Wajah Tum Ho Movie Review 

​Rating: 3/5 ✴✴✴

Director:Vishal Pandya

Cast:Sharman Joshi, Sana Khan, Rajniesh Duggall and Gurmeet Choudhary

Directed by Vishal Pandya, Wajah Tum Ho is one of those films which will leaveyou wondering what it was by the time you finish watching it. The film is a stalecocktail of lust, betrayal, revenge and vengeance. Barring Sharman Joshi, no one seems to be even trying to act. Wajah Tum Ho could have been a better film on cyber crime but by the time the film picks up pace, it is too late.

The story begins with the mysterious murder of ACP and its telecast on the nation’s biggest television network Global Times Network (GTN). Kabir Deshmukh (Sharman Joshi), an honest Mumbai cop, starts his investigation and accuses Rahul Oberoi (Rajneish Duggall), CEO of GTN for the murder. Siya (Sana Khan), Rahul’s legal advisor assures of his safety but Kabir is adamant about proving Rahul guilty in court. Lawyer Ranvir Bajaj (Gurmeet Choudhary helps Kabir in sending Rahul Oberoi behind bars. But is Rahul actually guilty of murdering ACP or is someone else using his channel to destroy him?

 This is what Wajah Tum Ho is all about.Despite the steamy sequences which have the characters clad in satin lingerie in the trailer, the film doesn’t have a lot of skin show.

 Except for its abrupt songs, Wajah Tum Ho has nothing sleazy to offer. The film was wrongly marketed as erotica and the songs have been used a promotional tool to pull the audiences to the theatres. Zarine Khan (Mahi Ve) and Sherlyn Chopra (Dil Main Chupa Loonga) try enough to woo the viewers by undressing themselves but one can’thelp but laugh at the pointlessness of their actions in most of the scenes. 

There’s a scene in which Sana confronts Sherlyn and soon after the latter shows off her assets in a swimming pool which will make you cringe.The acting by the lead cast is a yawn fest. Just one-film-old Sana Khan, leaves you infuriated with her dreadful facial expressions. It also looks like Zarine Khan and Sherlyn Chopra (guestappearances) are sailing in the same boat. After debuting with Jai Ho opposite Salman Khan where she hardly acted, 

Sana seems to be way offthe mark. Her glamorous dialogue delivery style especially in the intense scenes turns out to be comical. Gurmeet Choudhary and Rajneish Duggal are terrible. They really need to join some acting school. Sharman Joshiis the only saving grace in the film and somewhat lives up to expectations. There are unnecessary songs in the filmwhich have no sync with the narrative of the story except the romantic songs featuring Sana and Gurmeet.

Wajah Tum Ho has so many twists that after a while you start recollecting director Vishal Pandya’s previous Hate Story franchise. The plot of Wajah Tum Ho is complex but the way it is executed is laughable. Once the film is on the verge of unfolding the truth, you are bound to feel that the film is a C-grade version of Hate Story franchise.Cinematography by Prakash Kutty is average and the film looks cheap to thecore. 

The recreation of cult songs Pal Pal Dil Ke Pass and Aise Na Mujhe TumDekho will depress you. The reviewer feels that there is not a single ‘Wajah’ to watch Wajah Tum Ho this weekend.


Befikre movie review: Ranveer Singh, Vaani Kapoor’s (5/4 ⭐⭐⭐⭐)

A flash of derriere on screen is no big deal in some parts of the world, but in India where the Central Board of Film Certification (CBFC) has so far deemedthe display of certaindesibody parts a non-desi, un-kosher activity, here is a surprise. Singh gives us a clear look at his wonderfully firm backside as he runs into a hotel room to make love to his girlfriend inBefikre.And the Censors have not scissored out that shot! Nine years after they sought to preserve our collective innocence by chopping out a glimpse of Ranbir Kapoor’s bottom inSaawariya’s towel dancing scene,mere Bharatvaasiyon, they have risked ruining oursanskaarwith the sight of a man’s bare behind! A moment of silence please, at this great honour bestowed on Indian adults by the CBFC. A moment to express our deep gratitude for this acknowledgement of our maturity.Thhoda zyaada ho gaya, na? You get the point though? Okay then, I’m done with mocking the Censors. Now onward to the review.Ranveer Singh and Vaani Kapoor in a still from ‘Befikre’Director Aditya Chopra’sBefikrestars Singh and the girl fromShuddh Desi Romance, Vaani Kapoor, as lovers-turned-friends Dharam Gulati and Shyra Gill. He is a Delhi boy who has just moved to Paris to perform as a stand-up comedian at his brother’s nightclub there. She is a Parisian of Indian origin, a tour guide who occasionally helps her parents run a restaurant.Dharam is perennially horny and a (sometimes creepy) pile-on, Shyra is not interested in commitment but is up for a roll in the hay. They are two people perfectly suited to each other’s wants and needs at the point in time when they first meet. The film takes us through the year between their hook-up and eventual break-up, and what follows.Viewed entirely from the surface,Befikreis fun. C’mon, of course it is. Singh, as we all know, is a delightful bundle of energy and an absolute charmer. Like him, Kapoor is not a conventional pretty face, 

