Friday, March 30, 2007

Namastey London

The intrinsic message of ‘Namastey London’ is that true love means giving, rather than demanding. The movie’s protagonist Arjun (Akshay Kumar) is the embodiment of this.
Jazz (Katrina Kaif) is a brat, born and brought up in Phoren. She thinks partying and drinking in pubs is all that there is to life. Here, Papa Manmohan Singh (Rishi Kapoor) enters the scene and demystifies the generation gap. Now, Papa takes Jazz on a joy ride to India where he forcefully makes her marry apna desi munda Arjun (Akshay). Later she educates dad that this wedding does not stand a chance to be authenticated in UK, reason she likes someone else (Clyde Stenden).
Arjun takes the whole movie on his swing in the second half as he applies a simple strategy to win back Katrina. The character does not do anything extraordinary which makes it even more believable (Ajay Devgan of Hum Dil De Chuke Sanam). The movie draws sympathy to all its characters in pieces. Initially, people feel for Jazz aka Jasmeet (Katrina Kaif), then towards Arjun (Akshay Kumar), Manmohan Singh (Rishi Kapoor) etc.
NAMASTEY LONDON fits the description of a true-blue Hindi film to the T. Writer Suresh Nair’s screenplay is most convincing, the writing is foolproof, with no loose ends. Only thing, while the first hour moves at a lightening pace, the pace drops in the second half. In fact, minimal trimming in the post-interval portions would only make the narrative tighter. Another aspect that might curtail its prospects [at smaller centres mainly] is the generous usage of English language at vital points.
Himesh Reshammiya’s music is excellent. The tunes come instantly on your lips and what elevates the songs are its picturization. ‘Chakna Chakna’ and ‘Dilruba’ are compositions that merit a mention. Jonathan Bloom’s cinematography is exceptional. The D.O.P. does complete justice to the stunning locales of U.K. as also the lush green fields of Punjab. Dialogues [Ritesh Shah, Suresh Nair] are natural to the core.


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