Posts Tagged ‘Sonam Kapoor’

Raanjhanaa(Has SPOILERS)

Like most Bollywood films these days, Raanjhanaa is completely two different films packed in one – pre and post-interval. One is the “politics of love” and the other is “lovers in politics”, and there’s a big difference between the two. As the initial reactions and reviews started pouring in, the verdict seems to be unanimous – first half is fun, the curse of 2nd half strikes yet again. As i stepped into the theatre, i was ready for it. But as i came out of the theatre, i realised that i belong to that minority group which liked the second half more.

First half is easy, you know the tricks, you have seen it many times, love stories in small towns and galli mohalls is not new. It’s charming and easy to like. There’s no way one cannot not like it. Some might argue that it’s stalking and glorification of it, then let me say that you have never been part of any small town love story. It’s stark reality. That’s the way it happens. If you don’t know a friend who has cut his wrist or drank kerosene (sleeping tablets is for metroes), the film might seem a bit stranger to you. But what stood out for me was how ruthlessly selfish the lovers are. Sonam (Zoya) knows Dhanush (Kundan) loves her. And so she uses him in every possible way. It’s the same with Kundan, who knows that Swara (Bindiya) can do anything for him. And he uses her blatantly. It all seems fun and jovial on the surface but scratch it and you realise how cunning their acts are. It’s the politics of love. Their love might be pure but the tricks aren’t.

Some even might point out the physical equation between Kundan, Bindiya and Murari. How can you hit her? i would say this is what “camaraderie” between friends is all about, without being aware of one’s gender. And in the scene when Bindiya says kewal mere baap ke hi kapde phadega, and Kundan backs out, you know that she isn’t the shy kind. If she had protested, these guys would have backed out long back. It’s part of the game, of growing up together.

Now, the second half seems like a completely different film.  A death, and the childhood romance of Benaras moves to ambitious student politics of Delhi. Kundan doesn’t know why he is there. He is lost. He is not sure what to do with his life. He has tried every possible option. Is he still chasing Zoya? Yes. Kind of. Does he know why? No. Has he any more hopes from her? No. The simple chasing the girl routine turns into a heavy cocktail of ambitions and emotions. Let’s see how. So Zoya aspires to fulfill the ambitions of her dead lover (Abhay/Akram). But slowly it looks like all these dreams will come true only through Kundan whom she hates now, whom she holds responsible for Akram’s death. It’s a difficult choice to make. Can she accept Kundan now? And even if she does, the world will curse her for being selfish and opportunist who forgot her lover after his death. Between love, life and dreams, she is confused with no easy way out. And then comes an opportunity to turn it all over and conquer it all. She opts for it too but the guilt is too heavy to bear.

Kundan is caught in a similar situation. He is aimless, he is just tagging along and is getting lucky wherever he puts his foot, except in love. And when it all comes to the conclusion, he realises that even if he wins everything, he has lost the only thing he ever wanted from life – love. So what’s the point of living? Someone who can slash his wrist so easily, he has no fear of death. The monologue in the climax wraps it up beautifully. Lovers always claim to be ready to die in love. But only few dare to do it. And very few directors and writers dare to opt for such uncompromised end for a love story. Nothing else was possible. All credit to writer Himanshu Sharma and director Anand L Rai for going the whole hog. And this is exactly why i liked the second half more. It’s complicated,  and the makers went for the unusual choices. I think first half is easy to write, and easy to like. Second half is damn difficult to write from the point when Dhanush lands up in Delhi not knowing what to do. I could hear the writer’s voice there – what to do with this mujhe-bus-Zoya-chahiye character? He (character and writer) really doesn’t know what to do now.

Raanjhanaa2

Now, the running joke. In a scriptlab where Sriram Raghavan was our mentor, we used to joke that whenever you are stuck at any page, just put a gun in that page. Sriram will like it for sure. Here the formula is slightly different – stuck on the page, opt for the blade. Not once or twice, but three times. Woah!

Interestingly, the entire film is one long montage cut on back to back songs. You can exactly count the numbers of the scenes where the characters talk. But the flavour of the real locations and the terrific acting by Dhanush, Swara Bhaskar and Mohammed Zeeshan Ayyub makes it look perfectly smooth. Also, it might be a smart decision keeping Dhanush’s dialogue delivery in mind. They have justified his character, and his hindi diction is weird but it’s not jarring to ears. So a big credit must go to its music director A R Rahman. His music is the thread that holds this complicated tale of unrequited love together. Sonam seems to have improved a lot from her previous films but her dialogue delivery is still irritating. And Kumud Mishra is always quite pleasant to watch onscreen.

