THE GEETA EFFECT 1 - DAY 655

               

The story of the Mahabharata has a philosophical significance. The Pandavas and the Kauravas represent the positive and the negative qualities of an individual.

The Kauravas having larger forces than those of the Pandavas suggest that the negative generally outnumber the positive.

The goal of human existence is the realization of the supreme Self within. To realize the self, you need to rise above your involvement with the good and the bad forces of the world. Non-involvement with the good and the bad is essential for attaining spiritual knowledge. That is symbolized by Arjuna receiving the sermon of the Gita in the chariot between the Pandava and the Kauravas armies.

The Gita contains 701 verses spread over 18 chapters. The 18 chapters can be divided into three sets of six chapters. And the three sets explain and elaborate the supreme aphorism of the Vedas: ‘Tat tvam asi – that thou art’.

The first six chapters explain ‘Tvam – Thou’, the middle six ‘Tat’ – That, and the last six, ‘Asi’ – Art. ‘Tvam’ represents the Self within. ‘Tat’, the supreme God. And ‘Asi’ indicates that the Self in you and God are one. You art God

The Gita leads one to the ultimate state of spiritual enlightenment. Moreover, it gives a philosophy of life which can be translated into practical living in one’s social, official and domestic lives.

SWAMI PARTHASARATHY/ speakingtree.in 

Hero – Disappointing - DAY 654

Salman Khan produced aur Umesh Bist likhi, Hero, saal 1983 Hero ka remake hain. Peechli baar director Subhash Ghai ne Jackie Shroff-Meenaxi Seshadri ko launch kiya tha. 

Iss baar, director Nikhil Advani do aur naye kalakar, Sooraj Pancholi-Athiya Shetty ko launch karte hain. Saal 1983 ki Hero mein shandaar sangit, masti aur manoranjan tha. 

Saal 2015 ki Hero mein, na dil hai, na jaan aur na hi jasbaat! Ritesh Soni ki slow editing, kahani aage hi nahi badhati aur badhati hai tab, ek hi gaane mein 2 saal nikaal deti hai. 

Sawal ye hai ki producer/ director ne iss film ka remake kyu socha?  Aur agar socha, toh isse naye tareke se kyon nahi likha aur pesh kiya? 

30 saal pehle, hero ka heroine ko agvaa karna aur police ka unko na dhoond paana, samajh aata hai! Aaj ke daur mein, unka barfeele pahadon mein khulle aam ghumna aur police ka unko na dhoondh paana, unrealistic hai.

Film ka plus: action aur locations. 

Film ka minus: saare kirdaar aur saare rishte jo khokkhle aur banavti lagte hai. Na IG officer-Pasha ki dushmani convincing hai aur na hi Radha-Sooraj ki do mulakaton ke prem kahani. 

Film mein ek dialogue baar baar dohraya jaata hai: Alt Control Delete!

Kaash director Nikhil Advani ye kar sakte...

Kaash Athiya aur sooraj bhi ye kar sakte...

Film ka sab se khubsurat pal, end credits hai, jahan Salman Khan apni awaaz aur mein gaate hai.

Thoda sharmate hai…thoda muskurate hai aur sach much hero lagte hai…

Hero ko Big Entertainment Ratings milte hai 2 stars.

Bhawana Somaaya/ @bhawanasomaaya

SALAAM BOLLYWOOD 6 - DAY 653

                                       My films are based on true stories

It is 1 pm and I’m attending the trailer release of Madhur Bhandarkar’s ‘Calendar Girls’ in Mumbai’s newly opened Carnival Theater in Oshiwara. Like always Madhur has made sure to invite all his guests personally and seek support for his new venture. “Big films find audience on their own but small films need the support of cinema buffs so you must come for the event to express solidarity,” he says on the phone and I respect that.

It is probably a result of his personalized invitations that most of the people he has invited have turned up on time and appear a bit restless at the delay in starting the event. In the front rows I can spot politicians from different a party, which is understandable because the producer Sangeeta Ahir is the wife of a politician.  

Excerpts from the interview: 

You once said that you feel like an activist taking up a social issue in every film.

That is true, I crusaded the cause of the bar girls, exposed the insecurities of the corporate world and deglamourised the life of a ramp model in ‘Fashion’. Our films have depicted beggars in many films but no film has shown the brutalities of ‘Traffic Signal’ or the way the media operates as in ‘Page 3’.

