Ragini MMS Review | Bollywood Movie Ragini MMS Review and Stills

Cast: Raj Kumar, Kainaz Motivala

Director: Pawan Kripalani

When Dibakar Banerjee took a previously done concept to make "Love Sex Aur Dhokha" (LSD), he not only created cinematic poetry but its commercial success made its studio greedy enough to replicate the formula.

Sadly, what the studio did not realize is that unlike science, in cinema, formulas can not always be replicated. Proof - "Ragini MMS", a clone between LSD, Blair Witch Project and Paranormal Activity.

Uday (Raj Kumar) takes Ragini (Kainaz Motivala) to a secluded house rigged with cameras. He intends to shoot a sex video. What he does not know is that the house is haunted. The sexy twosome, soon turn into a murderous threesome.

There are too many things wrong with the film - the jump-cuts are often jarring, there are no subplots, it abounds in all cliches of the horror genre, though the performance of the lead pair is convincing, the others are bad, the ghost may not be wearing a white bed sheet and a candle, but her hazy, ugly witch avatar has been done to death before, the ghost is seen so much that she stops being frightening and the audio during the horror scenes is so loud that instead of the scene, it's the sound that scares etc.

"Ragini MMS" does not seem to be the work of one or a few creative soul, rather it looks like the handiwork of many heads trying to break creativity together that end up breaking apart the film instead.

One of the most key elements of a horror film is silence. The simplest trick in the horror filmmakers manual is to punctuate the film with lots of silent moments raising a false alarm in the minds of the viewer and striking horror when least expected.

There is so much loud background noise put into the film that any sense of nuances is completely lost. The lack of a credible back story or subplots ensures that you don't empathize with your butchered couple.

Raj Kumar who almost essays the same videotaping voyeur's role he played in LSD, is underutilized and though a feeble attempt is made at the end to make you empathize with him, it's too late.

Also the concept of horror in the film is of western origin - that of pure evil. The Japanese version of horror, which is gaining currency in Hollywood after dozens of their horror films have been remade, is that of empathy for the ghost as well where the film also become a mystery, besides being a dumb slasher movie.

Also for horror films, besides a notable exception in Paranormal Activity, linear plots don't work. The unexpected twists in the story do.

Ekta Kapoor, who after landmark films like LSD and "Shor In The City", has the chance to become the patron saint of creative directors, needs to remember that a director and his team is hired for their creative vision. She needs to learn to trust them for that.

Also, she needs to remember that you can copy a format and a formula, but not style and panache.

Stanley Ka Clabba Review | Bollywood Movie Stanley Ka Clabba Review

Starring: Partho, Amole Gupte, Divya Dutta
Written & Directed by Amole Gupte

A sparkling gem of a film, if ever there was one, Stanley Ka Dabba is the sort of rare and precious look at the world of the child as seen aeons ago in Satyajit Ray’s Apur Sansar or Ray’s short-film Pikoo’s Diary. Closer in time there was Taare Zameen Par with which Amole Gupte was profoundly associated.

Stanley Ka Dabba goes far deeper into the mind of the male child . This time the endeavour is not to milk the child’s deficiencies for tears. In Stanley…Gupte looks for and finds an enormously engaging and humane story in the normal tenor of a 10-year old boy’s school life.

Stanley and his friends as played by Partho and a group of absolutely unaffected children, come across as utterly normal creatures of classroom caprice. If as we have been told, these young boys are trained to face the camera, then the training doesn’t show at all.

The skill that has gone into the performances is so subtle and the artifice in their performances so minimal the boys come across as children of a lesser fraud.

The screenplay is almost Chekhovian in mood. The school premises where we meet Stanley and his friends becomes a playground for a sharp and savagely satirical power-play between the endearing and popular Stanley and his mean-minded Hindi teacher (Amole Gupte, lending a mouth-watering fluency to his part).

Around the teacher and the taught there emerges a plot that is tender and taut, slender but nonetheless resonant in its comment on what it means to be a growing child in an increasingly-competitive society.

Gupte fills the canvas of his richly but delicately layered canvas with characters who make a strong impression in no time at all.

If the teachers appear caricatural it’s the nature of their job. Specially heartwarming is Divya Dutt as the archetypal Catholic teacher ‘Miss Rosy. ’ Playing an emphatic echo of Simi Garewal’s character in Raj Kapoor’s Mera Naam Joker Divya brings immense warm to the staffroom table.

