Posts Tagged ‘Cannes’

Gangs of Wasseypur 2 – Songs w/ Lyrics

Posted: July 16, 2012 by moifightclub in cinema, Lyrics, music
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The much awaited music (by Sneha Khanwalkar) of part 2 of Anurag Kashyap’s gangster-political-crime-drama Gangs of Wasseypur is finally out. Just 3 weeks before the film’s release on 8th August. A tad bit late, some may feel but der-durust and all that.

Given the film’s bhojpuri-mixed-Hindi dialect, we thought of doing another post (like last time) with lyrics. And embedded the songs too from soundcloud, so that you can read and sing-along if in the mood. Over to album’s co-lyricist Varun Grover.

*******

२ साल, और उन दो सालों के हर दिन के चौबीसों घंटे लगे यहाँ तक पहुँचने में. इतना intense क्रियटिव प्रोसेस मैंने इससे पहले कभी नहीं देखा था. और थोड़े दिन पहले तक भी मुझे लग रहा था कि वो दिन कभी आएगा ही नहीं जब वासेपुर के गानों का काम खतम हो जाएगा. लेकिन आ गया है. सारे गाने एक-एक कर के यहाँ नीचे हैं…शब्दों के साथ.

और सबके बारे में २-२ लाइनें भी.

छीछालेदर: Singer: Durga, Lyrics: Varun Grover

‘छीछालेदर’ शब्द अनुराग कश्यप ने दिया. उनको एक बिना लॉजिक का गाना चाहिए था. कैरेक्टर स्केच की तरह. बस टुकड़ों-टुकड़ों में किसी बंदे की व्याख्या करते हुए. गाया है १२-१३ साल की दुर्गा ने जो मूलतः आंध्र प्रदेश की है.

Mera joota fake leather,

Dil chichha-ledar

Wo humse poochey whether,

I like the weather

Chamcham waali goggle, bhool ke sarahu bhaage,

Makhmal waala maflar, chhorh ke sarahu bhaagey

Tere naam ke raadhe bhaiyya

Najar kateeli laser.

Mera joota fake leather,

Dil chichha-ledar

Wo humse poochey whether,

I like the weather

Hedar-dedar hedar-dedar

Dil chhichha-ledar

Maar tamaam haraamkhori,

lambi lambi chhorhe

Kare tikalla, jaat aghori,

Bani banaayi godhey…

Maar tamaam haraamkhori,

lambi lambi chhorhe

Daant se kholey beer botal,

Nain se loha modey-modey…

Nakshebaaji haath mein lekar,

Sab rangbaaji saath mein lekar,

Dar se farr se bedar…(2)

Hedar-dedar hedar-dedar (4)

Dil chhichha-ledar…

काला रे: Singer: Sneha Khanwalkar, Lyrics: Varun Grover

फिल्म का इकलौता ‘रोमांटिक’ गाना. लेकिन क्योंकि हीरो (फैज़ल खान) गैंगस्टर भी है और काला भी, इसलिए गाना भी थोड़ा dark और haunting बनाना था.

Kaala re, saiyyaan, kaala re…

Mann kaala re, tann kaala re,

Kaali zubaan ki kaali gaari….

Kaale din ki kaali shaamein,

Saiyyaan karte ji kolbazaari…

Bairi kol kol kol, chheney tol tol tol,

Chhat aangan chaar deewari…

Saiyyaan karte ji…saiyyaan karte ji…

Saiyyan karte ji kolbazaari…

Kaali mitti, kutta kaala,

Kaala bilkul surmey waala,

Kaala kauvva, hauvva kaala….

Kaala baadal ghirne waala,

Kaala moti, girne waala,

Kaala jhanda, danda kaala….

Kaala batua, paisa kaala..

Kaali aankhon jaisa kaala,

Kaali agni…

Kaali garmi, sooraj kaala,

Kaala beegha, aur gaj kaala,

Kaali baaati…haathi kaala…

Kaala-kaala-kaala…

Bairi coal coal…

Bairi kol kol kol,

chheeney whole-sole-tol….

Rang paani aur pichkaari…

Saiyyaan karte ji…saiyyaan karte ji…

Saiyyan karte ji kolbazaari…

बहुत खूब: Singer: A group of school kids (एक बच्चे का नाम, जिसकी आवाज़ में कविता सबसे ज़्यादा है: पड़फूल था.)

