In 1983, Dharmendra launched his older son Sunny in the love story BETAAB, which proved to be a huge success in all respects. 36 years later, life comes full circle as Sunny Deol now takes up on himself to launch his older son Karan Deol with PAL PAL DIL KE PAAS. Sunny is not just the producer - he also dons the director’s hat. The film has been in the making for a long time and has been shot in virgin locales of the Himalayas. So does history repeat with PAL PAL DIL KE PAAS and does it turn out to be a success? Or does it fail to touch the hearts of the viewers? Let’s analyse. <img class="aligncenter size-full wp-image-1020825" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/09/Movie-Review-Pal-Pal-Dil-Ke-Paas-IMG.jpg" alt="Movie Review Pal Pal Dil Ke Paas IMG" width="750" height="450" /> PAL PAL DIL KE PAAS is a love story set amidst the beauty of Himalayas and the ugly politics of Delhi. Karan Sehgal (Karan Deol) resides in Manali and is the owner of the very popular Camp Ujhi Dhaar. He lost his parents in an avalanche when he was 10 while they were on the hunt for the elusive snow leopard. The costliest trekking package offered by Camp Ujhi Dhaar is worth Rs. 5 lakhs and involves solo trekking with an expert. Vlogger Sahher Sethi (Sahher Bambba) from Delhi, who has just taken a break from her boyfriend Vinny (Aakash Ahuja), signs up for it as an excuse to escape from her nagging relatives who are to visit her house. The expenses are borne by her company for which she vlogs. Sahher is known for tarnishing the image of hotels and tour companies with her acidic vlogs and she’s all set to do the same with Camp Ujhi Dhaar too. She believes charging Rs. 5 lakhs is akin to a daylight robbery by the camp. Karan himself takes up the responsibility of taking Sahher for the 5-day trek. Initially, she detests Karan and says negative stuff about him in her daily vlogs. Karan, on the other hand, too doesn’t think too high of Sahher. But slowly, they fall for each other. Sahher changes her mind and realizes that the trek is the best thing that has happened to her.  She returns to Delhi and continues to be in touch with Karan. She breaks up with Vinny, infuriating her. But he doesn’t show and pretends to be cool with her decision. Karan, unable to survive without her, reaches Delhi when she hints him that she misses him too. They profess their love for each other. Vinny decides to put a devious plan into motion to bring back Sahher in his life. He’s aided in this plan by his elder brother Sushant Narang (Aakash Dhar), who’s running for the elections and the son of Ratna Narang (Meghna Malik), who’s into politics since two decades. What happens next forms the rest of the film. Jasvinder Singh Bath and Ravi Shankaran's story is beaten to death and very ordinary. It’s shocking that a story like this was approved in today’s day and age. Jasvinder Singh Bath and Ravi Shankaran's screenplay is also poor, especially in the second half. The first half is also nothing great but the mountaineering bit makes it watchable. Jasvinder Singh Bath and Ravi Shankaran's dialogues are also nothing memorable at all. Sunny Deol's direction is simple and decent. He executes the mountaineering scenes very well in the first half. Also, he does justice to the visuals and locales at his disposal. Unfortunately, since the script itself is so weak and outdated, his execution fails to save the film. He tries to enhance the film’s appeal with action and even a sequence on the racing circuit. Then there’s a bizarre snow leopard sequence but it works as he directs it well. But these factors can’t be of much help when the script itself is not upto the mark. PAL PAL DIL KE PAAS has a very poor commencement, showing Karan’s childhood and his present-day life. Sahher’s entry scene is also unconvincing and the attempt to be funny falls flat. The interest is set once the trek begins. The finest scene of the film is when Sahher faints due to altitude sickness and Karan puts her on his back and treks on a steep slope. The rest of the scenes are okay and the interest is maintained due to the locales and the trekking factor. The second half begins well with the <em>'Dil Uda Patanga'</em> track. Things then go downhill as there’s no story as such in the second half. And whatever story is there is very clichéd and routine. Moreover, it’s very predictable. The action scene raises interest and individually, it works. But as part of the film, it won’t be lapped up by the audiences. The finale is very simplistic and unconvincing. <span style="text-decoration: underline;"><strong>Pal Pal Dil Ke Paas Public Review | Sunny Deol | Karan Deol | Sahher Bambba | FDFS</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/pal-pal-dil-ke-paas-public-review-sunny-deol-karan-deol-sahher-bambba-fdfs/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Karan Deol puts a genuine effort but still, it falls short. He’s too raw and still needs guidance to become a fine actor. In the scene where he’s racing, he has a weird smile on his face and it takes away the impact. The attempt to roar like his father in the action scenes will work with the front benchers though. Sahher Bambba meanwhile does very well and has a wonderful screen presence. Aakash Ahuja is fine as the villain. Kamini Khanna (Sahher’s grandmother) is adorable and raises laughs in a funny scene. Meghna Malik leaves a huge mark. Aakash Dhar, Simone Singh (Sahher’s mother), Sachin Khedekar (Sahher’s father), Nupur Nagpal (Natasha), Vijayant Kohli (Kapil Gupta) and Kallirroi Tziafeta (Karan’s mother) are decent. Music is okay but some of the songs are shot well. <em>'Pal Pal Dil Ke Paas'</em> comes at a significant juncture. <em>'Ho Jaa Awara'</em> is the best of the lot thanks to its picturisation. <em>'Dil Uda Patanga'</em> comes next. <em>'Aadha Bhi Zyaada'</em> fails to work due to Karan’s acting. <em>'Ishaq Chaliya'</em> is forgettable. <em>'Maa Ka Mann'</em> is very soulful but comes at a very unconvincing point in the movie. Raju Singh and Rishi Rich's background score is quite exhilarating. Himman Dhameja and Ragul Dharuman's cinematography is spectacular. The locales of Himachal Pradesh are shot beautifully. The whole team deserves credit for shooting the film at locations that have been never before explored on celluloid. Not just the mountain scenes, even the second half is shot nicely. Resul Pookutty's sound design adds to the effect. Amardeep Behl and Tina Dharamsey's production design are appealing. Niharika Khan and Vishakha Kullarwar's costumes are very glamorous, especially the ones worn by Sahher Bambba. Vikram Dahiya's action is spot on. Prime Focus's VFX is quite okay and could have been better in the snow leopard sequence. Devendra Murdeshwar's editing could have been slicker, considering that the film is too long at 153 minutes. On the whole, PAL PAL DIL KE PAAS has an outdated storyline, with just the mountain scenes and Sunny Deol’s direction saving the day to an extent. As a result, the film will have a very tough time at the box office.

Our long-drawn independence struggle saga is filled with innumerable stories of bravery and valour. Sadly, a few of them have been lost in the pages of history or only have local awareness. Uyyalawada Narasimha Reddy is one such great man who is credited to have fought a decisive battle a decade before the great 1857 rebellion. Ram Charan takes up the challenge of making a film on this figure, titled SYE RAA NARASIMHA REDDY, and it features his father, megastar Chiranjeevi. The presence of actors from other industries and that it releases in Hindi and other versions make SYE RAA NARASIMHA REDDY a pan-India film in the truest sense. So does SYE RAA NARASIMHA REDDY manage to entertain and stir up the viewers? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1025279" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/Syeraa-Narasimha-Reddy-10.jpg" alt="" width="720" height="450" /> SYE RAA NARASIMHA REDDY is the story of India's first chapter of freedom struggle. The year is 1857. The soldiers of Rani Lakshmibai (Anushka Shetty) are wondering whether a handful of them will be able to fight the huge British army. In order to motivate them, the Queen narrates the story of the brave Narasimha Reddy (Chiranjeevi) who revolted against the British a decade before the 1857 revolt. The story then goes in flashback mode. Narasimha Reddy is a ruler of a part of the territory in South India called Rayalaseema. He is a part of a polygar which consists of several other rulers like Avuku Raju (Sudeep), Basi Reddy (Ravi Kishan) etc. All these kings get pension from the British and are expected to be submissive to the Crown. Narasimha Reddy however is in disagreement with this arrangement and is finding a way out to free his kingdom from the clutches of the British. The region faces drought and to appease the rain gods, Narasimha Reddy's learned mentor Guru Gosayi Venkanna (Amitabh Bachchan) asks for a <em>yagna</em> to be conducted. Narasimha is shocked as he learns that the last time a similar yagna took place was in his childhood and that time, he was married off to Siddhamma (Nayanthara). But the married couple was kept apart as there was a <em>'dosh'</em> in their union and they could reunite only after another <em>yagna</em>. Narasimha Reddy is devastated at first as he loves Lakshmi (Tamannaah Bhatia). With a heavy heart, Narasimha Reddy leaves Lakshmi and advises her to use her dancing talent for the greater good. He then accepts Siddhamma and begins his married life. Despite the drought, the British officer Jackson (Oscar Skagerberg) asks for tax from farmers. He even mocks them and once while he’s doing so, Narasimha Reddy arrives and teaches him a lesson. An angry Jackson enters a village ceremony and eliminates 5 farmers and a child. Narasimha Reddy is so angry that he enters the British settlement, attacks the soldiers and then beheads Jackson. The other rulers of the polygar refuse to help him at first but then join Narasimha Reddy in challenging the mighty British Empire. What happens next forms the rest of the story. Paruchuri Brothers's story is excellent and makes for a grand, patriotic film. They have obviously fictionalized a lot of developments in the plot but it has been done very well. Surender Reddy's screenplay is confusing in the beginning as too many characters get introduced and it might seem difficult to understand who is exactly related to whom. But in the later sequences, the script is quite effective and packs a punch. Manoj Muntashir and Jitender Pawar's dialogues are sharp although some of them are over the top. Surender Reddy's direction is quite massy and simple. Most of the important scenes are well executed and leave a lasting impression. He stirs up the viewer’s emotions beautifully. One can’t help but hate the British for their atrocities and one can’t help but root for Narasimha Reddy for his acts. On the flipside, the initial portions are strictly average. The film moves too fast, since it’s already too long at 171 minutes and hence, a few scenes don’t make the desired impact. There’s also a déjà vu of BAAHUBALI, the Hollywood flick 300 and even surprisingly THE AVENGERS and this was avoidable in many places. SYE RAA NARASIMHA REDDY’s initial portions are not very impressive. The proceedings are neither great nor terrible – it’s somewhere in between. The first 30-40 minutes are spent in introducing the characters, the setting, location etc. The entry of Siddhama makes for a great twist in the tale. But a few developments are difficult to digest at this point. Sidhamma remembers her marriage, which took place in the childhood, without fail but Narasimha Reddy doesn’t even know he’s married! However, the film really picks up in the scene where Jackson arrives at a farmland and mocks a farmer. The manner in which Narasimha Reddy gives a monologue and challenges Jackson is clapworthy. The intermission sequence however is even better and the audiences in single screen cinemas will go crazy at this point. The second half too has some great moments though they could never reach the level of the aforementioned sequences of first half. It also gets a bit too long. But it keeps one engaged. The finale is powerful and the film ends on a rocking note. <span style="text-decoration: underline;">Ram Charan REVEALS Why He Has Not Acted In Sye Raa Narsimha Reddy | Chiranjeevi | Big B</span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/ram-charan-reveals-why-he-has-not-acted-in-sye-raa-narsimha-reddy-chiranjeevi-big-b-2/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> SYE RAA NARASIMHA REDDY has a great ensemble cast but the film belongs to Chiranjeevi. No two doubts on that! He owns the film with his performance and style. It’s also commendable to see him doing action at this age so well. His stardom is intact and that adds a lot to his character and to the film at large. Sudeep is quite good as the mysterious and badass ruler and would be liked by audiences. Tamannaah Bhatia has a supporting role but she springs a surprise in the second half. Watch out! Nayanthara gets a very raw deal and the only scene where she leaves a mark is when she confesses her love for Narasimha Reddy. Vijay Sethupathi (Raja Paandi) has a late entry but is entertaining. Jagapathi Babu (Veera Reddy) creates an impact in the pre climax. Oscar Skagerberg is excellent as the villain and would be remembered, though he’s there only in the first half. Ravi Kishan and Mukesh Rishi act well but their voices are dubbed by someone else, which makes their performance a little awkward. Lakshmi Gopalaswamy (Narasimha Reddy’s mother) is passable. Lastly, Amitabh Bachchan is smashing in the special appearance while Anushka Shetty as always is impressive. Amit Trivedi's music is nothing great but works in the film. <em>'Jaago Narsimha Jaago Re'</em>, played in the beginning, fails to make a mark. <em>'Sandal Meraa Mann'</em> isn’t memorable either. <em>'Sye Raa'</em> comes at an excellent juncture and very well shot. <em>'Saansein Teri Desh Hai'</em> is played in the end credits but doesn’t have the period feel. Julius Packiam's background score is way better and adds to the drama and exhilaration. Ratnavelu's cinematography is top-notch and goes on another level in the battle and action scenes. Rajeevan's production design is quite grand as well as authentic. Greg Powell, Lee Whittaker, Ram-Laxman and A Vijay's action is one of the highpoints of the film. It’s gory at times but done well overall. Anju Modi, Sushmita Konidela and Utthara Menon's costumes are regal. Sreekar Prasad’s editing is quite fast-paced and even reckless at places, which could have been avoided. On the whole, SYE RAA NARASIMHA REDDY is a great patriotic saga and a visual spectacle that leaves a tremendous mark thanks to its plot, Chiranjeevi’s performance and massy execution. At the box office, it has the potential to succeed.

Aamir Khan’s landmark TV show ‘Satyamev Jayate’ introduced viewers to several real-life heroes that were then unknown. Two of the most memorable guests on this series were the ‘Revolver Daadis’, that is, Chandro and Prakashi Tomar. Tushar Hiranandani, for his directorial debut SAAND KI AANKH, decides to adapt their story onto celluloid. So does SAAND KI AANKH manage to enlighten and also entertain viewers? Or do the makers fail to do justice? Let’s analyse. <img class="aligncenter wp-image-1032669 size-full" title="Movie Review: Saand Ki Aankh" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/Saand-Ki-Aankh-5-1.jpg" alt="Movie Review: Saand Ki Aankh" width="720" height="450" /> SAAND KI AANKH is the story of two women who find their calling in their 60s. The year is 1999. Chandro Tomar (Bhumi Pednekar) and Prakashi Tomar (Taapsee Pannu) are sister-in-laws living under one roof with their respective spouses, strict and orthodox brother-in-law Rattan Singh (Prakash Jha) and their children in Johri village in Uttar Pradesh. Both have crossed 60 years of age and though they had the desire to do something worthwhile in their lives, they were not allowed to because of the pressures of the patriarchal society. One day, Dr Yashpal (Viineet Kumar) returns back to Johri. He leaves his medical profession and starts his shooting range. Chandro’s daughter Shefali (Sara Arjun) expresses interest to practise shooting but Rattan obviously refuses to give permission. Yet, Chandro takes Shefali to the range. Without giving much thought, Chandro also tries her hand and surprisingly, she hits a bullseye! Yashpal tells her to try few more times and he realizes that Chandro is a pro. Later, even Prakashi joins and even she turns out to be an expert shooter! Yashpal encourages them to hone their skills at his shooting range and later, tells them to take part in a shooting competition held in Chandigarh. The <em>daadis</em> have never stepped outside their village in their lives. Hence, they get apprehensive at first but nevertheless, they agree. They fool their husbands and Rattan smartly and head to the competition where Prakashi emerges first and Chandro second. In no time, they win many tournaments with ease, while also cooking up various stories to tell their spouses. However soon there comes a time when the Tomar sisters are compelled to tell the truth to Rattan. What happens next forms the rest of the film. Balwinder Januja's story is very promising and inspiring. It not just enlightens viewers about the lives of Chandro and Prakashi Tomar but also gives an important comment subtly about the ills of patriarchal society and lack of awareness of population control. Balwinder Januja's screenplay is captivating for most parts but could have been better in the beginning of the flashback portion and in the pre-climax. Jagdeep Sinhu's dialogues are acidic and sharp. Tushar Hiranandani's direction is quite good for a first-timer and he’s in control of the writing material in hand. He also tries his best to make it as entertaining and mainstream as possible. Also he scores on the emotional front as the struggles of <em>daadis </em>and the way they get slammed by the male members of the family can leave viewers moist-eyed. On the flipside, he should have kept the duration in check. The last 15-20 minutes could have been better emotionally as the scene preceding the finale is too good. SAAND KI AANKH begins on an interesting note and Chandro and Prakashi’s entry puts a smile on one’s face. The flashback portion works in parts. In fact, the entire first half though engaging doesn’t really go on a high. There’s not enough drama or tension in this hour as the <em>daadis</em> are able to easily practise and even go to Chandigarh without the men getting suspicious. The best part of the first half is the Chandigarh competition and how both the women silence their detractors. Post-interval too, the tension doesn’t arise till a certain point. Yet, the second half is better as there are some very sweet moments. One of the most touching scenes here is when Chandro and Prakashi mistake the finger bowl for hot lime water and gulp it down the throats. The Maharani (Nikhat Khan) doesn’t want the <em>daadis</em> to be humiliated for their gesture and hence, even she does the same! Even the <em>jugaadu</em> disco light installed by the <em>daadis</em> in their house in <em>‘Baby Gold’</em> song is sweet. The confrontation sequence between the <em>daadis</em> and Rattan Singh is exhilarating. One expects the film to end here but it goes on for another 20 minutes as the film also focuses on the track of Shefali and Seema trying to be shooters. This track also has its moments but after the high-voltage confrontation scene, the film falls flatly in this said scene. The film ends on an emotional note. <span style="text-decoration: underline;"><strong>BLOCKBUSTER : Taapsee &amp; Bhumi’s HILARIOUS Rapid Fire on Akshay, clash with Housefull 4, women crush</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/blockbuster-taapsee-bhumis-hilarious-rapid-fire-on-akshay-clash-with-housefull-4-women-crush/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> SAAND KI AANKH belongs to Taapsee Pannu and Bhumi Pednekar undoubtedly. It’s important to note that they don’t really look that old but both compensate for it through their performances. Taapsee is at ease and the way she breaks into a sheepish smile when her plan of fooling the men succeeds is damn good. She gives her best however in the last portion of the film. Bhumi too gives in her best and her body language is spot-on. Also her attempts to pick up English will elicit laughs in theatres. In a few scenes though, she gets overpowered by Taapsee. Viineet Kumar is endearing and would be loved in the role of the person who serves as catalyst in the journey of the ‘Revolver Daadis’. From his dialogue delivery to his expressions, he gets his act just right. Prakash Jha is very convincing in what can be called a negative role and one can’t help but hate him from start to finish! Shaad Randhawa makes his presence felt in the second half of the film. Nikhat Khan is lovely as the Maharani and she is a part of some of the most important scenes of the film. Sara Arjun has a great screen presence and does well. Yogendra Singh (young Rattan Singh) is apt. S K Batra (I G Jaidev), Pawan Chopra (Jai Singh Tomar), Kuldeep Sareen (Bhanwar Singh Tomar), Pritha Bakshi (Seema) and Himanshu Sharma (Sachin) also put their best foot forward. Vishal Mishra's music is situational and works well, but only as a part of this film. <em>'Udta Teetar'</em> is exhilarating. <em>'Womaniya'</em> appears in the end and is memorable as the real Chandro and Prakashi Tomar also feature in the track. <em>'Aasmaa'</em> is touching and sung well by Asha Bhosle. <em>'Baby Gold'</em> and <em>'Jhunna Jhunna'</em> have catchy tunes and shot appropriately. Advait Nemlekar's background score has the commercial feel. Suddhakar Reddy Yakanti's cinematography is spectacular, especially in the shooting scenes. The camera moves in such a way that it adds to the drama. Also watch out for a scene where all the important movements of characters are captured in that rear-view mirror of a motorbike. Ravi Srivastava's production design is authentic. The fact that it was shot in the village of the Tomar sisters also adds to the authenticity. Rohit Chaturvedi's costumes are straight out of life. Sunil Rodrigues's action gels well with the film. Rajeev K Rastogi's VFX is rich. Devendra Murdeshwar's editing is neat but could have been tighter in the second half. On the whole, SAAND KI AANKH rests on an inspiring story and bravura performances by Taapsee Pannu and Bhumi Pednekar. At the box office, however, it will need a strong word of mouth to survive competition in the form of HOUSEFULL 4 and MADE IN CHINA.

