Tag Archives: dance

O Saki Saki: The Batla House song fails to beat the original but Nora Fatehi’s dance moves steal the show nevertheless

O Saki Saki: The Batla House song fails to beat the original but Nora Fatehi's dance moves steal the show nevertheless

Finally, the much-awaited song, actually remake, O Saki O Saki from Batla House is out. The hype around the number is huge, especially after the magic Nora Fatehi created with Dilbar Dilbar. Koena Mitra, the actress on whom the original song was filmed tweeted that the new one sounded like a mess. That also generated attention for the video. Coming to the actual remake itself, Nora Fatehi looks and dances like a Goddess. Her grace, flexibility and sensuousness keep your eyes fixated on her. With that rose, sequinned bustier top and red skirt, Nora Fatehi looks like a sexy gypsy lady, just as we see in the movies. It will instantly remind you of some songs of the ’90s. Coming to the picturization, it is nothing innovative per se. The new version has been sung by Tulsi Kumar, Neha Kakkar and B Praak. The track has been recreated and written by Tanishk Bagchi while the original was composed by Vishal- Shekhar. It has some new lyrics but the sound is that of the original.

The old one from the film Musafir was way ahead of its time in terms of sound, dance and picturization. Koena Mitra exuded a lot of oomph and though they may not be a prolific a dancer as Nora did complete justice to the beats and rhythm of the number. And she did a step that was just like what Urvashi Rautela did in Aashiq Banaya Aapne in 2018. And it was sung by two powerhouses, Sukhwinder Singh and Sunidhi Chauhan. In the new one, we miss their vocals and of course, the presence of Sanjay Dutt who added the swag. Music wise, the original is still better.

BL Verdict: However, the new version of O Saki O Saki is one of the best ones we are hearing this year. It might not be as creative as the new version of Ek Ladki Ko Dekha Toh Aisa Laga but is good. It will rank along with the likes of Yeh Jawaani remake in Student Of The Year 2. Stay tuned to BL for more scoops and updates!

 

Munna Michael movie review: Who cares about logic when you have dance, action courtesy Tiger Shroff?

It’s 1995. An aging dancer with a disturbing Michael Jackson hangover is removed from the chorus line of a dance troupe. Michael (Ronit Roy) is devastated. He’s seeking solace at the bottom of a bottle but fate has him wander past an abandoned baby. Michael adopts the child and raises him as Munna.

Inspired by his father, Munna Michael (Tiger Shroff) becomes a dancing machine and makes a quick buck by pulling cons on the dance floor. His inspiration is also Michael Jackson.

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It’s bad enough that our choreographers are stuck in a time warp – they either design sequences aping Jackson or are rehashing hip-hop moves from the mid-90s. But here we have a film where even the writer and director are holding on to nostalgia, not just in terms of inspiration and choreography but also a story line.

Munna Michael takes the comic route and the cold, corpse-like narrative comes alive with the introduction of the ever-reliable Nawazuddin Siddiqui. Siddiqui plays Mahinder Fauji – a hotelier and a thug with a soft corner for a dancer called Dolly (Nidhhi Agerwal). He believes the best way to impress her is by learning to dance, and for this job he hires Munna.

Let me explain that by this time Munna has left his ailing father in Mumbai and moved to Delhi to continue his con-on-the-dance-floor act. We don’t know what his father is suffering from and why Munna cannot think of any other career option but being a dancing cheat. But there you have it.

The moment Munna sets eyes on Dolly, it’s love at first shimmy and shake. Dolly’s dream is to win a dance show on TV. The men believe she’s a dancing queen. But Agerwal dancing is passable at best with her studied moves making her barely convincing as a champion dancer. Maybe she should have joined Munna’s dance classes! Alongside her, Shroff’s robotic moves almost look fluid.

Munna is assigned the job of helping Mahinder court Dolly and then, when she flees from Delhi, Munna must bring her back to Mahinder. What Dolly wants is, of course, of little consequence to Mahinder giving Munna an opportunity to deliver a lesson about that. Fortunately Mahinder’s obsession doesn’t become too creepy as the character is shown to be mean as nails otherwise but soft when it comes to matters of the heart. Siddiqui looks like he’s really enjoying the dance lesson sequences even as he flubs the steps.

Director Sabbir Khan and writer Vimi Datta have designed a film that is serviced by Shroff’s two skills – dancing and action. In spite of being predictable story with slack storytelling, Khan once again (Heropanti, Baaghi) showcases just what is needed to keep Shroff’s fans satisfied.

Put in enough of these two elements and who cares about logic, story, acting or originality.