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Vijay Anand’s evergreen classics TEESRI MANZIL and JEWEL THIEF have been stimulation for many a film-maker over the decades. A number of films have on loan from these two classics that are rightfully recognized as textbooks in film-making. Director Rohit Shetty also appears like a big fan of TEESRI MANZIL, since the script of his third outing SUNDAY is structured on those lines. But, in actuality, SUNDAY is stimulated by the Telugu film ANUKOKUNDA OKA ROJU [2005].

A lady is killing at the very outset and the pieces of the jigsaw puzzle are fixed in an interesting and fashionable way. Any whodunit works if and only if the needle of suspicion points at the various assorted characters all through the narrative. And SUNDAY has that quality, it keeps you guessing! As a storyteller, Shetty whitewashes his previous highly competitive works [ZAMEEN, GOLMAAL] and comes up with his most watchable experience so far. Oh yes, there are glitches [in the second hour specifically] and Shetty should’ve taken care of them, but let’s not fuss over trivial matters.

To sum up, SUNDAY strikes the right balance between the two diverse genres [suspense, comedy]. It’s a film that holds appeal more for the aam junta, not for the hard-nosed critics. SUNDAY can be summed up in four words: Engaging, engrossing, entertaining and enjoyable! A dead body found floating in a lake… Unexplained scratch marks on her neck… Supari killers out to kill her… A taxi driver who yells ‘bhoot, bhoot’ every time he sees her…

Sehar’s [Ayesha Takia] world turns topsy-turvy when she gets a clue about the missing Sunday of her life, which points to a possible violent attack on her. A.C.P. Rajveer [Ajay Devgan] takes up the case to sort out the complicated and jumbled up threads of Sehar’s life. In the process of solving Sehar’s case, it comes to light that on Sunday, different people interacted with her and amongst them, one could be the accused. The lot included Ballu [Arshad Warsi], the taxi driver and his friend Kumar [Irrfan Khan], a struggling actor, Ritu [Anjana Sukhani], Sehar’s close friend, a scary and suspicious character [Murli Sharma], who resides in Sehar’s society and the group whom she had come across while partying at the discotheque. Rajveer is convinced that Sehar is innocent, but he is also equally sure that she is linked to everything. Is Sehar really as innocent as she claims to be?

Even though the two genres [suspense, comedy] move concurrently, the suspense element isn’t heavy on your mind and nor are the comic portions of the nonsensical variety that one laughs at the spur of the moment and forgets all about them the very next moment. The funda is clear: Make a wholesome entertainer that works for an avid moviegoer. Although the story isn’t path-breaking, the script [K. Subhaash, Robin Bhatt and Tushar Hiranandani] holds your attention all through the first hour. The writing is highly competent in this hour. It’s only in the second half that things slow down. Reason? There’s an unwanted song ['Pyaar to Hona Hi Hai'] and an unrequired, long-drawn chase [with cars somersaulting in the air], that tapers the impact. Even the climax should’ve been more convincing. The shock-value — so vital when the murderer’s individuality is unveiled — is missing in the end. Also, a more prominent actor would’ve only enhanced the impact.

The screenplay writers should’ve worked harder on the second hour, since that’s the most important aspect of any whodunit. Yet, all said and done, director Rohit Shetty steers the film through turbulent waters with his specialist implementation. The songs — by various music composers — give the film a varied sound. ‘Kashmakash’ [Shibani Kashyap] is the best of the lot. Filmed on Esha Deol [excellent], the song boasts of an imaginative picturization. ‘Manzar’ [Raghav Sachar] is another winner. This one’s filmed on Tusshar [dances very well]; it has a catchy beat and an equally arresting choreography. The stunts [Jai Singh] are stylishly executed. Aseem Bajaj’s cinematography is topnotch. He proves yet again that he’s amongst the best in the business. Dialogues [Sajid-Farhad] are admirable; very much in snyc with the mood of the film. The sets, especially in the Esha Deol track, are awesome.

The performances are likable! Known for intense roles, Ajay Devgan shows a flair for comic moments and get it right. SUNDAY would only multiply his fan-following since the actor has started deviating into areas that he seldom visited as an actor. As always, Arshad Warsi is in terrific form. It’s a treat to watch him essay his role with such precision. Irrfan is another actor who surprises you all the while. In fact, this combo — Arshad and Irrfan — praise each other very well. Ayesha Takia is a whole natural. The best thing about her is, she never makes you feel she’s acting. She just slips into her role so well. Her introduction — her dubbing for an cartoon film — is excellent. Anjana Sukhani doesn’t get any scope. Mukesh Tiwari is first-rate. Murli Sharma, Vrajesh Hirjee and Ali Asgar are alright.