The residents of Gujarat are known for their entrepreneurial spirit and in recent times, films like KAI PO CHE [2013], MITRON [2018] etc were partly based on this aspect. Now debutant director Mikhil Musale takes this one step ahead with his Diwali release, MADE IN CHINA, which incidentally also stars KAI PO CHE actor Rajkummar Rao as the protagonist along with many other talented names. So does MADE IN CHINA manage to give the audiences a great time? Or does it fail in its endeavour? Let’s analyse. <img class="aligncenter wp-image-1034261 size-full" title="Movie Review: Made In China" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/Made-In-China123.jpg" alt="Movie Review: Made In China" width="720" height="405" /> MADE IN CHINA is the story of a man who beats all odds to become an expert businessman. Raghu Mehta (Rajkummar Rao) is based in Ahmedabad and is a failed businessman. He has tried his hands in various kinds of businesses but the effort has been futile each time. He then accepted his deceased father’s advice and began to run his family-owned clothes shop. Even here, he tries to experiment and stocks Nepali mattresses but nobody is interested to buy it. Raghu is married to Rukmini (Mouni Roy) who is understanding and supports him through thick and thin. But Raghu’s father-in-law Vitthal (Manoj Joshi) and Devraj (Sumeet Vyas) don’t appreciate Raghu’s attempts. They advise him to sell his shop at a good price and also to go to China and help Devraj set up his venture of providing a herbal soft drink. Raghu reluctantly takes up the China offer where sadly, the deal with Tanmay Shah (Paresh Rawal) fails to materialize. However, Raghu befriends a local colleague there, Xui Lee (Danni Wang). She introduces him to Hou Lee (Jeffrey Ho) who claims to have made an effective aphrodisiac called Magic Soup that too from the reproductive organs of tiger. Hou Lee insists Raghu to sell it in India and make millions for both. Raghu returns to India, impressed with the idea, and he decides to do ground research. He meets several sex doctors, tantric babas etc and realizes that most of them are only interested to financially exploit the desperate people struggling with sexual problems. Raghu then comes across Dr Tribhuvan Vardhi (Boman Irani) who is honest and not money-minded. Immediately, Raghu insists that Dr Vardhi should sell Magic Soup to his patients and in return, he’ll get 50% share in profit. Dr Vardhi refuses at first but after much cajoling, he accepts the offer. On the advise of Tanmay Shah, Raghu turns Dr Vardhi into an online sensation which in turn helps in the sales of Magic Soup. All is going well until one day, a high-profile Chinese national, General Zeng (Dawei Yu), consumes Magic Soup and passes away in a few minutes. Consequently, Raghu and Dr Vardhi are caught by the police. Considering the gravity of the situation, the government dispatches two CBI agents, Gupta (Chitranjan Tripathi) and Sharma (Abhishek Banerjee) to investigate. What happens next forms the rest of the film. Mikhil Musale, Karan Vyas and Parinda Joshi's story is juvenile and unconvincing. There are far too many characters and justice is not done to many of them. Mikhil Musale, Karan Vyas and Parinda Joshi's screenplay (with additional screenplay by Niren Bhatt) is a bigger culprit. The poor storyline could have been still made for a slighter better film. But that doesn’t happen as the film lacks drama, tension and even sufficient humour. Niren Bhatt and Karan Vyas's dialogues could have been much better worded and unique. For instance, the way Dr Vardhi’s speech goes viral seems difficult to digest as he didn’t say anything that’s not been said before. Mikhil Musale's direction is weak. He knows the shot taking techniques but storytelling wise, his approach is flawed. There are too many jumps in the timeline. The entire China trip episode is bewildering as viewers never get to know where Devraj disappeared and when and how did Raghu return to India. The film, moreover, begins as a murder mystery, but this bit is kept unexplained till the very end. On the positive side, a few scenes are entertaining like Raghu roaming around with Xui Lee, the scenes of Tanmay Shah and the scene in the library involving Raghu and Dr Vardhi. <span style="text-decoration: underline;"><strong>‘Double Meaning’ quiz: Rajkummar &amp; Mouni’s most hilarious &amp; closely fought battle | Made In China</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/double-meaning-quiz-rajkummar-mounis-most-hilarious-closely-fought-battle-made-in-china-2/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> MADE IN CHINA begins on a high note and the murder is shown at the very onset. One expects the narrative to get better as the film goes on a flashback mode. But nothing of that sort happens. The first half is dry and story-wise, nothing much happens. The interval arrives all of a sudden. In the second half, there’s some movement in the story as Raghu finally rises to the top. But even here, the scattered and disjointed plot spoils things. The track of Akash Chopra (Gajraj Rao) seems forced and doesn’t add much, especially his last scene. The finale is convenient and the film ends, leaving a lot of questions unanswered. Talking of performances, Rajkummar Rao tries to put up a genuinely good show but the end result is not that impressive. The scene where he really stands out is when he shows Rukmini’s picture to Xui Lee in China. Mouni Roy looks sizzling but is decent at best. Boman Irani is far better and he’s actually the best performer in the film. He especially does very well in the twin monologues in the second half. Gajraj Rao is wasted. Paresh Rawal entertains. Manoj Joshi and Sumeet Vyas put up a good show. Danni Wang is sweet. Jeffrey Ho is over the top but it works for his character. Chitranjan Tripathi and Abhishek Banerjee fail to entice. Sanjay Goradia (Natukaka) raises laughs in the beginning. Dawei Yu is hardly there. Amyra Dastur (Roopa) gets no scope. Sachin-Jigar's music doesn’t have recall value. <em>'Odhani'</em> is used for a less than a minute in the film and plays in the end credits. <em>'Sanedo'</em> is foot-tapping. <em>'Valam'</em> is well shot. <em>'Naari Naari'</em> is not there in the film. Sachin-Jigar's background score is far better and the Chinese feel is brought alive well. Anuj Rakesh Dhawan's cinematography is neat. Sheetal Sharma's costumes are straight out life while those of Mouni Roy are appealing yet in sync with her character’s financial condition. Mayur Sharma's production design is fine. Manan Ashwin Mehta's editing should have been smoother and the film should have been shorter. On the whole, MADE IN CHINA lacks a good story and execution to make a mark. At the box office, it’ll have a tough time as it clashes with a biggie in the form of HOUSEFULL 4.

Over the years, there have been several films that have tackled various conditions that lower a person’s self-esteem like skin colour, obesity, stunted growth etc. Premature balding, however, has rarely been the central plot point of a film. Two very lesser known films like I M 24 [2012], HAIR IS FALLING [2011] etc have dealt with the issue but they sank without a trace. Producer Abhishek Pathak for his directorial debut, UJDA CHAMAN, tackles this idea in the romcom space. So does UJDA CHAMAN manage to entertain and move audiences? Or does it fail to entertain? Let’s analyse. <img class="aligncenter wp-image-1036216 size-full" title="Movie Review: Ujda Chaman" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/11/Movie-Review-Ujda-Chaman.jpg" alt="Movie Review: Ujda Chaman" width="750" height="450" /> UJDA CHAMAN is the story of a man in search of a life partner. Chaman Kohli (Sunny Singh) is a 30-year-old lecturer in Delhi’s Hansraj College. He has faced acute hair loss in the last five years, affecting his self-esteem and also his marriage prospects. His parents, Shashi Kohli (Atul Kumar) and Sushma Kohli (Grusha Kapoor) put his five-year-old picture in his marriage bio-data and when he goes to see a prospective bride, he wears a cap. Sadly, the cap comes off and the prospective bride and her family kick the Kohli’s from their house. Their family astrologer (Saurabh Shukla) adds to their tension as he claims that if Chaman doesn’t get married before his 31^st birthday, he’ll remain celibate for life. Chaman tries to find love, first at the marriage ceremony of a friend but it proves futile. Later, he tries to woo a fellow lecturer, Ekta (Aishwarya Sakhuja) but she rejects him as she is already dating someone. All of a sudden, a first-year student, Aaina Ali Khan (Karishma Sharma) shows interest in Chaman. Chaman falls for her but in no time, he realizes that she hung out with him for vested interests. With no other option, Chaman accepts his father’s suggestion and downloads Tinder. He uploads his picture, but by cropping his bald patch. In no time, he matches with Apsara (Maanvi Gagroo), who is overweight and just like Chaman, she too puts a close up picture to hide her so-called imperfection. Both decide to meet and obviously get shocked looking at each other. What happens next forms the rest of the film. UJDA CHAMAN is an official remake of the 2017 Kannada film, ONDU MOTTEYA KATHE (Writer: Raj B Shetty). Danish J Singh's adapted story has immense potential as a lot of people can relate to the goings on shown in the film. But Danish J Singh's screenplay plays spoilsport. The narrative is engaging but only in parts. Danish J Singh's dialogues are funny and matter-of-fact. Abhishek Pathak's direction is not worthy enough. The execution seems a bit amateurish and over-the-top. The manner in which Chaman is ridiculed almost on a daily basis by the students because of his receding hairline is too much. Moreover, the direction style is not consistent. The second half looks very different from the first half. Also, with nothing unique happening in the film, the narrative becomes extremely predictable. On the positive side, a few scenes work like the track of Aaina and the hospital scene. UJDA CHAMAN begins on a fun but very loud note with the initial portions being mildly engaging. The humour looks forced in the scene where Chaman attempts to assault his brother Goldy (Gagan Arora). The track of Aaina is thankfully better but still, the film doesn’t reach a high. The intermission point is interesting and the film seems promising from here on. And the initial portions of the second half are very entertaining as Chaman and Apsara get close. But after a point, nothing novel or interesting happens. The film gets dragging and predictable. The final scene is cute but comes too late in the film. <span style="text-decoration: underline;"><strong>Ujda Chaman: Public Review | First Day First Show | Sunny Singh Nijjar | Maanvi Gagroo</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/ujda-chaman-public-review-first-day-first-show-sunny-singh-nijjar-maanvi-gagroo/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Sunny Singh gives his best but the desired impact is not made. The manner in which he seems so serious and lifeless throughout the film is difficult to digest. Even his narration in the beginning is needlessly done in a sombre tone. Maanvi Gagroo does quite better and is a natural. Her issues and predicaments seem very relatable and she plays the part nicely. Atul Kumar also does a genuinely good job. Grusha Kapoor is very loud. Gagan Arora is passable. Karishma Sharma plays her part as per the requirement. Aishwarya Sakhuja has a great screen presence. Sharib Hashmi (Raj) is good but sadly his track is predictable. Saurabh Shukla is strictly okay. Music is disappointing. Only <em>'Chand Nikla'</em> gets registered. The rest of the songs like <em>'Twinkle Twinkle', 'Outfit'</em> and <em>'Oh Bandeya'</em> are forgettable. Hitesh Sonik's background score is too loud and dramatic. Sudhir K Chaudhary's cinematography is neat. Tarpan Srivastav's production design is in sync with the film’s setting. Preetisheel Singh's make up and prosthetics are flawless. Rahil Raja and Himanshi Nijhawan's costumes are realistic. Mitesh Soni's editing is sans complaint and the film’s length is appropriate at 120 minutes. On the whole, UJDA CHAMAN has a promising and relatable story but the inconsistent execution and predictable narrative spoils the show. At the box office, thanks to limited buzz and lack of popular names, the film will have a difficult time.

DRIVE has now finally got a release, that too on an OTT platform. As a result, there’s a lot of negativity surrounding the film. So is DRIVE really as disappointing as believed? Or does it turn out to be a fine entertainer? Let’s analyse. <img class="aligncenter wp-image-1036519 size-full" title="Movie Review: Drive" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/11/Movie-Review-Drive.jpg" alt="Movie Review: Drive" width="750" height="450" /> DRIVE is the story of a group of thieves planning the biggest heist of the country. Tara (Jacqueline Fernandez) runs a courier company in Delhi and specializes in illegal transfers for criminals. She is aided in this by Bikki (Vikramjeet Virk) and Naina (Sapna Pabbi). The trio, besides indulging in street racing, are also focused on finding a thief named King (Sushant Singh Rajput). He operates alone and robs in style. After stealing, he leaves the name of the place where he would next make the heist. After robbing a jewellery store, he hints that his next target is Rashtrapati Bhavan! Irfan (Boman Irani) from the PMO gets startled on getting this information. He teams up with Vibha Singh (Vibha Chibber), director of the monetary restrictions department and his junior, Hamid (Pankaj Tripathi) in ensuring that King doesn’t come to rob what is the most secured and one of the most important institutions in the country. King however bumps into Tara, Bikki and Sapna and after he finds them trustworthy, King tells them about his real identity. At the same time, Tara also expresses her wish of robbing Rashtrapati Bhavan for a special reason. She has found out that Vibha takes a 40% cut from those on whom she initiates a raid. After getting her share, she gives the accused a clean chit. Vibha has discovered a secret chamber in Rashtrapati Bhavan where she has stashed all the unaccounted wealth. Tara wants King’s help in robbing this hidden treasure. However, the security at Rashtrapati Bhavan is unparalleled. The aim is to enter the palace, dodge the security and CCTV cameras, locate the loot and take it out of the Bhavan. What happens next forms the rest of the film. Tarun Mansukhani's story is poor and is a <em>bhel puri</em> of various films like RACE, DHOOM, FAST &amp; FURIOUS, OCEAN’S ELEVEN, SAAHO and even Karan Johar’s earlier forgettable film, UNGLI. Tarun Mansukhani's screenplay doesn’t make the desired impact as it’s very difficult to comprehend. There are twists and turns every 10-15 minutes but instead of adding to the film’s charm, it ends up getting on viewers’ nerves. Tarun Mansukhani's dialogues are simple and straight forward. Tarun Mansukhani's direction is nothing great. He tries to do an Abbas-Mustan but fails miserably. The film lacks emotional touch. You don’t really root for any character as you don’t feel for them. A bit of Tara’s past is hinted at but that’s about it. A few developments are bewildering. The track of Arjun (Anuj Jain) is difficult to understand, especially how he managed to get into Tara’s gang. Surprisingly, Tara and his team don’t kick him out despite knowing that he’s an undercover officer! The flow of narrative is also fractured by two songs. Shockingly, the <em>'Makhna'</em> song comes up all of a sudden. For no rhyme or reason, Tara and the gang head to Israel. No explanations given! The makers, at the most, could have added a voiceover of Tara telling her gang that they should take a break for a few days but alas! <span style="text-decoration: underline;"><strong>“Working with Sushant Singh Rajput was GREAT, You…”: Sapna Pabbi | Drive | Jacqueline</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/working-with-sushant-singh-rajput-was-great-you-sapna-pabbi-drive-jacqueline/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> DRIVE starts on a fair note. The beginning scene instantly reminds of FAST &amp; FURIOUS’s street racing scenes. But there’s a nice surprise as one expects the winning driver of the race to be Sushant. Instead, it’s Jacqueline who emerges from the car. The way King hoodwinks Tara’s men at the jewellery store and how he gets the seized car back from the cop also keeps the interest going. The trouble starts soon enough as the film gets too complicated or too unconvincing. The second half is focused on the gang trying to rob the treasure from Rashtrapati Bhavan. The manner in which they easily get access to the place is very hard to believe. Also, the various twists and turns instead of impressing viewers end up confusing them. A lot of questions remain unanswered till the very end. Sushant Singh Rajput fails to give his best. In scenes where he is supposed to give the see-I-am-so-smart cool smile, he ends up looking quite awkward. Jacqueline Fernandez in fact is much better. She looks convincing as the leader of the gang. Moreover, she also exudes considerable oomph. Vikramjeet Virk does well, as per his character requirement. Sapna Pabbi has a great screen presence and acts well. Boman Irani is dependable as always. Pankaj Tripathi is apt for the part and even raises few laughs. Vibha Chibber suits the character. Same goes for Kaustubh Kumar (Raj). Anuj Jain is hardly there. Major Bikramjeet Kanwarpal (Inspector Rathore) is decent. Music suits the mood of the film but doesn’t have a shelf life. <em>'Karma'</em>, played in the opening credits, is the best of the lot. <em>'Makhna'</em> is forced into the film. Same goes for <em>'Prem Pujari'</em>. <em>'Black Car'</em> and <em>'Tu Jaanta Nahi'</em> are relegated to the background and are forgettable. Qaran's background score is stylish. Vishal Sinha's cinematography is sans complaints. But in the Israel scene, the lensman should have captured the beauty rather than just going for BTS-style camerawork. Parichit Paralkar's production design is quite good. He had a challenging task at hand as he had to ensure that the sets resemble the various rooms and chambers of Rashtrapati Bhavan. In that regard, he succeeds in most parts. Fluiidmask Studios' VFX, however, is very tacky and fake. Stefan Richter and Vikram Dahiya's action is nothing great. The film ideally should have had more in the name of action other than just car chase scenes. Samidha Wangnoo's costumes are very rich and appealing, especially the ones worn by Jacqueline and Sapna. Tarun Mansukhani's editing is average. On the whole, DRIVE gives a déjà vu of many other films in this genre and fails to impress on account of confusing and unconvincing plot. Avoidable

Vidyut Jammwal has carved a niche for himself thanks to his death-defying stunts and his films which are mostly of the action genre. He’s popularly known as the ‘Commando’ actor as he been a part of both the COMMANDO films. And now he’s back with COMMANDO 3, which like its predecessor promises lot of action, entertainment and patriotism. So does COMMANDO 3 manage to give the audiences a <em>paisa-vasool</em> time? Or does it fail to impress? Let’s analyse. <img class="aligncenter wp-image-1045975 size-full" title="Movie Review: Commando 3" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/11/Movie-Review-Commando-3.jpg" alt="Movie Review: Commando 3" width="720" height="450" /> COMMANDO 3 is the story of a secret agent in a race against time to save his country. In Mumbai, two young kids – Usman and Omar – are arrested along with their mentor, Subhan after a tip-off. It is revealed that Umar and Omar’s real names were Rakesh and Amit respectively and they converted to Islam after watching provocative propaganda videos of Buraq Ansari (Gulshan Devaiah). Buraq is someone with no record and even his face is covered in his videos. Hence, the Indian intelligence is unaware about his identity and name. Realizing that he’s planning a major terrorist attack in India and that the festival period is coming up, the senior intelligence official Roy (Rajesh Tailang) asks his most trusted and brave officer, Karanveer Singh Dogra (Vidyut Jammwal), to handle the case. Karanveer finds out that the video and currency notes found in the houses of Usman, Omar and Subhan were sourced from London. Roy meanwhile realizes that Subhan talked about 9/11 attack repeatedly and it means that the attack in India will take place on November 9 or 9/11 in other words and incidentally, it’s the day of Diwali. With only 33 days to go for Diwali, Karanveer is urgently sent to London to track down Buraq. He’s helped in this mission by Bhavana Reddy (Adah Sharma) who is now no longer corrupt but still in love with Karanveer. In London, they are provided local help by two British Intelligence agents, Mallika Sood (Angira Dhar) and Armaan Akhtar (Sumeet Thakur). After carefully going through a lot of suspects, the foursome finally manage to find out Buraq’s identity and also that he runs a restaurant. Not just that, they also discover that he is divorced from his wife, Zahira (Feryna Wazheir) and that he loves his son Abeer (Atharva Vishwakarma) immensely. Karanveer hence goes after his son and takes him in his custody, along with Zahira, who is aware of Buraq’s activities and hence agrees to be a witness. Buraq is so enraged by these turn of events that he decides to advance the date of attack to catch the Indians unawares. What happens next forms the rest of the film. Darius Yarmil and Junaid Wasi's story is clichéd and ordinary. But Darius Yarmil and Junaid Wasi's screenplay is where they bring some novelty in terms of character sketch, twists and turns etc. that keeps the interest going. However, it should have been consistently entertaining from start to finish for a better impact. Darius Yarmil and Junaid Wasi's dialogues are poor. A film like this ought to have one-liners that should have ideally packed a punch. Sadly, the dialogues here are strictly okay and even quite poor at places. Aditya Datt's direction is neat and he handles it in such a way that the masses will be able to enjoy and more importantly, comprehend what’s going on. A few of the scenes are deftly handled. The sequence where Karanveer and his colleagues are tracking down Buraq while in a parallel sequence, Buraq is hunting down Karanveer is very nicely done. The romantic track is hardly there and that’s good as no time is wasted with the focus being firmly on the story. On the flipside, the beginning portions are not at all interesting and even in the second half, it takes time for the film to pick up. Many developments are too unconvincing and difficult to digest. Some questions remained unanswered till the very end. No back story of Buraq is given and audiences never come to know how he became such a dreaded terrorist, that too by escaping the radar of the intelligence. It also remained unclear what exactly did Buraq tell in his videos that the youth got brainwashed to the extent that some Hindus turned towards Islam. A few snippets of this is shown but it hardly makes for a convincing watch. <span style="text-decoration: underline;"><strong>Commando 3 | Public Review | Vidyut Jammwal | Adah Sharma | Angira Dhar | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/commando-3-public-review-vidyut-jammwal-adah-sharma-angira-dhar-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> COMMANDO 3 doesn’t start on a great note. The beginning portions seem a bit slow and not that engaging. Vidyut Jammwal’s entry brings the much-needed action in the film. The interrogation scene, though nice, again slows down the film. It’s only when the drama shifts to London that the film gets really interesting. The manner in which Karanveer and his colleagues manage to track down Buraq is interesting. A scene to watch out for is when Buraq is watching Karanveer’s video on a news channel and gets a sudden jolt! The intermission point, though filmy and beaten to death, arrests attention. Post-interval portions are when the film again slides down. The interest level drops and an important sequence is inspired from the classic Hollywood film THE DARK KNIGHT [2008]. Thankfully, the last 30 minutes is quite entertaining and massy. It is also very convenient but the target audience – the single screen viewers – will surely lap it up since the makers give a great message here on Hindu-Muslim unity. COMMANDO 3 belongs to Vidyut Jammwal – no two doubts on that! His acting is nothing great as such but he manages to handle the film on his shoulders. And he does action in adequate doses and that’s what audiences will be expecting the most from him. His act in the finale will be greeted with whistles and claps! Adah Sharma repeats her act from COMMANDO 2 and is quite likeable. Her humour quotient is less this time as compared to the second part but fans of Bhavana Reddy won’t be disappointed. Angira Dhar is great as the no-nonsense cop and underplays her part. Both the heroines get to do their share of action and it looks authentic. Gulshan Devaiah is menacing and scary as the villain. Watch out for how his eyes convey so much! Special mention should also go to his British accent – it’s quite nicely done! Anil George (Momin) is wasted and it’s amusing to see him doing similar roles repeatedly. His character disappears suddenly which is quite weird. Rajesh Tailang is dependable. Sumeet Thakur has a fine screen presence. Feryna Wazheir gets to play a lovely character and does justice. Atharva Vishwakarma makes his presence felt with his expressions and he makes sure he doesn’t go overboard. Virendra Saxena (Subhan’s father) and the actors playing Subhan, Omar/Amit, Usman/Rakesh, Inspector Tambe and Zaytun are fine. Music has no scope. <em>'Tera Baap Aaya'</em> is relegated in the background and works well in the film. <em>'Main Woh Raat Hoon'</em> too plays in the background but doesn’t register. <em>'Akhiyaan Milavanga'</em> and<em> 'Iraade Kar Buland'</em> are missing from the film. Saurabh Bhalerao's background score is racy and exhilarating. Mark Hamilton's cinematography is captivating, especially in the action scenes. Andy Long Stunt Team Ltd, Allan Amin and K Ravi Verma's action is quite hardcore and violent. But the stunts by the actors make for a fine watch. Juhi Talmaki's production design is neat. Sandeep Kurup's editing could have been tighter in some scenes. On the whole, COMMANDO 3 is a decent action entertainer that works because of the action sequences, social message and some paisa-vasool scenes. It arrives sans any competition and hence, has chances to work in the mass centres.

