Ek Movie Aise Bhi should be the name of this movie. Well what to say Rajshri Production break their…  

Ek Movie Aise Bhi should be the name of this movie. Well what to say Rajshri Production break their previous record of having infinite number of songs in one movie. I am not joking it well beats Hum aapke Hain Kaun in the having too many songs. You have not even blinked an eye and you are into the next song. Outdated Script. A brand new star cast for the barjatiyas though the hero is still Prem. Sonu Sood and Eesha Gopikar look artificial. Rest are not even a mention. If you have the patience to endure twenty odd songs then try your luck with this one.  

Superb Movie,this movie will make sonu sood a accepted star,he is very nice and good looking,movie…  

Superb Movie,this movie will make sonu sood a accepted star,he is very nice and good looking,movie represents indian culture,value and tradition 

Keeping in mind the 'Rajshiri Genre' the film lacked. Maybe because it didn't had any lavish…  

Keeping in mind the 'Rajshiri Genre' the film lacked. Maybe because it didn't had any lavish treatment and star cast like previous movies but something made the film dull. Story was simple and well told like all other movies, cast performed well in their roles. The movie was good but not meant to be a blockbuster so like I've said in my previous reviews, Audience only wants blockbusters right now so wither its going to be a blockbuster or below average no in between. Same treatment for this movie the only advantage would be the Family audience!!  

nice movie...second half is vry nice with full of emition of indian calture.  

nice movie...second half is vry nice with full of emition of indian calture. 

simply great..with great indian feeing.  

simply great..with great indian feeing. 

Outstanding movie!! wasn't expacting too much but it has everything it takes to make you cry and…  

Outstanding movie!! wasn't expacting too much but it has everything it takes to make you cry and entertained. Second half is just excellent!!!!!!! Just go to cinema and have fun. this kind of movie doesn't come often. Truely beautiful... 

Rajshri productions are the best sorry were the best film makers in the country before they made…  

Rajshri productions are the best sorry were the best film makers in the country before they made this film . I am surprised Mr. Sooraj Barjatya who made a fantastic film in Vivaah ( I rate it as his finest film till date)decided to creatively produce such a low quality product. Even the promos look as if they are for a Tv serial. The music in Vivaah was very good ( Ravinder Jain is a master but one gives only what is selected by the creative team) but over here in Ek Vivaah its too slow bordering boring. The actors are very talented but they are presented in roles which are not cut out for them. Its time that they wake up and make a youthful clean entertainer with foot tapping music. Family cinema does not always have to be village cinema. Even in big cities there are clean youthful stories. The values have to be indian not only rular. I know its a film made for interiors but don't Rajshri want a film which is loved all over India and overseas.Its a great banner so please next time make they should make a universal film. Will wait for Rajshri's next film and I hope days of Maine pyar Kiya will be back. 

The movie EVAB is a typical Rajshree type of movie-family trend, family values, family…  

The movie EVAB is a typical Rajshree type of movie-family trend, family values, family entertainment, and good music. It is very unusual in these times to see such a movie, when every one is going on exposing his / her body, having pelvic thrusts, and crude jokes. I find the music very entertaining. Again, we see here a nice blend of live musical instruments, instead of synthezier music, which is the norm today. Congratulations Rajshri and Kaushik ! You need to make another one for Rajshri ! Great movie, go and watch !  

When we think of the Rajshri ‘parivaar’ automatically you think of pure vegetarians, you think…  

