Archive for the ‘bollywood’ Category

Anurag Kashyap’s next release That Girl In Yellow Boots finally gets an official poster. Not sure if it’s the same agency which has designed the posters of Dev D, Shaitan and now TGIYB but some design hangover seems to be there…similar elements, colours and that garish touch.

Sanjay Leela Bhansali is also ready with his next production, My Friend Pinto. Directed by debutant Raaghav Dar, it stars Prateik, Kalki Koechlin, Arjun Mathur, Divya Dutta, Raj Zutshi and Shruti Seth.

And the third one is Malegaon Ka Superman. This one comes from the cottage film industry of Malegaon. Do check out its tagline.

Nagesh-who-went-cuckoo with his last few films, is ready with a new film titled Mod. Starring Ayesha Takia and Rannvijay Singh in the lead, Mod is an official remake of the Taiwanese film Keeping Watch. Check out the trailer…

But why is the text font and the background so tacky? Looks like some intern made it on MS word and paint. And Ayesh Takia, can you please come back to movies. Such a natural actor with a pleasing screen presence.

Here’s the official synopsis…

Mod is a heartfelt, emotional love story between two completely mismatched people.

Aranya, a “full-of-life” 25 yr old, lives in the sleepy and idyllic hill station, Ganga. The little town is the home of many colourful characters – Ashok Mahadeo, Aranya’s whacky father who is the head of the local fan club of Kishore Kumar, the fiery Gayatri Garg, “GG”, her aunt, friend, and confidant, who runs a …restaurant and is a mother figure to Aranya, chubby Gangaram, the local shopkeeper who harbors feelings for Aranya and Ashok’s music band, the ever present Kishore Bhakts.

Aranya’s mother left to pursue bigger dreams in the city when Aranya was a little girl and both father and daughter hope that one day she will return. They wait dutifully everyday to see if the lone train that passes by their house will bring her back. Aranya runs a watch repair store, a legacy handed down by her mother to support her father and herself.

One day a total stranger, Andy, lands up at her doorstep to have his watch fixed. He is painfully shy, but keeps returning day after day to have his water logged watch repaired. As payment he leaves a 100 rupee note in the form of an origami swan. Aranya slowly warms up to this quirky stranger and through a series of meetings and against all odds they fall in love.

But who is Andy? Where is he from? And what is his past?

As Aranya discovers the truth about Andy, the film heads to an exciting and emotional climax in the strongest tradition of great love stories.

When love happens, life takes a turn…

Lalit Marathe’s debut feature Shabri is finally going to release on 26th August. Starring Eesha Koppikhar, and produced by Ram Gopal Varma, the film was made long back, and was ready for release since last 2-3 years. But for some weird reasons it never manage to reach the theatres.

Lalit also directed the tv serial Rajuben, which seems to be similar to Shabri, at least the basic story. Haven’t seen Rajuben, so can’t comment much.

At a time when RGV’s films are all about horny camera movements and ear blasting sound, Shabri looks like it’s back to the old school of story telling. Do check it out.

And here’s the director’s note on the film…bit surprising…

DIRECTOR’S NOTE

Gangster films do not interest me including the ones Mr. Ramgopal Varma has made. I have never known a gangster in my life, man or woman. But the process of a tormented mind resorting to violence, the moral choices made in taking the first step on the path of no return have always fascinated me.

The intensity, the concentration of intent in these choices can be scorching. But if we see a ‘to be’ gangster in a room making that choice, withdraw and include his neighbour bathing her child, step further away to see a man selling his wares on the street beyond the wall, traffic piling up, kids going to school and so forth, the magnitude of that choice can be devastating. Shabri is an effort to portray a woman next door who has made this choice and where that choice leads her.

