Take an interesting concept. Make it within a stipulated budget, not exceeding Rs 2 cr/Rs 3 cr. Spend a good amount on its marketing. Create ample awareness. Chances are you might find the pot of gold at the end of the rainbow. Ekta Kapoor has been doing this successfully. Recall LOVE SEX AUR DHOKHA. Now RAGINI MMS, which has been made at a shoestring budget of Rs 1 cr [or slightly more] in two versions - Hindi and Telugu.
Friday, May 20, 2011
Ragini MMS
Take an interesting concept. Make it within a stipulated budget, not exceeding Rs 2 cr/Rs 3 cr. Spend a good amount on its marketing. Create ample awareness. Chances are you might find the pot of gold at the end of the rainbow. Ekta Kapoor has been doing this successfully. Recall LOVE SEX AUR DHOKHA. Now RAGINI MMS, which has been made at a shoestring budget of Rs 1 cr [or slightly more] in two versions - Hindi and Telugu.
Dia Mirza and zayed khan on The Cover of Exhibit Magazine
Bollywood babe Dia Mirza On The Cover of Exhibit Magazine with Zayed Khan. Both of them havent been in any movies lately so they have lots of free time for magazine photoshoots.
Sexy photo of Trisha Krishnan in a Sexy pose
Trisha Krishnan in a Sexy Shirt Exposing sexy Cleavage. Very hot pic of Trisha Krishnan.
Deol, Priyanka Chopra to dazzle at IIFA Toronto
“Dad is celebrating his 50 years in the industry. It’s a great moment for all of us. So we are going to be all together and looking forward to it,” actor Bobby Deol told reporters at a press conference here Thursday night.
Dharmendra, Sunny and Bobby, who were recently seen together in comedy film “Yamla Pagla Deewana” will perform to peppy songs from the movie, as well as on some of Dharmendra’s classic numbers.
“We will of course perform on ‘Yamla Pagla Deewana’ songs. We would also choose some songs from dad’s films on which we can perform,” said Bobby.
Even at 75, the evergreen Dharmendra is quite excited to take to the stage to celebrate five decades of his contribution to the film industry.
“I am loving it. Wherever we go we are going to enjoy because we all love you and you all love us. That’s the beauty,” said Dharmendra.
The three-day IIFA weekend is to be held June 23-25.
According to Bobby, IIFA is different from other awards because it takes Bollywood beyond Indian shores and popularises its song and dance culture in different countries every year.
“IIFA is different because it reaches to different parts of the world. India becomes the talk of the town in those countries. They get to know more about Indian culture and it’s a great way of spreading across to the world, what Indians are all about,” he said.
Actress Priyanka Chopra said she has not yet decided the numbers she would be performing to at the IIFA event, but she hopes to do something unique.
“This is too early to decide what to perform in IIFA as it still has a month to go. I have performed in almost every award functions this year so would like to do something different in IIFA,” said Priyanka.
Deepika Padukone in a very Short Dress
Bollywood’s hot actress Deepika Padukone in a very Short Dress exposing her Sexy Thighs.
Friday, April 22, 2011
Katrina Kaif, Ranbir Kapoor's films releasing same date?
Yes, you peruse it right. It wasn’t arranged but the producers couldn’t settle on some different day. According to barter reports, Rockstar was previous planned for a July release but subsequent to Imtiaz Ali and music director A R Rahman are still taking a shot at the movie's music, they chosen to defer the film by a month and to release it as well as Salman Khan's Bodyguard which happens to hit the theatres by August close.
In any case as the industry knows, not a soul on earth upsets Salman, specifically when his films are releasing around then of Eid. Now, the Rockstar producers had a single decision: to advance postpone the movie. Given the way that Salman's final several Eid releases Wanted and Dabangg were a fury at the crate office, its not canny to go against Salman's Bodyguard which is at present riding elevated on the buzz.
Also, producer Aditya Chopra additionally had arrangements to discharge MBKD in right on time September as there are not a significant number of films discharging around that time. Unimportant Brother Ki Dulhan is a romantic drama with a natural star throws, and with this film Katrina is likewise attempting to acquire some adaptations in her look and acting. Her element has contrasting shades and she plays a renegade. Katrina is frantic to have a hit film now as her final movie Tees Maar Khan was a BO turkey; truth be told, she had just several discharges final year.
Yet as release dates of films are consistently subject to update, anything can happen.
Raima Sen date with Austrailian cricketer Brett Lee?
Lee, who is right now in India to play for Shahrukh Khan's IPL crew Kolkata Knight Riders, clearly has a fan in the sloe-eyed shocker Raima Sen. She newly went on a date with Lee.
A day soon after the date, Raima herself composed on her Twitter page: “And food with BRET LEE tomorrow....keep u presented”.
Notwithstanding, the food date transformed into an espresso date, for she composed following gathering Lee: “Had java with brett lee....it was fab.”
Raima moreover presented a visualization of hers with Lee and picture taker.
Friday, April 15, 2011
Life Goes On – Movie Review
Cast: Sharmila Tagore, Girish Karnad, Om Puri, Soha Ali Khan, Mukulika Banerjee, Neerja Naik and Rez Kempton
Written and Directed by: Sangeeta Dutta
Rating:
One of the many pleasures of watching this supple evocative family saga is to see the timeless Sharmila Tagore share screen space with her real-life daughter Soha, who by the way, has never looked lovelier.
