Fenil and Bollywood

Posts Tagged ‘crime

By IANS (Mid-Day; December 26, 2009)

Vishal Bhardwaj’s production venture “Ishqiya” faced the censor board’s ire for using the word ‘sex’ in its promos. But the ban has been lifted, giving respite to the producers.

The film has a scene where actor Arshad Warsi uses the three letter word, but it did not go down very well with the censor board.

Bhardwaj and his co-producers managed to convince the board members that the word was needed, and they finally gave their nod.

“It was initially decided that the word would be beeped and we gave an application for it to the revising committee, that comprises six-seven members. We had to convince them and make them understand that the word is essential for the film and the dialogue,” Mansi Maroo, co-producer of the film, said on phone from Mumbai.

With the censor board’s approval, the producers will re-launch the promos with the word audible.

“The dialogue lost its impact because of the ‘beep’ and now our whole plan has been delayed. In order to rectify things, we will have to re-do the scene and launch another promo with the word audible,” she said.

Asked if Bhardwaj too accompanied the other producers to the meeting with the censor board, Maroo added: “Vishal did not go for the meeting but he did have talks with the censor board people.”

Set in eastern Uttar Pradesh, “Ishqiya” is a tale of romance between individuals caught in a web of crime, suspense, passion and deceit. Directed by debutant Abhishek Chaubey, the film also stars Naseeruddin Shah and Vidya balan in pivotal roles.

Maroo also revealed that such procedures create hindrance in the film’s promotion.

“We have lost two-weeks of right promotion.”

“However, we are glad that finally we were heard and our job was done,” she added.

IANS tried to contact censor board chief Sharmila Tagore, but she was not available.

“Ishqiya” is slated to release Jan 29.

WATCH OUT: Shah Rukh and Gauri Khan

SHARIN WADER BUTANI Times News Network (BOMBAY TIMES; November 21, 2009)

It’s enough to make Bollywood sit up in horror… but this is not that kind of rumour. Shah Rukh Khan’s stunning and fashionable wife Gauri is reportedly doing a TV show for a popular channel that’s based on investigative crime stories. Not one to get into the reality show genre, Gauri’s production house is working on short crime stories on the lines of the hit TV show CID. Apparently, the buzz is that the Bollywood Badshah would like to rule Tellyland as well. And after producing a couple of shows for the idiot box, SRK is keen to do one like America’s Next Top Model which is hosted by Hollywood sizzler Tyra Banks. For this, Shah Rukh has apparently roped in Bollywood hottie Bipasha Basu and his show will be called Female Model Hunt.

By Subhash K. Jha, November 12, 2009 – 10:44 IST

Madhur Bhandarkar Jail which opened last week would serve as deterrent for potential law breakers. Or so director Madhur Bhandarkar would like to believe.

“Anyone would think twice before committing a crime after seeing in my film what life is like inside a prison,” says the director.

Madhur Bhandarkar’s Jail opened below expectations. The hard-hitting director has no qualms in admitting it. “It was a slow starter. But collections have picked up from the third day,” says Madhur, and adds, “You’ve to admit it requires guts to make a film set in a jail. The other film releasing with us was a light fun filled entertainer. We were fighting formidable competition since Ajab Prem Ki Ghazab Kahani was a lavish film. Ours is 12-crore rupee film and we’ll recover our money. The producers are happy. There are still the satellite rights to be sold.”

Madhur fights off comparisons with between Jail and his last film. “Fashion was a glamorous glossy big-budget film. Jail is a grim and honest look at life in a prison. It has a strong word-of-mouth element.”

BOLLYWOOD HUNGAMA.COM

By Taran Adarsh, November 6, 2009 – 09:42 IST

Madhur Bhandarkar is synonymous with thought-provoking, hard-hitting films. Right from CHANDNI BAR to FASHION, the expert storyteller has made movies that hold tremendous shock-value. In turn, Madhur has cultivated a rich fan-base for his films.

With JAIL, Madhur not only makes you visit a prison, but also makes you peep into the psyche of a prisoner. In the recent past, Sriram Raghavan’s EK HASINA THI [2004; Saif Ali Khan, Urmila Matondkar] and Nazim Rizvi’s UNDERTRIAL [2007; Rajpal Yadav] narrated the travails and anguish of innocents who were falsely implicated in a case. Besides, Nagesh Kukunoor’s TEEN DEEWAREIN [2003; Naseeruddin Shah, Jackie Shroff, Nagesh Kukunoor] too narrated the story of three convicts. But JAIL is different from the above-named films.

BY BOLLYWOOD HUNGAMA.COM

Besides watching a thought-provoking story on celluloid, one has also come to expect incredible performances in a Madhur Bhandarkar movie. And JAIL too is embellished with superb performances from its key actors.

