Janleva 555 movie review: Highly avoidable!

Janleva 555 is like a slow poison that slowly consumes you, leaving you feeling wasted and annoyed. The theme and treatment of the film is outdated and difficult to digest from the word go.
It has all the ingredients of movies of the bygone era. Reminiscent of films of the 1970 and 1980s with ‘nagins’, ‘saperas’ et al, Janleva 555 starts off as a snakebite awareness film and gradually morphs into an adventure-cum-romantic-cum-mystery movie – whatever the imagination of the filmmaker could encompass. To make matters worse, the 15 songs, dollops of reincarnation drama and elements of horror, make Janleva 555 a mish-mash of genres. Result – the viewer is thoroughly confused.
Apparently, India, known as the land of snake charmers, is also a country with the highest number of snakebite deaths. To highlight the fact, Neelam (Kalpana Pandit) along with her friends who share the same goal, decides to make a documentary on the subject. How noble! They zero in on a remote village and land in a dense forest to film snakes in their habitat. Romance brews between Neelam and Abrar Zahoor’s character. Some songs later, suddenly Neelam recalls that she was a snake in one of her previous births, about 555 years ago. Then starts the reincarnation saga followed by mystery, revenge and an incessant headache for those watching.
After cliches, the plot stagnates. The situation and the songs seem strained and is probably the reason that audiences fail to get the crux of the story. If there is any, that is!
Kalpana as a producer and actor has left no stone unturned to show her histrionics. She is in every frame. Also, she seems to be in awe of Sridevi and imitates her, especially in the snake dance sequence. Co-incidently, Sridevi too was called Neelam in “Nigahen”, where she played a snakewoman. Anant with his light and expressive eyes does a decent job of what’s expected of him. In fact, with 10 fresh faces Janleva 555 seems to be a launchpad of sorts.
The songs sung mostly by newcomers are a strain on the ears. Longinus Fernandes‘ choreography is nothing to write home about.
Though Selvam and Kamal Lokhandwala have captured the locales brilliantly, and Santosh Chawla’s editing is neat, Janleva 555 has anachronistic feel. Perhaps director Sundeep Malani lacked a clear vision. Don’t waste your time. Janleva 555 is highly avoidable.

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John Abraham: Cheating is not in my DNA!

MUMBAI, Oct. 12 -- For a long time, John Abraham has been in the news for several things - his production house, the success of Vicky Donor, cheating allegations by ex-girlfriend Bipasha Basu and his current relationship with Priya Runchal.
Now, for the first time, John talks about his split with Bipasha, Priya and more.
Your reaction on the allegations in your earlier relationship... I know that break-ups stir up a lot of emotions and I can empathise with that. I come from a family where credibility and honesty have always mattered. Cheating and dishonesty, in any form, is not in my DNA. It is unfortunate if my silence is mistaken as acceptance for things said about me. I have always maintained a dignified silence because that is how I am raised. I have a clear conscience.
How would you describe your present relationship? Things are beautiful and simple, and that's why I protect it so much. We have a true and deep connection and are focused on living our lives and planning for the future. Priya's a private person and tends to not be overly concerned with my career. She likes to focus on her work, our relationship, families and friends. I appreciate that she is grounded and mature beyond her age because it's very easy to get consumed by this business.
Do your parents tell you to tie the knot soon? No, there's not even an iota of pressure from mom and dad. In fact, they are very relaxed about it. My parents, otherwise too, have never forced anything on me. They have always left me to myself.
Do you feel your personal life has made you a happier person? When you get a strong sense of support in your personal space, it percolates to your workspace. If I am disturbed personally, I am sure it would reflect in my working style - as a producer as well as an actor. I can state with confidence that my best work is yet to come.

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Aiyyaa is a desi film at heart. The first half seems stretched. Many might find its loud, outré storytelling style somewhat difficult to comprehend. Rani is a complete natural and glides through her part with brilliance, feel critics.
"Sachin Kundalkar’s story is as crazy as it gets and he’s translated it beautifully on screen. The characters have been developed so finely that every time any two of them meet, there’s something interesting bound to happen. And for once, it just isn’t the routine running-around-trees. He gives us a heroine who loves her Bollywood and wants to live it as well. On the other hand, we have an artist whose life is in stark contrast to his admirer," writes Roshni Devi, Koimoi.com.