And how do you think does society perceives you for your brand of films?

With trepidation I think. They feel it is better not to tell me too much about their world or I will expose it in a film. The other day I was getting into the elevator of a 7-star hotel filled with top level industrialists probably from a seminar. I recognised them and I think they recognised me too. I noticed they stopped talking till I got off at my floor. Maybe they thought I will use the information in a film on industrialists in future.

How do you always mange to find a novel contemporary subject for a film?

I don’t know if I find them or they find me but it all happens quietly and naturally, I encounter an experience, reflect about it and before I know I have decided to make a film on that experience.

Do you accept that your new film ‘Calendar Girls’ is inspired from tycoon Vijay Mallya’s

annual Calendar?

Of course it is but the film is much more than that. I have visited Vijay Mallya’s calendar events often and he sends me his exotic calendars every year. They are superb and extremely glamorous. One day my office boy was on a cleaning spree and put a few of these old calendars on my desk demanding to know what has to be done with them? I revisited the calendars and an idea struck me but I wasn’t sure so I asked him to let the calendars lie on my table for a while. Every day I would turn a few pages and slowly a script was being born.

You never thought of taking an established heroine for the role?

 No because the roles demand new faces. It is the story of girls next door who become famous and are forgotten after a year. An established star would not have fit the role. I had to find new faces and they had to be from different parts of India and also neighbouring countries.

So it is the story of five girls?

 Yes, there are multiple tracks running simultaneously in the film as we are introduced to various characters and their families. The story familiarises us to them and there comes a point when all the protagonists are visible on the same platform. It is the story of their anxieties and dreams.

And how did you get familiar with their lifestyles?

 This is where extensive research comes in, the team of writers work hard. I came to know about the whereabouts of some calendar girls who have retired to a life of anonymity, I met them up; they put me on to more people and so on and so forth. All their stories are heart rending. This is a tough life.

‘Chandni Bar’ to ‘Corporate’ and ‘Fashion’ to ‘Heroine’ you have traveled the tapestry of many professions, don’t you feel like a Peeping Tom?

Those who are making love stories are also foolishly indulging in the same emotion and can be accused of exploitation! I’m at least traveling different lanes in every film. I’m exposing both the urban and the rural India in my films. I have portrayed the glamour world and the shanty town and also the traffic light urchins. I disagree that I’m a Peeping Tom because if I were my films would have been more brazen than they are. I alter incidents and identities to not reveal my sources. I’ never expose them on the contrary protect them from the public glare.

But everybody knows that they are inspired from true people and incidents.

Everybody also knows that the facts are altered to a great degree and my films are real stories woven with fiction. The real stories are often very, very sad while I offer a ray of hope to my characters be it Tabu in ‘Chandni Bar’ or Priyanka Chopra in ‘Fashion’.

You are coming with a film after a long break?

Yes this time the break has been longer than intended. My last film ‘Heroine’ had contradictory opinions but was still applauded by the critics. I feel I’m fortunate to have worked out a niche genre for myself. This sets me apart from my contemporaries and I’m not biting my nails in competition.

Are you satisfied with the film?

I think I’m more than satisfied. I think it is my boldest film and this time it is not an open ending film like the critics accuse me of. I take a stand and let me share a bit more; it is not a depressing ending. You know when we say ‘Calendar Girls’ we associate it only with glamour and sex but there is more to them than that and my film is about that. About their lives, their journey, their reality.

 How was the experience of launching five new faces?

 Not easy at all. From the auditions to the final shoot it is not easy to watch over the performances of five debutants simultaneously. But they learn and evolve and one saw the change as the shooting progressed. All of them have done their parts so well. The film works because of their characters and their commitment.

- Bhawana Somaaya/ @bhawanasomaaya

SALAAM BOLLYWOOD 5 - DAY 652

                    The changing thread of bond

Has Raksha Bandhan lost its relevance in films?

