On ne vit qu'une seule fois

When was the last time you saw a feel good movie? When was the last time you laughed at simple silly conversations, when was the last time you remembered your bachelor days (only if you are married), when was the last time a movie made you think about your life, when was the last time a movie inspired you to enjoy the simple things in life, when was the last time a movie inspires you to let go off your fears..... Well not in the near past, definitely not from Bollywood.

Zindagi Na Milegi Dobara takes you through the simple moments of life, the life that every one miss out due to their busy schedule, commitments, etc..etc... and the movie does it through the life of three friends and their extended bachelor party trip. The beauty of the movie is that it concentrates on the life of the friends and how they let go their resistance to themselves and their fears rather than showing obscenity that normally rules movies which are based on bachelor party trips.

Zoya does a fantastic job in making the viewers feel every part of the movie with a beautiful blend of nature, good camera work, good script and three gifted actors. There is not a moment in the movie which feels out of place, no songs which you feel is there to enhance the marketability of the movie, everything flows smoothly, everything blends so nicely which gives you the feel good factor that you expect from the movie.

All the actors were fabulous and were perfect fit for the roles. To start in alphabetic order i will start with Abhay. What to say about this actor, he brings life to his roles and he has proved it over and over in his movies. I couldn't think about any actor who could have blended so well with the character in the movie like Abhay did. There is no replacement for him. I cant enhance on his character as it will give away the plot. The scenes where all the three friends make fun of people through their silly childhood act under the leadership of Abhay can only be carried out well by Abhay.

Hritik is an actor who can do wonders when he lands the right roles. When even the new entrants avoids multi starrier movies, he has taken a role where other actors share more or less the same screen space, with no insecurity and no ego. In the movie you get to see a completely different Hritik, with a script which does not glorify him, he is just a friend among the three and he brings life to the movie with his charm and charisma.

Farhan was bit of a surprise to me. He has grown as an actor from "Rock on" and "Karthik calling Karthik". I always found him to be more fit for a serious character than for the joker in the pack act. He does it extremely well. Probably its because of my prejudice that it was hard for me to take him in the role, but i had to let go my resistance.

Katrina portrays a character which is similar to her real life, a mix breed of Indian and Brit, a freedom loving, "live today" kind of girl. Her combination with Hritik is electrifying. Kalki is such a good actress. Her expressions helps you relate well to the character.

There is nothing to give out as a story, its all about three friends on a trip and trying out different things that they never tried before and how those things change there lives. But the beauty is in the details and climax. I think how the movie ends could have been better but song at the end of the movie with the credit makes up for it.

Overall Zindagi Na Milegi Dobara impressed me and lived up to my expectation and above. I hope you would like the movie too. But 'hey', everyone has different opinions, the general review by the critics for the last two movies i reviewed were totally against mine. So don't go for the review rather go for the movie and decide for yourselves.

Read my reviews on the site www.Movierecycle.com

Before going for this movie I was careful not to read anything about it, not watch a single trailer. This extremism mainly comes from my distrust on Indian Media which trashes movies that are comfortably awesome. Okay. If you are planning to go for it, do not read the rest of this. Come back and do it. This movie deserves an open mind. It shouldn't be that you go inside the theater with some invisible strings controlling how you perceive it. Let me tell you it is simple. It is also beautiful. And the combination makes it immense.

Right from the first scene, the director makes this his own. I wonder how many directors in this industry will be able to give a complete character definition of the protagonists through a sequence depicting their luggage-packing-styles for a 3 week trip. Zoya Akhtar does exactly that. She is a genius. I'll come back to her.

Lets look at the actors. Abhay Deol, Farhan Akhtar, Kalki Koechlin, Katrina Kaif and Hrithik Roshan. Abhay Deol is a stalwart. He has been a part of movies that have changed the face of Indian Cinema. Hrithik Roshan is another great actor. His movies have always contained a central theme of self-improvement. And for me, he is mind-blowing. Farhan Akhtar is a multi talented dude. Acting, singing, directing with equal panache. Any competitors? No. Kalki Koechlin has proved her worth in Shaitan and Dev D.

The real surprise in this movie comes from Katrina Kaif. She is amazing in this movie as the NRI diving instructor with high intellect. She embodies the role with such ease that she never looks the out-of-place girl she usually does. And she is hot in a very warm way. Her physicality is projected and used by Zoya in a controlled manner which enhances her beauty.

Hrithik is at his best, giving 100% to the role and carrying the transformations in his character so smoothly that at the end you feel happy for him. His journey across his life comes alive on screen through his facial expression. And eyes. The use of sunglasses by Zoya is absolutely perfect.