The Nirbhaya gang rape case of 2012 in Delhi shocked one and all across the country. What added to the astonishment was that one of the violent assaulters was a minor. It generated a debate on whether juveniles can be treated like an adult in cases where the crime committed is exceptional and of an extremely violent nature. Yash Raj Films’ latest offing, MARDAANI 2, also deals with this burning topic and coincidentally, comes around two weeks after a similar violent gang rape committed in Hyderabad sparked nationwide outrage. So does MARDAANI 2 manage to shock as well as thrill the audiences? Or does it fail to keep the viewers engaged? Let’s analyse. <img class="aligncenter wp-image-1051871 size-full" title="Movie Review Mardaani 2" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/12/Movie-Review-Mardaani-2.jpg" alt="Movie Review Mardaani 2" width="720" height="450" /> MARDAANI 2 is the story of a psychotic rapist trying to challenge the police. Shivani Shivaji Roy (Rani Mukerji) is now the SP of Kota, Rajasthan. In this town, a girl named Latika (Tejaswi Singh Ahlawat) attends a fair where she fights with her boyfriend Monty (Pratyaksh Rajbhatt). A mysterious person, Sunny (Vishal Jethwa), witnesses the way Latika blasts Monty. He has an issue with such outspoken women and on an empty stretch, he abducts her. He takes her to an abandoned place where he brutally tortures Latika, rapes and then kills her. Shivani is shocked with the violence but carries out the investigation immediately. At the press conference, she calls the murderer 'dedh shaana'. This hurts Sunny and he decides to teach Shivani a lesson. He sends her flowers with a taunting note. He sneaks into her house and steals her clothes and accessories. He wears her saree to trap a journalist Kamal Parihar (Anurag Sharma) and eliminates him, as part of the contract given to him by a local politician Panditji (Prasanna Ketkar). Sunny then smartly gets employed in the tea stall outside Shivaji’s police station. Hence he gets access to visiting the police station and even eavesdropping what the cops are talking about the case. When a kid, who had seen Sunny, comes forward to identify him, Sunny kidnaps him from the police station toilet and kills him. Shivani hence faces backlash for what is termed as a lapse on her part. She is transferred. But as everyone is busy with Diwali celebrations, the replacement is expected to take charge only 2 days later. Hence Shivani has 48 hours to crack the case and nab Sunny. What happens next forms the rest of the film. Gopi Puthran's story is excellent and serves as a worthy sequel to the first part. It also makes a nice comment on misogyny. Gopi Puthran's screenplay is highly effective and also entertaining. The way he has thought of novel ways to show the villain's sharp mind is seen to be believed. He could have avoided a few cinematic liberties in the second half though. Gopi Puthran's dialogues are acidic and work very well. Rani Mukerji's monologue during her TV interview is applause worthy. Gopi Puthran's direction is terrific, also considering that this is his debut film. He adds the required thrill and entertainment to keep the viewers gripped. Also there are sub plots in the film, of the fellow cops who don’t like taking orders from a female officer and of a politician using Sunny for his gains. All of it is brought together nicely. On the flipside, the film gets a too convenient in the second half. The antagonist is freely roaming in the city although his picture is out everywhere. Moreover the film has a lot of disturbing content. The scene where the forensic doctor (Deepika Amin) is explaining Latika's injuries will make viewers highly uncomfortable. <span style="text-decoration: underline;"><strong>Mardaani 2 | Public Review | Rani Mukerji | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/mardaani-2-public-review-rani-mukerji-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> MARDAANI 2 is just 105 minutes long and doesn’t waste time. The villain gets introduced in the beginning itself and the way he smartly traps Latika and then violates her shocks you. The astonishment continues as Sunny manages to kill Kamal Parihar as well and passes it off as suicide. The sequence where he abducts the child also keeps the thrill going. Post interval, one expects the film to drag but a surprise awaits here as Shivani finds Sunny minutes after second half commences. And it’s after this scene that the film drops a bit. The cat and mouse chase becomes a bit repetitive. Also after a point it becomes unconvincing the way Sunny is always able to outsmart Shivani and has thought ten steps ahead. The climax however is massy and viewers would surely break into applause. MARDAANI 2 belongs to Rani Mukerji and Vishal Jethwa. Rani yet again delivers a terrific performance as Shivani Shivaji Roy. It’s great to see how she understands her part so well. She is tough but she also has a sensitive side, as seen during her conversation with the forensic doctor and also in the very final scene. But both the characteristics look very organic and nothing seems forced. She also gets the action scenes right. Vishal Jethwa rocks the show and how! He impresses from the first scene itself when he breaks the fourth wall and talks directly to viewers. Surprisingly, he gets more screen time than Rani in the first half! Throughout the film, he gets the menacing bit perfectly. Tejaswi Singh Ahlawat is decent while Deepika Amin is fine in a special appearance. Other actors who do a fine job are Pratyaksh Rajbhatt, Prasanna Ketkar, Shruti Bapna (Bharti), Sumit Nijhawan (Brij Shekhawat), Sunny Hinduja (Viplaw Beniwal) and Richa Meena (Sunanda). Rajesh Sharma (Amit Sharma) is quite good as the reporter and his scene with Rani is one of the highpoints of the film. Mardaani 2 is a songless film. John Stewart Eduri's background music is loud but exhilarating. Jishnu Bhattacharjee's cinematography is quite neat and captures the small town feel to an extent. Sukant Panigrahy's production design is passable. Leepakshi Ellawadi's costumes are realistic. Vikram Dahiya's action is realistic. Shanoo Sharma's casting is spot on. Monisha R Baldawa's editing is uncomplicated. On the whole, MARDAANI 2 is a gripping thriller that boasts of an exciting script and bravura performances by Rani Mukerji and Vishal Jethwa. At the box office however, it will need a strong word of mouth to sustain.

One of the biggest surprise hits of 2019 was the suspense thriller BADLA, starring Amitabh Bachchan and Taapsee Pannu. It was a remake of the 2017 Spanish film THE INVISIBLE GUEST, directed by Oriol Paulo. Now another film of this master director, THE BODY, has been remade and also carries the same title. So does the Hindi remake of THE BODY manage to grip and shock viewers, just like the original version? Or does it fail to engage? Let’s analyse. <img class="aligncenter wp-image-1051941 size-full" title="Movie Review: The Body" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/12/Movie-Review-The-Body.jpg" alt="Movie Review: The Body" width="720" height="450" /> THE BODY is the story of a corpse that vanishes from a morgue under mysterious circumstances. Ajay Puri (Emraan Hashmi) is married to a rich businesswoman Maya Verma (Sobhita Dhulipalia) and both reside in Port Louis, Mauritius. Ajay has married Maya for her wealth. Moreover he is fed up of the way she ill treats him. Ajay runs her pharmaceutical business and is also a guest professor. During one of the lectures, he gets introduced to a student, Ritu (Vedhika Kumar). Soon they start a romantic relationship. Ajay is aware that if he asks for a divorce from Maya, he’ll be stripped of all wealth. Hence he decides to murder her and devises a great plan. Maya gets anxious while taking flights. The day she is going to be back from a long flight from Los Angeles, Ajay pours small amount of poison in her wine. It produces same kind of symptoms that one gets while suffering a heart attack. The doctors would hence conclude that she suffered the attack due to her anxiety over taking the flight. As per the plan, Maya consumes the poisoned wine and in the evening, she dies. Her body is taken to the morgue for autopsy. Trouble arises when the body disappears from the morgue. The caretaker, Tara Singh, claims that he saw dead Maya herself walking out! SP Jairaj Rawal (Rishi Kapoor) is brought to investigate the case. Jairaj himself is not able to recover from a personal tragedy. What happens next forms the rest of the film. Oriol Paulo's original story has loose ends but could have made for a great suspense thriller. The adapted screenplay is faulty and very weak. The film needed some really nail biting scenes. Instead the writer added clichéd and run of the mill scenes which hamper the impact. Dialogues are also nothing exciting. Jeethu Joseph's direction is quite disappointing. It is shocking that the director who made the original version of DRISHYAM has made this flick. The execution seems amateur and fails to really captivate the audiences. Despite the 103 minutes run-time, the film is riddled with 4 songs further adding to the disappointment. Also the shocking climax instead of impressing viewers will leave them bewildered as the whole idea of the body disappearing from the morgue seems too farfetched and unnecessary for what was the intention. <span style="text-decoration: underline;"><strong>"Akshay Kumar sir is FABULOUS with…": Vedhika on Laxmmi Bomb &amp; Kanchana | Emraan Hashmi | The Body</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/akshay-kumar-sir-is-fabulous-with-vedhika-on-laxmmi-bomb-kanchana-emraan-hashmi-the-body/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> THE BODY has a non-linear narrative and that keeps the interest going to an extent. However the first 10 minutes prove that the execution is not upto the mark. The film has some interesting moments but are not helmed well. A few sequences that stand out are Ajay being interrogated by Jairaj. The intermission point arrests attention as a horror angle is introduced. Post interval, the film remains dry with only few moments here and there that impress. The finale is unpredictable but not very logical. Emraan Hashmi is fine but could have done better. His best scenes are with Rishi Kapoor and especially when he gets irritated with the investigation. Rishi Kapoor is a bit theatrical which wasn’t the requirement of the character. He gets the sarcasm bit right. Sobhita Dhulipalia emerges as the best performer of the film. Her role is quite badass and he does total justice. Vedhika Kumar looks glamorous and is decent. Rukhsar Ahmed (Dr Tanya) and Anupam Bhattacharya (Pavan) are passable. Songs are a big letdown and are forced. All songs of the film - <em>'Main Janta Hoon', 'Khuda Hafiz', 'Aaina'</em> and <em>'Rom Rom' </em>are forgettable. <em>'Jhalak Dikhla Jaa Reloaded'</em> is missing from the film. Clinton Cerejo's background score fails to make any impact. Satheesh Kurup's cinematography is neat. Prem Navas's production design is rich. Dipika Lal and Anirudh Singh's costumes are glamorous especially the clothes worn by Sobhita Dhulipalia and Vedhika Kumar. Ayoob Khan's editing is nothing special. On the whole, THE BODY is a dry and boring thriller. At the box office, it will turn out to be a flop.

Salman Khan’s career got a new lease of life with WANTED [2009]. But it was DABANGG [2010], that released a year later, which confirmed that he was there to stay on top for a long, long time. Audiences too loved the superstar like anything in his Chulbul Pandey act. DABANGG 2 [2012] also repeated the blockbuster commercial success of the first part, though collections didn’t grow much as response was not unanimously positive. Now seven years later, Salman and producer-brother Arbaaz Khan present DABANGG 3 and release it in the beneficial Christmas week. What’s more, massy director Prabhudheva is helming the flick this time. So does DABANGG 3 emerge as a complete entertainer that will give fans their money’s worth? Or does it fail to entertain? Let’s analyse. <img class="aligncenter size-full wp-image-1054364" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/12/Movie-Review-Dabangg-3.jpg" alt="" width="720" height="450" /> DABANGG 3 is the story of a badass cop. Chulbul Pandey (Salman Khan) is now the SP of a town named Tundla. As soon as he arrives, he nabs a bandman-turned-goon Guddu (Nawab Shah) and reforms him. He then busts a human trafficking racket under Chinti Valia (Dolly Bindra). The kingpin of this business is Bali Singh (Kichcha Sudeepa). As soon as Chulbul finds out about this aspect, he goes into a shock. Some repressed traumatic memories come alive in front of his eyes. The story then goes in a flashback mode. This is a time when Chulbul's name was Dhaakar. He comes across the picture of Khushi (Saiee M Manjrekar). She was selected as the bride for Dhaakar's brother Makkhi (Arbaaz Khan). But Dhaakar falls for her. He meets her and wins her heart with his progressive thoughts and of course, style. At the insistence of Khushi, he changes his name to Chulbul. The alliance was fixed and all was going well. One day Bali Singh bumps into Khushi and he falls for her. But when he learns that Khushi is madly in love with Dhaakar, he gets enraged and kills her in front of Dhaakar. On top of that, Dhaakar is jailed for the murder of Khushi and her parents. In the prison, he comes across a large hearted police officer Satyendra Singh (Sharat Saxena). He helps him get acquitted and also motivates him to join the police force. As soon as he turns cop under the name of Chulbul Pandey, the first thing he does is to throw Bali Singh down a cliff. He is presumed to be dead. Hence, Chulbul is shocked that Bali survived and is now back to challenge him. What happens next forms the rest of the film. Salman Khan's story is weak and beaten to death. He has such great characters at his disposal but he makes good use of them only partially. Salman Khan, Prabhu Deva, Dilip Shukla and Aloke Upadhyaya's screenplay is effective but only in parts. The film keeps one engaged but again, the script suffers because of outdated storyline. What’s praiseworthy is how they have joined the dots. Audiences get to learn a lot about why Chulbul and other characters behave the way they do. Dilip Shukla and Aloke Upadhyaya's dialogues pack a punch in most places. A few jokes however fall flat, especially the toilet humour. Prabhudheva's direction is average and again, the story is to blame. He tries to add something new but doesn’t succeed in all scenes. Also, there are far too many songs that hamper the film’s pace. And shockingly, an important mystery, with regards to Bali Singh, remains unsolved till the very end. It’s bewildering why the makers chose to do that DABANGG 3 starts off on a fine note. The entry scene of Salman Khan as expected is whistle and clap worthy and in many ways, it’s the best part of the film. The manner in which Chulbul frees the trafficked girls and even teaches Chinti Valia a lesson will also be loved. The flashback portion too commences well and is also funny. But the Bali Singh track here looks very clichéd and outdated. Post interval, the film gets a bit better as Chulbul outsmarts Bali Singh. Again, most of the parts are predictable and of convenience. The climax fight will be liked by masses, particular the shirtless sequence bit of Salman Khan. <span style="text-decoration: underline;"><strong>“Salman Khan has always worked VERY HARD, You don’t…”: Arbaaz Khan | Dabangg 3</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/salman-khan-has-always-worked-very-hard-you-dont-arbaaz-khan-dabangg-3/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Dabangg 3 belongs to Salman Khan and he’s the one who makes the film watchable. The superstar is enjoying playing this part and it shows. His sense of humour is spot on. Also he looks dashing in the flashback portions. Sonakshi Sinha as expected lends support. She looks energetic in the songs. Newcomer Saiee M Manjrekar seems beautiful and tries her best. But her dialogue delivery is not upto the mark. Kichcha Sudeepa looks evil and menacing. But his track ought to be more terrifying for a better impact. Arbaaz Khan is fine and has a crucial part in the second half. Dolly Bindra is loud but suits her part. Nawab Shah is over the top. Pramod Khanna plays the part essayed by his deceased brother Vinod Khanna in the first two parts and slips into the role effortlessly. Bharat Dabholkar is wasted. Sharat Saxena is decent. Rajesh Sharma (S S Sharma) and Paresh Ganatra (Dabboo) try to be funny but don’t really succeed. Sajid-Wajid's music won’t have a huge shelf life. <em>'Hud Hud'</em> is the best of the lot followed by <em>'Munna Badnaam Hua'. 'Naina Lade' i</em>s sweet. <em>'Yu Karke'</em> and <em>'Habibi Ke Nain' </em>are forced. <em>'Awara'</em> is not memorable. Sandeep Shirodkar's background score is heroic and exhilarating. Mahesh Limaye's cinematography is spectacular and some scenes are well shot. Anl Arasu's action is a bit gory but works. Wasiq Khan's production design is appealing. Same goes for Ashley Rebello and Alvira Khan Agnihotri's costumes. Ritesh Soni's editing is not smooth, especially in the action scenes. On the whole DABANGG 3 is a predictable revenge saga which capitalises on the star power of Salman Khan. At the box office, it has enough masala for Salman Khan fans which will result in terrific opening weekend [extending into Christmas holidays] post which it might face a slowdown at the multiplexes.

<p class="x_x_p1"><span class="x_x_s1">The word ‘sperm’ was considered taboo in Hindi movies until 2012. Then came VICKY DONOR - the story of a sperm donor - and it made the term very common and acceptable. Seven years later - after this path-breaking film - yet another Hindi movie takes to tell a genuinely hatke story - GOOD NEWWZ.</span></p> <img class="aligncenter wp-image-1056213 size-full" title="Movie Review: Good Newwz" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/12/Good-Newwz-2-6.jpg" alt="Movie Review: Good Newwz" width="720" height="450" /> <p class="x_x_p1"><span class="x_x_s1">GOOD NEWWZ has generated tremendous excitement thanks to its subject mainly, besides its eye catching star cast. The trailers have also done the trick. The question is, does the film deliver in totality?</span><span class="x_x_s1"> </span></p> <p class="x_x_p1"><span class="x_x_s1">The plot line *without* revealing the spoilers... GOOD NEWWZ is the story of a goof-up of epic proportions. Varun Batra [Akshay Kumar] works in an automobile showroom in Mumbai. He is married to Deepti aka Deepu [Kareena Kapoor Khan], a journalist, since seven years. They are keen to start a family, but aren’t able to do so.</span></p> <p class="x_x_p1"><span class="x_x_s1">At the insistence of Varun's sister [Anjana Sukhani], both decide to visit a fertility clinic run by a reputed doctor, Dr Joshi [Adil Hussain]. Dr Joshi suggests that they opt for IVF. Varun and Deepu give their go ahead.</span></p> <p class="x_x_p1"><span class="x_x_s1">Honey Batra [Diljit Dosanjh] and Monika [Kiara Advani], a Chandigarh-based couple, also visit Dr Joshi. Their last names leads to a confusion and subsequently, a big goof-up.</span><span class="x_x_s1"> </span></p> <p class="x_x_p1"><span class="x_x_s1">GOOD NEWWZ has an interesting plot, but most importantly, it boasts of a smart and engaging screenplay. The writers juxtapose drama, emotions, romance and humour seamlessly in the narrative, which makes this one an enjoyable ride from commencement to conclusion.</span></p> <p class="x_x_p1"><span class="x_x_s1">The writers come to the point at the very start of the film, while the goof-up is well integrated in the screenplay. There’s hardly any dull moment, frankly. Sure, the film could’ve done without a song or two, but these are minor glitches in an otherwise watertight script. While the drama keeps you hooked, the dialogue only heighten the impact of several sequences.</span><span class="x_x_s1"> </span></p> <span style="text-decoration: underline;"><strong>Good Newwz | Public Review | Akshay Kumar | Kareena Kapoor Khan | Diljit Dosanjh | Kiara Advani | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/good-newwz-public-review-akshay-kumar-kareena-kapoor-khan-diljit-dosanjh-kiara-advani-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> <p class="x_x_p1"><span class="x_x_s1">Raj Mehta [GOOD NEWWZ marks his directorial debut] is in total command of the situation. This is a damn difficult subject to handle when you are a first-timer, but he deserves brownie points for doing complete justice to the written material.</span></p> <p class="x_x_p1"><span class="x_x_s1">The director handles the second hour most admirably. A number of sequences are maturely handled, especially when Kareena and Kiara bond over paani puri or the sequence in the hospital when Akshay breaks down.</span><span class="x_x_s1"> </span></p> <p class="x_x_p1"><span class="x_x_s1">GOOD NEWWZ is embellished with sincere and noteworthy performances. Akshay Kumar is in terrific form. His emotional portions in particular are remarkable. It’s a delight to watch Kareena Kapoor Khan after a hiatus. She’s excellent. Also, she looks stunning. Diljit Dosanjh arrives late in the film, but once he does, he takes the film to another level. He’s top notch. Kiara Advani doesn’t have much to do in the first half, but post interval, she makes sure she scores in several sequences.</span></p> <p class="x_x_p1"><span class="x_x_s1">Adil Hussain has his moments. Tisca Chopra is wonderful. Anjana Sukhani and the actor playing her husband are dependable.</span></p> <p class="x_x_p1"><span class="x_x_s1">The soundtrack is in sync with the film. At least two songs stand out - ‘Sauda Khara Khara' and 'Chandigarh’. The DoP captures the mood as well as the emotions well.</span><span class="x_x_s1"> </span></p> <p class="x_x_p1"><span class="x_x_s1">On the whole, GOOD NEWWZ is a sure-fire hit. Smart writing, fantastic humour and heartfelt emotions are the three pillars of this well-made film. The fourth pillar being the performances of its principal cast. At the boxoffice, 2019 is sure to conclude with a big winner, bringing cheer and joy in this festive season. GOOD NEWWZ will live up to its title and bring good news for its investors.</span></p>

Filmmaker Luv Ranjan has launched quite a few actors, most notable among them being Kartik Aaryan. He casts them repeatedly and few of them have hit the bullseye at the box office as well. He turned producer with the 2018 super-hit flick, SONU KE TITU KI SWEETY, also directed by him. He had another hit film in 2019 in the form of DE DE PYAAR DE. In 2020, his banner Luv Films will be releasing as many as 3 films, and the first one to come out is JAI MUMMY DI. It is a long-delayed film but looks fresh and has the Delhi flavour in abundance, which gives it a chance to excel in North India. So does JAI MUMMY DI manage to be as entertaining as other Luv Ranjan films? Or does it fail to entice? Let’s analyse. <img class="aligncenter wp-image-1063970 size-full" title="Movie Review: Jai Mummy Di" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Movie-Review-Jai-Mummy-Di.jpg" alt="Movie Review: Jai Mummy Di" width="720" height="450" /> JAI MUMMY DI is the story of two lovers whose mothers are sworn enemies of each other. Delhi-based engineering students, Puneet Khanna (Sunny Singh) and Saanjh Bhalla (Sonnalli Seygall), are in love with each other. Saanjh proposes to Puneet but the latter declines. He too wants to settle down with Saanjh but is afraid of his mother. That’s because Puneet’s mother Laali (Supriya Pathak) and Saanjh’s mother Pinky (Poonam Dhillon) hate each other a lot. Interestingly, they were the best of friends at one point and moreover, they reside next to each other. But they can’t stand each other’s sight. And Puneet is too scared to break the news that he’s in love with the daughter of her ‘enemy’. In anger, Saanjh breaks up with Puneet. She starts looking for suitable groom for marriage and even approves of Dev (Bhuvan Arora). Their marriage is fixed for October 16 at Diamond Hall in Noida. When Puneet’s mother Laali finds out that Pinky has managed to lock her daughter’s wedding, she feels jealous. Not wanting to be left behind, she quickly selects a girl for Puneet, Sakshi. What’s more, Puneet and Sakshi’s marriage is also set on October 16 and that too in Diamond. Meanwhile, Puneet and Saanjh realize that they won’t be able to stay happy with anyone else but each other. Hence, they patch up and think of ways to bring their respective mothers together. When nothing works, they decide to elope and get married. What happens next forms the rest of the film. Navjot Gulati's story rests on waferthin plot. But it’s a great idea and could have made for a fine entertainer. But Navjot Gulati's screenplay plays spoilsport in a major way. The film is laced with poorly written sequences and not-so-funny moments. Also, the flow of scenes is not smooth. Navjot Gulati's dialogues also add to the negative impact. Barring a few one-liners, the rest of it doesn't have the desired impact. Navjot Gulati's direction is terrible. With the script, he already made a mess, but he could have covered it up with his direction. Sadly, even his execution is very bad. The film never goes on a high or goes into the funny zone, which it ideally should have. And it’s really fortunate since the concept had the promise to go all out. And the climax sadly is very <em>thanda</em> as one expects some major confrontation and eventual patch up. The worst is reserved for the very final scene and it totally takes the film down. JAI MUMMY DI begins on a very awkward note, to explain the enmity between the two women. The scene may have looked interesting on paper but translates poorly on screen. The song <em>'Mummy Nu Pasand'</em> ups the interest but it goes downhill in no time. A few scenes are bewildering. For instance, why Pinky also follows suit and shifts to Ghaziabad, that too next to Laali’s residence. The humour quotient in the film is very less and half of whatever is there doesn’t work. Ideally, any other worthy director or writer would have shown the lovers going to insane lengths to bring their mothers together and how it causes madness in the process. Here, the lovebirds hardly do anything of that sort. The intermission point tries to be dramatic but doesn’t work. Post-interval, the film keeps getting repetitive and it tests the patience of the viewers. This is despite the 105 minutes of runtime. One can’t just wait for the mothers to find out the truth and patch up. Finally, it happens in the end but ideally, it should have taken the film to a high. But nothing of that sort happens. The most disappointing bit of the film however is the reason why Laali and Pinky started fighting in the first place. <span style="text-decoration: underline;"><strong>PAISA VASOOL: Sunny Singh Nijjar v/s Sonnalli Seygall – Bollywood ‘ROM-COM’ Quiz | Jai Mummy Di</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/paisa-vasool-sunny-singh-v-s-sonnalli-seygall-bollywood-rom-com-quiz-jai-mummy-di/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of performances, Sunny Singh suits the part. His acting is nothing great but he manages to pull through the role nicely. Sonnalli Seygall gets to show her acting chops. In PYAAR KA PUNCHNAMA 2 [2015], she got overshadowed by other actors. But here, the focus is majorly on her, especially in the first half, and she does fine. Supriya Pathak and Poonam Dhillon are strictly okay. Shockingly, the film ideally should have revolved around them but they don’t get the screen space that they deserve. Rajendra Sethi (Trilochan Khanna) and Danish Husain (Gurpal Bhalla) are nothing great. Veer Rajwant Singh (Vineet) is however good as Puneet’s brother. Alok Nath (Sanjog Luthra) is wasted. It’s bewildering why he was even there in the film. Bhuvan Arora is the funniest part of the film. The actor playing Sakhi is passable. Neeraj Sood (Jasbir Bhullar) is good as always. Nushrat Bharucha, Ishita Raj and Varun Sharma do well but their cameos come at a time when the viewers are tired of the film already. Songs are forgettable, except <em>'Mummy Nu Pasand'</em>, which is catchy. <em>'Manney Ignore Kar Rahi'</em> comes immediately after this track and doesn’t work<em>. 'Dariyaganj'</em>, <em>'Ishq Da Band'</em> and the title track also don’t manage to register. <em>'Lamborghini'</em> is played in the end credits. Hitesh Sonik’s background score is entertaining but it doesn’t complement the scenes. Sanket Shah's cinematography and Tarpan Shrivastava's production design are appropriate. Jia Bhagia, Arun J Chauhan and Mallika Chauhan's costumes are appealing, especially the ones worn by the lead actors in the various marriage scenes of the film. Dev Rao Jadhav and Chetan M Solanki’s editing is haphazard at places and is not organic. On the whole, JAI MUMMY DI is a poor fare owing to the weak script, lazy direction and lack of humour. At the box office, it won’t have a long run and just has this one week window to score.

