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Zoran009
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PostPosted: Sat May 31, 2003 9:10 pm 
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[ Everyone was wasted... particularly Rekha, Tanuja and Fardeen Khan (in his worst performance EVER!). ]

Man!! I thought, RGV makes, good actor out of a BANDAR/LANGOOR? but may be not out of Fardeen!!

RGV actors, will show up, on screen for 5 minutes, and you wont be able to forget that presence, look at guys like RAJPAL YADEV, SUSHANT SINGH ETC!! EVEN BIMBETTE LIKE KASHMIRA SHAH!

But Fardeen Khan..is LONG GONE!! case!!

Same will be with FLOP BACHAN!!

You have to have a potential, so, director can extract out of you!!
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prince naz
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PostPosted: Sat May 31, 2003 9:16 pm 
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Posts: 263
Ghostly Capers!
Bhoot doesn't live up to all that hype, writes Deepa Gahlot, and it's not even all that scary.
More Reviews
16 December 23rd March 1932 Shaheed Aamdani Atthani Kharcha Rupaiya Ab Ke baras Aankhen Agni Varsha Ankhiyon Se Goli Maare Asoka Awara Paagal Deewana Badhaai ho Badhaai Bawandar Company Chhal Chor Machaye Shor Danger Deham Devdas Dil Chahta Hai Durga Everybody Says I’m Fine Encounter The Killing Filhaal Gunaah Hum Kisise Se Kum Nahin Hum Tumhare Hain Sanam Indian Jaani Dushman Kabhi Khushi Kabhie Gham Kitne Door Kitne Pass Koi Mere Dil Se Poochhe Kranti Kuch Tum Kaho Kuch Hum Kahein Kya Yehi Pyaar Hai Lal Salaam Mere Yaar Ki Shadi Hai Na Tum Jaano Na Hum Lagaan Maa Tujhhe Salaam Mitr - My Friend Monsoon Wedding Mujhse Dosti Karoge Om Jai Jagdish Pitaah Pyaar Deewana Hota Hai Raaz Road Shaheed-E-Azam Shararat Shakti-The Power Soch Sur Style The Legend of Bhagat Singh Tumko Na Bhool Payenge Vadh Yeh Mohabbat Hai Yeh Hai Jalwa Yeh Kaisi Mohabbat Yeh Dil Aashiqaana


Produced by: Dream Merchants
Directed by: Ramgopal Varma
Music: Salim-Suleiman
Cast: Ajay Devgan, Urmila Matondkar, Rekha, Nana Patekar, Victor Bannerjee, Seema Biswas, Fardeen Khan



If a filmmaker of the calibre Ramgopal Varma stoops to make an silly 'bhootpret' film with the purpose of 'scaring' the audience, the motive is suspect. If he had managed to pull off a classy thriller like M. Night Shyamalan's Sixth Sense, then this cynical pandering to superstition would have been forgiven. But Bhoot is just a better executed version of TV chillers like Aahat and Shh. Koi Hai.

Bhoot is watchable, no doubt, but with so many loose ends, and so many fake scares, that it makes you wonder why Varma didn't notice the slack scripting. But half Varma's battle is won with the bright technical team he puts together. The eeriness, is evoked through lighting, imaginative camera angles (Vishal Sinha) and a truly scary sound design (Dwarak Warrier) and an eerie background score (Salim-Sulaiman).

Yuppie couple Vishal (Ajay Devgan) and Swati (Urmila Matondkar) move into a duplex apartment, where a young woman had committed suicide. Typical of Varma to have his characters exist in a limbo--there is no sign of the couple having family or friends. When there is trouble there is no one around to help except a cracked main (Seema Biswas). In a tall multi-storied building there seem to be other inhabitants except the landlord, a blind old woman and a lecherous watchman.

Soon enough the dead woman's ghost haunts Swati-how come the ghost waits for this couple to arrive? There is no mention of anybody encountering the ghost before and hiding the fact from the couple.

The first half moves excruciatingly slow, with repetitive shots-specially the lift going up and down as it were a new gizmo-and pointless scene of Vishal going to work and returning, Swati ascending and descending stairs.

After this overly long preamble the real story starts when Swati is possessed by the ghost and the watchman is found with his neck wrung. Qureshi (Nana Patekar, irritatingly hammy), a cop takes an inordinate interest in the death of the watchman, hanging around the building looking up, as if waiting for his neck to be twisted too!