I never bothered to watch Rai’s earlier films. But going by Tanu Weds Manu (i like it and TERRIFIC album) and Raanjhanaa, i think Imtiaz Ali has some competition finally. Especially if it’s matters of hearts in small towns. And Dhanush, welcome to bollywood.

Watch it. And if uncomfortable, take off your “metro” shoes.

@CilemaSnob

This slideshow requires JavaScript.

The Ghantas (TheGhantas.com) celebrates and rewards the worst of Bollywood every year. The 2nd Annual Ghanta Awards rewarded the worst Bollywood films of 2011. And the only nominee who dared to be present was Sonam Kapoor. All RESPECT.

The nominees were decided by a panel of experts and voting for the winners was done through a public, online vote that was held between Feb –  March 16th, 2012. The awards were presented by @AmusedDouche, @awryaditi, @gkhamba, @varungrover and @iarevaboon.

Winners in BOLD.

Worst Film

1.    Ra.One

2.    Bodyguard

3.    Ready

4.    Mausam

5.    Don 2

Worst Holier-Than-Thou Movie

1.    Dhobi Ghat

2.    No One Killed Jessica

3.    That Girl in Yellow Boots

4.    Memories in March

5.    Shaitan

Worst Actor

1.    Salman Khan – Bodyguard, Ready

2.    Shah Rukh Khan – Ra.One, Don 2

3.    Ajay Devgn – Rascals, Singham, Dil Toh Baccha Hai Ji

4.    Sanjay Dutt – Ra.One, Rascals, Chatur Singh 2 Star, Double Dhamaal, Desi Boyz

5.    Vinay Pathak – Utt Patang, Tere Mere Phere, Chalo Dilli, Bheja Fry 2

Worst Actress

1.    Kangna Ranaut – Game, Miley Na Miley Hum, Double Dhamaal, Tanu Weds Manu, Ready, Rascals

2.    Nargis Fakhri – Rockstar

3.    Jacqueline Fernandez – Murder 2

4.    Gul Panag – Turning 30

5.    Bipasha Basu – Dum Maaro Dum

Worst Supporting Actor

1.    Tusshar Kapoor – The Dirty Picture, Hum Tum Shabana, Shor in the City

2.    Prateik Babbar – Dhobi Ghat, Aarakshan, Dum Maaro Dum, My Friend Pinto

3.    Anupam Kher – Every other film

4.    Om Puri – Don 2, Khap, Teen Thay Bhai, Bin Bulaye Baarati

5.    Shreyas Talpade – Hum Tum Shabana, Teen Thay Bhai

Worst Supporting Actress

1.    Hazel Keech in Bodyguard

2.    Giselli Monteiro in Always Kabhi Kabhie

3.    Mallika Sherawat in Double Dhamaal

4.    Charmy Kaur in Bbuddah Hoga Tera Baap

5.    Raveena Tandon in Bbuddah Hoga Tera Baap

Worst Breakthrough

1.    Chirag Paswan

2.    Rana Daggubati

3.    Zoa Morani

4.    Sarah Jane-Dias

5.    Nargis Fakhri

Worst Director

1.    Anubhav Sinha – Ra.One

2.    Anees Bazmee – Thank You, Ready

3.    Pankaj Kapur – Mausam

4.    David Dhawan – Rascals

5.    Rohit Dhawan – Desi Boyz

Worst Rip-Off

1.    Don 2 – every Hollywood action film

2.    Murder 2 – The Chaser

3.    Desi Boyz – Full Monty + all Adam Sandler films

4.    FALTU – Accepted

5.    Ragini MMS – Paranormal Activity

Worst Couple

1.    Kangna Ranaut and Ajay Devgn in Rascals

2.    Kangna Ranaut and Sanjay Dutt in Rascals

3.    Kangna Ranaut and Chirag Paswan in Miley Naa Miley Hum

4.    Ranbir Kapoor and Nargis Fakhri in Rockstar

5.    Shahid Kapur and Sonam Kapoor in Mausam

Worst Song

1.    Dhinka Chika

2.    Jalebi Bai

3.    Bodyguard title track

4.    Dum Maaro Dum

5.    Chammak Challo

WTF Was That

1.    Akshay Kumar going to Oxford University in Desi Boyz

2.    Ghost Rape in Haunted 3D

3.    The unexplained science behind the science fiction part of Ra.One

4.    Colourful holi song in the middle of a movie about Hitler & the holocaust in ‘Gandhi to Hitler’

5.    How Sonam Kapoor & Shahid Kapoor don’t manage to exchange a measly phone number over 10 years in Mausam

Thats Anything But Sexy

1.    3 girls conned by Ranveer Singh’s looks and acting abilities

2.    Ram Gopal Verma’s camera angles in Not A Love Story

3.    Anything involving Kangana Ranaut in Rascals

4.    Akshay Kumar as London’s most in-demand male escort in Desi Boyz

5.    Any time Shahrukh Khan says “Junglee Billi” in Don 2

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.