Aiyyaa"But even with all the expertise, you do get bored of Meenakshi chasing Surya after a while. While it’s really novel to see a heroine enamoured by the scent of her hero, the stalking gets repetitive after a while. Some of the detours in the screenplay seem unnecessary and needlessly lengthen the film," says Devi.
"Aiyyaa is a desi film at heart. Also, quirky and funny. But the humor is more of the Hrishikesh Mukherjee/Basu Chatterjee variety. What makes this film stand apart is that it does away with the crutches of big stars [except Rani], forced humor, unnecessary songs, international locales or grandiose sets. Its strength lies in its cohesive script and able performances," says Taran Adarsh, Bollywood Hungama.
"On the flipside, it takes time to get the hang of things. Also, the first half seems stretched, with a few unnecessary sequences adding to the run time. But the second hour more than compensates for the deficiencies," adds Adarsh.
"The first half of Aiyyaa starts interestingly, but the recurring situations in the screenplay make you wonder if there’s more to the story. Thankfully in the second half Madhav arrives in Meenakshi’s life and Aiyyaa moves forward at a decent speed. And the film concludes on a happy note," writes Rachana Parekh, Bollywood Life.
"In Aiyyaa, a carefully crafted amalgamation of Bollywood kitsch and absurd, over-the-top storytelling, writer-director Sachin Kundalkar almost achieves a fine balance, a dramatic perfection, careful never to alienate his viewers. But for the loose and meandering lead-up to the climax in the last half-hour—the film should have been at least 20 minutes shorter to leave the viewer on a powerful note—Aiyyaa has a strident imagination at work. It is a raucous and immensely enjoyable piece of film-making," writes Sanjukta Sharma, Livemint.
"Widely talked about as Rani Mukerji's comeback film, Aiyyaa, in one word is director Sachin Kundalkar's fantasy. The director is so self-absorbed and self-obsessed that it seems the film was not made for audiences but to satisfy his own creative urges," writes Prasanna D Zore.
"The film could have easily taken another trajectory altogether but the director-script writer lacks imagination and expertise to handle the character of a simple girl who is in love with somebody but can't muster enough courage to express her love," adds D Zore.
"Many might find its loud, outré storytelling style somewhat difficult to comprehend and digest, especially in the context of the film’s slice-of-life love story predicated on a willing suspension of disbelief. Aiyyaa, Sachin Kundalkar’s first Hindi film on the back of three critically applauded Marathi-language features, revels in flying against expectations with complete abandon," says Saibal Chatterjee, NDTV.
"Though filled with clichés and caught in stereotypes, there is something that works in favour of Aiyyaa as it slips into the category of mindless comedy without crossing the line into idiocy like rom-coms normally do," writes Kanika Sikka, DNA.
"It is hard to fathom what an award winning director like Sachin Kundalkar was thinking when he set upon himself the task to make a film like ‘Aiyyaa’ after proving his mettle in a Marathi film called ‘Nirop’ and bagging a National Award as a screenplay writer for ‘Gandha’. Perhaps, Sachin woke up one day with an idea to portray the story of a typical single and ready to mingle middle-class girl who’s waiting for her Mr. Right but in reality ended up spoiling the film (and thereby torturing us - the audience) in his attempt to pull off a supposedly off-beat film," writes Resham Sengar, ZeeNews.
Performances
"Rani Mukerji might have Agabai-ed, Aiyaa-ed and Issh-ed more than a dozen times on screen but the gal is wonderful! Rani lives it as Meenakshi with all the narcissism, over the top drama, unquestioning love and she does it beautifully throughout. Prithviraj gets very little to do as Surya but he manages well," says Devi.
"Anita Date is an exciting surprise as Maina. Every time you see her on screen, she’s got something special and different that will crack you up. Subodh Bhave is adorable as Madhav. Satish Alekar, Nirmiti Sawant, Ameya Wagh and Jyoti Subhash are delightful as Meenakshi’s mad-cap family," adds Devi.
"Aiyyaa is what it is for varied reasons and one of them is Rani's livewire act. A complete natural, Rani glides through her part with brilliance. An accomplished actor, who can handle the comic sequences with as much flourish as the emotional ones, Rani is absolutely ravishing. Prithviraj, who has several South Indian films to his credit, does a super job in his first Hindi outing. He has striking screen presence, has worked hard to get in shape, but most importantly, he is a damn confident actor," feels Adarsh.