यह किसी ने नहीं लिखा. बिहार में फिल्म पर रिसर्च के दौरान स्नेहा मुज़फ्फरपुर के बेरिया गाँव में पहुंची. स्कूल से लौटे बच्चों ने टेक्नोलोजी से लदे ‘शहरी’ ग्रुप को घेर लिया. स्नेहा ने  बच्चों से कहा कोई कविता सुनाओ, मैं रिकार्ड करूंगी. वही आवाजें रिकार्ड की और फिर उन्हीं को जोड़ कर यह गीत बना.

Bahut khoob Bahut khoob Bahut khoob

Chakachak kumari..

Chattanon se krida karti

Kal kal karti, chal chal karti

Chattanon se krida karti

Kabhi idhar mud, kabhi udhar mud

Ban parbat mein lipti chhupti.

Dharti ke har kisi chor se,

Ban parbat ke kisi mod se

Boond boond se bana hai, kaun

Chaar dhaamon se juda hai, kaun.

Bahut khoob Bahut khoob Bahut khoob

मूरा: Singer: Sneha Khanwalkar/Deepak Kumar Lyrics: Varun Grover

इस गीत के दो versions हैं. एक स्नेहा की आवाज़ में और दूसरा दीपक कुमार (जिसने Gow-1 में ‘हमनी के छोरी के’ गाया था) की आवाज़ में. कोशिश थी एक tongue-in-cheek pep-talk song लिखने की. IT-BHU में रहते हुए hostel में ‘फ्रस्टियाओ’ और ‘नर्भसाओ’ बहुत सुना था. वो काम आया. इसमें भी स्नेहा की संगत में एक कैलिप्सो बैंड है, उसके कैरिबियन रिसर्च के दौरान ढूँढा हुआ.

Moora Morning (sung by Deepak Kumar)

Frustiyaao nahin moora,

Narbhasaao nahin moora,

Anytime moodwa ko,

Anytime moodwa ko,

Upsettaao nahin moora…

Anytime moodwa ko,

Anytime moodwa ko,

Upsettaao nahin moora…

Jo bhi wrongwa hai usey,

Set right-wa karo ji,

Naahin loojiye ji hope,

Thoda fightwa karo ji…

Jo bhi wrongwa hai usey,

Set right-wa karo ji,

Naahin loojiye ji hope,

Thoda fightwa karo ji…moora…

Anytime moodwa ko,

Anytime moodwa ko,

Upsettaao nahin moora…

Kaahe muthhi mein pakad,

Raha paniya re moora…

Kaahe muthhi mein pakar,

Raha paniya re moora…

Rahe paani ki na yaad

Naa nisaniya re moora

Startey startey startey..

Startey brainwa re moora,

Charh trainwa re moora,

Startey brainwa re moora,

Charh trainwa re moora,

Naahin pagla re bann,

Act sane-wa re moora..

Anytime anytime,

Hai yeh retiya kaa ghar,

Anytime anytime,

Bharbharaao nahin moora..

Anytime anytime,

Diye chance-wa jo life,

Refuse-aao nahin moora…

Sakpakaao nahin moora,

Latpataao nahin moora…

Sakpakaao nahin moora,

Latpataao nahin moora…

Anytime moodwa ko,

Anytime moodwa ko,

Upsettaao nahin moora…

आबरू: Singer: Bhupesh Singh, Piyush Mishra, Lyrics: Piyush Mishra

कव्वाली-मुकाबला जैसी शैली में रामाधीर सिंह और फैज़ल खान के चुनाव प्रचार के लिए एक गीत बनाना था. पीयूष मिश्रा ने अपने धुरंधर अंदाज़ में लिखा और गाया.

Hum zahar se bhare, bicchhuon mein paley

arey tu humein kaatne ki saza payega

Arey aabroo ki kasam, cheer denge tujhe

Dum kate saanp sa.. bil bila jayega

Aabroo ke jane, draupadi ki kasam

Kauravon ki sabha mein jo aa jayega

Arey Dushaasan hain hum, kheench lenge tujhey

Aabroo jo bachi hai luta jayega

Aabroo ki kahi aaj sun le abhi

Choli lehanga pehan ke kahan jaayega

Jo har ik chhed mein goliyan jo padi

toh har ik chhed bansi baaja jayega

chhedo.. chhedo chhedo.. chhedo

oh chhedon key khuda meri sun to zara

beech baazaar mein tu toh aa jayega

le aa gaya beech bazaar mein, ab bol.

Toh ruk…

Sand ban ke nache-ga, sarey aam tuu..

Bhaand ban ke muhaley mein chaa jayega.

Hum to duryodhan ke poot, saath mein raavan ke chele

Hum to  bhari-putna surpanakha ki godon mein khele

hum to aise hain chandal cheer ke kutta khate hain

hum to aise teer-andaj aadmi ain chabate hain

hum to shakuni hain, hum kansraj hain kulta shulta neech

hum toh narbhakshi hain, gaay bhains ka chara khaan ley kheench

arey hum maar tamancha, bail pe nikley, bail bech aaye

hum to kirkit ka balla chodo hum khel bech aaye.