We don’t like Olive branches. Fest films don’t make money in India. We are still not sure about how to say it – is it Cann, Kans or Cannes? French people are rude. There are enough excuses for not making it to the official Cannes list. Or as Balki put it here, “There are no Cannes films in India! Ask why? The day one of those films will be enjoyed by us, our films will be enjoyed by them.” I wish Balki had seen the ruckus during the screening of Biutiful at MAMI last year. And  the organisers were forced to have  two more shows of the film. “Our” number might be less but that’s no reason to be so dumb and dismissive about it. Not that we ever had any doubts about Balki’s take on cinema (Kill a kid, let the lovers unite – Cheeni Kum/Paa), but this reason puts him in a different league all together.

What’s on the Cannes menu this year?

Well, Aishwarya Rai, Sonam Kapoor and Freida Pinto will walk the red carpet, not for any film but for L’Oreal Paris. This is the perfect combo – an almost has been actor who never earned any points for her acting skills, a daddy’s girl who was last seen in Anees Bazmee’s atrocious Thank You, and the third one whose middle name should be ladyluck. Apart from the brand that they are endorsing, there is only one common factor that all three share – lack of any acting talent. Imagine someone talking to Sonam Kapoor at the fest – So, what was your last release? That’s True Grit.

Blame it on the Fest too? They are all about stars, about sponsors, about big money, but they are also about cinema. About finding that independent and unique voice and putting it on the world cinema map. Even with all the goss and the glamour, you can’t deny that credit.

What else?

Mallika Sherawat has also been thereatening to make her presence felt like she did last year and the year before that. Peek a boo-b with some Hisss and you will always get some pics clicked. BTW, have you noticed her twitter handle – it’s MallikaLA. Conspiracy theorists believe that she is trying hard to belong “there” and detach from here. She even got a pic clicked with Barack Obama (Ssshhh..she has new film coming up called Politics Of Love. But it might go direct to dvd. Oops) Or is that just good ol’ photoshop? So MallikaLA, how about changing the handle to MallikaCannes?

Films in competition?

Someone please help me here. When was the last time a desi film made it to the competition section of Cannes? Ok, let’s make the base wider. Competition section of any of the top six (Cannes, Berlin, Venice, Sundance, Toronto, Locarno) film fests?

Vikramaditya Motwane’s Udaan was in Cannes Un Certain regard section last year. Bit of googling and you will know that all those countries which are so small that they are difficult to locate on a world map and with names which are difficult to pronounce, even they are  making that Cannes cut.  Why and how? Blame it all on our bollywood musical and melodrama? Or go back to Balki’s bolly-gyaan.

Bollywood – The Greatest Love Story Ever Told?

And this isn’t helping much. If we can’t qualify, let’s make a film for them. According to official release….

Bollywood – The Greatest Love Story Ever Told, is the title of a feature film produced by Shekhar Kapoor exclusively for the Festival de Cannes. It will be screened out of competition during the 64th Festival that runs from the 11th to the 22nd of May.

 It all began with a conversation with ShekharKapoor, a member of the Cannes Jury in 2010. Why not make a film that brings together the most beautiful moments in the history of Indian musical films, with all their moving pageantry and dance? A few months later, there was Bollywood, The Greatest Love Story Ever Told. It is a swirling and poignant montage in which Shekhar Kapoor, Rakeysh Omprakash Mehra
 and
 Jeff Zimbalist pay tribute to this cinema genre that has contributed to establishing India’s identity in the eyes of the world and to making Mumbaione of the world capitals of film history.

 “We love it. We hate it. We see it as regressive. We see it as modern. We need to breathe it to feel alive. Some say it is the only culture that holds India together. Some say it gives identity and individuality to 25 million Indians that have left her shores and who’s third generations that are still addicted to it. That’s Bollywood!”

Direction Rakeysh Omprakash Mehra
 et 
Jeff Zimbalist. Production : Shekhar Kapoor &
UTV Motion Pictures with Ronnie Screwvala and Trishya Screwvala. India, 2011, 81mn)

That’s Bollywood! Well, that’s the baggage too. At a time when filmmakers are trying to find their voice, trying new ideas, this montage/documentary/film will reinforce every cliche attached to the cinema of Bollylalaland.

Shekhar Kapoor has written a post about it on his blog – How it started, why and where. And i still can’t sense anything substantial in it except for some razzmatazz on the beats of dola re dola. The intention must be honest, but how about championing a film next time at the Cannes?

( PS – Dear Shekhar, have you seen Aaranya Kaandam?)