A psychiatrist (Victor Bannerjee) making house calls and a ghostbuster (Rekha) do their number before the 'mystery' is solved in a very disappointing, and in retrospect, predictable climax.

Though the cast of supporting stars is wasted-what Varma has done with Rekha and Seema Biswas is criminal-the lead pair is excellent. Ajay Devgan does well as the harried husband of the possessed woman and makes no attempt to get extra attention. Urmila Matondkar gives a physically straining, vanity-destroying performance-especially the portions where she is 'possessed' and changes expressions rapidly.
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izzy
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PostPosted: Sat May 31, 2003 10:29 pm 
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Location: vancouver, canada
came back from watching bhoot in the i max the print was extreamly clear and especially the dts sound thatwas the best dts expireance i ever had (for indian movies) and the movie was good
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DragunR2
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PostPosted: Sat May 31, 2003 10:59 pm 
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Posts: 4259
The tracking shot that opened the beach scene was washed out in the print I saw. Blacks were more like gray and the picture was washed out. I thought this was going to be a stylized flashback or dream, but the following shots looked okay. Did anyone else see this?
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Zoran009
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PostPosted: Sat May 31, 2003 11:35 pm 
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'BHOOT' SHOCKS YOU BUT IT'S NOT SCARY!

By S Pankaj

Critic's I - View

click for larger view
There has never been such a clear-cut classification of new films in Bollywood as seen this Friday. The ace filmmaker Ram Gopal Verma's 'Bhoot' and debutant Soumitra Ranade's film 'Jajantaram Mamantram' clash at the box office. However, there is little doubt about their target audience. So one finds theaters for 'Bhoot' packed mostly with young people always willing to give any filmmaker a chance who dare to be different. Also, theaters showing 'Jajantaram Mamantaram' witness kids with their parents to avail the summer Bollywood bonanza. 'Bhoot' provides another shock to Ram Gopal Verma's fans after he miserably failed in his last horror film 'Raat'. 'Bhoot' is not much different from many ghost films. But there is a novelty as its treatment is a bit different. It scares in broad daylight and that too not in any old farmhouse a haveli but in a modern flat located in down town of the city.

click for larger view
Vishal (Ajay Devgan) looks for a new home in the city and happens to know about a vacant flat. He takes it on rent. The agent informs him that the previous tenant of the flat had died an unnatural death. Vishal doesn't believe in superstitions. He shifts to this flat with his wife Swati (Urmila Matondkar), but avoids telling her about the death of the previous occupant. Everything goes well until Swati comes to know about it. She starts dreaming ghosts and is sacred. Vishal treats the changed behavior of his wife as a psychological problem and consults doctors. One day, the watchman who witnessed the previous tenant's death is murdered. Inspector Liyaqat Qureshi (Nana Patekar) steps in. He questions Vishal about him and his wife, but he keeps quiet about it. However, he knows that Swati is not sick and her problem is different. His housemaid (Seema Biswas) suggests to him to consult some one who knows about ghosts. Vishal meets such a woman (Rekha) and she tells the untold story of the previous tenant's death through Swati. Qureshi too does not believe in ghosts. Vishal is perplexed. On one hand, he has to save his wife from the clutches of supernatural power and on another; he does not want his wife to fall a prey to questioning by Qureshi.


The problem was nearing an end when Vishal contacts mother (Tanuja) of the previous tenant. But Qureshi doesn't want to lose his case. The film moves slowly with definite shocks coming as jerks in a smooth ride. But as it progresses, the audience has nothing else to think except watching the screen. Though the film lacks in story and screenplay and many a time even a commoner can make it as to what is going to happen next, it is master touch of Ram Gopal Verma that saves the film each time it faces loopholes. He incorporates shock element in the film until interval to keep the viewer's interest in tact, but during post- interval he fails to do it. The film lacks behind in quality that his fans have seen in his 'Satya', 'Company' and 'Kaun'. Verma has used his camera from the ghost's point of view. This makes the film's narration a bit interesting. But the overall impact is not terrifying nor does it create much suspense .In fact, at the climax point Verma seems to have lost his grip on the film.


