Aruna Shields Profile And Biography - FamousCelebrityPicture.com

Aruna Shields Profile And Biography�

Aruna Shields biography with info on filmi career, life and wiki

British actor Aruna Shields, of Anglo Indian decent, begun her education at a convent school before winning an academic scholarship to attend boarding school. She went onto gain a distinction from the Guildhall School of Music and Drama. She also obtained a degree from Central St Martins, London. Aruna�s passion lay in performance and while at a theatrical workshop she was spotted by an acting agent.

Shooting everything from action to arthouse Aruna is one to watch out for� She�s just finished two leads in studio features out worldwide in cinemas 2010. Tribal woman Aki in the epic adventure AO: The Last Neanderthal and espionage agent Maya in action thriller Prince.

Aruna�s earlier work includes touring in theatre tour for over a year. Starring lead in art-house feature Mr. Singh/Mrs.Mehta. Leads in experimental and feature films like Mission Improbable, Private Moments, Violent Lesson, and underwater film Bait. Various roles in other films.

filmography:

Mr Singh Mrs Mehta Review

Mr. Singh Mrs. Mehta is the title of the film though incongruously the lead protagonists happen to be Mr. Mehta and Mrs. Singh. First-timer Pravesh Bhardwaj�s direction keeps you as much puzzled as much as the intentional inversion in his film�s title.

With a painter protagonist going through artistic block, snail-paced tempo, self-styled aesthetic female nudity, circumstantially complicated human relationships and a climax so symbolic and subtle that you never comprehend when the end credits roll, Mr. Singh Mrs. Mehta meets all the requisite criteria of the alleged art-house cinema. Nothing wrong about it other than the fact that though the film expectedly runs out of entertainment, this one also fails to enlighten or even emotionally touch, move or bind you.

Artist Ashwin Mehta (Prashant Narayanan) paints his wife�s toenails more than he colours the canvas. Wife Sakhi Mehta (Lucy Hassan) is having an extramarital affair with Karan Singh (Naved Aslam). Karan�s wife Neera Singh (Aruna Shields) discovers her husband�s infidelity and seeks solace in Ashwin�s company. Though the adultery is openly evident since start, strangely both Ashwin and Neera never confront their respective partners and choose to have loyal illusions of their spouse.

Extensive footage of nudity seeps in the screenplay on the pretext that the artist can overcome his block by painting nude female form ala Leonardo DiCaprio in Titanic or Randeep Hooda in Rang Rasiya . Surprisingly Neera initially shies away from posing nude despite the fact that she has been moving around naked in Ashwin�s warehouse for a major part of the film. And hold on� before your imagination runs wild, the fact remains that the continually censored blurs that �shields� Aruna�s nude body will irritate you more than titillate.

Director Pravesh Bhardwaj spends liberal and lethargic screen-time in establishing the chemistry between Ashwin and Neera through corny conversations, transition songs and nude sketching which tends to get monotonous after a while. But when the relationships actually go crisscross and complicate in the concluding reels, Bhardwaj wraps up the narrative subtly and hastily without much clarity on the character correlations and conflicts, forcing you to do the guesswork.

With the film talking about Indian couples (with no notable NRI nuances) with desi values in Hindi language, the London setting makes absolutely no sense. Moreover with the outdoors restricted to some lame lanes of London, nothing distinctive is derived from the foreign setting either. And if he went ahead with a UK setting, one wonders why at all Bhardwaj opted to make the film in Hindi language? At least he could have spared Aruna Shields from struggling in her desi dialogue delivery and saved the audience from such illegitimate lousy lines like, � Mera pati hamesha tumhari patni ko ghumata rehta hain, tumko bhi mujh par kharcha karna chahiye � (My husband always takes your wife out, you should also spend on me).

Shujaat Hussain Khan�s ghazal based soothing soundtrack goes unnoticed in this film. Surprisingly the background score sounds suspiciously similar to � Aye Khuda � track from Paathshaala .

