Vipul Shah once again returns with his uniform Punjabi flavour & the India-London theme. Taking another step ahead of his "Namaste London", this time he impressively comes up with a good take on pop singers and the back stage drama in their over famous lives. But in an otherwise well directed, intense and emotional drama, he is sadly not accompanied by an equally enjoyable musical score (as in Namaste London), which was much needed by the subject and its script. So minus the songs and uninspiring music, here we have a well directed movie with some entertaining & enlightening moments and a worth watching climax (again subtracting the last song).
With a story about changing relationships between two childhood friends, "London Dreams" starts with a notable opening dialogue from Ajay Devgan and then moves into the flashback of the same overused fields of Punjab. After a few introductory scenes, a song and 20 minutes into the movie, enters Salman Khan, who simply sets the screen on fire with his superb effortless acting and hilarious comic timing. From here on the film takes off in actual terms giving way to a brilliant in-flight sequence where Salman interacts with the passengers, an airhostess and the security men in his own impeccable style. And then the first half ends with a well conceived on-stage sequence, which successfully excites you enough to see the rest of it.
Post interval the narration moves into more serious matters, showcasing the cut-throat competition between artists, the feeling of jealousy among themselves and the evil games they play to taste success in their professional lives. The emotional conflict between Ajay and Salman further leads to a completely unexpected and splendidly conceived climax which gives new meaning to the spirit of friendship between two artists and childhood friends. In fact the climax sequence of Salman and Ajay at the Railway Station rightly deserves to be applauded for its superb writing and enlightening execution. Salman straight away wins the heart of every single viewer in the theater, coming up with a completely unimaginable solution to the problem existing between the two friends and gives a new meaning to the "Art of Forgiving". But a whole song after their re-union was not creative or intelligent from any angle and the movie should have ended right at the Railway Station.
Performance wise Salman comes at the top with a great act, which includes comedy, emotion, tragedy and even trauma of a drug addict. Ajay Devgan gives another intense and explosive performance different from his current famous comedy movies. He looks dashing in his rough performer getup, but lacks the youthfulness and body flexibility of a rock artist. In other words, he seems to be quite stiff in his stage acts and moreover his self torture scenes were also not needed at all. They give you the feeling of Deja vu, like the one seen in Amitabh's "Mahaan". Asin is breath-taking gorgeous and looks much better than "Ghajini". Her short Sita-Gita act was enjoyable only because she looked equally beautiful in both kind of dresses.Om Puri is cool and calm in his few scenes and notable dialogues but Ranvijay Singh gives an OK performance in his debut movie. He looked more confident in his "Roadies" act on the small screen. Aditya Roy Kapur, as Ranvijay's brother is impressive & Brinda Parekh repeats her act of "Corporate".
It can be said that director Vipul Shah is back with a commendable effort talking about the ugly side of human characters who happen to be stage artists in the current script. But the theme is equally relevant in any business form in this cunning monetary world. Vipul realistically directs few praiseworthy sequences in the movie like the one where Salman transforms two lines of a song in different kind of compositions having different tastes and the worth watching emotional climax scene at the railway station. However, along with these well directed ones, he also delivers a questionable sequence, when all the four members of the band except Ajay freely move out of the Wembley Stadium's green rooms to the lonely, dark backyards, breaking all the security circles, on the very night of their much awaited performance.
Unfortunately, Vipul majorly faulted on his choice of compositions for a project which entirely talks about a musical band and its members. For such a script based on music itself, the songs and score by Shankar-Ehsaan-Loy is too feeble to get register.In fact the most important song of the movie, which the band plays at their night in the Wembley Stadium, is completely uninspiring and boring. On the other hand the cinematography captures the essence of the subject superbly. The stage sequences and the Wembley have been shot real well along with some great computer graphics.
Conversely, I wondered that if a project is around Punjab and also requires a great amount of Punjabi language, music and feel to be incorporated into it, then why not they hire some actual Punjabi Professionals for the job, who can rightly guide them about the Punjabi dialogues, their pronunciations and the Punjabi melodies in the songs. For instance, Salman keeps on calling Ajay as "Bhara" which means brother, with a faulty pronunciation.
