Yeh Saali Zindagi Bollywood Songs

Yeh Saali Zindagi Its a quirky love story in the guise of a thriller. Its an obtuse take on how far they both the heroes go to get the women they love and how sometimes one screw-up can set everything right! Arun (Irrfan Khan) has to save Priti (Chitrangda Singh) the woman he loves, but for that he first has to save the man Priti loves- Shyam, the future son in law of a powerful Minister. Meanwhile, time is running out for Kuldeep (Arunoday Singh), the young gangster who is on his last job as his wife is threatening to walk out on him completely, and he begins to suspect she is leaving him to go into the arms of another man. eanwhile, time is running out for Kuldeep (Arunoday Singh), the young gangster who is on his last job as his wife is threatening to walk out on him completely, and he begins to suspect she is leaving him to go into the arms of another man. The job has gone haywire for it is still unknown to Kuldeep that the Ministers daughters engagement with Shyam is off and now she doesn’t care whether Shyam lives or dies and more importantly neither does the Minister who Kuldeep hoped would pay the ransom! Priti finds herself inextractably caught in this mess and Arun has to save her life. But for that he has to risk everything, and put his own life at stake, he wonders why he should do it at all, if she still loves another. He’s torn, but love knows no reason. Meanwhile Shyam is trying to make deals in captivity, and his goodness only seems superficial and as Kuldeep tries desperately to save his situation, there are dons coming from Bangkok, who have their own plans. The film rides a roller-coaster towards a shattering climax, where all the players have to fend for their lives and loves. Who gets the girl, and who gets the money, and who escapes by the skin of his teeth, is now anybody’s guess. But hold on, there are still jokers in the pack, and aces up some sleeves






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Artists (Cast) : Abhishek Bachchan, Bipasha Basu, Prateik Babbar, Rana Daggubati, Aditya Pancholi, Harry Key

Producer : Rohan Sippy
Director : Rohan Sippy
Music Director : Pritam Chakraborty










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Tees Maar Khan  Hit Bollywood Songs






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Director:   Abhinay Deo

Producer:   Aamir Khan

Music Director:   Ram Sampat

 

 

 

 

 

 

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Raajneeti watch bollywood hindi movie songs

A sharp political sagacity is miles apart from the wisdom of a PhD in Victorian literature and a transition from the latter to the former requires nothing less than a father, an uncle, a cousin and an elder brother thriving on the art, science and the civics of politics. So much so that they don’t even save neck of any relation beyond their own family. Ranbir Kapoor as Samar Pratap, though scared that politics might bring the evil out of him, gets transposed to a political champ from the pages of his thesis, trades emotions for money and life for power; hence, actualizing his worst fear.

The lust for power starts at home, within the Pratap family when Veerendra Pratap (Manoj Bajpai) has to murder his own uncle in his quest to earn the chair of the Chief Minister of the state. The family separates into two political camps: one headed by Prithviraj Pratap (Arjun Rampal) but masterminded by Samar and honed to razor-sharp precision by Brij Gopal (Nana Patekar); and the once-ally-turned-opposition ideology presided by Veerendra and doctored by Suraj Kumar (Ajay Devgan), the dalit leader.

The storytellers, Prakash Jha and Anjum Rajabali, borrowed the key characters from Mahabharata, infused them into the contemporary political scenario and added the darker side of human mind in every character. When everything looked real, even after heavily borrowing from ‘Godfather’, they tried adding bare skin, w-cleavage peeping from white blouse and shower scenes to demystify what they messed up badly. Blame it on the editing skills of Santosh Mandal or the misfit that the scenes were or more practically the limitations of Indian cinema.

The screenplay shuttled the characters of ‘Raajneeti’ on a rapid journey of murders, lectures, corruption, wealth, love and deception. The story started, moved fast and left little room for the supporting characters like Darshan Jariwala or Vinay Apte to deliver anything less than brilliant performance. A deglam Katrina Kaif as Indu Pratap couldn’t shed her disabling lack of acting talent which stood awkwardly unique amidst the powerful performances. 

While the movie gracefully and tactfully reminded us of the agelessness of Mahabharata in many of the scenes, it made a dead bomb of the famous scene where Kunti meets Karna which when viewed in context of the movie would be the scene between Samar’s mother (played by Nikhila Trikha) and Suraj.

