Archive for the ‘Story / Plot / Synopsis’ Category

Bollywood – its still a strange place. We still dont have any concept of “script readers” and giving feedback to a filmmaker means “you are supposed to say only good things” about his film. And everyone has become so protective about the first look of their film, that passing on the script for feedback is an impossible dream.

We decided to check if the other way can work out. One of us wrote a script for a short film (3-4 mins) and we are putting the script here. Good, bad, fugly, whatever – do let us know in the comment section. Help us decide – should we make it, throw it in the dustbin or better, use it as toilet paper. And its just 3 pages, so please read on.

See if this makes any sense because we have been told it didn’t made so, to many.

BUM-CHUM

INT. XXX – DAY

ECU of a man’s face. He is lying on a bed.

Initially little nervous, he tries to bend his head little backward, turns back to starting position. Closes his eyes, mumbles few prayers. Suddenly he smiles, opens his eyes as if something unexpected happening to him, then again closes his eyes and giving an orgasmic expression. He seems to enjoy it. The expression keeps on changing from one extreme to other.

With a loud noise, the screen goes black out.

INT. HOUSE – DAY

A lean, thin man with receding hairline is busy playing a game on his mobile. Seems he just lost it. With a sigh, he looks up. Into the camera.

MAN (looks up – into camera)

……aur kya, bijli gul. Pehli baar ushey aise hi mila tha. Uska chehra bhi nahi dekha.

INT. HOUSE – DAY

WOMAN (into the camera)

Par maine dekhi thi…..picche se. Bilkul paas se (smiles). Bachpan ki bimaari hai…..(breaks into a hysterical laugh )

INT. HOUSE – DAY

A fat kid (girl – 9-10 years) on a dining table by herself and eating cornflakes.

WOMAN (VO)

Jo bhi khati, wahin atak jaati. Na pet me pachti, na bahar nikalti.

EXT. ROAD – MORNING

We see the fat kid from the back, going to school, with a heavy bag on her back and her big bum.  A water bottle hanging on her right side.

A young guy riding a cycle crosses her, tries to hit her bum with his waterbottle and shouts out.

GUY

Oye Bum–per…kuch pump—kar!

The handle of the bottle breaks, falls down. The girl smiles, sits on it suddenly, the bottle breaks with a loud sound.

The guy looks back at her. The girl seems very happy.

GIRL

Pump kiya…teri bottle ko.

The guy shakes his head and leaves on his cycle.

INT. HOUSE – DAY

Another kid, 9-10 years old boy, is trying to buckle up the school belt. Standing in front of the mirror, he is dressed up in school uniform. Only trying to fix up the belt. He moves his back towards the mirror and looks at his bum. There is almost nothing. It’s all flat. The pant hangs loosely and looks bad. He pulls the pant from both sides with his hand to make it look tighter to his bum.

MAN (VO)

Aur mere ko Chamcha bulate they. Kisi ki chaati nahi kabhi, bus gaand me dum nahi tha, matlab dum to tha bus gaand hi nahi thi. Chamach jaisa. Short me Chum!

The kid put his left hand on his bum and tries to figure out the curve of his bum…he moves the hand, still  in that small curve form, to the front and places it in a position that covers Pamela Anderson’s bum. He is comparing the size.

A pic of Pamela Anderson in swimsuit, still from Baywatch, is placed in one corner of the mirror.

INT. HOUSE  – DAY

MAN (into the camera)

Jab isse doorsi baar milne gaya. Tab bhi chehra nahi dekh paya. Waise hi…aao let jao, bhagwan ka naam lo aur intezaar karo….ki is baar Bijli corporation ki meherbani rahe….

INT. XXXX – DAY

ECU of a man’s face

He is lying on a bed. Closes his eyes, mumbles few prayers. Suddenly he smiles, opens his eyes as if something unexpected happening to him, then again closes his eyes and giving an orgasmic expression. He seems to enjoy it. The expression keeps on changing from one extreme to other.

INT. HOSPITAL – DAY

WOMAN (VO)

Aur mere pe tabhi jadoo sa hua.

The woman smells something in the air. Takes a deep breath in. Almost bliss. She takes a Man’s pant, which is hanging in one corner of the room, slyly puts her hand in one of the pockets, and finds something, smiles, tries to cover up her expression. Gets out of the room with a packet in hand.

CUT TO

INT. CLASSROOM – DAY

All 9-10 year olds in the classroom. A man sitting on a chair, talking to the students.

TEACHER

Simple sa sawaal hai. Yeh batana ki tumko kaun sa khusboo sabse pasand hai aur kyun ?