Despite all these weaknesses from the director's side, the film has some brilliant performance from Urmila Matondkar and Ajay Devgan. After showing her physical assets and gyrating her hips on some peppy and sensuous tunes, Urmila graduates in 'Bhoot' as an actress. She has given a superb performance. As a scared young wife living alone in the flat after her husband leaves for office, she plays a character with which every one can relate to. Her expressions are definitely praiseworthy; when she sees the ghost for the first time while watching TV and later when she sits beside Ajay Devgan after he comes to know about watchman's murder. Her body language and getup too go well with the character of Swati. And, she finds a perfect match in Ajay Devgan as co-star in 'Bhoot'. No one can believe after watching this film, that it is the same Ajay who has done so many ridiculous films like 'Dilwale' and 'Diljale'. Ajay has matured a lot and his expressions are just as natural as any husband can emote after seeing the pathetic state of his wife. The scene where he comes face to face with the changed personality of Swati deserves applause.


The film has no song and there was no need also for it. The film may not be an excellent ghost movie, but it is not bad either. If one wants to pass little more that two hours getting shocked after every five minutes and still watch some superb acting from Urmila and Ajay, one has to watch this movie. But a diehard watcher of ghost movies with those eerie scenes and gory creatures moving here and there may skip it.

http://ww.smashits.com/index.c....ID=2645
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Zoran009
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PostPosted: Sun Jun 01, 2003 12:00 am 
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Joined: Mon Dec 03, 2001 5:53 pm
Posts: 14989
Finally indolink, spoke:

Bhoot

Producer: Nitin Manmohan
Director: Ram Gopal Verma
Starring: Urmila Matondkar, Ajay Devgan, Seema Biswas, Nana Patekar, Rekha, Fardeen Khan, Victor Bannerjee
Music: Salim-Sulemain
Lyrics: No Songs

--------------------------------------------------------------------------------
Genre: Horror Suspense Thriller
Recommended Audience: Parental Guidance
--------------------------------------------------------------------------------
Released on: May 30, 2003
Approximate Running Time: 2 hrs Reviewed by: Suraj Das
Reviewer's Rating: 8 out of 10
--------------------------------------------------------------------------------
Cumulative Rating: 8 out of 10
Rated by: 1 unique user

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Ram Gopal Verma is one auteur whose name is synonymous with innovation; he is the rare mainstream Hindi director who always pushes the envelope and breaks the mould to realize his unique visions and make inspired films. Inspiration, however, does not always guarantee high quality. Verma’s latest film, Bhoot, sees the director at his most experimental, but all of his creativity and charge is short-changed by the slowness and monotony of the screenplay.

The film centers on the story of a young couple. Vishal (Ajay Devgan) and Swati (Urmila Matondkar) are new residents in a high-rise located in the heart of Mumbai. The prior resident of the couple’s apartment had committed suicide by leaping from the balcony of their suite. Swati learns about this incident shortly after moving in and becomes oddly fixated with the story. Then, a series of inexplicable experiences drive Swati to near madness.

Vishal becomes helpless and convinced his wife has developed some sort of psychological disorder. He consults a psychiatrist, Dr. Rajan (Victor Banerjee). The couple’s maid (Seema Biswas) believes Swati to be possessed, and calls in an exorcist (Rekha).

Meanwhile, other seemingly unrelated events take place around the building. The watchman (Sabeer Masani) is being terrorized, one of the residents (Fardeen Khan) is behaving erratically, and a murder occurs. Inspector Liaqat Quereshi (Nana Patekar) is sent to investigate the murder at the building. All the while, neither the psychiatrist nor the exorcist makes much progress with Swati.

The greatest detractor in this enterprise is the screenplay. The script begins on a fairly conventional and clichéd note as far as horror films are concerned, but manages to incorporate some novel twists and genuinely frightening sequences leading up to Swati’s becoming possessed.

Once Urmila’s character takes the plunge into madness, however, the script takes a dive as well. More and more of the duration time passes away and very few truly notable developments transpire. The writers seemed to have intentionally kept the first half slow in an attempt to build tension and atmosphere, but the repeated exposition quickly grows tiresome and the entire film begins to sink to rambling depths.

The second half avoids the inconsequential nature of the first, but leaves a lot to be desired nonetheless. Post-interval, the script goes into overdrive and new characters and storylines shoot forward every moment. Unfortunately, the new characters and plots lack development. As the film races towards its conclusion, there is too much going on screen, too fast, and much of the dramatic and frightening impact of the film is lost as a result.

The rather clichéd finale ties together all of the plotlines of the film, and explains once and for all the mystery and motive that drives the spirit of the apartment to haunt and manipulate the building’s residents.