Haaji maula Haaji maula Haaji maula, Haaji maula Haaji maula..

तार बिजली: Singer: (Padmashree) Sharda Sinha, Lyrics: Varun Grover (Mukhda from traditional/folk)

फॉर्मेट से शादी का गीत है. लेकिन शब्द पोलिटिकल हैं. ‘८० और ‘९० के दशक के बिहार की बिगड़ती दशा पर एक दुहाई है देश के ‘पालनहारों’ से कि ये क्या कर दिया ‘हमारे पिया’ के साथ. Surreal मान सकते हैं…कि ऐसा गीत अब इस फिल्म की दुनिया में लोकगीत बन गया है और शादी में गाया जा रहा है. और गाया है legendary शारदा सिन्हा जी ने. बहुत सालों बाद फिल्म संगीत में वापसी है उनके लिए यह.

Taar bijli se patley, humaare piya…(x2)

O ri saasu bata tuney yeh kya biya…(x2)

Sookh ke ho gaye hain chhuaare piya…(x2)

Bechaarey piya…

Sab haarey piya…

Kuchh khaatey nahin hain…

Kuchh khaatey nahin hain…humaarey piya

O ri saasu bata tuney yeh kya biya…

Taar bijli se patley humaare piya….

Kha dhatoora ji sutley humaare piya,

Maara dhakka na uthley dulaare piya, (x2)

O re bapu bata tuney yeh kya biya,

Yeh kya biya tuney yeh kya biya…

(chorus) Gulaabi Chachha…

Gulaabi Chachha ki kyaari mein kaanta bhara…

Na idhar na udhar hi sihaare piya…

Taar bijli se…

Ghupp andhera mein chaltey, dulaarey piya,

Ghupp andhera mein chaltey, dulaarey piya,

Jindagi kolbari, phoot paani bhara,

Aarra Chhapra ke Babuji yeh kya kiya?

Loknayak jalaaye yeh kaisa diya? (x2)

Bhaav koyla ke bik-lay dihaari piya…

Nihaari piya….Bihaari piya….

Maarey dukh ke ji phootey fuhaarey piya…

Haan fuhaare-fuhaarey-fuhaarey piya…

Taar bijli se patley, humaare piya…

Taar bijli se patley, humaare piya…

O ri saasu bata tuney yeh kya biya…

O ri saasu bata tuney yeh kya biya…

O ri bhauji bata tuney yeh kya biya…

O re Bapu bata tuney yeh kya biya…

O re Chacha bata tuney yeh kya biya…

Loknayak bata tuney yeh kya biya…

Jan-nayak bata tuney yeh kya biya…

Baba Saaheb bata tuney yeh kya biya…

Taar bijli se patle humaare piya…

इलेक्ट्रिक पिया: Singer: Rasika Rani, Lyrics: Varun Grover

यह गाना स्नेहा ने कैरिबियन में रिकार्ड किया. वहाँ वो चटनी म्युज़िक ढूँढने गयी थी और रसिका से मिली. इसका पूरा अरेंजमेंट चटनी है इसलिए शब्द भी fusion हैं. ‘तार बिजली’ को लोकगीत का surreal जामा पहनाने में भी यह गीत मदद करता है. फिल्म में यह गीत एक पार्टी में बज रहा है. मतलब एक ऐसी दुनिया है जहाँ यह (और ‘तार बिजली’) पहले से प्रचलित हैं. इसमें भी मर्म वही है…दुहाई है…लेकिन इसमें मूड एकदम अलग है. यह सत्ता के iron curtain के दूसरी तरफ खड़े लोगों का गीत है. ‘तार बिजली’ से ठीक उल्टा. (फिल्म देखेंगे तो पूरा subtext समझ आएगा.)

Electric piya…electric piya!

Taar bijli se patle humaare piya..

Arre taar taar taar…

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Ghar aate hain deri se, tutli hai road…

Road road road…arre tutli hai road…

Roj roj roj roj…

Baba-saaheb kathin kitna rasta diya,

Jan-Nayak re haalat kya khasta kiya,

Riding donkeys, my horse-rider piya…

Getting tangled in web of spider piya…

Electric piya…electric piya….

Electric piya…electric piya….

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

My loveless, and luck less, and messed-up piya…

Arre messed-up piya… Arre messed-up piya…

Aandhi-maata bata tuney yeh kya biya,

100-baras jeeney waale re yeh kya kiya,

Slipping out of my hands, humaarepiya,

Falling into quick-sands, humaare piya…

Electric piya…electric piya!