That inner-glow comes from the company she keeps in this gentle drama suffused in melodious whispers and mellifluent suggestions of tunes long-forgotten and yet stored in the most inviolable chambers of the heart.
Luckily for us, and the film, the Sharmila-Soha togetherness is not harped upon. There are far bigger issues and virtues to do with family ties and cultural disaffection secreted in the storytelling, propelling our hearts to soar in ways that modern cinema doesn’t allow.
When did Indian cinema cease to be about emotions? You wonder as you watch the silken cascade of debutante director Sangeeta Dutta’s family secrets and emotions gush out in a Bengali family in London, when one fine morning the mother simply drops dead on the kitchen floor.
The mother-figure, a constant and non-negotiable pivot of every family, here seems to be much more in demand than usual. All her three daughters seem to be stricken with heart problems that no cardiologist can tackle. Blessedly, the mother of the family, Manju, is played by the gloriously imposing Sharmila Tagore.
“Life Goes On” captures the suddenness of bereavement in snatches of sounds, visuals and dialogues. There’s far more austerity in the expression of the anguish and despair after the sudden bereavement than in Mira Nair’s masterly study of coming to terms with death in “The Namesake”. At times, you long for more time between the members of the grieving family.
There are no big breakdown sequences after the mother’s death. Everyone gets busy trying to pick up the threads of life. Everyone is a bit selfish – that’s the family secret that the film doesn’t get judgemental about.
A lot of vignettes connecting the mother’s memories to the present times appear predictable, even pedestrian. The director, fearless in her maiden endeavour, doesn’t shy away from making her film look familiar.
From death to reconciliation, “Life Goes On” moves at a gentle pace.
The echoes and resonances of a life that lingers after death is created through a blend of sounds and visuals capturing the feeble but flamboyant light of London at dawn and dusk. The parks, bridges, two-storeyed residential areas and their incriminating quietude are ably captured in the film, as are the pain and postures of grief and mourning.
The Rabindra Sangeet in the original Bengali and a rather quaint Hindi translation suffuse a warm and endearing quality to the proceedings. The cross-cultural references resonate across the film’s somber skyline with unobtrusive emphasis.
The film creates a fine balance between real-life elegies and their cinematic rendition. A lot of Sangeeta Dutta’s mise en scene project a first-time director’s effusive affinity to creating a defiant poetry out of the prosaic rhythms of life.
Life for the Indian Bengali family in Britain never seemed more complex.
At times you feel the director has ‘Britain’ more than she can chew. The sub-plot, on Islam-phobia brought in through Soha’s boyfriend Imtiaz (Rez Kempton) and the rock band that he and his friends put together despite Mullahs’ objections, seems to go off into tangent away from the Bengali’s family’s bereavement.
But at the end, when we see the band playing a punk version of Hemant Kumar’s “Ganga Aaye Kahan Se” laced with a French rap section, you smile for the cultural shifts and translocations that the plot endeavours to establish without falling off the map of the human heart.
The performances by veterans Girish Karnad, Om Puri and Sharmila Tagore are uniformly skilled and supple. Among the younger members, Soha Ali Khan as the youngest Cordelia-like daughter to Karnad’s King Lear emerges strong and yet vulnerable. But it is the unknown young actress Neerja Naik who plays Soha’s lesbian sister, who proves a complete natural.
The subtle, delicate and utterly disarming play of light and shade, of mellow memories and the hard present-reality, of the various cultural cross-generation clashes – all these could have made any film heavy.
Not “Life Goes On”, it is a gloriously polished and a poised look at the chaos that rules the bereaved heart in our troubled times. This film is a triumph on many levels and layers. And you don’t have to be a Sharmila Tagore fan to realise how resonant her presence can be even when she is lost to the plot.
Rio Movie Review
Director : Carlos Saldanha
Starring : Dubbed by Shaan, Sunidhi Chauhan, Ranvir Shorey and Vinay Pathak
In the screening of RIO that I attended, the English version was erroneously played for about 15 minutes. It was pretty enjoyable to be very frank, and I was apprehensive whether the Hindi version would match up to it. To my surprise, it did!
A pretty young blue macaw Blu (Shaan) is enjoying his life in a jungle before being ensnared and illegally taken to a small town. He's rescued by a young girl Linda. The two become the best of friends and even brush their teeth together. One fine day, a Brazilian ornithologist visits Linda and informs her that Blu is the last remaining male of their species. He requests Linda to allow Blu to be taken to Brazil, where a female Jewel (Sunidhi Chauhan) is waiting. Linda along with Blu arrives in Brazil. Shortly after Blu meets the spunky Jewel, they are captured and about to be smuggled.
Director Carlos Saldanha (ICE AGE) creates a wonderful tale, high on emotions. The relationship between Linda and Rio and also the brewing love between Rio and Jewel are endearing. Although the film lacks in the humour department, its script is strong enough to hold your attention. The animation is good but you wish there were more scenes in which you feel things come out from the screen to your auditorium, when you have your 3D glasses on. Renato Falcao's cinematography is superb.
The moment Rio starts flying, there's a smile on your face cheering him. The carnival climax in Rio de Janeiro is riveting. The Indianised songs are simply hilarious
Starring : Dubbed by Shaan, Sunidhi Chauhan, Ranvir Shorey and Vinay Pathak
A pretty young blue macaw Blu (Shaan) is enjoying his life in a jungle before being ensnared and illegally taken to a small town. He's rescued by a young girl Linda. The two become the best of friends and even brush their teeth together. One fine day, a Brazilian ornithologist visits Linda and informs her that Blu is the last remaining male of their species. He requests Linda to allow Blu to be taken to Brazil, where a female Jewel (Sunidhi Chauhan) is waiting. Linda along with Blu arrives in Brazil. Shortly after Blu meets the spunky Jewel, they are captured and about to be smuggled.