We see the same fat girl (with big bum) sitting on the right hand side of the teacher. The teacher points his hand in the right direction.

TEACHER

Idhar se chaloo karo.

GIRL1

Gulaab. Kyunki bahut acchi khusboo hai.

She sits down.

GIRL2

Chameli ka….

She also sits down after saying the answer.

The fat girl, Bum, is next. She has a disgusted look at her face. Hesitatingly, she stands up.

FAT KID/GIRL

Rollies…

TEACHER (shouts out)

…Rollies….

FAT KID/GIRL

jo Papa roll karte hain na….usko roll karne ke pehle…..

INT. HOUSE – DAY

We see a middle-aged man rolling tobacco into tabacco paper. The fat kid/girl peeping through one corner and inhaling it.

CUT TO

INT. HOUSE – DAY

WOMAN

Phir kya ? Bum pe bum bum padi. Aur us din maine isko baad me phone kiya…sorry bolne ko….

INT. HOUSE – DAY

Close up of the man’s face – He is nodding his head to some music and enjoying it. Twitching his lips with a blissful/orgasmic feeling.

WOMAN(VO)

Ek baar call kiya…..do baar call kiya…..phir last baar…

The Woman is making call through her mobile.

We hear the sound of mobile vibration. The camera tilts down to show that the guy has kept his mobile just under his crotch, it’s in silent vibration mode and as it vibrates, giving a ticklish feeling and he is enjoying it. He pulls out the mobile from under the crotch and takes the call.

INT. HOUSE – DAY

MAN

Maza aata hai. Try karke dekho (winks). Ma kasam. Par us raat main phir so nahi paaya…..

We see the man mixing a bottle of some liquid with lemonade. Gulps it down. And then sitting on the shit pot.

MAN (VO)

Ab tak uska chehra nahi dekha tha. Par usne le li meri…teen baar…hattrick…woh bhi picche se….virgin tha main…….ma kasam…picche se….

INT. HOSPITAL – DAY

We see that the man is lying on a bed. The Woman is taking a thin pipe and is putting it inside him, from behind. She is in doctor/nurse’s uniform.

CUT TO

CU of the tv screen – The camera shows his intestine on the screen. She is doing colonoscopy. She is staring blankly at the screen. Is very happy at the result on the screen.

WOMAN (VO)

Gulabi. Bilkul gulabi. Aisa pehle nahi dekha tha. It was love at first sight…

INT. HOUSE – DAY

We realise that the man and the woman are sitting next to each other.

MAN

….sight nahi…at first pipe…..woh gaana iska favourite hai…gulaabi aantein jo teri dekhi…deewana mera dil….He laughs out singing.

WOMAN

Tab jaake pehli bar usko dekha. Samne se . Picche tha bhi nahi kuch dekhne ko….

(she laughs out hysterically)

INT. HOSPITAL – DAY

The woman comes to the front, looks at him. They stare each other for few seconds. The man still on the bed.

MAN (VO)

Kehte hai na, opposites attract.

CUT TO

We see the back of the man with no bum and the woman with big bum, walking closely next to each other. The screen forms a heart shape and zooms into their bums.

The end.

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Synopsis – Its a story about two people, their weird nature, how they meet thrice and finally fall for each other. She is a doctor. And he needs to get his colonscopy done. She does it right, only at the third time. And they are narrating their experiences. The hospital setting, colonoscopy factor is not revealed from the start. So, its mostly in close ups and location is marked as XXX in the script.

Also, he could not sleep the night before because one is suppose to drink a liquid mixed with any lemonade that cleans your system completely. You almost remain on the shitpot every few minutes.

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This marks a grand WTF in film promotion! Dear whoever you are, social media doesnt mean squeeze media!

The makers of the film were doing a countdown on Twitter to reveal the first look of Aisha, as if its gonna be Casablanca and not Aisha. Yes, trust us….from one week to 3 days to 2 days to 24 hours to 12 hrs to  2 hours and blah blah blah! And if you dont trust us, click here to check the stupidest timeline ever created in the history of bollylalaland! And what do they reveal after all this hype, a random still of Sonam Kapoor.

Whats more, they have even created a term called “Aishaholics”, even before the film’s first look, poster or promo! Make us alcoholic anyday…hic! And if you are done with your Dumb Quotient of The Day (DQTD – yes, thats gonna be a new category now), here is something more. The official synopsis of the film is out too. Read on.

