Daddy Review - Bollywood Hungama. The underworld that ruled Mumbai at one point has spun many films over the years. But surprisingly, no film was made solely on Arun Gawli, who has also been a prominent figure in the city’s underworld and politics and continues to be. Director Ashim Ahluwalia takes the challenge and comes up with DADDY, and makes an unconventional choice of having a suave Arjun Rampal for a character that’s diametrically opposite to his persona in all aspects. So does the risk pay off or does DADDY turn into a disappointing gangster fare, let’s analyse.

DADDY is the story of the roller- coaster life of Arun Gawli. Watch The Happy House Online Hoyts there. Watch Psycho III Streaming. The story begins in late 7. Bombay (present day Mumbai) get shut, rendering lakhs of people jobless and even homeless.

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In a locality in central Mumbai, Dagdi Chawl, three youngsters get lured into the underworld. They form the ‘B. R. A. Gang’ which is the acronym of their names – Babu Reshim (Anand Ingle), Rama Naik (Rajesh Shringarpore) and Arun Gawli (Arjun Rampal). Arun Gawli however becomes quite prominent and soon enters politics.

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How he becomes a boon for the Dagdi Chawl residents and a bane for the police force forms the rest of the story. DADDY begins on a shocking note and you expect the film to be a fast- paced, well- preserved gangster drama. The film however falls a bit immediately but still, the scenes of the 'B. R. A. gang' are engaging.

But as the film progresses, it becomes too confusing and incoherent. Too many things are packed in the film's 1. Also there are far too many characters. One fails to understand who exactly is the villain and if it’s the system that’s the villain, then it’s not established very well. It is mentioned that poverty drove Arun to crime but one never gets to see his family struggling due to poor economic conditions. Moreover, the film suffers from another strange problem – the background score and sound design at places is too loud because of which certain dialogues are inaudible. Arjun Rampal and Ashim Ahluwalia's story is weak and should have been detailed.  The screenplay is average as it fails to put together the life of Arun Gawli in a cinematic format.

Ritesh Shah’s dialogues are strictly okay and fail to register. Ashim Ahluwalia’s direction is the biggest culprit. He fails to do justice to the script, however faulty it may be. With his execution, he could have taken the film to a great height. But barring few scenes and the finale courtroom sequence, he misses the mark.

Few scenes are quite bewildering. For instance, the encounter attempt on Arun Gawli at the 'nakabandi' failed to make an iota of sense.

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And why was Arun using paper ballot to vote when EVMs had already been introduced by then? Arjun Rampal however saves the film to a great extent with his performance. Arjun proves his worth as an actor in this film and gets totally into the skin of his character. Surely, this is one of his most accomplished works! Aishwarya Rajesh (Zubeida) has a fine screen presence and gets the best scope among the other actresses.

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Shruti Bapna (Rani) leaves a mark while Anupriya Goenka (Hilda) gets scope only in the post interval scene with Arjun Rampal. Farhan Akhtar (Maqsood) is quite decent as the dreaded Don. Rajesh Shringarpore gives a bravura performance and is a highlight of the first half. Anand Ingle looks menacing and puts his best foot forward. Nishikant Kamat (Inspector Vijaykar) is quite nice and he has a crucial part in the film. His character however is quite controversial and the way Mumbai Police is shown as being hand in glove with Dawood like gangster is bound to raise eyebrows. Purnanand Wandekar (Vijay), Raj Arun (Rafique) and Deepak Damle (Phamplet Bandya) are too good in small roles.

Sajid- Wajid's music is average. Eid Mubarak' and ‘Aala Re Aala Ganesha' are relegated to the background. Zindagi Meri Dance Dance’ however is quite impressive and reminiscent of the bygone era. Naren Chandavarkar and Benedict Taylor's background score has an 8. Jessica Lee Gagne and Pankaj Kumar's cinematography could have been better. There are far too many close up shots. Deepa Bhatia and Navnita Sen Datta's editing is disappointing.

Despite being 1. 35 minutes long, the film feels like a 3 hours+ fare. Parul Sondh's production design is authentic.

Nidhi and Divya Gambhir's costumes are also straight out of life but the wigs worn by the characters look fake. Sham Kaushal's action is gory but it was the requirement of the film.

On the whole, DADDY is a poor show due to its incoherent script and weak direction. Arjun Rampal’s performance is the sole factor that makes the film realistic. Watch it if you are a fan of Arjun Rampal or gangster flicks.

Great British Crime Movies. Today sees the release of the James Mc. Avoy and Mark Strong- starring “Welcome To The Punch,” and as you’ll know if you’ve read our review, it’s a slick, unusually ambitious, gorgeous- looking and absorbing British cops- and- robbers flick. It’s also the latest film (with Danny Boyle‘s even better “Trance” following sharp on its heels next week) to prove that our cousins across the pond can take on the crime movie with the best of them. U. K. crime cinema doesn’t necessarily have the immediate iconography or obvious movements of the 1. Warner Bros gangster pictures, film noir of the 1.