Director Carlos Saldanha (ICE AGE) creates a wonderful tale, high on emotions. The relationship between Linda and Rio and also the brewing love between Rio and Jewel are endearing. Although the film lacks in the humour department, its script is strong enough to hold your attention. The animation is good but you wish there were more scenes in which you feel things come out from the screen to your auditorium, when you have your 3D glasses on. Renato Falcao's cinematography is superb.
The moment Rio starts flying, there's a smile on your face cheering him. The carnival climax in Rio de Janeiro is riveting. The Indianised songs are simply hilarious
Teen Thay Bhai Movie Review
Director : Mrigdeep Singh Lamba
Music : Ranjit Barot and Sukhwinder Singh
Lyrics : Gulzar
Starring : Om Puri, Shreyas Talpade, Deepak Dobriyal and Ragini Khanna
When one thinks of films involving brothers, Manmohan Desai's AMAR AKBAR ANTHONY starring Vinod Khanna, Amitabh Bachchan and Rishi Kapoor instantly comes to mind. Now we have another film of three brothers, Rakeysh Omprakash Mehra's TEEN THAY BHAI. However, it has nothing to do with AMAR AKBAR ANTHONY apart from being a story of three brothers.
Chixie (Om Puri), Happy (Deepak Dobriyal) and Fancy Singh (Shreyas Talpade) are brothers who simply can't stand each other. They battle the adverse weather conditions to reach a dilapidated bungalow in Himachal Pradesh. Why? Because according to a clause in their deceased grandfather's (Yograj Singh) will, they have to be at the bungalow once every year, for three years, to inherit his wealth. Will they keep their personal differences aside to get the moolah, is what follows.
Some films are bad, some are boring and some are both - bad and boring. TEEN THAY BHAI falls in the third category. Nothing goes in favour of the film, which is poorly scripted and badly edited. The first half is a complete drag, in which the story hardly moves. You just have some moronic, supposed to be funny fights between the brothers. The introduction of a new character just before the intermission, gives some hope of the narrative getting better. But it doesn't. Some random songs and more fight scenes follow. The Priyadarshan type climax having several characters is anything but funny.
Some of the worst scenes include the deplorable elongated scene in which Fancy mourns the death of his dog or when a police officer is torturing the brothers using mosquito rackets.
Music : Ranjit Barot and Sukhwinder Singh
Lyrics : Gulzar
Starring : Om Puri, Shreyas Talpade, Deepak Dobriyal and Ragini Khanna
Chixie (Om Puri), Happy (Deepak Dobriyal) and Fancy Singh (Shreyas Talpade) are brothers who simply can't stand each other. They battle the adverse weather conditions to reach a dilapidated bungalow in Himachal Pradesh. Why? Because according to a clause in their deceased grandfather's (Yograj Singh) will, they have to be at the bungalow once every year, for three years, to inherit his wealth. Will they keep their personal differences aside to get the moolah, is what follows.
Some films are bad, some are boring and some are both - bad and boring. TEEN THAY BHAI falls in the third category. Nothing goes in favour of the film, which is poorly scripted and badly edited. The first half is a complete drag, in which the story hardly moves. You just have some moronic, supposed to be funny fights between the brothers. The introduction of a new character just before the intermission, gives some hope of the narrative getting better. But it doesn't. Some random songs and more fight scenes follow. The Priyadarshan type climax having several characters is anything but funny.
Some of the worst scenes include the deplorable elongated scene in which Fancy mourns the death of his dog or when a police officer is torturing the brothers using mosquito rackets.
Thursday, April 14, 2011
'Yeh Faasley' Review
'Yeh Faasley' Review: What could have been an intriguing tale of a daughter inquiring into the mysterious death of her long dead mother turns out to be unqualified hodgepodge of forced sentimentality and lacklustre suspense because the writer-director embarks upon what has become the mantra of a lot of teams playing the present cricket world cup: self destruction.
Father-daughter stories are few and far between in Hindi film industry and Yeh Faasley did have the potential to be a fine thriller with emotional complexities between a daughter and a father who’s not what he appears to be.
Arunima (Tena Desae) returns to her father Dev’s (Anupam Kher) home after completing her studies. Her mother died when Arunima was a kid and therefore she hardly has any memories of her and totally relies on the account of her mom given by her father.
But then, slowly and slowly, skeletons begin to tumble out of the closet as Arunima chances upon a will written by her mother and also meets an old friend (Pawan Malhotra) of her mom, leading her to believe that her father could have a hand in her mom’s death.
A nice premise certainly, but how one wishes that director Yogesh Mittal hadn’t botched it up. The film begins promisingly, but then stretches on painfully as it slips into flashbacks. Even the courtroom scenes fail to enliven the proceedings.
Anupam Kher pitches in a sincere performance but is let down by a poorly written character. Tena Desae shows a few flashes of good acting but hams it up when she has to look hysterical. Pawan Malhotra and Seema Biswas hardly have a role to write about.
Final word: keep distance from Yeh Faasley.
Father-daughter stories are few and far between in Hindi film industry and Yeh Faasley did have the potential to be a fine thriller with emotional complexities between a daughter and a father who’s not what he appears to be.