Shabri supports a family by working in a flour mill in a slum. She becomes this girl with a gun in a man’s world and ends up threatening the biggest corridors of power in the Matka gambling underworld of Mumbai. Shabri’s quest in the film is similar to a resourceful working woman rising to challenge a superior. Despite her daily struggle to survive and keep her family afloat deep within all that Shabri has desperately wanted to do is to stand up and be counted. And this is the biggest trigger for the fateful choice she makes.

Most achievements are directly proportionate to the ferocity of hunger and the finality of the pangs. Shabri feels raw hunger. She is driven as much by the passion for vengeance as the terrible desire to live her life her own way.

When inspired nothing in the world can stop what must rise. When everything is at stake there is nothing to lose. Shabri is an underdog whose stubbornness to have her way against all odds will touch a chord in all those who dream to soar.

May the force of Shabri be with you!

– Lalit Marathe

And we continue with the bullet-point report again. Tweet after watching the film and then put all the tweets in one place. Here you go…

– With Zindagi Na Milegi Dobara, Excel completes its trilogy of “Coming Of Age” films. And since it’s a given fact that nobody wants to put money for 15 year olds going through the same, we have to settle for “it’s not about the age but mileage” when it comes to COA cinema in Bollywood. Of  course there are exceptions like Udaan and no wonder it took seven years to cover the distance between script and screen.

– It’s about three men and their minor issues in life – job, marriage and daddy. If i say these are minor issues, it’s hard to believe because most films deal with just one issue and devote 2-3hours building the drama around the same, giving enough angst to the hero and finally settling for a solution. This one has nothing of that sort. And so it feels like minor issues.

– Zoya Akhtar loves to capture moments, and not melodrama. The film is full of such small moments and she captures them gorgeously. When the camera lingers on, and the characters are in that moment that matters the most, it’s easy to guess that she knows her job and her characters quite well.

– The dialogues are written by Farhan Akhtar and he has saved the best lines and the punches for himself.

– For a change, even Katrina Kaif acts. In other words, she has been used smartly – smile, show your charm and do the kiss!You cant compare her acting talent with tomatoes this time!

– There is too much of Spain in the film. Almost like a tourism film. Who goes to tourist spots on a bachelor trip? Tomato bhi le lo, bull hi dauda lo, upar se kud ja, paani me doob jao! Aha, where are the raging hormones? Oops, its 30+ coming of age. Imagine going to Bangkok (according to our budget) and visiting the Buddhist temples, right?

– The use of poetry through voiceover is a smart move and it blends in so well with the mood of the film. But such juveline stuff! The writing completely defeats the  purpose. Impossible to believe that it’s written by Javed Akhtar. Always rate his poetry much better than his lyrics but this was quite shocking.

– Dear Shankar-Ehsaan-Loy, it’s time for you to take a road trip and discover some new sounds. From Dil Chahta Hai, where every song stayed with us, to Zindagi Na Milegi Dobara, where all you remember is Senorita, that’s quite a downhill journey. Now go and take a break. Spare us!

– Its feels quite long, takes it own time to unfold and things fall into place easily. No major twists or turns. Aha, the designer issues!

– And finally a bollywood heroine who travels quite a distance just for the liplock. Gimme more!

– After Luck By Chance, there is too much expectations from Zoya Akhtar. Go easy on that E factor and it will come as a breeze of fresh air.

( PS – Did she really shoot the film in Spain? Pedro Almodovar made me believe that Spain is full of transexuals. ZNMD had none.)

Like in Hollywood, this is the year of 2,3,4 in Bollywood too.  Murder 2 is still going strong at the box office, and now the first trailer of Don 2 is out. And it seems D2 is going to be exactly like the earlier Don. The film is directed by Farhan Akhtar and stars Shah Rukh Khan, Priyanka Chopra, Lara Dutta, Kunal Kapoor and Boman Irani.

Tigmanshu Dhulia is back, again. And we are again hoping that this time he will be back as the good ol’ Dhulia. Not the one who directed Shaagird. Even as his last film Paan Singh Tomar is yet to get a theatrical release, trailer of his new film Saheb Biwi Aur Gangster is out. It stars Jimmy Shergill, Randeep Hooda and Mahie Gill.