Dance films have been a rage in the West and in Bollywood, this genre got an establishment thanks to ABCD – ANY BODY CAN DANCE [2013]. Directed by Remo Dsouza, it starred unknown faces and yet fetched a decent opening and did good business at the box office. The series got a boost as the second part, ABCD – ANY BODY CAN DANCE – 2 [2015] starred Varun Dhawan and Shraddha Kapoor and was a Rs. 100 crore grosser and the first such film for both the actors. Now Varun, Shraddha and Remo join hands once again for STREET DANCER 3D, which is also in the same zone as the ABCD films. This time, they promise to take the dance and madness many notches higher. So does STREET DANCER 3D manage to fulfil the expectations? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1066172" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Movie-Review-Street-Dancer-3D.jpg" alt="Movie Review: Street Dancer 3D" width="720" height="450" /> STREET DANCER 3D is the story of two warring groups uniting for a larger cause with the backdrop of dance. Sahej (Varun Dhawan) is an Indian origin British resident based in London with his family. He and his brother Inder (Punit J Pathak) are a part of a dance group called Street Dancers. Inder had participated in a globally reputed dance performance called Ground Zero. Sadly, in the final act of his dance performance, he gets injured and breaks his knee. Two years later, Sahej travels to Punjab, India for a wedding. He returns with lot of money which he uses to buy a dance studio. He tells Inder that he got this money by performing back home. Sahej reunites the Street Dancers gang and they begin their street dance performances. In the same locality, another dance group resides called Rule Breakers. They are of Pakistani origin and comprise of Inayat (Shraddha Kapoor), Zayn (Salman Yusuff Khan) among others. Their dance is quite superior and both groups often get into tussles. Sahej realizes that Street Dancer group has to get their dance moves right. He takes the help of Nora (Nora Fatehi), a dancer in a British dance group called The Royals and also his girlfriend. She improves the dance of the group. Street Dancers and Rule Breakers often assemble at a restaurant run by Prabhu Anna (Prabhudheva) to watch the India vs Pakistan cricket match. One such time, they get into a fight and attack each other with food. They stop only when a cop (Murli Sharma) intervenes. While leaving from there, Inayat notices suspicious looking men entering from the back door of the restaurant. During her next visit, she again witnesses it and this time, she enters the same entrance and confronts Prabhu. At this, Prabhu reveals that these men are illegal immigrants from the Indian subcontinent and that he gives them leftover food. Not just that, he packs all the leftover dishes and distributes them to a colony housing illegal immigrants. Inayat is moved with this gesture. Meanwhile, the Ground Zero competition is announced again and the prize money is staggering. Inayat informs the Rule Breakers about the plight of the immigrants. They all decide that if they win Ground Zero, they’ll use the prize money to help these people return back to their country. Street Dancers too decide to participate in Ground Zero. Prabhu Anna advises both the groups to unite as that’ll help them win. What happens next forms the rest of the film. Remo Dsouza's story is not novel. A few developments are fine but predictable. However, Tushar Hiranandani's screenplay (additional screenplay by Jagdeep Sidhu) is quite entertaining and very simple. It’s easy to comprehend what’s going on despite so many characters and so much of dance happening. A few dramatic sequences especially are well scripted. Farhad Samji's dialogues (addtional dialogues by Jagdeep Sidhu) work well but one expects a lot from this talented writer especially some witty one-liners. Remo Dsouza's direction works for most parts. The dance sequences, obviously, are handled well. He excels especially in the confrontational sequences be it Mac (Francis Roughly) assaulting Poddy, Poddy-Sahej’s fallout, Sahej’s emotional moment with his brother Inder in the second half and Sahej’s speech in front of Inayat’s family. On the flipside, the film is a bit too long at 143 minutes. The first half, particularly, could have been shorter. Also, one wishes if some of the developments were backed by logic. It is bewildering why Amrinder (Aparshakti Khurana) and his friends blame Sahej for their bad experience in London. It was Amrinder and his pals who were behind Sahej in Punjab and they literally forced him to take them to London. So Sahej should not have felt responsible and guilty for their miserable condition. A similar illogical development can be seen in the climax. Thankfully, the film has many other plusses that compensate for these minuses. STREET DANCER 3D begins on a visually stunning note. The introduction piece is well shot and thought of and instantly sets the mood. The introduction of Inayat is quite fun while Nora’s entry will surely soar the temperatures in this cold weather. Nothing much then happens till a point. It’s only when Sahej narrates his Punjab experience to Poddy (Raghav Juyal) that the interest lifts again. The intermission comes at a fine juncture. Post-interval, the film drops again but a nice plot point is added here when Sahej breaks off from Street Dancers. This track works well. The immigration bit is touching but logically flawed and that affects some impact. But the film has lot more to impress. The semi-final sequence is sure to be greeted with claps and whistles. The climax has enough drama and entertainment to keep viewers hooked. The film ends on a touching note with a montage of the SWAT (Sikh Welfare &amp; Awareness Team) and their noble work in London. <span style="text-decoration: underline;"><strong>Street Dancer 3D | Public Review | Varun Dhawan | Shraddha Kapoor | Nora Fatehi | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/street-dancer-3d-public-review-varun-dhawan-shraddha-kapoor-nora-fatehi-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of performances, Varun Dhawan as always is quite entertaining and has a terrific screen presence. And he looks dashing. Shockingly, in comparison to Shraddha Kapoor and Nora Fatehi, he pales when it comes to dance. Shraddha Kapoor looks like a million bucks and is a treat to watch. Her screen time is a bit limited however in the second half. Also, one wished to see some sort of romance between the two as that would have made their fans happy. Nora Fatehi has a very small role but it’s very crucial and it’s bigger than her part in BATLA HOUSE. She is smoking hot and her entry scene is the best out of all actors! Aparshakti Khurana is great and makes sure that he doesn’t go overboard. Prabhudheva is effortless. His dance part appears late but once it does, it takes the film to a high! Punit J Pathak is memorable. The rest of the actors playing the dancers like Salman Yusuff Khan, Raghav Juyal, Dharmesh Yelonde (D), Sushant Pujari (Shushi), Caroline Wilde (Alisha) etc do well. The rest of them are also quite good and dance well but don’t get registered much. Francis Roughly is fine in a sort of villainous role. Zarina Wahab (Amarinder’s mother), Murli Sharma and Manoj Pahwa (Chabda) are passable. Others are good. There are almost 10-11 songs in the film and most of them thankfully are well choreographed and make an impact. <em>'Muqabla'</em> is the best of the lot and single-screen cinemas especially will go in a frenzy! <em>'Mile Sur Mera Tumhara'</em> comes next best followed <em>by 'Bezubaan Kab Se', 'Pind'</em> and <em>'Garmi'. 'Gann Deva'</em> seemed forced while <em>'Suno Gaur Se Duniya Walo'</em> is missing in the film. <em>'Dua Karo' </em>is moving and is well shot. <em>'Illegal Weapon 2.0', 'Lagdi Lahore Di'</em> and <em>'Nachi Nachi'</em> are okay.  Sachin-Jigar's background score is a bit loud but is in sync with the film’s mood. Kruti Mahesh, Rahul Shetty and Tashan Muir's choreography is one of the highpoints. Each and every dance piece is novel and visual treat. Vijay Kumar Arora's cinematography (Punjab schedule shot by Tushar Kanti Ray) is sans complaints and the dance scenes especially are beautifully captured. Tanvi Leena Patil's production design is appealing. Costumes are quite sexy especially the ones worn by Varun (Aki Narula), Shraddha (Tanya Ghavri) and Nora Fatehi (Jerry Dsouza). Post House Studios' VFX has played a major role here. The slow motion and light effects especially enhance the impact. Even the 3D is a treat to the eyes. Manan Ajay Sagar's editing is good for most parts but could have been more tighter. On the whole, STREET DANCER 3D is a terrific combination of rich visuals, amazing choreography and strong emotions. At the box office, it will appeal to its target audience - the youth and is most likely to enter the 100 crore club.

The horror genre has taken giant strides in the West and newer concepts have been experimented with to keep the interest going in the genre. Bollywood, however, has lagged behind. Most horror films still follow the template set by the game-changer RAAZ [2002]. But now, Karan Johar’s Dharma Productions is all set to present BHOOT: PART ONE – THE HAUNTED SHIP, and it promises to be a one-of-its-kind horror flick. Moreover, it stars Vicky Kaushal who has become extremely popular following the blockbuster success of his last film, URI: THE SURGICAL STRIKE [2019]. So does BHOOT: PART ONE – THE HAUNTED SHIP manage to scare the daylights of the viewers? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1076932" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/02/BHOOT-Review.jpg" alt="" width="750" height="450" /> BHOOT: PART ONE – THE HAUNTED SHIP is the story of a man facing a scary situation while fighting the horrors of his past. The year is 2012. Prithvi (Vicky Kaushal) is a widower who has lost his wife Sapna (Bhumi Pednekar) and daughter Megha in a freak accident. He is depressed and is avoiding medication. In the midst of all this, an abandoned ship named Sea Bird gets stranded at Mumbai’s Juhu Beach. Prithvi works for a shipping company that is asked to take this ship back to the sea at the earliest. On his first visit to the ship, strange things occur and it makes him feel that the ship is inhabited. However he passes it off as his hallucinations and side effect of his state of mind. The subsequent visits however makes him sure that all this is not a figment of his imagination. During the third visit, he spots a girl at the hull of the ship. He also comes across log books and some video tapes dating back to the year 2001. As he sees the tapes, he realises that the captain’s wife (Meher Vij) and daughter Meera were also present on the ship. Gradually, Prithvi realises that the girl he encountered on the ship is Meera. He goes again to the ship and this time he comes face to face with Meera. But this time, she’s in a ghostly avatar. What happens next forms the rest of the film. Bhanu Pratap Singh's story is decent and could have made for a gripping scarefest. Bhanu Pratap Singh's screenplay however is unimpressive overall. He gets the scare quotient right only in few scenes. Even in the main story, things are barely convincing. Bhanu Pratap Singh's dialogues are passable. Bhanu Pratap Singh's direction is nothing great. He makes good use of his knowledge in creating a scary atmosphere. A few scenes are well executed. But most of the scenes fail to impress. Trouble begins in the first 15 minutes itself when a random couple is shown venturing into the massive ship undetected and playing hide and seek. The ship is ten storeys tall and this information is given by the makers themselves just few minutes before this scene. But no explanation is given how the lovers manage to climb atop the deck which is at such a height. This scene actually gave a clear indication that logic and common sense are not going to be the strong points of this film. And sure enough, the absurdities continue in the second half, especially the climax. Many questions are left unanswered and it is sure to baffle viewers when they come out of theatres. BHOOT: PART ONE – THE HAUNTED SHIP begins on a fair note as Prithvi's past and glimpses of the happenings on the ship in 2001 is depicted. The first half doesn’t have much of a story as such but it keeps you intrigued as the scary atmosphere is well created. A few jump scares also serve the purpose. The interval comes at a great point. Post interval, there’s some movement in the story and you actually get to know where the film is headed. Still, a few unwanted scenes are there, like Prithvi imagining that he’s talking to his dead daughter at the bank of a river. On the positive side, the scene in the church is excellent and one expects the film to go on a high from here. Sadly the climax is riddled with clichés and flawed developments that kill the joy completely. <span style="text-decoration: underline;"><strong>BHOOT – Part One The Haunted Ship | Public Review | Vicky Kaushal | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/bhoot-part-one-the-haunted-ship-public-review-vicky-kaushal-bhumi-pednekar-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of performances, Vicky Kaushal is in good form. He looks very dashing and gets his act right, without going overboard in any scene. Bhumi Pednekar is decent in a cameo. Ashutosh Rana (Professor Joshi) is fine and gives one a déjà vu of his earlier performance in RAAZ. His character sadly gets a raw deal in the end. Akash Dhar (Riyaz) plays Prithvi's best friend and has an important role. He is decent but again, he doesn’t have much to do later. Meher Vij has a superb screen presence but her performance suffers on account of bad writing. Sanjay Gurbaxani (Agnihotri) is average. The actor playing Amar looks a bit creepy which works well. The actors playing Meera and Megha do very well. Akhil Sachdeva's music has no scope. <em>'Channa Ve'</em> is played in the opening credits. Ketan Sodha's background score is horrifying and works. Pushkar Singh's cinematography captures the mood very well. Aditya Kanwar's production design is top-notch. The abandoned ship especially is well designed. Natashcha Charak and Nikita Raheja Mohanty's costumes are realistic. Vikram Dahiya's action is filmy and takes away the authenticity. Redefine's VFX is first rate and adds to the horror factor. Bodhaditya Banerjee's editing is dragging and could have been crisper. Ideally, this film shouldn’t have been more than 90 minutes long. On the whole, BHOOT: PART ONE – THE HAUNTED SHIP suffers from a half-baked plot and a flawed narrative which leaves viewers confused. The end result is completely unconvincing, barring a few scenes that provide some chills. At the box office, it will be rejected by the audience. Disappointing!

Over the last three decades, Bollywood has come up with quite a few films on homosexuality like FIRE [1996], MY BROTHER NIKHIL [2005], EK LADKI KO DEKHA TOH AISA LAGA [2019], ALIGARH [2016], MARGARITA WITH A STRAW [2015] etc. Aanand L Rai and T-Series are now all set to bring SHUBH MANGAL ZYADA SAAVDHAN and unlike other gay-themed films, this one is light-hearted and looks quite commercial. Moreover, it stars Ayushmann Khurrana, who has become a brand in himself. So does SHUBH MANGAL ZYADA SAAVDHAN manage to entertain? Will it succeed in becoming the first legitimate LGBT-themed hit film of Bollywood? Or does it fail to succeed? Let’s analyse. <img class="aligncenter size-full wp-image-1077035" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/02/Shubh-Mangal-Zyada-Saavdhan-1-26.jpg" alt="" width="720" height="450" /> SHUBH MANGAL ZYADA SAAVDHAN is the story of two men in love in Section 377 era. Aman Tripathi (Jitendra Kumar) is the son of Shankar Tripathi (Gajraj Rao) and Sunaina (Neena Gupta), who are based in Allahabad. Aman works in Delhi and unknown to his family, he's a gay and is living in with Kartik (Ayushmann Khurrana). Jitendra's cousin sister Goggle (Maanvi Gagroo) is getting married and Neena calls Aman to come back to attend her marriage. Aman at first refuses but then gives in. Kartik also joins him and they meet the entire Tripathi family in a marriage special train called Vivah Express. In the train, Aman and Kartik kiss when they assume that no one is looking. Sadly for them, Shankar sees them and he gets the shock of his life. He doesn't tell anyone about it out of shame. At Goggle's marriage, Aman, in front of everyone, kisses Kartik, thus astonishing the Tripathi family. Thanks to this development, Goggle's to be husband refuses to get married. In anger, Goggle runs away. Kartik is asked to leave and Shankar's brother and Goggle's father Chaman (Manurishi Chadha) drops him off to Allahabad station. At the railway station, Kartik bumps into Goggle and stops her from ending her life. She tells Kartik that he shouldn't run away and that he should fight for his love. This motivates Kartik and he decides to return to win over not just Jitendra but the entire Tripathi family. What happens next forms the rest of the film. Hitesh Kewalya's story is decent and had the potential to be a game-changer. Hitesh Kewalya's screenplay however is a big culprit. Under the pretext of making situations funny, he resorts to too many difficult-to-digest situations. This was prevalent in SHUBH MANGAL SAAVDHAN as well but there, they kept a nice balance. Here, the balance is just not there. The first half is still decent. But in the second half, it all goes downhill. Hitesh Kewalya's dialogues are witty but some of them are just over the top. It won’t be wrong to say that even the one-liners, which are supposed to be funny, take away the realism from the film. Hitesh Kewalya's direction is weak. The film has lot of subplots but he doesn’t put it together well. A major chunk of the film is about rift within the family and during such times, the principle homosexuality angle takes a backseat. Also, he should have succeeded completely in two aspects – comedy and messaging. Sadly in both these areas, he doesn’t do justice. Even the black cauliflower angle that provided laughs initially proved to be the biggest downer of the film in the climax. It gave a bad déjà vu of the ‘kala bandar’ angle of DELHI-6 [2009]. On the positive side, he handles few scenes with élan and some scenes genuinely raise laughs. SHUBH MANGAL ZYADA SAAVDHAN’s starts off on a funny note and the subplot of black cauliflower appears hilarious. Devika's (Bhumi Pednekar) scene too adds to the fun. The scene where Shankar Tripathi catches the lovers kissing brings the house down. Scenes like Aman kissing Kartik in full public view and Aman talking to his parents about dopamine and other such stuff keep the interest going. Post interval however, the film drops. The scenes are supposed to be funny but don't make you laugh. Also it becomes too preachy and unconvincing. The makers try their best to make things interesting but it doesn't work. <span style="text-decoration: underline;"><strong>Shubh Mangal Zyada Saavdhan | Public Review | Ayushmann Khurrana | Jitendra Kumar | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/shubh-mangal-zyada-saavdhan-public-review-ayushmann-khurrana-jitendra-kumar-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Ayushmann Khurrana shockingly is not in his usual form. He has always played the victim but here, he plays the instigator and an actor of his calibre should have hit the ball out of park. Shockingly, he goes overboard. The other bigger shocker is that his screen time is very limited. Believe it or not, Gajraj Rao has the maximum screen time followed by Jitendra and then comes Ayushmann! Gajraj Rao however is too good as always and performs as per the script. Jitendra Kumar fits the role to the T and few of his scenes in the first half are great. Neena Gupta is average. Manurishi Chadha and Sunita Rajwar (Champa) do justice to their respective parts. Pankhuri Awasthy (Kusum) is quite funny. Maanvi Gagroo raises few laughs. Neeraj Singh (Keshav) is decent. Bhumi Pednekar is passable while Gopal Dutt (Doctor in the train) is okay. Music is peppy and gels with the film. <em>'Pyaar Tenu Karda Gabru'</em> is the best followed by <em>'Arey Pyaar Kar Le'</em>, which is played in the end credits. <em>'Ooh La La'</em> comes at a great point while <em>'Mere Liye Tum Kaafi Ho'</em> is forgettable. The recreated version of <em>'Kya Karte The Saajna'</em> sounds great but is not utilised well. Karan Kulkarni's background score adds to the quirkiness of the film. Chirantan Das's cinematography is appropriate. Ravi Srivastava's production design is in sync with the film’s setting. Ankita Jha's costumes are realistic and special mention should go to Ayushmann’s look. Ninad Khanolkar's editing is sans complaints. On the whole, SHUBH MANGAL ZYADA SAAVDHAN is a decent attempt and makes an interesting comment on homophobia which exists in our country. At the box office, it has the chance to work with the urban audiences, especially the youth. However, it will be a challenge to bring in family audiences and the audiences from small towns and cities. The presence of Ayushmann Khurrana may give a boost to its collections.