Arunima (Tena Desae) returns to her father Dev’s (Anupam Kher) home after completing her studies. Her mother died when Arunima was a kid and therefore she hardly has any memories of her and totally relies on the account of her mom given by her father.
But then, slowly and slowly, skeletons begin to tumble out of the closet as Arunima chances upon a will written by her mother and also meets an old friend (Pawan Malhotra) of her mom, leading her to believe that her father could have a hand in her mom’s death.
A nice premise certainly, but how one wishes that director Yogesh Mittal hadn’t botched it up. The film begins promisingly, but then stretches on painfully as it slips into flashbacks. Even the courtroom scenes fail to enliven the proceedings.
Anupam Kher pitches in a sincere performance but is let down by a poorly written character. Tena Desae shows a few flashes of good acting but hams it up when she has to look hysterical. Pawan Malhotra and Seema Biswas hardly have a role to write about.
Final word: keep distance from Yeh Faasley.
Salman Khan for Kangana Ranaut, Is it true?
Fighting connection-up stories with Salman Khan and Gerard Butler also, Kangana decided on to get the truth out there. While conversing with a tabloid she uncovers her comparison with Salman, whom she regards an excellent associate. Kangana expresss that with time she has apprehended that he is the just individual in the industry ‘who truly cherishes' her.
Notwithstanding whenever she will be in require, Salman can be there to be sure, this is what Kangana thinks who is barely pally with anybody else in the industry. Salman and Kangana's interface-up rumours worked toward getting sparked when the actor's visit to her birthday gathering, that too around 4 am in the morning.
What about Gerard Butler dropping by on the sets of her film in the US? Kangana tells the tabloid, he stopped by to state ‘Hi’.
This is all from Kangana.
‘Mausam’ first look: Shahid Kapoor & Sonam Kapoor get together
‘Mausam’ first look: Shahid Kapoor & Sonam Kapoor get together:
Movie Poster - Tusshar Kapoor, Amrita Rao's 'Love U... Mr. Kalakaar!'
Movie Poster - Tusshar Kapoor, Amrita Rao's 'Love U... Mr. Kalakaar!':
Sonakshi Sinha attempting to get the truth out with Katrina Kaif
There have been reports about Sonakshi not unequivocally reinstating Katrina in pictures, but additionally as the represetative of certain marks that Katrina utilized to support. For fear that Katrina gets a negative impression from all the proposed reports, Sonakshi newly sent her a note attempting to illustrate her perspective.
“I messaged her on Wednesday to sort things out. I desired to make it clear from my side that I had nothing to do with the stuff being composed about us,” Sonakshi is cited as maxim in a conversation.
Notwithstanding, Sonakshi did not get any answer from Katrina. Might be Katrina didn’t have the chance to check the notes. Would be Katrina is veritably miffed with Sonakshi.
Notwithstanding, Sonakshi expresss she will sit tight for an answer.
Sonakshi Sinha cutting to an exotic number in ‘Joker’, Hot and Sexy Sonakshi Sinha, Sonakshi Sinha Without Clothes
The track is not an article song but does get a uncommon medicine from the creators. The song titled Dance Karle English Mein, Nach Le Hindi Mein has verses in ten dialects, and the whole unit had a ball shooting for it, uncovers Shirish Kunder.
It was a since a long time ago loved yearning of Sonakshi to move on extra large screen; she is energized and is cited as platitude, "I’m beyond any doubt set up to move in Joker. I wouldn't call it an article song on the grounds that I'm the film's courageous person and part songs are performed by visitor creators. Yet, I know it will be well shot and rich and tasteful on account of its can't help being choreographed by Farah Khan.”
The song is situated in a village and was shot in Chandigarh. Sonakshi is perceived wearing desi attire for most part of the film. For this song she has wore a lower leg length red and gold lehenga, on top of sexy risqué choli and a dupatta. Notwithstanding yes, she is demonstrating some unsafe moves as well.
Hema Malini to start younger girl Ahana Deol!, hot and sexy Ahana Deol
Previous, it was caught that Ahana could be doing a film to be administered by the Udaan popularity Vikramidtya Motwane. Now, reports have it that Ahana is regarding playing Juliet in the free thinker director Aparna Sen's film, to be processed by Hema Malini and Esha Deol.
However Esha's relaunch vehicle Tell Ne Oh Khuda is into the setting aside a few minutes, the eldest girl of Dharmendra and Hema is actually gung-ho about turning producer for her sweet sis Ahana. It's learnt that in the midst of the filming of TMOK, Esha moved toward getting interested in the craft of movie making, and similar to an eager learner attempted to handle the generation information.
With respect to now, Aparna Sen is bustling in scripting the film and didn’t express a statement about it, reports an every day.
Ahana, furthermore partaking with mother Hema Malini in assorted Odissi move programmes opposite the nation, additionally possesses a creator mark. She has pondered publicizing and at first would have liked to attempt her active course. She has even composed a film script.
Kashmira Shah says, Throwing sofa does exist, hot and sexy Kashmira Shah, Kashmira Shah Wallpapers
Kashmira Shah has emphasized precisely what Ranveer Singh, the attractive chap from Band Baaja Baaraat, newly stated: that throwing lounge chair does exist in Bollywood but its near the little-plan filmmakers.
