This is the stuff engrossing and entertaining movies are made of. With China-Gate, Rajkumar Santoshi shows how an out-and-out commercial film can look artistic and appealing -- without the conventional crutch of good-looking faces and saleable stars. All you need is a sound screenplay packed with dramatic moments and a talented and dedicated cast.

Inspired by Akira Kurosawa's Seven Samurai (Santoshi doesn't claim it's `original' or `different'), with shades of our own blockbuster Western, Sholay, here's a film where you might know what's going to happen next, but still want to see it happen.

Ten armymen are humiliated and discharged from service when the China-Gate mission fails. 17 years later, Colonel Krishna Kant (Om Puri) and his friends find a new purpose -- and an opportunity to redeem themselves -- when Sandhya (Mamta Kulkarni) asks them to eliminate dreaded dacoit Jageera (Mukesh Tiwari) who has terrorised Devdurg and its adjoining villages. This group of of pot-bellied,middle-aged men is joined by Udit (Samir Soni) whose late father had been a part of the China-Gate group.

The beauty of this simple story lies in its approach, not its end. Santoshi has picked up Bollywood's best character artists, studied their strengths and used them to his advantage. Each of these men has a distinct identity, and every actor gets enough space to display his talent. The drama unfolds through their interaction with each other, their fears and anxieties, grit and motivation.

While all the actors justify the director's confidence in them -- notable among them, Om Puri, Danny Dengzongpa and Amrish Puri -- Naseeruddin Shah shines out from this talented bunch. He is definitely the hero of this film, despite being one of the crowd -- a feat he achieves effortlessly. Samir Soni makes an impressive debut, as does Mukesh Tiwari who has tried hard to stay out of Gabbar Singh's shadow. China-Gate's other key asset is Piyush Shah's excellent cinematography.

On the flip side, the climax looks tame-- especially after the brilliant build-up. Also, some scenes are way too melodramatic. The Urmila Matondkar dance number is wholly unnecessary and looks like an obvious add-on -- though it's quite well done. But the biggest let-down is in the art department -- the sets that make Devdurg village don't look authentic at all. Even the `villagers' don't look real with their spotless clean, starched clothes.

Flaws apart, China-Gate is thoroughly enjoyable.

Showing at Metro

DOLI SAJA KE RAKHNA

WHY does a simple love-story have to end up looking senseless and ludicrous? That too at the hands of an accomplished director like Priyadarshan? Yes, the man who made such sensitive films as Gardish and Virasat seems to have lost his way with Doli Saja Ke Rakhna -- it's too loud, too melodramatic and way too long.

Inder (Akshaye Khanna) is studying for his MBA (at a college where students roam around in black suits and blood red ties and bow-ties) along with friends Pinto, Lallan and Jimmy. Hefalls in love with Pallavi (Jyothika Sadanah), but her over-protective brothers (Paresh Rawal, Mohnish Behl and Tej Sapru) don't approve of him. So they take turns beating up Inder and his friends.

The boys decide to take revenge on the three rude men, till Pallavi coaxes Inder out of this foolish plan. In the process, she falls in love with him, but cannot tell her family, since they are totally convinced he's a rowdy, although there's little evidence to back their belief. She runs away from home and starts living with Inder and his friends. When her brother storms into Inder's parents' (Anupam Kher and Moushami Chatterjee) house and abuses them, they believe everything he says and ask their beloved son to pack Pallavi off to her family.

The two lovers and their friends run away to Pinto's village where his fisherman father (Amrish Puri) decides to get them married. But Inder and Pallavi realise that tying the knot sans family blessings is not an exciting prospect. Wedding plans aborted, they go home anddecide to marry in accordance with their parents' wishes. Till the director springs a completely implausible surprise to tie up all ends.

From the beginning, Doli... lacks conviction. While it is not difficult to believe that possessive brothers might want to thrash their sibling's lover, the manner in which it is done and the extent to which they stretch their hatred doesn't make sense. Nor do they display any class or culture, though the director would have you believe that this is a respectable family. Inder's doting parents have an instantaneous change of heart and choose to believe Pallavi's arrogant brother over their well-behaved son.

Above all, the objections that both families raise to this love affair are never explained -- apart from the strange `circumstances' that are supposed to be cause of everyone's disapproval. The love story is lost amidst all these inconsistencies, which is a pity because it is the best thing about the film, along with KV Anand's cinematography and AR Rahman'smusic.

Akshaye Khanna and Jyothika are brilliant. Both look innocent, vulnerable and completely in love. Especially Khanna, who is incredibly spontaneous and seems to know the art of charming the camera. Ninad Kamat who plays Inder's friend is also impressive. Doli... is worth a look just for these performances.

Showing at Central Plaza