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5/24/2015 7:06:44 PM

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One to hold the first role is constant! While the predatory seductress of social-rise which can go to any length to the satiate its covetousness during the life, Priyanka Chopra rocks the scene like never front.

Its character, aspect, demeanour and moralities all are inspired by Demi Moore in “revelation” of Barry Levinson. It would not be any exaggeration with saying that that with this characterization a Priyanka complex proves its value.

Then after having burned their hands with a vindicatory car in “Tarzan: The account with suspense-brewers of businesses resident Abbas and Mustan of Bollywood of the car of wonder” go again so that they know better: evil in inside. If it were Arbaaz Khan in “Daraar”, Shah Rukh Khan in “Baazigar”, Akshaye Khanna in “Humraaz” or Akshay KUMAR in “Ajnabee”, the directorial duet always excavated in the dynamics of the human diabolism.

In “Aitraaz”, the intelligent pages of tear of Abbas-Mustan out of the “revelation” and build a thread which raises the questions sexually agitated which are new with the cinema of Hindi.

Why the male have does always considered to be responsible for the clandestine events between the men and the women? Can't a man be an object of sexual harassment even in a patriarchal company like ours?

To take what is a part obviously passive Akshay KUMAR turns over all the definitions of machismo of screen while being subjected to all the kinds of examinations humiliating in the audience of court where it shows its owner of lady of the sexual exploitation.

Akshay takes off its shirt. But in possible position more embarrassing…. in the audience of court to indicate marks of love.

The orders of audience of court are the strong one of Abbas-Mustan. Paresh Rawal and Anu Kapoor as two lawyers are in splendid form. Their gift of the notch is put at the great use.

And although we often find the account to obtain submerged in the verbosity - not to mention the songs with-top-posed drawn in smart maintenances -- scoff and retorts, often in strongly sexual matter, flow outside in a caustic cascade.

The comic interludes in the reels first are purely puerile. You wish that Abbas-Mustan give up to concentrate on the peripheral secondary layouts. If “Aitraaz” had avoided the digressions, and if the account had concentrated only on the question of the kind-reversed sexual harassment, this would' ve of film be a cut above what it is.

The part of Kareena Kapoor as a wife who is held ready her marked Juste of husband in the audience of court, was fleshed appreciably outside compared to original where the wife was more shaded well.

In a role which requires more conviction than the charm, Kareena appears an allotted of trifle and awkward evil, but inherits its clean in the order with its apogee audience of court where it puts the coat of lawyer to save her husband. Nuances of role of Bipasha Basu of the part of Kareena of elasticity of assistance of “Raaz” its low fleshy belly.

But the film is undoubtedly a triumph for Priyanka Chopra. With half of a smile, a convulsif movement of its lip and a movement of its eyebrow it seems to slip into the role of its man-eaters with the captivating facility.


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