Fenil and Bollywood

Posts Tagged ‘identity

By Taran Adarsh, January 1, 2010 – 12:31 IST

Surprise, surprise, surprise! Sometimes, the expectations from a movie are zilch, but what unfolds on screen is beyond expectations. It surprises you, to put it simply.

On face-value, BOLO RAAM looks like it’s straight out of 1970s cinema. A movie with predictability written all over it. A movie that carries zero hype and matches it with zero content. But BOLO RAAM isn’t archaic, isn’t the usual masala, isn’t zero content.

A remake of the Tamil film RAAM [2005; starring Jeeva, Saranya, Rehman, Murali], BOLO RAAM has an interesting plot with an engaging screenplay that compels you to look at the screen for most parts of the movie. But, of course, there’re hiccups. A few non-actors and a done to death climax could’ve been avoided.


Raam [Rishi Bhutani] is charged with the murder of his mother Archana [Padmini Kolhapure]. Raam falls into a state of shock, brief psychotic disorder, after his mother’s death and becomes silent, refusing to talk or react in any manner.

The investigating officer, Indrajeet Singh Rathi [Om Puri] is puzzled and unable to make Raam speak. He consults a psychiatrist, Dr. Negi [Naseeruddin Shah], to determine the cause of Raam’s state of mind and the reason for his silence.

Rathi interrogates various personalities for the case, questioning Raam. Every possible motive that Raam might have for murdering his mother is explored. Furthermore, Raam’s neighbours, Sub-Inspector Sajid Khan’s [Govind Namdev] daughter Juhi [Disha Pandey] and son Sameer [Krishan Khatra], are summoned by Rathi for interrogation. Will his silence solve the puzzle?

Without wasting any time, BOLO RAAM takes off from its opening titles itself. The story goes back and forth, several new characters are introduced, but the narrative stays faithful to the main plot. The best is reserved for the second half. Layer after layer is peeled with expertise. The viewer is keen to know the identity of the killer and that’s when the film fumbles and tumbles.

The culprit’s track is sloppy and a major put off. In fact, the circumstances that lead to the murder are quite amateurish and look far from convincing. Surely, the writer could’ve thought of a better culmination. Also, the one-sided love affair is functional.

Debutante director Rakesh Chaturvedi ‘Om’ makes a confident debut, although he should’ve cast some better actors for key roles. There’s not much scope for music [Sachin Gupta] in the film and hence, just one song merits mention – ‘Maa Tere Jaisa’. The background score [Sanjay Chowdhury] deserves special mention.

Newcomer Rishi Bhutani does a commendable job. He oozes confidence, despite sharing the same frame with accomplished actors. Om Puri gets into the skin of his character and is impressive, while Padmini Kolhapure is a pleasure to watch after a long gap. She is beautifully restrained. Naseeruddin Shah has a brief role and the veteran does it well. Govind Namdev is very good.

Rajpal Yadav is wasted. Both Disha Pandey and Krishan Khatra are non-actors. Manoj Pahwa does his usual act.

On the whole, BOLO RAAM has decent merits [hence those 2 stars], but the problem is its wrong release timing. It won’t stand a chance in front of a hurricane called 3 IDIOTS.


Meena Iyer | TNN (THE TIMES OF INDIA; September 28, 2009)

Mumbai: Bollywood is no stranger to hiding behind the anonymity offered by private numbers and leads the pack with the most connections. But initially a facility provided to preserve the identity/security/privacy of a person, private numbers in tinseltown have fast emerged as status symbols, flaunted mostly by wannabes keen to make their importance felt. A-listers, many of whom do have a second phone equipped with the caller line identification facility, don’t think it is a big deal.

Superstars like Amitabh Bachchan, Shah Rukh Khan, Aamir Khan, Ajay Devgn and Akshay Kumar usually don’t call from private numbers though most of them have two numbers, one private which they prefer to use sparingly. And
the big stars who do use their private numbers often, are clear about the purpose. Sanjay Dutt uses a private number because he doesn’t wish to be disturbed by all and sundry. Another top actor who has a second phone with a private number says, “I don’t want this number leaked out.’’