Remember Parvin Dabas? Yes, the actor is now director. And remember Preeti Jhangiani? She is now producer, and they are married. Here’s the trailer of directorial debut of Dabas, Sahi Dhandhe Galat Bande.

Sometimes it’s quite a difficult task to find the right word to describe a person. And when i can’t rely on cusstionary any more, i take the easy way out. Coin a new term. So we have dodos, then we have ch#@ths, and when someone is beyong all these, I have coined a new term for them – Dodooth (D+C). If you click here and read this column called Reflections, am sure you will agree with my idea of Dodoothness.

Nothing is original, this logic is as old as Adam & Eve. And that doesn’t that mean there is nothing called copyright and IP. Strange that we have so much news space in this country that all kind of garbage is dumped in the name of journalism. And even in this weird dodoothness,  it’s hard to believe that Ram Sampath managed to win a copyright case against Rakesh Roshan. Thank God, the Tutejas are not in the judiciary system of this country.

And here is @diaporesis‘ reply to Mr Tuteja’s Reflections.

Mr Tuteja, your article is entertaining. Can I sell it as mine?

Sometime yesterday, Bollywood Hungama, the trade-portal masquerading as review site, happened to accidentally publish a page from Joginder Tuteja’s personal diary. In it, Mr Tuteja, coming to terms with what is, presumably, a speech disorder, explains at length how he has difficulty pronouncing words such as चुग्येओग्जा(please leave eyjafjallajokull for greater gods) . Even though the piece appears to be a legitimate article meant for the general public’s consumption, do not be fooled. It is quite clear that the man is writing to himself.

Here’s an example of his pitiable rant to his Dear Diary:

“Ok, now think of a film called The Chaser, the literal English translation (I guess) for the Korean word on which you just gave up. Yeah, The Chaser; not Chase, Chastity or Chatur. It is plain and simple – The Chaser. Can’t think of any, right? Well, why don’t you try hard.”

As you can clearly see, our delusional diary-writer is addressing himself. He has never heard of The Chaser and conveniently presumes that the rest of the world is as ignorant as he is.

Without going into the details of why such rants (because the entire piece is, overall, a rant and not argument) make no sense, I pose a simple piece of logic before you: if nobody has heard of the movie (extending his logic), how did the comparisons arise in the first place?

At a slight tangent, my gripe with Mr Tuteja’s argumentation is the way in which he cannot produce reasonable arguments to even convince himself. Through most of the piece, Mr Tuteja’s words flail like a broken pieces of a raft on a stormy ocean, alternately despairing and alternately cursing the sea for being so watery. For example, in his piece he says that he’s still trying to locate a certain DVD therefore others couldn’t have seen that movie either. In the next few lines he mentions how piracy is rampant. Um, Mr Tuteja suffers from a joining-the-dots disability as well?

He does not stop at his pitiable laments about his inability to pronounce a certain word. He goes on to prove that he’s unable to employ the faculties of logic and reason as well.

I need not go about arguing against Mr Tuteja’s endorsement of plagiarism. But I do have three serious charges against him: 1) He seems to think it’s fine to copy works of art as long as it’s done entertainingly. I’d love to see his reply to the title of this piece as far this point is concerned. 2) He totally discounts the fact that original creations, however raw, are always more rewarding for the masses and the makers. Ask Anurag Kashyap or Dibakar Banerjee and their fans for evidence. 3) He claims that because he isn’t the thief, he’ll gladly visit a thief’s home and admire the valuable pieces or art etc he has stolen. I, for one, do not even want to provide further arguments about why this is such an asinine argument. Moreover, he goes on to say 99% of us think like him. Really, 99%? Where does he get such fantastic numbers from?