I think it has, because women of India and in cinema are no longer helplessly in need of protection
from their brothers. Maybe this is not true in all parts of India and Raksha Bandhan has a different
interpretation in small towns but in the bigger cities, the festival is more a celebration of fun and frolic. On the big screen it all started with the black and white cinema, where Nanda plays the blind younger sister of Rehman and other brothers in
'Chhoti Bahen'. Her song "Bhaiya mere rakhi ke bandhan ko nibhana…" became the anthem song of a patriarchal society endorsing male protection to women in Indian society. Ever since, filmmakers made sure to include some emotional drama in the brother-sister track of stories so much so that in the good old fifties and sixties it was impossible to conceive a Hindi film without the bhaiya behna song sequences. And it was not just the mainstream, one saw recurring images of it even in the parallel cinema the best example of which is Raj Kapoor’s 'Boot Polish' reflecting the grim life of the street children played baby Naaz and her adolescen brother in the film Narendra Rupani. Even Satyajit Ray’s much talked about 'Pather Panchali' shedding light on the perils of rural India highlighted the story of a unique bonding between elder sister Durga and her kid brother Appu. Over the decades our films strived to give a new twist to the brother-sister relationship. There were stories about siblings fallen apart after demise of parents like 'Aaj Aur Kal' and also comedies where hero Sunil Dutt had to convince four brothers of his beloved Waheeda Rehman in 'Ek Phool Aur Chaar Kaante'. In 'Josh' Chandrachur Singh had to convince an over possessive brother Shah Rukh Khan before he could dare romance his twin sister Aishwarya Rai. The sacrificing sister was a favourite stereotype Hindi films revelled in popularised by Meena Kumari in the olden days. Remember Meena Kumari singing "Mere bhaiya mere chanda…" to Dharmendra sitting on the jhoola in 'Kaajal'. 'Kaajal' was a dramatic film with complex characters quite unusual for its time. It spoke about a special bond between the siblings and how Dharmendra’s wife Padmini resents it thereby becoming the intruder in the family story.

In 1971, Dev Anand marked a new turn in the sibling relationship with his highly acclaimed 'Hare Ram Hare Krishna'. It was the first time we saw a hero putting his life and girlfriend on hold to rehabilitate his drug addict sister. After all these years "Phoolon kataro ka…" where master Satyajit piggy rides a thumb sucking kid sister around the house to distract her attention from socialite parents decking up to go for a party tugs at your heart strings even today. For a long time no wedding celebration could be complete without "Meri pyari beheniya banegi dulhaniya…"popularised by Rajesh Khanna in 'Saccha Jhootha’. Naaz played Khanna’s crippled sister unable to reach out to
her brother in the crowd. It was the era where many actresses like Nazima and Naaz made a career
out of playing sister to leading heroes. Till as long as Rajesh Khanna ruled, Naaz played his behna. Tanvi Kher played the title role 'Pyaari Behna' as Mithun Chakraborty’s sister. It was a film about
a village bully who suffers a fatal accident and loses one arm and how the two women he loves the most (Tanvi and Padmini Kolhapure) help him to regain his stature and spirit. Popular cinema to a great extent is determined by the image of the hero and Amitabh Bachchan was always perceived
as a family man. The mother and sister in Hindi films gained momentum in the wake of Bachchan phenomena. In most of the films made during his tenure Bachchan was fighting a moral or social battle. He played the infallible son and brother ready to die for his family.

 In 'Majboor' he strived to secure his handicapped sister, in 'Adaalat' he sought revenge for her'Shahenshah' to 'Aaj Ka Arjun' in the late 90s. The mother/ sister lost significance in mainstream films when Amitabh Bachchan stopped playing the conventional hero. Unlike Bachchan, family was never apriority for emerging hero Shah Rukh Khan. His obsession with mother bordered on destruction ('Baazigar', 'Darr') and from 'Dilwale Dulhaniya Le Jayenge' to 'Kal Ho Na Ho', Shah Rukh’s character was always focussed on friendship. Perhaps the new-age writers did not deem him fit to shoulder bigger responsibilities or perhaps in the new world friends mattered more than family. Present day filmmakers have little interest in families of the lead characters unlike our old films. Director Ram Gopal Varma has repeatedly said that he is bored of the baggage (parents/siblings) and his films are all about the dreams of the hero or heroine. On the other hand there are some like Madhur Bhandarkar has always told us stories about women in turmoil and often they have families who have supported or defied them depending on the story and the character as in 'Chandni Bar' or 'Fashion'. And many old world filmmakers who still perceive a heroine oriented film in the sacrificial mould of a 'Mother India'. 'Megha Dhake Tara'; 'Tapasya' and 'Aaina' are stories about the sacrificing sister who took on the mantle of being the bread earner of the family. 'Jeevan Dhara'; 'Tehzeeb' and 'Pinjar' on the other hand were reflections of old story with bolder and stronger characters of sisters who honoured their responsibility to family without self pity; which is coming a long way from 'Badi Behen' and 'Bandini' where the sister or daughter is a victim.
rape; in 'Trishul' he assumed responsibility for her marriage. Amitabh’s conscience crisis for the sister continued from

Today, the Indian woman has transformed beyond recognition and is no more dependent on her father or brother or husband for protection. The woman in cinema has broken shackles of stereotypes in all relationships and is capable of fending of self. This is evident in the advertisements where the
brother ties a rakhi to his sister promising protection and the sister telling him she does not need it. She needs his gift though because that is her right. The advertisement is a mirror of our changing times and perspectives.



