A 'comeback' film always holds significance. Amitabh Bachchan's Mrityudatta Vinod Khanna's Insaaf Dimple Kapadia's Saagar Mumtaz'as Aandhiyaan and Kajol'Fanna are names you cannot erase from your memory since the celebrated actors returned to the big screen after a hiatus.
With Aaja Nachle, Madhuri Dixit, who reigned supreme, is back to the studios with the Numero Uno production house of the country. Does the actress still possess the charisma to ignite fire in water? Also, does the vehicle she chooses to make a comeback with, have the fuel to reach the winning post?
Sadly, Aaja Nachle is below the mediocre mark and doesn't meet the humongous expectations that you associate with the Yashraj - Madhuri combo. What's the problem? Without a doubt, the script! What starts off as a story that seems real and identifiable becomes a fairy tale in the latter hour. Also, with a title like Aaja Nachle and the story harping on music, the songs had to be chart busters. That's just not the case here! In short, Aaja Nachle fails in the two vital departments -- writing and music.
Bearing a striking similarity to the Brazilian film XUXA REQUEBRA, Jaideep Sahni's screenplay is the biggest culprit here. The protagonist Madhuri knows that there would be hurdles galore on her way, as she embarks on a journey to realize her guru's dreams. But she hardly struggles to achieve the impossible. Even the corrupt politician Akhilendra Mishra or the shrewd businessman Irrfan, who could've proved to be tough nuts to crack, give in so easily.
Besides, the goings-on get too unbelievable. The first question that crosses your mind is, how does Madhuri raise the funds to put up this spectacular event the set design in the penultimate song is marvelous? Okay, that's a cinematic liberty, but, seriously, there should have been at least some reference to where the money would flow in to fund this mammoth, lavish and extravagant event. What starts off as a 'real' film, drifts into a 'surreal' world as it moves ahead.
Debutante director Anil Mehta knows the importance of frames/visuals since he's an accomplished cinematographer. But Mehta ought to know by now that it's the content that does the talking eventually. The writing is too commonplace to make any impact whatsoever. In an effort to strike a balance between believable and make-believe, Aaja Nachle falls like a pack of cards.
Salim-Sulaiman's music is another minus point. You expect the songs to linger in your memory even after the show has ended that's what makes a musical tick, right? It's not the case here. Dialogues are wonderful at places, especially the ones delivered by Akshaye Khanna and Madhuri. Cinematography Mohanan is splendid.
Madhuri has always delivered qualitative performances and the fire continues to burn to this date. She's top notch, but how one wishes the script would've done justice to her talent. It doesn't offer her a pedestal to take that big leap. The loyal Madhuri fans would surely feel disillusioned and saddened.
Akshaye Khanna is tremendous. In fact, it's a treat to watch Madhuri and Akshaye together, after a hiatus. Kunal Kapoor is likable; he enacts his part with natural ease. Konkona is nice, but when compared to her previous work, it's definitely not in that league.
Irrfan, in a brief role, is okay. Divya Dutta too is relegated to the backseat. Ranvir Shorey is first-rate. Ditto for Raghuvir Yadav. Darshan Zariwala does a fine job. Yashpal Sharma is alright. Vinay Pathak and Sushmita Mukherjee are adequate. Akhilendra Mishra is as usual. Jugal Hansraj gets no scope. Vinod Nagpal and Uttara Baokar, as Madhuri's parents, have nothing much to do. Felix D'Alviella as Steve -- Madhuri's lover is passable.
On the whole, Aaja Nachle disappoints big time. At the box-office, the film has embarked on a poor start and coupled with weak merits will only emerge as one of the major disappointments of the year.
With Aaja Nachle, Madhuri Dixit, who reigned supreme, is back to the studios with the Numero Uno production house of the country. Does the actress still possess the charisma to ignite fire in water? Also, does the vehicle she chooses to make a comeback with, have the fuel to reach the winning post?
Sadly, Aaja Nachle is below the mediocre mark and doesn't meet the humongous expectations that you associate with the Yashraj - Madhuri combo. What's the problem? Without a doubt, the script! What starts off as a story that seems real and identifiable becomes a fairy tale in the latter hour. Also, with a title like Aaja Nachle and the story harping on music, the songs had to be chart busters. That's just not the case here! In short, Aaja Nachle fails in the two vital departments -- writing and music.
Bearing a striking similarity to the Brazilian film XUXA REQUEBRA, Jaideep Sahni's screenplay is the biggest culprit here. The protagonist Madhuri knows that there would be hurdles galore on her way, as she embarks on a journey to realize her guru's dreams. But she hardly struggles to achieve the impossible. Even the corrupt politician Akhilendra Mishra or the shrewd businessman Irrfan, who could've proved to be tough nuts to crack, give in so easily.
Besides, the goings-on get too unbelievable. The first question that crosses your mind is, how does Madhuri raise the funds to put up this spectacular event the set design in the penultimate song is marvelous? Okay, that's a cinematic liberty, but, seriously, there should have been at least some reference to where the money would flow in to fund this mammoth, lavish and extravagant event. What starts off as a 'real' film, drifts into a 'surreal' world as it moves ahead.
Debutante director Anil Mehta knows the importance of frames/visuals since he's an accomplished cinematographer. But Mehta ought to know by now that it's the content that does the talking eventually. The writing is too commonplace to make any impact whatsoever. In an effort to strike a balance between believable and make-believe, Aaja Nachle falls like a pack of cards.
Salim-Sulaiman's music is another minus point. You expect the songs to linger in your memory even after the show has ended that's what makes a musical tick, right? It's not the case here. Dialogues are wonderful at places, especially the ones delivered by Akshaye Khanna and Madhuri. Cinematography Mohanan is splendid.
Madhuri has always delivered qualitative performances and the fire continues to burn to this date. She's top notch, but how one wishes the script would've done justice to her talent. It doesn't offer her a pedestal to take that big leap. The loyal Madhuri fans would surely feel disillusioned and saddened.
Akshaye Khanna is tremendous. In fact, it's a treat to watch Madhuri and Akshaye together, after a hiatus. Kunal Kapoor is likable; he enacts his part with natural ease. Konkona is nice, but when compared to her previous work, it's definitely not in that league.
Irrfan, in a brief role, is okay. Divya Dutta too is relegated to the backseat. Ranvir Shorey is first-rate. Ditto for Raghuvir Yadav. Darshan Zariwala does a fine job. Yashpal Sharma is alright. Vinay Pathak and Sushmita Mukherjee are adequate. Akhilendra Mishra is as usual. Jugal Hansraj gets no scope. Vinod Nagpal and Uttara Baokar, as Madhuri's parents, have nothing much to do. Felix D'Alviella as Steve -- Madhuri's lover is passable.
On the whole, Aaja Nachle disappoints big time. At the box-office, the film has embarked on a poor start and coupled with weak merits will only emerge as one of the major disappointments of the year.