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JAIL transports you to a hitherto unknown world that most of us haven’t seen and if this is its USP, it’s also something that might go against it. Irrespective of how strong its merits are, a section of moviegoers [read families/kids], who generally tilt towards feel-good/sunshine/entertainment-filled cinema, might skip this film due to its dry [and at times depressing] theme.

In a nutshell, JAIL mirrors a reality in true Madhur Bhandarkar style. It’s hard-hitting, it’s compelling, it’s thought-provoking. The efficient storyteller has the courage to speak a new language in every film and for that very reason, JAIL should be on your agenda.

Parag Dixit [Neil Nitin Mukesh] is living a dream life — a great job and a loving girlfriend [Mugdha Godse]. However, things take an ugly turn when, after a series of unfortunate events, he suddenly wakes up in jail. Parag is perplexed. The only salvation he finds is in Nawab [Manoj Bajpayee], a convict, who believes that Parag is innocent.

Soon, Parag is left with a choice, to either live a life with hordes of broken hearts and shattered souls amidst the prison walls or hope to see freedom some day.

JAIL involves you from the very start. The inmates, their crimes, their individual stories… you get drawn into a world that’s very real. So real that you feel it’s happening right in front of your eyes.

Madhur has a knack of narrating stories and he narrates the story of Parag Dixit with razor-edge sharpness. Besides, JAIL also enlightens you of the legal process, which also acts as an eye-opener.

At the same time, the legal procedures and also the behavioural pattern of the inmates tend to get repetitive after a point and that’s when you start feeling restless. Nonetheless, the post-interval has some interesting twists-n-turns, like the convicts’ escape from the police van; prior to that Neil and Manoj exchanging stares before Neil perches himself in the van; Neil getting thrown in a dark cell, spending the next few days in solitary confinement; a convict using the garbage van as the means to escape; another convict realising that his wife is now a cop’s mistress. Also, the climax is touching and moves you.

Madhur hits the right note yet again. Madhur, Manoj Tyagi and Anuradha Tiwari’s script involves you in most parts. Raghuvir Shekhawat’s dialogues are true to life. There’s no scope for music in a film like JAIL, but the three songs are smartly integrated in the storyline. Kalpesh Bhandarkar’s cinematography is top notch. Special mention must be made of Nitin Chandrakant Desai’s prison set, where the film is entirely shot.

Not only does Neil Nitin Mukesh deliver his finest performance to date, but the performance would easily rank amongst the finest this year. He conveys the pathos and helplessness that this character demands with amazing understanding. He deserves all praise for his extra-ordinary portrayal.

Manoj Bajpayee pitches in a memorable performance. In fact, the supremely talented actor is in form after a long, long time. He’s subdued all through, which only goes to prove that he knows the craft so well. Mugdha Godse underplays her part beautifully. Also, she carries the non-glam look well.

Aarya Babbar is fantastic. This film should make people sit and notice this young actor. Chetan Pandit is first-rate. Rahul Singh is excellent, especially in the sequence when he confronts his wife. The actor who plays the part of Joe D’Souza is effective.

On the whole, JAIL is a well-made film from an expert storyteller. At the box-office, the film will appeal to those with an appetite for hard-hitting, realistic fares, but its clash with AJAB PREM KI GHAZAB KAHANI will affect its business to an extent.

By Taran Adarsh, September 11, 2009 – 10:43 IST

Gangster movies – this genre has been done to death. Films like PARINDA [Vidhu Vinod Chopra] and SATYA [Ramgopal Varma] stand tall on this list. But, of late, the genre has taken a backseat since people aren’t too keen on watching bloodshed and the same old saga of an innocent taking to the world of crime.

BAABARR belongs to the same genre, yet is an exception. It shows how people, even kids, live by the gun and die by the gun. It tells you that crime never ends, it only changes faces. It tells of the wicked nexus between cops-politicians-gangsters and the deterioration of the law and order machinery. Also, this one’s not Mumbai-centric, but is set in Uttar Pradesh.

BY BOLLYWOOD HUNGAMA.COM

BAABARR isn’t just bloodshed, but at the same time, isn’t for the faint-hearted either. There’s violence galore, in fact several sequences are brutal, and chances are a section of the movie-going audience [read families/ladies] might shy away from this experience.

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Yet, what makes BAABARR a must-watch experience is its story, the strong script [Ikram Akhtar] and the deftness with which director Ashuu Trikha has narrated the story. Without a shred of doubt, BAABARR is one of the most powerful films to come out of Bollywood in 2009.

A 12-year-old boy picks up a country made gun and shoots a man in cold blood. His eyes are devoid of any emotion. His heart exhibits no remorse. After shooting the person in broad daylight, he walks the streets of Aman Ganj with a gun in one hand. Everyone present in the market watches this young lad walk with no fear.

The boy, who started from the streets of Aman Ganj, had trespassed every barrier of crime. For the 10 years that followed, he traumatized one and all. His reign of fear terrorized everyone in the state, right from the common man to the Government. He was Baabarr [Sohum Shah].