Coppola and Scorsese epics of the 1. Coens and Tarantino in the 1. But there’s a long history of thieves, robbers, murderers and more in British movies, in a variety of films that may have flown under your radar. And so with “Welcome To The Punch” on VOD and in limited released, and “Trance” on the way next week, we thought it was a perfect time to pick out some of our favorite crime pictures from the Sceptred Isle. Read our picks below, and let us know your own favorites in the comments section. “Brighton Rock” (1. We hope we wouldn’t have to say this, but if you’re after a cinematic take on Graham Greene‘s seminal novel “Brighton Rock,” you should run a million miles from the recent, impressively- cast (Sam Riley, Andrea Riseborough, Helen Mirren, John Hurt) but ill- conceived remake, and stick with the 1.

Richard Attenborough (reprising the role that brought him to fame on the West End stage a few years earlier) stars as Pinkie, a fresh- faced psychopath in a gang in the coastal town of the title, who finds himself rising up the ranks after killing a newspaper reporter. To avoid the rap, he marries besotted waitress (and witness to the crime) Rose (Carol Marsh) to stop her from being able to testify against him, but with the law and rival gangs closing in, Pinkie decides he might have to take more drastic action. Penned by Greene and “The Deep Blue Sea” author Terrence Rattigan, and directed by the somewhat forgotten filmmaker John Boulting, it’s one of the seminal, and probably earliest, examples of the British gangster film (retitled, for its U. S. release, “Young Scarface,” marking quite the contrast with its earlier namesake), melding Boulting’s fine, almost proto- noirish sense of place, the seedy underworld of the picturesque seaside locale, with Greene’s ever- simmering Catholic moralism. It’s stylishly made and dark as you like, but what really stands out is the astonishing, terrifying bug- eyed turn from Attenborough, a million miles away from the avuncular star of “Jurassic Park” and director of “Gandhi” he’d become in later years. Attenborough became one of the most important figures in the British film industry, but this acting role is the one he’ll always be remembered for.“Croupier” (1.

This cool neo- noir follows the aspiring writer Jack Manfred (Clive Owen), who ends up taking a job as a casino croupier in order to make ends meet, which leads him both to juggling three women — a store detective (Gina Mc. Kee), a fellow croupier (Kate Hardie), and a high- rolling South African gambler (Alex Kingston) — and being the inside man of a heist of his workplace set up by the latter. It’s pretty thin on plot, or even much in the way of the staples of the genre, but makes up for it with lashings of atmosphere, a realistic and lived- in sense of the world, and most of all, the casting of Clive Owen — in his breakout feature film role — who commands the movie in a lead turn that’s both suave and self- aware. Owen’s narration — taken from the thinly- veiled novel he’s writing, gives it echoes of both classic crime fiction, and a more complex examination of narrative.

It mostly disappeared when it debuted in the U. K. in 1. 99. 8, but became a critical darling in the U. S. two years later, earning a devoted following and placing on the National Board Of Review list of top ten films for 2. So all in all, a fine return to the genre for Mike Hodges, who perhaps made the seminal British crime film with “Get Carter” (see below), and he reteamed with Owen soon after for the lesser, but still worthwhile “I’ll Sleep When I’m Dead.”“Down Terrace” (2. If you’re looking to find a fairly unusual “British Crime” film that barely fits into this motley crew of movies, Ben Wheatley’s debut, “Down Terrace,” could be the one. As English as Marmite, “Down Terrace” can seem like an acquired taste with its pitch black and Sahara- dry humor, mixed with truly disturbing and purposefully banal sequences, but when it connects, “Down Terrace” is wicked, and wickedly funny. A dysfunctional family film centered around murder and betrayal, set in Down Terrace in Brighton, the movie chronicles the Hill family, who soon unveil themselves to be genteel sociopaths and criminals.

Upon release from prison Bill (Robert Hill), his son Karl (his real life son Robin) and his wife Maggie (Julia Deakin) decide they should try and flush out who ratted on the two criminals. This doesn’t really mean bloody recriminations (at least not at first) and but more the very English manner of bringing friends and suspects over for tea and dinner to talk. One by one, associates are politely dispensed with and Karl — who has recently learned he is going to be a father — begins to fray and come unhinged, wanting to leave this life of crime behind to just become a good dad. Featuring the use of hilariously ironic folk music and blues (Karen Dalton, Robert Johnson), much of the humor in the film is derived by the absurd mundanity of the situations (the Hills arguing with a friend to come out of a bathroom so they can let him go, deciding he’s not a culprit, only to kill him anyway). It’s not quite as accomplished as Wheatley’s other films, “Kill List” and “Sightseers,” but it’s brilliant in spots and certainly announced the arrival of fresh new voice in English cinema, who has risen to be one of the best indie auteurs we’ve got at the moment.“Gangster #1” (2.

Much more a psychopath film or even a twisted serial killer movie, “Gangster #1” still obviously applies here, as it’s set in the London’s crime world in the 1. Bookended by a much older version of said numero uno gangster in the present day (played by Malcolm Mc. Dowell), “Gangster #1” opens up with some old, fatcat gangsters watching a boxing game, when one of them mentions that Freddie Mays is finally getting out of jail. This triggers an angry and upset Mc.