With her dance prowess, literary genius, charming persona and inimitable style, Umrao Jaan goes on to become the pride of Lucknow. But deep inside she remains a simple woman who desires a simple life with a man who loves her.

Although Ash gave a splendid performance, it could be seen that the Mujras was clearly missing, maybe another song or two like the mujra "Salaam" would have pulled it off.

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Costumes

The movie’s costumes have been designed by Abu Jani, Sandeep Khosla and Anna Singh. To design Ash’s elegant outfits in the movie, the designers created new colour palettes after studying the paintings from the 19th century Avadh. Ash’s outfits were very heavy because of overuse of gota, embroidery and semi-precious stones. She also wears real jewellery in the film.
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quote:

Originally posted by asj:
We both think alike on this one, although you have not mentioned, songs from the older Umrao Jaan were gems by Asha Bhosle: will get to both movies songs later:

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I totally agree with you on the songs. Although Alka did a great job, I still prefer the songs by Asha Bhosle.

However, I think Ash did a great job expressing the songs.

DVD Original out there:

I will definately get this video, simply because Ash and Abhishek are now engaged and this film Umrao Jaan could have been the blossoming of a love/marriage relationship between the two: anyway it will always be a collectors edition: and one for any video library.

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AUDIO RELEASE FOR UMRAO JAAN:

Check out Papa Amitabh and Ash:

SALAAM: MUJRA PERFORMED BY ASH:

SALAAM: The acme of romantic poetry synchronized classical musical display and mellifluously beaming vocals form the epitome of richly classical musical display in the soundtrack "Salaam". Alka Yagnik emanates with vocal elegance and exhibits graceful poetic lyrics with finesse. Javed Akhtar's lyrical panache shows its strength in the love struck emotions of beautiful courtesan and comes out as "Tumhari Mehfil Mein Aa Gaye Hain, To Kyun Na Hum Yeh Bhi Kaam Kar Lein, Salaam Karne Ki Arzoo Hai, Idhar Jo Dekho Salaam Kar Lein, Tumhari Mehfil mein aagaye hai, Toh kyun na hum yeh kam kar le, Salaam karne ki aarzo, idhar jo dekho salaam kar le…" The fine combination of rigorous "tabla" display mixed with "Sarangi", "sitar" work speaks for its rich classical musical ingredients. The song stands out as one of the richly conceived number by female playback singer. This will bring Alka Yagnik laurels. The principal soundtracks show Anu Malik's musical strength which is richly blended with Javed Akhtar's outstanding poetry. Despite the fact that it caters to niche audiences, it will be a visual feast to average viewer with gorgeous Aishwarya Rai showing elegance in embroidered golden dress. BEAUTIFUL!!!

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This message has been edited. Last edited by: asj,

Umrao Jaan Song-- Jhute Ilzaam
JHUTE ILZAM: The classical "mujra" embellished with traditional Urdu poetry, eclectic classical music work and resounding vocals sets the tempo for the soundtrack "Jhute Ilzam". The stage is set for cultured "Shaam-e-Awadh" where scintillatingly dazzling courtesan "Umrao Jaan Ada" sings her heart out in the voice over of refined Urdu poetry. The poetic work of Javed Akhtar is the high point as it comes out as "Kaun Kisko bhala samjha, humne kya samjha tumne kya samjha, Bewafa humne tumko samjha sanam, Tumne bhi humko bewafa samjha, Jhute Ilzam meri jaan lagaaya na karo, Dil Hai nazuk tum isse aise na dukhaya karo…" "Jhute Ilzam" gives some glimpses of "Justjo Jiski" ('Umrao Jaan' of 1980)) in terms of cultural ambience it possesses. Alka Yagnik tries to match her vocal strength with Asha Bhonsle's mystical touch and comes out with another fine work. The soundtrack is expected to be a .visual spectacle for the viewers .BRILLIANT!!!

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Aishwarya Rai - Umrao Jaan - Behka Diya Hamein
BEHKA DIYA HAMEIN: The ethnic and traditional Urdu poetry finds way to lovable duet for the first time as lovers share vibes in the beautiful soundtrack "Behka Diya Hamein". It's delightful to hear male vocals for the first time and fortunately it comes in the vocals of Sonu Nigam. Alka Yagnik blends her delightful voice with Sonu's impressive in delivering delightful number that will melt honey in the ears. Javed Akhtar's mushrooming romanticism makes soulful stirring passions in delightful lines like "Dekha Hamein kuch aisa ke Behka diya hamein, Tumne Jo khwaab dekhna sikhla diya hamein…" The titillating sounds of wind chimes, jal tarang along with fine display of classical instruments gives it a mesmerizing feel with romantic touch. It records as one of the finest duet numbers by Sonu Nigam and Alka Yagnik in recent times.

