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Aap Kaa Surroor

Release Date : 29 June 2007
Year : 2007
Presenter : Vijay Taneja
Producer : Vijay Taneja
Director :
Genre : Romance | Musical
Movie Rating AVG. RATING

Total 3 Ratings

3.5
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Aap Kaa Surroor SYNOPSIS

The story is the debut movie of the singing sensation & the true Indian rockstars, Himesh Reshammiya. The film revolves around the protagonist HR (Himesh Reshammiya) an Indian Rock star & his love interest (Hansikaa). The film is set in Germany where HR is an extremely popular musician / performer & how he gets framed into the murder of a journalist. The film also features Mallika Sherawat who is also one of the prime suspects in the murder besides a competing Music mogul who all have individual agendas & scores to settle with the Rock star. How HR manages to solve the mystery & reveal the truth forms the climax leading to an action packed high energy drama on the streets of Stuttgart. HR's brand of music is loved with amazing intensity. Here, too, he dishes up a soundtrack, which is being lapped up by fans, a sure shot winner.

Aap Kaa Surroor event pictures

Aap Kaa Surroor REVIEWS

This one is for Himesh Reshammiya fans only

By MovieTalkies.com, 02 July 2007 1.5 / 5

Aap Ka Suroor is truly Himesh Reshammiya's gift to his fans. There is Himesh Reshammiya in almost every frame and the film is stuffed with his songs. Of course, there is a curiosity value attached to the film, which makes for some more reasons to watch it as well. So, yes, for fans of Reshammiya, it is a veritable treat. For those not belonging to that category, let's just say, do not expect a masterpiece. The film is about a well-known singer called HR (that's Himesh Reshammiya), who is in Germany on a tour. While on tour, HR meets the event manager played by Darshan Jariwala and his partner Ruby (Mallika Sherawat). He also meets and falls in love with the event planner Ria (Hansika Motwani). It is mutual and after some reservations, the father of the bride (Sachin Khedekar) agrees to the match. Meanwhile, a dead body of a TV journalist, called Nadia Merchant is discovered and HR is arrested on murder charges. HR asks Ruby, who is also a lawyer, to bail him out. But Ruby is a woman scorned. HR had spurned her advances. So HR takes matters into his own hands and escapes from prison in a bid to prove his innocence. He takes as hostage the murdered girl's father, played by Raj Babbar. He has to prove his innocence within 24 hours or else his Ria will be married off to someone else. And then the film goes ballistic, as a chain of events unfold at a frenetic pace. The good thing about the film is probably Reshammiya's courage and self-belief. This man has worn many caps in his career. A one-time television producer to a composer-singer and now an actor! It is an act of great courage and calls for an immense amount of self-belief. But having said that, one has to also say that acting probably isn't Reshammiya's forte. He is wooden for most part of the film. He hasn't got his acting grammar right here. Hansika Motwani, the leading lady, a very talented child artiste once upon a time, is promising in the little bit that she has to do in the film. In fact, the more interesting role belongs to Mallika. She plays the vamp with élan. However, the much awaited, much-hyped Mehbooba number, taken from Sholay, is such a letdown. One wonders why the director resorted to such gimmicks. All said and done, Mallika is unable to match Helen, step-for-step, or in the oomp department. And Reshammiya is surely no match for the great RD Burman. To even suggest as much would be sacrilegious. The original stands way ahead. The worst thing about it is the fact that it really has no place in the film unlike the original, which is a part of the narrative. The film is, as expected, stuffed with Reshammiya's numbers. But the music is a bit of a letdown. There is quantity here but quality languishes. The numbers are passable. We have heard better from him. Some of the fairly decent numbers are Aasalam Walekum, and Jhoot Nahin Bolna. The last has a lot of the 70s-80s music feel to it and is easily the most pleasing to the ears. Aap Ka Suroor is letdown not by its actors, but by the screenplay. It is flaccid, and oh-so predictable. The film is full of clichés. There is no attempt made to deviate from the tried and tested. And it's a bad copy of the 'formula' as well. To top it, the screenplay defies logic at times. Director Prashant Chadha needs to get his script right. Hindi films do call for a certain amount of suspension of disbelief. That goes for most fictional work, actually. But one at least expects the film to be true to its intent, which this one isn't. Aap Ka Suroor is about Himesh Reshammiya. But leaving aside the curiosity factor related to him, there is really nothing much to look forward to.

We've heard better from Reshammiya

By MovieTalkies.com, 13 July 2007 3 / 5

The music of Himesh Reshammiya's Aap Ka Suroor was easily the most eagerly awaited. After all, the singer-composer was making his acting debut, and had reportedly even turned down quite a few offers so that he could focus on this film. Well, one cannot really say that the wait has been worth it. The composer and singer in Reshammiya have done a fairly good job but we have heard better from Reshammiya. Wonder if the pressure got to him? The album begins with the number Assalaam Vaalekum. The song appears thrice in the album. The regular, the normal remix and the dark remix. In this case, it is the remixed version which makes for more absorbing hearing. But the song has this strange quality, wherein it starts growing on you, till you find yourself humming it. Tera Mera Milna, along with Shreya Ghosal is the second number on the album. This is a much more melodious song. This song too comes with a regular and a house mix. Thankfully, the original stands way above the two remixed versions. But thus far into the album, there is nothing really to jolt you out of your skin. It's average stuff. In fact it is with the third number of the album, Jhoot Nahin Bolna, a catchy number, that things hot up. Reshammiya teams up with Sherya again for this song and this has the potential to do very well. It is reminiscent of the songs of the 80s and 90s and has a very decidedly Indian feel to it. It is a very filmi song, in the best sort of way. This song too has a remix version which does not do justice to the song at all. Tanhaaiyan is probably one of the better songs in this album. Belted out by Reshammiya in his trademark style as Tanhaiyan, it nevertheless is a number which will do well. This song too is very strong on melody and is quite catchy as well. We have Reshammiya partnering Sunidhi Chauhan for this song as well as the next Ya Ali. The song has an unplugged version and a remix version which should do well on the dance floors. The combo of Sunidhi and Reshammiya works for this song. Sunidhi's vocal raise the level of the song and stop it from being mediocre. The duo's Ya Ali, however, flounders. This song too comes with a remix and an electro mix version. The latter sounds like a flurry of so-called electronic sounds. And to come to the song that started it all – Oh Huzoor , tera tera suroor. These words form the refrain for the next song, Tera Milna. The refrain is probably more popular than the actual song as it formed a part of the promotion campaign for the film. This is sung with feeling by Reshammiya. There are no nasal aberrations here and it is, by far, the most popular number in this album. Tera Bina is another very un-Reshammiya like song in the album. It has a very predominant classical influence. Hence, its remix version was definitely not a good idea at all. Finally, we come to the famous Mehbooba song from Sholay. This is one song that really has no business being in this album. It is a poor imitation of the original. The original track, rendered by RD Burman and Asha Bhonsale, has a bold, seductive feel to it. Reshammiya and Bhonsale's rendition on the other hand, is tame and synthetic. It lacks the power and feel of the original. All in all, Aap Ka Suroor does not score too high on a musical scale of one to ten. It's the remixes which prove to be really irritating. Each song has some two or three remixes. There are a couple of numbers like Tanhaaiyan, Jhoot Nahin Bolna and Tere Mera Milna, which stand out. The rest of the songs are quite pedestrian. No masterpieces here. We have definitely heard better from Reshammiya.
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