Aisha is a girl with a simple diktat – everyone’s business is her business. Arjun is a boy with even a simpler set of beliefs – Aisha should mind her own business. Caught in the Delhi upper class world with its own set of social rules, Aisha navigates her world with a great sense of style and even greater optimism. Caught in her web are her best friend Pinky, the small town girl Shefali, the west Delhi boy Randhir and the hunk Dhruv. Aisha will make sure everyone dances to her tune. And all Arjun wants to do is disentangle that web and get Aisha out of an impending sticky mess. Who will succeed and who will succumb? Welcome to Aisha’s fabulous world where playing cupid is as easy as 123…if only that Arjun would stay out of her way!

The film is directed by Rajshree Ojha, written by Devika Bhagat and stars Sonam Kapoor, Abhay Deol, Ira Dubey, Amrita Puri, Cyrus Sahukar (Hmmmm…..shhhh!!???), Lisa Haydon and Arunoday Singh. Its produced by daddy dearest Anil Kapoor & PVR.

The official synopsis of Nikhil Advani’s Patiala House is out. Read on.

The protagonist of the film (Akshay Kumar) runs a corner shop (Phir corner shop ? Memories of CC2C?) in Southall but his desire is to break into sports/cricket. His father is a strict traditionalist and his mission is to ensure his family do not lose their Indian culture and identity. Akshay, however wants to play cricket – not for India but for England – and he gets the chance to do this. Also, according to the makers of the film, cricket is just the catalyst, the real deal is father-son drama.

The film is also about British Asian identity and the cross-generational conflict between a father and son. The primary message of the film is about family ties and duty, a yearning to follow one’s dreams, and trying to make sense of the dichotomies that life presents when one’s family has migrated to another land. Other strong subject matters in the film include:

· The experiences of British Asians in the UK across all generations

· Life for Asians when they migrated to the UK back in the 50s and 60s

· Conflicting identities for 3rd and 4th generations Asians/Ethic minorities in the UK

· Following your dreams vs parental obligation

Huh! This really sounds like something “official”. Looks like Nikhil Advani is going Vipul “Waqt” Shah way with Akshay Kumar. Comedy kaam nahi aaya toh emotional try karte hain! Punjabi Tadka, naach gaana plus we have CRICKET! Balle balle hai ji! Hit hai sir, film hit hai – the way they say it!

The film stars Akshay Kumar, Anushka Sharma, Dimple Kapadia, Rishi Kapoor and Hard Kaur and will also feature cricket players like  Andrew Symonds, Keiron Pollard, Durk Nanis, Simon Katich, Graham Gooch, Shaun Tait and Sanjay Manjrekar.

Naah, we are not interested. Na southhall ka haal jaanne me, na Advani ke maal me!

Aha, this seems like the perfect pitch for its theatrical release in India. We love it, except the title font and its colour, which looks little bland in the middle of all that chaos. For us, its “days of being wild & pains of growing up” and the poster seems to have captured that.

The lead actor is Rajat Barmecha, who looks a lot like Imran Khan and acts million times better than him. For our review of Udaan click here, for Vikramaditya Motwane & Anurag Kashyap’s video interviews here, for earlier poster/pics/synopsis of the film here and for all the Cannes jazz here.

After Chandni Chowk to China, Nikhil Advani has again paired up with Akshay Kumar for his new film Patiala House. And yes, cricket is at its core. The film is being shot in London and a reader of our blog alerted us about these two videos which are out now.The second video tells more about the film than the first one which has Akshay’s interview. Click on the play button if you are still interested in either Akshay Kumar or Nikhil Advani film.

Yes! F-I-N-A-L-L-Y! Aur mere aankhon me khushi ke aanson aa gaye! Great for him and good for us becuase we cant take any more flooded timelines with his Paani tweets!

It was offcially announced at the ongoing Cannes Film Festival where Shekhar Kapur is on jury. Click here to read the full report by The Hollywood Reporter or scroll down if you are interested in knowing only the key points that matter.  Plus pic and a video attached.

– Shekhar Kapur will direct “Paani” (Water) and the script is by David Farr.

– The budget of the film is $30 million and is produced by Swarovski Entertainment and Adlabs founder-turned-producer Manmohan Shetty.

– Kapur plans to shoot in November with additional backing from Walk Water in Singapore, Dubai and on large purpose-built sets being designed by John Myrhe.

– The project also marks the first full-length feature backed by Swarovski’s start-up entertainment arm.

– A R Rahman is on board as the music director and has already composed two songs for the project.

– Its a love story set in a mega city in a future where precious H2O has all but run out and corporations go to war over its control. The city is divided into two conflicting halves, in which the upper city hoards all the water and drip feeds the slums of the lower city. A girl from the upper tier meets a water rat boy and falls in love against this backdrop.

– “Blue Covenant” author Maude Barlowe is aboard and hopes Kapur’s film will play a part in taking awareness to a whole new level. Danny Boyle will also get producer’s credit.

