Yeh Saali Zindagi

Another gr8 flick by Sudhir Mishra. The movie has every thing for which any audience can look for. Cast is amazing, Acting is superb and direction is awesome . This movie can be learning for the other directors that how to make comedy without being ridiculous.The plot is gripping throughout the movie except initial context/character building is bit lengthy.The use of flashback is very innovative it will make u to appreciate the artistry the director used.Uses of dialects are superb. YSZ is a testimony of Mishra's craftsmanship as a writer and director. With its many unpredictable twists and twirls and a climax that some might take with a pinch of salt, This movie is a delightfully different film that attempts to break all set formulas and leave you with a smile on the face in the end.Worth watching.

Superb movie, far better the SRK's love Fictions, having no base and all non realistic, irrelevant Bakwas. its adult movie but lot to learn from it. Actual words used which we hear in normal life, with Irfan khan at his best. Sudhir Mishra's Yeh Saali Zindagi initially made waves for its cast, then its slightly derogative title and lastly its 22 kisses. As the director fought tooth and nail for each of the above issues, he eventually managed to wriggle of them. Chitrangda Singh looks and plays the part exceedingly well. On screen she brings life to her role with her fiery attitude and feisty persona. Now only if the industry would utilize her more! Arunodhay Singh displays immense talent and shows much promise. The rest of the cast provides great support too.

YEH SAALI ZINDAGI starts off straight away with a bloody sequence which clearly gives you an idea that the veteran film-maker is back. And within next half an hour, you really start feeling the thrill and excitement moving with its great pace and brilliantly edited sequences which are both complex and enjoyable at the same moment. No doubt that at times, it tends to be over crowded or one may also feel like its too much happening on the screen all together.

But the good thing is that the film keeps on moving so fast on a tight and well written script that one doesn't get enough spare moments to think about it in details.

Frankly speaking, its Sudhir Mishra's one of the top 3 movies, in which he gets full support both from his script as well as his star cast very effectively. Entangled in more than one stories running simultaneously, YSZ is undoubtedly one of the most complex yet well written scripts presented before the audience in this particular genre. The major part of the film is in flashback, which very slowly and steadily takes the viewers into the life of its various characters and then returns to the reality with a well conceived climax. But what I basically loved the most about YEH SAALI ZINDAGI is that in totality its actually a highly intense love story of a one side lover who even after knowing the fact that he is in love with a real bitch, still goes on to risk his everything for her unconditionally.

The movie has a brilliant first half which starts making its impact slowly, keeps progressing at a brisk speed and then pulls the viewers completely in before the intermission.

Apart from its superbly written script and its performances, there are three other things which majorly work in favour of the movie as a whole. One, is its worth noticing Cinematography, showcasing the on-location shoots in Delhi (particularly Old Delhi) which brings in a different kind of charm to its visual appeal. Along with that I would really like to mention the editing of the movie, which doesn't give you time to blink your eyes. Two, is its realistic tone of language and dialogues penned down superbly by the writers, which aptly fit to the theme of the movie and its characters. And three is its well composed and arranged Background Score which perfectly gels with the script and emerges as another character on the screen running in the backdrop (Also the catchy title song). Above all Sudhir Mishra does deserve all his praises this time since its not an easy task to come up with an impressive movie based on such a complex kind of script with several story angles.

Yet along with the above mentioned merits, I found some weak points too in the film which could have been avoided by the director as it seems. Firstly, I felt that abusive and the foul language used in the movie was a bit over the limit which often looked like being deliberately forced into the dialogues with a purpose (That means you are not supposed to watch it with your family). Secondly, I really missed Irfan Khan in the movie post intermission and somehow felt that he was not there on the screen completely. May be as his fan I really wanted to see him more.

Thirdly, I do have some problems with the bullet changing direction sequence in the climax. For me it was not something expected in a Sudhir Mishra movie at all. Instead the director simply could have shown anyone bending down and the bullet hitting its target.

Talking about the great performances in the film, I immensely enjoyed watching Irfan Khan as the lonely lover who even has the guts to watch his girl romancing another rich boy right in front of him. And still he goes on and on to sacrifice his everything for the girl who was just good for nothing. Irfan is truly a great performer, a pride of Bollywood and I did enjoy him a lot after a long gap since "Maqbool". Playing the role of a wicked gorgeous lady, Chitrangda Singh, is not only beautiful but she also has got the talent to compete with any actress of the current times unarguably. The girl sizzles on the screen like fire, looks stunningly inviting.