We are in the year 2020 but still, a lot of objectionable trends are sadly quite common. Violence against women, especially, continues despite progress of our country and growth in education and standard of living. Anubhav Sinha, whose 2.0 avatar has given us films on Hindu-Muslim unity [MULK; 2018] and caste discrimination [ARTICLE 15; 2019] now takes up this topic for his latest hard-hitting flick, THAPPAD. The trailer has already intrigued viewers because of its storyline and the association of Taapsee Pannu and Anubhav with this project. So does THAPPAD manage to be as impactful as Anubhav’s last two films? Or does it disappoint? Let’s analyse. <img class="aligncenter size-full wp-image-1078610" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/02/Thapped-5.jpg" alt="" width="720" height="450" /> THAPPAD is the story of a woman fighting a tough battle. Amrita (Taapsee Pannu) is a housewife and is happily married to Vikram (Pavail Gulati) in Delhi. Vikram works in a reputed company and is desperately looking forward to an opportunity which will take him to London for work purposes. Amrita knows how much this means to Vikram. She loves him with all her heart and her entire life revolves around him and in attending to his mother, Sulochana (Tanvi Azmi). Thankfully for Vikram, he’s selected for the London stint. The same night, he throws a party in his house. All is going well until he gets a call from his superior, Thapar. He informs Vikram that he won’t be getting the desired profile that he’s looking for in London and that he’ll have to report to an authority there. This is not something that Vikram was initially assured. He confronts Rajhans, another superior of Vikram and who is present in the party. Things heat up between them and Amrita tries to pacify him. In the process, Vikram slaps Amrita. Her whole world comes crashing down. She tries to move on but is just not able to. Vikram shows regret when he realizes that Amrita has been hurt by his actions. He tries to console her but it doesn’t work for her. Amrita hence shifts to the house of her parents (Kumud Mishra and Ratna Pathak Shah). Vikram stops her and later even comes to take her back. But she doesn’t budge. Vikram then sends a legal notice to her. Swati (Naila Grewal), the girlfriend of Amrita’s brother Karan (Ankur Rathee), suggests that Amrita should show this letter to Nethra (Maya Sarao), a reputed lawyer and Swati’s boss. Nethra suggests that Amrita should solve this issue amicably. Amrita however doesn’t want to and she insists on a divorce. What happens next forms the rest of the film. Anubhav Sushila Sinha and Mrunmayee Lagoo Waikul's story is superb and applause-worthy. In a society where repeated acts of violence committed by husbands on their wives is fairly common, it requires guts to pull off a film where the woman has been hit just once by the husband and yet make it seem convincing. Anubhav Sushila Sinha and Mrunmayee Lagoo Waikul's screenplay (script consultant: Anjum Rajabali) helps a lot in ensuring that the audiences get persuaded to agree with the vision of the team. They very well put out the situation and how patriarchy is deeply ingrained in our psyche, not just in case of men but also women. Anubhav Sushila Sinha and Mrunmayee Lagoo Waikul's dialogues are acidic and sharp and add to the impact. Some of them simplify the proceedings but that goes in favour of the film. There are lot of one-liners that will surely hit viewers and make them reflect on their own wrongdoings. Anubhav Sushila Sinha's direction is superlative. He has not just penned a great script but he has even executed it very well. The world and mood is drastically different when compared to MULK and ARTICLE 15 but he understands it and does justice. Amrita’s predicament is well established and one is bound to get moved by her struggle, especially when even her family members fail to support her. There are also several subplots and most of them are well helmed and add to the principle plot nicely. There are a few scenes where he does a fine job like Shivani (Dia Mirza) hugging Amrita, Sulochana ignoring the slap and insisting that Amrita should attend to the guests, Amrita’s father scolding his son for misbehaving with Swati, Amrita’s mother Sandhya chiding for not getting support to continue her singing career, the confrontation between the lawyers etc. On the flipside, the second half seems dragging. The makers could have done away with the track of Sulochana living separately as it just added to the subplots needlessly. Additionally, they could have fine-tuned the track of the lawyer cheating on her husband. A section of audience might find the entire bit of Vikram not apologizing to Amrita difficult to digest. It’s strange that no one from his circle suggested that he should say sorry. It’s only in the pre-climax that this issue is raised in front of him. <span style="text-decoration: underline;"><strong>Thappad | Public Review | Taapsee Pannu | Anubhav Sinha | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/thappad-public-review-taapsee-pannu-anubhav-sinha-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"><span data-mce-type="bookmark" style="display: inline-block; width: 0px; overflow: hidden; line-height: 0;" class="mce_SELRES_start"></span></iframe> THAPPAD has an impressive beginning where all the supporting characters are introduced and the commonality is them having an ice-cream. Amrita’s introduction is superbly down. It does give one a déjà vu of Nishikant Kamat’s classic Marathi film DOMBIVALI FAST [2004] but it works very well here to depict what her day looks like. The highpoint is definitely the party sequence and the slap. After this scene, it might feel that the film is stagnating but those scenes are important to explain how Amrita’s life has changed drastically post the slap. The intermission point is great. Post-interval, the interest is maintained but this is where the film drags. One expects <em>dhamaka</em> when the parties come face-to-face but nothing of that sort happens. The confrontation is there and though it is sync with the film’s plot and mood, it might seem mild, especially those expecting some entertainment here. The film ends on a justified note. THAPPAD has several excellent actors but it belongs to Taapsee Pannu without a shred of doubt. She has delivered several memorable performances and this one will surely be one of her most accomplished acts! She gets completely into the skin of character, making viewers forget of her earlier performances. You forget its Taapsee when you see her dutifully performing her housewife duties. Pavail Gulati makes a fantastic debut. He looks dashing and completely suits the part. Kumud Mishra is terrific. Anubhav Sinha always extracts a fine performance from him and THAPPAD is no exception. Ratna Pathak Shah is quite subtle and makes an impact. Same with Tanvi Azmi – her dialogue in the finale sums up the film in a way. Maya Sarao is a powerhouse of talent and is an actor to watch out for. She gets her act totally right, especially her body language. Geetika Vidya (Sunita) gets to play a memorable part and she kills it. Dia Mirza has limited screen time but it works. Gracy Goswami (Sania; Shivani’s daughter) has a fine screen presence and she dances nicely. Naila Grewal, Manav Kaul (Rohit Jaisingh), Ram Kapoor (Advocate Gujral) and Ankur Rathee are fair. Harssh A Singh (Thapar), Santanu Ghatak (Vikram’s colleague Subodh), Rohan Khurana (Nethra's love interest), Sushil Dahiya (Vikram's father), Siddhant Karnick (Vikram's brother), Nidhi Uttam (Vikram's sister-in-law) and the actor playing Rajhans also do a good job. Anurag Dipali Saikia's music doesn’t have much scope. <em>'Ek Tukda Dhoop'</em> however has a nice, lingering effect. Mangesh Urmila Dhakde's background score is magnificent. The initial sequences have a jazz style music that gives a nice touch. Soumik Sarmila Mukherjee's cinematography is top-class. Vishakha Vidya Kullarwar's costumes are appealing, especially the saree worn by Taapsee in the party. Jyotika Mirpuri Aroura's make-up and hair is appropriate. Nikhil Kshipra Kovale's production design is rich. Yashpa Pushpa Ramchandani's editing could have been a tighter, but overall he has done a commendable job. On the whole, THAPPAD makes a strong statement on patriarchy and violence against women and is laced with a powerful performance by Taapsee Pannu. At the box office, it will be loved and adored by its target audience – the womenfolk.

Education-based films might not seem like profitable ventures but over the past few years, several such films have tasted enormous success like SUPER 30 [2019], CHHICHHORE [2019] and HICHKI [2018]. And the film that started this trend in recent times was HINDI MEDIUM [2017]. The film was a runaway success thanks to its message, realism, humour and performances. And now producer Dinesh Vijan is back with a second part of this franchise, titled ANGREZI MEDIUM. The film has been awaited keenly mainly because it’s a comeback of sorts for Irrfan Khan, after he was diagnosed with a neuroendocrine tumour. So does ANGREZI MEDIUM manage to entertain and impress as much as HINDI MEDIUM? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1082858" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/03/Angrezi-Medium-Review-1.jpg" alt="" width="720" height="450" /> ANGREZI MEDIUM is the story of unconditional love between a father and daughter. Champak (Irrfan Khan) is a single parent of Tarika (Radhika Madan) and is based in Udaipur. His brother is Gopi (Deepak Dobriyal) and though both have lot of love for each other, they are also involved in a legal tussle. Both run a shop named Ghasiteram Sweets and both claim to be the original shop running since generations. The matter reaches court where Justice Chheda (Zakir Hussain) gives a verdict in favour of Gopi. In a drunken state, Gopi later reveals that he bribed the judge which is why he won the case. Gajju (Kiku Sharda), a friend of the brothers, records this statement. Tarika, meanwhile, is an average student and wishes to win the scholarship offered by her school that will take her to London. She works quite hard and manages to get 85% and it makes her eligible for UK scholarship. A felicitation ceremony is held for this occasion. The chief guest here is none other than Justice Chheda. Champak, in anger, informs the crowd of the nefarious activities of Chheda, not realising that Chheda is the husband of the Principal of the school (Meghna Malik). The Principal, in anger, cancels Tarika's scholarship. Champak promises Tarika that come what may, he’ll get her admission done, that too in the college of her choice in London. Sadly, Tarika fails to get the admission from other quotas. Gopi suggests Champak that they contact Bablu (Ranvir Shorey), their childhood friend who is settled in London. Bablu comes to Udaipur on a plane ticket sponsored by Champak. He tells Champak that he can help him get British citizenship after which Tarika can get admission easily. Champak, Gopi and Tarika reach London airport. Here, Champak and Gopi are mistaken for drug dealers. They are deported back to India while Tarika is stranded in London. What happens next forms the rest of the film. Bhavesh Mandalia, Gaurav Shukla, Vinay Chhawall and Sara Bodinar's story sounds interesting on paper. Their screenplay, however, doesn’t live up to the expectations. While the writers get the father-daughter bond right, the other tracks aren’t convincing and arguably, not even necessary. Bhavesh Mandalia, Gaurav Shukla, Vinay Chhawall and Sara Bodinar's dialogues are decent and a few one-liners are witty. Homi Adajania's direction is decent. He gets brownie points for the scenes involving Champak and Gopi as these scenes and their performances elevate the impact. Also the scenes of Champak and Tarika at some places will be loved. The Indian audiences, especially the middle aged and senior citizens, would connect with the message of children often leaving them after turning adults. On the flipside, the film has too many subplots that are difficult to digest. Audiences will find it strange that Champak and Gopi are business rivals and even fighting it out in the court. But at the same time, they even drink and hang out together like best of buddies. Not just that, Gopi doesn’t even mind when Champak leaks his video where the latter brags that he bribed the judge! The manner in which Champak and Gopi get deported over a misunderstanding seems stupid. Tarika, meanwhile, gets settled in London and finds a job and house, even before her admission is done. She doesn’t ask Champak even once how they’ll manage to procure funds. Also the track of Naina and her mother Mrs. Kohli (Dimple Kapadia) seem totally unwanted. Audiences never come to know why they are at loggerheads. ANGREZI MEDIUM starts on an average note, depicting the life of Champak and Tarika, and also the feud between Champak and Gopi. The latter part seems bewildering though as their love-hate relationship. A few scenes here stand out like a drunken Tarika accusing Champak of being intoxicated, the madness at the court and at the school ceremony. The father-daughter bond touches viewers. The intermission point is unconvincing. Post-interval, the film drops at places thanks to too many confusing developments and too many subplots. Thankfully, a few genuinely novel moments stand out here like Tarika turning her T-shirt into a crop top to fit in among her new London friends, Gopi tying Champak to his bed and Champak and Gopi rescuing Mrs. Kohli and later singing Happy Birthday song for her. Also the finale might leave viewers teary eyed. <span style="text-decoration: underline;"><strong>Angrezi Medium | Public Review | Irrfan Khan, Kareena Kapoor Khan, Radhika Madan | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/angrezi-medium-public-review-irrfan-khan-kareena-kapoor-khan-radhika-madan-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of performances, Irrfan Khan delivers a top-notch performance. He seems completely in form and ensures that he makes audiences laugh and moist eyed. Deepak Dobriyal too is superb and his chemistry with Irrfan saves the film to a huge extent. Radhika Madan has a fine screen presence and gives a fine performance. Her dialogue delivery, however, is difficult to comprehend at few places. Kareena Kapoor Khan looks great but is underutilised and same goes for Dimple Kapadia. Ranvir Shorey gets some scope in the second half and excels. Pankaj Tripathi (Tony) tries too hard but manages to raise laughs. Kiku Sharda is dependable. Zakir Hussain, Meghna Malik, Manu Rishi (Bheluram), Ankit Bisht (Anmol) and Manish Gandhi (Advait) are fine. Tillotama Shome (Counsellor) leaves a mark and deserved more screen time. Sachin-Jigar's music is disappointing. <em>'Ek</em> <em>Zindagi'</em> works well as per the situation. The rest of the songs are forgettable. Sachin-Jigar's background score is however quite better. Anil Mehta's cinematography is appropriate. Smriti Chauhan's costumes are real and the transformation of Radhika once she moves to London is effective. Bindiya Chhabria's production design is quite good. A Sreekar Prasad's editing is nothing great and suffers because of loopholes in the script. On the whole, ANGREZI MEDIUM works only because of Irrfan Khan and Deepak Dobriyal's chemistry and also due to some touching moments. At the box office, HINDI MEDIUM’s goodwill and Irrfan's comeback will ensure decent footfalls for the movie over the weekend.

Gold has indeed proven itself as an effective hedge against any downside risk. It has seen a sharp rise in the price rally since the first case of Novel Coronavirus was reported in November 2019.

In the beginning of March, gold prices fell marginally, however it is on the upswing and has retained its level above Rs 40,000 per 10 grams.

Graph: Gold's rising uptrend

Gold started to ascend last year when the US and China trade talks began and escalated in trade war, followed by similar trade wars of the US with other nations.

These events have proved to be favourable for the momentum of the price of Gold. It played its role of a crucial hedge and store of value when other asset classes had witnessed high volatility and posted marginal returns.

Some of the other factors that have supported gold are...

• The outbreak of COVID-19 with no evident containment yet
• Economic uncertainty and fears of a virus-led global recession
• Global GDP growth revised downwards and for across regions
• Easy monetary policy action (of reduction in interest rates and stimulus packages) and an accommodative stance adopted by the central banks across the world to support growth
• A crash in the oil markets due to lack of demand and excess supply with storage problems
• A record-high global debt-to-GDP of nearly US$ 255 trillion (over 322% of global GDP) - 40 percentage points higher than at the onset of 2008 global financial crisis according to the Institute of International Finance (IIF), as the world is fighting the COVID-19 pandemic
• The US Presidential elections later this year, in November 2020
• Increased stock market volatility
• The potential risk to the inflation trajectory.

[Read: Coronavirus Has No Antidote. Your Bad Investments Could Have.]

Besides, the lockdown brought upon due to COVID-19 pandemic is going to hurt the economy for a couple of quarters badly which will amplify the credit risk. The economic activity will slow grind to full capacity, prompting furloughs and pay cuts, and job losses across sectors, which will affect the credit line as the number of defaulters will rise because cash strapping will be seen.

Recognising the risk stemming from the bottom hit economy, where the growth projections by the IMF are almost 1.9% due to the CoVID-19, the NPAs of banks and NBFCs are expected to increase.

[Read: How the COVID-19 Extended Lockdown Has Made Investments in 'Banking Funds' Very Risky]

Until the COVID-19 pandemic is contained and economic uncertainty prevails, the spotlight will continue to be on gold owing to the financial uncertainty it brings along. Even the IMF Global Financial Stability report highlights an increase in the level of risk among multiple global metrics and, therefore, the importance of owning gold in one's portfolio.

Hence, in my view, in the current situation consider allocating some portion of your investment portfolio to gold and its equivalents. This year buying gold in a physical form from your preferred jeweller or gold merchant may not be possible amidst the COVID-19 extended lockdown. But you can always consider Gold Exchange Traded Funds, Gold Saving Funds, Sovereign Gold Bonds, and/or Digital Gold, which are smart and unconventional ways of investing in gold.

Recently the Government of India, in consultation with the Reserve Bank of India, decided to issue Sovereign Gold Bonds. The Sovereign Gold Bonds will be issued in six tranches from April 2020 to September 2020 as per the calendar specified below:

Each of the tranche is offered for a limited subscription period, having a maturity tenure of 8 years and a lock-in period of 5 years

With an initial investment amount of Rs 20,000, resident individuals, Hindu Undivided Families (HUFs), Trusts, Universities and Charitable Institutions can subscribe to SGBs. The application can be also made by the guardian on behalf of the minor. One can purchase units from the secondary market as well.

The issue price of the SGB will be Rs 50 per gram less than the nominal value when applied online and the payment against the application is made through digital mode.

On maturity, the Gold Bonds shall be redeemed in Indian Rupees and the redemption price shall be based on a simple average of the closing price of gold of 999 purity of previous 3 business days from the date of repayment, published by the India Bullion and Jewellers Association Limited.

In order to encourage passive but direct gold investment, as an alternative to purchasing physical gold, Modi led Government sanctioned a Sovereign Gold Bond Scheme in November 2015. Under this scheme, investors have to pay the issue price in cash and the bonds will be redeemed in cash on maturity. The Bond is issued by the Reserve Bank on behalf of Government of India.

With the Sovereign Gold Bond Scheme, the risks and costs of physical storage are eliminated. Plus, it is free from issues like the costs of making charges and purity, as in the case of gold in jewellery form. But these bonds are held in the books of the RBI, or in demat form to eliminate even the risk of loss of scrip, etc.

Sovereign Gold Bonds will generate market returns linked to the price of gold, so there may be a risk of capital loss if the market price of gold declines. Moreover, these bonds will provide interest income at the rate of 2.50 per cent (fixed rate) per annum on the amount of initial investment to investors and will be redeemable.

The minimum investment allowed is 1 gram, while the maximum buying limit is a subscription of 4 kg for individuals, 4 kg for Hindu Undivided Family (HUF), and 20 kg for trusts and similar entities notified by the government from time to time per fiscal year (April - March).

These bonds are sold through offices or branches of Nationalised Banks, Scheduled Private Banks, Scheduled Foreign Banks, designated Post Offices, Stock Holding Corporation of India Ltd. (SHCIL), and the authorised stock exchanges, either directly or through their agents.

Do note, that the interest on the bonds is taxed as per the provisions of the Income-tax Act, 1961. If you hold the SGB till maturity the capital gains tax on redemption of SGB is exempted. But if you sold the bond in the secondary market after three years, long term capital gains (LTCGs) tax is applicable and it will be taxed at 20 per cent with indexation. And if sold before three years, a short-term capital gains (STCGs) tax will be applicable according to the income tax slab.

What should the investors do?

Defeating the Coronavirus and surviving is everyone's core focus and having liquidity, those who have an adequate contingency fund are looking for investments.

Equity and debt markets are yet to see any signs of revival despite the stimulating relief measures provided to uplift the slowing of economy but investing in gold can prove to be worthy for your portfolio.

[Read: What Could Be the Potential Impact of a Lockdown on Your Mutual Fund Portfolio? Know Here...]

Even the bond prices were at all-time lows, which are inversely proportional to gold as well. In my view allocate at least 10-15% of your entire investment portfolio to gold and hold it with a long-term investment horizon.

Remember gold offers an effective hedge during global uncertainty and a shield against inflation. Most importantly in your portfolio, it serves as a diversifier.

PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

During the COVID-19 lockdown, individuals are losing patience -- moving freely and not following the necessary social distancing. This lack of civic sense and maturity on their part is weakening our fight against the deadly contagion pathogen.

The capital markets, as a result, also has witnessed intense volatility and bears are running lose. Certain sections of investors, however, have shown tremendous maturity during these challenging times.

At a time when Foreign Portfolio Investors (FIIs) have net sold or dumped Indian equities (owing to markets worldwide falling sharply and margin calls being hit), domestic fund managers are looking for value-buying opportunities in the carnage of the markets.

It is also heartening to see retail and High Net-worth Individuals (HNIs) buying into various equity-oriented mutual funds in a lump sum as well as the SIP (Systematic Investment Plan) mode. Monthly SIP inflows have touched a record high in March 2020 and the SIP folios, too, surged to 3.12 crore.

However, in debt-oriented schemes, investors seem to be pressing the panic button. The mutual fund industry recorded a net outflow of Rs 1.95 trillion in March 2020. Barring Overnight Funds and Gilt Funds, all other sub-categories of debt mutual funds have reported an outflow in March 2020.

Advance tax payment obligations, deterioration in asset quality, potential risk of defaults in the COVID-19 lockdown, and heightened volatility in the Indian debt market are some of the key reasons for outflows from debt-oriented mutual schemes.

[Read: Why Investors Pulled Out Money from Debt Mutual Fund Schemes in March]

The massive outflows were also seen from the Liquid Funds and Arbitrage Funds.

Table 1: Action in March 2020

Unprecedented redemptions in the Arbitrage Funds and Liquid Funds, as well as the net inflows recorded by the overnight funds, suggest that investors preferred safety over returns. As you know, liquidity is a key concern as the world continues to fight the COVID-19 pandemic.

Some arbitrage schemes such as Tata Arbitrage Fund and ICICI Prudential Equity-Arbitrage Fund had stopped taking in fresh subscriptions in the third week of March 2020 for the lack of arbitrage opportunities as markets faced broad-based selling.

But now markets are finding some sort of stability and bouncing back -- rallied over 20% from March lows - although the bears continue to run loose.

So, is it a time to consider arbitrage funds again?

Yes, I think so.

Arbitrage Funds aims to exploit the price differential in two different segments (spot and futures or cash and derivatives) of the equity market. They buy stocks in the spot market and sell in the future market simultaneously thereby making gains with the price differential (called the spread).

The differential usually is in sync with the prevailing interest rates in the economy; but depending on the market volatility, it could sometimes be higher as well. That being said, these are short-term opportunities that spring up due to lack of information to a set of market participants in one of the markets.

The capital market regulator's mutual fund categorisation and rationalisation mandates that an Arbitrage Fund must strictly follow the arbitrage strategy and invest at least 65% of its total assets in equity & equity related instruments.

Since the transactions are in either direction, the positions are completely hedged. And the remaining 35% of the total asset is deployed in debt and money market instruments.

In March 2020, when the stock futures started quoting at a discount to the spot prices in the cash market, it was a concern. But now that we have seen some sharp up-moves in the Indian equity markets as the government has done relatively well in containing the spread of the deadly virus (compared to other nations) and thanks to the prompt fiscal measures also have been taken -- both by the Ministry of Finance (the Rs 1.75 trillion package) and the Reserve Bank of India (by reducing policy rates sharply, keeping monetary policy stance 'accommodative as long as it is necessary', and ensuring enough liquidity in the system) -- in my view, it would be perceived positively by the markets in times to come and enough arbitrage opportunities would be available. It is possible that Arbitrage Funds may even perform a tad better vis-a-vis Liquid Funds.

Table 2: Report Card of Arbitrage Fund, Liquid Funds and Short Duration Funds

Over the last one year, the returns generated by Arbitrage Funds have been quite satisfactory. In fact, these funds have outperformed those clocked by Liquid Funds. The 3-month returns clocked by Arbitrage Funds have been almost at par with Liquid Funds.

Do note that an Arbitrage Fund carries low risk and the returns depend on the market conditions and fund manager's ability to reap rewards from arbitrage opportunities.

Short-Term Capital Gains (i.e. realised profits within a year) on arbitrage funds are taxed at 15%, while the Long-Term Capital Gains (i.e. gains made after staying invested for more than a year) are taxed at 10% for gains above Rs 1 lakh in a financial year.

To park money for the short-term for an investment time horizon up to 1-year, you may consider investing in an Arbitrage Fund.

And if you have an extreme short-term time horizon (of 3 to 6 months), consider a Liquid Fund with high-quality debt papers, which does not have high exposure to Commercial Papers (issued by private entities).

Alternatively, if you wish to park in a much safer category, you would be better off investing in an Overnight Funds.

Happy Investing!

PS: If you wish to select worthy mutual fund schemes, I recommend you to subscribe to PersonalFN's unbiased premium research service, FundSelect.

Additionally, as a bonus, you get access to PersonalFN's popular debt mutual fund service, DebtSelect.

Each fund recommended under FundSelect goes through our stringent process, where they are tested on both quantitative as well as qualitative parameters.

Every month, PersonalFN's FundSelect service will provide you with insightful and practical guidance on equity mutual funds and debt schemes - the ones to Buy, Hold, or Sell.

If you are serious about investing in a rewarding mutual fund scheme, Subscribe now!

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Author: Rounaq Neroy

This article first appeared on PersonalFN here.

PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

COVID-19 has started showing its impact on the mutual fund industry. Few days ago I mentioned in my article, Debt mutual funds witnessed massive outflows of Rs 1.95 trillion in the month of March.

Though we could attribute most of that outflow to corporates redeeming funds to meet their quarter end obligations, high volatility and uncertainty as consequences of the pandemic could have also played a major hand in the redemption pressure for debt schemes.