Abhay is the usual casual fellow you could find strewn all over India. But such is his expertise, he makes that guy stand out. Where Farhan and Hrithik have characters with a certain premise, Abhay's Kabir(a) is a free-bird. And boy, how he uses the freedom! A treat to watch, his dialogue throwing style adds a very important spice to the movie. It pierces you.

Kalki is good. With a limited screen-time, she fares really well. She has one shriek in the whole movie and one funny sequence while singing "I'm a hot chick in a hard rock world". These two scenes show us why she is different. Pretty powerful stuff. The perfect sugar coated knife.

Farhan. Hats off. You just blew my expectation ceiling with an atomic bomb. Perfect, infallible comic timing. Add to that the raspy, metal-on-wood voice, the casual sense of style, the few looks of soul-searching and the full blown expression of joy after Sky Diving. What you get is in my opinion the best performance I have seen in some time. Character constructed, deconstructed, resurrected with the absolute smoothness of a tequila shot.

Cinematography. The whole movie is pivoted on the use of short range focus. Pure genius. It makes the scenes look alive. Almost as if you are looking at the characters in reality.

Locales. Its one thing to choose correctly and absolutely another to use it. ZNMD sells Spain like Rafael Nadal and Barcelona. The azure blue ocean, the gray and dark plateaus, the vibrant green forests, the super sexy roads and a flaming yellow sunset. Breathtaking.

Songs. What lyrics. Perfectly picturised. Totally blends into the script.

Background score. I can't stop if I start on this. The use of the heartbeat promotes the signature sound from the murky depths of Kal Ho Na Ho to the actual surge of nervous energy it stands for. The use of the silencing technique while slowing up the screen pace creates magic moments. And whoever played the rapturous guitar chords did a great job. Awesome.

Dialogues. Great. General stuff mostly but again, the relevance and timing kills it.

All these factors combined with the finesse of Zoya creates the unforgettable experience of ZNMD. The movie is about a lot of things. About relationships, about self discovery, about losing control, about life in a microscopic view. But above all, it glorifies friendship, a virtue that is priceless. It will take you through a plethora of emotions, evoked by the various situations faced by Imran, Kabir and Arjun. The situations poised are some real problems the current society is facing like career v/s life, identity crisis, family pressure and relationship maintenance. And truly, they fit the characters.

The single thing that separates this movie from other hits is the creation of numerous magic moments. Directorial expertise blends with the awesome crew work to make you jump in mirth, look with awe, feel good from within, suppress a tiny tear drop, dance in your mind and applaud a timely joke. I would recommend this movie to everyone, just like Iqbal. It will give you wings. And it will give you the desire to take flight, to live your life like never before.

Finally, the idea of using shayaris to verbally emote key junctions of the movie is brilliant. In Farhan's voice, it adds to the overall positive vibration of the movie and moves you. Excellent. Thank you Bollywood, for making this movie.

Zoya Akhtar's Zindagi Na Milegi Dobara, through the lives of three friends, presents the world of contemporary Indian youth, who are successful, affluent yuppies. They just enjoy life because financially they have the means to do it. In mood and execution the film is very modern, light, yet it entails complex relationships in family and between friends. Essentially, in this regard, it has an uncanny resemblance to Dil Chahta Hai, though it's an altogether different film and not quite on that level. The movie is relatively realistic, but it is also emotional and, surprisingly enough, quite poetic. The dialogue by Farhan Akhtar is for the most part very good.

Zindagi Na Milegi Dobara is captivating, interesting and entertaining, and it captures the beauty of Spain with great mastery. At times this presentation is too perfect, but then it's a movie so that's what audiences want to see. It is beautifully shot, with excellent cinematography working in its favour. The background score is very good, and the songs are very fun and catchy. All these aspects create a lyrical tone that is quite uplifting to watch. Some scenes are just amazingly captured. The one when the guys get out of the water after diving, is pure magic. So is the one which shows them skydiving.

Having said all that, the film is far from flawless. While the main moral of the story, that life is only once and should be lived to the fullest, is successfully conveyed, generally speaking, but then at times it becomes over-repetitive and saccharine. Towards the second half, in particular the film tries too hard to be inspiring and feels too larger-than-life, almost to the point of being preachy. The ending is one such instance. Above all, the friendship between the three leads, while generally done decently, often lacks the natural, understated camaraderie it requires (not because they fight, but in spite of it). I don't know what exactly it is, but something is missing there and feels quite forced and banal.

Hrithik Roshan finally works as part of an ensemble cast where he doesn't have to carry a film all alone. He plays an imperfect man who grows as a character, and he does it well. Farhan Akhtar is for the first time convincing and he's natural and enjoyable in a meaty role. Abhay Deol, as the flamboyant, playful guy who's unsure of whether he does or does not want to marry yet, is a bit of a disappointment. Deol is according to me the best actor of the three, based on what I've seen before, but in this film his character often lets him down--a sad case of weak writing--as it lacks true complexity.

