Thursday, September 1, 2011

Bhoothnath: [Ssssssssssh]~~KOI~~HAI~~

Logical ill-logics built in the movie:
1.      A Rich person rents to a big bungalow at a new place and comes to know about its rumors only when he shifts there with his family and not at the time when he fixes it. Height of ignorance.
2.      This Rich man stays mostly out – as he is a technical engineer in a cruise company. But two days after shifting to this rumor filled house, he leaves for his cruise without any arrangement of even a single servant leaving his cute wife and school going son all alone. Height of attachment.
3.      All Bhoots have a principle. No two bhoots live together at a place. Height of discipline.
4.      Bhoots have emotions too. Height of emotions.
5.      A movie can be built with 100% unrealistic touch in it and yet expect it to be a box office hit on the basis of cast. Height of realism.
6.      A Bhoot can’t touch a boy falling down from stairs but the boy can touch him and cut his nails. Height of contradiction.
7.      Bhoots can turn into Angels, there is a hairline difference as per movie. Height of conversion.
8.      All dead do not turn into Bhoots, even if they have equal amount of desires unfulfilled, or equal amount of work left undone. Height of uncertainty.
9.      Bhoots are miscreants. They don’t live silently or without interfering Presents (people who are live). They have a tendency of keep on marking their presence by doing some deeds or misdeeds. Height of Desires.
10.  A living person can act as a Bhoot. Height of acting.
11.  School Principal obsessive about eating student’s lunch. Height of Obsession.
12.  Bhoots love Goa. Height of Masti.
Cast: Amitabh Bachchan as Bhootnath a.k.a. Kedarnath, Juhi Chawla as Anjali Sharma, Shahrukh Khan (guest appearance or special appearance) as Banku’s Dad, Anjali’s Husband, Aman Siddiqui as Banku a.k.a. Aman Sharma, Priyanshu Chatterjee as Kedarnath’s Son, Rajpal Yadav as  Piyakkad Anthony, Satish Shah as Irani, Banku’s School Principal.
Crew: Written and Directed by Vivek Sharma and produced by Ravi Chopra.
Aim: I could not find the real purpose of this movie, was it intended to be a serious, or funny, or drama, or tragedy… couldn’t make out of the story and filming. Probably the whole team lost track and purpose as a whole and all of the effort as a whole could not make it whole. Movie could have been made purposeful by making it more serious or a full fledged comedy otherwise. But it kept dwindling between the two. Moreover I see that AB is more interested (intentionally or unintentionally) in ghostly acts whether it is Cheeni Kum, or Nishabd, or Ramgopal Verma ki Aag, or Bhootnath – the roles where he is wondering aimless or a stupid aim. And if compared to his youth time movies – where he used to get good stories, aimful, and purposeful…
StoryPriyanshu in the only son of Kedarnath. He goes abroad for higher studies but doesn’t come back and settles there by starting his career and marrying a girl there. His mother keeps waiting for him and ultimately dies of old age and this pain. Kedarnath keeps on trying to balance both the ends but is shocked to know that his son is planning to sell this house. He sternly refuses his son and daughter-in-law that he will never allow them to sell this house. They leave the house forever and Kedarnath dies. He turns into a Bhoot and stands to his words that he will never let this house been sold. Banku and his family shifts to this house. His father is an engineer with a cruise company and is out most of the time. So when Banku and Anjali are alone in the house, Banku encounters Bhootnath and due to his belief (based on what is told by Anjali to him) that there are no Bhoots and only Angels are there. Banku mistakes Bhootnath for an angel and ultimately a bond is established between two of them that becomes higher than any human relationship.
Good Spots: The way Banku is brought up by his parents.Banku’s funny Principal.Juhi’s carefree lively acting.Some philosophical discussions of Bhootnath and the kid.Kid’s role performed well.

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