It is in the way that Gupte weaves the theme of school rules into the rituals of ‘tiffin’ breaks that the storyteller’s skills surface with deviousness and delicacy. These vignettes from school life are derived from first-hand experiences in the playground of children’s minds.

The fears and insecurities of the growing child, the fierce bonding among the boys in and out of the classroom and the cordon that comes up when the youngsters’ school of solidarity is threatened by predatory instincts…Stanley Ka Dabba lays open a world of innocent and premature pains.

It’s a universe created out of great conviction and warmth. And yet, there is a surprising absence of selfconsciousness in the way the lives of the boys are drawn in and out of the classroom.

The narrative is buoyed by brilliant use of stage devices such as musical pieces that encircle the characters’ lives like colourful strings of paper decoration at a children’s birthday party.

The festive mood is maintained even towards the conclusion when the utterly disarming Stanley’s dark secret is revealed. We know he will get out of the gloom. He is that sort of a brave and invincible child. This is that sort of an optimistic and upbeat view of lives that need nurturing, not preaching or pontifying.

Without getting preachy for even a second Stanley Ka Dabba makes a telling point on what it means to be a child in a world where children are often attacked by those who are meant to protect them. It takes tremendous fortitude to make a film that doesn’t treat children with kids’ gloves.

Writer-director Amole Gupte just lets them be. The children blossom into recognizable endearing characters within the film’s restricted playing-time.

No, all is not lost. There is still reason for immense hope and happiness in life and in cinema. Stanley Ka Dabba proves it. Among its many exceptional virtues the one that stands out the most is the performance of Partho in the title role.

Before watching him it was impossible to believe a child could bring so much understated emotion into his character. Now after watching Partho it would be very difficult to watch other child actors attempt a similar threshold of emotive expression.

But that , some other time. For now savour the goodies in Stanley Ka Dabba. The flavours that waft across the school corridors are not unfamiliar to us. And yet when was the last time we saw a school and students that seemed to have forgotten the existence of a camera while shooting what is at the end of the day, a film?

Stanley Ka Dabba is a wicked and poignant journey into the heart and soul of a child. At once clever and artless it effortlessly takes cinema about child psychology out of the box.

Bollywood Movie 'Dhobi Ghat' Preview

'Dhobi Ghat' Movie Preview: The movie stars Aamir Khan, Prateik Babbar, Kriti Malhotra and Monica Dogra in leading roles. Kiran Rao, Aamir Khan’s wife and assistant director of Lagaan, makes her directorial debut with the film that’s been shot in the narrow and crowded alleys of Masjid Bandar area of Mumbai.

The film has already been to some international film festivals and has been described as Kiran Rao’s love letter to Mumbai. Rao herself has admitted that Mumbai is the fifth character in the story.

Aamir Khan as Arun

Arun is a recluse. Mostly he stays holed up in his room and paints endlessly. He stumbles upon the video diaries of a woman named Yasmin.

Prateik Babbar as Munna

Munna is a dhobi with the dream of becoming a filmstar someday. He idolizes Salman Khan. His world changes when he meets Shai.

Monica Dogra as Shai

Shai is a banker on a holiday in Mumbai. She wants to preserve her memories of Mumbai in a camera. She gets interested in the local dhobi Munna. Through her lens she also peeps into the life of the reclusive painter Arun.

Kriti Malhotra as Yasmin

She’s a newly married Muslim woman who records her daily life in Mumbai on a video camera to send the tapes to her brother.

Synopsis:

Dhobi Ghat (Mumbai diaries) is the story of four people from very different backgrounds, whose worlds intersect and leave them forever altered. As they find themselves drawn into compelling relationships, the city finds its way into the crevices of their lives, separating them even as it brings them closer...

Fragments of their experience - seen through a naive video diary, black and white photographic images and painting - form a portrait of Mumbai and its people bound together as they journey through longing, loneliness, loss and love.

The film has music by Gustavo Santaolalla and cinematography by Tushar Kanty Ray.

Yamla Pagla Deewana Bollywood Movie Review

'Yamla Pagla Deewana' Movie Review: When the Deols come together in a film that spoofs the best of their cinematic work, expect an unfettered celebration of dum, daru, dileri and a lot of dhamaal thrown in to boot. Hand pumps are not uprooted, nor maudlin suicide speeches actually given from atop water tanks. But there are moments of self-spoofs aplenty that bring a somewhat cracked grin to your lips.

