JoshLaver I remember the time the song "Masakkali" hit our TV screens. I felt a good vibe about this movie, later found out that it was from the same director who did RDB, one of my favourites. Being a regular IMDb user, the ratings below 7 barely encouraged me to watch it though. Obviously, the movie never achieved the popularity status anywhere near to that of RDB.But for some reason, almost 4 years later, I decided to give it a try and I have to apologise Mr. Mehra for underestimating him. It is nigh impossible to emulate RDB but Delhi 6 shouldn't have done his prospects any harm. If there was anything like an Indian Oscar, Delhi 6 would have been a strong contender, considering the paucity of quality movies that get made in the biggest film industry in the world. As someone who is relatively familiar to the ways of Indian society and mentality, it was a stark depiction of the intricacies that form the gullies and chowks. The colours and noise and the varieties of personalities just illuminates the first half or so. The latter half shows the dark side, naivety, greed, ignorance, pettiness which can quite easily ruin a society.Nothing compelled me to write something here other than the fact that moviegoers have decided to rate it 6, which is a pity. No wonder, movies like Dabangg seem to reap financial rewards and recognition and the ones like Delhi-6 are left to stray into oblivion. I loathe bollywood in general, not so bollywood music, but Delhi-6 gives me hope.

Roland E. Zwick "Delhi 6" is a messy and overlong - though frequently appealing - tale of a young American man who travels to India to rediscover his roots. When his grandmother is diagnosed with diabetes, Roshan agrees to accompany her back to the land of her birth so she can end her life at the same place where she began it. While there, Roshan learns a thing or two about a culture he's been largely sheltered from in his life in New York. This includes taking the bad along with the good: the sense of community along with the antiquated caste system; the respect for tradition along with the adherence to ancient superstitions; the respect for law-and-order along with the corruption and cronyism of the police and politicians; the technological advances along with a scarcity of resources like electricity and water; the arranged marriages along with the flowering of true love. That latter is particularly crucial to the story as Roshan falls for a beautiful, independent-minded woman whose father wants to marry her off to a man of his choosing even though her heart's desire is to perform as a singer on the popular TV show "Indian Idol." Like most mainstream movies made in India, "Delhi 6" provides a relatively upbeat, prettified look at life in that country. Any hint of poverty is pushed to the edges, while the foreground becomes an almost nonstop dizzying swirl of music and color. And I do mean "nonstop," for if there is one thing "Delhi 6" has in abundance it's musical sequences, some of which drag on for an insufferably long time, adding an unnecessary burden to the movie's overall running time. The film also culminates in an overwrought scene that feels like a bizarre melding of "West Side Story" with "Carousel." So what's likable about "Delhi 6"? Well, its cultural observations are sometimes compelling, particularly its portrayal of the tension that exists between Hindus and Muslims in that nation. Also, the actors (Abhishek Bachchan, Sonam Kapoor, et. al.) are both physically attractive and energetic. And while the humor occasionally veers towards the goofy and the "villainous" figures are largely two-dimensional stereotypes, the movie has a genuine affection for its characters and country (flaws and all) that finally wins us over.