‘Raajneeti’ directly engaged in a passionate intercourse with lawlessness, despotism, revenge and brutality without wasting energy on foreplay with subtle and partial interpretation of the world of politics as depicted in the movie ‘Satta’, directed by Madhur Bhandarkar. The one scene where a certain news-reporter claims her right to ask questions to be replied back by Samar “Aapja haq hamare liye atank…” sharply pointed to the gross misuse of the ‘free’ power that silently has made news a variation of political science.

The ‘mama’ of ‘Raajneeti’, Brij Gopal, combines the clear thinking of ‘Krishna’ and the brains of ‘Shakuni’ of Mahabharata. Nana Patekar acted more while he didn’t speak and clearly is a master of this art. Samar was version2.9/mature-yet-boyish of Ranbir Kapoor, with one more composed and marvelous performance and remarkably dissimilar to his earlier roles. Manoj Bajpai took moral responsibility of making politicians look evil and speak chaste Hindi while Ajay Devgan emoted in his trademark ‘sleepy eyes’ style. Arjun Rampal, tried serious acting, but couldn’t play all the shades with equal panache.

While i play the captivating soundtrack “Mora Piya” sung by Aadesh Shrivastava, Shashi and Rosalie Nicholson from the movie and enjoy a cup of ginger-tea, book your tickets for a tryst with good cinema. It won’t disappoint you






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A film which lacks big names & bollywood characters how often succeeds to catch the eye of the audience?

But Peepli Live is an exception & the theater artist also proved their mantle. Know it’s a proven fact that even Aamir Khan’s name can work wonders… just kidding basically the story, acting and the perfection of the banner that has enlightened us yet again with a classic concept.

Raghubeer Yadav as Budhia is a character who is cunning & jugadu. Omkar Das Manikpuri as Natha is a simple, shy man around whom the story revolves. Nawazuddin Siddiqui as Rakesh is a depiction of a young budding journalist who can’t differentiate between fact & fiction. Naseeruddin Shah as Agriculture Minister has done justice with his part. The two news anchors will make you feel like you are watching a realistic Indian news channels one Hindi & the other English (I don’t want to name them).

 The premise of the film is extremely powerful, as it plays around, in a stark black comedy, the expected death of a poor farmer, Natha. But in spite of brilliant performances, sharp and intelligent lines, and a different, 'real', and believable setting, there seems to be something missing. And that 'something', in my opinion is the mantra all screen writing gurus insist on. I would name it: “Progress & Peace”

 After establishing the primary conflict of the film, the writer is supposed to take us on a journey. Not to a circus where we sit and wait for performers to exhibit their vibrant colours but to an active, involving journey of human emotions. Irwin Blacker brilliantly puts it as: "Plot is more than a pattern of events: it is the ordering of emotions." To invoke the desired emotional response, the writer has to establish a serious 'want' for the protagonist – what exactly is at stake; the higher the stake, better the chance for drama. But to actually achieve drama, the writer needs to elaborate and enhance the conflict. Create obstacles in the path of the protagonist who is striving to achieve his dramatic need. These obstacles, preferably as harsh as they could be, and the protagonist's efforts to overcome them is what makes drama affecting. His success or failure in doing so is hardly important. And this entire act of confrontation has been crafted with intelligence and an acute critical eye, making sure that each scene takes the story forwards – it progresses from one plot point to the other with a definitive sense of purpose, remembering that each tree is important without losing the idea of the forest.Peepli Live' would work better in its repeat viewings, when you already know the story, its nature and limitations. It's then that the wonderful detailing and the 'moments' in its narration will make you smile. Its business story and importance, or the lack of it, in Hindi cinema history will always be worth discussing. But to understand the triumph of cinema, we need to keep these aside. The intent of a movie and the courage behind its making must be applauded if it deserves that. And after having done that justly, to really understand the cinematic achievement of it, the craft of the film should be analyzed. Perfection is not the prerequisite for great art, it is the stimulation that it provides to the audience is what matters. 'Peepli Live' does that, by not only making you think about the social issue it addresses but also, if you are interested, by inspiring you to diagnose the merits and demerits of its craft as a work of cinema. That, I believe, is enough of an accomplishment.

 And don’t forget to miss the hidden sarcasm about our Hindi media & their reporting style. As for the ending is concerned I feel the last scene should have been interchanged with the second last one & it would have delivered a heavy punch. If you can’t get it go and watch it LIVE..!

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