Aaja Nachle

Upon release, Anil Mehta's Aaja Nachle, which was widely promoted as Madhuri Dixit's comeback vehicle, failed miserably. I watched it now for the first time, and I enjoyed it thoroughly. It is such a nice film - colourful, musical, beautiful. This it the story of Diya, a trained dancer who, many years ago ran away from her town with an American man she fell in love with and moved to New York. Now Diya is a professional dancer-choreographer, and a divorcée with one kid. In spite of having promised to never return to India, she hurriedly flies back when learns that her trainer is on his deathbed. She is late, as he has already passed away, but he leaves a message for her as his last wish, to save an old theatre named Ajanta (where she used to dance) from getting ruined and turned into a shopping mall. The story follows Diya's firm decision and later efforts to revive the Ajanta theatre in a town where she is widely infamous. Her plan is to set a new play named "Laila Majnu". The problem is that people in the town dislike her, and only a good response to it can change the theatre's fate.

Aaja Nachle is essentially a musical, nothing very serious, nothing to be taken seriously, and nothing that will provide you with new lessons in life. What it definitely does provide is entertainment, and there it scores. It is not a great movie, but it has a great sense of fun and it flows well. The song numbers are appropriately incorporated into the film, and in this one they are presented mostly as realistic situations in accordance with the story. The film has many subplots, many of which I think were effectively presented, particularly the one involving the character of Mohan Sharma, Diya's past fiancée who was abandoned as she ran away. Several sequences are extremely funny. My favourite is when different girls, most of whom know nothing about dance, audition for Diya's play. Director Anil Mehta is an accomplished cinematographer and he uses his skills to the max in his first directorial effort. Choreography by Vaibhavi Merchant, which is obviously very important, is very well done. The music directors duo Salim-Sulaiman compose a nice soundtrack without which the film would.

Aaja Nachle rests on the able shoulders of the wonderful Madhuri Dixit, who is as charming, natural and charismatic as ever. Clearly, her absence from movies has dimmed absolutely nothing about her, neither her acting prowess nor her ever-so commanding screen presence. Dixit is according to me one of the most beautiful women in the world, and here, her youthful, juvenile beauty is replaced by a more mature and ripe look which is equally appealing. Her eyes speak volumes, her expressions and gestures remain refined and forceful, and her smile... oh this gorgeous smile, it is as amazing and mesmerising as ever. Diya's persona is actually the one that made Dixit the star she is, the star who at some point could give any hero or heroine a run for their money. She is a strong woman who oozes charisma and dares to live life on her terms. The film doesn't give Dixit many opportunities, but she delivers. She is feisty yet gracious, fiery yet elegant, and she is always vivacious and graceful. And what can one say about her dance? Nothing except it is astonishing.

The supporting cast includes many great actors, most of whom are not given that much scope, some of whom getting really small parts, but all are good. Konkona Sen Sharma is awesome. She is simply hilarious as the aggressive, unrefined Anokhi who is madly in love and will do anything to get the man she wants, including dance like an idiot. Towards the end she looks very pretty and it is overall a very good performance. Kunal Kapoor as Imran Pathan is very fine in what can be termed as his own version of the angry young man. Nothing great, but despite playing an overly hostile and hot-tempered guy he's quite a likable fellow. Ranvir Shorey steals the show in a small role that is surely the best-written of all, and he is excellent. Akshaye Khanna in an extended guest appearance is good as he is in most of his films. Divya Dutta is very good in a tiny role, Irrfan Khan is criminally wasted in the even tinier role of her husband. Vinay Pathak is wonderful as "the boring husband". Sushmita Mukherjee is funny as his wife, while Raghubir Yadav and Jugal Hansraj provide good support.

Among the songs, I really liked the title track which is catchy and Madhuri's dance for it elevates it further. My favorite song, however, is the melodious "Ishq Hua". The film's best sequence is when the "Laila Majnu" play finally takes place. It is just beautiful, spectacular, and is clearly well-invested and wonderfully executed and performed. The ending is expectedly sugarcoated, but who cares? It seems like some people just cannot appreciate anything that is not dramatic. This film is generally a lighthearted musical, that's how it's treated - it is good Hindi film entertainment, and a time-pass movie, in the most positive sense of the word. Another complaint was that Madhuri got a rather bland role which didn't do justice to her talent. So, people had not seen her weeping copious tears for so long that they badly expected her to do it again? Can't an actor be good when he's playing a character with less tears and more smiles? Actually, the film is more of a tribute to Dixit's mastery of the art of dance, which was one of the main factors that made her so popular, and I say it's worth a watch.

When I first saw the promos, I thought it will be a desperate attempt of a veteran (Madhuri Dixit) to make it back. But, I just wanted to see if Madhuri Dixit has lost the grace and charm after the break. And I am really glad to say that she's still easily the best of actresses Indian Film has seen.

The plot is not new (Swades, Lagan and so on have the same type of plot), but the way story was told was really good. There were times when they dragged the scenes a bit long. But only to emphasize on different emotions.

In the End, the Laila-Majnu play was just amazing. The sets and the costumes were really good. We have to give credit to that. Although the music was not so great but was good enough to keep the audience in theatre. Kon Kona Sen Sharma was amazing. If you have to take names, then the list would not end. Everyone did their best for a movie that dared to showcase art. Two thumbs up!

