This spectacle of colours and sounds is like a celebration of Bollywood with its crème de la crème cast and crew, and a record residence in the Indian film industry spanning 30 years of classic and cult movies. As such, this film cannot fail to paddle the hearts of most Indians and lovers of Bollywood, but its appeal can advance considerable further beyond its domestic arena because of its high production standards and personnel of international acclaim. The two most notorious names in “Om Shanti Om” are Shahrukh Khan, one of India’s most talented and versatile actors, and the film’s scriptwriter, choreographer and director, Farah Khan, who has also earned many local and international awards for her outstanding productions. The two Khans (not related) have already worked together successfully on several immense hit movies, and “Om Shanti Om” is yet another step along this incredible spin into semi-fantasy, escapism and sheer delight for the senses. Although technically a Bollywood standard production of nearly three hours in length with about eight song and dance scenes throughout, “Om Shanti Om” is in fact many films in one as it embraces three decades of Indian films. A basically simple narrative is very effectively woven through this film industry history, mixing a tragic drama with the unreal world of demonstrate business while making fun of its gain industry by overplaying the sentimental tones of many classic Indian films. For this reason alone, a general knowledge and feel for Bollywood would assist the viewer to indulge in and understand these mischievous yet respectful tributes to Indian cinema. Yet the sage itself already makes for general engaging viewing, and the high-profile stars, luminous music and choreography, as well as lavish sets construct this film stand out from the rest.

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The first half of the film is spot in the 1970s, complete with garish fashions and cars, broad hair and sideburns, and even nauseating Seventies wallpaper, as we behold a young studio extra trying to fetch closer to the magnificent, eminent actress he is in adore with, when suddenly tragedy strikes. But lawful to Hindu faded view, his soul is reincarnated that very instant into a newborn baby so that 30 years later – in our demonstrate day – when he finally remembers his past life, he can mete out justice and revenge on the imperfect perpetrator who took the life of his beloved three decades ago, but not without a nice cramped twist at the kill. A lot of work went into making the sets, especially those with an authentic 1970s gawk and feel, and even the songs and music in the first share of the film are in the style of Bollywood’s Seventies films. Some Bollywood cult figures are also comically represented, but many are also internationally recognizable or are very similar to Western and Hollywood characters and movies, such as a parody of India’s Filmfare Awards: Bollywood’s Academy Awards, at which everyone who is anyone in Bollywood makes at least a two second appearance in their most typical and best recognized role or personality. For viewers not up on Bollywood’s Who’s Who, the second disc in this site might be kindly with nearly three hours of “the Making of…” complete with interviews, bloopers, deleted scenes, audience comments, interactive trivia put a question to and grand more, all with English subtitles. A nice, colourful booklet also has a brief summary of cast and crew which serves as a nice introduction to earn acquainted with Bollywood, and the medium-sized, autographed poster of a bare-chested Shahrukh Khan in a sexy pose is also an added bonus in this region. In fact, in unusual times the EROS brand s been producing ever bigger and more lavish box sets with more bonus material, and “Om Shanti Om” is the biggest one so far, and therefore worth a limited extra money. Watching this helpful Bollywood production is like taking a fun streak at an amusement park with all its sounds and colours to get the perfect hasten from the staunch world for a few hours, and then makes you want to near help for more.

If you’re any fan of Bollywood, OM SHANTI OM is certain to entertain the bejeesus out of you. This movie is elated and extravagant and at times very comic. It tells of admire and revenge, and of reincarnation and redemption. There’s also a bit of film industry spoofing going on. This is only Farah Khan’s second turn at directing (after Main Hoon Na, yet another must-see cinema), but she already shows signs of becoming a immense director. Certainly she knows how to yell a yarn, although, to be objective, in this instance, the record is overshadowed by the spectacle. Despite some tragic and somber moments in the space, OM SHANTI OM remains overwhelmingly a point to of sheer, rowdy exuberance. It’s a party caught on film.

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Plot SPOILERS now.

It’s Bollywood in the 1970s. Om Prakash Makhija (Shahrukh Khan) is a lowly, aspiring actor (or “junior artist”), whose resume, at this stage, consists of taking on gigs as an extra in films. He is seriously crushing on reigning Bollywood queen Shantipriya (Deepika Padukone), with whose billboard image he often converses. Om’s dream comes good one day when he gets to meet Shanti, and even ends up saving her life. But Om then stumbles on a secret which makes any belief of romance with Shanti an impossibility.

Things consume a turn to the substandard when Shanti perishes in a fire deliberately caused by a shady movie producer (Arjun Rampal), and Om, in a desperate boom to rescue her, soon after passes away from grievious wounds. But, nearby, in fact in the same hospital, as Om takes his last breath, the baby son of a celebrated actor is born. And the baby’s name happens to be Om. You eye where this is going, true?

30 years later, Om Kapoor (again Shahrukh Khan) has followed in his father’s footsteps and has himself become a celluloid superstar. But his priveleged dwelling has gone to his head, making him into a sinister and selfish brat. Om also loses some street cred with his underwhelming tag of cussing, which mostly consists of “Oh, fish!” And, mysteriously, he’s had a dread of fire all his life. Events unfold to at last perform Om rob his past life even as he prepares to design a film, under the patronage of a shady movie producer (yes, that same one from 30 years ago) . Then a bubblegum chewing girl named Sandy enters Om’s life. Sandy is a substantial fan of his and bears a striking resemblance to Shanti. And, suddenly, Om sees a plan in which his beloved Shanti’s death can be avenged…

SPOILERS raze.