- Bhawana Somaaya/ @bhawanasomaaya

SALAAM BOLLYWOOD 4 - DAY 651

                       Cry, thy beloved country

Independence Day is the time to revisit our patriotic films and what they meant



It is interesting how our perception of patriotism in cinema has drastically altered over the decades. Don’t believe me? Here are a few instances over the decades... In ‘Shaheed’, 1948, patriotism was ideology. Inspired from the freedom struggle of the nation and directed by Ramesh Sehgal,
the film starred Nehruvian hero Dilip Kumar and the beautiful Kamini Kaushal. ‘Shaheed’ was about the spirit of freedom and the entire nation identified with it.






In ‘Mother India’, 1957, patriotism was values. Director Mehboob
Khan portrayed Nargis (Radha) as mother earth and the story of the film addressed the problems facing rural India post independence.
The various characters that come into Radha’s life are the various challenges and hardships that India has to overcome in her journey. There are times she is weak and vulnerable but she does not break down and never compromises on her moral convictions.
In ‘Shaheed’, 1965, patriotism was conviction. This was perhaps the first significant biopic of Hindi cinema, post independence.The film told the story of a freedom fighter Bhagat Singh and his four
friends who were willing to die for their country. Passionately performed by Manoj Kumar, the film in a way changed the destiny of Manoj Kumar as a filmmaker. Kumar was so influenced by his character that he devoted his career to the subject of patriotism.


In ‘Purab Aur Paschim’, 1970, patriotism was tradition supremacy.This was a story about two
Indians, one raised in India, the hero (Manoj Kumar), who is tradition-bound and all-virtuous. The other,the heroine (Saira Banu) who migrated as a child with her parents and is raised abroad in a free society and lives by her dictates. The message of the film even for that time was exaggerated that everything Indian is superior and everything western is negative. A more tolerant and moderated version of the film was attempted by Akshay Kumar in ‘Namastey London’ years later, drawing parallels between Indian tradition and Western influences.

In ‘Kranti’, 1981, patriotism was revolution.‘Kranti’ was Manoj Kumar’s most ambitious project and told the story of the struggle of India’s Independence. The story journeys from 1825 to 1875 when
the British ruled our country and how a group of courageous freedom fighters got together and masterminded an attack on goras with limited resources. ‘Kranti’ was not just the top-grossing
film of that time but is amongst the top grosser of all-time Manoj Kumar films.

In ‘Roja’, 1992, patriotism was faith. Mani Ratnam was a relatively unknown name for the Hindi
audience till he made ‘Roja’ in Tamil later dubbed in Hindi, Telugu, Malyalam and also Marathi. ‘Roja’ starts as a love story gradually crossing boundaries of home and state to address a pressing national issue, terrorism. It is the story of the nation but also the story of a wife (remember “Dil hai chotta sa…” in search of her abducted husband and her faith that she can find him and restore peace at home, in this case, the nation (“Bharat hum ko jaan se pyaara hain…’’).

In ‘Krantiveer’, 1994, patriotism was about assertion. This was a film about the power of the common man when faced against adversity. Nana Patekar played the angry young man ready to put up a fight for anybody oppressed by establishment or in danger of life. Nana raises his voice loud and
clear in his fight because the character believes the time to endure is over.