Despite the awkward pacing and somewhat disappointing climax, Ram Gopal Verma’s extraordinary storytelling abilities do manage to uplift the film to some extent. Verma’s ability to establish mood is exemplary. It becomes very clear early on in the film that Verma has meticulously calculated everything from the composition of each shot to the expression on each actor’s face to maximize the effect of each sequence on the viewer. And early on in the film, the results are nothing short of terrifying. It was a tragic miscalculation on the screenwriters’ part to assume that more and more time needed to be spent creating atmosphere; Verma’s direction establishes dark and frightening undertones from the very beginning. It’s the constant repetition in the first half that serves to diminish the frightening impact of the film.

Verma’s truly bold choice to defy a number of Bollywood conventions merits admiration. It’s refreshing to find a big-budget Hindi film without unneeded song and dance sequences and comic relief tacked on to it. The film stays entirely on track throughout its duration, and is all the more effective as a thriller because of it. Hopefully other directors in India will realize that not all films have to be musicals, and follow Verma’s lead towards better, more effective filmmaking.

Cinematography by Vishal Sinha is outstanding; his claustrophobia-inducing camera angles, spooky exteriors, and calculated close-ups keep the tension jacked up throughout the film. The score by Salim-Suleiman never lets up its shrill, frightening pitch and lingers in your mind far longer than any other score in recent memory. The visual effects are noteworthy and never once look synthetic. These production values combine to make Bhoot one of the finest films produced in India in quite some time, from a purely technical standpoint.

The strongest suit of the film, however, is easily Urmila’s breathtaking, career-best performance. Hands down the finest work by any performer all year, the quality of Urmila’s work soars far beyond all expectations. The way she seamlessly melts her characters different moods, fits, and actions is a sight that must be beheld to be believed. Every single one of her expressions, dialogs, and screams are delivered with an inimitable flair and elegance that defies categorization. Her chilling portrayal is more than reason enough to watch the film several times through. It is hard to imagine any of Urmila’s contemporaries can manage a performance more deserving of awards in the coming year.

The rest of the talented ensemble performs admirably as well. Ajay Devgan, an incredible actor in his own right, does full justice to the frustration and agony experienced by his character. This is a solid performance from Devgan, but his character wasn’t written with enough nuances to make his work here stand-out as some of his best. Victor Banerjee and Seema Biswas strike all the right notes, despite the short length of their roles. Rekha is at her eccentric best, conjuring up an intense, disturbing fear each time she walks on screen. Nana Patekar’s character is one-dimensional but well enacted, and even Fardeen Khan manages to leave an impression. Clearly, Ram Gopal Verma was in full-form directorially while shooting this film.

Bhoot is a well-directed, well-made, and well-acted film with a lackluster script. It’s slightly above average work from Ram Gopal Verma, which is disappointing coming from the great director, but is still far superior to the average Hindi fare coming out each week. Flawed but entertaining, the thriller definitely is definitely enjoyable enough to warrant at least one viewing. Watch it; if not for Verma’s direction, then for the fact that aren’t words enough to describe how compelling, convincing, and utterly terrifying Ms. Matondkar’s performance is in this film.

http://www.planetbollywood.com/Film/Bhoot/
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mhafner
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PostPosted: Sun Jun 01, 2003 2:20 pm 
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So, what are the best horror films then (Indian or not Indian)? Some of my favourites:
- Rosemary's Baby (1968) (the premise is the same as in Bhoot sans the baby)
- Repulsion (Polanski) (psychological horror)
- Aliens and Alien (Scifi Horror)
- The Others (psychological horror)
- Psycho (supense horror)
- Peeping Tom (psychological horror)
- Scream (slasher horror)
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hutbay
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PostPosted: Sun Jun 01, 2003 3:01 pm 
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Planet Bollywood Review - 8/10


Ram Gopal Verma is one auteur whose name is synonymous with innovation; he is the rare mainstream Hindi director who always pushes the envelope and breaks the mould to realize his unique visions and make inspired films. Inspiration, however, does not always guarantee high quality. Verma’s latest film, Bhoot, sees the director at his most experimental, but all of his creativity and charge is short-changed by the slowness and monotony of the screenplay.

The film centers on the story of a young couple. Vishal (Ajay Devgan) and Swati (Urmila Matondkar) are new residents in a high-rise located in the heart of Mumbai. The prior resident of the couple’s apartment had committed suicide by leaping from the balcony of their suite. Swati learns about this incident shortly after moving in and becomes oddly fixated with the story. Then, a series of inexplicable experiences drive Swati to near madness.

Vishal becomes helpless and convinced his wife has developed some sort of psychological disorder. He consults a psychiatrist, Dr. Rajan (Victor Banerjee). The couple’s maid (Seema Biswas) believes Swati to be possessed, and calls in an exorcist (Rekha).

