskar is in demand now a days, Dance master Balram as the assistant to Balram naidu, Nagesh and KR Vijaya as the muslim couple, Poet Kabilan as the assistant to Poovaragan was a surprise and the best was Jayaprada. Wow , what a couple they were. It was nostalgia of sorts. ( How can you forget Salangai Oli)….

Now the Negatives

1.Asin, she was a literal irritation in the movie. Her character could have been better. She is shown as naive which was intended to be innocent.

2.Mallika Sherawat, a wasted stuff. May be could have increased the role. Although her personality suits for a vamp, some one like Ramya Krishnan would have been even better.

3.The most hyped make up in some places, Kalifullah and Chris looked similar. A lesser make up like Poovaragan was more appealing than Kalifullah. The hair of Shingen didn’t suit at all.

4.The most hyped CG, there were some hiccups like the frames were easily identifiable during Kalifullah Scenes. If time was the constraint, they could have taken some more months. We would have definitely waited for it. But it was better than lot other flying saucers in Tamil Movies.

5.The music was a big let down. Except for Kallai Mattum and to some extent Oh, Sanam others were not worth mentioning. Do we really need Himesh Reshammaiya for Tamil? And the back ground score was even more pathetic (Devi Sri Prasad). Kamal why not Ilaiyaraja for these kind of movies, he would have given a superb lift to the movie.

6.The Director could have said and explained the places where the incidents are happening in more detailed way. We had to identify and clarify for every place of action. May be he left it for us to find.

My favourite Characters : Chris Fletcher ( because of his attitude, the small 3 year old tiny tot near my home is calling “Patrick Anna” every time she sees him), Balram Naidu (just because of his sheer presence), Shingen Narasi – one of the best enacted characters by Kamal.

My Favourite Dialogue: Chris: Remember Hiroshima?
Shingen: Remember Pearl harbor?

It happens during the final stunt sequence. But only 4 people in the theatre laughed for it.

Rating : 4/5 Stars for Kamal.

Jaane Tu Ya Jaane Na – Why it happens only in movies?

Will it be possible to make a hindi movie

1. Without popular heroines wearing skimpy black dresses and dancing to repeated tunes?

2. Without a love making scene?

3. Without crap called comedies – Priyadarshan types (one of my favorites becoming one of the worst)?

4. Without Himesh hooting his “ooooo” from his nose and Pritam like music directors copying tunes from International Music?

5. Without the Heroes uttering one liners as if they are James Bond and Ethan Hunt?

The answer can be yes only when producers like Aamir and script writers like Abbas Tyrewala join hands.

Jaane Tu Ya Jaane Na is not as innovative as Taare Zameen Par nor it is rule breaking like Chak De India even it is not as extravagant as Om Shanti Om but the beauty lies in the simplicity of the movie. Its a very simple love story between true friends who don’t seem to understand that they are made for each other while everybody around them thinks they are.

But why it is brilliant if it’s so simple? All big things come in small packages. ( Even i am a small guy in height). The whole packaging is so good that you definitely relate to any one of the characters in the movie.

The story starts like this a group of friends with a new date of one of their friends are en-route to Airport to receive two of their close friends. The new girl is weary about the group because they are naughty, playful and never serious. But they start off to tell a story to her with a condition if its boring she will stop. And hence starts the story of Jai (Rats) and Aditi (Cats). Two close friends, so close that their parents think that they are going to marry. But Jai and Aditi don’t think so. They both start the pursuit of finding pairs for each other. Jai finds Meghna ( I have seen her in a Tamil movie, have I?), who doesn’t want to come to reality because she finds reality more harsh because of her parents. Aditi gets engaged to “High end fashionable dude” Shushant. Jai at last realizes that  his love resides in Aditi and not Meghna. The movie ends in a dramatic airport sequence.

It may seem simple but the whole beauty of the movie lies in the supporting cast and not the lead characters. The lovable parents of Aditi, Boms and Rotlu, who initially are in love with Jai and Aditi fall for each other ( Cute..), matured Shaleen and the joker “ Jiggy”. Jai’s mom character enacted by Ratna Pathak Shah is just wonderful. The cameos by Arbaaz and Sohail as Jai’s cousins is funny and fantastic. Meghna makes you to think about the fighting parents. These characters make the movie more lively, engaging and entertaining.

After a long time i like Rahman’s compositions, Jaane Tu Yu Jaane Na in his voice has a 70′s western feel and Kabhi Kabhi just goes in to your soul like a cupid’s arrow. Jaane do of both Aditi and Jai haunts you. I found from internet that the lyrics are written by Abbas himself and it shows why. You have to hear the songs with the picturisation, you will just fall in love with them.

Imran is a wonderful find. I think he should try something different from his uncle to reduce his influence. But he is more better than the recent dynasty launches. He will be rated along the sides of Neil Nitin Mukesh…

Genelia is in her own tailor made role. I think she will slowly get in to the groove of portraying similar roles and she will became the same like what she acts. ( Or is she like that in reality too..). But it will be different for the bollywood fans, who are bored watching skimpy heroines, who can’t act.

What i didn’t like in the movie?

1. The unwanted episode of Paresh Rawal, although it helps for the final scene.

2. The repeated episodes of dream, don’t we need only a few to establish his Rathore Parampara.

3. The BGM score of Rahman, he had some of his old tunes as the BGMs in the final scenes ( A few traces), he is not as soulful as his songs in his BGM. I am yet to see a masterpiece BGM from him ( Something on the lines of Mouna Ragam Nayagan for Ilai).

Now my favorite characters: Two people. One Naseerudin Shah – Jai’s Father ( he steals the show even if he is in a portrait), you should watch the movie and you will end up surprised like me. The second one aditi’s brother ( Amit?), he is interesting, the way he says that he didn’t leave her but she  left him alone was just moving.

My Favourite Scene(s): The two kissing scenes, one when Aditi realizes that she is not able to take when Meghna kisses Jai, the other one when Jai realizes his possessiveness as Shushant kisses  Aditi.

Will it be possible for anyone to see his or her loved one being kissed by another person? Thats painful.

Rating: 4/5 just because it made me to sing Jaane Tu ya Jaane Naa along with Jai in the final scene.

P.S. why the title, it definitely happens only in movies. We always wait for Mr.Gordot ( a person who will not come for ever, google it for more info.), and we never realize the right one sitting beside us. When we realize, its already too late.