Ram Gopal Varma Ki Aag 2 Movie D Free
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This film received negative reviews from critics and also turned out to be a commercial failure.[11][12] Rajeev Masand rated it zero out of five.[13] The Times of India stated that Aag "destroyed Bollywood's greatest film" and acknowledged that some "consider it the world's worst film."[14] Hindustan Times awarded it the "Lifetime's Worst Ever Movie Award."[15] It came in first in a FHM India list of the 57 worst movies ever made.[16] Total Film included it in their list of the 66 worst films of all time.[17] Amitabh Bachchan later admitted that the film was "a mistake."[18]
In fact, I remember I once started crying that they were going to play the movie again. At that age I did not watch any movie, my problem with Sholey was that the volume would be higher than usual and nobody would let me speak a word.
raag: Yup, Desai and Mehra were a big part of the AB legend. And of course Salim-Javed. Even their commercial dud like Imaan Dharam are worth watching simply for how they stitched together a certain kind of masala movie with big stars.
Because Ram Gopal Varma Ki Aag, ladies and gentlemen, as its title suggests, is a B-movie. It's like one of those TLV Prasad films of the 1990s that revels in its mediocrity, the kind of film that wouldn't normally get a theatrical release in Mumbai except for the stray morning show in a ramshackle single screen theatre.
Except that this time it's a Ram Gopal Varma movie, a mega-hyped vehicle of gimmick and bluster, and thanks to the casting decision of Amitabh Bachchan [Images] as the film's villain, occasionally elevated to, well, a Big-B-movie.
A B-movie, of course, can still be a work of art. As a filmmaker, you can choose to embrace the unreal, overdone style of (seemingly) slipshod filmmaking for its very lack of boundaries and aesthetics rather than against, directing inside the tacky box and painting everything super-bad with a delicious layer of postmodern irony -- in short, something so bad it's good.
Ram Gopal Varma might have started out -- I see no better explanation -- to make a so-bad-it's-good kinda B-movie, but tragically hurtled past the stop-signs and ended up with, quite simply, a so-so-bad film. It's the director's most depressingly disappointing work.
Ramu is a maverick, a director usually given to laughing at critics and scathing reviews, which is as it should be. The scary thing is that he might just truly believe Aag is a good movie. I pray not.
Its impossible to re-create Sholay. I think Amitabh trusted RGV too much when he agreed to be a part of this remake. The promos are so sick I am surprised that some people actually went to see the whole movie.The apt name for this movie is what you suggested. I also pity Ajay Devgan who may have thought that this movie would give a boost to his career. Nice to read your review though:)
Nicely written review.I went to to see this movie on a saturday at 6.30 in a theatre in NJ. 30 people were there when the movie started 4 made it through to the end of the movie :D. What a waste of 10 dollars :(.
Shame! Same! Why do you anglophones write about the same movies? Really pathetic attempts at proving authentic connectedness to desh, occasional Bhojpuri cave-dwelling notwithstanding. It is not fooling anyone, least of all Mr. Kesavan. [link]
@Kanti Shah: In the unlikely eventuality that it is indeed you, the director of Loha and Gunda, and not some one pretending to be Kanti Shah, I declare that I am honored to have you here on my blog. I shall definitely buy all your movies once they are released on Tseries DVDs as I am a mad fan of Gunda, Loha, Free Entry and Pyasa Haiwaan
The movie is darkly yet atmospherically shot from Italy to the Bavarian heartland and the gunfights are breathtakingly staged on the snow capped alpine slopes with a technical finesse rarely seen in Hindi cinema, it is here that the soul of this erstwhile classic is imbued with its urban metaphysical form as the style and content come together with a brilliant director and an ensemble cast.
Let's get one thing straight! To remake a film that not only set box-office records and is referred to as a classic, but also one that by far has the biggest recall value, is playing with aag. Ramgopal Varma, the maverick film-maker, has the courage to remake SHOLAY, a film that continues to be one of the favorite entertainers across the globe.
Every frame reeks of self-obsessed director mercilessly butchering the original. The characters are not etched out at all and have plain bad dialogues. It is sad to think of Babban as Amitabh Bachchan instead of the other way around. Others are all pretty bad too. The villain of the movie is the cameraman. Just because some person got a camera, why should the audience suffer a headache!? Bahut na-insaafi hai...
Oh wait! What am I talking about!? There is one strong character in the movie who wants to make sure you notice its personality - the camera. It is just all over the place, trying its best to steal the show. This behavior is getting progressively worse with every RGV product. And it is so even in the simplest of scenes. So, imagine what a treat they gave themselves in the action sequences. I hope the choreographer wasn't paid too much, because the camera was doing all the dancing. Amit Roy (cinematographer) must be such a tired person. He seriously needs a break - a long one. And he might as well take Amar Mohile with him, for he must be worn out cranking up the volume of his background score too.
Warning: this section has some details that could distort your experience while watching the movie. I strongly recommend reading this only after you have seen the movie or if you have decided not to see it.