“Giving sofa exists a part as far as humbler films are concerned...B and C review sorts. I feel pitiful for Payal for the reason that she is a talented youngster who would be able to do much preferable. Unfortunately with her uncovering this thing, she has not got the sponsorship that she might as well have got from ladies,” Kashmira is cited as adage by a news firm.
Payal just blamed filmmaker Dibakar Banerjee for composing a profane recommendation while she auditioned for his following film. Payal likewise affirmed that Dibakar discovers it tricky to be monogamous and sees a specialist to stay unwavering to his wife. In reaction, Banerjee has tagged Payal as ‘unstable’. He declares that Payal is censuring him for the reason that she was not picked for the part.
Kashmira Shah, who now appears to be speaking in Payal's defence, states she doesn’t see any explanation why Payal could untruth unequivocally for exposure.
“I didn't meet or had a saying with Payal. Be that as it may Payal doesn't appear the sort of an individual who could untruth about something like this. In any case unfortunately our industry has perceived this drift where Mamta Kulkarni concocted something similar to this and she got out. No one needed to go with her again,” Kashmira stated.
What Kashmira's suggesting is that any actress who challenges to let out the sordid truth is regularly ostracised by the people in B-town.
Minissha Lamba wears colourful two-piece for MW Mag, hot and sexy Minissha Lamba, Minissha Lamba wallpapers
Minissha stances erotically with a surfboard on the spread of the April issue of MW magazine. The punchline on the spread expresss ‘On The Beach With Minissha Lamba’. The shoot was finished on the picturesque sunny shores of Goa. In the midst of the shoot a mess of folks garnered around to look at Minissha in the two-piece and started clicking her photographs on their cells. The shooting venue was modified quickly.
In the magazine, Minissha talks openly about diverse themes incorporating the most sweltering men in Bollywood, the best equipped pick-up lines and her naughtiest fiction.
Minissha is right around the few Bikini Babes of Bollywood who don’t brain slipping into a several-piece.
Not extended back, she had presented on Twitter a picture of hers in a swimsuit.
Shahrukh Khan’s ‘Ra.One’ started earning big bucks!
Shahrukh Khan’s ‘Ra.One’ started earning big bucks!: Shahrukh Khan’s big-budget film Ra.One has already started earning big bucks. The film's satellite rights have reportedly been sold for a whopping Rs 40 crore. Yes, highest ever for a Bollywood film. Earlier, Aamir Khan starrer 3 Idiots was sold for Rs 36 crore to a channel.
The release date of Ra.One is not yet confirmed, then too the film was bought for such a humongous amount, and the credit goes to its producer Shahrukh Khan, who is making this sci-fi film on a production scale so large that no other Bollywood film can match up to it.
As a source is quoted by a tabloid, “The film has a huge budget; so obviously, as a producer he wants to make as much money through pre-release distribution avenues.”
Selling the satellite rights prior to film’s release is not new. Last year’s major releases Guzaarish, Dabangg and Tees Maar Khan were sold to different channels for a hefty amount.
Shahrukh Khan has even hired some of the best Hollywood SFX people to work on Ra.One and make the film a technical wonder. Shahrukh plays a superhero in this film that also stars Kareena Kapoor in the lead. In the movie’s title RA stands for ‘Random Access’.
The release date of Ra.One is not yet confirmed, then too the film was bought for such a humongous amount, and the credit goes to its producer Shahrukh Khan, who is making this sci-fi film on a production scale so large that no other Bollywood film can match up to it.
As a source is quoted by a tabloid, “The film has a huge budget; so obviously, as a producer he wants to make as much money through pre-release distribution avenues.”
Selling the satellite rights prior to film’s release is not new. Last year’s major releases Guzaarish, Dabangg and Tees Maar Khan were sold to different channels for a hefty amount.
Shahrukh Khan has even hired some of the best Hollywood SFX people to work on Ra.One and make the film a technical wonder. Shahrukh plays a superhero in this film that also stars Kareena Kapoor in the lead. In the movie’s title RA stands for ‘Random Access’.
'Band Baaja Baaraat' video Song ‘Tarkeebein’
Anushka Sharma and newcomer Ranveer Singh team up for Yashraj Films’ next venture Band Baaja Baaraat. Anushka plays Shruti, a 20-something no-nonsense girl from a middle class Delhi household.
Focused and determined with preplanned ambitions, her goals in life are well laid out by the time she reaches her final year of college.
Bittoo (Ranveer Singh), on the other hand, has no real aim in life. As a final year college student of Delhi University, he whiles away his life having fun with his buddies, barely scraping through his exams.
The film is directed by Maneesh Sharma and produced by Aditya Chopra, the film releases worldwide on 10th December 2010.
So Watch now the latest video of its song Tarkeebein below:
7 Khoon Maaf Review
Based on a short story by Ruskin Bond, the movie tells the tale of a woman named Susanna (Priyanka Chopra) who’s decidedly unfortunate in love and matrimony. In her fatal quest for love, she marries six times and every one of her hubbies turns out to be a rank scumbag: be it a lame chauvinist Major (Neil Nitin Mukesh), a junkie rockstar (John Abraham), a sadomasochistic poet (Irrfan Khan), a Russian double agent (Aleksandr Dyanchenko), a Viagra popping lech (Anu Kapoor), or a money-grubbing, mushroom-loving quack (Naseeruddin Shah). Jesus knows who Susanna’s seventh casualty is for Bhardwaj leaves an open strand in the end and gives the bored viewers a teeny quiz to hair-split. That’s the only intriguing part where you snap out of the slumber but soon see the end credits roll.