In ‘Border’, 1997, patriotism was compassion. After ‘Haqeeqat’, India’s first war film ‘Border’ is an
epic based on real life events that occurred at the Battle of Longewala fought in Rajasthan during the Indo-Pak War of 1971. Like ‘Haqeeqat’, ‘Border’ portrayed backup stories of the soldiers, their love
and longing for home reflected in ‘‘Sandese aate hain…’’penned by Javed Akhtar. This was the first instance when the enemy was referred to as friend ‘‘Mere dushman mere bhai…’’



In ‘Rang De Basanti’, 2006, patriotism was obsession. Perhaps it was the mood of the nation that more and more filmmakers were penning patriotic films. After Ajay Devgn in Rajkumar Santoshi’s
‘The Legend of Bhagat Singh’, Rakeysh Omprakash Mehra signed Aamir Khan for ‘Rang De Basanti’. A Brit documentary filmmaker comes to India to shoot a film on Indian freedom fighters and students who agree to participate in the shooting get possessed by their characters and make it into a crusade. The film was about the contemporary India so irreverent and misplaced in aggression in climax.

In ‘A Wednesday’ patriotism was courage. This Naseeruddin Shah and Anupam Kher starrer was based on a particular day that happens to be a Wednesday when something drastic could have
happened but does not and the issue raised is that if it had, were we prepared to face the challenge? Subtle, intelligent and gripping ‘A Wednesday’ broke many rules and it was the courage of the two characters that made the film a super hit in Tamil (‘Unnaipol Oruvan’), Telugu (‘Eeenadu’), and English(‘A Common Man’).

   - Bhawana Somaaya/@bhawanasomaaya

SALAAM BOLLYWOOD 3 - DAY 650

                      A householder and a cop                

The pair gets candid about their experiences casting alongside each other

 It is a rainy day and I’m scheduled to meet Ajay Devgn and Tabu for an interview discussing their film ‘Drishyam’. I remember meeting Tabu the day she signed ‘Drishyam’ and she told me that it is a super story made in Malayalam with Mohanlal. Then came the news of Kamal Haasan doing the same story in Tamil. ‘Papanasam’ released a month ago and now Ajay Devgn is the hero of ‘Drishyam’, to be directed by Nishikant Kamath, director of the hugely popular Marathi film ‘Lai Bhari’. Ajay Devgn and Tabu arrive before time and we begin our conversation without further delay. Both of you go a longway as a pair. “Yes, Ajay (Vishal for friends) is my cousin Samir Arya’s good friend and we have all spent a lot of time together before we began working in films,” says Tabu. “Tabu and Farha were Samir’s cousins who came to Mumbai for holidays from Hyderabad and went away. When they came again they looked taller and more beautiful,” laughs Ajay. This was the early 90s when Ajay had become a hero after ‘Phool aur Pathar’ and Tabu was launched as a child star by Dev Anand in ‘Hum Naujawan’. “Then I was signed by Boney Kapoor for Prem, which took so long to take off that I thought it will never happen. In the meantime, Ajay persuaded me to do ‘Vijapath’ in 1994 and I came to be recognised as the “Ruk ruk girl,” says Tabu.