Summing up, I would like to say the "London Dreams" just missed out to become a masterpiece flick based on a good subject. It is Salman's movie all the way, who will appeal to everyone from a city professional to a village farmer. Besides him, the movie and its theme will also appeal to wannabe artists from the younger generation. But it cannot be called a finely polished product as it has many unwanted songs and scenes which could have been easily edited out. And I wish it had some good melodious songs which would have taken the brilliant performances in the movie to another level altogether.
With a story about changing relationships between two childhood friends, "London Dreams" starts with a notable opening dialogue from Ajay Devgan and then moves into the flashback of the same overused fields of Punjab. After a few introductory scenes, a song and 20 minutes into the movie, enters Salman Khan, who simply sets the screen on fire with his superb effortless acting and hilarious comic timing. From here on the film takes off in actual terms giving way to a brilliant in-flight sequence where Salman interacts with the passengers, an airhostess and the security men in his own impeccable style. And then the first half ends with a well conceived on-stage sequence, which successfully excites you enough to see the rest of it.
Post interval the narration moves into more serious matters, showcasing the cut-throat competition between artists, the feeling of jealousy among themselves and the evil games they play to taste success in their professional lives. The emotional conflict between Ajay and Salman further leads to a completely unexpected and splendidly conceived climax which gives new meaning to the spirit of friendship between two artists and childhood friends. In fact the climax sequence of Salman and Ajay at the Railway Station rightly deserves to be applauded for its superb writing and enlightening execution. Salman straight away wins the heart of every single viewer in the theater, coming up with a completely unimaginable solution to the problem existing between the two friends and gives a new meaning to the "Art of Forgiving". But a whole song after their re-union was not creative or intelligent from any angle and the movie should have ended right at the Railway Station.
Performance wise Salman comes at the top with a great act, which includes comedy, emotion, tragedy and even trauma of a drug addict. Ajay Devgan gives another intense and explosive performance different from his current famous comedy movies. He looks dashing in his rough performer getup, but lacks the youthfulness and body flexibility of a rock artist. In other words, he seems to be quite stiff in his stage acts and moreover his self torture scenes were also not needed at all. They give you the feeling of Deja vu, like the one seen in Amitabh's "Mahaan". Asin is breath-taking gorgeous and looks much better than "Ghajini". Her short Sita-Gita act was enjoyable only because she looked equally beautiful in both kind of dresses.Om Puri is cool and calm in his few scenes and notable dialogues but Ranvijay Singh gives an OK performance in his debut movie. He looked more confident in his "Roadies" act on the small screen. Aditya Roy Kapur, as Ranvijay's brother is impressive & Brinda Parekh repeats her act of "Corporate".
It can be said that director Vipul Shah is back with a commendable effort talking about the ugly side of human characters who happen to be stage artists in the current script. But the theme is equally relevant in any business form in this cunning monetary world. Vipul realistically directs few praiseworthy sequences in the movie like the one where Salman transforms two lines of a song in different kind of compositions having different tastes and the worth watching emotional climax scene at the railway station. However, along with these well directed ones, he also delivers a questionable sequence, when all the four members of the band except Ajay freely move out of the Wembley Stadium's green rooms to the lonely, dark backyards, breaking all the security circles, on the very night of their much awaited performance.
Unfortunately, Vipul majorly faulted on his choice of compositions for a project which entirely talks about a musical band and its members. For such a script based on music itself, the songs and score by Shankar-Ehsaan-Loy is too feeble to get register.In fact the most important song of the movie, which the band plays at their night in the Wembley Stadium, is completely uninspiring and boring. On the other hand the cinematography captures the essence of the subject superbly. The stage sequences and the Wembley have been shot real well along with some great computer graphics.
Conversely, I wondered that if a project is around Punjab and also requires a great amount of Punjabi language, music and feel to be incorporated into it, then why not they hire some actual Punjabi Professionals for the job, who can rightly guide them about the Punjabi dialogues, their pronunciations and the Punjabi melodies in the songs. For instance, Salman keeps on calling Ajay as "Bhara" which means brother, with a faulty pronunciation.
Summing up, I would like to say the "London Dreams" just missed out to become a masterpiece flick based on a good subject. It is Salman's movie all the way, who will appeal to everyone from a city professional to a village farmer. Besides him, the movie and its theme will also appeal to wannabe artists from the younger generation. But it cannot be called a finely polished product as it has many unwanted songs and scenes which could have been easily edited out. And I wish it had some good melodious songs which would have taken the brilliant performances in the movie to another level altogether.