In his rather dreamy rant, he also claims that QT said Kaante was better than Reservoir Dogs. I will save my breath and point you to this piece that Mr Tuteja presumably refers to and challenge you to prove his claim correct.

Dear Mr Tuteja, your arguments are bullshit anyway. You get paid to write about movies that earn lots of money. Not movies per se. There’s a huge difference. Understand that. Appreciate the work of other knowledgeable, hard-working critics who, in India, undergo unfair trials by fire when they praise cinema that is meaningful, honest and well-made rather than crass entertainers that you promote. We can agree to disagree about what cinema should be. But at least, please, get your facts right. Especially when you’re addressing yourself, learn to be honest.

The last point I wish to make is about movies that deserve to be seen but perhaps aren’t seen because viewers assume that since the remakes were shitty, so were the originals. This is far from the truth. Take Oldboy as an example. Zinda was, at times, a frame by frame copy of the movie. But it was an exceedingly passable piece of cinema. Oldboy, on the other hand, is a rivetting and nerve-wracking film that shakes you by the guts and stuns you into shocked silence: an accepted masterpiece of modern Asian cinema. I don’t mind our filmmakers looking for “inspiration”; my problem is that they don’t accept that they looked for inspiration. And, Mr Tuteja, there’s a reason why “inspiration” and “plagiarism” are two different words. Let me point you to dictionary.com if you lack the usual Oxford at home.

As for you, dear reader, spare yourselves the pain of anger. Be kind to him. He knows not what he writes.

And Mr Tuteja, henceforth, please keep your diary private. We cannot be bothered by you being dishonest to even yourself.

Shubhodeep Pal

(I really shouldn’t add a disclaimer to this piece, but here goes: My own views, my impressions, my right to express them. Not intended to slander etc etc.)

( PS – Shubhodeep blogs here. )

(PS1 – Dear Mr Tuteja, you don’t need a dvd to watch Miracle Worker. There is popular site called youtube.com. Little googling and youtubing doesn’t harm anyone. So click on the play button and enjoy.

(PS2 – This is not the first time that Mr Tuteja has made it to our blog. Click here to read about his other credential. As they say, honhaar birwaan ke hoth cheeknay paat.)

The first trailer of Pankaj Kapur’s director debut Mausam is out. The film stars Shahid Kapoor and Sonam Kapoor in the lead and promises to be a “timeless journey of love”.

Yashraj Films is ready with a new film – Mere Brother Ki Dulhan. The film stars Imran Khan, Katrina Kaif, Ali Zafar and is directed by Ali Abbas Zafar. Strangely similar stories have been explored in Dan In Real Life and Onir’s Sorry Bhai.

Starring Mahie Gill and Deepak Dobriyal, the film is inspired by the Maria Susairah-Neeraj Grover case. Directed by Ram Gopal Varma, the film is “cinematographed and edited by FX School”. Can someone please explain this to us?

 

There was Ashutosh Gowariker’s dud Khelein Hum Jee Jaan Sey, and now there’s Chhitagong by Bedabrata Pain. Both the films are based on the same incident. Written by Bedabrata Pain & Shonali Bose, it  stars Manoj Bajpayee, Raj Kumar Yadav, Nawazuddin Siddiqui, Barry John and Dibyendu Bhattacharya.

Here’s the first look. It doesn’t look like official trailer though. Too long to be a trailer, must be showreel for distributors or something like that.

And here’s the official synopsis…

Set against the backdrop of a little known saga in 1930s British-occupied India – where a group of schoolboys and young women, led by a schoolteacher, Masterda Surya Sen (Manoj Bajpai) dared to take on the Empire – CHITTAGONG is the story of a diffident 14 year old boy, Jhunku (Delzad Hiwale). Swept up into this seemingly impossible mission, the reluctant teenager battles with his own self-doubts to achieve an improbable triumph.

The film is a riveting action-drama, made more so by the fact that it is true.