Taar bijli se patle humaare piya..

Arre taar taar taar…

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Taar bijli se patle humaare piya..

As thin as a wire, humaare piya

Miss Lovely and Gangs Of Wasseypur – Tracking all the Cannes buzz

Posted: May 28, 2012 by moifightclub in bollywood, cinema, film, Film Festival, Indie, Interview, movie reviews, News, reviews, video
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Ashim Ahluwali’s Miss Lovely and Anurag Kashyap’s two-parter Gangs of Wasseypur premiered at Cannes Un Certain Regard and Directors Fortnight section respectively.

This post is to track all the buzz from the Cannes – reviews, interviews, videos and more. For the Cannes buzz of Vasan Bala’s Peddlers, click here.

Starting with some generic news links.

– Edouard Waintrop, Artistic Director of the Directors’ Fortnight, talks about the new wave of Indian cinema. Click here.

– VIDEO : Tom Brooks’ Cannes edition of Talking Movies starts with Indian films. Click here.

MISS LOVELY

– Review published in the Screen International is here.

– The Hollywood Reporter’s review is here, which describes it as Bollywood meets Boogie Nights in stylized retro-sleazy thriller.

– Variety’s review is here. You need account to read it. But if you are too curious, go close to the screen, squint your eyes and you will be able to read through the black screen.

– A small review in Sight and Sound is here which says the film is mesmerising for the first hour or so, during which, the echoes of Boogie Nights aside, I found myself thinking of Wong Kar-Wai, Scorsese, Matteo Garrone’s Gomorrah and even Irma Vep. Unfortunately the film then palls somewhat – director Ashim Ahluwalia can’t hold onto a story, or develop characters. But while it’s good it’s very good indeed, and had it been that touch better (and shorter) it could have been a game-changer for Indian cinema.

– A french review is here which is not too complimentary. Use Google Translate (GT).

– Ahluwalia makes ‘Lovely’ impact, says Saibal Chatterjee in The Sunday Indian. Click here.

– New York Times piece on the film is here.

– Ashim’s interview in Another mag is here.

– Ad Vitam has picked up the French rights of the film. News link is here.

– VIDEO : Anupama Chopra’s interview of Ashim Ahluwalia is here.

GANGS OF WASSEYPUR

– Review in Screen International is here which says, this Tarantino-tinged Bihari take on The Godfather has what it takes to cross over from the Indian domestic and Diaspora markets to reach out to action-loving, gore-tolerant theatrical and auxiliary genre audiences worldwide.

– The Hollywood Reporter review is here which calls it a dizzying explosion of an Indian gangster film, whose epic structure and colorful, immoral killers capture the imagination for over five hours..

– Review on desi site DearCinema is here.

– In Italian. click here. Use Google Translate (GT).

– Long piece in french edition of Huffington Post is here. Use GT.

– Coverage on BBC website.

– Saibal Chatterjee’s report in The Sunday Indian is here.

– VIDEO : Anupama Chopra’s interview with Kashyap and Bala is here.

– Click on the play button to watch the official video of the screening

If we have missed any links, do post it in the comments section. We will keep on updating the post with new links.

Uday Shankar’s Kalpana at Cannes Classics – the road to restoration

Posted: May 14, 2012 by moifightclub in cinema, film, Film Festival, News, Special
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We all know about Miss Lovely, Gangs Of Wasseypur and Peddlers going to the Cannes. But apart from these three films, there’s a very important Indian film which will be at the festival this year – Uday Shankar’s 1948 classic film Kalpana. The restored print of Kalpana will be screened in the Cannes Classics section.
The other important films in the Classics section this year includes Sergio Leone’s Once Upon a time in America, Roman Polanski’s Tess, Spielberg’s Jaws, The Ring by Alfred Hitchcock, David Lean’s Lawrence of Arabia and Runaway Train by Andrei Konchalovsky. Since we really don’t have a habit and culture of preserving our cinema, i was wondering how did this happen. Then through a common friend i got to know about ad filmmaker Shivendra Singh Dungarpur, who is instrumental in making it happen. I asked him to share his experience on the same and he happily obliged. Read on.

I’ve been attending a festival called Il Cinema Ritrovato in Bologna, Italy for the last few years. This is a festival of restored films and it really amazed me what fantastic work they were doing at the restoration lab in Bologna. They work very closely with the World Cinema Foundation (WCF) headed by Martin Scorsese, who have been doing remarkable work restoring films from all around the world. Last year one of the representatives from WCF mentioned to me that they had been trying to get an Indian film called “Kalpana” directed by Uday Shankar for restoration. They had been trying for almost three years to get the film cans out of India, but they had not been able to do it for various reasons and they had given up.

