Khatrimaza bollywood movies 2012
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Ranbir’s showoffy performance as the deaf-and-mute do-gooder is constantly inviting attention tugging with nagging single-mindedness at our hearts-strings, like a child holding its father’s face in his two hands demanding to be heard.It seems baffling why a dignified studious kind of girl that Ileana d’Cruz plays would be so single mindedly attracted to an exhibitionist like Masterīarfi. However the simple thought and Ranbir Kapoor’s simple character seems in hindsight like an annoying attention-seeker. I still feel it’s a work of absolute mastery created in delicately detailed shades that suggest that life lived on the edge is the only life worth living. Priyanka Chopra inīarfi! : I have to admit that a second viewing of Barfi! left me a little underwhelmed. Sridevi’s performance makes her a front-runner for all the Best Actress awards this year. The film was exceedingly clever in premise, presentation and packaging and yet at heart a very innocent and artless tale with the nuances emerging not from cinematic ambivalence but the very essence of daily life where we often encounter existential wisdom without recognizing its worth. A Marathi housewife struggles to get conversant with the English language,finds her bearings and a sense of self in the bustling not-always-unfriendly anonymity of New York, comes home.The End. Gauri’s USP was the simplicity of the tale. Khamoshi: The Musical, Aparna Sen’s 36 Chowringhee Lane and Kalpana Lajmi’s Ek Pal among the most accomplished directorial debut of our times. Here’s looking at the year’s 10 favourites.Įnglish Vinglish: Sridevi…ah! Is she really back? Pinch me! Was I dreaming? Is this really the work of a first-time director? Gauri Shinde’s directorial debut ranks right up there along with Manoj Kumar in Upkar,Gulzar’s However the films that stood out were those that didn’t try to do so.
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Shirin Farhad Ki Toh Nikal Padi),Umesh Shukla(Ĭhittagong). It was also the year when we saw notably gifted directorial talent like Gauri Shinde( 2012 was the year when Tigmanshu Dhulia, Sujoy Ghosh and Shoojit Sircar came into their own with films that took mainstream cinema to new heights. 2012 seems like a watershed year even by the continuously evolving standards of filmmaking set by envelope-pushing directors who have filtered into filmdom during the past years. Each year Bollywood surprises us, and not always in a good way.