Granted that a story so episodic as this could not have been told but linearly. But why, pray, is the jumble of Susanna’s matrimonial misadventures reduced to the incessant yo-yoing between her elation at finding the ‘right’ man and her subsequent dejection at the discovery that he’s actually a scumbag. So while the hubbies are kicked to the famished man-eating panthers, or are drug-overdosed, or snake-bitten, or buried alive, or shot point blank, not once does a yawning viewer see a scrap of ingenuity so expected of a Bhardwaj film.
Of course, the bleakly-lit frames and Susanna’s own darkening complexion serve as metaphors to the dark side of her personality, and Bhardwaj does throw in time-references in the tale -- from the falling of the Berlin wall to the Mumbai terror attacks -- but come on, a viewer expects more than such customary symbolism. Even the film’s music gives the impression that its composer (Bhardwaj) was battling a creative block.
A little heart can be taken from the fact that the actors don’t disappoint. Priyanka sinks her teeth into the complex character of Susanna and delivers a performance that makes you forget the film’s flaws for a while. Ditto for Neil, Anu Irrfan and Naseer. Vivaan Shah, who is Susanna’s protégé and the story’s narrator, makes a confident debut.
After hitting the peak with Blood Brothers (a short film I consider Bhardwaj’s best work to date), Vishal has been on a downslide, first marked by the utterly ordinary Kaminey and now cemented by 7 Khoon Maaf. Is the genius of the maverick careening into mediocrity? Was the dream of a bold new Hindi cinema just a chimera?
One thing is for sure. There’s much worthwhile to do with your time than to watch the gloomy tale of an unscrupulous hubby-slaying woman whom you see whirling like a dervish with no less than the Redeemer in the end.
'Tanu Weds Manu' Review
'Tanu Weds Manu' Review: A seedha saadha NRI doc Manu (Madhavan) who claims to have resided more than a decade without any close friends in London comes to India on a bride hunt and finds a suitable one in the wispy form of a pot-smoking, vodka-guzzling Kanpuri kudi Tanu (Kangana Ranaut). It’s a mismatch as odd as it gets, because though he falls head-over-heels for this foul-mouthed chatterbox, she is dead against the arranged match and instead wants to hook up with a Lucknow gunda named Raja (Jimmy Shergill).
Manu, the poor soul, nurses the heartbreak and even helps Tanu and her goon beau elope. The plot thickens when Tanu and Manu cross paths against the backdrop of a big fat Punjabi wedding. Love for Manu seems to be taking root in Tanu’s heart, but then Raja rears his head. Drama, peppered with clichéd emotional conflicts and standoffs between the two suitors follow, and, given the film’s title, we know whom Tanu will eventually choose.
The predictability of the plot is well compensated by the melee of oddball characters that director Anand L Rai crowds the story with. There’s is an utterly likeable sidekick (Deepak Dobriyal) and a Sikh friend (Eijaz Khan) of Manu adding fun to the proceedings. There’s Raja’s crony (Ravi Kishen) and Tanu’s best friend (Swara Bhaskar) chipping in from the margins. And full credit to director Rai for the brisk pace at which the first half unspools. Alas, the same can’t be said of the second half, when the story stagnates and we see more of Jimmy Shergill than would have liked to. It’s a clear case of a story losing its steam after a triumphant start. Even the build-up to the climax is somewhat overblown.
Warts and all, Tanu Weds Manu still remains a watchable fare thanks to the wonderfully realistic milieu of India’s crowded, dusty small towns and their middle-class families with their colourful characters that remain pivotal to the story until the very end. On top of it, music by Krsna breezes with vim and vigour. The humour mostly remains light-hearted, sometimes evoking laughs, sometimes falling flat.
Kangana performs well as a small town rebel without a pause. Her body language is decidedly bratty, her dialogue delivery, at times bordering on lisp, creditably raw and edgy to suit her character. Madhavan shines as a submissive, love-struck NRI with no firangi airs. The actor’s naturally charming persona adds tons to his character’s credibility.
On the sidelines, Deepak Dobriyal impresses the most while Ravi Kishan is reduced to a caricature. Jimmy Shergill is all frowns but Swara Bhaskar does leave a mark as Kangana’s friend who tries to hammer some sense into the reckless Tanu.
All in all, Tanu Weds Manu is like the shaadi ka laddoo that you can neither resist nor happily bite into. Make time for this matrimonial comedy if you haven’t yet tired of watching the reruns of Jab We Met.
Manu, the poor soul, nurses the heartbreak and even helps Tanu and her goon beau elope. The plot thickens when Tanu and Manu cross paths against the backdrop of a big fat Punjabi wedding. Love for Manu seems to be taking root in Tanu’s heart, but then Raja rears his head. Drama, peppered with clichéd emotional conflicts and standoffs between the two suitors follow, and, given the film’s title, we know whom Tanu will eventually choose.
The predictability of the plot is well compensated by the melee of oddball characters that director Anand L Rai crowds the story with. There’s is an utterly likeable sidekick (Deepak Dobriyal) and a Sikh friend (Eijaz Khan) of Manu adding fun to the proceedings. There’s Raja’s crony (Ravi Kishen) and Tanu’s best friend (Swara Bhaskar) chipping in from the margins. And full credit to director Rai for the brisk pace at which the first half unspools. Alas, the same can’t be said of the second half, when the story stagnates and we see more of Jimmy Shergill than would have liked to. It’s a clear case of a story losing its steam after a triumphant start. Even the build-up to the climax is somewhat overblown.