I had seen Kalpana at a private screening that I had paid for at the Archive in Pune and I knew it was an extraordinary film especially from the point of view of dance and the use of light. I promised the WCF that I would get the film for them to restore, but they were sceptical given their previous experience. Even I didn’t anticipate the extent that I would have to run from pillar to post for this.

I knew the Shankar family and that I was working very closely with the National Film Archive of India (NFAI) for my documentary on P.K. Nair called “Celluloid Man.” I met Amala Shankar (Uday Shankar’s wife) in Kolkata along with her daughter Mamata Shankar and daughter-in-law Tanusree Shankar . I had to request them to procure a legal opinion from their lawyer as there was some litigation regarding the rights of the film that needed to be clarified before WCF could go ahead with the restoration. After a lot of persuasion and several trips to Pune, the NFAI also agreed after I showed them a letter from Martin Scorsese stating that I represented the WCF in this matter and on the condition that I took the onus of sending the cans to Italy and ensured their return. So in a matter of a few months, I managed to send the film to Bologna from my office in Mumbai. In fact, I am responsible for the negative.

I’ve been hearing great reports on the restoration and the lab in Bologna worked round the clock to ensure that they could premier the restored version of Kalpana at the Cannes Classic section. The WCF have very kindly invited me and Amala Shankar for the premier and we will walk the red carpet at 6.30 p.m. on May 17 before the premier. Amalaji is 94 years old and she is thrilled to travel to Cannes and walk the red carpet to see the only film made by her husband in which she played the main role.

At Cannes I have also been invited to see the restored version of Sergei Leone’s “Once Upon a Time in America”. As I am a donor for the restoration of Hitchcock’s film “The Lodger”, the British Film Institute has invited me to a screening of their restoration of Hitchcock’s silent film “The Ring” with live accompaniment.

In the West, there is a strong culture of preservation and restoration of films that India completely lacks. This is a shame given what a great cinematic history we have. This is what inspired me to make my documentary “Celluloid Man” on P.K. Nair, the founder of the National Film Archive of India. Mr. Nair singlehandedly built the Archive. It’s thanks to him that film students from the Film Institute, Pune like me had the opportunity to see the work of great filmmakers like Ozu, Tarkovsky, Fellini, etc. My film is a tribute to Mr. Nair and his life’s work and somewhere I hope people will realize how important it is to collect and restore our films.

One of the main reasons, I pushed so hard for Kalpana to be restored is that I am hoping that other Indian films will also get chosen for restoration. As a matter of fact, the lab in Bologna wants to restore Ritwik Ghatak’s “Meghe Daka Tara” and have asked me to help them raise the funding. I am hoping the Indian film fraternity or corporate houses will come forward so we don’t have to rely on the West.

(PS – To know more about the film and why it’s such a big deal, you can read this and this post.)

Anurag Kashyap’s Gangs of Wasseypur selected for Cannes Directors’ Fortnight

Posted: April 24, 2012 by moifightclub in bollywood, cinema, film, Film Festival, News
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It’s raining good news and how! After Miss Lovely and Peddlers, the latest one to join the Cannes club is Anurag Kashyap’s two-parter Gangs of Wasseypur.

The film will be screened in the Directors’ Fortnight Section. Produced by Viacom18, it stars Manoj Bajpayee, Nawazuddin Siddiqui and Richa Chaddha.

Interestingly, Peddlers is also produced by Anurag Kashyap Films. So Peddlers and two-parter Gangs of Wasseypur in the same year. That’s a hattrick! And if you count Udaan, then Un Certain Regard, Critics Week and  Directors Fortnight has been cracked. Now AKFPL just need to crack the competition!

According to its official release,  the Directors’ Fortnight is distinguished by its independent-mindedness, its non-competitive nature and its concern to cater to non-professional Cannes audiences. Striving to be eclectic and receptive to all forms of cinematic expression, the Directors’ Fortnight pays particular attention to the annual production of fiction features, short films and documentaries, to the emergence of independent fringe filmmaking, and even to contemporary popular genres, provided these films are the expression of an individual talent and an original directorial style.

Click here to read Kashyap interview on Gangs of Wasseypur.

(PS – To know more about the Directors’ Fortnight section and selection, click here.)

