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Release Date : 22 January 2010
Year : 2010
Banner : Vijay Gilani Moviez
Presenter : Eros International
Producer : Vijay Galani , Sunil Lulla
Director :
Genre : Period
Movie Rating AVG. RATING

Total 1 Ratings



From the misty pages of history comes a story of extreme valour, fierce pride and poignant love. As the British enslave India with their devious Divide and Rule policy, kings and nawabs fall to their guile and cunning, and entrust their precious kingdom to the foreigners. Except for the brave Pindaris, who prefer death to dishonour and will fight to their last breath to save their land…..their mother. The bravest, the toughest, the strongest of the Pindaris is Veer. As Veer takes on the might of the British Empire, he also has to fight the conniving King of Madavgarh as well his own jealous tribesmen. But then the stakes are high….. At stake is his love for princess Yashodhara, daughter of his sworn enemy… At stake is his thirst to avenge his father’s dishonour….. At stake is his very existence itself….. Cannons roar, swords clash in fierce battle, the dead pile up…..And when the dust settles down on the blood soaked land…one valiant warrior stands head and shoulders above them all – Veer! Veer – an epic saga of bravery and drama, treachery and love…..

Veer Cast & Crew

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Epic twist for Salman showman!

By MovieTalkies.com, 22 January 2010 2.5 / 5

It's an unabashed ode, a showcase for the star power of Salman Khan. In'Veer', he is almost superman-like in the manner in which he manages to combine strength and cunning and overcome his father's enemies and restore the pride and honour of his father and his tribe. The first half of the movie unfolds quite well as one is taken back to the cause for discord between the Pindaris and the ruler of Madhavgarh. The story moves quite crisply in this segment. But with the emergence of Salman Khan as the saviour of the Pindaris, the film is not quite so different from any other ordinary Hindi film. There is the usual romance between a man and a woman of two warring factions, there is revenge and dollops of nationalism thrown in for good effect, and plenty of fighting. That, in short, is the story of 'Veer,' one that has been penned by Salman Khan himself. As a story, it has its merits, but once this story is transposed onto the screen, it looses itself in the attempt to portray Salman the macho actor, as the ultra-macho Veer. The film really starts slipping once Salman as Veer and his brother, played by Sohail Khan, land up in London, ostensibly so that they can gain an insight into the workings of the 'conniving' English mind. There has been so much detailing gone into creating the look and feel of a historical epic in the film, that one feels a little let down in the London portions. Also, all that Veer seems to be doing in London is trying to find opportunities to meet Yashodhara (Zarine Khan), the daughter of his enemy, singing songs or bashing up his beloved's brothers and even killing them off. The love angle is a bit weak, and it is difficult to understand why Yashodhara would feel anything more than gratitude or some kind of fascination for Veer. One wonders if she would even overlook the death of her brothers? The London sequence seems to be crafted to give the two Khan brothers a chance to indulge in some tomfoolery, especially Sohail. The opening sequences, the desert, the vast army of the Pindaris covering the expanse, the fort, all are quite exquisite. Even the setting for the 'swayamvar' of Yashodhara is done quite well. But the moment you start taking the film slightly seriously, you have some something as absurd as Sohail dressing up as a tiger and frightening a British mem so that the two brothers can play saviour and infiltrate into the enemy camp. The film is full of such part-serious and part-absurd sequences which make for a very disjointed viewing experience. Then there is this whole thing about honour, which makes a father and son take to arms against each other, the farce of which is brought out brilliantly by a Pindari warrior in the film, played exceptionally well by Shahbaz Khan, in a brief role, when he upbraids them about fighting against each other. Veer's logic doesn't come out quite well. His transition from a revenge-oriented hero to a mission-oriented hero doesn't quite come across well. One of the problems with this film is that the end seems to drag on a little longer than needed. A little more crispness with the action would have been better. The cinematography is exceedingly good, especially in the desert sequences, and so is the film's music. All the songs have been picturised very well indeed, and Veer's first meeting with Yashodhara too has been done very well. But 'Veer' is far from the sort of film one can take seriously and there is little to take home, besides its music. Anil Sharma manages to create a few moments, but they are too elusive and have hardly any impact on the movement of the film's plot. One had heard that the film had a strong plot of a father-son relationship, but there is very little new ground that the film explores in this area. In fact, there is little which touches one about the relationship; and with no help coming from the script, there is little poignancy about the whole relationship. Our filmmakers need to take a lesson from the manner in which Hollywood directs epic 'masala' dramas like 'Gladiator' and 'Braveheart'. Besides the scale of production, it is the manner in which they manage to retain the emotional core of the film, which is what one remembers about these movies. In 'Veer, Salman's death fails to move one, unlike, say a 'Gladiator'. Salman is all over the movie… and while he gets his action sequences all right, the emotional core is sorely missing. Mouthing clichéd dialogues doesn't help his cause one bit. Mithun Chakraborty who plays his father, is unable to create any impact whatsoever. In fact, someone like Shahbaz Khan, who plays a Pindari warrior himself and has just a few dialogues to mouth manages to display more passion and involvement than the veteran. Zarine Khan, who makes her debut in the movie, simply manages to look sweet and plump in the film. Jackie Shroff as her father, is just about passable. Puru Rajkumar reminds one of his father, the late Raaj Kumar ever so slightly in the manner in which he looks and delivers his dialogues. However, he is just a shadow of that gifted actor. Take away all the trappings of grandeur and 'Veer' is no different from countless other Hindi films made on family rivalry. It manages to hold one's interest only in parts. For the greater part… it's only showman Salman.

