Veer "Veeru" Sharma is a small-time crook working for a large drug importer, Tejpal. He is unaware that his best friend Jai Mehra is an undercover cop, seeking evidence against Tejpal. During a raid on Tejpal's warehouse, Veeru accidentally shoots Jai in the head but he miraculously survives and makes a full recovery.
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Jai Veeru full movie hd
Without dragging it for long, let me put things simple and straight. There is no story in Jai Veeru. Few senseless sequences are knitted along with few songs, some horrible action and some twists. The two main characters (Jai Veeru) are highly disappointing and there is hardly any scope for us to bond with the two. The first thirty minutes of the movie is just spent in jumping from one track to another, while a strong friendship blooms between the two main characters over just four scenes. Veeru (Kunal) hits on a girl at a club and in attempts to impress her he falls in trouble with her four brothers. Jai (Fardeen) saves him from the hefty men. And soon they become best friends over a silly fight and a can of beer. Then we are introduced to a gangster Tejpal (Arbaaz Khan) who is on the hit list of criminals of the Police Force. We hardly see him doing any brutal killing or a big illegal dealing except for a scene of some fake currency business, and he is considered a cold-blooded criminal. And his side kicks who look like ill-nutritioned grown ups just cant get one shot right.
Performances in Jai Veeru are a let down too. Fardeen as Jai and Kunal as Veeru are a scorn to the legendry characters. Fardeen just as usual hams throughout the movie. Kunal is equally competent in putting across a poor performance. Arbaaz Khan sleep walks through the role. Dia Mirza and Anjana Sukhani are just eye candies and have nothing much to do.
dumb movie..senseless drama..nonsensical characters .slipshod directons pathetic screenplay and disrection..s do you still want to hear more..thankfully i saw it on dvd and i send it back within 5 mts of fast forward
Jai veeru is a hindi action film directed by puneet sira, and starring fardeen khan, kunal khemu, dia mirza, arbaaz khan and anjana sukhani. the film was released on 13 march 2009. it is a remake of the 1996 action, bulletproof. the title of the film is named after the famous characters, jai and veeru from the film sholay.
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In all of his showbiz career of over 30 years, Hong Kong actor Ti Lung is known for his alpha-male, authoritative roles. Fans will remember fondly his swordsman characters in 1970s martial arts movies like Duel of Fists and The New One-Armed Swordsman or his Golden Horse-winning role as a gangster leader in A Better Tomorrow.
In his first Singapore movie One Last Dance, directed by Brazilian director Max Makowski, the actor plays a roguish police captain who has a special relationship with an assassin named T., played by Francis Ng.
Our heroes are straight heterosexual males and Brokeback Mountain is not an inspiration for anybody yet. "Male bonding in our movies has to be taken at face value. There cannot be any homoerotic tinge to it. No Bollywood hero will ever risk his reputation by acting as a homosexual. Actors are very concerned about their reputation. The life span of an actor is too short for such risks," points out Gadhvi.
In many ways, the Bhai-sexual has always existed in Hindi films. While Sholay is a show-piece for the early Bhai-sexual, Yarana, Dostana and Amar Akbar Anthony are examples of films where full-bloodied heterosexuals who wouldn't know a metrosexual from a train station, matching steps with one another, and thinking nothing of falling into hard embraces in moments of high drama.
"A lot of the films that we've loved and watched have had male friendship as the eternal theme. There's something universally appealing about male bonding, one can connect with it very strongly," says director Rohan Sippy, son of Ramesh Sippy who created Bollywood's most famous friends, Jai and Veeru. "Everybody wants buddies like Jai and Veeru. Their relationship is playful, emotional, loyal and they're ready to give up everything for each other," adds Rohan. Both his movies Bluffmaster and Taxi 9-2-11 explore the friendships between Abhishek Bachchan and Riteish Deshmukh and Nana Patekar and John Abraham, respectively. For Rohan, the archetype of the friendship is classic, but the setting is modern. "The friendship is as unconditional as it was in the movies of the '70s, but it is packaged for a modern audience," he says.
There's a whole world out there waiting for you to slash, my friends, and thanks to the (legal and illegal) global circulation of content, sooner or later these movies will be accessible to you. We've already seen the influence of anime and manga on American slash fan. What will happen when Bollywood and Singaporean films enter the mix?
Songs in pop Indian film, as metanarratives, allow the spectator to create meaning within the larger, scattered, melodramatic filmic space. Consequently, they provide insight into an otherwise incoherent narrative. At the level of the "real world," the popularity of a song from a film often determines the failure or success of the film, since its economic success is largely indebted to the "catchiness" of the tune. (3) If the radio replay of the song is successful, the film audience will repeatedly (sometimes as often as daily for the entire run!) go back to see the movie. Another significant point is that the actors in the films do not perform the songs (although there have been exceptions); rather, voices attributed to the songs are of well-known playback singers. Neepa Majumdar's insightful work on the connections between stardom and song sequences is worth mentioning here. She argues for a connection between the star system in Bollywood and the "song picturizations" that take place on-screen. (4) According to Majumdar, the very definition of the term song picturization renders meaning to the image "in the terms set out by the song" (167). In song picturization, then, resided the aural and visual pleasure that gave Hindi cinema its unique nature. The split between the singing voice and the performing body on-screen became the desired norm by the 1950s.
Lucknow, Feb 10 (IANS) The court of additional district judge-I (ADJ-I) Prafull Kamal has allowed Hindu litigants to appeal in a lower court for a survey of the Teele Wali Masjid in Lucknow. 2ff7e9595c
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