When we think of the Rajshri ‘parivaar’ automatically you think of pure vegetarians, you think that these people don’t say a bad word about anyone, they probably think that cigarette smokers are outcast humans, they’ve probably don’t even know what alcohol smells like, pray all day and probably eat ‘Dhokra‘ five times a day. This particular family has a big family business, its called making movies - now obviously some do not like their style of film making, which is their right, however what they’ve made or got made in a film titled ‘Ek Vivaah Aisa Bhi’ is beautiful. The proper Indian cinematic symbols which have been missing from the majority of the recent Bollywood films!<BR><BR> Yes there are ‘cheesy’ moments and cringe worthy dialogues but as the film turns out, it’s nothing but praiseworthy.<BR><BR> Story is simple as with all Rajshri production’s - this is about a woman (chandini), played by Isha Koppikar, whose mother died when she was 15 and also leaving behind 2 toddlers a boy and a girl. Alok Nath plays the father bringing up his three kids, Isha falls in love with a rich Sonu Sood, everything is fun, love is in the air, the engagement is about to happen, suddenly on the morning of the engagement day, Alok Nath, Isha’s father, passes away in his sleep. On hearing everybody’s cheap comments about what will happen to her young brother and young sister, Isha Koppikar vows to not get married until they are grown up and fully settled in their life’s even if it does prolong to 12 years. Sonu Sood being the good boy Rajshri ’Prem’ supports her in this decision of hers, while concentrating on his music career. Problems a plenty because in 12 years, there is a new world, that some people can’t or just refuse to be a part of!<BR><BR> What’s good about this film is its treatment, it may not suit everyone’s taste but certainly no one can deny that this film is well made. One things for sure, that I believe everyone will like and that is the performance of Isha Koppikar. <BR><BR> I have nothing but abuse for Bollywood, who never took this actress seriously, I’ve always believed she was great and this film is ample proof of that fact. Her acting is on par of any good performance I’ve seen this year. The whole film is on her shoulders and my god she carries this film with ease!<BR><BR> Great casting - absoloute brilliant, do remember if this role is not casted well, the whole film falls flat!<BR><BR> Sonu Sood plays the typical ‘Prem’ you know soft spoken, guitar in his hand, love in his eyes - I guess Rajshri’s have never heard of heroes who have a little grey side to them. Alok Nath for the first half is good and the suppoting cast is wonderful too.<BR><BR> Music is typical Rajshri, good music to suit the occasion with ’Mujhme Zinda Hai Woh’ standing out amongst the songs, the story being told runs smoothly, its also shot in a similar way ‘Vivah’ was, keeping the banners kind of feel. Maybe a little change of look would have been ideal!<BR><BR>One problem I do have is towards its final segment, the last 30 minutes, it just seems a little dragged, maybe it’s the story but visually it seems to drag on and that’s the part that I believe could have improved!<BR><BR> Kaushik Ghatak, the director makes the film a real good watch and here’s hoping they’ll be more such films from him and here’s also hoping that he could ask his actors to please speak in your normal voices and not make them come out with this annoying cringe worthy dialouge delivery!<BR><BR> A really good film - I believe this is one of the best films out this year and there’s not too many of them!<BR><BR> 

It's Bhopal..in the present, though it could well be 1908. Because the Rajshris live in a world of…  

It's Bhopal..in the present, though it could well be 1908. Because the Rajshris live in a world of their own, and their films are watched by people who probably populate that world too.<BR><BR> Based on of their own productions (Tapasya-1976), which in turn was based on the even older Vachan (1855) and there is always the Ritwick Ghatak classic Meghe DhakaTara, which can't even be mentioned in the same breath as this. They are all about a women 'sacrificing' her own happiness (read: marriage) for the sake of her family.<BR><BR> Kaushik Ghatak, the director of Ek Vivaah Aisa Bhi, used to make soap operas before this and the style remains the same—the restless camera and wailing songs (Ravindra Jain) running almost throughout the film, telling you in verse what you can already see happening on screen. So pervasive is this background track, that there is barely a moment of silence or introspection in the film.<BR><BR> Chandni (Eesha Koppikkar) is an aspiring singer, who lives in Bhopal with her father (Alok Nath) and two younger siblings. She meets another singer Prem (Sonu Sood) at a music competition and they fall in love.<BR><BR> The film is inhabited by stock Rajshri characters – the father's aloo-paratha gobbling doctor friend, the heroine's chirpy Muslim friend, the hero's Sikh and Muslim buddies, an evil aunt and her hen-pecked husband.<BR><BR> On the day of the engagement, the father dies; Chandni is afraid her siblings will suffer if she leaves the house, so she calls off the marriage. Prem, who is devoted to her, promises to wait till she is ready. She becomes a music teacher and he goes on to become a famous singer.<BR><BR> Years later, when the brother (Vishal Malhotra) marries a bitchy rich girl (Chhavi Mittal), she asks Chandni why she could not have sent the kids to boarding school, where their education would have looked after, so that she could have pursued a career. Which sounds like a sensible, practical solution, and makes Chandni's sacrifice (and by association Prem's), needlessly masochistic.<BR><BR> But the rich girl is called Natasha, speaks English, and wants the ghastly decor of their precious house changed, so she must be vamp. She also complains about power cuts—when today, generators are easily available.<BR><BR> Chandni looks increasingly harried, but wants to continue her 'sacrifice' till the sister (Amrita Prakash) gets married and goes abroad too, driving most viewers to tears of frustration, and poor Prem to exasperation.<BR><BR> To make heavy-duty melodrama work—especially since it makes so little sense today—actors of calibre are needed. Eesha Koppikkar doesn't look like simpering comes easy to her and has a harsh voice. Sood appears to be completely out of place, like he'd much rather be fighting in other film than standing around looking gooey-eyed here. <BR><BR> It may nice to see a universe where people are mostly good and noble, and there must be an audience for this kind of film— people who watch domestic dramas with overdressed women on TV, and mistake it for Indian values and culture. That doesn't mean the film is not boring, bland and irrelevant. 