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If anyone really dazzles with the sheer dexterity and range of emotions then it has to be Shabana Azmi. For her hard hitting performance is the most notable thing about this well-over-three-hour-film (The editor must have been sleeping I guess). Shabana is a great actress but what’s most praiseworthy in her performance is that she has taken immaculate care of fitting the context of the mid nineteenth century Lucknow culture. How! She is the only one who speaks Urdu with correct pronunciation. And trust me Urdu is such a beautiful language that if it’s diction is not proper then the rest of the details like fancy costumes and lavish sets seem out of context and detached. There are several other details which enable Shabana to literally dwarf all other performances, but then I don’t think you guys are keen on a thesis on the movie. So, how ‘bout moving ahead with this review…

Next review coming up:

OMG! Is that Govinda? Like he eat one too many ladoo recently

quote:

Originally posted by Riya:
OMG! Is that Govinda? Like he eat one too many ladoo recently

It will be a riot to watch a fat man dance, and I am sure that he will have a couple of shots in this movie:

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Guyana Memories:

Plot Summary for
Bhagam Bhag: Opened 12/22/06:

Paresh Rawal has a theatre group in India and he performs shows all over the country. Akshay and Govinda along with others are actors in the group. Both are very naughty natured guys who never miss any chance to flirt with girls, even the girls in the group. At the completion of one show, an organizer offers Paresh's group to perform 30 shows in England. They all get very excited but as per the contract they need to leave for England on the same day. Unfortunately the heroine of the play opts out due to Akshay's misbehavior. They reach London and through Rajpal Yadav, a taxi driver, Govinda and Akshay try to find out a girl for their play but it leads to many misunderstandings and a series of funny sequences. In this process, Govinda and Akshay fall into trouble involving a drug baron and other mishaps. Thereafter, the trio discovers a girl Lara Dutta, who suffers from amnesia to act in their drama and just as Akshay and Lara fall in love, her memory returns and it brings chaos into their lives, including a murdered husband! From here the story leads to its climax in which a major conspiracy gets exposed.

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quote:

Originally posted by asj:

quote:

Originally posted by Riya:
OMG! Is that Govinda? Like he eat one too many ladoo recently

It will be a riot to watch a fat man dance, and I am sure that he will have a couple of shots in this movie:

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Hey fat people got good moves

is why yuh suh surprise at how fat Govinda is? i been callin da man a fatassss fi de langest while now and yuh always tell meh hush

You are killing me

He deserve the title now

Let's examine the two halves of BHAGAM BHAG minutely. Analysis of Part 1 first:
Lock your brains and throw the key in the sea as the curtains go up and BHAGAM BHAG unfolds. Remember, don't look for logic, don't ask questions.

The escapades of Akshay-Govinda-Paresh are truly entertaining. In fact, howlarious at times. A number of comic scenes are the mainstay of the enterprise. The first half, to put it rightly, is paisa vasool entertainment!

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Now an analysis of Part 2 [post-interval portions]:
The whodunit takes off very well at the intermission point. But as the mystery deepens and the three suspects [Akshay, Govinda, Paresh] start running helter-skelter, trying to put pieces of the jigsaw puzzle meticulously, the sequence of events that lead to the finale aren't convincing and captivating.

The climax is the biggest culprit. The identity of the murderer and the motive behind the murder should come as a shock if the whodunit has to have a solid impact. In BHAGAM BHAG, the end result is not as impactful.

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To sum up, BHAGAM BHAG may not be Priyadarshan's finest effort in this genre, but it provides ample laughter and entertainment in the final tally. Had the second hour been as captivating as the first, it would've been a different story altogether!

Champak [Paresh Rawal] has a theatre group in India and he performs shows all over the country. Bunty [Akshay] and Babla [Govinda] along with others are actors in the group. Both are naughty-natured guys who never miss a chance to flirt with girls, even with girls in the group.

At the completion of one show, an organizer [Asrani] offers Champak's group to perform shows in England. Unfortunately, the heroine of the play [Tanushree Dutta] opts out due to Bunty's misbehavior.

They reach London and through Gullu [Rajpal], a taxi driver, Bunty and Babla try to find a girl for their play, but it leads to many misunderstandings. In this process, Bunty and Babla fall into trouble involving a drug baron [Manoj Joshi].

Thereafter, Bunty and Gullu discover a girl Minni [Lara Dutta], who suffers from amnesia, to act in their drama and just as Bunty and Minni fall in love, she regains her memory and reveals that she's married to a U.K.-based entrepreneur [Arbaaz Khan].

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Comedy is serious business and Priyadarshan has explored this genre with flourish. In BHAGAM BHAG, there are ample moments that tickle your funny bone. But it's the writing in the second hour [screenplay: Neeraj Vora] that acts as a spoilsport.
The Shakti Kapoor-Rajpal Yadav track raises a few laughs in the first hour, but stands out like a sore thumb in the next hour. Ditto for the drug baron [Manoj Joshi] and his sidekick [Sharat Saxena]. It hardly evokes mirth!

The murder mystery is just not convincing. The Arbaaz-Lara-Jackie tracks are poorly etched out. And as pointed out at the outset, the climax -- very similar to the one in David Dhawan's SHAADI NO. 1 -- manages a chuckle, but is far from being hilarious.

Given the fact that Priyadarshan is saddled with an ordinary screenplay, there's not much he can do to elevate the goings-on. Yet, there's no denying that his handling of the comic scenes is superb. Pritam's music is strictly okay. 'Signal' is the best track of the enterprise, while 'Afreen' appeals more due to its choreography and the colorful set [Sabu Cyril] than its tune. The music composer is just not in form here. Jeeva's cinematography is topnotch. Dialogues [Neeraj Vora] are excellent. Vora knows where to give the right punches!