reubenthegreat88 Chandni Chowk can be an awe-inspiring place to be in, not only for its popular eateries and shops which date back to the last century, but also because in essence it represents the quintessential Delhi or more appropriately a "mini India'. For Rakeysh Omprakash Mehra's Delhi-6, this celebrated locality provides an inspiring backdrop to an episodical tale about a handful of characters that are as diverse as the city itself and who represent the one billion population of the Indian republic.Mehra has often insisted that the city of Delhi is a pivotal character in the film rather than being a mere backdrop. He couldn't have been more correct. Old Delhi in particular, where the film is set, is a living symbol of the country's contrasting cultures and beliefs and also a reminder of her rich past epitomized largely by the bygone Mughal era.In Delhi-6, Mehra along with his gifted writers (Prasoon Joshi and Kamlesh Pandey) exploit this fact with panache to present characters that have been handpicked from every corner of the country; who convey a myriad of emotions and actions. These are everyday-characters that you can relate to easily and you may as well see yourself in one of them. The main protagonists of the film are Roshan and Bittu. Roshan (Abhishek Bachchan) is an Indian American visiting India for the first time with his ailing grandmother (Waheeda Rahman). His supposedly short visit to drop his Dadi in Chandni Chowk turns out to be much longer when he embarks on a journey to discover his ancestral country's rich culture, diverse religions, conflicting beliefs and a neighbourhood of distinct individuals including Bittu (Sonam Kapoor) for whom he develops a liking.Bittu on the other hand is a middle-class girl who wants to be independent and make a name for herself by participating in the reality show, Indian Idol, but only to be stopped by her old-fashioned conservative father, Madan Gopal (Om Puri). Other notable characters include that of Jalebi (Divya Dutta) who is considered to be an untouchable in public but at the same time exploited as an object of sexual pleasure in private company; and Inspector Ranvijay (Vijay Raaz), a stubborn and corrupted neighborhood cop who enjoys being the boss wherever he goes.The beast within is very cleverly represented by the Kala Bandar (Monkey Man) who is shown to be creating a menace throughout the city disrupting peace and harmony and is also the cause of many unpleasant events that unfold post-intermission, chiefly that of the divide between Hindus and Muslims. Numerous other small but significant nuances give considerable depth and a deeper meaning to the film; there are two of them which stand out, the symbolic scene where a pregnant cow gives birth to its calf in the middle of a busy road which is considered sacred and the unconditional love that Roshan receives from his neighbors on his arrival in Chandni Chowk despite meeting them for the first time, portraying the fact that even if those people are just normal middle class citizens, they have a big heart and they lead a content and happy life by spreading love around them. The latter is synonymous with what Delhi is popularly known to be – "Dilwalon ki Dilli".Providing ample support as the film's protagonists are the two leads, Abhishek Bachchan and Sonam Kapoor. Sonam's stunning debut in Saawariya was only a small glimpse of her acting prowess. She has evolved into a very fine actor with Delhi-6 and apart from looking more beautiful than ever, she delivers a very dignified performance. Unlike in her debut vehicle, she has dealt with a more diverse set of emotions in this film, from being cheerful to expressing rebellion and anger. Abhishek Bachchan does not have too many lines to say but he uses that silence to his advantage, combines it with brilliant expressions and gestures, and lights up every frame he occupies. Given the right character and director, this often underrated actor can do wonders.Binod Pradhan's cinematography is best termed as intimate. It is evident from the film's stunning visuals that he loves every corner of the walled city and with his long-proved expertise with the camera, he gives shape to the director's vision flawlessly, never once going over the top and maintaining perfect balance between depth and clarity. The Jama Masjid, Ram Leela and the climax have been especially well shot. Dialogues are effective throughout and thought-provoking at times. Editing by P.S. Bharthi is very well done which limits the film's length to an acceptable 2 hours 18 minutes running time.Also laudable are the production design by Samir Chanda and appealing choreography (Masakali, Genda Phool) by Vaibhavi Merchant. Dil Gira Dafatan has been innovatively choreographed where the characters from Chandni Chowk, even the actors from the Ram Leela, are transported to New York's Times Square. Although the purpose of this fantasized sequence may only be clear to the discerning audience, it still looks appealing enough to please anyone and everyone.Rakeysh Omprakash Mehra had shot two contrasting versions of the film's ending and if you have been an ardent follower of Mehra's previous films, then the finale of Delhi-6, in which Mehra has tried to play safe, may surprise you which will quite likely be met with differences in opinions. Nevertheless, Delhi-6 is an unforgettable cinematic experience. A universal film in all respects, connoisseurs of good cinema will lap it up whole heartedly. It is that rare gem of a film that will be remembered and discussed for many more years to come.I go with 8* Stars. Very highly recommended.

Manoj Arya First thing that captured my attention towards Delhi 6 during its promotional days. Writer-director Rakeysh Om Prakash Mehra, second A R Rehman in top form and third Sonam Kapoor dancing on rooftop with pigeon Masakkali on her head. Hype and hopes were already surrounding around the venture as director's last maverick outing was Rang De Basanti. A young NRI (Abhishek) from New York takes his dying grandmother (Wahida Rehman) back to her own land to spend last days where our hero with faux, annoying American accent meets all other caricatures which populates this misfire. A mythical creature is born in Ramleela festive days called kala-bandar who supposedly beats, robs people. How NRI is drawn into circus resulted which eventually turns ugly in communal riots is what Delhi 6 is all about. Mehra's conceit of using kaala-bandar to tell his story as a satirical drama (at least initially it gave me that impression) works a little in beginning. How minor accidents and coincidences are blown out of proportion by locals and fueled by media junket does its bit. And it has Rehman's some of the best works and Prasoon Joshi's fresh lyrics (Dil Gira Daffatan, Rehna Tu). But director fails to control the tone of the film and couldn't resists turning his material into a message movie. Communal riots, superstitions, castism, Indian living united in diversity? Are we still on that? It's becoming quite a drag frankly.