Barjatyas are back with their wedding-ceremony brand of home video entertainment. The kinds where…  

Barjatyas are back with their wedding-ceremony brand of home video entertainment. The kinds where the hero is still named Prem. The kinds where Alok Nath maintains an everlasting smirk on his face. The kinds where there is no palpable pause between two succeeding song numbers. The kinds where the kin doesn’t want to leave his ancestral mansion for a swanky new house.<BR><BR> Rajshri neither believes in upgrading with times nor in innovation. They continue the tradition of deriving from their inhouse library much like Hum Aapke Hai Kaun and Main Prem Ki Diwani Hoon were renovated versions of Nadiya Ke Paar and Chitchor respectively. This time the source of inspiration is their 1976 film Tapasya (for which Rakhee won the Best Actress Award).<BR><BR> This self-proclaimed marriage-video follows the ‘four weddings and a funeral’ format. Father figure Alok Nath wakes up every morning singing in glory of his ghar-ek-mandir. Daughter Chandni (Eisha Koppikhar) is trained in folk music. Prem (Sonu Sood) is a guitar-strumming aspiring singer. First she sings. Then he sings. They both are selected for some song competition. So they both sing. They both rehearse. They both perform. As this film almost transforms into a musical countdown show, one wonders if there are more songs than dialogues in the first half.<BR><BR> Expectedly the two fall in love. Their families consent. It’s always hale and hearty in the Barjatya state-of-affairs. The humans are all flawless in their films. The twist comes only through natural calamity. So Alok Nath passes away midways and it’s now up to Chandni to take care of her school-going siblings. She mutually decides with Prem to wait for marriage till the children grow up. While she starts offering singing lessons for survival, strangely she refuses to sing professionally which otherwise could gain her more name and fame.<BR><BR> 12 years down the line, her siblings grow up but Chandni and Prem show no signs of ageing. Time for a marriage and so Chandni’s brother Anuj (Vishal Malhotra) ties the knot. But wife Natasha (Chhavi Mittal) is an English speaking high-class socialite who divides the joint family in the mode of those Jeetendra’s 80s Padmalaya Productions film. Time for another marriage as Chandni gets her sister Sandhya (Amrita Prakash) wedded to an NRI. While you may turn impatient over the monotony, Prem continues to wait patiently for years.<BR><BR> Everything from the story, setup to the music of the film appears outdated though the producers attempt to use this conservative and traditional approach as their USP. It’s like serving superlatively-sweet soft drinks in the age of diet beverages. The saccharine levels could almost subject you to diabetes. In times when the stress is on subtlety, this film ventures in the now unfamiliar territory of mush and melodrama.<BR><BR> The screenplay of the film follows a standard song-dance structure and the first half is practically devoid of a story, which initiates only after the father departs at the interval point. The characterizations are too idealistic to be believable or relatable in today’s flawed materialistic world. The music by Ravindra Jain is too stodgy to connect with, in contemporary times. The performances fall within the set Barjatya parameters.<BR><BR> If you can entirely endure reruns of Vivah even today, chances are you can sit at least half way through Ek Vivah Aisa Bhi . Such simplistic and linear storytelling used to induce smile a decade back. Today we only laugh at them. 