"Rani’s a livewire as the madcap Meenakshi – her attempt to be part of the rising range of heroine-centric films - but after a point she seems to be trying too hard to impress with her histrionics. And you certainly feel so when she tries to pull off the Marathi accent. Though the reigning diva sounds believable when she’s speaking in Surya’s mother tongue (she learns the South Indian language to impress the handsome hunk). As mentioned earlier the supporting cast does a good job at making you laugh and sometimes cry as their acts get monotonous. And all those women think who think Bollywood always exploits the fairer-sex to heighten the hot-o-metre in movies, Aiyyaa is your film. South film actor Prithviraj’s the eye-candy in this plot. He’s mostly there to show-off his well-sculpted physique and lend oomph and sizzle to the wacky comedy. But sadly that’s all he does when he’s not throwing intense glances at Meenakshi," feels Parekh.
"Mukerji masters the role. She pitches it with plenty of histrionics—almost no character in Aiyyaa has a “yes or no” or “do or die” approach to their bizarre situations. Meenaxi is high-pitched, a ball of nervous emotion and rage, and Mukerji has dived right into her world. It never feels like she has caught the wrong note; she makes Meenaxi not only believable, but extremely likeable. Prithviraj has an ornamental role, the woman’s object of love. The supporting cast is made up of seasoned actors and they stay true to Kundalkar’s over-the-top idiom," writes Sharma.
"Rani, as fine an actor that one gets in Bollywood, gets no support from the way her character is written but nevertheless is a joy to watch. The ways she says aiyyaa (a Marathi expression used when one is pleasantly surprised), the way she breathes, the way she portrays her character, and the way she dances.
There is no way to find fault with Rani but she is shockingly let down by the storyline. One can only hope Rani is more selective of what she portrays on screen," says D Zore.
"From top to basumm Rani is truly Wonderum! As Meenaxi, she's 'nose-dived' into the character, literally. She's looking fabulous (especially in her bronzed dream sequences), and has dished out a brilliant performance, slipping from traditionally simple to shockingly sexy in a heart-beatumm. Her comic-timing is a revelation and so are her belly-dancing skills. And even with all that boldness, she steals the thunder (more with talent than her thighs-sighs)," says Madhureeta Mukherjee.
"Prithviraj is simply Eroticumm! He exudes chiselled, raw sexuality in every scene; gets wet, adds Southern masala with his moves, but says nothing really," she adds.
"Rani Mukerji plunges headlong into the character without the slightest hint of inhibition. Prithviraj, with his strong, silent screen presence, provides the perfect foil. Members of the supporting cast, notably Ameya Wagh and Anita Date, turn in performances that stay in line with the all-round air of zaniness," says Chatterjee.
"Rani, though showing signs of ageing, does a good job and entertains through most parts of the film, when she is not trying too hard to entertain. Meenakshi is just an extension of Bubbly from Bunty aur Bubly. Although she is not as rebellious, she is bold and despite staying grounded, she dares to dream. Rani, single-handedly carries the entire film with dramatic portrayals and amazing dance sequences," says Sikka.
"Prithviraj is, simply put, an eye candy in the film. And no, not because I believe he is lip-smacking hot, but because the director intends to make him an ornament. His role is limited (which is a fault on the director’s part), yet his presence in the film leaves a great impression. Subodh Bhave does justice to his character," adds Sikka.
"While Rani is ‘overused’, south film star Prithviraj Sukumaran is underused. Making his Bollywood debut in ‘Aiyyaa’, the actor has barely two lines to speak in the movie’s first half. The only scene where he speaks good dialogues is when he proposes Rani Mukerji which also happens to be the only scene in the movie that touches the heart and of course makes sense! This is the first heroine-centric movie where a hero is used as an ornament," says Sengar.
Direction
"Sachin Kundalkar has directed the movie very well though it lags in many parts. The visuals of the colours and the art have been done so masterfully that you want to give most of the credit to Amalendu Choudary for the mesmerizing cinematography," feels Devi.
"Although the plot is innovative, but skeletal, what keeps the film going is Sachin Kundalkar's ability to stumble upon humor in the most ordinary situations. In fact, a number of sequences merit a mention here, but that would ruin the fun. Sachin catches the pulse of the Maharashtrian backdrop and does immense justice to the written material," says Adarsh.