Arunoday is conquering new heights with his each new film and I said the same about him in my review of SIKANDER a few years back. He is great in his role of Kuldeep but I couldn't understand why the name Kuldeep was chosen for his character as there is no explanation given for that in the film. Aditi Rao Hydari is also fine and bold too in her revealing scenes. Saurabh Shukla is again seen in the same routine kind of role but Sushant Singh, Yashpal Sharma and Prashant Narayanan put up a brilliant show together. Among these veterans do also watch out for a scene in which a kid very innocently explains the spell of anger in his own amusing way.

Summing up, YEH SAALI ZINDAGI is a strong and bold movie which moves away from the usual path of a song and dance bollywood film. So, it may get mixed responses from the viewers. But if you are game for something great, conceived with an unconventional style and narration, then do watch YSZ as a must with your friends, as it might give you a big pleasant enjoyable surprise in the end.

Its coming to it!!!! Finally a crime comedy watch worthy... I am going to rate it right in the class of any Guy Ritchie movie... Sudhir Mishra has been making movies for some time now... but i never expected that he will pull a rabbit out of his hat!!! And this one is some fast rabbit!! it keeps on running turning whenever wherever it wants... And the Narration... too good...!! Its hard to concentrate as there are so many characters and so many protagonists...but with the help of some unbelievable editing he has masterfully connected all of them... Dialogues.. No one but Manu Rishi can do it...!! " O Bhaisaab!!! ye to udta hua teer gaand me le liya aapne!!!! crazy, funny, hilarious.. I was lucky that in my show most of the audience were young and males... and it was a rave in the movie hall!!! claps, whistles, cheers...everything!!! This movie is awessssome!!!

When I watch gangster capers like Yeh Saali Zindagi, I am never quite sure how to go about reviewing the movie without giving away the essence of it. Because none of these movies have much of a story in the traditional sense. But they make up for the lack of a depth with their movie-making style – and packing the script with quirky characters Which Yeh Saali Zindagi has by bucketloads. Beginning with Irrfan Khan, a crooked account par excellence who helps arms dealers, politicians and other unsavoury characters stash away their moolah. He might be exceedingly clever in the ways of the world, but the wiles of women are completely beyond him, as he discovers, hanging from his 30th floor balcony in the opening scene of the movie. Holding the end of the rope is his boss, Saurabh Shukla – who doesn't think much of the womankind and their wily ways – and nor does he care about his promises to his employees.

The opening scene of the movie might be a bit of a shock to some – given the coarse and vulgar language in it. Sudhir Misra's writing and editing is crisp – so you have to follow the movie carefully to understand the twists and turns of the script. Those squeamish about vulgar Hindi words are better off not watching the movie – and those with weak Hindi should probably brush up their abuses. Because the dialogues in Yeh Saali Zindagi are really profane – and all the fun is lost if you don't understand the dirty jokes – of which there are plenty The humour is irreverent (and of course very rustic). Death and violence are casually treated, and the background narration by Irrfan adds dry deadpan humour to the proceedings. There are mandatory backstories for most characters – and jumps between them quite abrupt – hence requires full concentration.

Essentially there are two stories running in parallel in the movie – Irrfan & Chitrangada's love track and Arunoday & Aditi Rao's marriage track. Irrfan and Chitrangada need no introduction. Arunoday is ex-Cabinet minister Arjun Singh's grandson while Aditi Rao is the bua from Delhi 6. Both of them are quite the revelation – Arunoday showcasing his good physique and acting and Aditi Rao coming across as quite smouldering despite her cute Nauheed-Cyrusi-looks. In fact there is a constant sexual tension between her and Arunoday, resulting in about a dozen slaps and two dozen liplocks in the movie But Chitrangada Singh takes all the male attention as the sultry and smoking-hot singer Priti. She forms the linchpin of the movie – not very different from her debut movie Hazaaron Khwaishein Aisi – where two men are vying for her charms. The difference is that Yeh Saali Zindagi has a busload of other weirdos – gangster brothers Bade & Chhote, corrupt cop Satbeer and the motley group of henchmen.

This is not Sudhir Misra's most serious movie by a mile – but the director seems to be having fun here. There script is manic, punctuated by languid frames of Chitrangada - yet there is an air of nonchalance through out the movie which stands it in good stead over other movies of its genre. In comparison, Kaminey feels almost formulaic. And because of its exaggerated eccentricity, this movie will not appeal to everyone. But if you keep up with it, Yeh Saali Zindagi will reward you will a tumultuous thrilling ride packed with a lot of fun.

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