Meanwhile, other seemingly unrelated events take place around the building. The watchman (Sabeer Masani) is being terrorized, one of the residents (Fardeen Khan) is behaving erratically, and a murder occurs. Inspector Liaqat Quereshi (Nana Patekar) is sent to investigate the murder at the building. All the while, neither the psychiatrist nor the exorcist makes much progress with Swati.

The greatest detractor in this enterprise is the screenplay. The script begins on a fairly conventional and clichéd note as far as horror films are concerned, but manages to incorporate some novel twists and genuinely frightening sequences leading up to Swati’s becoming possessed.

Once Urmila’s character takes the plunge into madness, however, the script takes a dive as well. More and more of the duration time passes away and very few truly notable developments transpire. The writers seemed to have intentionally kept the first half slow in an attempt to build tension and atmosphere, but the repeated exposition quickly grows tiresome and the entire film begins to sink to rambling depths.

The second half avoids the inconsequential nature of the first, but leaves a lot to be desired nonetheless. Post-interval, the script goes into overdrive and new characters and storylines shoot forward every moment. Unfortunately, the new characters and plots lack development. As the film races towards its conclusion, there is too much going on screen, too fast, and much of the dramatic and frightening impact of the film is lost as a result.

The rather clichéd finale ties together all of the plotlines of the film, and explains once and for all the mystery and motive that drives the spirit of the apartment to haunt and manipulate the building’s residents.

Despite the awkward pacing and somewhat disappointing climax, Ram Gopal Verma’s extraordinary storytelling abilities do manage to uplift the film to some extent. Verma’s ability to establish mood is exemplary. It becomes very clear early on in the film that Verma has meticulously calculated everything from the composition of each shot to the expression on each actor’s face to maximize the effect of each sequence on the viewer. And early on in the film, the results are nothing short of terrifying. It was a tragic miscalculation on the screenwriters’ part to assume that more and more time needed to be spent creating atmosphere; Verma’s direction establishes dark and frightening undertones from the very beginning. It’s the constant repetition in the first half that serves to diminish the frightening impact of the film.

Verma’s truly bold choice to defy a number of Bollywood conventions merits admiration. It’s refreshing to find a big-budget Hindi film without unneeded song and dance sequences and comic relief tacked on to it. The film stays entirely on track throughout its duration, and is all the more effective as a thriller because of it. Hopefully other directors in India will realize that not all films have to be musicals, and follow Verma’s lead towards better, more effective filmmaking.

Cinematography by Vishal Sinha is outstanding; his claustrophobia-inducing camera angles, spooky exteriors, and calculated close-ups keep the tension jacked up throughout the film. The score by Salim-Suleiman never lets up its shrill, frightening pitch and lingers in your mind far longer than any other score in recent memory. The visual effects are noteworthy and never once look synthetic. These production values combine to make Bhoot one of the finest films produced in India in quite some time, from a purely technical standpoint.

The strongest suit of the film, however, is easily Urmila’s breathtaking, career-best performance. Hands down the finest work by any performer all year, the quality of Urmila’s work soars far beyond all expectations. The way she seamlessly melts her characters different moods, fits, and actions is a sight that must be beheld to be believed. Every single one of her expressions, dialogs, and screams are delivered with an inimitable flair and elegance that defies categorization. Her chilling portrayal is more than reason enough to watch the film several times through. It is hard to imagine any of Urmila’s contemporaries can manage a performance more deserving of awards in the coming year.

The rest of the talented ensemble performs admirably as well. Ajay Devgan, an incredible actor in his own right, does full justice to the frustration and agony experienced by his character. This is a solid performance from Devgan, but his character wasn’t written with enough nuances to make his work here stand-out as some of his best. Victor Banerjee and Seema Biswas strike all the right notes, despite the short length of their roles. Rekha is at her eccentric best, conjuring up an intense, disturbing fear each time she walks on screen. Nana Patekar’s character is one-dimensional but well enacted, and even Fardeen Khan manages to leave an impression. Clearly, Ram Gopal Verma was in full-form directorially while shooting this film.

Bhoot is a well-directed, well-made, and well-acted film with a lackluster script. It’s slightly above average work from Ram Gopal Verma, which is disappointing coming from the great director, but is still far superior to the average Hindi fare coming out each week. Flawed but entertaining, the thriller definitely is enjoyable enough to warrant at least one viewing. Watch it; if not for Verma’s direction, then for the fact that words aren’t enough to describe how compelling, convincing, and utterly terrifying Ms. Matondkar’s performance is in this film.