"Sachin Kundalkar starts out well, but while juggling between Marathi matrimonials and midnight-masala, his plot goes 'wakda' (read: digresses). After a few giggles, erotic gasps, and gaanas (Amit Trivedi), the story stretches pointlessly and loses its scent," says Mukherjee.
"The director had the potential of producing something way better with the kind of team he had at his disposal, however, he fails to do so," feels Sikka.
Conclusion
"Aiyyaa is quirkily different and is worth watching for all the characters. But the sniffing and chasing gets a bit annoying," says Devi.
"On the whole, there are reasons aplenty as to why Aiyyaa becomes a deserving watch. It's arresting, amusing, entertaining and of course, thoroughly enjoyable, with Rani's splendid act, refreshingly different plot, winsome songs, pleasant humor and terrific moments as its aces. Don't miss it!" concludes Adarsh.
"So go for Aiyyaa for Rani Mukerji’s tadkedar Bollywoodish hodge-podge of Maharastrian and South Indian cultures, but just don’t expect too much from this comedy. Carry along a bit of patience and oodles of crazy sense of humour to enjoy this entertainer," feels Parekh.
"Aiyyaa is triumphant because its originality matches the director’s assured film-making. Kundalkar is a director with a confident, uninhibited stamp," says Sharma.
"Even with such a talented ensemble, this one turns into a cultural showpiece, and gets lost in translation. That's the sad-partumm!" feels Mukherjee.
"Aiyyaa takes time to warm up, slips into dull patches at times and occasionally teeters on the edge of a certain dissonance. But the subversive spirit that drives the absurdist core of Aiyyaa is well worth embracing," says Chatterjee.
"Though the film is limited by cheesy dialogues and prosaism, it proves to be an entertainer and a definite treat for every Rani Mukerji fan," says Sikka.
Tweet review
IBNLiveMovies Rani Mukerji's grand mother is the most annoying character in #Aiyyaa
IBNLiveMovies Really want Prithviraj to break his silence now #Aiyyaa
IBNLiveMovies Aga bai is an amazing song and Rani is looking extremely sensuous...but its a big misfit #Aiyyaa
IBNLiveMovies Why did she run away, why Suriya is ignoring her #Aiyyaa fails to answer simple logical questions
IBNLiveMovies Plastic ki khali thaili ki tarah ud gai Meenaxi... #Aiyyaa

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Critics report: Chittagong a heartening take on Indian history!

By Hindustan Times
Film: Chittagong
Cast: Manoj Bajpai, Delzad Hiwale, Nawazuddin Siddiqui, Barry John, Dibyendu Bhattacharya, Vega Tamotia
Director: Bedabrata Pain
Plot Synopsis: In a little known incident in the 1930s British occupied India, a handful of untrained teenage boys and girls, led by a school teacher, handed the British their first military defeat. Set against this backdrop, Chittagong is the story of the youngest and the most unlikely participant – a frail and diffident 14 old teenager, Jhunku Roy. It portrays an incredible journey of a teenager, who battles nagging self-doubts and reluctance on one hand, and a formidable enemy on the other, to achieve an impossible triumph.
Here's what the critics have to say...
Taran Adarsh, Bollywood Hungama
Rating: 3.5/5
Bedabrata Pain's Chittagong takes you back to the 1930s. Around two years ago, Ashutosh Gowariker's Khelein Hum Jee Jaan Sey had traversed the same path, tracing the uprising in Bengal. A group of school boys and a young woman, led by a school teacher, took on the British Raj. Unfortunately, their plans went askew, but their courage and valor motivated freedom fighters in multitude....Khelein Hum Jee Jaan Sey was from Surajya Sen/Masterda's point of view, while Chittagong orbits around a 14-year-old teenager named Jhunku Roy. Jhunku gave up the comforts and luxuries to become a revolutionary. Chittagong doesn't sacrifice the spirit of the uprising, yet narrates a story that's different from the one we watched in Khelein Hum Jee Jaan Sey.
What makes you connect instantaneously with Chittagong is the fact that it highlights the victory of the ordinary people. Also, it's a heartening take on one of the splendid chapters of India's struggle for independence, not just focusing on the iconic heroes. It also drives home an extremely valid point: The common man can script a victory.
Narration
The drama, the tension, the fury... it's all there in Chittagong. The cinematic endeavor of a real-life incident succeeds in moving you, just like its characters. Most importantly, what translates on celluloid is extremely captivating, truly enlightening and exceptionally inspiring. In short, Chittagong salutes the heroes who fought valiantly for India's freedom and also evokes patriotic feelings. Every genuine effort needs to be encouraged, appreciated and applauded. Chittagong is one such experience.