These days filmmakers have been bitten by the remake bug. Directors have this dream to pick up a…  

These days filmmakers have been bitten by the remake bug. Directors have this dream to pick up a classic such as Sholay, Don or Karz and recreate it with their own vision. Also there is an overriding desire to place the film in the post-globalisation era or modern India. We saw that very clearly especially in a film like Don. But Sooraj Barjatya obviously doesn't believe in following any trend. For the uninitiated, Sooraj Barjatya, the producer of Ek Vivaah Aisa Bhi is the grandson of Tarachand Barjatya. He made his directorial debut with Maine Pyaar Kiya and few directors have achieved the kind of stupendous success, which Sooraj Barjatya achieved with his first film. So it's not strange that Sooraj Barjatya would look at the bank of hit Rajashri films for inspiration. In all probability Tapasya (1976) produced by his grandfather and directed by Anil Ganguly was a film, which Sooraj probably saw many times during his formative years. But unlike other producers Sooraj obviously saw no reason to contemprorise the theme of his film. Ek Vivaah is about Chandni (Eesha Koppikhar ) a middle-class girl who lives with her younger siblings and her father Bhushan (Alok Nath). A promising singer she falls in love with Prem (Sonu Sood) who also cares for her. On the day of her engagement her father passes away and suddenly Chandni who is barely out of college finds herself saddled with the responsibility of her brother and sister. Suddenly love and romance take a backseat as Chandni struggles with her responsibilities and Prem promises to wait for however long it takes. But can this fledgling romance stand the test of time? The biggest flaw The '60s and the 70's in Bollywood were all about self-sacrifice. And sacrifice to the keep the family bonded was the highest calling for any human being. Times have changed, and so have people. But the director doesn't seem to agree. Chandni remains a paragon of virtue. Her martyrdom is so saccharine-sweet that it leaves you numb. Ditto for Prem. He makes a commitment to wait for Chandni and doesn't once waver from his 'chosen' path. In the meantime the one thing that gives him joy is playing Santa Claus and surrogate parent to Chandni's brother and sister. He comes from an aristocratic family so money is no cause for concern. From time to time he is surrounded by young nubile lasses who keep asking for his autograph but Prem handles his career in a half-hearted lackadaisical fashion. Decent performances The first half of the film is all about how Prem and Chandni meet and fall in love. Although it's loaded with songs both Eesha and Sonu have delivered decent performances. They're convincing and though both of them look a trifle old to be college students the performances are quite convincing. No shades of grey While the protagonists have been shown as paragons of virtue there are a couple of characters who have been painted all black. Like Chandni's chachi (don't miss the aliteration here!). She sees Bhushan's death as an excuse to take over the property. Or Chandni's sister-in-law Natasha. All she wants is to live an independent life with her husband. Come on dudes, this is the twentieth century. But she's made out to be selfish and cruel. There are no evil male characters. The director obviously is strongly biased against women. Flooded with clichés There have been films in recent times where a family falls on hard times. Laaga Chunari Mein Daag is one of the names that comes to mind. But in EVAB after a long time we witnessed a scene where a child is being denied a glass of milk just because his father has died. Yes, you better believe this! Prem's mother is another character straight out of the '60s. Instead of being sympathetic to Chandni's plight she hopes Chandni will just dump her brother and sister or else it will interfere with her wifely duties. Or the scene where Chandni's brother struggles to tie a rakhi by himself as his wife does not allow him to have any contact with his family. These are just a few of the many clichés that come to mind. It's like the director feels he has to squeeze some tears out of you before you leave the auditorium. There's no way they want you to come out dry-eyed. Why the film will do well Choosing the lead actors was obviously a conscious choice for the producer. Since neither Eesha or Sonu are known faces in smaller towns they come across as real. In fact all the characters, even the minor ones have played their roles convincingly. The entire film has been shot in a small town and the locations are absolutely perfect. Even if for some portions sets have been used the ethos is perfectly realistic. Peeling paint, grills across windows, double doors, simple tiled or mosaic flooring; a great deal of attention has been paid to the locale. At least two-thirds of the film manages to hold your attention. But the makers seem to be sure of their target audience. And this is definitely not a film for metros. It's been made for the small towns and even large villages. In all probability the film will rake in huge profits in these areas. Despite the music being pithy, a couple of songs might just become popular at weddings and sangeets. Such a pity because the music could have been the saving grace of this film. Verdict: If mushy family melodramas are your scene then this film is a must watch