Bow down to this blockbuster narrate if you, in any shape or obtain, are twisted into Bollywood, and, specifically, into the 1970s Indian film industry. OM SHANTI OM is simultaneously a fond sendup and a wry homage of that wild and wooly era. For one thing, if you go plan wait on to those days, then you’ll be pleased that bit of fun with 1970s actor Manoj Kumar (although, reportedly, Kumar himself wasn’t too enthused with all the ribbing) . If you pay attention, you might even learn how Govinda might possibly have gotten his mask name. Myself, since I’ve started watching Bollywood only about two years ago, I’m obvious many inside jokes flew by unrecognized, over my head and unappreciated.

OM SHANTI OM reunites Shahrukh Khan and director Farah Khan (MAIN HOON NA and other films), and these two are undeniably the wellspring of the film’s energy, enthusiasm, and vision. The general feel here is one of good-natured boisterousness, yet Shahrukh and Farah hold this ship valid and on course. The feel-good nostalgia is tempered by enough contemporary touches in the second half of the film, so that even the younger generations are kept engaged. Glorious warning, though, if you haven’t seen any (or a lot) of Bollywood cinema, OM SHANTI OM impartial may overload your senses and sensibilities.

It’s arrive 3 hours long, and packed with many astounding moments. As when Om first gets a chance to talk to Shanti but is so flabbergasted he can only design queer faces and droll noises; this, even as his voice-over reflects his glowing but unsaid responses to Shanti’s questions. Then there’s Om pretending to be a expansive movie star and then having to place on an act when Shanti comes to visit his status. And those are objective two in a busload of memorable scenes. The film does tend to bog down post-intermission, but, tranquil, the second half has its portion of highlight bits. Unmissable is the whole Filmfare Awards sequence, which had me rolling on the floor and revealed what beneficial sports Abhishek Bachchan and Akshay Kumar truly are. This is followed by an all-star afterparty as Om’s pals in the movie biz point to up to serve him celebrate (this is the fragment of the film where you play “Residence that Bollywood Star!”) . Shahrukh pokes fun at himself with the two suspiciously similar “movies” he’s nominated for in Filmfare. And, for the ladies, the musical number “Dard-e-Disco” showcases Shahrukh’s rockhard abs, which, rumor has it, he’d worked on for 3 months. Me, being a manly man, I shrugged at the newly buff Shahrukh (while bitterly drowning in envy, of course) .

Oh, man, the sets, the sets, the opulent sets. I don’t know how powerful it cost to finance this film, but it was well worth it. The position designs are spectacular, especially the 1970s film studios, before and after the devastating fire. The awesomely garish costumes and hair styles simply evoke that era, even as you grin at the kitschiness of it all. Most of the songs rock, from the sweet “Ajab Si” to the hauntingly melodious “Main Agar Kahoon.” The extraordinary “Dhoom Taana” is evocative of the tunes churned out aid in the day (the song’s dwelling pieces incorporate pirates, the cabaret, tennis and also, thru special effects, 1970s stars Amrapali, Jay Vijay, and Saccha Jhoota) . “Dard-e-Disco” is an item number, with Shahrukh himself, abs and all, as the “item girl” on explain (Farah Khan calls him that) . The showstopper, of course, is “Deewangi Deewangi” in which 30 Bollywood ample names pop in and boogie down with Shahrukh (“All the hot girls save your hands up and say Om Shanti Om…”) .

It’s almost impossible not to have fun when you effect a movie like this. The actors must’ve had a blast. More importantly, they were gracious. Deepika Padukone is a star in the making. This is the used model’s debut film in Bollywood, and she’s huge and resplendent and is gripping as the unlit Shanti and, later, as the klutzy Sandy. Also a broken-down model, Arjun Rampal’s acting hasn’t impressed me in the past. But, here, as the conniving movie director Mukesh Mehra, he lands possibly his best role. He’s surprisingly effective as the villain, in spite of that tacky itsy-bitsy foo-foo mustache. Kirron Kher is also memorable as the melodramatic mom. As for Shahrukh Khan – reliably over-the-top yet resplendent and poignant for all that – the guy owns this movie. Even in his goofiest moments, he never loses that charm. There’s a reason Shahrukh is one of the (if not THE) most sought after actor in Bollywood.

Eros International pulled out the stops with this dvd packaging, too. There are two dvds in this plot, and they advance in this oversized, very wintry protective box. The first disc has the movie, the song selections, and the Director’s Commentary (taped while Farah Khan was lying in bed, 6 or 7 months pregnant) . The second disc has 2 and a half hours of extravagant bonus features: the lovely thorough Making of OSO; the Making of the Songs (sorry, I always collect this segment insensible) ; the not-very-serious (and occasionally annoying) interview with SRK, Arjun Rampal, Deepika Padukone & Farah Khan; Bloopers; Visual Effects (involving for the “Dhoom Taana” segment) ; OSO Events – worth watching for the Music Open, the Fashion Point To, the London Premiere, and the Special Screening (where you rep other actors’ reactions) ; and an OSO Trivia Game. The best fragment (for me, anyway) is that most of this stuff is sub-titled in English. There’s also a booklet with Cast & Crew bios and a poster of Shahrukh and his abs and his autograph.

Bollywood hasn’t been exactly disturbed about producing movies with a reincarnation theme. But OM SHANTI OM may be the most buoyant and feel-good of them all, despite the murky supernatural element which creeps in. The dwelling, admittedly, is mediocre and rehashed, so we’re fair remarkable on automatic when it comes to the storyline. The fun, instead, lies in soaking in the nostalgia and the gentle lampooning, the fair absurdity and even the grand self-indulgence of the film. Then there’s also the tons of cameo appearances. Inspired by a warmth for the past and crafted with skill and heart and imagination, it’s very hard not to be swayed over. OM SHANTI OM is a celebration of Bollywood. And, really, why even fight it? Wallow in the film, man, wallow!
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