On the whole, SUNDAY is a well-made entertainer that has the potential to click with moviegoers. It also has the benefit of having open weeks ahead, with no major opposition till 15th February. Should end the drought that the industry is facing after a spell of flops.

Taare Zameen Par swept the Nokia 14th Annual Star Screen Awards on Thursday, but Chak De! India ran away with the Best Film Award and Shah Rukh Khan bagged the Best Actor Award at the first film award function of the year. However, it was a tie for the Best Director’s Award between Shimit Amin for Chak De! India and Aamir Khan for Taare Zameen Par.

This year’s event saw some of 2007’s top films like Taare Zameen Par, Chak De India, Life…In a Metro, Om Shanti Om and Guru vying for the top honours. Taare Zameen Par bagged six key awards including Best Director (Aamir Khan), Best Story (Amol Gupte), Best Child Actor (Darsheel), Best Lyricist (Prasoon Joshi), Best Dialogue and Best Supporting Actor (Aamir Khan).

Mani Ratnam’s Guru earned AR Rahman the Best Music Director Award. The Best Actress Award went to Kareena Kapoor for Jab We Met. Shah Rukh Khan performed his Dard-e-Disco number from Om Shanti Om while Shahid Kapur, Katrina Kaif, Urmila Matondkar, Riteish Deshmukh and Dia Mirza shook a leg to the year’s chartbusters at the award ceremony, which was hosted by ace compere and Heyy Babyy director Sajid Khan.

Shah Rukh also won the honour of Best Pair along with Deepika Padukone, who also carried a second trophy for the Best Newcomer (Female). The Best Newcomer (Male) Award went to Ranbir Kapoor. Irfan Khan bagged the Best Comedian Award for Life…In a Metro while Anurag Basu won the Best Screenplay Award for the same film. The Star Screen Lifetime Achievement Award went to Manoj Kumar. Pankaj Kapoor bagged the Award for Best Negative Role for while Chak De girls shared the honour for Best Supporting Role (female).

Singer Soham won the Award for the Best Playback Singer (Male) for his soulful rendition of in the film Life…In a Metro while Shreya Ghosal was adjudged Best Playback Singer (female) for Guru.

Taare Zameen Par swept the Nokia 14th Annual Star Screen Awards on Thursday, but Chak De! India ran away with the Best Film Award and Shah Rukh Khan bagged the Best Actor Award at the first film award function of the year. However, it was a tie for the Best Director’s Award between Shimit Amin for Chak De! India and Aamir Khan for Taare Zameen Par.

This year’s event saw some of 2007’s top films like Taare Zameen Par, Chak De India, Life…In a Metro, Om Shanti Om and Guru vying for the top honours. Taare Zameen Par bagged six key awards including Best Director (Aamir Khan), Best Story (Amol Gupte), Best Child Actor (Darsheel), Best Lyricist (Prasoon Joshi), Best Dialogue and Best Supporting Actor (Aamir Khan).

Mani Ratnam’s Guru earned AR Rahman the Best Music Director Award. The Best Actress Award went to Kareena Kapoor for Jab We Met. Shah Rukh Khan performed his Dard-e-Disco number from Om Shanti Om while Shahid Kapur, Katrina Kaif, Urmila Matondkar, Riteish Deshmukh and Dia Mirza shook a leg to the year’s chartbusters at the award ceremony, which was hosted by ace compere and Heyy Babyy director Sajid Khan.

Shah Rukh also won the honour of Best Pair along with Deepika Padukone, who also carried a second trophy for the Best Newcomer (Female). The Best Newcomer (Male) Award went to Ranbir Kapoor. Irfan Khan bagged the Best Comedian Award for Life…In a Metro while Anurag Basu won the Best Screenplay Award for the same film. The Star Screen Lifetime Achievement Award went to Manoj Kumar. Pankaj Kapoor bagged the Award for Best Negative Role for while Chak De girls shared the honour for Best Supporting Role (female).

Singer Soham won the Award for the Best Playback Singer (Male) for his soulful rendition of in the film Life…In a Metro while Shreya Ghosal was adjudged Best Playback Singer (female) for Guru.

Tim Burton makes dream movies. Stephen Sondheim writes musicals. It is hard to think of two more optimistic genres of popular art, or of two popular artists who have so methodically subvert that optimism. Mr. Sondheim has always gravitated toward the discord lurk in summable tunes, and has threaded his song-and-dance spectaculars with subtexts of nervousness and alienation. Mr. Burton, for his part, dwells most naturally (if somewhat uneasily) in the realms of the gothic and the grotesque, turning comedian books and children’s tales into scary, nightmarish shadow plays.