The performances are average and never rise above the lackluster script. Prashant Narayanan is capable of much better. Aruna Shields is passable but doesn�t have anything exceptional to display including her anatomy. Sadly, both the artist and the muse fail to amuse in this colourless cinema.

Prince Review

Hollywood has come up with so many movies on memory loss, while Bollywood too has had its share of films which depicted the protagonist losing his memory, GHAJINI being the most recent example. But what if someone robs your memory? Quite an interesting thought, isn�t it?
One of the advantages of having a Gen Next director is, he�s ready to take risks, ready to tread the untrodden path, ready to go where no one has been before. But there�s a disadvantage too: Visuals and technique take precedence, while story takes a backseat. PRINCE has a terrific first half, where technique and content go hand in hand, but technique overpowers the content in its post-interval portions.
What surprises you is that PRINCE is penned by the writer of RACE [Shiraz Ahmed] and like RACE, PRINCE too has several twists and turns every 15 odd minutes. But the twists and turns are a mixed bag here � captivating at times, not captivating at some places. More on that later!
On the brighter side, PRINCE has great stunts and chase sequences [Allan Amin], fantastic visuals [South Africa] and of course, a chartbuster musical score [Sachin Gupta]. And these three factors, coupled with Vivek Oberoi�s convincing performance, should take the film to safety!
One of the savviest thieves in the world [Vivek Oberoi] commits the biggest heist of his life. He wakes up next the morning to realize he has a gunshot wound on his arm that he doesn�t remember getting. In his quest to find answers, he discovers his name is Prince, he used to work for a man named Sarang and his girlfriend�s name is Maya.
He is being hunted by the secret service of India, the CBI and the biggest white collared criminals in the world. He is the most wanted man in the country because only he knows the whereabouts of the heist, which contains a secret that is linked not only to his loss of memory, but threatens the future of the human race.
Every day he meets a new girl claiming to be Maya. He doesn�t remember where he has hidden the Heist. He has just dive days of his life. Time is running out�
Although PRINCE stands on a novel premise, flashes of the Dev Anand starrer JEWEL THIEF do cross your mind. PRINCE starts off with a heist and soon after, Vivek realises that his memory has been �erased�. The mystery only deepens when he meets three different women, all posing as Maya and all having a new story to tell. So far, so good!
But the difficult part is to keep the viewer�s interest alive till the finale and that�s where PRINCE starts crumbling. The second hour � the entire journey of Prince and the real Maya going on a wild chase to trace the coin and also regain Prince�s memory � is exciting in bits and spurts.
The concept of erasing a person�s memory and then inserting it back with chips and gizmos sounds wow, but the way it has been projected in the film is ludicrous and far from convincing. Ditto for the climax, when Prince traces the villain to the Afghan-Pakistan border. He does so after he had hidden a device in the villain�s shoes, while he was being bashed in the earlier sequence. Also, showing Prince having the same qualities as Spiderman [he can cast a web anytime he's in distress] makes you wonder, is he an ordinary mortal or a super human?
Director Kookie Gulati has an eye for visuals and that�s evident from the very start of the film itself. The film looks magnificent and wears an international look as well. Shiraz Ahmed�s screenplay is watertight in the first hour, but leaves a lot to be desired in the latter portions. Dialogues [Mayur Puri] are well worded. Cinematography [Vishnu Rao] is top notch and the eye-filling locations are a visual treat. Allan Amin�s stunts and chases are mesmeric. Sachin Gupta�s musical score is trendy and catchy.
Vivek is super in a rather difficult role. He is excellent in dramatic portions especially and carries off the stunts with remarkable ease. Nandana is effective. Neeru doesn�t get much scope. Aruna is the best of the lot. Sanjay Kapoor enacts his part well. Dalip Tahil is alright. Isaiah has screen presence and looks ferocious on screen. Rajesh Khattar is hardly there.
On the whole, PRINCE has great music, super stunts, Vivek Oberoi�s bravura performance and terrific promotion as its trump card, but where it falters is in its writing [in its second half mianly]. Yet, all said and done, the film has the merits to strike a chord with the youth and lovers of masala movies.

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