Warts and all, Tanu Weds Manu still remains a watchable fare thanks to the wonderfully realistic milieu of India’s crowded, dusty small towns and their middle-class families with their colourful characters that remain pivotal to the story until the very end. On top of it, music by Krsna breezes with vim and vigour. The humour mostly remains light-hearted, sometimes evoking laughs, sometimes falling flat.
Kangana performs well as a small town rebel without a pause. Her body language is decidedly bratty, her dialogue delivery, at times bordering on lisp, creditably raw and edgy to suit her character. Madhavan shines as a submissive, love-struck NRI with no firangi airs. The actor’s naturally charming persona adds tons to his character’s credibility.
On the sidelines, Deepak Dobriyal impresses the most while Ravi Kishan is reduced to a caricature. Jimmy Shergill is all frowns but Swara Bhaskar does leave a mark as Kangana’s friend who tries to hammer some sense into the reckless Tanu.
All in all, Tanu Weds Manu is like the shaadi ka laddoo that you can neither resist nor happily bite into. Make time for this matrimonial comedy if you haven’t yet tired of watching the reruns of Jab We Met.
'Yeh Faasley' Review
'Yeh Faasley' Review: What could have been an intriguing tale of a daughter inquiring into the mysterious death of her long dead mother turns out to be unqualified hodgepodge of forced sentimentality and lacklustre suspense because the writer-director embarks upon what has become the mantra of a lot of teams playing the present cricket world cup: self destruction.
Father-daughter stories are few and far between in Hindi film industry and Yeh Faasley did have the potential to be a fine thriller with emotional complexities between a daughter and a father who’s not what he appears to be.
Arunima (Tena Desae) returns to her father Dev’s (Anupam Kher) home after completing her studies. Her mother died when Arunima was a kid and therefore she hardly has any memories of her and totally relies on the account of her mom given by her father.
But then, slowly and slowly, skeletons begin to tumble out of the closet as Arunima chances upon a will written by her mother and also meets an old friend (Pawan Malhotra) of her mom, leading her to believe that her father could have a hand in her mom’s death.
A nice premise certainly, but how one wishes that director Yogesh Mittal hadn’t botched it up. The film begins promisingly, but then stretches on painfully as it slips into flashbacks. Even the courtroom scenes fail to enliven the proceedings.
Anupam Kher pitches in a sincere performance but is let down by a poorly written character. Tena Desae shows a few flashes of good acting but hams it up when she has to look hysterical. Pawan Malhotra and Seema Biswas hardly have a role to write about.
Father-daughter stories are few and far between in Hindi film industry and Yeh Faasley did have the potential to be a fine thriller with emotional complexities between a daughter and a father who’s not what he appears to be.
Arunima (Tena Desae) returns to her father Dev’s (Anupam Kher) home after completing her studies. Her mother died when Arunima was a kid and therefore she hardly has any memories of her and totally relies on the account of her mom given by her father.
But then, slowly and slowly, skeletons begin to tumble out of the closet as Arunima chances upon a will written by her mother and also meets an old friend (Pawan Malhotra) of her mom, leading her to believe that her father could have a hand in her mom’s death.
A nice premise certainly, but how one wishes that director Yogesh Mittal hadn’t botched it up. The film begins promisingly, but then stretches on painfully as it slips into flashbacks. Even the courtroom scenes fail to enliven the proceedings.
Anupam Kher pitches in a sincere performance but is let down by a poorly written character. Tena Desae shows a few flashes of good acting but hams it up when she has to look hysterical. Pawan Malhotra and Seema Biswas hardly have a role to write about.
New Upcoming Film 'F.A.L.T.U.' Review
Jackky Bhagnani, Pooja Gupta and Angad Bedi take on several scholastically confronted adolescents who are denied by each organization and university in view of their level evaluations. So in a glimmer of uncharacteristic brightness, they hit upon the brainstorm of starting their particular university and actually fittingly name it Fakirchand And Lakirchand Trust University or F.A.L.T.U.
Making them similar to a Santa is a fella named Google (Arshad Warsi) who is unfathomably resourceful. He furnishes the palatial assembling for the university, orchestrates its redesign, furniture and alternate sundry but not negligible costs without a hiccup. In short, Google has the result for each situation. And then there's likewise Baajirao (Ritesh Deskhmukh), the essential of FALTU, who takes private drive in managing the youthful under-achievers on the best way to express affection to a young lady, that too Shahrukh Khan style.
With its developing notoriety FALTU ends up the adda for the rejects of formal training framework. It's the place where learners spirits, tease, and move in swimming pools in the state of semi-disrobe.
Obviously, there's no sense to be composed of the story as executive Remo D’Souza points solely to enliven the viewers with rehashed breaks into foot-tapping melodies. There's additionally an endeavor to press in a small inform regarding the training framework but its all done with diversion and pointlessness. D’Souza can moreover be forgotten for tearing off the Hollywood drama ‘Accepted’ being as how when the ringleader executives of the industry duplicate explicitly, anticipating a newcomer to be initial is like making a request for moon.
FALTU is not a picture that needs cleaned appearances. Jackky Bhagnani gets the second life saver of his lifework with this picture and he attempts to be interesting and cool and hip and moreover demonstrate off his exercise center form. Near others Angad Bedi leaves an impression.
One thing that works somewhat in the picture's favour is the tunes and their choreography. The humour is chiefly immature and barely makes you snicker.
