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Halla Bol

Release Date : 11 January 2008
Year : 2008
Banner : Sunrise Pictures Pvt Ltd , Indian Films
Producer : Adbol Samee Siddiqui
Director :
Genre : Drama
Movie Rating AVG. RATING

Total 2 Ratings

5
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Halla Bol SYNOPSIS

Ashfaque (Ajay Devgan) is a small town boy aspiring to be a film star in the Hindi film industry. He joins a street theatre group run by a reformed dacoit Sidhu (Pankaj Kapur) who uses street theatre as a medium to bring about an awakening in the masses. Ashfaque struggles to give a creative vent to the actor in him in order to realize his dreams. Ashfaque's determined struggle pays off and he gets a break in films. He gets a new screen name – Sameer Khan. With the passage of time, the roles start becoming better and he moves up the success ladder in a very short time. Soon, he becomes Sameer Khan the superstar – one who can enact any role with finesse, get under the skin of any and every character with ease and walk away with audience applause.Sadly, amidst all adulation and applause, he slowly loses his own identity. He forgets his real self and imbibes all characteristics of the various roles essayed by him on screen. Corruption takes over his entire system, alienating him from all loved ones, including his wife Sneha (Vidya Balan). A shocking incident at a party changes everything, rocking Sameer Khan's lifestyle. He gets caught between his human self on one side and his corrupted superstar image on the other.Whether the conflict within him gives way to good sense and whether he is able to discard his corrupted image and emerge as a true life hero, becomes an integral part of this true life cinema.

Halla Bol Cast & Crew

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Halla Bol REVIEWS

A Rousing Cry for Justice

By MovieTalkies.com, 11 January 2008 4 / 5

Raj Kumar Santoshi's Halla Bol, arrives with quite a bang at a very apt moment in the history of this city. The most heartening thing about this film is that the director has given a heartful treatment to the subject of public apathy and the corruption in the higher echelons of society. It's not a subject which is novel to commercial cinema, but what is novel is the manner in which Santoshi's treats the same. Halla Bol tells the story of an aspiring actor, Ashfaque (Ajay Devgan), a small-town lad, who works in a street theatre group run by a reformed dacoit Sidhu (Pankaj Kapur). He has aspirations of becoming a Hindi filmstar, and soon his dreams do come true. He becomes the hot superstar Sameer Khan and gets entangled in the trappings of success. He gradually moves away from all that was once close to him and his loved ones, including his wife Sneha (Vidya Balan), his parents, and his mentor Sidhu. The jaded superstar's conscience is jolted by a murder that he witnesses at a party. The rest of the film goes into exploring how he responds to the call of his conscience, joining hands again with his mentor to bring the guilty to the fore. One cannot help but think of the Jessia Lal case when one looks this movie and there are certain superficial resemblances to the incident as well. But those resemblances apart, the film excels in the first part, where it deals with the rise of Sameer Khan the actor and the fall of Ashfaque the man, till the point when the fateful party happens. Being a part of the industry, both Santoshi and his lead actor Devgan, are able to get all the details absolutely pat. Very early in the film, right in beginning in fact, the director manages to establish the deceit which has become a part of Sameer's mental makeup. He has absolutely no qualms about fudging the details of his past so that it makes a good story. His relations with his wife have reached a nadir. That fateful party makes him face himself and he realizes that he and his present existence is nothing but a sham. What makes it even more galling for him is the fact that he knew the victim. The victim's young sister is big fan of his and like all fans, finds it difficult to look at the man and the actor as two separate personas. All his friends and acquaintances present at the party refuse to confess to the murder and he does the same, fearing that it will spoil his image. When Sameer finally comes out and changes his statement at the police station, the outcome is expected but it is perhaps more than he bargained for as the two guilty men happen to be sons of a politician and a high flying lawyer. From here onwards, the film moves towards a predictable conclusion, but not before Sameer and his family have been terrorized, his reputation torn to shreds by the media and finally, he is battered in broad daylight, with not a word of protest uttered. Halla Bol moves at a very decent pace and keeps the viewers hooked right till the end. But one fears that it is not the screenplay so much in the second half, as the brilliant acting by Pankaj Kapur, Devgan and Balan, which takes one's breath away. Even Anjan Srivastav in a cameo, is excellent. The only problem area, if at all, is the manner in which Devgan tackles the goons, or for instance, the manner in which he barges into the politician's house and breaks his glass window. These are very Hindi filmy reactions and one guesses that Santoshi could not do away with them, seeing that his lead actor has honed his reputation in action films as well. Kapur gets another opportunity to hammer home the point that he is one of the most accomplished actors that we have around. It is Hindi cinema's loss that they have not managed to use his talent appropriately. He blends in perfectly into the commercial format of this film and shows how through a mere look or a seemingly casual action, one can portray better and more intensely than through reams and reams of dialogues. He has the his ‘dialogues' as well to deliver, specially when he addresses the crowd after he comes out of the hospital, but it is the manner in which he does so, which makes it so effective. Devgan is another actor who is known for the intensity with which he imbues his performance and Halla Bol is no exception. With a solid author-backed role, the actor is able to play the jaded superstar as well as the idealistic Ashfaque, in his inimitable understated style of acting. Balan may have a very minor role in terms of screen presence and dialogues, but she manages to make very good use of what little she has. She has an extremely intelligent and extremely sensitive face and uses it well. This is not her film, but still, in a certain manner of speaking, is her film as well. Darshan Jariwala as the powerful politician and Anjan Srivastav as Ashfaque's father, too come up with very good performances. What helps most in a film like this is that the dialogues, for the most part, have been intelligently penned and are devoid of useless clichés. The film's music rightly takes a backseat but full marks to Sukhvinder Singh for making the two devotional numbers, one a Gurbani, and the other a quwali, the high points of the film's music. In all, Santoshi is to be credited for making a film on such a topical subject. He manages to exercise full control of his film in the manner in which he lets the story take precedence over any starry egos. The action is never diluted by any so-called commercial compulsions, and the end result is a film that works well. Even though Halla Bol moves towards its conclusion in a somewhat predictable fashion, it does not take away from the honesty of the film's approach or its integrity. And its impact should be no less than – Halla Bol!