??? :keh: :nervous:
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Zoran009
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PostPosted: Sun Jun 01, 2003 5:14 pm 
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[PB review:]Hutaby bro!! I think, it is same review as I posted above for indolink? :baaa: ???
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MalFUnXiON
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PostPosted: Sun Jun 01, 2003 5:33 pm 
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mhafner wrote:
So, what are the best horror films then (Indian or not Indian)? Some of my favourites:
- Rosemary's Baby (1968) (the premise is the same as in Bhoot sans the baby)
- Repulsion (Polanski) (psychological horror)
- Aliens and Alien (Scifi Horror)
- The Others (psychological horror)
- Psycho (supense horror)
- Peeping Tom (psychological horror)
- Scream (slasher horror)

The Shining!
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Zoran009
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PostPosted: Sun Jun 01, 2003 5:45 pm 
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Posts: 14989
Well, my TURN to give my 2 cents after VIEWING BHOOT in THEATRE!

It is very well CRAFTED film..much better than average garbage coming out of bOLLYWOOD!

It is NOT THE PERFECT FILM..But it is EXTREMELY GOOD!!has a few cliches in the plot, that RGV, should have ironed out!

Let me tell you!!for 2 hrs film, spread over 1 hr each, with interval, I saw every one, on THE EDGE OF THEIR SEAT, NOT BLINKING FOR A MOMENT.It felt like JUST ONE HOUR!!

STORY..nothing NEW!! not Exotic!! BHOOT KA REVENGE!

But, the way, it has been filmed is NOVEL..

Plot, has few Cliches..But overall..laid out well, DIRECTOR has VERY WELL CRAFTED each and every shot, detail, angle of filming..

Sounds has been used VERY WICKEDLY, enhancing AMBIENCE and MOOD of film..(I wish, some of sound track, music, should have been thrown in the back ground too)

BUt, CAMERA WORK, BACK GROUND MUSIC..EXCELLENT.

DIRECTION..VERY NIFTY.

ACTING;

URMILA..SUPERB.

AJAY..EXCELLENT.

REKHA/SEEMA BISWAS, Nana, Victor Bennerjee..VERY GOOD

Fardeen Khan.. Tanuja..Ghost and Baby Ghost..Ok, too..

LEAD PAIR has THE MOST SCREEN TIME!! URMILA< has come MILES AHEAD from her LAST BEST PERFORMANCE for RGV!!

Man o Man!! SHE LOOKS CHIC!! too...

REKHa..Looks GOOD,and acts good..

NOW!! for a SUPPORTING CAST of This CALIBRE, you want to SEE more, of screen time...But they did not have as much as lead pair..but Each one of them..did their part very well..

Ramu, could have used, any average actors for supporting cast, and I am confident, he could have EXTRACTED same kinda performances out of them..but Why he used BIG WIGS, even FARDEEN in a negative, few minutes role?...FACE VALUE OF FILM?? possibly..

Theatric DD 5.1 sound was EXTREMELY GOOD!! enhancing bACK GROUND sound!! Sound mixer, did EXCELLENT JOB!!

This is FIRST FILM with SYNC sound, that all DIOLOGUES were NICELY AUDIBLE at same LEVEL, throughout!

Filming was not AS DARK as KAUN..that scene, with BHAJI on BEACH, that Dragun, mentioned, in panoramic view did look like filmed from behind intense SMOG, but once camera pans on AJAY/Urmila sitting there, it was fine!!

In some scenes, NEGATIVE and SEpia look is used, to eNHANCE the effect.

THe entire film, does not show, any BLOOD/GORE/GRAPHIC VOILENCE, BULLET SHOTS,No DISFIGURED, made up, SUPER NATURAL GHOSTS, flying here and there.. at all(credible) yet it was SUSPENCE/HORROR/ THRILLER...

Those scenes, with ELEVATOR going up and down, as critics, criticized, indeed dont TIE UP, with theme and climax..need to be deleted!!

Is it a HORROR film!! was I scred..NO, I was not!!

Does it has SUSPENSE/THRILL..Thrill, a lot, but SUSPENCE not much..KAun, had BETTER SUSPENCE and made you think, than this one!!It is JUST EVENTS, unfolding here!!People did not like INTENSE Suspence part of Kaun, that made them think, esp, the ones, WHo go to watch, flicks like HMBPKH, ANDAAZ/K3G, Mohabtaen, Jodi #1, etc..leaving their BRAINS HOME!