Director Samir Karnik’s Yamla Pagla Deewana is a film that, if made with restraint and a lot of editing, might have been a laugh riot. As it is, it is an overlong, tiresome watch, with the Garam Dharam taking the back seat and the young gun Bobby Deol leading the show.

Bobby Deol? Now, what’s one memorable moment from him that can be spoofed with us not failing to notice the gag? Big Brother Sunny Deol has had his ‘dhai kilo ka haath’ and ‘tareekh pe tareekh’. Papa Dharmendra has had his desi daru guzzling sher who pummels the opponents like they were mosquitoes. But...dear me!...Bobby? May be the waxed chest pansy from Dostana. Eh?

So it’s tragic that most of YPD hinges on an actor who yet has to give one memorable cinematic moment, while Sunny, who comes up with the best performance of the trio, is relegated to being a second fiddle, flexing muscles and helping the young bro in love.

Dharam Singh (Dharmendra) and Gajodhar Singh (Bobby Deol) are two con men in Banaras. Paramveer (Sunny Deol) is an NRI from Canada who comes to Banaras to find his long lost brother and father, the aforementioned swindlers. Together the trio make quite a team - Dharam and Gajodhar going about their con games with an added muscle power from the whisky guzzler of a Jat from Canada.

And then, Gajodhar falls in love with a Punjabi kudi (Kulraj Randhawa) who has an overprotective trigger-happy brother (Anupam Kher) with an alarming temper. The bullet or the babe? Gajodhar is in a fix when Param comes to the rescue. The action shifts to Punjab with the scenic backdrop of sarson ke khet followed by a lot of girl-and-her-brother wooing leading to a Dilwale Dulhaniya Le Jayenge style wedding drama spiced with a lot of confusion and free-flowing slaps!

It’s an unabashed celebration of everything Punjabi and you’d be a twit to expect some refined humour here. Crass jokes fly thick and fast. Some work, many don’t. But when you see the three Deols grooving to Dharmendra’s signature dance from the ‘Main Jat Yamla Pagla Deewana’ song from the 1975 comedy Pratigya, some of your money is sure vasool-ed.

Bollywood Movie "Isi Life Mein" Review

'Isi Life Mein' Movie Review: While surfing television the other day, I chanced upon this hugely popular show that has a nonconforming storyline of two women vying for the same man's attention. One happens to be his sweetheart turned wife, the other, his ex wife, who, I realized, is pregnant with the man's child. Ironically, both women live in the same house. Since I had heard a lot about this show, I decided to watch the entire episode that evening. I was keen to assess if it held my attention for the next 20 odd minutes. It did. The drama, the conflict between the characters, the emotions, the situations the characters had landed into, all kept me hooked.

Okay, so why am I discussing a television program? Well, I have come to realize that practically every paarivaarik theme is tackled by television these days. I have also come to realize that television does far more justice to these themes than films. Which is what I strongly felt while watching Isi Life Mein.

Come to think of it, Rajshri Productions is synonymous with memorable films that became an instant hit with family audiences. The turning point was two films, Maine Pyar Kiya and Hum Aapke Hain Koun. Trendsetters both. These two films brought family audiences back to theatres, infusing life in the veins of a critically ill film industry then. These two films, besides Dilwale Dulhania Le Jayenge and Kuch Kuch Hota Hai, opened new vistas and horizons, gave birth to an altogether new breed of film-makers and reinforced confidence in Hindi cinema then.

Isi Life Mein tries so hard to be cool as well as a perfect family film in the same breath, but what comes across on screen is a lifeless fare. The love story doesn't work, neither does the paarivaarik portions. The culprit, you guessed it right, is the written material yet again.

Final word? A major letdown!

Isi Life Mein tells the story of two teenagers - Akshay Oberoi and Sandeepa Dhar. Akshay is from Mumbai, while Sandeepa hails from Ajmer. Sandeepa arrives in Mumbai for further studies and meets Akshay, who heads the dramatics department of the college. They are drawn towards each other, but don't express their feelings till the end.

Besides highlighting a present-day love story, director Vidhi Kasliwal remains faithful to the Rajshri tradition of showing the traditional side as well. The story re-introduces you to a world many of us may have consigned to oblivion thanks to the barrage of urban-centric themes that are churned out with amazing regularity. The film talks of familial bonding. It also packs in desi sentiments. But the problem is that the noble intentions don't come across convincingly on celluloid.

