Thoda Pyaar Thoda Magic (2008) movie wallpapers :
Thoda Pyaar Thoda Magic (2008) Movie Rating and Review :
Rating :
Acting – 7/10
Direction – 6/10
Screenplay – 5/10
Music – 5/10
Technique – 7/10
Review :
Too little love in magic tale
Of all the young directors who make movies for Yash Raj, perhaps Kunal Kohli comes closest to the true tradition of a Yash Chopra film. There is that sweeping melodrama, the unbridled romance, the teary break-up. And now, the last scene aaj-khush-toh-bahut-hoge-tum tete-a-tete with the Almighty.
Not anymore. With the help of Chennai’s Prasad EFX (along with Neil Cunningham from London) Kohli has woven magic in almost every frame of Thoda Pyaar Thoda Magic. Clouds going rock--roll in the sky, museum dinosaurs doing the moonwalk, buses separating like Moses’s Red Sea... it’s a dream world designed to perfection.
But unfortunately in the middle of all that magic, the love gets lost. At least in the first half there is very little trace of it. Everyone’s angry. Even as the opening credits dissolve, we see a youngster who’s had everything he loved in life taken away from him. Yet he grows up to be a business tycoon, Ranbir Talwar (Saif), who doesn’t waste time shaking hands as he collects young achiever trophies.
And by the time he slams the brakes, it’s too late. Literally. His car crashes into the car of a couple, killing them on the spot. The court, in a landmark judgement, orders Ranbir to take care of the four orhpaned kids of the victims.
From here on, it’s Sound of Music meeting Mary Poppins with pari Geeta (Rani) cycling down a rainbow to bring in some love and magic into the lives of the kids and Ranbir (who don’t even share the dinner table).
What happens next is absolute formula fare but that’s what Kunal Kohli does best. He tries to write eight very good scenes — four featuring Rani with each of the kids and four with Saif and the bachchas — and gets very close to getting them all right. Rani’s scenes of trying to win over the kids’ trust combines special effects and fun, while Saif’s scenes with the kids are more about emotions. And that’s what makes Half Two so much better than Half One.
Then comes the after-thought — the love between a human and an angel. However sweet the Saif-Rani romance might be, it is an after-thought and 15 minutes out of 150-minute film is just not enough. When you specialise in romance and have Hum Tum in your CV with the same pair, why have such thoda love?
The actors cannot be blamed. Saif and Rani make most of the few moments they get together, telling us with their eyes what Kunal chose not to spell out. The kids are very good, especially Rachit whose Iqbal is adorable and Ayushi, the little Avantika, whom nobody listens to.
Ameesha is needed to irritate and titillate and she does both well, sending the mercury soaring in Lazy Lamhe, brilliantly shot (Sudeep Chatterjee) under water. The music (Shankar Ehsaan Loy) could have been better with only Pyaar ke liye and Nihaal ho gayi staying with you.
And if you thought we didn’t have our own Morgan Freeman, watch Rishi Kapoor play the most loveable God on this side of the sphere. Every time you say “Hey bhagwan”, he’s there somewhere, sometimes as a sweeper, sometimes as a truck driver.
It could have been all so much better had there been more romance than special effects. Because just like Geeta’s pari we would rather shed tears in pyaar than smile our way through magic.
Acting – 7/10
Direction – 6/10
Screenplay – 5/10
Music – 5/10
Technique – 7/10
Review :
Too little love in magic tale
Of all the young directors who make movies for Yash Raj, perhaps Kunal Kohli comes closest to the true tradition of a Yash Chopra film. There is that sweeping melodrama, the unbridled romance, the teary break-up. And now, the last scene aaj-khush-toh-bahut-hoge-tum tete-a-tete with the Almighty.
Not anymore. With the help of Chennai’s Prasad EFX (along with Neil Cunningham from London) Kohli has woven magic in almost every frame of Thoda Pyaar Thoda Magic. Clouds going rock--roll in the sky, museum dinosaurs doing the moonwalk, buses separating like Moses’s Red Sea... it’s a dream world designed to perfection.
But unfortunately in the middle of all that magic, the love gets lost. At least in the first half there is very little trace of it. Everyone’s angry. Even as the opening credits dissolve, we see a youngster who’s had everything he loved in life taken away from him. Yet he grows up to be a business tycoon, Ranbir Talwar (Saif), who doesn’t waste time shaking hands as he collects young achiever trophies.
And by the time he slams the brakes, it’s too late. Literally. His car crashes into the car of a couple, killing them on the spot. The court, in a landmark judgement, orders Ranbir to take care of the four orhpaned kids of the victims.
From here on, it’s Sound of Music meeting Mary Poppins with pari Geeta (Rani) cycling down a rainbow to bring in some love and magic into the lives of the kids and Ranbir (who don’t even share the dinner table).
What happens next is absolute formula fare but that’s what Kunal Kohli does best. He tries to write eight very good scenes — four featuring Rani with each of the kids and four with Saif and the bachchas — and gets very close to getting them all right. Rani’s scenes of trying to win over the kids’ trust combines special effects and fun, while Saif’s scenes with the kids are more about emotions. And that’s what makes Half Two so much better than Half One.
Then comes the after-thought — the love between a human and an angel. However sweet the Saif-Rani romance might be, it is an after-thought and 15 minutes out of 150-minute film is just not enough. When you specialise in romance and have Hum Tum in your CV with the same pair, why have such thoda love?
The actors cannot be blamed. Saif and Rani make most of the few moments they get together, telling us with their eyes what Kunal chose not to spell out. The kids are very good, especially Rachit whose Iqbal is adorable and Ayushi, the little Avantika, whom nobody listens to.
Ameesha is needed to irritate and titillate and she does both well, sending the mercury soaring in Lazy Lamhe, brilliantly shot (Sudeep Chatterjee) under water. The music (Shankar Ehsaan Loy) could have been better with only Pyaar ke liye and Nihaal ho gayi staying with you.
And if you thought we didn’t have our own Morgan Freeman, watch Rishi Kapoor play the most loveable God on this side of the sphere. Every time you say “Hey bhagwan”, he’s there somewhere, sometimes as a sweeper, sometimes as a truck driver.
It could have been all so much better had there been more romance than special effects. Because just like Geeta’s pari we would rather shed tears in pyaar than smile our way through magic.
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