And so it should not be surprising that “Sweeney Todd: The Demon Barber of Fleet Street,” Mr. Burton’s film adaptation of Mr. Sondheim’s musical, is as dark and terrifying as any motion picture in new recollection, not excluding the bloody installments in the “Saw” franchise. Indeed, “Sweeney” is as much a horror film as a musical: It is cruel in its effects and fundamental in its misanthropy, expressing a breathtakingly, thoroughly apathetic view of human nature. It is also amazing close to a masterpiece, a work of great — I am tempted to say evil — genius.

As it was originally performed onstage, with all the songs Mr. Sondheim composed for it, “Sweeney Todd” balanced its inherent grisliness with a whimsical vitality. The basic story is a revenge’s disaster more Jacobean than Victorian, but Mr. Sondheim nonetheless wrings some grim, boisterous humor out of both the impulse for vengeance and the bustling spirit of commerce. A barber, wronged by a powerful judge, returns to London and sets up shop, cutting throats as well as hair. The bodies of his victims are turned into savory meat pies by Mrs. Lovett, his lively partner in business and crime. Cannibalism and mass murder as the base for a hit show — what a perverse and appetizing joke.

It seemed a lot less funny in the recent revival, which starred Michael Cerveris and Patti Lupone in roles originated on Broadway by Len Cariou and Angela Lansbury in 1979. Mr. Burton’s film, in spite of the participation of Sacha Baron Cohen (as a mountebank barber in a skin-tight costume) and Timothy Spall (as a louche bailiff) pretty much casts out frivolity altogether. Mr. Burton’s London is a dark, smoky oil slick of a city. Dante Ferrety’s production design, which owes something to the Victorian city confected for Carol Reed’s “Oliver!,” be capable of make even daylight look sinister. Innocence, represented by a pair of young would-be lovers (Jayne Wisener and Jamie Campbell Bower) has virtually no chance in this place; it is a joke played by fate, something to be corrupted, imprisoned or cracked

Mrs. Lovett the pie maker is played by Helena Bonham Carter, a witchy fixture of Mr. Burton’s cinematic universe as well as the mother of his children. If the director has an alter ego, or at least an actor time and again able to embody his ideas on screen, it would have to be Johnny Depp. He was the hurt, misunderstood man-child in “Edward Scissorhands,” the cracked visionary in “Ed Wood” and the cold, creepy candy mogul in “Charlie and the Chocolate Factory,” in each case giving shape to an emotional equation that had never quite be seen on film before. As Sweeney, his hair streaked with white and his eyes rimmed in black, he is an avatar of fury.

Mr. Depp’s singing voice is harsh and thin, but amazingly forceful. He brings the unpolished urgency of rock ’n’ roll to an idiom accustomed to more refinement, and in doing so awakens the violence of Mr. Sondheim’s lyrics and melodies. Some of the crowd-pleasing numbers, like “The Ballad of Sweeney Todd,” have been pared away, but their absence only contributes to the diabolical coherence of the film, which moves with a furious momentum toward its sanguinary conclusion.

Like nearly every other horror-film serial killer — the outcast teenager abused by the cool kids; the decent man whose suffering has been ignored or mocked — Sweeney starts out as a sympathetic figure. Once upon a time, he was a happy husband and father, until his lovely wife (Laura Michelle Kelly) caught the eye of a malignant judge (Alan Rickman), who transported the poor barber to Australia. Now, after many years, he has returned to find that his daughter, now a teenager, has become the judge’s ward. Finding his old straight razors — “my friends” — under the floorboards of his former shop, Sweeney sets out to ensnare the judge, a project that requires the deaths of quite a few customers along the way.

“They’ll never be missed,” sings the practical Mrs. Lovett. Sweeney’s view is harsher, almost genocidal. “They all deserve to die,” he says, looking out over the rooftops of the city. And Mr. Burton depicts those deaths ruthlessly. The initial geyser of blood may seem artificially bright, but when the bodies slide head first from the chair down a chute into the cellar, they crash and crumple with sickening literalness. You are watching human beings turned into meat.

It may seem strange that I am praising a work of such unremitting savagery. I confess that I’m a little startled myself, but it’s been a long time since a movie gave me nightmares. And the unsettling power of “Sweeney Todd” comes above all from its bracing refusal of any sentimental consolation, from Mr. Burton’s willingness to push the most dreadful implications of Mr. Sondheim’s story to their blackest conclusions.

“Sweeney Todd” is a fable about a world from which the possibility of justice has vanished, replaced on one hand by vain and arbitrary power, on the other by a righteous fury that quickly spirals into madness. There may be a suggestion of hopefulness near the end, but you don’t see hope on the screen. What you see is as dark as the grave. What you hear — some of the finest stage music of the past 40 years — is equally infernal, except that you might just as well call it heavenly.