Vodpod videos no longer available.

Yes, we were missing in action. The excuses are many and they are all so silly. Here we are back and with an exclusive! The first look of Vikramaditya Motwane’s debut film Udaan! Plus some more! The film is in the official selection list  of Cannes Film Festival (Un Certain Regard Section) 2010. Have a look.

Also, here is the official synopsis of the film….

After being abandoned for eight straight years in boarding school, Rohan returns to the small industrial town of Jamshedpur and finds himself closeted with an authoritarian father and a younger half brother who he didn’t even know existed. Forced to work in his father’s steel factory and study engineering against his wishes, he tries to forge his own life out of his given circumstances and pursue his dream of being a writer.

The film is written by Vikramaditya Motwane & Anurag Kashyap. Its produced by Anurag Kashyap & Sanjay Singh. Strangely, UTV rejected the script twice earlier but came on board as soon as the film got the Cannes stamp! Not surprising that they produced “Chance Pe Dance”!  It has music by Amit Trivedi and lyricist is Amitabh Bhattacharya. The main cast includes Rajat Barmecha, Ronit Roy, Aayan Boradia and Ram Kapoor.

And here are some more stills from the film…

Now that the post header has made you curious enough to book your tickets, do give the film some time and space. Its not your corn and cola cinema. For that you can wait for pottymaker’s Housefull!

As I returned home after the screening and looked at the bucketful of water in the bathroom and the reflection of the light on its surface, I could not look beyond. A bucketful water never meant so much. Never held my attention. When you go to a theatre to watch a film, its entertainment but when you come back home with a cinema inside you, you know its a masterstroke.

Vihir is one such cinematic masterstroke. Directed by Umesh Kulkrani and written by Girish Kulkarni & Sati Bhave, its devastatingly gorgeous, warm and heartwrenching tale of two freinds and their adolescent days. Of lost and found. Of life and death. Of hide and seek. Of love, lost and longing.

According to the official release, the synopsis of Vihir is as follows…

A story of two adolescent boys Sameer and Nachiket (cousins who are best friends) standing on the crossroads of life… to choose between the life that leads to petty worldly small existence or the life of free existence that would let them spread their wings and soar high in open skies…

They play a game of hide and seek in a rather unusual way. Where one cousin hides in death and the other is looking for him in the life around him. . . . Samir’s search leads him towards the experience of oneness where he can unite with Nachiket again!

Scratch the surface and you will find that the water runs really deep. There is family politics, pain of growing up, existensial crisis, chinese whispers, detachment and finding that “best friend” during one of the most difficult & exciting time of life – adolescent days. When suddenly one day you spot some soft hair strands slowly making a thin line just below your nose, you dont remain the same anymore. You want to talk to someone who belongs to the same club. You try to make sense of the world.

And like me, if you have spent your summer vacations at your nanihaal or mamabadi or mamaghar or Grandma’s place, you will instantly connect with it. Uncles, aunts, cousins, grandparents – all under one roof. Things that you should not have known, tales that you should not have heard and incidents that you should not have been part of – you grow up then and there. You become Adult. Vihir moves in similar territory as Sameer & his Nachiketdada try to decipher the meaning of life around them. They are not only cousins but best friends too. One (Sameer) idolises the other but the other is lost. He is also trying to find himself. And its through one’s loss, that the other discovers himself.

But what kind of loss is it ? Is it just being invisible ? Or more than that. Here comes the maturity in the writing and direction part.  And now slowly all the dots connect. The simple game of hide and seek & chinese whispers dont remain the same anymore. Dont want to write more here to spoil the experience for you.

The character actors are all familar faces of marathi cinema. Lead actors Madan Deodhar (Sameer) & Alok Rajwade (Nachiket) say it more through the silences and gestures than the dialogues. Alok was also the lead in Siddharth Sinha’s FTII diploma film Udhedbun which bagged the Silver Bear at Berlin Film Festival in 2008. Shot gorgeously by Sudheer Palsane, the camera takes you straight inside the family affairs. The acting across the board is so natural that it looks like someone just put a camera there. Am not sure if the actors spent some time together before the shoot or what lead to such strong bond on screen but its pure magic.

When the first half got over, I was bit lost wondering if its the end of the film. And it could have been a superb end there. As i came out and met few other film buffs, realised that others also felt the same. So now what ? What will he do in the second half ? How will he wrap up ?