I never thought I'd say that, but Katrina Kaif is surprisingly effective and natural, and her part is actually very well etched out in the script. Laila is lovely, kind, radiant and, probably more importantly, is of mixed ethnicity, which makes her accent justifiable and credible in this film. This may be the benefit, as it eases the work for Kaif, who, instead of focusing on her accent and Hindi line delivery (which was anyway poor), can for one concentrate on the character. She is never great, but she is good. Kalki is better in a smaller part. Speaking of small parts, Naseeruddin Shah and Deepti Naval, in just two brief scenes each, shine.

Zindagi Na Milegi Dobara does partially bring forth another step in mainstream Hindi cinema's growth and departure from popular convention. It is thoroughly enjoyable, it has both style and substance, and though in my opinion it is nowhere an extraordinary film and is far from being really great, it is still a worthy and appreciable effort about living life to the fullest and cherishing every moment of it. Worth watching.

Director Zoya Akhtar's debut "Luck by Chance" was a perfect film. Without a single thing amiss, the clear-eyed unsentimental tale of a couple of strugglers in the Hindi film industry stayed with me for days. Of course, there was some irony that a child of privilege with access to Hindi cinema's biggest and brightest talents should make a film about newcomers scrambling for their lucky break: Zoya is the daughter of screenplay writer/lyricist/poet Javed Akhtar and his former wife Honey Irani. Her stepmother—known internationally—is Shabana Azmi; her brother Farhan Akhtar—a successful director—made another foray into acting in Zoya's film, and the slew of boldface names in cameos announced that this was no ordinary debut. But one can hardly fault her for the accident of birth; what was noteworthy was that she put her connections to excellent use and crafted a truly fine film.

I couldn't wait to see her sophomore effort: "Zindagi Na Milegi Dobara", which I enjoyed much as one might a mousse au chocolat. It was tasty and fattening and very good to look at. I'm still pondering whether it has any major cinematic merit. My friends and I agreed that it was very much an NRI-friendly film: most of the action takes place in a breathtakingly beautifully-photographed Spain, with a few scenes in London. The characters speak English for the most part, along with sporadic bursts of flawless Spanish and Japanese, and the occasional lapse into Hindi.

ZNMD could also be looked at as the armchair sociologist's handbook on the complex mating rituals of the rich and gorgeous. The cast, without exception, is privileged, affluent, and beautiful; their major problems in life would make a Mumbaikar or Delhi-ite burst into derisive laughter. In fact, if a dehati (villager) were to see the film, he might scratch his head in befuddlement and wonder what the hoopla was about. From his point of view, these folks had hit the jackpot, but the ingrates persisted in whining. Still, even the rich have problems which cause them enough angst to require much soulful gazing at Spanish oceans at sunset, and conscientious filmmakers owe it to them to handle them with sensitivity, good lighting, and hypoallergenic makeup.

With this film, Zoya Akhtar appears to have joined the ranks of the School of Aspirational Filmmaking. Its foremost proponents are Karan Johar and 99% of the directors ever employed by Yash Raj Films. Their films—set predominantly in foreign countries—are made for the new consumerist India. Their characters are upwardly mobile non-resident Indians, and the message to every brown person seems to be: you, too, can escape India's shores and live in a 50,000 square foot mansion on a fifty-acre estate in the country of your choice, drive fast cars (or a beaut of a vintage one, as here) and romance impossibly beautiful chiffon saree-clad damsels. How is never addressed.

ZNMD has a surfeit of good taste; Zoya's cast—all beautiful—lives abroad in chic monochromatic minimalist apartments, is multi-lingual, dresses impeccably, and can tell the varietal and vintage of a wine from the merest whiff of its cork. The slim story line concerns three college buddies who set out on the bachelor trip to end all bachelor trips. They had intended to take this vacation four years earlier, but two of the friends had a spat and the scars remain. Now one of the trio is getting married and the other two must give in to his emotional plea to resurrect their foreign travel plans. So off they go to Spain in all its sun-drenched glory. They run into Laila (Katrina Kaif), an athletic diving instructor, who stays on for most of the trip. This is the first film for me in which Katrina Kaif did not jar; she plays a mixed-race woman—half American, half Indian. She speaks English most of the time, some Spanish, and a few words of accented Hindi, but it works here, and she exudes well-being and sportiness. Perhaps from now on, anyone looking to cast her believably should make her a person of mixed ethnicity with only a smattering of Hindi. But wait—isn't that all she has played for the past dozen years? Surely, you'd think she'd want to grow as an actor and add to her skill set by learning Hindi properly, and taking some diction and acting lessons. Maybe her cynical response is I'm doing very well without any of that, so why bother? And everyone agrees she's punctual and professional…

