Lots of static!

The idea of a mystical assistance to succeed through life's inevitable disappointments is quite a fascinating one. Genie in the lamp, Fairy Godmothers or any wish-granting medium is an upshot of this peculiar human fantasy.

Karthik Calling Karthik, too, stems from this deep-rooted desire.

Only our eponymous hero (Farhan Akhtar) isn't Aladdin, Cinderella or Bruce Nolan (of Almighty fame). A stereotypical weak geek at the receiving end of his scowling landlord (Vipin Sharma doing what he does best -- snap) and growling boss (Ram Kapoor with his snarling skills should sign up for Wolf Man), he's pretty much invisible for everyone else in the world, including, the leggy colleague in a pencil skirt (Deepika Padukone) to whom he's written a thousand plus unsent drafts of affection. Basically, he is Amol Palekar of Chhoti Si Baat, sans the goofy smile and mysterious past.

Dude seems to be in desperate need of Cinkara (Hamdard ka tonic, anyone?). But this is Farhan's production. And he's all about indelible charisma, hip aesthetics and urban wit. While the easygoing charm and wall decor is spot on, absence of crisp humour is conspicuously felt all through its loitering 16 reels.

Having said that, it's imperative to remember this is a Vijay Lalwani film. The first-time director is the strength or weakness behind its story, screenplay, dialogue and direction. If you view this with the expectations of a Farhan caper, you're doing both of them great disservice.

In other words, herbal tonic is out of question. Instead Karthik starts receiving strange calls from another Karthik who promises to help him attain everything that is rightly his -- power, money and love.

Desperate for comfort, Karthik doesn't need too much convincing before he takes up the seemingly unconditional offer. In no time, he's promoted from cabin to cubicle and single to boyfriend status.

No personality makeover in Hindi films is complete without a change of wardrobe. Even Sai Paranjape couldn't resist doing this to Farooq Shaikh in Chashme Buddoor. And so it's bye-bye Surinder Sahni and say-hello-to-Dil-Chahta-Hai.

Quickly enough, Lalwani runs out of ideas and till intermission KCK seems to be heading nowhere. Pace (editing by Aarti Bajaj [ Images ]) is one of the film's recurring problems. It's unnecessarily pensive and long-winded for its genre.

Even the romantic interactions are sluggish and uninspired. Although Farhan and Deepika are a cool couple to look at, you don't feel the vibe, mainly, because the conversations are just so 'meh'.

Their chemistry fares better against the breezy Shankar-Ehsaan-Loy [ Images ] composition, Hey Ya, choreographed effectively around their courtship and dating in office, malls, coffee shops and Khandala.

Things get dark and creepy in the second half when the Karthik-Karthik pact takes a beating. This is when Lalwani comes in his element and shows a flair for gritty thrillers without resorting to cheesy exaggeration or relying on excessive technique (camerawork: Sanu John Varughese, background score: Midival Punditz and Karsh Kale).

At this point, the on-going events on screen lead me to construct a sort of Dr Faustus meets The Dark Half brand of murkiness. If only Lalwani was as ambitious as the sinister alternatives in my head.

Lots of static!

CommentThe idea of a mystical assistance to succeed through life's inevitable disappointments is quite a fascinating one. Genie in the lamp, Fairy Godmothers or any wish-granting medium is an upshot of this peculiar human fantasy.

Karthik Calling Karthik, too, stems from this deep-rooted desire.

Only our eponymous hero (Farhan Akhtar [ Images ]) isn't Aladdin, Cinderella or Bruce Nolan (of Almighty fame). A stereotypical weak geek at the receiving end of his scowling landlord (Vipin Sharma doing what he does best -- snap) and growling boss (Ram Kapoor with his snarling skills should sign up for Wolf Man), he's pretty much invisible for everyone else in the world, including, the leggy colleague in a pencil skirt (Deepika Padukone [ Images ]) to whom he's written a thousand plus unsent drafts of affection. Basically, he is Amol Palekar of Chhoti Si Baat, sans the goofy smile and mysterious past.

Dude seems to be in desperate need of Cinkara (Hamdard ka tonic, anyone?). But this is Farhan's production. And he's all about indelible charisma, hip aesthetics and urban wit. While the easygoing charm and wall decor is spot on, absence of crisp humour is conspicuously felt all through its loitering 16 reels.