Fuck Syd Field and fuck all plot points. Umesh Kulkarni’s second half is pure visual delight. Mood piece. At one point, some 20 minutes of the film is complete silence. No dialogues. And once you are with the character, you know what that silence means. If you have ever loved and lost someone, you know its difficult to find a way out.  You dont want to hear people talking. They just dont make sense. You need no gyaan. You need that journey to nowhere. Remember last year’s Dev D ?

In the secod half, I felt the same once again. When “the well” scene comes, I thought here is one more end. But then there is some more. Its a journey of self-discovery. So, no point trying to figure out an end to join the dots. Let it go on.

And as a killer line in Rocket Singh song goes…Uljhe nahi to kaise suljhoge…bikhre nahi to kaise nikhroge. Nobody grows up in years, its always in deeds.

Water is life. And death too. In every drop. Everywhere. The subtle hints, the subtext and the layers – by the end it seems nothing is as simple as it looks.

(PS – Its great that AB Corp produced it. All respect. Hope they do more such films. And those of you who still think that am biased against the Bachchans, doesnt this post say enough to shut you up! We all love to champion a film that we like. Rest doesnt matter. It seems Jaya Bachchan was the key person for making this happen. This surely is one tight slap on the face of Raj Thackeray and his supporters who claimed Guddi buddhi zali, tari ajun akkal nahi aali. And do watch it on big screen. You need to dive into that water. The dark theatre and the big screen sets the perfect mood. )

Click on the play button to see the opening scene of Vihir

For more on Vihir, click here.

First, lets get the facts correct. Lot of reviewers in their reviews have mentioned that the Ajay Devgan-Konkon Sen starrer film Atithi Tum Kab Jaoge is based on Sharad Joshi’s short story. NO, its NOT a short story! But its based on a short essay written by him.

We still havent seen the film. But our walkie-talkie-moviepedia from Jaipur, Pavan Jha alerted us on this one. The essay is titled Tum Kab Jaoge, Atithi. It was published in his book  “Yatha Sambhav”  and also made it to other compilations.  The makers of the film have taken due permission and have also given him credit in the film, even if its just an idea.

The film has got average rating. But do read the essay. Or do we still need to sell you Sharad Joshi’s writing ?

 

The first trailer of Mahesh Manjrekar’s new film City Of Gold is out. Check it out.

This one had lot of promise, till we saw the trailer. The premise, setting, time, incidents and an untold story. But from the trailer it looks too tacky! City Of Gold is set in Mumbai’s mills era. Here is the official synopsis of the film…

Today, there is hardly anyone who hasn’t visited the swanky shopping malls, nightclubs, lounge bars, clubs and other such lifestyle destinations that sprung up across the centre of Mumbai. However, very few know that buried deep below these glittering edifices to consumerism lies the dark, dirty and painful reality of many thousands of mill workers who once worked the cotton mills in this very same area. Rising and toiling to the wail of the mill sirens each and every day, seven days a week, these workers embodied the true unbridled zeal and unflagging spirit of the city and played a pivotal role in the evolution of Mumbai as the modern day business capital of India.

And then it suddenly was as if they never existed. Following the mill workers strike in the mid-80s, these mills began closing down rapidly and the mill-workers mysteriously disappeared. What happened to them, and where they went is one of the most shameful secrets that the city of Mumbai will have to bear for generations, one that until now has always been spoken about in hushed whispers.

City of Gold – the story of these long-forgotten masses – not only explores the apathy of these mill workers narrated through the story of one such family, but is also a take-no-prisoners account of the birth of the true underbelly of organized crime in Mumbai.

The film traces the birth of the politics of greed in Mumbai and exposes the unholy collusion between the triumvirate of big business, the political establishment and the trade union leaders who ostensibly were charged with protecting the rights of the mill workers. In the two decades that followed, the entire landscape of Central Mumbai was changed forever. Land became the currency of growth, and this began the systematic extinction of mills in Mumbai. In a matter of just a few years, hundreds of thousands of workers lost their means of livelihood. Having worked in these mills from generation to generation, this was the only vocation that they knew.

Many left Mumbai and went back to their ancestral homes, some others chose to stay back and fight what they soon realised was a losing battle, some took the extreme step of ending their miserable lives, and still some others took to a world of crime.

Truth… as is said, is stranger than fiction. But the truth that the film uncovers is not just stranger but darker and dirtier than any mind has ever imagined. Produced by DAR Motion Pictures and from the Director of dark and realistic films like Vaastav – Mr Mahesh Manjrekar, ‘City of Gold’ takes another trip down memory lane…. just that this time around the result is a much more heart wrenching, soul stirring and shocking film about human avarice and apathy.

The film doesn’t provide any direct solutions. Yet it shatters many a myth and raises many a question which only the passage of time will provide answers to.

To know more about the film, click here for the official website.