Hrithik, after a long time, is not doing all the heavy lifting. He has two buddies for company, and it's a pleasant change seeing him as just one of the guys. The sun glints off his highlights as he strives to achieve optimum work-life balance, dances with game senoritas, and gets drunk with his amigos. Abhay Deol is not as well-muscled but he does some appealing work, wrestling with the dilemma of the perfect girlfriend fast morphing into a harridan fiancée. Farhan Akhtar's character, once again, is glib and a bit of an asshole, and tosses off bon mots with a studied insouciance. He, too, needs to broaden his range. We've seen him do this shtick in "Rock On" and "Luck By Chance", with minor changes of shading in the undeservedly little-seen "Kartik Calling Kartik". Kalki Koechlin is pretty and funny as she makes the most of a small role. Naseeruddin Shah is pure gold in his cameo, speaking harsh truths with sympathy. Deepti Naval, too, is lovely in her two small scenes.

Zoya has her cast articulate some admirable sentiments: Carpe diem; face your fears; follow your bliss, but it all passes by in an inconsequential, golden haze. So you won't waste time or money watching this movie, but you're not likely to remember it the following week or even perhaps the following day. For Zoya Akhtar's sake, I wish this film every success, for it will enable her future films that will, hopefully, have significant things to say.

"Zindagi Na Milegi Dobara" (ZNMD) is a complex, honest, and thoroughly refreshing story about friendship, about love, about choices, about ... well ... the journey of Life (lit. 'zindagi'). Writer-Director Zoya Akhtar takes three characters we might think we've seen before ... but deftly makes them original, fresh, and unexpectedly engaging. Her intelligent script perfectly balances the very real, even painful, personal transformation of each character with moments of joy, wit, charm, and humour.

No one's Life Journey is ever quite what one plans!

Our protagonists? Three best friends since childhood: Arjun (Hrithik Roshan), now an investment broker in London; Imraan (Farhan Akhtar), an advertising copywriter in Delhi; and Kabir (Abhay Deol), a construction architect in Mumbai. Ten years after college Kabir's imminent wedding impels 'The Three Musketeers -- all for one, and one for all!' -- to finally embark on the many-times-deferred adventure challenge they'd always planned.

ZNMD explores whether three grown men can survive a 3-week road trip together *and* still remain friends *and* still be the same people.

Think you've heard similar, before? Guess again! Ms Akhtar elevates the basic 'road movie' premise into something rare and sublime: brilliant character-driven comedy never cheap but often laugh-out-loud funny, and so true to life and people each of us actually know that it genuinely moves the heart as well as the mind and funny-bone. As each ZNMD character in turn challenges his own fear, whatever personal demon that has been holding back his life, it becomes our victory, too.

See ZNMD and discover: *your* life may change, too!

Such strong story and plot would be lost, without great acting.

Farhan Akhtar just gets better and better, as an actor, every time out of the gate. Already one of India's best young directors, his deceptively brash but sensitive and layered acting in ZNMD is quiet excellence ... and deliciously funny.

Abhay Deol is not exciting, but I like his potential. A good foil for the other two.

However the real revelation in ZNMD is, most surprisingly, he whom we might have *thought* most familiar. Hrithik Roshan we see so often in heavy dramatic and/or demanding multi-part roles -- because, let's face it, he's that rare actor who CAN do them, and do them brilliantly well -- that it's easy to forget just how plain damn funny and versatile he can be. Casting one of the world's more notorious compulsive workaholics as, well, a compulsive workaholic? Absolute genius!

On the distaff side ... Katrina Kaif. Wow! Where did this performance come from? She's always been beautiful, of course, but in ZNMD for the first time she shows subtlety and depth as an actress. Easily, her very best work to date.

Cannot finish without special mention of the fantastic music by Shankar Ehsaan Loy, long my favourite Hindi film composers. Their ZNMD soundtrack perfectly backdrops the film's emotional journey. Irresistibly hummable music spans the full range of moods and emotions, much like our three main characters: everything from amusingly lighthearted ('Senorita', sung by Mssrs Roshan, Akhtar, & Deol) to cool and modern ('Ik Junoon -- Paint It Red') to reflective ('Der Lagi Lakin') and even unabashedly romantic ('Khaabon Ke Parinday').

But the rocking 'Dil Dhadakne Do' seems to capture the very Joy of Living ... and that is the ultimate spirit of Zoya Akhtar's ZNMD.

Perfect summer movie! 10/10

Best film I've seen yet from anywhere in the world, thus far in 2011.