In terms of screenplay, Isi Life Mein is structured on the lines of Hum Aapke Hain Koun. The story barely moves in the first hour, but the film changes gears during the second half. Frankly, you expect a dramatic twist in the tale, but nothing happens. Ideally, the film should've concluded when the father [Mohnish Bahl] calls off his daughter's marriage, but the 'Taming Of The Shrew' episode and the bizarre culmination only makes the goings-on tedious.

Like most Rajshri films, the characters here are saccharine sweet. In fact, they are too good to be true and that, in my opinion, looks fake. Technically, it's a decent attempt, but content-wise, like I said, there is no plot at all. Music was always one of the USPs of Rajshri, but the music of Isi Life Mein is below par. The songs are better filmed, though.

The only noteworthy aspect of the film is its lead pair. Akshay Oberoi is talented - no two opinions on that. He has good screen presence, but most importantly, he acts very well. Sandeepa Dhar is another talent that catches your attention. Her expressions are just perfect. Also, she's extremely photogenic. Salman Khan is wasted in a cameo. Mohnish Bahl is his usual self. Shagufta Ali is okay. Prachi Shah does well. Aditya Raj Kapoor is wooden.

On the whole, Isi Life Mein lacks the Rajshri stamp. It tries so hard to be cool, but ends up falling flat on its face.

'Kaalo' Movie Review | Bollywood Movie Kaalo Synopsis

'Kaalo' Movie Review: Director Wilson Louis’s latest offering Kaalo is perhaps the first Indian horror film to be set and shot entirely in daylight. But does it scare the daylights out of you, the viewer? Sometimes it does, sometimes not.

The film is essentially the story of a witch named Kaalo who kills young girls to attain immortality. She lived in a Rajasthan village named Kulbhata about 250 years ago. But before she could attain immortality, she was killed by the villagers. But she returned from the dead and the scared villagers fled, leaving Kulbhata a ghost village. Anyone who ventures into the village faces the wrath of Kaalo who’s now an ugly creature with bear-feet, grotesque shape, bat wings, and a lot of icky stuff dripping from her limbs.

A bus carrying a bunch of passengers to a nearby village Kuldevi steers into Kulbhata, the witch’s killing field. In the bus is a little girl (Swini Khara), who becomes the prime target of the witch. In the course of the story, every one of the passengers is hacked to death by the blood-thirsty witch. One passenger (Aditya Shrivastav), who’s carrying a lot of explosive material, finally locks horns with the witch to save the girl.

Wilson Louis, who gave the dud Mallika earlier this year, manages to create some really scary moments in the film. But there are a lot of places where the pace slackens, something not good for a horror film. What’s most disappointing is the final showdown between Aditya and Kaalo. The ease with which the witch is slain makes you laugh out loud.

Still, Kaalo is watchable because of some spooky chills it gives and the excellent cinematography by Pushpank Gawde.

Mirch Movie Review | Bollywood Movie Mirch Synopsic and Gallery

'Mirch' Review: Let’s toss aside the lofty claim of ‘India’s first erotic film’ that has given the impression to many gullible movie buffs out there that director Vinay Shukla’s film Mirch is a sure-fire testosterone tickler. The film does have mild doses of eroticism, both visual and verbal, but what catches your fancy isn’t the romps of cheating wives or the obvious sexual innuendoes in the dialogues, but how cleverly and cunningly the women are shown to assert their sexuality.

Maanav (Arunoday Singh) plays a struggling writer-filmmaker who pens a script that has no takers. His girlfriend Ruchi (Shahana Goswami), who’s also a film editor, introduces him to a producer (Sushant Singh). The producer hears the script and doles out his nugget of wisdom: “Sex sells.”

So Maanav narrates a story from Panchtantra in which a wife (Raima Sen) is caught red-handed by her husband (Rajpal Yadav) while she’s making love to another man (Arunoday Singh). The tale’s not quintessentially about adultery but about how the wife manages to get out of the situation by using her subtle manipulations and wit.

Bingo! says the excited producer and tells Maanav to pen three more such stories that could be clubbed together in one film.

The second story is a period piece featuring Konkona Sen Sharma as the oversexed wife of a regal (Prem Chopra) giving rose petal baths to the senapati and making love to him on moonlit nights while her frail old hubby watches all the action live from atop a tree. The third story (Shreyas Talpade, Raima and Arunoday) and the fourth (Boman Irani and Konkona) are set in modern times.