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FII have been redeeming investments heavily in equity and debt segment ever since WHO declared COVID-19 a pandemic. In March, FIIs pulled out Rs 60,375 crore from the debt market.

High redemption and lack of buying interest has made debt mutual fund schemes vulnerable, especially those with higher exposure to low rated instruments.

This instability has claimed its first casualty in debt mutual funds...

Franklin Templeton Mutual Fund (FTMF) has decided to wind down six of its debt schemes with effect from April 23, 2020 due to COVID-19 related market dislocation. This is something that is unheard of in the mutual fund industry and has perplexed many investors and advisors.

The schemes that are wound up are:

• Franklin India Low Duration Fund
• Franklin India Dynamic Accrual Fund
• Franklin India Credit Risk Fund
• Franklin India Short Term Income Plan
• Franklin India Ultra Short Bond Fund
• Franklin India Income Opportunities Fund

Together these schemes have an AUM of 30,854 crore as on March 31, 2020. Notably, these are the very schemes which in the past had to create segregated portfolio for its exposure to downgraded papers of Vodafone Idea and Yes Bank.

What led to the move?

According to a statement to investors from FTMF, "Despite several measures taken by the Reserve Bank of India (RBI), the liquidity in certain segments of the corporate bond markets has fallen-off dramatically and has remained low for an extended period. In this scenario, mutual funds are facing unprecedented liquidity challenges due to a variety of factors-rising redemption pressures due to heightened risk aversion, mark to market losses following a spike in yields and lower trading volumes in the bond markets. These factors have together caused a significant and worsening liquidity crunch for open-end mutual fund schemes investing in corporate credits across the credit rating spectrum."

The schemes had to resort to continuous borrowing to fund redemptions during this time, and were unable to repay the borrowings through sale of portfolio securities due to the prevailing market environment. The Investment manager did not believe it was prudent to continue funding redemptions through potentially increasing levels of borrowings.

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FTMF follows a high-risk high-return strategy for the above mentioned funds - Meaning a major part of its portfolio is exposed to lower rated securities (rating below AAA). The market disruption due to the virus outbreak has impacted these securities the most.

Under conditions of high redemption pressure, mutual funds sell their liquid assets to meet the demand, leaving the portfolio highly exposed to illiquid assets.

Thus, investors who choose to stay invested are at a disadvantage here.

Anticipating continued liquidity stress to the funds, the fund house thought winding up the scheme is the only viable option for the unitholders to minimize erosion of value.

Table: Details of schemes being wound up

What does it mean for investors of these schemes?

Investors of these schemes will not be able to purchase/redeem investment, switch to other schemes or do systematic transactions. In short their funds will be locked. The fund will not charge any management fees for the funds that are being wound up.

The fund house will rely on coupon payments, maturity value of underlying securities, and selling of securities at realisable value. While the fund house expects to realise most of the proceeds as per maturities, there may be some low rated securities that may even default on the due date. The fund house may create segregated portfolios for such securities and pay back as and when the money is realised.

It will be prudent to check the average maturity of portfolios of each fund and expect major repayment within that period.

What should investors in debt funds do?

Debt mutual fund Investors are not as confident, due to incidents of exposure to toxic papers in the past. This event could make them even more wary about their investment in debt schemes. As a consequence, there may be some panic selling in other debt schemes by investors worried about their funds getting locked.

However, instead of taking any hasty decisions, it would be a great idea to check your funds for the quality of assets it holds.

Choose a fund house that follows prudent investment process and stringent risk-management system. In these uncertain times, it would be wise sticking to liquid funds and overnight funds for the fixed-income part of your portfolio. Alternatively, if you prefer safety of capital, invest in Bank fixed deposits.

Our friends at Quantum Mutual Fund have highlighted the secret behind their debt management strategy which has helped them provide safety and liquidity to investors when it comes to investing in quantum funds. Don't Worry, Quantum Liquid Fund always aims for Safety and Liquidity

The way ahead...

While the fund house has done this to protect investors' interest, it has made the funds illiquid from the investors' point of view. Many investors may lose faith in debt funds for their short-term goals.

Going further, investors may have to consider liquidity risk due to AMC action, while investing in any high credit risk oriented debt funds.

It is time for the regulator to step up and clarify the illiquidity part for other debt schemes out there to investors. Moreover, it needs to provide a framework of strict guidelines to restrict fund managers from putting investors' hard-earned money at risk by exposing them to low rated securities for higher yield.

Meanwhile, AMFI has assured investors that a majority of the fixed income fund assets is invested in superior credit quality securities, and the schemes have appropriate liquidity to ensure normal operations. It further stated that the industry remains fully committed to the investors' interests and there is no need for them to panic and redeem investments.

Author: Divya Grover

This article first appeared on PersonalFN here.

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PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

Unnerving movements for debt mutual funds investors!

Just last week my colleague, Divya explained the fiasco at Franklin Templeton Mutual Fund, which took a decision to abruptly wind down six debt mutual fund schemes, namely:

• Franklin India Low Duration Fund
• Franklin India Dynamic Accrual Fund
• Franklin India Credit Risk Fund
• Franklin India Short Term Income Plan
• Franklin India Ultra Short Bond Fund
• Franklin India Income Opportunities Fund

In all, the above debt mutual fund schemes had an AUM of Rs 30,854 crore as of March 31, 2020.

The fund house cited, "severe market dislocation and illiquidity in the fixed income space" caused by the COVID-19 pandemic, as the reason behind the decision.

Investors in these schemes are now left in the lurch: they cannot sell (nor buy) these funds and will have to rely on the fund house to get back their hard-earned money. Investors will have to hold their investments in these schemes until liquidity is available to the mutual fund house by either selling securities in the fund's portfolio or receiving maturity proceeds.

Currently, a fact is, not just Franklin Templeton Mutual Fund, but debt mutual fund schemes of many other fund houses are have a remarkable exposure to stressed assets.

According to portfolios disclosed on March 31, 2020, mutual funds collectively held Rs 1.38 trillion of exposure to debt securities issued by Non-Banking Financial Companies (NBFCs). Approximately Rs 51,000 crore of the exposure in debt securities has a maturity profile of less than 3 months; and now, mutual funds fear that there will be defaults.

NBFCs and other corporate borrowers claim that they do not have enough liquidity to fulfil their obligations and have requested for additional time. Given that, rating downgrades from rating agencies look likely.

However, some companies are playing smart: they are approaching the Courts to prevent a rating downgrade, plus seeking a stay on sale of pledged shares. Of course, they are well within their right to approach the judicial authority or Courts and contest.

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But the capital market regulator, seems to be in no mood in offering them any leeway. On the contrary, the regulator is asking the mutual fund industry to act against the issuer of securities who are possibly carrying high credit risk; facing asset quality problems.

Delays in repayments would mean the creation of more side-pockets by mutual funds. And in my view, more the losses investors suffer, more frustrating it will be for mutual fund houses and their investors. Eventually retail and High Net-worth Individuals, particularly, will lose confidence and may not be keen to invest in debt funds.

If you are wondering what has gone wrong, here's everything you may like to know about liquidity, credit risk and the exposure of mutual funds to corporate debt in the present scenario.

If you remember, the capital market regulator had mandated large corporations to source at least 25% of their borrowings from the bond markets from the beginning of FY 2019. This move was expected to deepen Indian bond markets and reduces the stress on banks. Just a year later, the same move is proving fatal for companies that went to the bond markets to raise money.

Now that the COVID-19 lockdown has forced many business units to shut off temporarily or operate much below their optimal operational capacity with a skeletal staff, companies, including the large organisations that relied heavily on debt markets, are finding it difficult to honour maturity claims on Commercial Papers (CPs), Non-Convertible Debentures (NCDs), and Bonds.

They were hoping for an 'at-par treatment' with Banks when the Reserve Bank of India (RBI) offered a moratorium period to borrowers. But the RBI circular came to them as a shocker. The devil was in the details.

On March 27, 2020, the RBI issued a notification allowing a three-month moratorium on all outstanding term loans and working capital facilities on account of disruptions caused by the outbreak of coronavirus. This circular did not cover around 10 thousand NBFCs, who mainly depend on CPs, NCDs, and Bonds for their funding requirements.

As far as NBFCs are concerned, the RBI has already provided them with a liquidity facility through the banking channel. The RBI directed banks to utilise funds infused under Targeted Long Term Repo Operations (TLTRO) facility to invest in 'investment-grade' CPs, NCDs, and Bonds issued by NBFCs. Also, RBI mandated banks to allocate 50% of Rs 50,000 crore of liquidity introduced by way of TLTRO 2.0 to small and mid-size NBFCs and small finance banks.

But NBFCs seemed not too happy with just liquidity and many of them are now approaching courts to prevent rating downgrades. This is not a best practice for the industry, although fund houses may be well within their rights to contest.

Recently, Indiabulls Housing Finance was successful in receiving the interim order from Delhi High Court, throttling any coercive action against the housing finance company for its inability to repay its bondholders. The Delhi High Court will hear the case further on May 19, 2020.

This has added to the worries of mutual fund houses that now fear other NBFCs will follow the same path.

The capital market regulator, only recently (a few days ago) following the three moratorium by RBI (due to disruptions caused by COVID-19 pandemic) has relaxed the valuation norms for debt and money market instrument held by mutual funds vide a circular dated April 23, 2020, wherein it states as under:

• Based on assessment, if the valuation agencies appointed by AMFI are of the view that the delay in payment of interest/principal or extension of the maturity of a security by the issuer has arisen solely due to COVID-19 pandemic lockdown and/or in light of the moratorium permitted by Reserve Bank of India (RBI) (vide notification no. RBI/2019-20/186, dated March 27, 2020) creating temporary operational challenges in servicing debt, then valuation agencies may not consider the same as a default for the purpose of valuation of money market or debt securities held by Mutual Funds.
  
  However, in the scenario, as stated above, if there is any difference in the valuation of securities provided by two valuation agencies, the conservative valuation shall be accepted.

But then what is the point of coming up with these valuation norms as an afterthought, and not in close synchronisation when the RBI came with its notification a month ago?

The damage now is already done and companies are anyways approaching the Courts to prevent a rating downgrade.

Let's say shares of a company are pledged and to recover the proceeds -- if they cannot be sold due to a court order -- then such lending would be as good as unsecured lending.

Also, why should that not be construed as an instance of deviation from the stated fundamental attributes of a debt mutual fund scheme? After all, mutual fund investors invest in debt fund schemes taking into account a certain level of risk. Change in the risk profile of a scheme is a change in the fundamental attribute/s.

According to India Ratings, NBFCs having the asset base of Rs 500 crore to 5,000 crore, largely fall between "A" and "BBB" rating categories.

The mid-path could be a decision on payment or deferring the payment in consultation with all stakeholders, including debenture trustees. The industry will require a blanket resolution because a case-to-case resolution approach is cumbersome and may create more chaos.

Unless the RBI takes a clear stance on NBFCs and other financial institutions, mutual fund houses are likely to feel the heat of redemptions. Suppose, there's no further statement issued by the banking sector regulator; mutual funds will have to be prepared to handle large-scale defaults, which might look inevitable. After all, a majority of NBFCs' customers are retail borrowers and they enjoy a moratorium on the EMI payment for 3-months. This has been the trickiest part for NBFCs.

While COVID-19 outbreak has been the genuine reason for the potential defaults this time, asset-liability mismatches of NBFCs are well-known. Many NBFCs have gone overboard with cheap credit available during stable market conditions. Their credit underwriting has been questioned widely. The industry has also witnessed belly-up instances such as IL&FS and DHFL. Many mutual fund houses have burned their fingers badly in such defaults.

At the time of writing this piece, to ease the liquidity pressure on mutual funds, the RBI today decided to provide a special liquidity facility of Rs 50,000 crore for mutual funds. Under this facility, the RBI will conduct repo operations of 90 days tenor at the fixed repo rate. This will be on-tap and open-ended, and banks can submit their bids to avail funding on any day from Monday to Friday (excluding holidays). The scheme is available from today i.e., April 27, 2020, till May 11, 2020, or up to utilization of the allocated amount, whichever is earlier. The Reserve Bank will review the timeline and amount, depending upon market conditions.

The RBI has stated further that the liquidity support availed under the Special Liquidity Facility for Mutual Funds shall be used by banks exclusively for meeting the liquidity requirements of mutual funds by, 1) extending loans; and (2) undertaking outright purchase of and/or repos against the collateral of investment-grade corporate bonds, CPs, debentures and certificates of Deposit (CDs) held by mutual funds.

Having taken this measure, keep in mind that it does not make investing in debt mutual funds risk-free. Considering the prevailing investment environment, you should stay away from mutual fund schemes whose portfolio characteristic appears compromised. Also, avoid credit risk funds and corporate bond funds as they are likely to be more vulnerable amidst the financial crisis followed by COVID-19 pandemic.

As a thumb rule: Choose mutual fund schemes from fund houses that follow prudent judicious investment processes and stringent risk-management systems.

In these uncertain times, it would be wise sticking to liquid funds and overnight funds while considering debt funds.

Our friends at Quantum Mutual Fund have highlighted the secret behind their debt management strategy which has helped them provide safety and liquidity to investors when it comes to investing in quantum funds. Don't Worry, Quantum Liquid Fund always aims for Safety and Liquidity.

As with all financial matters, better be safe than sorry!

PS: If you wish to select worthy mutual fund schemes, I recommend you to subscribe to PersonalFN's unbiased premium research service, FundSelect.

Additionally, as a bonus, you get access to PersonalFN's popular debt mutual fund service, DebtSelect.

Each fund recommended under FundSelect goes through our stringent process, where they are tested on both quantitative as well as qualitative parameters.

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Author: Rounaq Neroy

This article first appeared on PersonalFN here.

PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

Last month, SEBI had asked credit rating agencies not to consider any delay in payment of interest or principal loan amount arisen solely due to the nationwide lockdown conditions as a default.

The stress in the Indian mutual fund industry due to the pandemic impact deepened after Franklin Templeton MF decided to wind down six of its debt schemes. The lack of liquidity and redemption pressure compelled FTMF to take the extreme step.

In this economic environment, Mutual Fund houses are concerned about companies that are likely to delay and default in payments. Many companies have sought deferment/rescheduling of payment due to COVID-19 related disruptions. In order to minimize the resultant damage, market regulator SEBI recently provided temporary relaxation in valuation norms for instruments mutual funds hold.

SEBI has asked valuation agencies to avoid treating delays in payment of interest/principal or extension of maturity of a security as default for the purpose of valuation of money market or debt securities held by Mutual Funds, if it has been caused solely due to COVID-19 pandemic lockdown and/or in light of the moratorium permitted by RBI.

[Read: Will Mutual Fund Houses Act Against Companies Approaching Courts To Prevent Rating Downgrade Amidst COVID-19?]

"In view of the nationwide lockdown and the three-month moratorium/ deferment on payment permitted by RBI, a differentiation in treatment of default, on a case to case basis, needs to be made as to whether such default occurred solely due to the lockdown or loan moratorium", SEBI circular said.

SEBI has stated that in the above mentioned scenario, if there is any difference in the valuation of securities provided by two valuation agencies, the conservative valuation shall be accepted. This revised norm will be in effect until the RBI's period of moratorium.

However, AMCs shall continue to be responsible for true and fairness of valuation of securities.

Mutual fund houses have to mark the value of their assets based on valuations provided by valuation agencies appointed by AMFI.

At present, a debt or money market security is classified as 'Default' if the interest and/or principal amount has not been received on the day such amount was due; or when such security has been downgraded to 'Default' grade by a credit rating agency. Default denoted that the security is below investment grade.

This leads to mark down of the respective security and thereby impacts NAV of the scheme.

SEBI's move provides some relief in this regard. It will ensure that all fund houses follow a uniform approach while dealing with defaults/delay due to COVID-19.

Will it make investment in debt fund safe?

SEBI has not yet provided any moratorium on commercial paper and corporate bond repayment. According to a report published in Livemint, Rs 1.5 trillion worth of commercial paper and corporate bonds will be maturing in the first quarter.

As mentioned earlier, AMCs shall continue to be responsible for true and fairness of valuation of securities. But in the absence of rating downgrade from valuation agencies, fund houses cannot side-pocket their exposure to a defaulting company. Therefore, we may still see some write-offs if the AMC finds recovery to be difficult even after the relaxation period.

COVID-19 has impacted businesses across sectors. Some sectors such as NBFCs were under stress even before the pandemic. The default risk has thus amplified.

The relaxation of valuation would delay the issue, but downgrades would arise subsequently. Spike in number of side pockets (by fund houses) may thus become imminent.

My colleague, Rounaq, rightly mentioned yesterday, losses the investors suffer will be directly proportionate to the stress, pressure mutual fund houses and their investors will face. Eventually retail and High Net-worth Individuals, particularly, will lose confidence and may not be keen to invest in debt funds.

What should investors do?

In these uncertain times, it would be wise sticking to liquid funds and overnight funds for the fixed-income part of your portfolio and avoid funds that take higher credit risk. Alternatively, if you prefer safety of capital, invest in Bank fixed deposits.

Choose a fund house that follows prudent investment process and stringent risk-management system.

Our friends at Quantum Mutual Fund have highlighted the secret behind their debt management strategy, which has helped them provide safety and liquidity to investors when it comes to investing in quantum funds. Don't Worry, Quantum Liquid Fund always aims for Safety and Liquidity.

SEBI has time and again taken steps to tighten norms for debt funds. As an investor, if you take portfolio risks, align it with your own risk appetite and financial objective.

PS: If you wish to select worthy mutual fund schemes, I recommend you to subscribe to PersonalFN's unbiased premium research service, FundSelect.

Additionally, as a bonus, you get access to PersonalFN's popular debt mutual fund service, DebtSelect.

If you are serious about investing in a rewarding mutual fund scheme, Subscribe now!

Author: Divya Grover

This article first appeared on PersonalFN here.

Join Now: PersonalFN is now on Telegram. Join FREE Today to get 'Daily Wealth Letter' and Exclusive Updates on Mutual Funds

PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

Coronavirus or Covid-19 is showing no signs of receding. On the contrary, the number of cases is increasing by the day and the situation is rather depressing, as almost every region of the world and country is infected.

Sadly, there is no antidote or a vaccine conclusively developed to fight this deadly pathogen yet. And according to the World Health Organisation (WHO), Coronavirus will be with us for a long time. Most cases are still in the early phase of the epidemic and some countries which were affected early in the pandemic, are now seeing a resurgence in the number of cases, said the WHO Chief.

COVID-19 is truly playing havoc and may be followed with a financial crisis owing to the lockdowns imposed to contain the spread. The risk of global recession undeniably looms large. "This crisis is like no other", as what the International Monetary Fund's (IMF), Chief Economist, Ms Gita Gopinath wrote in the foreword to the World Economic Outlook, April 2020.

Graph 1: The virus has spread even to Indian equities

The graph above depicts the S&P BSE Sensex falling off the cliff and investors' wealth being eroded. Since the all-time high of the S&P BSE Sensex (42,273.87 points made on January 20, 2020), we have fallen more than -25% and overall sentiments seem downbeat and volatility has heightened.

On a year-to-date basis, Indian equity is down nearly -23.2% (as of April 27, 2020), while gold -- with uncertainty looming around the world -- has exhibited its sheen and demonstrated its trait of safe haven and an effective portfolio diversifier, clocking nearly +5.0% absolute return as of April 27, 2020.

Graph 2: YTD Performance of key asset classes

The graph above validates the importance of tactical asset allocation. The key lesson here is: all asset classes will not necessarily move in the same direction (up or down) always - over the long-term; some may even move in the opposite direction as what we have seen in the recent past (in the case of equities and gold).

As we (the world) continue to fighting COVID-19 and the aftereffects of it are conceivable, a further correction cannot be ruled out and the bottom is unknown. COVID-19 is likely to impact corporate earnings amidst a time when India is already facing slowdown blues. As people are quarantined, demand would remain muted and inflation risk will begin to surface, particularly in food prices.

So, although the current levels offer a decent value-buying opportunity, skewing your portfolio completely to equity as an asset class could endanger wealth creation. In such times you, as an investor, need to follow tactical asset allocation while you aim to generate wealth.

Tactical Asset Allocation with Quantum Multi Asset Fund of Funds

To invest sensibly in the current times, you need a Multi-Asset Fund that invests in mainly three asset classes: equity, debt and gold; and is truly balanced.

Among the plethora of Multi-Asset Funds, the Quantum Multi Asset Fund of Funds (QMAFOF) incepted on July 11, 2012, is truly balanced and holds well-diversified portfolio (across the three key asset classes: equity, debt and gold) at all the times -- unlikely many of its peers who swayed by the excess exuberance in equities, lost sense, and eroded investors wealth.

Table 1: Asset Allocation of Quantum Multi Asset Fund of Funds

The Scheme predominantly invests in the units of Equity, Debt / Money Markets and Gold schemes of Quantum Mutual Fund. Currently, the following schemes are used to gain exposure to a particular asset class:

For equity - Quantum Long Term Equity Value Fund, Quantum Nifty ETF

For debt & money market instruments - Quantum Liquid Fund, Quantum Dynamic Bond Fund

For Gold - Quantum Gold Fund (ETF)

The Units of any other Equity and Debt / Money Markets scheme launched by Quantum Mutual Fund from time to time would be eligible to be part of the above asset allocation components.

Although QMAFOF aims to invest predominantly only in the schemes launched by Quantum Mutual Fund, QMAFOF may seek to invest in the units of similar schemes of other mutual fund houses in case of any investment and regulatory constraints that arise that prevent the Scheme from increasing investments in the schemes of Quantum Mutual Fund.

The investment objective of Quantum Multi Asset Fund of Funds is, "to generate modest capital appreciation while trying to reduce risk (by diversifying risks across asset classes) from a combined portfolio of equity, debt/money markets and gold schemes of Quantum Mutual Fund"

QMAFOF benchmarks it against the Crisil Composite Bond Fund Index (40%) + S&P BSE Sensex Total Return Index (40%) + Domestic price of Gold (20%).

Being a fund of fund, this benchmark is most suitable to compare QMAFOF's performance. The unique combination clubs together the relatively risky assets with other stable asset classes in the portfolio.

Backed by an astute investment strategy, taking the relative valuations between asset classes into consideration such as Price-to-Earnings relative to historical averages; the relationship between earning yield to bond yield relative to historical averages; and macroeconomic factors prevailing globally and within India, the two fund managers of QMAFOF, namely Mr Chirag Mehta (MMS - Finance, M.Com, and CAIA with over 13 years' experience in research and investments) and Mr Nilesh Shetty (B.Com, MMS -Finance, and CFA with collectively 16 years in equity markets), have generated respectable returns for investors.

Table 2: Report card of QMAFOF versus some of its peers

Even as the equity market is panting for breath attributable to COVID-19 and volatility has intensified, QMAFOF due to its sensible asset allocation to equity, debt and gold through its underlying portfolio, has fared relatively better than some of the peers.