Vasan Bala’s Peddlers selected for Cannes Critics’ Week 2012

Posted: April 24, 2012 by moifightclub in bollywood, cast & crew, cinema, film, Film Festival, first look, Indie, News, pics
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I am not sure how and where to start this post. Still too excited about the news. But let’s get the news first. Vasan Balan‘s debut feature Peddlers has been selected to premiere at Cannes International Critics’ Week. Yay! And since this is his first feature, it’s also going to compete for Camera D’Or. Every year only seven films are selected for Critics’ week and this year Peddlers is one of them.

To quote the official synopsis, Peddlers – A ghost town, Mumbai, inhabited by millions. A lady on a mission, a man living a lie, an aimless drifter. They collide. Some collisions are of consequence, some not, either ways the city moves on.

And here’s the cast and credit list..

Director : Vasan Bala
Screenplay : Vasan Bala
Cinematography : Siddharth Diwan
Editing : Prerna Saigal
Sound : Anthony B.J. Ruban
Music : Karan Kulkarni

Cast: Gulshan Devaiah, Siddharth Mennon, Kriti Malhotra, Nimrat Kaur, Murari Kumar, Sagai Raj, Megh Pant, Nishikant Kamat, Neeraj Ghaywan and Anubhuti Kashyap.

And here are some stills from the film..

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And now the news bit is over, i am going to write and behave like Vidhu Vinod Chopra.

It seems like yesterday. Vasan pinged me on gmail and then shared some pics. I said, wow, this guy looks like Andrew Garfield. Vasan – fuck, you got it so bang on.  I have been telling all about the Garfield thing. When it comes to cinema, this wasn’t the first time we were on the same page instantly. May be that’s why we bonded so well since we first bumped into each other at a blogging site called passionforcinema. Now it’s dead. Me, him and Kartik Krishnan – it’s been quite a love-hate equation between the three of us since last few years. Except participating in an orgy, i guess we have shared everything else.

And as i sit down to write this post and look back now, i know why i feel so bloody happy for him. Not sure when was the last time i was so happy for someone else. May be because i know how his sweat smells.

By bollywood rule book, Peddlers wasn’t a dream launch. There was no fancy announcement, no articles in newspapers, no big stars to talk about. No posters were designed and no title was thought about. He had assisted Anurag Kashyap for long and was back after  assisting Michael Winterbottom on Trishna. He was getting restless to make his movie but Kashyap wasn’t exactly sure about the script. One script out, another came in, that also went out and he wrote a third one. This went on for some time and then he decided to go ahead and prove it to himself. Whatever happens, he was going to direct. It was going to be a true “indie”. On behalf of Kashyap, Guneet Monga produced it by raising funds from everyone possible. Low budget, low on resources, cast friends and family members, everything on “jugaad“. Come what may, he had to make this film. To prove it to himself, to Kashyap, to us and to people around him.

I went to meet him the day before he was starting his shoot. He looked tired, almost dead. I hugged him, and prayed that he doesn’t fall sick during the shoot. He has a record of falling sick while ADing on films and we always used to joke about it. I had read the script and really liked it too. Was confident about his direction after seeing the two shorts he had directed. Not saying this because he is dear friend. Harsh truth has never been a barrier between our friendship. We have ripped apart each others work many a times in the past. As always, me and KK argued with Kashyap too. Why can’t he see what we are seeing? As always, he also argued, gave his reasons and it was a dead end.

The shooting got over and we saw the rough cut. I wasn’t expecting something like this. This was a new language – minimal approach to filmmaking, if i can call it so. Hadn’t seen something like this in any desi debut film. Everything was pitch perfect except his jeera rice indulgence. I thought if nothing happens, at least this is a great CV to have. Kashyap saw the film and he loved it. And to give credit where it’s due – he publicly announced on twitter that Vasan has proved him wrong. We were relieved. As the inside joke goes, Rahul aur Anjali me phir dosti ho gayee.

By that time we all were getting too excited about it – what can be done to this, where should he send it, the usual gyaan gurus that we all are. Kashyap assured everyone that he really loved it, he means it and he is hoping for the best for this one. He told us to wait, the best will happen soon.

And then, it did happen.

CANNES!

For so much blood, sweat and tears, what else does a filmmaker want?

And once you look at the names in the Critics’ Weeks archives, you realise what it means. Bernardo Bertolucci, Jean Eustache, Otar Iosseliani, Ken Loach, Wong Kar Wai, Jacques Audiard and Arnaud Desplechin to name a few. Or just look at some of the features selected last year – Las Acacias, The Slut, Snowtown, Take Shelter.

Add Vasan Bala and Peddlers to the list now. It can’t get bigger than this for a film where money and resources hardly mattered. Passion and sweat was all that counted – of his and people around him. Because without expecting anything, there are many (cast & crew) who made this film happen as their only motivation was “this is Vasan’s film, this has to be done”. Blame it on his friendship and good will.