Director Vinay Shukla tackles a bold subject with a mix of flair and fudge. He pitches the first two stories beautifully, but botches up the following two. There’s a thread of humour running throughout the course of the stories, but it peaks in the tale featuring Konkona and Ila Arun.

The leading ladies, Raima and Konkona, are the lifelines of Mirch. Raima exudes sensuality in her every move, gesture, coy smile, battling of eyelids, while Konkona falls back more on her acting and dialogues to do the needful. There’s more of Arunoday Singh in the film than you wish to see. He’s all beefed up - the very symbol of masculinity and virility. In supporting roles, Ila Arun is a treat to watch, while Boman Irani is over the top. Shreyas Talpade and Shahana do perform well.

‘Mirch’ has some very interesting moments in the first half. The second half is a bit of a drag. The song ‘Badra’ does stick to your tongue and so do some of the dialogues which are laced with obvious innuendoes. In one scene Rajpal Yadav lies prostrate on the bed after the day’s hard work while Raima gives him foot massage. She quips: “Kaam ki thakaan toh kaam se hi jaati hai.”

See, it offers this kind of gentle titillation.

Game Movie Review | Kangana Ranaut and Abhishek Bachchan in ‘Game’ - First Look

Kangana Ranaut and Abhishek Bachchan in ‘Game’ - First Look: His last few films as the main lead were flops; now you will see Abhishek Bachchan as a stylish druglord in the movie Game. The actor is romancing former Miss India Sarah Jane Dias in the film and will share screen with hotties Kangana Ranaut and Gauhar Khan.

Game is a murder mystery which promises thrill, action, suspense and dollops of oomph. ‘It’s not over till it’s over’ is the catchline of the film. The actress Kangana Ranaut who is always on the lookout for meatier roles has turned a smart police officer for Game, while Sarah gets to plays the illusive character of Maya. She also has a sizzling item song along with a steamy scene with Bachchan Jr.

Produced by Farhan Akhtar-Ritesh Sidhwani’s company Excel Entertainment and Eros International, the film directed by Abhinay Deo also boasts of actors Anupam Kher, Boman Irani and Jimmy Shergill. Game will hit the theatres in March 2011.

‘Patiala House’ movie stills & Review: Akshay Kumar with Anushka Sharma

‘Patiala House’ movie stills: Akshay Kumar with Anushka Sharma: Akshay Kumar gets to romance a younger actress again; this time it’s model-turned-actress Anushka Sharma.

In the film Patiala House, Akshay plays an aspiring cricketer Parghat Singh Kahlon and Anushka is his ladylove Simran.

In the film you will get to see Akshay as a simple guy who is trying to make his dream of being a cricketer come true. Anushka, true to her image, gets to play a girl-next-door, but not only does she look simple, but also modern. In the movie, Akki runs a shop but wants to play cricket. Though his father, played by Rishi Kapoor, is strictly against his aspirations, he triumphs in the end. The movie is based in London and narrates the story of a traditional Sikh family settled there.

Will the chemistry between Akshay and Anushka appeal to the audience? The duo is coming together for the first time; check them out in Patiala House as they get jiggy, romance and laugh together. The movie’s trailer will release along with Akshay’s Tees Maar Khan on December 24. Patiala House will release on February 11, 2011.

‘Patiala House’ movie stills: Akshay Kumar with Anushka Sharma

Dil Toh Baccha Hai Ji Movie Stills, News, Story, Synopsis, Wallpaper

Dil Toh Baccha Hai Ji stills,Dil Toh Baccha Hai Ji photos,Dil Toh Baccha Hai Ji pictures,Dil Toh Baccha Hai Ji wallpaper,Dil Toh Baccha Hai Ji story,Dil Toh Baccha Hai Ji wallpapers,Shazhan Padamsee Dil Toh Baccha Hai Ji trailer,shraddha das Dil Toh Baccha Hai Ji pics,Shruti Hassan Dil Toh Baccha Hai Ji

• Movie Name : Dil Toh Baccha Hai Ji
• Year of Release : 2011
• Release Date : 28 January 2011
• Genre : Comedy, Romance
• Banner : Bhandarkar Entertainment
• Producer : Madhur Bhandarkar, Kumar Mangat

• Director : Madhur Bhandarkar

• Cast : Ajay Devgn, Emraan Hashmi, Omi Vaidya, Shazhan Padamsee , Shruti Hassan and shraddha das

Story:

Dil Toh Baccha Hai Ji movie about three men... Naren (Ajay Devgn), Milind (Omi Vaidya) and Abhay (Emraan Hashmi) and their encounters with love!