If Rangan can, why can’t we? So, here it is. All in bullet points.

  • Dil Chahta Hai released in 2001 and this year marks the 10th anniversary of the film. My friend Kartik Krishnan is among those counted few who doesn’t like the film. First grudge – three guys who don’t even say bhainchod. Not even once. While the rest of us claimed it to be new bollywood’s coming of age film, KK still believes DCH is NOT us. Delhi Belly scores there at least. It took 10 years for three friends to come together and say bhainchod. Oops, three came for Rock On and three more are coming soon for ZNMD too. But that’s trilogy from Farhan Akhtar brand of cool and confused characters’ coming of age without the cuss words .
  • In order of their appearance – Fucking, fucker, balls, dick, chooth, bainchod, bastard, fuck, chootiye, gaand, asshole, dumbfuck, teri maa ki, bhosdike, gaand marane.  I hope these words are not new in your cusstionary and you don’t giggle every time someone says balls. Because in Delhi Belly, it’s all there. Seems I missed “thevidiya” – tamil word for whore.
  • So what’s your mother tongue? And is it the same as the language you speak everyday? No, right? Well, that’s the case with most of us. English is not a phunny language any more, desi characters talking in English is phunny. Or at least bollywood made it phunny. Add Rahul Bose and it’s super funny. Remember Before The Rains? Delhi Belly scores here too. The film is in Hinglish, which seems natural for a film like this, and the actors are comfortable in it. No accent too. Like us, they walk, talk and sleep in Hinglish without any kind of baggage.
  • No interval. This is about 96mins long. But since we contribute to the revenue more via cold drinks and popcorn, am sure the theater will keep on reminding you about this. Buy, buy, buy. Not every producer can demand a no-interval screening. And even if they demand, nobody will care to listen. With Aamir, it’s a different game. You Don’t Mess With Aamir. Nobody will say it but that’s the truth. Even for Dhobi Ghaat he managed to screen the film without interval. A refreshing change, hopefully others will follow soon, and hopefully we will still keep on contributing to coke, samosa and popcorn so that the theater revenue doesn’t go down.
  • And the movie? 3 guys, 2 girlfriends, 1 husband, his ex-wife and 1 Don along with some really good character actors in small roles. Stool sample and diamond pack gets mixed up, lots of confusion and farts of every possible kind, some cuss words, few kisses and bhag D K Bose. It’s nothing that you haven’t seen before but in a country where it’s difficult to think of one good film which released in the last six months and has repeat value, even a timepass entertainer scores high.
  • Shehnaz Treasurywala has lost her “wala” but her treasury is very much intact. She is still selling “peek-a-boo-b”. Remember MTV’s Most Wanted where she would come close to camera, bend a little and you could feast your eyes? Well, she does the same in at least 2 scenes.
  • For a person with a weak tummy, the farting sounds were really uncomfortable that kept on reminding me that I might need a loo break soon. Luckily i survived.
  • If you are looking for layers, I would suggest you go for Buddah Hoga Terra Baap which should be having layers and layers of make-up.
  • Dear Aditya Roy Kapoor, Y U NO GO TO KUNAL ROY KAPOOR SCHOOL OF ACTING?
  • Is it the same Abhinay Deo who directed Game? Again Aamir Khan will walk away with the credit.
  • Dear Cunnilingus, welcome to Bollywood. No, knowing you doesn’t make us look cool but it just validates your existence. Good luck on the debut. Hope you survive.
  • Dear Akshat Verma, hopefully you get to direct your next one. I know you wanted to direct this one.
  • Shock value? That’s just the marketing pitch, there is nothing shocking if you have been to Chan-Wook Park’s school of incestous studies. or even if you know Lars Von Trier.
  • 90minutes. No songs (Ok, almost no songs). No interval. Adults only.  It works. Watch it.

(PS – Was there more to Vir Das’ love story? Chop-chop at Khan’s editing table?)