A pleasant surprise by Sajid-Wajid

By MovieTalkies.com, 21 January 2010 3.5 / 5

It's mammoth scale will be shouldered by the star power of Salman Khan. But 'Veer' also marks the return of Anil Sharma who is back with another epic offering, with Khan helming the project in more ways than one. The music of 'Veer', the epic saga, has been composed by Sajid-Wajid, also renowned as Salman favourites. But what's interesting is the presence of veteran Gulzar as the lyric writer, who manages to make his presence felt as usual with lyrics which perfectly suit the genre and mood of 'Veer'. There are some seven numbers in the album, along with an instrumental theme piece. The album begins with the number 'Taali' which has been rendered by Sonu Nigam, Sukhwinder Singh, Neuman Pinto and Wajid. The film's tagline says that it is an epic love story of a warrior, but the first number does not reflect that. It has the grand feel appropriate of an epic and actually turns out to be a very energetic number. It is authentically Indian in tone and has been sung with much vigour. The number is quite catchy and seems to improve with every hearing. Sajid-Wajid have got the grandeur just about right and the effect is enhanced by the use of multiple instruments. The singers, especially Sukhwinder, seem to be in fine form in the number. The number occurs once more in the album, this time as a solo sung by Sukhwinder. The second song of the album is 'Surili Ankhiyon Wali', which has been sung by Rahat Fateh Ali Khan and Suzanne D'Mello. This is the definitely the chartbuster number of the album, as it is extremely catchy and melodious. The romantic number has a lot going for it, beginning with Gulzar's lyrics and his penchant for yoking together disparate similies, like 'surili ankhiyan' in this number, but it works. The second plus to this number is the music, which has a beautiful lilting quality to it. Rahat's silky smooth, soulful tones are just perfect for this number. He delivers beautifully and displays his versatility with this number. He is joined by D'Mello, who renders the English portion is her polished style. The number occurs once again in the album, this time with Sunidhi Chauhan giving Rahat company and both manage to keep the magic alive. Of course, the final applause should be reserved for the composers, Sajid and Wajid. The duo continue their good work into the next number as well, which is called 'Salaam Aaya' and has been sung by Roop Kumar Rathod and Shreya Ghoshal and D'Mello. This romantic track is not as spellbinding as the previous one, but it still has a certain calming and soothing effect about it. The singers do a great job in bringing out the romance in this number as well. 'Meherbaniyan' sung by Sonu is the fourth number on this album. It lacks the appeal of the first three numbers and is slightly disappointing, in that sense. But Sonu does a good job with the number. This last number, in 'thumri' style, 'Kanha' is probably not the kind of number which will have everyone enthralled, but is definitely in a class apart. Musically, it is far superior to 'Surili ankhiyonwali' but will still have a limited appeal. This is a real surprise offering by Sajid-Wajid, who reveal their musical prowess in the classical arena as well with this number. The composers rope in Rekha Bhardwaj to do justice to the number, along with Sharib, Toshi and Shabab Sabri. While all singers do a great job, the only rendition that stands out is that of Rekha's. She is not only technically adept at the 'thumri' genre, but manages to infuse her soul into it as well, ensuring, however, that it doesn't get too obscure for the classically untrained ear. Maintaining this balance between the classical and the popular is not easy but the composers have done it superbly. The album ends with a one-minute-long instrumental piece called the 'Spirit of Veer', which is suitably grand and energetic. Sajid-Wajid really manange to break a lot of myths and notions about themselves and their music with 'Veer'. Their compositions for this film are a departure from anything that they have done earlier. One is not talking just about chartbuster potential, which at least three of the five tracks have, but about the manner in which the composers have merged catchy melodies with classical strains. They have managed to create what we call evergreen music.... which time can never dull. 'Veer' is one such classic.
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thard class
saeed khan, Jan 25, 2010
1 / 5
slman u r dispiont in movie what the hall

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