Having said that, it's imperative to remember this is a Vijay Lalwani film. The first-time director is the strength or weakness behind its story, screenplay, dialogue and direction. If you view this with the expectations of a Farhan caper, you're doing both of them great disservice.

In other words, herbal tonic is out of question. Instead Karthik starts receiving strange calls from another Karthik who promises to help him attain everything that is rightly his -- power, money and love.

Desperate for comfort, Karthik doesn't need too much convincing before he takes up the seemingly unconditional offer. In no time, he's promoted from cabin to cubicle and single to boyfriend status.

No personality makeover in Hindi films is complete without a change of wardrobe. Even Sai Paranjape couldn't resist doing this to Farooq Shaikh in Chashme Buddoor. And so it's bye-bye Surinder Sahni and say-hello-to-Dil-Chahta-Hai.

Quickly enough, Lalwani runs out of ideas and till intermission KCK seems to be heading nowhere. Pace (editing by Aarti Bajaj [ Images ]) is one of the film's recurring problems. It's unnecessarily pensive and long-winded for its genre.

Even the romantic interactions are sluggish and uninspired. Although Farhan and Deepika are a cool couple to look at, you don't feel the vibe, mainly, because the conversations are just so 'meh'.

Their chemistry fares better against the breezy Shankar-Ehsaan-Loy composition, Hey Ya, choreographed effectively around their courtship and dating in office, malls, coffee shops and Khandala.

Things get dark and creepy in the second half when the Karthik-Karthik pact takes a beating. This is when Lalwani comes in his element and shows a flair for gritty thrillers without resorting to cheesy exaggeration or relying on excessive technique (camerawork: Sanu John Varughese, background score: Midival Punditz and Karsh Kale).

At this point, the on-going events on screen lead me to construct a sort of Dr Faustus meets The Dark Half brand of murkiness. If only Lalwani was as ambitious as the sinister alternatives in my head.

Farhan Akhtar's first romantic role

Farhan Akhtar's Karthik Calling Karthik tells a unique story, and sees the actor-director share the screen with Deepika Padukone.

The film's promos look good, and Farhan may have yet another winner on his hands when the film releases next month.

He tells Nithya Ramani what to expect from Karthik Calling Karthik, directed by first-timer Vijay Lalwani.

What genre would you say Karthik Calling Karthik belongs to?

Well, it definitely isn't a horror film. It creates some kind of suspense as to who this Karthik is who is making the (telephone) call. That is revealed at some point in the film. That's why it is a thriller.

There is also a beautiful love story between Karthik and Shonali (Deepika Padukone). The crust of the film is that Karthik wants Shonali in his life but he is not confident enough to tell her that. This lack of confidence has made him a miserable and lonely person.

Suddenly, he gets a call, and things start changing for him. Vijay (Lalwani, writer-director) has written some really nice scenes between Deepika and me. Of course, I cannot reveal the twist. You must watch the film.


Image: Farhan Akhtar

Karthik Calling Karthik music is easy on the ears

Sometimes a soundtrack is all about breeziness, and that seems to be the brief for Shankar-Ehsaan-Loy as they deliver an album of songs trying really hard to come across as real easy -- listening, that is.

The album kicks off with Hey Ya, a refreshing track by Shankar, Loy and Clinton Cerejo, and it starts by setting up a good, fingersnapping groove. The lyrics are standard hinglish-meets-bad r'n'b pap, but the song works nicely overall. The whoa-ho-ho vocals especially do well, making sure the end result is good, soft fun.

Next up is Uff Teri Ada, featuring Shankar along with Alyssa Mendonsa. The track takes a little while to get going, but Mendonsa's voice is perfectly suited for her rapid opening vocals, after which the dance-floor rhythm kicks in and stays solid. The chorus is punchy enough to keep the track danceable, and Mahadevan vocally provides the odd surprise to keep things interesting.

KK takes on Jaane Ye Kya Hua, a very pleasant harmonica-driven ballad doused in craving. The vocals gel quite strikingly well with Farhan Akhtar during the chorus, and even though KK doesn't quite sound like him, the feel is similar.

Kaisi Hai Ye Udaasi has Kailash Kher and Sukanya Purayastha manning the microphones. The song is mellow yet Kher sings it in his typically intense way, and it's a good thing Purayastha rescues it with a very listenable drawl much more appropriate to the subject.

