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Don (Manoj Pahwa) possesses a diamond and somehow it got stolen and ultimately comes into the hand of Chandu (Upen Patel) and Chandni (Tanishaa). The confusion in the story creates due to the name Laxmi Narayan and the lost diamond. The maker tried to make it a power-packed comedy by casting powerhouse of stars. It lacks the masala of a perfect comedy but can be watched to avoid tensions for a moment. One Two three is a light heated comedy, lightens one and can make a person to giggle. In the film, there is not a single moment to panic. Looking at his piece of work, we can say that he has the capability to make things bigger in coming days. To make people laugh is a tough job and debutante director Ashwani Dhir has taken this hard task to entertain people in his very first attempt. Though the film carries maximum comedy element but it requires some polishing. It may simply be sloppy plotting that leaves some of its ideas dangling and unresolved, but it could just as well be a recognition that victories may be temporary, prejudices can go on indefinitely, and in the big picture, we might simply just be getting the media we deserve.One Two Three is out and out an entertaining film with lots of funny character Sunil Shetty, Tusshar Kapoor, Paresh Rawal, Esha Deol, Sameera Reddy, Neetu Chandra along with Upen Patel and Tanishaa. The score could have been a bit less melodramatic - it punctuates emotional moments with clarion BA-BUMs that a soap opera would be too embarrassed to use - but the fast-moving film carries a heartfelt genuineness in its requiem for broadcast journalism. Few actors could give his climactic, on-air speech without it coming across as naive or sanctimonious, but the ever-exceptional Bachchan delivers it with a gravitas that makes you pay attention. Thrills and suspense are not this movie’s strong points.īut a sense of disappointment for the Fourth Estate is very much so, and every crease in Bachchan’s face conveys a longing for how things should be, and a resigned acknowledgment of how things are. Tied into a couple of these threads is an idealistic reporter (Ritesh Deshmukh) who, when he ventures too close to uncovering the awful truth, pretty much just does his job and files his story.
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Banawlikar on his first produced film, cram in plots about a prime ministerial candidate (Paresh Rawal) involved in both character assassination and real assassination Hindi prejudice against Muslims, in the form of family pressure on Jai to drop his Muslim girlfriend (Neetu Chandra) and corporate espionage, with Malik’s CEO (Suchitra Krishnamurthy), for reasons unexplained, betraying what is essentially the Walter Cronkite of India. Were this the first of many small compromises leading to a sea change at his station, the film might have been better at examining how standards get lowered in stages, almost imperceptibly.
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His disgruntled son and heir apparent, Jai (the single-name Sudeep) says it’s not compromising to make news delivery more “entertaining,” and with advertisers jumping ship to a flashy rival startup, Malik gives in. Bachchan’s principled broadcaster, 24-hour news-network founder Vijay Harshwardhan Malik, is beset on all sides by pressures to sensationalize his channel’s content.
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The issues are certainly trenchant to American moviegoers.