 In the same decade, Ajay and Tabu did two more films as a romantic pair ‘Haqeeqat’ in 1995 and ‘Thakshak’ in 1999, and both were appreciated. While ‘Haqeeqat’ was full of action, ‘Thakshak’ directed by Govind Nihalani was intense with a social message. Now after almost 16 years, the pair is coming together in ‘Drishyam’ and what is interesting is that they are not a romantic pair but in fact are pitched against each other. Had they ever envisioned that they could play opponents? Both shake their head vigorously. “One can never anticipate a character or a role, and that is the beauty about being an actor,” explains Ajay. “Critics are asking me how I agreed to play a father to grownup children in this film. That is the difference. They are looking at my image in isolation while I’m only reacting to the film, the story, my character,” Ajay adds. Tabu agrees wholeheartedly saying, “Journalists ask me isn’t it strange that you are playing a cop and Ajay is playing the householder? I ask them, how can you prejudge the film without first watching the film? Besides, that is the story and that is why the casting is such.” How difficult is it for friends to play foes on screen? “Very easy,” smiles Ajay, “Because when I express hostility and resentment, when I raise my voice or want to remain in the mood after my shot, I don’t fear being misunderstood. If I were to be playing the same role with a heroine who I’m not friends with, I am forced to smile and strike a conversation.” Tabu explains that they are so comfortable with each other that they would more often than not improvise the scene and were never insecure about each other. “That is the fun of working with professionals. With actors like Amitabh Bachchan and Ajay Devgn, the more you trust, the better your performance,” she adds. How important is the trust of the filmmaker? “Very important; for me, most of the films I have been raved about have been roles where I shared a special chemistry with the director,” blushes Tabu. “I used to be mortally scared of Priyen sir (Priyadarshan) and would shake like a leaf till he looked from the camera and said OK and this continued from ‘Kalapani’ to ‘Virasat’. Gulzar saab spoiled me with chocolates for every good shot I gave, be it ‘Maachis’ or ‘Hututu’. I also enjoyed working with Balki in ‘Cheeni Kum’. This is my first film with Nishikant Kamath, but one always knows when one is in good hands,” she remarks. “There are some directors who want you to underline emotions. They are usually the inexperienced ones who cannot imagine the proportion on the big screen. It is not always easy for every director to judge projection during shooting. Some are experts and are clued in, and some need to watch the rushes to grasp the sur. As actors we have to submit to all kinds of directors just as they submit to different temperament of actors. The first schedule is a make or break situation for both the actor and the filmmaker. If they can sail through the first schedule without disagreements, then it is going to be asmooth drive for all,” says Tabu. ‘Drishyam’ has already been released in two languages (Malyalam and Tamil)do you think the film will still have an audience in Hindi? “Absolutely,” chorus Ajay and Tabu. “That is the reason the film is made in multiple languages and that is also why we are so confident,” says Ajay. He adds that when he met the director for the Hindi narration he asked him if he was planning to induce creative changes and Nishikant denied it, said the original was so powerful that messing with it would dilute the effect. “I knew at that time that the film was in the right hands. There are some directors who feel obliged to incur changes while remaking a film. This often spoils the flavour. That Nishikant didn’t, spoke of his confidence as a filmmaker,” Ajay states. In the end, I could not help asking if both had to adapt any special attitude to play diverse roles. Ajay thinks for a while and says, “No, this is not the first time I’m playing a family man. I have played husband and I have played father and I am both in real life too. I have never prepared as an actor, not because I’m over confident but because I don’t know how to. I believe that the character finds the actor. The don in ‘Company’ found me and so did the police offcer in ‘Singham’. What is important is to stay blank and feel the moment, or at least that is what I do.” Tabu confesses that playing a cop called for some preparation. “I knew I had to get into the uniform and was conscious about my diet and weight. It is easy to play beautiful and vulnerable. Playing tough is a tough act. Fortunately we finished the film in a startto- finish schedule and now I can eat and wear sarees, in short look both vulnerableand beautiful,” she says.

Bhawana Somaaya/ @bhawanasomaaya

Welcome Back: Sochna Mana Hai - DAY 649

Aneez Bazmi likhi directed Welcome Back saal 2007 ki Welcome ka sequel hai.

Welcome mein ek Gangsters pariwar, ek shreef khandan se rishta jodte hai, aur shareef zindagi jeene ki koshish karte hai.

Welcome Back mein wohi do pariwar, Uday-Majnu yaane NanaPatekar- Anil Kapoor aur Dr Ghungroo yaane Paresh Rawal, ek baar phir samdhi bante hai.

Peechli baar, Katrina Kaif aur Akshay Kumar ka rishta juda tha aur iss baar Shruti Haasan aur John Abrahim ka rokka hota hai.

Peechli baar, Uday-Majnu ko RDX se khatra tha. Iss baar, unko Wanted Bhai se khatra hai!

Saare kirdaar ‘laashe bichane’ ki baatein karte hai, magar sach toh ye hai ki har koi apne mein mast hai!!

Har sequence mein shaandar locations, bageeche, alishaan ghar aur lambi gaadiyaan yuhin aas paas ghumti rehte hain.

     Yuni goliyaan chalti hai aur yuhin helicopters bhi asmaan se girte hain.

     Jab jiska dil chaha yuhin tehalta hai ya naachta gaata hain.

Kaun kiska dost/ dushman/ asshiq hai mayne nahi rakhta.

Mayne nahi rakhta ke aapne peechli Welcome dekhi thi ya nahi ya aap ko yaad bhi hai ya nahi.

Mayne rakhta hai, toh bas itna, ki iss pagalpan mein writer director Aneez Bazmi aap ka manoranjan karte hain.

    Film ka minus film ka music aur behuda lyrics jisse censor ko paas nahi karna chahiye tha.

    Film ka plus film ke hilarious dialogues aur NanaPatekar -Anil Kapoor ki jugal bandi.

    Welcome Back dekhne ke dauran aitiyaad rahe ke Audience ko Sochna Mana Hai.

    Welcome Back ko Big Entertainment Ratings milte hai 2.5 stars.

    Bhawana Somaaya/ @bhawanasomaaya