Bedabrata recreates this event with earnestness and fortunately, his interpretation comes across as compelling and persuasive. Also, hard-hitting/forceful that doesn't allow you to lose focus. It won't be erroneous to state that Bedabrata's endeavor also manages to drive a strong message: Triumph of the human spirit. On the flipside, the pacing could have been speedier and the tension-filled moments could have been lengthened for an enhanced impact.
The body language of people who lived in the long-gone era, the apparel and also the overall styling look bona fide. Bedabrata uses the songs [Shankar-Ehsaan-Loy] skillfully. The effective background score takes the film several notches above. The calm and serene locations add tremendous credibility to the Chittagong of the 1930s [the film has been shot in Lataguri in West Bengal]. The DoP [Eric Zimmerman] captures the lush green locales as well as the intensity of the characters with flourish.
Performances
The performances are earnest and genuine to the core. Delzad Hiwale is outstanding as Jhunku. Manoj Bajpayee gets to the character a certain authority. Nawazuddin Siddiqui, Raj Kumar Yadav, Vega Tamotia, Jaideep Ahlawat, Barry John, Dibyendu Bhattacharya, Vishal Vijay, Vijay Varma [as the grownup Jhunku], Sauraseni Maitra, Chaiti Ghosh, Anurag Arora and Alexx O'Nell, each of them leave tremendous impression in their respective parts.
Verdict
On the whole, Chittagong is a film of immense significance. Much like some of the hi-concept films that left an indelible impression on the minds of viewers, Chittagong should also last longer in the hearts of cineastes. Not to be missed!
Shabana Ansari, After Hrs DNA
Rating: 3
Chittagong is a well-crafted period film, understated and restrained in parts, and a far cry from the poorly-researched costume dramas that are often peddled in the name of historical films in Bollywood.
Performances
The music by Shankar Ehsaan Loy is soulful; and Bajpayee and Siddiqui play out their roles with such ease it is hard to believe they are not real martyrs who died fighting for the country’s freedom. The film is supported by a great cast that includes Barry John, Jaideep Ahlawat and Dibyendu Bhattacharya among several other character artistes who slip easily into the characters of the young rebels.
The Technicals
With photography by Eric Zimmerman, sound design by Resul Pookutty and editing by Aldo Velasco, Chittagong is a history lesson that should not be missed!
Verdict
Well-crafted and compelling
Saibal Chatterjee, NDTV
Rating: 4/5
This simple, sure-handed and easy-flowing film strikes no false notes, nor does it fall prey to any creative ambiguity. The director knows exactly what he wants to mine from the pages of history and he extracts just the right degree of dramatic energy from the tale of intense conflict that lies at the heart of the film.
Pain's approach to the rousing saga of a band of gutsy men and boys who had the British rulers on the run, if only briefly, in Chittagong in the early 1930s – the selfsame story that Ashutosh Gowariker brought to the screen in Khelein Hum Jee Jaan Sey far less effectively – is refreshingly realistic and clear-headed.
Pain, who has co-written the film with Shonali Bose, invests Chittagong with a soft, lyrical air, reinforced by the lilt of a soulful theme song rendered by Shankar Mahadevan. The genteel treatment of the hard-edged material accentuates not just the explosive nature of the film's action but also the sheer magnitude of the courage demonstrated by its motley group of teenage protagonists.
The director does not resort to overt melodrama or visceral vigour to drive home the point. He instead banks upon the consistent authenticity of the emotions in order to achieve stirring results.
Chittagong is, on one level, a heartfelt tribute to the indomitable spirit of Masterda's boys and girls – the latter group is represented principally by Pritilata Waddedar (Vega Tamotia), the Indian freedom struggle's first female martyr of the 20th century.
Narration
Chittagong certainly isn't a drab and dreary history lesson. It manages to be a gripping human drama without being either a sweeping Hollywood-style adventure or a Bollywood-inflected patriotic saga cranked up to a defeaning pitch for easy consumption.
Thanks to its restrained tenor, the sustained subtlety of its storytelling devices and its elegiac undertone, Chittagong should rank among the more distinctive feature films made on India's war of independence.
