Given that Neeraj Vora is behind the yarn, all trademark Vora-isms pop up in the screenplay. Opportunistic characters, bird-brained villains, pretty-looking jobless heroine, loads of pot shots on the film industry and lastly – no real story.

Teaser/Promo/Trailer

Cast: Ajay Devgan, Tusshar Kapoor, Arshad Warsi, Sharman Joshi, Rimi Sen, Paresh Rawal
Rating:

Synopsis

The story revolves around Gopal [Ajay Devgan], Lucky [Tusshar Kapoor], Mahadev [Arshad Warsi] and Laxmi [Sharman Joshi] — four guys bound together by their child-like notoriety, aimlessness and petty business of conning people for fun and money.

Gopal is the wisest and the wickedest of them all and the motto of his life is to eat, drink and make merry. Mahadev and Lucky are also of the opinion that only idiots work and wise men use them in more ways than one to make their life comfortable. As for Laxmi, he is sincere and God-fearing.

Due to their notorious acts, they are thrown out of college and have nowhere to go. Soon, they discover a bungalow that is inhabited by an old, blind couple [Paresh Rawal, Sushmita Mukherjee], whose son, daughter-in-law and grandson are in America.

Gopal and his friends force themselves in the bungalow and make Laxmi pretend that he’s Sameer [the blind couple's grandson]. But the story doesn’t end there. The four wayward guys fall in love with the same girl [Rimi Sen], suddenly discover a treasure chest and in the end, face the wrath of a gangster who lands up at the bungalow to retrieve his diamonds, which are hidden in the treasure chest.

On the whole, GOLMAAL – FUN UNLIMITED promises laughter and entertainment unlimited. A thoroughly enjoyable fare, the film has all it takes to hit the bull’s eye. This clean comedy with no vulgarity

No other Bollywood movie except Krrish has been academically considered by Harvard University. And no wonder Rakesh Roshan’s Krrish has been honored as one of the first Indian movie to be listed for international case study.

The Business case study will help International and Indian students learn about the implementation of best management practices, global management of business, global factor of production, leadership as well as devising new management strategies regarding industrial marketing, global competition, global penetration and market capitalization

Corporate does not involve you immediately. It is alien territory, for some, and you have to pay keen attention to what its protagonists are talking about. Not only do they mean business, they talk business too. Unless you are the kind who religiously reads financial news, follows the stock markets or studies economics, it will take some time before you grasp the lingo. Thankfully, Madhur narrates CORPORATE in the most simplistic fashion so that the common man can decipher the games corporate entities play to stay at the top

Teaser

Cast: Bipasha Basu, Kay Kay, Raj Babber, Minsha
Rating:

Synopsis

CORPORATE tells the story of two leading industrialists in the food sector, led by Vinay Sehgal [Rajat Kapoor], Managing Director of Sehgal Group of Industries and Dharmesh Marwah [Raj Babbar], Managing Director of Marwah International P. Ltd. Powerful, ambitious and relentless.

While there are many diligent people working for these companies, there is also Nishigandha [Bipasha Basu], a businesswoman with high aspirations and hunger to move to the top. She is at the centre of all the action.

That both the sides are dire opportunists goes without saying. The needle clash begins when both companies in their bid to become cola giants are vying for a disinvested government bottling PSU called MBC. Apparently, all their future prospects depend on who wins the bid for MBC. As both groups try to pip each other to clinch the deal with their respective plans of action, Nishigandha excels with her astute planning and skills for the Sehgals. Aided by Ritesh Sahani (Kay Kay Menon), Sehgal’s bro-in-law and Nishi’s long time love interest who joins her as the project head, the two prepare file an irrefutable tender. But striking an obscene bribe deal, the state commerce minister (Vinay Apte) turns the bid in favour of the Marwahs with a last minute clincher.

Now too much is at stake for the rival faction to throw in the towel. So to turn the tide on the competitor, Nishi cracks the competitor’s plan with the help of an infiltrator and a full-on raunchy Brinda Parekh- playing a model-hooker. What follows hereon is depictive of the immoral leanings of corporate administration and nepotistic governance that harbours on populist tautology. The news media inspired second half is taken against the backdrop of the cola- pesticide controversy which hit the headlines recently. The picture suggests the portentous manipulation of public opinion and market sentiments by the industry-politics nexus.

As Sehgal gets into an inevitable imbroglio due to the pesticide adulteration charges, his bro-in-law Ritesh is inveigled by his family to save Sehgal by getting Nishi to take full responsibility of all the damage. She does so leading into the finale which attempts to sum up the vindictive nature of corporate affairs.

On the whole, CORPORATE works for its gripping drama and freshness. Aristotle had once said, ‘The secret of business is to know something that nobody else knows.’ A century later, it could be rephrased as, ‘The secret of business is to know what the other person knows, and a little more.’

Pyar hua iqrar hua (Shree 420)

Possibly the most iconic image that springs from Bollywood’s sepia-toned past is that of Raj Kapoor and Nargis under an umbrella. In Shri 420, director Raj Kapoor positioned the monsoons as a natural backdrop for the romance between a shy schoolteacher (Nargis) and a good-hearted tramp (Raj Kapoor). Romance underlined the scene in which they go from sharing a saucer of chai to sharing an umbrella while singing to Shailendra’s simple lines.