And google cache is going to mark it. Because it’s history now.

Cheers, Vasan. ( It’s time to return the favour – don’t you forget to get me a Cannes T-shirt :-))

( PS – And as i have said always, here’s the best film school in this country ——-> @ankash1009)

(PS1 – For more info about Critics week selection, click here.)

(PS2 – Click here to read an interview of Vasan Bala on DearCinema and click here for an interview by Mihir Fadnavis.)

First Look : Ashim Ahluwalia’s Miss Lovely (3 Teasers)

Posted: April 23, 2012 by moifightclub in cinema, film, Film Festival, first look, Indie, News, songs & videos, Trailer, video
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Sorry to flood the blog with so many back to back posts on Ashim Ahluwalia’s Miss Lovely. But two reasons – Cannes doesn’t happen everyday. Nor do Indian films qualify there regularly. Also, the information is coming out bit by bit.

First came the news of its selection at Cannes in the Un Certain Regard section. Then, the official synopsis and stills (Click here). And now the teasers of the film.

First Look : Ashim Ahluwalia’s Miss Lovely (Stills + Official Synopsis)

Posted: April 22, 2012 by moifightclub in cinema, film, Film Festival, first look, Indie, News, pics, Story / Plot / Synopsis
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What we know – Ashim Ahluwalia’s debut feature Miss Lovely is going to Cannes in Un Certain Regard section this year. The film is set in Bombay’s B/C grade film industry and it stars Nawazuddin Siddiqui, Niharika Singh and Anil George.

What we don’t know – what does the film look like? No stills/clips/trailer available on the net so far. What’s it all about?

And so we have got it all. The official synopsis and some stills from the film.

OFFICIAL SYNOPSIS

Bombay, 1988. Vicky and Sonu are brothers and partners in crime. They produce “C” grade films in the lower depths of Bollywood – lurid horror films, erotic bandit pictures, sleazy social dramas. From a humid one-hour hotel, amidst spilled whisky and bouts of womanizing, Vicky churns out illicit titles like “Dolly Darling” and “Lady James Bond” for India’s small-town picture houses. He leaves the donkey-work to Sonu, his withdrawn, dim-witted younger sibling, who often cleans up after him.

Returning exhausted from a sales trip peddling erotic reels in the hinterland, Sonu encounters a mysterious girl on the train and is drawn to her fragile beauty. She’s only just arrived in Bombay and her vulnerability soothes his own sense of despair. Her name is Pinky and she appears to be a struggling actress.

Vicky dismisses the girl as a gullible piece of flesh but Sonu is desperate, bewitched by Pinky’s silent radiance. He knows that only she can save him; make his emptiness disappear.

As the seasons change, Sonu begins to resent his hard-edged brother. He no longer wants toslave for Vicky’s lawless operation and decides to make a film of his own, with Pinky in the lead. A double debut – producer and star. It’s a reckless, nihilistic venture with no story and no crew in place. But he has a title – the film will be called ‘Miss Lovely’ and Sonu will do whatever it takes to make it.

But nothing is what it seems in this garish underworld of shifting alliances, double dealing, and quivering flesh. Out on the streets three years later, Sonu realizes that his whole world has turned upside down.

A baroque tale of betrayal and doomed love, the animal instincts of the struggling actress prove to be the most cutthroat of all. As paranoia and violence spiral out of control, brother turns on brother, and blood spills like water. Sonu, now alone and abandoned, aimlessly wanders the streets, junkyards and film studios, aching for one last glimpse of Pinky.

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Click here to read an interview of Ashim on the making of Miss Lovely.

Ashim Ahluwalia’s Miss Lovely selected for Cannes 2012

Posted: April 19, 2012 by moifightclub in cinema, film, Film Festival, Indie, News
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Cannes film festival has just announced its list for films for competition, out of competition and Un Certain Regard category. And an Indian film has made the cut.

Ashim Ahluwalia’s debut feature film Miss Lovely has been selected in the Un certain regard section. The film stars Nawazuddin Siddiqui, Niharika Singh and Anil George. According to imdb, this feature is set in the lower depths of Bombay’s “C” grade film industry. It follows the devastating story of two brothers who produce sleazy horror films in the mid-1980s.

Click here to read an interview of Ashim on the making of Miss Lovely.

And click here for the complete list of the line-up announced so far.