What makes Chittagong particularly special is the way it depicts heroism not as muscle-flexing, chest-thumping, rhetoric-driven bravado (as in standard 'war' films) but simply as audacious acts of defiance by ordinary people in the face of grave risk and the prospect of inevitable failure.
Performances
The power of the tale is enhanced significantly by the acting. Manoj Bajpayee is top-notch as Surya Sen, and so is Nawazuddin Siddiqui in the role of Nirmal Sen.
Delzad Hiwale captures the doubts, fears, guilt and anger of the teenage protagonist with an endearing, wide-eyed freshness. Vega Tamotia makes a deep impression.
Among the key members of the supporting cast, Dibyendu Bhattacharya, Jaideep Ahlawat, Raj Kumar Yadav and Barry John make every minute they have on the screen count.
Verdict
An absolute must watch.
Srijana Mitra Das, Times of India
Rating: 3.5/4
Performances
Hiwale performs marvelously as Jhunku. Film aficionados will spot the subtle resonances between Hiwale's protagonist and Aparajito's young Apu. But Jhunku is not alone - with a super performance by Siddiqui as Nirmal and Tamotia competent as Priti, Chittagong showcases the courage of extraordinary ordinary folk, fighting against a cruel Raj. Bajpayee presents a tightly restrained performance as 'Master-da' while John captures Wilkinson, trapped between anger and admiration.
The Technicals
The camerawork is remarkable, framing locales like a Japanese painting, hills wreathed in mist, mangroves sunk in water, a Van Gogh-like patchwork of green and yellow fields. It even reflects why the Andaman imprisonment was called 'kala pani' through shots of hopelessly dark waters. The music hops nimbly between yearning and rousing and some sequences - child soldiers fighting machine gun-bearing British troops, Jhunku beaten savagely by British officers in jail - are memorable.
The editing is over-zealous though. Barely do scenes with eye-catching period details start developing - like a tense dinner party at the Wilkinsons' - do they get cut. It takes the second half for the film to show more swagger as Jhunku grows up (played by Vijay Varma, whose angular looks add interest) and returns to Chittagong.
Verdict
This is a serious film - but far from somber, a tongue-tied Nirmal blushingly telling Priti, "Mujhe tumhare pyaar karne ki - matlab, larne ki shiddat bahut pasand hai," the brigade's youthful high spirits including stripping British guards and making them do utthak-baithak, and finally, the real 'Jhunku' or Subodh Roy talking about his life's most amazing experience. Like a Chittagong orchid, the movie takes time to blossom - but when it does, it's beautiful. And pleases a certain master.
Raja Sen, Rediff
Rating: 3/5
It is the same with Pain's directorial debut, a sincere and overwhelmingly earnest film that -- while not immediately showing significant directorial craft or filmmaking finesse -- automatically earns some credibility by telling the story with real actors unlike Gowarikar's starry dud.
Performances
Talented thespians Manoj Bajpai, Jaideep Ahlawat, Raj Kumar Yadav and Nawazuddin Siddiqui all feature in Chittagong, making it seem a bit like a Wasseypur alumni reunion. The film's leading man, however, is Delzad Hiwale, who plays Jhunku, the gangly and initially-fragile youth who later becomes one of the lynchpins of Sen's revolution. It is through his young, confused eyes that we see the film, and this aids the narrative considerably.
A standout performance for me came from young Vega Tamotia, who shows great spark as Pritilata Waddedar.
Shortcomings
The period detailing is frequently sloppy, what with Jhunku's trendy haircut or boys playing football in a muddy field while dressed in dhuti-kurtas elaborate enough for the seventh day of Durga Pujo. It is, as a result, hard to shake the theatricality off, which is Chittagong's biggest problem. Pain's script is a bit too simplistic and makes the film often feel emotionally overwrought, the heavy-handed background score not helping its cause.
Verdict
And while Chittagong falls well short of being a great film, it can't help but be an important one. And Pain keeps it honest.

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FIRST LOOK: Aamir, Katrina in Dhoom 3!

The first pic of Aamir-Katrina jodi in Dhoom 3 has been leaked. The duo was shooting for a song sequence in Chicago for the YRF's upcoming film, directed by Vijay Krishna Acharya. Both Aamir and Katrina were dressed in white.
After pairing up with Salman and SRK in 2012, Katrina would be seen with Aamir Khan for the first time in Dhoom 3. The film is set to release next year.

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