With everything taken into account, a timepass picture with an over-egging of adolescent component.
Film Thank You Review
The lustful drive of married men has been the juice of a large number of a Bollywood drama and the viewers have lapped it like a pro with the savage happiness of someone who's missed the activity and now preferences to view the pillorying of those who got a piece of it.
In that sense, Anees Bazmee's Thank You could hit a suppressed harmony with those cinegoers with a taste for comic drama rolling out of auxiliary-conjugal misfortunes of cheating hubbies, and for a dash of titillation, civility the droves of two-piece-clad blondes who fling themselves over and around the desi men in most exceptionally suggestive of stances.
Akshay Kumar, adhering to his no-keeps-obstructed adage, gets the firang darlings here, there and all over, gets sensitive-feely with Sonam Kapoor, shakes a leg with Mallika Sherawat, and even has a warm grip with Vidya Balan. Notwithstanding he, of all men, plays the analyst out to nail the masti-looking for hubbies.
The plot is threadbare. Bobby Deol, Irrfan Khan and Sunil Shetty play a few mates driven more by their moxie than devotion to their individual mates, played by Sonam Kapoor, Rimi Sen and Celina Jaitley. The wives contract a private investigator (Akshay) to uncover their hubbies' betrayal but discomfort begins when the criminologist falls for one of the women.
The humour, average of any Bazmee film, stays strictly passerby, with the unconsummated sex cavorts of the hubbies busted at the same time as foreplay and them being dragged out to the lodging entryways or alternate teetering on window ledges in insignificant bathrobes. All the more Akshay is made to run semi-bare on the lanes of Montreal with nothing something greater than a towel blanket his male humility. More rare than not, the humour leaves you with a stifled smile at the unreasonableness of the scenario. Nothing more.
A few bits of bona fide roar are given by the preferences of Irrfan Khan (playing an oppressive hubby requesting around his compliant wife every last trace of the time) and Sunil Shetty (going ‘oo--laa-affirmative-o’ at his partner's mishap). The most empty of the parcel is Bobby Deol, while the women, with somewhat small to do, are appallingly out of structure. Sonam hams, shrouds her slender edge behind fashioner dresses. Celina surprisingly adheres to saris and goes out absent for most part of the film. Rimi Sen looks like she's been gorging on chocolates and chhola bhatura.
All declared, Thank You remains a wordy, bum-hurting drama packed with the stiflers we’ve at present viewed and smiled senseless at. Very coarsely, it stereotypes man as unalterably unbridled and even names them as ‘dogs’. Trust PETA won’t take offence.
Wednesday, April 13, 2011
Tanu Weds Manu – Movie Review
Starring: R. Madhavan, Kangana Ranaut, Jimmy Shergil, Swara Bhaskar
Rating:
Director: Anand L. Rai
Why should you watch “Tanu Weds Manu”? For R. Madhavan who will win you heart as a sweet lovable NRI doctor Manu who has the misfortune of falling in love with a Kanpur-girl Tanu (Kangana Ranaut) who not only rejects him as a suitor but also uses him to elope with her ruffian boyfriend.
Hiding his heartbreak and disappointment behind a smile, Madhavan fits into the role of a goody goody NRI like a glove. He is hopelessly in love with Tanuja who doesn’t miss a single opportunity to hurt him. Rules, they say, are meant to be broken and that’s what Tanu’s agenda in life is – to break all rules that a middle-class family swears by.
Well, an NRI coming home to find a suitable bride for him is very common in Indian society and director Anand Rai’s comedy opens with the same. He tries to be as close to reality as possible – from the backdrop, to clothes, to character artists – all bring out the element of a middle-class setup perfectly.
With a marriage in the background providing a perfect place for Tanu’s second chance meeting with Manu, the movie traces the relationship between the girl and the NRI. Surely, perfect material for sentimental romances with ‘comedy ka tadka’.
But there is something missing to make it a perfect romantic comedy. First, the script is punctured, then their is no chemistry between Madhavan and Kangana and if that was not enough, the narrative doesn’t flow at the desired pace – it’s slower than it should be.
Though the director picked up an interesting subject, he has not succeeded in executing his story effectively on screen – there are not enough laughs in the film. Whatever funny scenes are there, credit goes to the chemistry between Madhavan and Deepak Dobriyal who plays his friend Pappi.
Kangana’s dialogue delivery puts you off and she lacks the spunk and spark to play the free bird that she is in the movie. In fact, Swara Bhaskar, who plays her friend Payal, holds the fort as the Bihari girl who is marrying a sardarji (Eijaz Khan) who also happens to be Manu’s best friend.
Payal is impressed with Manu and even tries to drill some sense into Tanu’s head but Tanu, a rebel, doesn’t want to admit her feelings for the man who is picked by her parents.
Critics won’t appreciate the plot but Madhavan fans would find enough material to enjoy the film.
Music plays an important role in a wedding-based romantic comedy and the director could have got it right if he had opted for fast-paced peppy numbers.
In the performance department, full marks go to Madhavan, Deepak and Swara. The supporting cast of K.K. Raina, Rajendra Gupta and Navni Parihar don’t have much to do, but whatever role they have, they carry it well. Jimmy Shergill as Kangana’s ruffian boyfriend is wasted, so is Ravi Kishen as his sidekick.
If you are looking for a great romantic comedy, this is not the one, but watch it for Madhavan and his chemistry with Deepak.
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