ICICI Prudential Multi-Asset Fund, Axis Triple Advantage Fund, HDFC Multi-Asset Fund, and UTI Multi-Asset Fund, on the other hand, have all eroded investors wealth posting double-digit negative returns (see Table 2) in this downturn. Some of these schemes have fared well during upswings by keeping to the allocation to equities high, but on the downside, they have not managed the risk very sensibly. Investors, as a result, have experienced a roller-coaster ride in the journey of wealth creation.

A multi-asset fund, ideally, is expected to be truly balanced and sensibly allocate its assets whereby the downside risk of one asset class is compensated by the positive returns of the other asset classes.

Here are five good reasons to invest in Quantum Multi Asset Fund of Funds

1. You gain from a diversified portfolio across asset class which, in turn, reduces risk and optimizes returns.
2. You do not have to worry about portfolio rebalancing; the fund manager will astutely do it for you at regular intervals in the endeavour to achieve the set-out investment objective of the fund.
3. Portfolio tracking will be easy for you instead of tracking 10 different schemes
4. You will benefit from the lowest expense ratio in the category
5. And above all, Quantum Mutual Fund's strong research capabilities across various asset markets - equity, debt and gold, -- with robust investment processes & systems followed at the fund house.

Suitability of Quantum Multi Asset Fund of Funds

QMAFOF is a perfect fund for investors looking to tactically diversify the portfolio with a single fund across equity, debt and gold, plus leave the aspect of rebalancing to the discretion and expertise of the fund manager.

Furthermore, the fund is appropriate for investors seeking long term capital appreciation, who have a moderately high-risk appetite, and an investment time horizon of 3 to 5 years.

It is the best time to invest in the Quantum Multi Asset Fund of Funds. Valuation-wise, Indian equities look attractive and there appears to be a decent margin of safety (with a high return potential if the equity markets ascend).

Similarly, given the uncertainty surrounding the world, gold is expected to display its lustre. The economic uncertainty surrounded by the COVID-19, GDP growth rates being revised downwards, easy monetary policy action and stance followed by central bank across the world, geopolitical tensions, trade tension, and increased stock market volatility are likely to keep spotlights on gold.

Likewise, with credit risk getting amplified, it makes sense to have exposure to a pure Liquid Fund (that does not take exposure to Commercial Papers issued by private entities). Now that policy rates are already lowered by RBI to address growth concerns, it does not make much sense to take exposure to the longer end of the yield curve; it could prove less rewarding and risky (may encounter high volatility) in the foreseeable future. Deploying your hard-earned money is short-end of the maturity curve, would be far better.

By investing in Quantum Multi Asset Fund of Funds, you will be able to balance the risk better with a sensible investment strategy in place.

Just as an excess drug dosage cannot treat COVID-19, your investment portfolio, too, needs just a fair amount of diversification to clock optimal risk-adjusted returns in the journey of wealth creation.

Go ahead and consider investing in Quantum Multi Asset Fund of Funds.

Happy Investing!

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Author: Rounaq Neroy

This article first appeared on PersonalFN here.

PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

Despite the rally we recently witnessed, the market mood continues to be sombre due to the pandemic crisis. FPI outflows from the Indian market persisted in the current month as well, while the recent fiasco at a popular fund house also dented investor sentiments.

It is difficult to predict how this situation will unravel eventually. Though the pandemic has impacted both large and smaller sized companies, small and mid sized companies could be the most affected.

However, quality names even in these segments could perform well over the long run. Therefore, you should stick to only quality names across different market capitalisation and invest via a well managed mutual fund that focuses on growth through diversification.

HDFC Mid-cap Opportunities Fund (HMOF) is one such mid cap fund that looks to invest in mid cap stocks with sound financial strength and reasonable growth prospects.

Graph 1: Growth of Rs 10,000 if invested in HDFC Mid-cap Opportunities Fund 5 years ago

One of the most popular funds in the midcap category, HMOF's asset size is the largest as compared to its peers. However, HMOF has shown no constrain when it comes to delivering superior performance. The fund has a track record of generating above-average returns across market conditions. Over the last 5 years, HMOF has generated returns at 4.5% CAGR as compared to 1.9% CAGR generated by its benchmark Nifty Midcap 100 - TRI, thus generating an alpha of around 2.5 percentage points CAGR. The fund has made well use of diversification to mitigate downside risk and generate decent lead over the benchmark index.

Table: HDFC Mid-cap Opportunities Fund's performance vis-a-vis category peers

*Please note, this table only represents the best performing funds based solely on past returns and is NOT a recommendation. Mutual Fund investments are subject to market risks. Read all scheme related documents carefully. Past performance is not an indicator for future returns. The percentage returns shown are only for indicative purposes.

Though HMOF has trailed some of the other popular peers in the mid cap category, it stands strong in the list of mid cap funds. The fund has constantly outperformed the benchmark by a noticeable margin across time periods.

Some of the other top performers in the category are Axis Midcap Fund, Invesco India Midcap Fund, and DSP Midcap Fund.

The fund has not only demonstrated its ability to generate superior returns for its long term investors, but has been reasonable when it comes to managing volatility and curtailing down-side risks. In terms of risk-adjusted returns, HMOF has outperformed its benchmark by a significant margin and also stays ahead of most of its peers.

Investment strategy of HDFC Mid-cap Opportunities Fund

Categorized as midcap fund, HMOF is mandated to invest minimum 65% of its assets in equity and equity related instruments of mid cap companies. Accordingly, HMOF invests in stocks of predominantly mid-sized companies, which have reasonable growth prospects at acceptable valuations. The fund also holds significant exposure in smallcaps along with moderate exposure in large caps as well as cash and debt.

It follows the bottom-up approach to identify high quality businesses for the long term. The stocks are bought primarily for the strengths of company fundamentals rather than the strength of the macro-economic indicators.

The fund manager resists from following market momentum and holds each of his high conviction stock for the long term.

Graph 2: Top portfolio holdings in HDFC Mid-cap Opportunities Fund

As on March 31, 2020,HMOF held 75 stocks in its portfolio, with no individual stock having exposure of more than 5%.Popular mid cap names like Aarti Industries, Balkrishna Industries, Trent, Ipca Laboratories, and Voltas, etc. appeared in its top portfolio holdings. The top 10 stocks constitute close to 32% of its assets.

The fund's portfolio is primarily skewed towards Banking and Finance sectors which together constitute around 17% of the portfolio. Auto ancillaries, Pharma, Chemicals, and Industrial Products are the other prominent sectors with allocation of around 9-11% each.

Suitability

HMOF's performance over longer time periods has been commendable, where it has generated decent long-term returns for its investors as compared to the benchmark, though it has lagged behind some of its peers. Its focus on timely realization of growth potential of stocks at fair valuation can help it generate strong returns while also minimize the downside risk. However, its aggressive mandate makes it prone to high volatility. This makes HMOF suitable for investors with high risk appetite and a long term investment horizon.

Editor's note: The last few years have not been among the best for equity mutual funds. While most funds have underperformed or are struggling to match the returns of the benchmark, there are few funds that have the potential to constantly generate alpha for its investors. And we have identified five such high alpha generating funds, in our latest report 'The Alpha Funds Report 2020'. Do not miss our latest research finding. Get your access to this exclusive report, right here!

Note: This write up is for information purpose and does not constitute any kind of investment advice or a recommendation to Buy / Hold / Sell a fund. Returns mentioned herein are in no way a guarantee or promise of future returns. As an investor, you need to pick the right fund to meet your financial goals. If you are not sure about your risk appetite, do consult your investment consultant/advisor. Mutual Fund Investments are subject to market risks, read all scheme related documents carefully.

Author: Divya Grover

This article first appeared on PersonalFN here.

Join Now: PersonalFN is now on Telegram. Join FREE Today to get 'Daily Wealth Letter' and Exclusive Updates on Mutual Funds

PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

Last week the mutual fund industry was jolted by the news of Franklin Templeton MF winding down six of its debt schemes. The fund houses cited high redemption pressure and lack of liquidity due to COVID-19 as the reason behind the move.

There has been a rush of redemption in the debt market due to high volatility and uncertainty caused by the outbreak of pandemic. The stress is more evident in high-risk category of securities where liquidity has dried up. Notably, the schemes that were wound up belonged to the high credit risk category.

The recent FTMF fiasco led RBI to take note of the situation and step up to build confidence in the capital market.

On April 27, 2020, RBI announced the opening of a special liquidity facility (SLF-MF) worth Rs 50,000 crore to ease liquidity pressure on mutual funds.

Under SLF-MF, RBI will conduct repo operation of 90 days tenor at the fixed repo rate. Banks can avail funds under this facility between April 27, 2020 and May 11, 2020 or up to utilization of the allocated amount, whichever is earlier. RBI will review the timeline and amount, depending upon market conditions.

Banks have to utilise the funds availed under this exclusively for meeting the liquidity requirements of MFs by:

• Extending loans, and
• Undertaking outright purchase of and/or repos against the collateral of investment grade corporate bonds, commercial papers (CPs), debentures and certificates of Deposit (CDs) held by MFs.

The liquidity support under this would be eligible to be classified as held to maturity (HTM) even if it goes beyond the 25% limit of total investment in the HTM portfolio.

Will banks come to the aid?

For banks, availing funds at a lower rate (repo rate) and using it to purchase investment grade, which generally carry higher interest, and holding them till maturity seems like a good opportunity, but they may not be as enthusiastic to come to the aid of MFs.

You may recall that few days ago, RBI came out with a similar liquidity window worth Rs 50,000 for NBFCs. Of these, 50% of funds had to be dedicated towards investment in investment grade bonds, commercial paper, and non-convertible debentures small and mid-sized NBFCs and MFIs.

NBFCs who have been dealing with liquidity crunch for quite some time now is one of the worst affected sectors with rising risk of bad loans amid the COVID-19 outbreak.

As a result, the first tranche of the operation worth Rs 25,000 crore conducted few days ago received bids for just Rs 12,850 crore.

Similarly, the stress in debt mutual fund segment is not new - some categories of debt funds have been facing redemption pressure ever since the IL&FS debacle came to light. Banks may be reluctant to lend to mutual funds with higher exposure to lower quality papers, which have been lacking in liquidity.

If banks do lend to MFs it may be limited to those with good quality papers. This will not serve the intended purpose of the facility.

Many mutual funds investing in credit-risk grade securities may have offloaded good quality papers to meet the high redemption and may be now left with only lower quality papers. Risk aversion in banks has magnified due to rising fear of bad loan pile up. Hence, banks may not be keen to accept lower quality papers as collateral.

Besides, some mutual funds may already have high borrowing rate availed to fund redemptions and further borrowing may not be a viable option for them.

Thus, if redemption pressure continues, liquidity strain will continue in schemes carrying higher exposure to lower rated securities. Hence, RBI may have to come out with alternative steps to deal with issue that would infuse liquidity directly to mutual funds rather than relying on banks.

Word of caution for investors in debt funds

RBI and AMFI have assured investors that stress in capital market is confined to the high-risk debt MF segment at this stage; the larger industry remains liquid.

In the current market volatile and uncertain environment, it would be advisable to stay away from credit risk schemes. However, do not resort to panic selling. Doing that will have an exponentially negative effect on funds, primarily those having exposure to moderate and low rated assets.

Redemption pressure may force the fund managers to sell good quality papers in the portfolio in the secondary market and pile up exposure to low rated assets because it will be difficult to liquidate at fair value.

Keep in mind that debt funds are not risk-free. Investment in debt funds carry various risks relating to liquidity, credit quality, and interest rate. Therefore, before investing in debt funds understand the various risks involved and invest in schemes where the portfolio risk aligns with your own risk appetite and financial objective.

Moreover, choose a fund house that follows prudent investment process and stringent risk-management systems.

In these uncertain times, it would be wise to stick with liquid funds and overnight funds for the debt part of your portfolio as they are highly liquid and carry lower risk.

Our friends at Quantum Mutual Fund have highlighted the secret behind their debt management strategy, which has helped them provide safety and liquidity to investors when it comes to investing in quantum funds. Don't Worry, Quantum Liquid Fund always aims for Safety and Liquidity.

PS: If you wish to select worthy mutual fund schemes, I recommend you to subscribe to PersonalFN's unbiased premium research service, FundSelect.

Additionally, as a bonus, you get access to PersonalFN's popular debt mutual fund service, DebtSelect.

If you are serious about investing in a rewarding mutual fund scheme, Subscribe now!

Author: Divya Grover

This article first appeared on PersonalFN here.

Join Now: PersonalFN is now on Telegram. Join FREE Today to get 'Daily Wealth Letter' and Exclusive Updates on Mutual Funds

PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

The Indian equity markets are on a rollercoaster with the uncertainty surrounding the COVID-19 pandemic. It's been a nerve-racking experience for investors and wealth has been eroded.

As we continue to battle COVID-19 with lockdown 3.0, on a year-to-date basis the S&P BSE Sensex is down -23.9% as of May 5, 2020, (see Table 1 below).

Table 1: Wealth erosion across market cap segments

Balanced Hybrid Funds that are supposed to be balanced and protect downside risk have gone on to erode investors' wealth by seldom maintaining a 'fair balance' and displaying unreasonable love and exuberance for equities plus for taxation reason -- to be treated as an equity-oriented fund. (see Table 2 below).

Similarly, many multi-asset funds that hold the mandate to invest with allocation across three asset classes i.e. equity, debt and gold with minimum 10% in each have posted negative returns (see Table 2 below).

Table 2: Report card of Balanced Hybrid Funds and Multi-Asset Funds

ICICI Prudential Multi-Asset Fund, HDFC Multi-Asset Fund, and UTI Multi-Asset Fund, in particular, have not lived up to the expectation and the trust evinced by investors (going by their AUM size). Not just are their recent returns amidst the outbreak of COVID-19 crisis unappealing, but even the 3-year and 5-year compounded annulaised return is nothing to vie for. This is because they haven't been able to sensibly allocate to the three key asset classes: equity, debt and gold, and play the investment strategy astutely.

On the other hand, the Quantum Multi-Asset Fund of Funds (QMAFOF) has depicted true balance backed by its sensible investment strategy arrested the downside risk and relatively fared better vis-a-vis its peers over 3-year and 5-year time periods.

The Quantum Multi-Asset under normal circumstances by maintaining 25%-65% exposure to units of equity schemes (vide Quantum Long Term Equity Value Fund, Quantum Nifty ETF); 25%-65% exposure to units of debt and money market instruments (vide Quantum Liquid Fund, Quantum Dynamic Bond Fund); 10%-20% in units of gold schemes (vide Quantum Gold ETF); and up to 5% in money market instruments, Short-term Corporate Debt securities, Tri-Party Repo, Repo/ Reverse Repo in Government securities and Treasury Bills has been able to generate modest, yet appealing returns than the rest, and mitigated the risk by diversifying across asset classes: equity, debt and gold.

Historically it is proved that all classes never move in the same direction -- up or down -- at the same time. There could be times when certain asset classes perform better than the other and/or show an inverse relation to another (see Table 3).

Table 3: Here's how various asset classes fared per calendar year

If your multi-asset fund strategically allocates between equity, debt, and gold sensing the pulse of each asset class, maintains balance, and takes calculated risk sensible wealth creation is possible.

In the on-going COVID-19 crisis, equities will remain volatile, but given the sharp correction, there are and will be, enough long-term value-buying opportunities with a decent margin of safety.

Gold in such uncertain times would continue to gain all the attention. Easy monetary policy action and accommodative stance to address growth concerns, a record-high debt-to-GDP ratio, trade war tensions, geopolitical tensions, the potential risk to the inflation trajectory mainly due to food prices, increased stock market volatility, and the U.S. Presidential election in November 2020 are some of the factors expected to work in favour of gold. The precious yellow metal will demonstrate its trait of being a portfolio diversifier, a hedge (when other asset classes fail to post alluring returns), and command a store of value.

And speaking of debt & money market instruments, with exposure to highly rated papers and predominantly government securities, will act as a stabilizer.

A unique aspect of QMAFOF is that it has always taken relative valuations between asset classes into consideration, such as:

• Price-to-Earnings relative to historical averages;
• The relationship between earning yield to bond yield relative to historical averages; and
• Macroeconomic factors prevailing globally and within India

It is this wide-ranging and sensible approach that has helped QMAFOF to protect against the downside risk and reward its investors better than many of its peers. The fund managers, Mr Chirag Mehta (MMS - Finance, M.Com, and CAIA with over 13 years' experience in research and investments) and Mr Nilesh Shetty (B.Com, MMS -Finance, and CFA with collectively 16 years in equity markets), have strategically moved in and out of the aforesaid asset classes wisely recognising their upswings and downswings.

[Read: Why Tactically Invest Across Asset Classes amidst COVID-19 with Quantum Multi-Asset Fund Of Funds]

The choice is completely yours: to stay invested in a 'Balanced Hybrid Fund'/ Multi-Asset Fund that does not show true balance and keep harming your health and wealth; or make a sensible move and switch over to Quantum Multi Asset Fund of Funds that is truly balanced and has sensibly generated wealth for investors without the shrieking experience of a rollercoaster.

Wish to invest in Quantum Multi Asset Fund of Funds? Click here.

Happy Investing!

Join Now: PersonalFN is now on Telegram. Join FREE Today to get 'Daily Wealth Letter' and Exclusive Updates on Mutual Funds

Author: Rounaq Neroy

This article first appeared on PersonalFN here.

PersonalFN is a Mumbai based personal finance firm offering Financial Planning and Mutual Fund Research services.

Disclaimer:
The views mentioned above are of the author only. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Equitymaster do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader. Please read the detailed Terms of Use of the web site.

India tennis ace Sania Mirza celebrated her 10th wedding anniversary along with husband and veteran Pakistan all-rounder Shoaib Malik on April 12, 2020. It was an auspicious day as it was also Easter

Sania Mirza took to social media site Instagram to share a few pictures with her husband Shoaib Malik from their big day back in 2010. She also wished him a "Happy Anniversary".

Sania Mirza also showed her fans a glimpse of her humorous side as she made a tongue-in-cheek statement in her post comparing the two contrasting photos by saying "Expectations vs reality". Sania Mirza wrote: Happy Anniversary @realshoaibmalik. A decade of being married looks like this!! Expectation vs reality. Swipe right for reality." Take a look at the post below. 

 

 

 

View this post on Instagram

Happy Anniversary @realshoaibmalik 😌ðŸ¤Â— A decade of being married looks like this!! Expectation vs reality 😅😂 Swipe right for reality âž¡ï¸Â

A post shared by Sania Mirza (@mirzasaniar) onApr 12, 2020 at 3:55am PDT

Sania Mirza and Shoaib Malik tied the knot in April 2010 in Hyderabad in a grand manner. Sania Mirza gave birth to a baby boy named Izhaan in October 2018. After giving birth to her child in October 2018, Sania Mirza returned to the court in January 2020.

She clinched the women's doubles title at Hobart International, pairing up with Nadiia Kichenok, in her comeback competition.

Sania recently shared a photo of her son with a tennis racquet in hand, looking confused. "I am pretty sure he's thinking what the fuss is all about? #IzhaanMirzaMalik," Sania said in her Twitter post.

Sania last played at the Qatar Open in February. She has helped raise Rs 1.25 crore in one week which will help close to 1 lakh people in need during the 21-day lockdown to fight the coronavirus pandemic.

Inputs from IANS

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Australian tennis star Nick Kyrgios has apparently followed through on a promise to help people going hungry in the coronavirus shutdown, with social media images showing boxes of essential items prepped for delivery.

The controversial Kyrgios, infamously outspoken and known for his fiery on-court antics, said on Monday he would personally drop food on doorsteps after COVID-19 restrictions closed down entire industries, forcing huge numbers of people out of work across Australia. People queueing for welfare payments across the country have been likened to scenes from the Great Depression. "Please don't go to sleep with an empty stomach," Kyrgios, the world number 40, posted on Instagram Monday. "Don't be afraid or embarrassed to send me a private message. I will be more than happy to share whatever I have.

"Even just for a box of noodles, a loaf of bread or milk. I will drop it off at your doorstep, no questions asked!" he said in a post that attracted almost 100,000 likes. His mother, Norlaila Kyrgios, posted on Instagram over the weekend a photo of a table laden with food -- including bread, fruit and canned goods -- with the caption "dining room or food distribution centre".

Images of Canberra-based tennis star's Instagram stories shared on News Corp websites showed boxes of essentials captioned "deliveries in progress". It comes just months after the 24-year-old led a bushfire relief campaign that raised millions of dollars. Kyrgios gave Aus$200 (US$125) for every ace he hit across his home tennis summer, which ran until the end of the Australian Open. Other players and Australian Open organisers jumped on board the fundraising drive, also contributing large sums to people affected by the deadly fires.

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While sports stars across the globe are trying their hands at doing things they never got to do thanks to the Coronavirus lockdown, Bulgarian tennis star Grigor Dimitrov has revealed he will be taking up a course at the Harvard Business School soon.

In a column for the ATP Tour website, Grigor wrote: "I'm starting a course at Harvard Business School in a few weeks. It's something I've always wanted to do. I loved being in school, but haven't had the chance to experience it to the extent that I would have wanted to. Now I have the time to do something new and different."

Grigor, who is currently in California, USA, during quarantine, added: "I decided to stay on the west coast of the US once it was announced that Indian Wells was cancelled. Tennis players are creatures of habit, so I still make sure to structure my day. Go to bed on time, wake up early, be productive in the morning. I'm a crazy fanatic when it comes to laundry and have been doing that twice a day."

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Canadian tennis ace Eugenie Bouchard, 26, has agreed to go on a date with a random online fan for a charitable cause. The fan will pay her an amount which she will donate to feed hospital staff battling the Coronavirus pandemic.

After Genie put out a message on Twitter that she felt like "quarantine would be a lot more fun with a boyfriend," she received many messages from fans.

So, in an Instagram Live chat with sportscaster Allie LaForce, she decided to pick a viewer named Bob, who initially offered to pay GBP 400 (approx Rs 36,000) for the date.

LaForce however, upped the stakes further, demanding GBP 2,410 (approx R2 lakh), the expenditure to feed hospital staff on the tennis player's behalf. Bob agreed and Genie said yes. Interestingly, Genie asked Bob to get some toilet rolls along, to which, Bob agreed but offered an extra GBP 800 (approx Rs 72,000) if she spoke in a British accent.

An embarrassed Genie replied: "Why are you doing this to me, Bob? I'm going to say yes but I have no skill whatsoever in imitating accents."

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With the world coming to a standstill due to the coronavirus outbreak, sporting events across the globe have either been cancelled or suspended and Indias star tennis player Sania Mirza cannot wait to go back to the tennis court.

Taking to Twitter, she wrote: "Waiting to play tennis again like." Earlier, Sania had made her displeasure known as there has been a rise in the number of 'cooking' posts that celebrities are putting out on social media as they stay indoors to fight the coronavirus outbreak. Sania feels posting such pictures in these times is unwanted.