Rajpal Yadav's voice modulation - ineffective and rather pointless. Why exactly do Heero and Raj agree to work for the police?A wall breaks in the first action sequence. The falling stone bricks that fall look obviously like card-board blocks falling to sound effects.The title card used to show passage of time in the jail - what a lame attempt at comedy!? When Babban did not want to kill Narsimha, why did he organize such a bad accident for him? How could he be sure Narsimha wouldn't die in the accident?The sets were quite awful. Especially, Babban's hangout places.This time around Urmila Matondkar has an excuse for not looking good. They forgot to take her face pack off.The lip-synching in "mehbooba" was very bad. It didn't look like Urmila and Abhishek were singing at all.Why is Babban waiting for someone to get out of Kalikunj. In a city like Mumbai, there must be so many people leaving their residential area everyday.The whole disinterest created by the movie. In a supposedly sensitive scene, we could hardly hear the dialogues because the entire audience was having loud conversations.What was the dialogue writer's attraction towards Americans and the Al-Qaeda? There were at least 4 references to them
I don't know if you understand the English language or not. Or maybe, the mike is not working properly."That was filmmaker Ram Gopal Varma's reaction to a scribe's request for a detailed clarification on his upcoming filmRann 'scontroversial song,Jana Gana Rann, a distorted take on the National Anthem.How do you explain Ramu's eccentric nature? Was it his sheer madness that created cult films like Shiva andSatya? Or is it to blame for bad films as Ram Gopal Varma Ki Aag and Nishabd? Whatever the case, he has to be credited for one feat - turning Hindi cinema on its head when Chopras and Johars were rehashing karva chauths , chiffon sarees and mush film after film."It's sad but the vintage Ramu is missing now," rues a prominent producer who is also Varma's good friend."Nowadays, he is more eager to earn commercial gains rather than creative superiority. Ramu had an interesting attitude that has vanished over the years." Of course, Ramu's latest ' stunt' is in- your- face - 'remixing' the National Anthem inRann. As Ramu moves to the Supreme Court challenging the Censor Board's decision to ban promos of the upcoming film, industry insiders term it as ' foolish', questioning the idea behind purposely jumping on the barbwire.It's interesting to note that Ramu's industry counterparts haven't shown solidarity on the issue. In fact, an industry veteran - without wishing to be named - states "no sane person would like to put himself in trouble" by supporting Ramu on a delicate issue like the National Anthem. The filmmaker has called the Rann song a realistic portrayal of modern India.He justifies the song with this blog entry on his site: " We keep screaming ' Incredible India',Mera Bharat Mahaanetc with a halo of well- intended but truly misplaced selfpraise.While it may fool some tourists etc, the cold facts are not unknown to the people of this country. It's a sad state of affairs that I wanted to decry in the emotions behind the song." The thought process isn't an overnight phenomenon.His aggressive and peculiar philosophy spawned the pathbreaking Shiva in 1990. Even as Yash Chopra was romancing hackneyed mush with Chandni around that time, Ramu was silently creating a new cinematic idiom.Soon, the gritty realistic formula became a selling point as he pulled the cinelover's attention to the dingy underbelly of Mumbai. Underworld cinema as a genre became his patent amidst the designer brand of mush that ruled in that era. " Ram Gopal Varma took us through a world that always existed but no filmmaker had the courage to portray," says trade analyst Taran Adarsh. " And of course, the audiences lapped up his cinema because it was absolutely new."Post Shiva though, Ramu's filmy stint didn't exactly take off, with flops likeRaat and Drohi. Still, these films too defined him as a harbinger of change from Bollywood's overdose of family dramas and syrupy mush.Even when Ramu picked up the love story of a tapori and an aspiring starlet inRangeela(1995), you couldn't miss the grunge feel he imparted to the rom-com genre, replete with character imperfections, portrayed especially by Aamir Khan as the tapori Munna. The film was an instant success but he couldn't repeat the magic with his next experiment, Daud(1997), an action spoof on the thriller genre.A year later, Ramu was back, redefining Hindi cinema withSatya. With weird camera angles, dark emotions and undercurrent violence, Ramu set a template on the crime genre for future filmmakers. The seething underworld reached its next level on the Bollywood screen with Satya.And it wasn't just about Ramu's depiction of the underworld. He was running on another parallel path - horror cinema. Ramu perfected the Raat prototype from 1992 with 2003's Bhoot. Other horror productions,Darna Mana Hai,Darna Zaroori Hai andKaun?, may have flopped, but they moved the genre forward.Of course, Ramu's unconventional choices got him noticed. As Grady Hendrix, of the Film Society of Lincoln Center, once stated: "Everything you think you know about Bollywood - if you are unaware of Ram Gopal Varma - is wrong. In an industry best known for its song-anddance extravaganzas, Varma has become Bollywood's biggest director with crime flicks and horror movies devoid of flashy production numbers."It's not just his subjects or filmmaking style, Ramu never made any attempt to show his disdain for the 'conventional' B-town. At a time when he entered the industry in the eighties, multiplex cinema was a distant dream with the star system firmly entrenched.Showing utter contempt to the star system, Ramu created his own set of stars. Count them: Urmila Matondkar, Vivek Oberoi, Manoj Bajpai, Mohit Ahlawat, Nisha Kothari and Antara Mali. 2b1af7f3a8