Kapoor’s rain-lashed scene further imbued the lyrics with lyricism and a depth of feeling. Kapoor’s rain-lashed scene further added to the depth of feeling. This Lata-Manna Dey song captured the Cupid-like role played by the monsoons. The aspirations of an educated, urban working class of the 1950s found voice in the climactic verse: “Main na rahoongi, tum na rahoge, phir bhi rahengi nishaniyan.” which cut away from the couple to show a trio of schoolchildren strolling in the rain.

Interestingly, Kapoor asked his own children (now celebs in their own right) to play the roles of the schoolchildren, making this a moving scene.

Umad ghumad kar aayi re ghata (Do Aankhen Barah Haath)

While the monsoons may help romances for city folk, the rains hold special significance for the Indian farmer. Several songs address this role — from Do Bigha Zameen’s Hariyala sawan dhol machata aaya to Guide’s Allah megh de to Lagaan’s Ghanan ghanan.

But, for sheer joy, it’s hard to beat Umad ghumad kar aayi re ghata. Just listen to the music of Bharat Vyas’ lines like: Jab sanan pavan ko laga teer, badal ko cheer nikala re neer. O dharti jal se maang bhare. In this V Shantaram epic, the coming of the rains is celebrated by a reformist man with a mission (Shantaram), a woman (Sandhya), two untidy kids and 12 convicts because it means they can reap a good crop of vegetables from the barren land they have been cultivating.

Ek ladki bheegi bhaagi si (Chalti Ka Nam Gaadi)

The seductive potential of rain songs is well exploited in Hindi cinema, but who makes a better visual in a wet sari than the beautiful Madhubala? In this wacky comedy, she played a rich miss whose car breaks down on a stormy night near a mechanic’s (Kishore Kumar) garage.

Red-blooded man that he is, the mechanic can’t resist flirting outrageously — even though she refuses his offer of tea and sympathy. Soon, he is crooning to the sneezing-and-scowling beauty in his smooth, rich voice. By the end of the song, Madhu finally smiles — and the sun comes out. Or at least it feels like it has.

O sajna barkha bahaar (Parakh)

Salil Chowdhary’s orchestration captured the sound of falling rain. His songs like Aha rimjhim ke pyare pyare geet, Hariyala sawan and Saawan ki raton mein aisa bhi hota hai are evergreen, but there is a reason why Lata Mangeshkar always picks Parakh’s O sajna barkha bahar ayee as one of her favourites.

Besides the excellent sitar pieces rippling through the song, what added to this number’s appeal is the visual of a young, deglamourised but gorgeous Sadhana standing under a canopy and watching the rain with mixed feelings, singing “Bheegi bheegi agni mein jale mora jiyara.” Using this simple image and words, Bimal Roy communicated a sense of the young girl’s romantic longing.

Dil tera deewana hai sanam (Dil Tera Deewana)

Forget Raj Kapoor and Nargis standing under that umbrella; forget Dev Anand chivalrously leading Waheeda through Rimjhim ke taraane leke aye barsaat. It was the swinging 1960s and Shammi Kapoor and Mohammed Rafi proclaimed it loudly in this rollicking rain song.

In this high-energy romp through the rains, a robust Kapoor made a mighty splash while wooing the heroine. And his onscreen ladylove Mala Sinha happily joined in, armed with Lata’s sweet tones and a wet sari. This paved the way for a gradual increase in intimacy until it led to a typical 1960s phenomenon — the unwed heroine’s forthcoming pregnancy — as witnessed in subsequent super hits like Ek Phool Do Mali and Aradhana.

An underworld gang of four members Snehal Dhabi, Zakir Hussain, Chunky Pandey and Aftab Shivdasani kidnaps one rich little poor victim – Isha Sharvani. And to position their hostage, they land up in the house of a vegetarian Gujarati family (headed by Ishrat Ali and Smita Jaykar).
So far so good! Everything was working as per their plan. As they had expected! But what they didn’t expect were… 35 uninvited guests. As the doorbell rings, each member enters the house. But no one is allowed to leave to avoid the kidnap from kaput. And the door bell keeps ringing.

Trailer/Promo/Teaser

The guest includes as many as 35 characters… a pizza boy (Nitin Raikwar), a cop (Ravi Kale), a gangster (Raju Mavani), a financer (Jeeva), the housemaid (Divya Dutta), a salesgirl (Manisha Koirala) and many more.
What follows is… nearly fantastic action.

- The passable romance between Chunky – Manisha and Aftab – Isha (the hostage finds the kidnapper cute).
- Okay sentiment and
- Not so okay comedy

The movie intentions very clear by excluding Bollywood masala ingredients like ‘dosti, pyaar, family, weddings, song, dance and Switzerland’.

This one just has 100% pure entertainment.

The finale of the trilogy tribute to great music legend – Mohd. Rafi . In this part take took into some of the memorable moments in his life through pictures, along with his filmfare acheivements. The great legend, who never let his pain be felt in his soulful romantic songs, left the world stunned on 1980.
We lost one more voice … -Awaz Mein Na Doonga…

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