The weather was cloudy, again. And this time, it rained. We again headed to Juhu for some chaana zor garam. And again, it was Ripley’s Believe It Or Not. This time it was the script of Pankaj Kapur’s directorial debut Mausam. It stars Shahid Kapoor and Sonam Kapoor.

And those of you who are still wondering about the “again” factor, click here to read how we got lucky one day and put an open bet on Imran Khan’s famous dud – Luck. And if you  are curious to know the weather report this time, read on…

Looks like Pankaj Kapur’s aim is to tell an epic love story, which crosses the barriers of age, time, space, religion, countries and events. But the problem is, there is nothing epic about it. Its all about Harry and Aayat’s meeting, separation, meeting, separation, meeting, separation and finally, well, we all know how hindi films end.

And this meeting & separation of lovers happens all of a sudden, every time, once, twice, thrice and so on. The script is divided into four seasons, each like one chapter that tells us how the lovers meet to separate again. It starts with political undertones, and then, few more big national and international news incidents are added in every chapter to separate the lovers. The story starts in 1992 and ends in 2002. The impact of one big international incident is hilarious, its just in one scene. And there is NO need for it.

In the first season, the set up is quite elaborate, all about a marriage that has got nothing to do with the main story.  The story moves in sluggish pace and will test your patience. The second season is the one where the love story happens. And its all in Scotland. Why ? No clue. It could have been any other place, even in India. The lovers don’t get to meet because there is a communication gap. And may be, the distance helps in making the gap wider.  Season three keeps the lovers away from each other for some reason or another and then the finale in season four. One more big national incident and suddenly all is well. So, the drama is all about the communication gap and  after a point, we felt like we should just call up both Harry and Aayat and tell both of them about their whereabouts. No need to struggle to find each other. That was 70’s, sir!

If we can’t finish about 120pages at one go, it means there is something wrong with us or with the script. First 30 pages and we were snoring and how! And there are three songs in the first 30 pages. Jejus! Holy fuck! Its PANKAJ KAPUR – one of the best actors we have. Lets go back.

We tried again and finally managed to finish it. And re-read it. Its not bad, its just boring. May be, Pankaj Kapur should continue with acting or may be, he will prove us wrong and show us the big middle finger. But with Shahid Kapoor and Sonam Kapoor in the lead, it needs the talent of Wong Kar-Wai to make something interesting out of this script. And yes, lot of scenes have to go. Lots! Just go. They don’t make any sense and go nowhere though the story moves from Kashmir to Mallukot to Scotland to London to Udhampur to Ahmedabad.

And here is what we liked – The writer-director seems to be very clear about the ambience sound he wants and the way he wants. Almost every scene has decription of the same. Some of the romantic scenes in season two are interesting. There are options written for some of the scenes – either this way or that. And here is one scene from the script….

I/E.  TRAIN/TRAM.  SCOTLAND  – DAY

Harry and Aayat are seen standing in a train or tram, it is crowded.

AAYAT

Bua ab hamare saath rehti hain.

HARRY

Oh! I see. Kaise hain ?

AAYAT

Theek hai….aur tum ?

HARRY

Main bhi theek hun

AAYAT

( smiles a little or small laugh)

Nahi. I mean tum kahan rahe itne saal ?

HARRY

Kaha raha hun….(looks at her) Mallukot station se tumhari gadi ko jate dekha – ussi waqt air force mein selection ka khat mil gaya. bas phir training, uske baad commission, ab jahan jahan posting hoti hai vahin rehta hun.I mean in a way Mallukot choot sa gaya hai.

AAYAT

Mallukot what a lovely place na ?

HARRY

Yaad hai tumhe ?

AAYAT

Yes, of course.

There is a silent pause. They look at each other.

Show us the finger, sir! Show us. We are waiting and how!

The film is produced by Madhu Mantena, Reliance Religare (Sheetal Talwar) and Eros Entertainment. Madhu and Sheetal’s last masterpiece was Rann. And Eros have been delivering one dud after another. Their latest is Anjaana Anjaani. Click here and here to read what the makers have to say about this film.

Sirs, hope you do read scripts before you decide to produce a film. Hope you do know how to read a script. And hope you will be able to deliver. Good luck. And if you decided to produce the film because it has Shahid Kapoor and Sonam Kapoor, well, its never too late to start praying. Jejus!

After much countdown, the first theatrical trailer of Aisha is out. Its directed by Rajshree Ojha, produced by Anil Kapoor and PVR Pictures. Music Director is Amit Trivedi and stars Sonam Kapoor, Abhay Deol, Ira Dubey, Arunoday Singh, Cyrus Shahukar, Lisa Haydon and Amrita Puri. Written by Devika Bhagat, its based on Jane Austen’s novel Emma. Have a look and don’t forget to leave your comments.

And here is the official synopsis of the film…

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!

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.