Lakshyam (2007)

I'm not sure what to say about this film, except that I enjoyed it and that I would hesitate to recommend it to most people.

Gopichand's character manages to be both mischievous and likable. His chemistry with Anushka is good, and their scenes together are adorable and very funny. The songs are also very good, with very fun picturizations, including one where Spiderman shows up as a backup dancer.

On the other hand, the film is quite violent, and I fast-forwarded some good chunks where the machetes were out meaning business. The plot was somewhat scattered, although on the whole not a bad version of a typical Telugu action storyline. Here is how the film opens:

In the midst of wedding preparations, Anushka is shown happily getting ready to be the bride. When she is dressed she wanders out and sweetly greets her groom, who seems a bit of a goober. She tricks him into helping her over the wall, and she gaily escapes on her scooty. A police officer recognizes her as they wait at a light and chases her out onto a lonely road, where Gopichand stands waiting for him. Gopichand blows up the policeman, hops on her scooty, and they ride off into the sunset. And then the movie goes back a few months and starts at the beginning, before Anushka and Gopichand have met.

As I said, I liked it, but I think I would only recommend it to those already familiar with Telugu action films.

Rab Ne Bana Di Jodi (2008)

Surinder (Shahrukh Khan) is a mousy middle-aged man who attends the wedding of his professor's daughter, the much younger Taani (Anushka Sharma), and is immediately smitten by her beauty and vivaciousness. Surinder had been a favorite pupil of his teacher, so when Taani's fiance dies in an accident on the way to the wedding and the professor suffers a heart attack, the professor asks Surinder and Taani on his deathbed to marry so that he can die in peace. They promise, and after their subdued marriage ceremony Surinder brings his grieving new bride to his home in Amritsar, giving her her own room and plenty of space. As their relationship remains formal and distant, Surinder turns to his flamboyant friend Bobby (Vinay Pathak) for advice.

From here the plot takes a turn for the worse. Surinder ends up adopting an alter ego, Raj, to spend time with Taani and to try to make her happy. The Raj persona is developed from film heroes Taani has admired and is Surinder's perception of a cool, uninhibited stud. Raj becomes Taani's partner in dance class, and his totally different personality begins to confuse himself as his flirting begins to confuse Taani. Surinder wants Taani to fall for his Surinder self, not his Raj ruse, but he doesn't do much to sway her in that direction.

And this is where the film really starts to fall apart, in my opinion. Frankly, although Taani's relationship with Raj is a little problematic, I actually prefer it to her one with Surinder. They have almost no scenes together with him as Surinder, and in those few scenes, both of them seem so awkward and uncomfortable that it's rather painful. She seems stifled and unnaturally silent, and his body posture makes him look like an abused puppy. They never seem to talk or connect in any way. Raj, on the other hand, gradually loses most of his bluster and aggression and becomes a confident expression of Surinder's inner sweetness. Also, Taani is much more herself when she's with Raj. Unfortunately, Raj is really Surinder inside-out, with his discomfort suppressed instead of his love, so Surinder's issues don't really leave Taani with any good options.

I ended up not really disliking this film, but not really liking it either. It basically only has three important characters, and perhaps that along with the rather hopeless and bleak storyline was what made the whole film end up seeming a little empty. But in the middle of all that emptiness there was a little tiny romance that you'd have to have a hard heart not to pity.

Vinod Khanna

Vinod Khanna has an enigmatic element to him that makes him difficult to characterize. This enigmatic quality is heightened by his incredible amount of charisma and his wonderful acting. His facial expressions are so subtle, yet so expressive, that he can barely move a muscle and emote radically different moods.


My first Vinod Khanna movie was one of my first Bollywood 1970s movies, Amar Akbar Anthony, and I love him in that kind of role. On the other hand, I adored his portrayal of a light-hearted simpleton in Jail Yatra, and I have really liked everything else he's been in, too (except The Burning Train--that one was kind of a wreck). His total believability in all of his roles is impressive.


I have trouble describing exactly what it is about him that makes him so magnetic and appealing, (as I said, he's enigmatic), so I've compiled a list of a few of the things other people have said about him. I am pretty much in agreement with all of them.


Beth's comment: The Khanna men, I swear, they have some sort of freaky pull on me. I'll watch any of them do anything.


Pessimisissimo's comment: As for my favorite 70s hero, I have a fondness for Vinod Khanna: a lover and a fighter who somehow never seems to get the girl.


Todd's comment: Also, I think that Vinod definitely deserves to be in the top tier of 70's men, though he's a little harder to stereotype than the others, as he comprises equal parts AYM, badass, and sensitive Shashi-type.


bollyviewer's comment: And nobody has the kind of sex-appeal that a Vinod Khanna or a Feroze Khan or a Kabir Bedi had back then.


Vinod Khanna fan site: The most handsome actor of the Hindi film Industry with an enviable physique and dimpled face.


veracious: The man is tall and handsome and intense and yeah, guh. . . . Not sure who coined the term "thinking angry young man" to describe his work in the 70's but I like it a lot.


Bollywood501: There is a kind of beautiful sadness connected with a Vinod Khanna performance. Khanna exudes an existential melancholy that one could mistake for quiet resignation if not for the very evident fire smoldering behind his smoky eyes. Introspection is a true part of his characters, the searching gaze, the million questions behind the face that barely conceals the pathos within.


Anonymous comment: For me, no one (Amitab Bachan et al.) could touch Vinod's capacity for pathos as an actor (to say nothing of looks!). Shashi is cute as a button, but that may also be what makes it difficult for him to communicate suffering to an audience or to elicit such strong feelings of sympathy for his character. Vinod is strong, vulnerable, and good looking. What more could one want?


Daddy's Girl: I like to call him sexy Vinod. Because that’s what he is! To be honest, when I watch his 70s films, the young Vinod Khanna doesn’t actually have to say or do anything to make me happy. Just looking at him – from those dark, intense, heavy-lidded, beautifully-framed, brown eyes, to the dimple in his chin, to his beautiful physique – that’s enough for me. When he doesn’t smile, he’s scorching hot. When he smiles, everything in his face lights up. He’s a gorgeous man, and as you can probably tell, I could talk about how hot he is for ages, but I’ll spare you… partly because I’ve probably embarrassed myself enough already, and partly because he’s a lot more than a pretty face. He was a really good actor too in his heyday – from the learned and anguished friend of ‘Muqaddar ka Sikandar’; to the serious policeman of ‘Amar Akbar Anthony'; to the intensely, evil-but-hot bandit of ‘Mera Gaon Mera Desh’; to the stylish young stud of ‘Mere Tulsi Aangan Ki’, he just… gave all his roles that special touch… you know what, I give up - the truth is, I obviously can’t talk about this guy ‘seriously’. He just makes me melt. Sadly, I don't have many screencaps of sexy Vinod, and the pictures I've come across on the net don't do him justice.