An Open Letter to Shekhar ‘Bollywood’ Kapoor

Posted: May 11, 2011 by moifightclub in Bolly Jokes, bollywood, Film Festival, first look, News, Trailer
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As far as my limited cinema knowledge goes, I think there is a big difference between a trailer and a montage. And as the trailer of Bollywood – The Greatest Love Story Ever Told (Who thought about this title?) was out, it was a perfect #Facepalm (for lack of better expression) moment. It even forced Screeny to come out of his slumber and puke out this rambling post. Read on…

Respected Sir,

I’m a Big fan of Mr India, Masoom & Bandit Queen. Have been following your blog on and off. Untill today when I saw the trailer of the documentary which has been produced by you and co, and directed by the “acclaimed director” (have seen him at conferences and am sure he regards himself as one, for having gifted the people of this country THE seminal film – Rang De Basanti) Mr Rakyesh Omprakash Mehra.

Needless to say, I was thoroughly, thoroughly disappointed.

Why? Because the trailer (so is the film I’m sure) is- as usual- selling Bollywood exotica la-la land to the west. The incestous, celebratory, mutual admiration society which regards Aishwarya Rai and Katrina Kaif as ‘icons’ who will talk about Hindi Cinema to the “goras” and tell them in effect – “One billion people are enjoying this. See, this is so special. This is India! This is Indian Cinema! Come, Watch it. And fall in Love. NAMASTE. Achcha Lagta Hai.”

The first half is virtual showreel for the Bachchans, another attempt to sell Aishwarya to the west. The same song and dance routine which we are (in)famous for. The DDLJ clip, the rain, the matrix style shots, the same ghisa-pita bakwaas.

And of course, it contains generous footage from the magnum opus Rang De Basanti. After all Rakeysh (Is the spelling correct? Am a bit confused) Omprakash Mehra is the co-director & UTV is the producer. And the exact same clip when people land up at the India Gate with candles in their hands (the prophetic subtitle below is “This country will change. We will change it”). Yes sir, we will.

I wish you had produced a 2 hour documentary on Kerala or Goa Tourism instead.

Or helped produce any of the films from the “new wave” of Indian cinema, which I’m sure you must be more aware of than me.

At a time when Indian Cinema is taking baby steps towards maturity, and managing to gain a foothold in the international arena, slowly changing “their” perception of “our films” by coming up with IN COMPETITION FILMS like Udaan, Peepli Live, Dhobi Ghat, Harud, Gandu, Shor in the City, Gabhricha Paus, Aranya Kandam, Paruthiveeran, Subramanipuram, the new Wave Tamil & Marathi Cinema; this self congratulatory AV on Bollywood films actually is taking us two steps back, reinforcing the stereotypes. Forcing us to be still perceived as the audience which enjoys 3 hour long musicals embellished with the garangutan setpieces, laughable action sequences & antics, titillating item numbers and melodramatic rejoice.

I was hoping to find some echo in the comments section of this post but clearly, I’m the minority here.

http://shekharkapur.com/blog/2011/04/bollywood-the-greatest-love-story-ever-told-at-the-cannes-film-festival/

I shudder to think how I would react if I would ever meet a “gora” who sees this film and recognises by my skin tone, that I’m an Indian. Will he be overjoyed at what I’m embarassed at ? Will he be like the Japanese tourists from Munnabhai who only want to shoot “dirty, hungry, poor Indians” ? Will I be asked to dance at the Visa interview if (and when) I travel to Europe ?

My nightmarish thoughts aside, I request you to read a post written by you, Sir. Your blogpost on Black Friday and why it is the film which should have gone for Oscars submission instead of Paheli.

http://shekharkapur.com/blog/2005/10/oscar-hoo-haaa/

Yours disappointed,

Screeny

(PS1 –  Have you heard about a documentary film called Videokaaran? Watch it.)

(PS2 – Screeny forgot to mention that if the film turns out to be any good, he will be the first person to say it and will apologise for the post.)

(PS3 – Screeny’s previous posts can be read here, here and here. )

First Look : Vikramaditya Motwane’s Udaan (Trailer) & why is the text plagiarised!

Posted: June 4, 2010 by moifightclub in bollywood, cast & crew, cinema, film, first look, News, plagiarism, songs & videos
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The first trailer of Vikramaditya Motwane’s Udaan is out. And its pitch perfect. The trailer exactly tells what the movie is all about.

And now the problem! Why is the text in the trailer straight lift from one of our favourite trailers of last year – Where The Wild Things Are! If you dont believe us, just play the video. Inside all of us is HOPE. Inside all of us is Fear. Even the way it comes on screen, is the same. After Cannes, we had to see this ? Can any soul enlighten us ? Who cut this trailer ? Someone surely is Un-certain of few things! Beware!

For our review of Udaan, poster, pics, synopsis and all the jazz from Cannes, click on this post and follow the links given in the post.

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