A Subtle Onslaught on the Senses

By MovieTalkies.com, 27 December 2007 3 / 5

Raj Kumar Santoshi's Halla Bol, is one of those films, whose strength will surely lie in its content and not so much in its musical offering. Sukhwinder Singh takes charge of the music department for this film, and it is no mean task as this is not your conventional film with the mandatory love tracks and item numbers. The music rightly takes second place in this film. But having said that, one still has to give credit to Sukhwinder for coming with a moving score in the movie, specially in the two spiritual numbers of the film. The film's music begins with the very anthem style 'Jab Tak Hai Dum' rendered by Sukhwinder himself along with a chorus. The words of the song are like the clarion call for a revolt and the number is high on orchestra. The song stays true to its genre and there is nothing which really makes it stand out. But it should go well with the content of the film. But the Shabad Gurbani, which is the second number of this album, which is truly surprising. The Gurbani is a delightful experience. Sukhwinder sings it with utmost purity and simplicity. The number has a serene feel to it, one that is appropriate for a devotional song. It has the power to transport one to another world altogether. One is not sure if a Gurbani has ever been used in a Hindi film in such an effective manner. The pious, soothing mood created by the Shabad Gurbani is broken by Harsh Deep's 'Is Pal Ki Soch.' This one is a conventional nightclub kind of a number. Harsh Deep has a voice which suits this genre. The number is probably not going to be a chartbuster but it has the ability to keep one pleasantly engaged. The Sufi quwali, 'More Haji Piya' sung by the famous Amjad Farid Sabri from Pakistan, is the next offering in this album. Veteran Vanraj Bhatia comes in to compose this quwali, which has been penned by Mehboob Kotwal. Sabri proves his mastery over the form with his exquisite modulations and the feeling with which he suffuses the quwali. Like the Shabad Gurbani, 'More Haji Piya' also arrives at the same destination but through a different route. The composer in Sukhwinder really makes a mark with the traditional 'Barsan Lagi' sung very soulfully by Sneha Pant. The music of this song owes much of its inspiration to classical and folk music. It has a very melancholic strain and has a predominant Punjabi touch to it. Pant is supported by a chorus, singing faintly in the background. The album comes to an end with the 'Theme Music'. The chorus and instruments synchorise wonderfully to bring out a sense of urgency and immediacy. One expects to hear it in the film at climactic points. The distinctive character of this album is such that it does not cater to the conventional tastes. There is hardly any effort taken to cater to prevailing trends. And that is the music's strength. It will never probably take attention away from the content of the film and its theme, but will support it beautifully. It is the greatness of the composer that he has so well understood the fabric of the film and has tailored his music, subtle, gentle and yet powerfully evocating, so that it can merge into the larger whole, which is the film. The three jewels in this album, the quwali, the shabad and Sneha Pant's number are enough to reiterate the genius of Sukhwinder Singh as composer and singer. Halla Bol's music is not likely to send you into a frenzy of delight but it is bound to play on your senses gently and subtly.
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Halla Bol USER REVIEWS

HALLA BOL is a must watch
praveena kana, Jan 12, 2008
5 / 5
After Taare Zameen Par HALLA BOL is the second movie I liked the most.The movie is a must watch and especially for the common man.The music is average but I liked the songs 'Jab Tak Hai Dum','Is Pal Ki Soch' and the Gurudwara song.All the actors have done a good job but the best one is Pankaj Kapoor. The story:- Ashfaque(Ajay Devgan)is a small town boy who works in street plays with his teacher Sidhu(Pankaj Kapoor)who was once a dacoit but later reformed.Sneha(Vidya Balan)a Hindu girl loves Ashfaque but her father won't let Sneha marry Ashfaque till Ashfaque gets a good job.Ashfaque goes to Mumbai to be a film star but after a lot of hardships he gets success.He gets a new screen name-Sameer Khan and his first film Azaadi becomes a hit.He also changes a lot for which he gets seperated from his family,friends and relatives and even from his wife Sneha.One day at a party he meets a girl Rashmi Sahani whose sister Ritu wants the autograph of Sameer.When Sameer goes to bathroom he sees two boys having drugs.When he returns he sees Rashmi.Rashmi asks Sameer to help her but eventually she is murdered and the killer are the same two boys from which one is the song of Minister Gaekwad(Darshan Jariwala)and the other is son of a liquor baron.Everybody including Sameer refuse that they saw the murder or the murderers.Sameer has a purpose to do this thing-he wanted to save himself from any kind of controversy.Sidhu comes back and saves him and supports him to give Rashmi justice.They start a campaign 'HALLA BOL'.Sameer is beaten very badly by some goons and is admitted in hospital.While leaving Sidhu tells that the people who were watching Sameer get beaten as mute spectators and the media people who rather than helping Sameer were clicking photos and taking videos of Sameer are responsible for Sameer is beaten very badly.After Sameer many people again start the campaign 'HALLA BOL'.All the people at the party,Gaekwad and his son and the liquor baron and his son are proved guilty and Sameer becomes a real life hero in the eyes of his fans and his family and Sidhu.This movie deserves to go in the Oscars and win all the awards in the next award functions next year.I give it *****=5 stars.

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