but like him she too has an arresting presence that makes her extremely attractive. She also has one of the loveliest voices I’ve heard on a new Hindi film heroine in a while: soft and delicate, like cotton candy.An insensitive dare involving begging and a fleeting rape joke from Dharam require a separate – long – discussion. Set those aside, and his shenanigans are by and large amusing. The duo also play off each other well.Combine the lead pair with Vishal-Shekhar’s foot-thumping music (not counting the decidedly ordinary ‘Khulke dulke/Ishq ki bungee’), an unusual blend of Hindi and French in Jaideep Sahni’s breezy lyrics and Vaibhavi Merchant’s infectiously lively choreography, and you have an entertaining packagein place.I scrutinised the entire end credits but could not find a mention of Kapoor’s fitness instructor and dance teacher. Could someone give me their names, phonenumbers and the money to afford them, please? During an extended dance sequence between Shyra and Dharam, at one point she faces him with both legs wrapped around his waist and bends her torso backwards dipping her head deep towards the ground, then raises herself up ramrod straight again, her legs still around his waist, without any assistance from him, purely on the strength of her abs. If that was not camera trickery or a product of special effects, here’s an aside to salaam you for your muscle power, Ms Kapoor, and you for your imagination, Ms Merchant.(Spoilers ahead)The heart and soul of the film though leave much to be desired. How many times will Bollywood re-visit the story of a commitment-averse individual or couple who are buddies, find what they think is love in the arms of others and finally realise they are meant to be with each other instead? Films like KunalKohli’sHum Tum(2004, produced by Aditya Chopra) and Imtiaz Ali’sKal Aaj Aur Kal(2009) had novelty value and depth. Ayan Mukherji’sYeh Jawaani Hai Deewani(2013) and even Ali’sTamasha(2015) addednew dimensions to the discussion.Befikreis entertaining at a superficial level, but at the end of the day it is nothing but old wine in a glossy new bottle.So yeah, the couple have lots of sex and make their own decisions unlike thesanskaariladka-ladkiwho bowed to the girl’s despoticdesiDaddy in Chopra’s debut film,Dilwale Dulhania Le Jayenge(DDLJ), 21 years back, but these are significant changes only if you assess the director’s filmography in a vacuum without the context of everything else that Hindi cinema has done since 1995. Besides, ultimately this film – like most Bollywood films – is designed as reassurance for conservative viewers that marriage can be the only acceptable conclusion to a relationship between a hero and heroine (especially ifthey have had sex).Despite the generous dose of smooching between the leads, Chopra cannot camouflage his underlying conservatism. Note that after Shyra and Dharam break up, we see her in only one romantic relationship, and she does not sleep with that guy. Dharam, on the other hand, remains sexually obsessed, sexually active and has a long-term involvement with a French hottie.Note too how lightly Dharam and, more important, the film take white women. They are nothing but bodies and sources of sex for him, creatures you proposition, not human beings to be taken seriously like thedesikudihe slept with.None of this should come as a surprise if you look back at the extreme regressiveness ofDDLJ. The difference between then and now is that, for the mostpartBefikreis not regressive. What it is is a film pretending to be subversive, revolutionary and evolved, when all it does is endorse a status quo.That’s why Aditya Chopra’s fourth film as a director (his first in eight years) is watchable for its packaging alone and not for what lies beneath. Even Ranveer Singh and Vaani Kapoor’s boundless verve, all that kissing, unbridled sex and tiny Western clothing cannot mask the story’s traditionalist core.


At a fashion event held in Delhi, where many young designers showcased their amazing fashion designs and ideas at ramp, one of those bid farewell to the discontinued 500 and 1000 Rupee notes in a unique way.


A 20 year old designer Danisha from Mumbai launched her label DANISHA at a 2 day fashion event at ‘ASIAN DESIGNER WEEK’ by supporting the new move by the government. The young girl bid adieu to the old currency notes by using these as a prop in her fashion show. Her unique designs and the concept grabbed eyeballs at the event. The models carried the 500-1000 Rupee notes in their hands and walked the ramp.

Expressing her excitement, she said “I am so happy that everyone liked the concept. I wanted to show my support for the new notes movement through my profession. This is a sweet goodbye show to my favorite notes. I shall miss them but the new notes are beautiful as well. India is changing and that’s lovely. I support the great move by the government”