Waiting to play tennis again like 🎾 ⏳
📸- @avigowariker pic.twitter.com/RUZaNRjHHf

— Sania Mirza (@MirzaSania) April 14, 2020

Taking to Twitter, she wrote: "Aren't we done with posting cooking videos and food pictures yet ? Just spare a thought - there are hundreds of thousands of ppl, specially in our side of the world starving to death and struggling to find food once a day if they are lucky."

After giving birth to her child in October 2018, Sania returned to the court in January this year. She clinched the women's doubles title at Hobart International, pairing up with Nadiia Kichenok, in her comeback competition.

Sania recently shared a photo of her son with a tennis racquet in hand, looking confused. "I am pretty sure he's thinking what the fuss is all about? #IzhaanMirzaMalik". Sania said in her Twitter post.

Sania last played at the Qatar Open in February. She has helped raise Rs 1.25 crore in one week which will help close to 1 lakh people in need during the 21-day lockdown to fight the coronavirus pandemic.

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Wimbledon champion Simona Halep, 28, is pretty shocked to see a global lockdown due to the Coronavirus pandemic. "Not even in my worst nightmares could I think that the globe can stop in such a way. For me, it's a shock because I'm pretty young and haven't gone through too many tough times. This is something that belongs to a fantastic realm. They have stopped travelling, flight in order to avoid affecting our health and well-being. Maybe it's the best interdiction," Simona, 28, told Romanian TV show Garantat 100%.

The former World No. 1, who is currently in isolation at her Bucharest home, is taking "maximum care" to avoid contracting the virus, fearing it could affect her lungs.

"In the beginning, I had this fear but then analysed the situation and figured out that if you protect yourself, everything will be OK but I'm afraid for those with health issues. I fear this virus because even if we are healthy and have good immunity–we may resist it–but it [the virus] will leave us with a serious lung affection. That's why I have decided to take maximum care of myself. That's why I have decided to take maximum care of myself," added Simona.

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British tennis star Jamie Murray, 33, believes that he's the most fashionable person in his family. Jamie, the elder brother of former British No. 1 Andy Murray, 32, recently signed on as the brand ambassador for Edinburgh-based Andrew Brookes Tailoring.

Jamie hailed England football legend David Beckham's fashion sense. "David Beckham is my style icon. He always has his game face on. I'm sure a lot of effort goes into making sure he looks on point," said Jamie in an interview to The Herald Scotland.

About his own style, Jamie said: "[My style is] Pretty casual. With travelling so much, there's a limit to what you can take in your suitcase. I tend to keep it quite simple with jeans and sneakers, some t-shirts and hoodies."

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Rafael Nadal thinks the global nature of tennis means there is little chance tournaments will go ahead any time soon as sport continues to be paralysed by the coronavirus pandemic. Novak Djokovic also anticipates a lengthy delay before tennis can be played even behind closed doors, with the world number one expecting players to have to wait a "few months". The French Open, which Nadal has won a record 12 times, has been postponed until September, shortly after the US Open, while Wimbledon was cancelled earlier this month for the first time since World War II.

But the prospect of either grand slams at Roland Garros or Flushing Meadows being played with fans appears increasingly remote. "Tennis is a global sport," Nadal told Spanish radio station Onda Cero on Wednesday night. "We go from country to country and a lot of people have to move around.
"It seems difficult to me for any big tournament to be played in the short or medium term."

Football's major leagues are preparing to play behind closed doors for several weeks to complete their seasons and avoid losing considerable sums of money from broadcasting contracts. But tennis tournaments are more reliant on fans for their income, making it more complicated to stage competitions in empty stadiums. "It is not an easy decision," Djokovic told the same programme.

"I am ready but I think we have to wait a few months." "If you could play behind closed doors, I would be delighted but I think it's very difficult," added Nadal.

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Bollywood actress and Miss Universe 2000 Lara Dutta turned 42 years old on April 16, 2020. Lara Dutta's birthday celebrations, however, were not stopped due to the COVID-19 lockdown. Lara Dutta's husband Mahesh Bhupathi was the one to bring in her birthday and host what was called a 'virtual birthday party' at their home in Mumbai.

Mahesh Bhupathi also took to Instagram to share a couple of photos and a video of Lara Dutta's birthday celebrations along with their daughter Samaira. The couple also had their close friends on a video conference to wish Lara Dutta on her birthday. Mahesh Bhupathi described how the part went and also had a fun caption to go with it. Virtual birthday party done .. Happy Birthday, Lara. May God continue to bless you with this amazing husband and incredible kid for another few decades atleast. Yes, we ate well today." Here's Mahesh Bhupathi's post on Instagram.

 

 

 

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Virtual Birthday Party done .. Happy Birthday @larabhupathi . May God Continue to Bless you with this amazing husband and incredible kid for another few decades at least 😍😍 . Ps .. yes we ate well today . Thanks for the amazing cake @hakunamatatapatisserie

A post shared by Mahesh Bhupathi (@mbhupathi) onApr 16, 2020 at 6:50am PDT

Lara Dutta made her Bollywood debut in 2002 with the superhit film Andaz alongside Akshay Kumar and Priyanka Chopra, who also made her debut. Both actresses won the Filmfare award for Best Female Debut.

Lara Dutta has since appeared in a list of Bollywood hits such as Masti, No Entry, Housefull, Partner, Bhagam Bhaag and Don 2. She also ventured into production with the film Chalo Dilli in 2010.

Mahesh Bhupathi and Lara Dutta got engaged in September 2010 and tied the knot in February 2011. In January 2012, Lara Dutta and Mahesh Bhupathi welcomed their daughter Samaira into the world.

Russian tennis beauty Maria Sharapova turns 33 on Sunday, but the celebrations already began for the former World No. 1, a day earlier. On Saturday, she shared this picture of a cake with her four million Instagram followers and captioned it: "This little piece of cake goodness arrived at our doorstep this morning [happy early birthday to meeee] and didn't make it past noon."

 

 

 

View this post on Instagram

A post shared by Maria Sharapova (@mariasharapova) onApr 17, 2020 at 5:18pm PDT

Originally known as a German tree cake, the Japanese got some skin in the game and crafted several versions of their own. It's one of my favourite morning coffee indulgences. Thank you, Yutaka!!"

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Novak Djokovic said that he, Roger Federer and Rafael Nadal are organising aid for players struggling with the paralysis of the game due to the Coronavirus pandemic. "I spoke to Roger and Rafa a few days ago," Djokovic, the World No. 1, said in an Instagram chat with friend and rival Stan Wawrinka on Saturday.

No support from federation
"We had a long conversation about the near future of tennis, what is going to happen, how we can contribute and how we can help especially lower-ranked players, who are obviously struggling the most. The majority of the players who are ranked between 200, 250 in the world, and the 700th or 1,000th do not have federation support, do not have sponsors. They are completely independent and left alone," he said. "Guys who are ranked between 200-250, especially to 700...are thinking of leaving tennis right now."

He said players, the ATP and the four Grand Slams "would all get together and will contribute to a player relief fund that ATP will distribute." "It looks, hopefully, that there will something between $3 million (2.75 million euros) and $4.5 million that is going to be distributed," he estimated. Djokovic said the cash could come from the prize money for the season-ending World Tour Finals or the final bonus pools for top players.

Lack of tournaments
"Maybe if we don't have any tournaments this season, we can take a certain percentage from our prize money from Australian Open in January," he said. "These guys are the grass roots of tennis. The future of tennis. We need to show them they still can rely on support of the top guys." According to reports in tennis media, Djokovic, as president of the ATP Players' Council, which also includes Federer and Nadal, proposed to members that players in the Top 100 for singles and the Top 20 in doubles contribute according to their rankings.

The proposed scale runs from $30,000 for a Top-5 player to $5,000 for those between 51 and 100. That would raise approximately $1 million and the ATP would make a similar contribution. On Friday, ATP chief Andrea Gaudenzi echoed the call for unity on the tour website. "Our guys are at home, obviously unable to play, unable to earn money and financially struggling, so we will try to help," he said.

"I've been quite touched by the top players who reached out, the big names expressing their desire of helping the lower-ranked players and putting those players first. We are also talking with the Grand Slams about it. They may want to join in the effort. I think it would be a great message for the sport." World tennis has been at a standstill since the beginning of March and will not resume until mid-July at the earliest following the postponement of Roland Garros and the cancellation of Wimbledon.

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Former US Davis Cup captain Patrick McEnroe, who was diagnosed with COVID-19 in March, said Saturday that he has now tested negative for the virus. "All right everyone, great news for me and my wife, Melissa, we both tested negative for COVID-19," McEnroe said in a video posted on Twitter. "We just got the tests back this morning.

The 53-year-old younger brother of seven-time Grand Slam singles champion John McEnroe, said he was tested at the same drive-up facility in suburban Westchester County, New York, where he obtained his initial test. He said the procedure was even more efficient, with more technicians testing six lines of patients instead of two. "I know we're talking a lot about testing on TV, we need more of them, we all know that. It was great to see this going so well for us and for New York state in general," said McEnroe, who quarantined at home during his illness. New York state has seen more than 12,000 deaths from COVID-19, although the state reported its lowest one-day death toll in two weeks on Saturday of 540. McEnroe said that as someone who had recovered from the virus he hoped to be able to contribute to the fight against the disease. "Now I'll try to go for the antibody test when that's available to give my blood, my plasma," he said.

Researchers are studying treatments in which coronavirus patients are given blood plasma from recovered individuals who have developed antibodies that can fight the disease. "Still thinking about everyone on the front lines," McEnroe concluded. "We've got to stay the course." McEnroe, who had first tweeted a video announcing his diagnosis from the basement of his home, was outdoors in the sunshine on Saturday. McEnroe won his only ATP singles title in 1995 at Sydney. He captured a Grand Slam doubles crown at the 1989 French Open alongside compatriot Jim Grabb. He was captain of the 2007 US Davis Cup squad that beat Russia 4-1 in the final at Portland, Oregon.

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Former Danish tennis star Caroline Wozniacki has turned to baking during weekends during the Coronavirus lockdown.

On Sunday, the former World No. 1 Instagrammed this picture to her 1.4 million followers, of a red velvet cake she baked and wrote: "Weekdays are for fitness. Weekends are for baking [and eating]. First time baking a layered red velvet cake with homemade vanilla cream cheese frosting! I think it was a success!" To this, her NBA star hubby David Lee replied: "Definitely a success! Two pieces in and I'm ready for a nap."

 

 

 

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Weekdays are for fitness🏃🏼‍♀ï¸ÂðŸ‹ðŸ¼‍♀ï¸Â, weekends are for baking👩🏼‍🍳 (and eating😋) - first time baking a layered red velvet cake with homemade vanilla cream cheese frosting! I think it was a success! 😍

A post shared by Caroline Wozniacki (@carowozniacki) onApr 18, 2020 at 12:24pm PDT

Caroline Wozniacki is the first female from a Scandinavian country to be the number one player in WTA rankings. Wozniacki has won a total of 30 singles titles in her entire career. Wozniacki's highest point in her tennis career came when she won the 2019 Australian Open. Her career statistics are 635-264 with a winning percentage of 70.6.

Caroline Wozniacki is married to NBA champion David Lee. They tied the knot in June 2019.

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Novak Djokovic has said he would be against a compulsory Coronavirus vaccination if it became a requirement for tennis players to travel to tournaments. "Personally, I'm against vaccination. I wouldn't like that someone forces me to get a vaccine in order to be able to travel," the World No. 1 said late on Sunday.

The Serbian star was speaking from Spain, where he is in lockdown with his family, in a video conference held on his Facebook for Orthodox Easter. "We [players] will have to travel. I think it will be the number one challenge," he said.

"If it [vaccination] will become compulsory what will happen? I will have to take a decision," on whether to get a vaccine or not, he said. "This is my opinion at the moment. Whether it will change I don't know."

No vaccine currently
There is currently no vaccine for the virus that has claimed some 1,65,000 lives around the globe, though labs around the world are racing to develop a treatment. Like the rest of the sporting world, tennis has been on pause since early March, with the ATP and WTA Tours suspended until mid-July at the earliest and Wimbledon cancelled for the first time since World War II.

'No play before Sept, Oct'
Djokovic estimated tournaments would not restart "before September or October". "The season will officially restart when everyone will be 100 per cent certain that people can return, that there is no risk, that people are resistant to the virus and this takes time." Tournaments with travel limited to one country or a region could be possible, he said.

17
No. of Grand Slam singles titles won by Novak Djokovic

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Rafael Nadal on Monday expressed his frustration that tennis players remain unable to practise due to the coronavirus pandemic, while Roger Federer revealed he was happy with his recovery from knee surgery. The Spanish government has extended the country's state of alarm until May 9, with the entire population confined to their homes except a small number working in specific sectors, leaving Nadal perplexed as to why he can't train. "It's true I don't understand very well because we cannot play tennis when many people are going to work and even more so in our sport, where we keep at a large and safe distance and we play on opposite sides of the court," world number two Nadal said during an Instagram Live.

"But I understand that we are in a very critical situation, that the government is dealing with something unprecedented and I also understand that the last thing they think of is who can train and who cannot train. "I understand the situation and obviously there are many things that are not logical but you have to accept the rules." Nadal treated tennis fans to an Instagram Live in which he spoke to both Roger Federer and Andy Murray about their experiences during lockdown.

The men's and women's tours have been halted due to the virus, while Wimbledon was cancelled last month for the first time since World War II and Nadal's favourite Grand Slam the French Open was pushed back to September 20. "I am not playing tennis, I do not have a court at home and I miss it a little," Nadal said. "I am sticking to my physical routines.

From the gym of my academy they were able to bring me some machines when lockdown began so I try to work a little in the morning, a little in the afternoon. "It is very important to have both the head and the body focused and it is what I am trying to do at all times." Federer meanwhile gave an update on his right knee after the 20-time major winner decided to undergo surgery in February.

"I've been hitting a bit against a wall, (doing) rehab with the knee," Federer said. "It's OK, I had a really good first six weeks, then it was a bit slower, now it's getting better again but I have plenty of time. "There is no stress, no rush. If there is anything positive (about being in lockdown) that's the only thing really. I just want the knee to be good, it doesn't matter when I return."

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Canadian tennis ace Eugenie Bouchard's tendency to pick dates online is set to become the theme of an upcoming Hollywood romantic comedy.

According to report in The Canadian Press, a script based on Eugenie's date with one of her Twitter followers, John Goehrke, who won a bet on the 2017 Super Bowl, is already being worked upon.

The couple continued to meet thereafter for more dates. However, this story has an update with Eugenie, 26, recently deciding to go on another random date with an online fan.

During an Instagram chat last week, Eugenie, agreed to go on a date with a fan named Bob, who donated GBP 3,210 (Rs 2.7 lakh) to help feed hospital staff battling the Coronavirus pandemic.

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American tennis player Sloane Stephens has started a fundraiser for students and teachers in Haiti in association with her fiance Jozy Altidore's JA Foundation. "Can you imagine climbing 200 flights of stairs every day simply to access clean water, and education, and healthcare? The children and families in Marre-a-Coiffe, Haiti do just that. I'm taking the Hike for Haiti Challenge to raise awareness and funds to help provide students and teachers in Haiti vital support.

Jozy Altidore

From April 17 to May 17, we'll be hiking 200 flights of stairs in solidarity," Sloanne, 27, says on her fundraising page. Meanwhile, Jozy remarks: "In these times of adversity and social distancing, it's so important to find ways to virtually stay connected to others in our community, and to stay healthy and active at home. The JA Foundation will be matching funds donated to my team page up to $2,500, so your contribution will have double the impact."

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20-time Grand Slam champion Roger Federer came up with a radical proposal regarding the future of international tennis. The Swiss superstar suggested a merger between men's tennis body ATP and women's governing body WTA.

Federer believes this could be the right time for a merger between ATP and WTA for the betterment of the sport. The former World No.1 also explained that he isn't asking for competitions being merged but only the governing bodies.

"Am I the only one thinking that now is the time for men's and women's tennis to be united and come together as one?" Federer wrote on his Twitter handle.

"I am not talking about merging competition on the court, but merging the two governing bodies (ATP and WTA) that oversee the men's and women's professional tours."

"It's too confusing for the fans when there are different ranking systems, different logos, different websites, different tournament categories," he wrote further.

The entire sporting calender of the world is reeling due to Covid-19 pandemic and tennis is not different. The season has been put on hold with multiple tournaments being postponed or cancelled.

The second slam of the year, French Open, has been postponed from May to September while the Wimbledon was cancelled earlier this month in the wake of coronavirus crisis. Wimbledon had only been cancelled twice before, because of World War 1 and World War 2.

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WTA founder Billie Jean King joined Roger Federer and Rafael Nadal on Wednesday in suggesting now is the time to merge the men's ATP and women's body into one umbrella organisation to oversee the two professional tennis tours. Federer, holder of the men's record of 20 Grand Slams, was the first to raise the notion on Twitter, triggering an overwhelmingly enthusiastic response from King and Nadal.

"Just wondering...am I the only one thinking that now is the time for men's and women's tennis to be united and come together as one?" Federer said. "I am not talking about merging competition on the court, but merging the two governing bodies [ATP and WTA] that oversee the men's and women's professional tours." Trailblazer King, who was a part of establishing the WTA in 1973 and was one of the 'Original 9' on the tour, said her support for the idea dates back decades.

Common voice needed

"I agree, and have been saying so since the early 1970s. One voice, women and men together, has long been my vision for tennis. The WTA on its own was always Plan B. I'm glad we are on the same page. Let's make it happen. #OneVoice," she tweeted. Nadal, who has 19 Grand Slam titles, supported his long-time rival's proposition. "Hey @rogerfederer as you know per our discussions I completely agree that it would be great to get out of this world crisis with the union of men's and women's tennis in one only organisation," he said.

Federer and Nadal argued by a merger tennis could emerge stronger from the Coronavirus lockdown which has seen the sport shut down, with Wimbledon cancelled for the first time since World War II and the French Open pushed back to the end of September. "It probably should have happened a long time ago, but maybe now is really the time. These are tough times in every sport and we can come out of this with two weakened bodies or one stronger body," Federer wrote. He said the current system was "too confusing for the fans when there are different ranking systems, different logos, different websites, different tournament categories".

Talks underway: Wawrinka

Later, three-time Grand Slam winner Stanislas Wawrinka claimed discussions are underway regarding the move with the ATP's chairman Andrea Gaudenzi. "It was not just a comment like that, there is more talk behind that. Gaudenzi at the ATP was already talking about it," he said during an Instagram Live with 18-time Grand Slam champion Chris Evert. Australian star Nick Kyrgios and two-time women's Grand Slam champion Simona Halep also said they were behind the idea.

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Former Slovak tennis star Daniela Hantuchova has launched her own podcast, The Real DNA, where she plans to have people who have inspired her, as guests on her show. After retiring in 2017, Daniela, 37, has been a tennis commentator for the past couple of years.

"The reason behind launching a podcast was that I love to communicate and learn from all the inspiring people I have in my life. I thought it would be nice to able to share their stories and their real DNA with our listeners. At the end of the day, one of the things I cherish the most in life is being able to sit down and have a cup of coffee with people I love, my family, friends, and people I admire, and listen to their stories and their experiences in life," she was quoted as saying by Tennis World USA.

"I believe the most inspiring people I've encountered in life share certain core values as humans that have helped get them where they are, whether in sports or somewhere else. I want my listeners to get to know these people and understand those core values," she added.

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Australia's World No. 1 tennis ace Ashleigh Barty, 24, likes to see the positives in life even in the most negative situations.

The French Open champ, currently at home Down Under due to the Coronavirus-caused lockdown, says there is no point in stressing over the uncontrollables.

"Everyone is in a unique situation, depending on what country they're from and all the governing bodies making different decisions. It's not a time to worry or stress about because it's something out of our control. There's always a silver lining, there's always something we could be grateful for, to be happy about. For me, it's being able to spend time with my family," Ashleigh told the WTA Tour website.

Meanwhile, Ashleigh has kept in touch with some of her friends on the Tour. "I spoke to Kiki [Bertens] and Jule [Goerges] and Simona [Halep] and Petra [Kvitova]. It's just to check it they and their families are fine. Firstly, it's always about health and looking after yourself and your family, and then sports is a bonus. This is a time where we can really appreciate the little things."

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Rafael Nadal said on Sunday that he was "very pessimistic" over a full resumption of the professional tennis circuit which has been halted by the coronavirus pandemic. "From my point of view, I'm very pessimistic that the circuit can resume a normal activity," said the world number two in a virtual chat origanized by the Spanish Federation of Tennis (RFET) involving the team that won last year's Davis Cup.

"In tennis, you need to travel every week, stay in hotels, go to different countries," Nadal said. "Even if it we play without an audience, to organise any event you need a lot of people involved, which cannot be ignored. At an international level I see a serious problem." Nadal said he hoped that restrictions can be relaxed gradually, but added that he was aware that the global health situation is serious. "We have had a very tough month and a half, with many irreparable losses as well as others that are less important that will still bring great suffering to society, I hope only for a few months, at the economic level," he said.

"Many people are going to lose their jobs." "These are sad moments when you see so many people dying," he said. Nadal had already told Spanish radio that he thought it would be "difficult" to stage one of the majors "in the short or medium term." Nadal has been working with his friend Pau Gasol, the Spanish basketball player, to raise funds in the fight the coronavirus. Along with other leading tennis players such as Roger Federer and Novak Djokovic, Nadal is one of the promoters of a plan to create a fund to help low-ranked players who are suffering financially.

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Russian tennis ace Maria Sharapova has allegedly flouted the strict Coronavirus-caused lockdown rules in the US, where over 55,000 have died due to the pandemic.

According to British tabloid, The Sun, Maria, 32, recently visited some friends around Los Angeles with boyfriend Alexander Gilkes, 41, whom she has been dating since 2018.

Maria was photographed on Friday, relaxing on a balcony alongside another couple at a Manhattan beach pad.

The quartet were in clear breach of the two-metre social distancing norm that has been laid down by the authorities in LA where there have been 850 COVID-19 deaths
till date.

A few days ago, Maria had announced on Instagram that she was heading to a friend's beach house. "Last night, we took a sunset road trip along PCH, picked up lobster brioche rolls from @broadstreetoysterco drive thru and made our way to a friend's beach house," the 2004 Wimbledon champion wrote.

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Belgian tennis player Kirsten Flipkens was fined by police during a cycle ride recently. World No. 77 Kirsten unknowingly rode across the border, entering the Netherlands and paid the price for the violation. According to Dutch newspaper Het Laatste Nieuws, Kirsten had to pay the border police a fine of 250 euros.

"I had entered a route of 130km in my GPS [the system picks the route automatically] and then I saw that I found myself in The Netherlands [in Komoot] as it entered the shortest route back to Belgium. I saw them [police] from a distance of one kilometre and then immediately I was put aside like a criminal with sirens on the side. Really bad," a frustrated Kirsten wrote on Twitter, adding that another cyclist passing by told her, that he had received only a warning at the same crossing.

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