How it HOLDS up, comparing to KAUN...I personally, felt, KAUN was more intense, more suspensfull, i was scared more there, and CLIMAX was more intense and BETTER filmed..But was lot more BLOODY too..and Graphic!

I personally, DONT think, BHOOT is better than KAUN..I loved Background score of Kaun, too..my only, problem, was Manoj Bajpai character seemed going OVER BOARD, while in BHOOT every one has very RESTRAINED performance!

Well, If you guys want to watch, a WELL CRAFTED, ENGROSING FILM, with EXCELLENT performances etc..GO watch in the theatre!! RECOMENDED..

Fans of MIND LESS films, who want SONGS to bREAK IN every 5 minutes..GIVE IT A MISS yaar!!

Whether BHOOT will be a BLOCK BUSTER? I dont think so..IT will do WELL, in METROS!! along with critic acclaim and a lot of aWARDS next year!!

I personally, dont think, that URMILA's role can be possibly done, by any other pRESENT indian ACTRESS!! she is SIMPLY BRILLIANT under RGV's COMMAND!!

Ajay was better than I expected...Lead pair shared very GOOD chemistry...

My overall rating..goes 8-9/10...


:baaa: :cool: :love:
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DragunR2
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PostPosted: Sun Jun 01, 2003 8:40 pm 
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mhafner wrote:
So, what are the best horror films then (Indian or not Indian)? Some of my favourites:
- Rosemary's Baby (1968) (the premise is the same as in Bhoot sans the baby)
- Repulsion (Polanski) (psychological horror)
- Aliens and Alien (Scifi Horror)
- The Others (psychological horror)
- Psycho (supense horror)
- Peeping Tom (psychological horror)
- Scream (slasher horror)

The Haunting (original Robert Wise version)
Dr. Jekyll and Mr. Hyde (black and white, don't know who directed)
Nosferatu (Murnau)



Edited By DragunR2 on 1054500071
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shivrk
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PostPosted: Sun Jun 01, 2003 8:56 pm 
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Heres my review....

Bhoot (2003)
Starring: Urmila Matondkar, Ajay Devgan, Nana Patekar, Victor Banerjee, Rekha, Tanuja, Fardeen Khan, Seema Biswas
It was just last week, when I walked out of the theater seeing Identity that I thought I had scared myself out of my wits, but it wasn't until tonite that I saw a true masterpiece of a horror movie. Bhoot, or rather "Ghost" revolves around a newly married couple, Vishal (Played by Ajay Devgan) and Swati (Urmila Matondkar) and their encounters at their new home, a duplex on the 14th floor of a Mumbai (Bombay, India) skyskraper. The non-superstitious husband, Vishal, forgets to mention to his wife, that the past tenant in their home, plunged to a horrifing death before they moved in. Soon later, unexplainable experiences start to cross Swati's way which leads the couple lead into this misery striken, supernatural saga. It has been one very long time since I have seen a movie that binds such thrills with such a gripping story of the supernatural. The direction, the editing, the suberb --but very carfully added-- backround score, the simple screenplay, and above all else the excellent acting take us moviegoers into a new light of cinema. This is horror. First the direction...After watching many, (many) Ram Gopal Varma creations, I have finally seen the peak of his talent. He has made many thrillers, crime and mafia flicks, comedies, love stories, adventures, and now this genius tried his hand with horror, and once again, like all his movies, he succeded. The way he so subtly blended the slight scary moments with this simple yet sensitive tale of ghosts is handled with utter grace and care. With a subject so sensitive, he made sure that he didn't cross his limits at any point by not adding any sort of disruption or sidetracking storyline that leads the audience away from the main plot. He knew where to draw the line between too little and too much fright, emotion, and pace of the story line. He even took a plunge by adding in the trials between science and spirit, which could lead to a seperate story on its own but kept the main focus clear throughout. The editing, cinematography, and screenplay too, fall into this category, which nowadays is very rare to find in cinema. This is a quote taken from a review written by Deepa Gumaste, a member of Rediff Online: "A classic case of a great cast being wasted on a screenplay that does no justice to their talent." Although, to some extent she is correct, I disagree, and contradict by saying that the choppy one word dialoges given to the characters had much to do with the screenplay as well as the way the story was told. Less dialoge and more feeling was given through these short, but only nessessary words spoken by each character. Ram Gopal Varma, once again, focuses alot on the expressions of each character's eyes in this film, which give a lot to each characters identity as well as what they are saying. It takes a truly amazing director to bring out so much emotion from such little speaking. Each one of the characters in this movie was so perfectly cast...Ajay Devgan as the scared husband --a role that brings his career as an actor to new dimensions. In his previous films like Thakshak, Company, and Deewange, he plays roles that define him as an intmidating actor, but this role really shows his versatility and how smooth his persona can be, rather than the "leading" roles he has played in the past. Fardeen Khan, Rekha, Tanuja, Victor Banerjee, and Seema Biswas have very little roles in the film but become Bhoot's holding pillars. The way that the lives of these eight extremely talented people bind together at the end is one very powerful moment in the movie, and in Hindi cinema. Overall, the cake goes to the one and only Urmila Matondkar for her brilliant portrayal of the possesed Swati. In the past she has had many powerful roles such as a suductress, and actress, a psycho, and in her she plays her frightened innocent character with so much ease. I have loved this actress in almost every role she has played, but she has never gotten her correct recognition, which I think in Bhoot she completely and utterly deserves. Hands down. Whether you are a beliver, or a nonbeliever...whether you love horror films or you hate them, go and see Bhoot. This is one movie that has brought a entire new level to Hindi cinema and is a large step for every member of the industry. In this small land of song and dance routines, Bhoot shows me, you, and the rest of the world that worthwile cinema hasn't gone anywhere, and after the mindless flops and hurts Bollywood has faced within the last few months, Bhoot comes to the rescue, with spine chilling performances, A class direction, and overall an excellent story. Go see Bhoot and get scared. Its worth every penny.