Then comes Karthik Calling Karthik, the movie's theme song predictably made out of beep-boob keypad tones and assorted phone sounds. The lyrics are intriguing, though.

Bring up the guitars. Karthik 2.0 is performed and composed by the Midival Punditz and Karsh Kale, and the track seems authentic even though it doesn't go anywhere beyond some standard guitar-riffs. Still, as a theme tune, this is sexier than the last track, and has the potential to be interestingly moulded into a film.

Then come the obligatory remixes. The KCK remix, however, by Kale and the Punditz, is actually an improvement on the original track, a woofer-thumping retake. The Hey Ya and Uff Teri Ada remixes are standard issue stuff, pale and needless attempts to spice up tracks that already kinda work.

Despite a couple of tracks that should do well -- the first two, and the Punditz stuff perhaps -- the soundtrack doesn't deliver anything exceptional. Still, it's perfectly pleasant -- and that is likely all it ever tried to be. Easy listening, remember?

Farhan and Hrithik's birthday bash

It was a birthday unlike others.

Close friends Farhan Akhtar and Hrithik Roshan decided to celebrate their 36th birthday together at a posh lounge in Mumbai's Juhu suburb. Farhan's birthday falls on January 9 while Hrithik's is on the next day.

Like all Bollywood parties, the stars came out in droves.


Image: Farhan Akhtar with wife Adhuna and sister Zoya
Photographs: Pradeep Bandekar

Zoya Akhtar's next a road movie, brother Farhan to play lead

New Delhi, Oct 29 (IANS) He was her last resort for her critically-acclaimed directorial debut 'Luck By Chance'. But for her second film Zoya Akhtar has specially written a part for brother Farhan.

'It's a road movie set in Spain about three boys and one of the three characters is definitely Farhan. I knew I wanted him. I was very clear that I wanted to work with him again,' said Zoya.

Daughter of well-known lyricist Javed Akhtar, Zoya informed that her writer filmmaker-actor brother will not only act in the film, but also pen the dialogues for it.

'I am writing this film with Reema Kagti. I'm wrapping up the script but as of now it is not locked yet. Then probably I'll sit with Farhan for the dialogues and the casting,' she said.

Throwing light on the film, she said: 'It's a coming of age genre. But it'll be simpler than �Luck By Chance' and simpler to understand. A feel-good factor will be there in that sense,' said Zoya on the sidelines of the ongoing 11th annual Osian's Cinefan Film Festival of Asian and Arab Cinema.

Asked is her movie was in any sense a follow up to the upcoming Abhay Deol-starrer 'Road Movie', she said: 'The trend's been there. Look at �Jab We Met'. It is a road film. It's got that vibe of a road movie. And the promos to the �Road Movie' are gorgeous too.'

'I can't imagine making a film without Boman Irani'

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Farhan Akhtar, writer, filmmaker and actor, came to New York last week with his director-sister Zoya Akhtar for the screening of Luck by Chance at the I View Film festival.

"Film festivals are important as they often provide an opportunity to look at a film from a fresh perspective," the 35-year-old filmmaker said.

He readily admitted that when he worked on a project he did not think of making a film that catered to a special audience. "It is the story that should hold my attention," he said. "I don't tell myself, I am going to make a film with a message or this is going to be a socially relevant film. Whatever films I make, the mandate is that it should touch the audiences and engage them from the first scene."

Akhtar, the son of writers Javed Akhtar (Sholay and Deewar) and Honey Irani (Lamhe and many other films), has collaborated with his father on several projects. He chats with Arthur J Pais:

What are some of the challenges you have set for yourself in the Don sequel?

Even when I was writing the script for Don, I suspected it could lead to a sequel. I wanted to be faithful to the original Don [which Javed Akhtar wrote with Salim Khan] but in my film, the villain lived. I was amazed at the way people were fascinated by this villain. Of course, they were not endorsing what he did but they were so intrigued and fascinated by him that they wanted so see more of him.

In the first film I felt the obligation to be faithful to the original Don to a great extent. I kept telling myself while making the first Don: don't try to be very smart. But now I feel I am free, and this is going to be my baby. At the same I know the audiences are expected many surprising twists in the sequel. One of my challenges is to know that the audiences are waiting for the big surprises and give them something they could not have imagined. It is not going to be easy but I feel it can be done.


Image: Boman Irani, director Tarun Mansukhani, Farhan Akhtar and John Abraham