Naren, who works in a multinational bank as a manager, meets an impulsive, vivacious girl called June(Shazahn Padamsee), to whom he's attracted and changes his look entirely!

Milind works in a matrimonial website and is searching for true love. He meets his dream girl in the form of Gungun(Shraddha Das), a radio jockey wanting to be a famous actress!

Abby is a Casanova whose life revolves around women! Not being qualified enough, he works as a trainer in a gym to make ends meet!

Anil Kapoor's latest film "No Problem" Review

No Problem Review - Anil Kapoor's latest film: It’s more obnoxious than the thunderous fart of a gorilla! Mercifully, I haven’t been at the receiving end of one (so far), but having watched director Anees Bazmee’s latest claptrap called No Problem, I almost know how it feels like to be blown away by something as malodorous as an ape breaking wind.

Comedy - no, attempted comedy - plumbs to a new low in No Problem, and partners in this cinematic crime are as much the film’s leading stars as its overconfident director. Success shoots faster than champagne to some folks’ heads and No Problem indeed has Bazmee smugly reminding us that he is the man who’s given Bollywood comedies like No Entry, Welcome and Singh Is Kinng - as if they all were masterpieces.

In No Problem the director falls back on the same formula and cobbles together a threadbare plot, with an eye solely on making the audiences laugh any which way. So if it calls for a schizophrenic wife (Sushmita Sen) to love her hubby one moment and bay for his blood the next, so be it! If it calls for usual oddballs like a kleptomaniac thief (Sanjay Dutt), his reformed partner (Akshay Khanna), a reluctant hanger-on (Paresh Rawal), a bumbling cop (Anil Kapoor), his psycho wife (Sush), her vain sister (Kangana Ranaut), and a bunch of gun-toting robbers lead by the unshaven Sunil Shetty and his hideously dressed moll (Neetu Chandra), so be it. Bazmee grinds every grist in the mill to get laughs from you. He sets out to outdo his previous works, but only undoes them.

In case you care to know the story, rest assured there isn’t one to write about. The aforementioned circus of characters is vying to get their hands on a bunch of diamonds in South Africa. Gangsters, cops, thieves and their girlfriends - all are involved in the ruck. A mad melee follows in the end, with a gorilla stepping in for the cameo fart and the fish swallowing the diamonds.

Which brings us to the performances. Save for the gorilla and the fish, everyone’s over the top. Anil Kapoor is hung up on his mitti daal dialogue and does provide a laugh here and there, while Akshaye hams more often than not. Sanjay Dutt looks plainly uninterested and Sush is an image of overacting. Paresh Rawal plays to the gallery, so does Vijay Raaz in a brief role. Kangana’s botoxed lips catch your eye as much as Neetu’s waxed thigh.

Final word! If you have mistakenly watched this film and liked it, there’s a serious problem with you.

"Mirch" Bollywood Movie Review, Synopsis, News

Movie Preview - 'Mirch' : A cheating wife caught red handed with her lover by her husband! What will she do? Does she bring her subtle manipulations to bear to prove her innocence, or does she confess her guilt?

Mirch has already made news after its director Vinay Shukla hailed it as “India’s first erotic film”. It stars Konkona Sen Sharma, Raima Sen, Boman Irani, Shreyas Talpade, Arunoday Singh, Shahana Goswami and Sushant Singh. Special appearances are by Tisca Chopra and Mahi Gill.

Synopsis:

Maanav (Arunoday Singh) is a struggling filmmaker who is unwilling to compromise on the script he has written. His girlfriend Ruchi (Shahana Goswami), a successful film editor, arranges for him to meet Nitin (Sushant Singh), a film producer. Nitin likes the script, but is not very sure of its commercial prospects. Maanav then suggests a story from the Panchtantra: A woman is caught red-handed with her lover by her husband and yet, she manages to wriggle out of it scot-free!

Nitin loves the story, but finds it too short for a feature film. Maanav then creates three more stories based on the same premise: in a way, the Panchtantra story travels in different versions to the modern times through the film. The four stories are woven together by a common story. Mirch itself echoes this structure, with four stories mingling with the main narrative.

The message is simple - if you have your wits about you, you can salvage even the most impossible situation.

At a deeper level, Mirch is about the gender equality in relationship; and at a still deeper level, it is about how an artist finds creative freedom in today's mercantile world?

The film is slated to release on December 17.