BOTTOM LINE: Its a bold attempt to show the art as it should be and not attempting to appeal to the new generation. That is the best thing I loved in this movie.

I wanted to see this film and finally saw it in 2022 after 15 years. Well I am glad I saw it while I was alive, cause it was big back in the day. She made an excellent comeback after 90's and some early 2000 hits. I miss the 2000 s and some moments and films from 2010s, cause the way forward for Indian movies and life around the world just looks too... Untalented.

2007 has been dry, but finally, we have been delivered. Aaja Nachle is full of elements Bollywood has been missing for some time and is in SORE NEED of. Namely:

1a) Dance numbers. That is to say, numbers focused on DANCING, rather than someone's flashy Western outfit, locations, batman angles, etc. 1b) LOTS OF dance numbers. I'm sick of scanty three-song phoned-in craptations. Aaja Nachle keeps the music coming all the time! That's the way it should be done.

2) Classical infusion. The end of the film is a knockout surprise in this respect. I don't want to spoil anything, but there is so much here for those who love the ancient stories as well as the new.

3) Hot dudes. OH MY GOD, Kunal Kapoor!

4) MADHURI. Looking spectacular, so charming, totally in control of her performance and giving it her all. Her hips are the world's 9th wonder.

5) Great young leading ladies i.e. Konkona Sen Sharma. She is the best actress to have come out in the last couple of years and the girl is here to stay! Sonam Kapoor? pfft! Katrina Kaif? pfft squared!

The story is simple but busy, with dramatic moments that touch deeply and comedic moments that have the audience rollicking. There isn't a single minute that drags; this film is not only well written and well acted, but well paced (a dear rarity in Bollywood). In short, it is here to bring Bollywood back to where it belongs! An unmitigated success from the inimitable Madhuri. I'm going to see it again this week, then I'm going to buy the DVD--ORIGINAL! Not that anyone needs to be reminded, but you must see this film!

Okay, now the eagerly anticipated Madhuri Dixit musical is finally out, I too would like to say a few things about this film. Not that I hated the film completely, but some parts of it really got me into pondering – why don't they just let us give a break and give something really sensible, something you would want to talk about for the next eight months. Not like okay you watch this film, enjoy, come out of the theatre and completely forget about it. Yashraj films who was bragging early this year about "2007-the year to be" has left some silly movies down the lane and their latest installment "Aaja Nachle" happens to follow the great legacy of Dhoom2, Tara Rum Pum, Jhoom Barabar.. and Laaga Chunari Mein… Indeed, the theory of quality being inversely proportional to quantity greatly applies here. Aaja Nachle, is, sadly a disappointment. But you have Madhuri making a comeback after so many years, a "perfect" production house that thinks it'll never get it wrong, a fine craftsman like Anil Mehta – wait, I must tell you he's got the cameraman Mohanan to shoot the scenes beautifully, but himself as a director – a big no no.

Aaja Nachle is simply a bunch of faults and flaws. Starting right from the first sequence, we get into thinking "Why don't they leave the Americans alone?" It seems Yashraj does not need actors but American extras and even at rarest occasions when you don't need them, they'll always have space to squeeze in a few. Then the music teacher gets some horrendous costumes to wear, records his farewell video (God, tell them 2007 minus 11 is 1996 and technology, fashion and everything else was already far more advanced then than shown!) and passes out. Then Dia gets into this quest to get the city together, and does some old school jhataks. (Okay, those expensive sets can be considered as "cinematic liberty" to quote critic Taran Adarsh but someone please tell me when did she get the theatre renovated and get all extra dancers when no one in the town was willing to cooperate?) Anything that's good is of course cinematography, sets and costumes. (Remember the good qualities of Om Shanti Om were almost exactly the same things.) Konkana and Kunal Kapoor doing some nice job there but the one to steal the show is of course the supporting cast. (What did you think I'd say Madhuri Dixit? No!) Madhuri's come back does not impress me. Sincerely, she's still the same old Madhuri and lot of water has flown since she left. Our tastes have changed and we are used to watching other actresses doing far more natural acting than she does in the movie. Irfan Khan is invisible in his short role. Akshaye Khanna's character does not convince me. I love the supporting cast which always happens to be the strongest factor in a Jaideep Sahani screenplay – be it Khosla ka Ghosla or Chak De India. I'd really look forward to Jaideep Sahni writing another supporting cast-driven movie than Anil Mehta be allowed to direct again. Music is so-so. The only songs to have impress me are "Show me your Jalwa" and "Dance with me." Technically, there are several plot holes and consistencies but you'd bypass a lot of them considering it be mere "cinematic liberty," but no former superstar can save your show when your screenplay is leaking and got holes all over it. The scene where Nazma confesses to Dia could have been far better and thrilling if Divya Dutta would have been written to enter the scene with a bang. The conclusion is predictable but Jaideep has forgotten to close some plots he opened. What happened to the other lady who was replaced by Nazma? What about the deal between Chaudury sahib and Irfan Khan's character? And why does not Dia teach her daughter to speak Hindi when she is so much in love with her cultures and traditions? Some bad screen writing done there but the rest of the movie makes up for those blunders.

This movie would not get repeat audiences. At least I'm not going to watch it again. Not even in DVD. It does not get high scores from me. Well 6/10 should do fine. That's all I'd accommodate for a good visual treat.