my other reviews at : http://www.adrenelyn.net/reviews.html
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DVD Collector
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PostPosted: Mon Jun 02, 2003 6:19 am 
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"The problem with today's cinema is that, women aren't seen being tortured enough" -- Alfred Hitchcock.

Just finished watching Ramgopal Verma's Bhoot, and I am very pleased to say that it lived up to my expectations. It's no masterpiece by any stretch of the imagination, but Ramu has indeed succeeded in scaring the living day light out of me(which I loved) added with its causative performances(especially with Urmila). Predominantly, this is what I've been expecting too see from this film to begin with. Bhoot should be(atleast in my opinion) classified as a distinctive horror "Indian" film all-together. He does not subject the film to scary looking creatures or excessive bloody images to haunt our minds, but gets us where we can really feel it(our sensitive touch). Coincidentally, the quote above is more than enough words to explain mine (and possibly Ramu's) point of view. Like many great female performances in Hitchcock's films(ie. Kim Novak in Vertigo), Urmila has pretty much personaified the same for this great piece of Indian "horror" film. She carries the entire film on her back, this is hands down her most chaotic at the same time best performance to date(and possibly her career). Her character's pain was truly felt and gives you the scary chills all over when she speaks during her twisted personalities.

The only beef I have to share is that, I would have liked this film more had I been sitting with a more mature group of audience members who had nothing better to do but laugh & make jokes during certain parts of the film while totally ignoring the fact that they were watching a "supernatural thriller" and not your typical bollywood melodrama(which I assume is what most had expected, some I've even noticed were flabbergasted to see no songs from this film).

****(out of 5) for Bhoot. Easily the "best" film from Bombay this year so far.

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rana
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PostPosted: Mon Jun 02, 2003 2:40 pm 
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Spooky 'Bhoot' makes Bollywood smile

http://headlines.sify.com/2141new....~smile~

Smiles are back in Mumbai's beleaguered film industry with Ramgopal Verma's 'Bhoot', which released last week, showing all signs of becoming 2003's first blockbuster.

Trade analyst Amod Mehra told UNI that things are beginning to look up for the film industry after a disastrous 2002.

''Bhoot, is doing very well all over the country and will go strong in weeks to come and this is a good sign,'' he said.

Though Akshay Kumar-Lara Dutta-Priyanka Chopra starrer 'Andaaz' which was released in last week, had a bumper opening, the collections fell drastically after four days, Mehra said. But the film is likely to recover its costs.

Pooja Bhatt's 'Jism', starring Bipasha Basu and John Abraham, is 2003's only claim to fame so far. The films which did reasonably well include David Dhawan's 'Ek Aur Ek Gyarah' and Tips' 'Ishq Vishq', he said.
WASN't EK AUR EK GYARAH declared a flop??

Rana



Edited By rana on 1054564878
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