When this reign of fear knew no bounds, the Government summoned a man to put an end to all of this: Encounter specialist S.P. Dwivedi [Mithun Chakraborty]. The order was simple, arrest him or kill him.

What’s the star cast like, that’s one question people generally pose when you ask them out for a movie. BAABARR has a new face – Sohum – but that exactly is its USP. Fortunately, he doesn’t carry the baggage of an image and that makes the character even more believable.

But there’s a flipside too. BAABARR is dark and gruesome and a few sequences can actually put you off, which, indirectly, also speaks of how impactful the film is.

Writer Ikram Akhtar’s script is power-packed and has several twists and turns in those 2 hours. In fact, even the final sequence of the film catches you unaware and that’s what makes BAABARR stand out from the crowd. The dialogues deserve special mention.

BAABARR is Ashuu Trikha’s best work so far. His handling of the dramatic sequences is commendable. Action scenes [Abbas Ali Moghul] are true to life. Cinematography [Suhass Gujarathi] deserves full marks. In fact, a film like BAABARR is difficult to shoot and it must’ve been a challenge for the DoP to give the right texture to the film.

Sohum lives the character of Baabarr and delivers a performance that you carry home after the show has concluded. The film would’ve fallen flat had it been entrusted to a lesser actor. Mithun Chakraborty is very good. In fact, this is amongst his better works. Om Puri stands out. This film should easily stride into ‘Best of Om Puri’ catalogue. Tinnu Anand is a revelation. Where was Tinnu all this while? Watch his death sequence in the film and it’s sure to give you gooseflesh. Shakti Kapoor is top notch. Again, he seems to be in form after a long, long time.

Sushant Singh is perfect for his part. Urvashi Sharma enacts her part with complete understanding. Govind Namdeo is competent. Mukesh Tiwari is, as always, good. Vivek Shauq, Vishwajeet Pradhan and Pratima Kazmi make an impact in brief roles.

On the whole, BAABARR is a captivating and powerful tale. Sure, there’s excessive violence, but there’s a reason behind it and that works in its favour. At the box-office, it has best chances in the Northern belt and also at single screens mainly.

However, since she had told him off, the 18-year-old domestic help, who has accused the actor of raping her, thought the matter was over
By Mumbai Mirror Bureau (June 16, 2009)
It was not a crime of passion, but, probably, a well-planned one. The domestic help of filmstar Shiney Ahuja, who lodged a complaint with the Oshiwara police station on Sunday alleging that Ahuja had raped her, has told police that the actor had made advances towards her earlier.

The 18-year-old, who had been working at Ahuja’s sixth floor apartment at Oshiwara’s Tarapore Towers for the last one-and-a-half months, has alleged that on Saturday Ahuja had behaved inappropriately. She, however, told him to keep off, the girl told police.

According to Oshiwara police, the girl thought a stern warning would end the matter. So, the next day she reported to work at her usual time of 9 am. Around 3 pm Ahuja – alone at home, as his wife and daughter had gone to Delhi a week ago – asked the girl, a Virar resident, bring him water. He was in his bedroom at the time.

Ahuja then drew the curtains and put the music system on high volume, the girl said. He then allegedly forced himself on her. After the act, Ahuja allegedly threatened the girl with dire consequences if she squealed. She said that she was allowed to go only by 5 pm, her scheduled time to leave.

The girl rushed to one of her relatives and narrated the incident to him. At around 8 pm, the relative took the girl to the Oshiwara police station where a case of rape, wrongful confinement and threatening was lodged against Ahuja.

‘Such things keep happening’

When Oshiwara police called Ahuja for questioning, he threw his starry tantrums. “He was throwing his weight around as if police was harassing him unnecessarily. When the senior officer asked him directly if he had raped the girl or not, he said, ‘such things keep happening’,” said an officer.

Though there were reports that Ahuja had confessed to his crime, a senior officer said, “He is an accused and his statement does not have any value. He is changing his statement often and may change it further.”

Girl was crying, says neighbour

On Sunday police took the girl for a medical examination which confirmed rape. A senior police officer said, “It showed clear signs of the girl having been physically violated.” The officer also rubbished media reports that the incident was “consensual”.

Police said there was more evidence indicating that the complaint was genuine. “Of all the witnesses – including Ahuja’s cook Mohan, who had introduced the girl to Ahuja’s wife – none have contradicted the girl’s statement. In fact, Ahuja’s neighbour told us that he had seen the girl crying while she was leaving Ahuja’s home on Saturday around 5 pm,” said the officer.

A forensic team, formed to look into the case, have sent the victim’s clothes for forensic examination and have sealed Ahuja’s flat. Police have also sent Ahuja’s blood samples for examination to ascertain whether he was under the influence of alcohol or any other drug at the time of committing the crime.

The Andheri court remanded Ahuja in police custody till June 18.