Star stylist Hakims Aalim who styles Sachin Tendulkar, Salman Khan, Ajay Devgn and Sanjay Dutt has a private number because he gets at least 50 phone calls a day, which are a huge distraction at work. Hence, he adds, he doesn’t want his number compromised.

Then there are other uses too of calling from an unidentified number. A star secretary who has a private number, thanks to his actor-politician boss, jokes that when producers don’t pay up, calling from a private number helps be
cause they don’t know your identity and pick up the call. “Otherwise they refrain from answering the phone knowing you want a payment,’’ he says.

Among other actors who use private numbers are Upen Patel and Isha Koppikar. Producer Madhu Mantena says, “In Hyderabad most celebrities use pri
vate numbers. They see it as a status symbol.’’ Mantena also says that private numbers are exasperating because you don’t know how to return a call and sometimes miss an important one.’’

Getting a a private number is no easy task. One has to visit the service provider’s office and give a written application requesting a private number and stating reasons why it should be granted to the person. The application is studied by an expert team at the company and a copy is forwarded to the police commissioner. If both the service provider and the police commissioner are convinced of the applicant’s bonafides and reasons for seeking a private number, he is allotted one. Alternatively, a letter from either the chief minister, deputy chief minister or home minister may also do the trick.

Can you track private numbers?
In many countries you can dial *69 or *71 and track the last private number that called you. However this method varies with each country

Can you bar a private number?
Phone companies offer services such as call block or call rejection

Satish Kaushik is set to reveal some startling truths with Teree Sang, which deals with teenage pregnancy
By Indu Mirani (MUMBAI MIRROR; July 31, 2009)

On the sets of Teree Sang

•    You have been more known for melodrama. What made you take up an issue like teenage pregnancy in Teree Sang?

Every filmmaker needs a change. While surfing the net, I came across a website called standupgirl.com. where I read many stories about teenage pregnancies and the problems it can create. I realised that this subject could be dramatised very well.

•    What makes your film different from others on the subject?

In our society, this problem is suppressed a lot, our culture doesn’t allow us to speak too much about it. In our country, there are so many laws that we are unaware of. While making the film, I read that 95 per cent of children and 90 per cent of parents don’t know that there is a law called ‘Age of consent’.  Teree Sang will actually tell you that the age of consent is 16 and not 18 as most people believe. The law says that if consensual sex is practised before this age then, it is punishable. Ironically, nobody knows this.

•    It’s not 18?

No, the minimum age to marry is 18. There is some confusion because the ‘Age of consent’ law was made by the British and the ‘Age of Marriage’ was made by our traditional Republic of India. So, one can have pre-marital sex at the age of 16 but marriage can only happen after 18 years of age. In Manipur, the age of consent is 14 years and if the boy is ready to marry then it is 13 years. This is the first time that I am making a film that is so well researched. My story revolves around this girl who is 15 years of age, she enters into a sexual relationship and becomes pregnant. Now it is her decision to abort the child or keep it and she decides not to kill a life. Though she is very young, herself a baby in fact, she is what today’s teenager’s are, capable of taking her own decisions. The youth is no more what it used to be in our times, they are mature individuals.

•    Wouldn’t the film have more of an impact if you had taken known names instead of newcomers?

No, because this film required fresh, young actors. In my film the girl is 15 years old and the boy is 17 years old. If I would have taken a well established face, then his or her image would have overpowered the character. I needed a baby-face girl to carry a baby. So Sheena (Shahabadi) was the apt choice for it. She has a very sweet face. Ruslaan (Mumtaz), though technically not a newcomer since he has had a release, looked like the character of the boy.

•    Is there any other social cause that excites you, that you would like to make a film about?

Yes, it is about this dead man Lalbihari ‘Mritak’. It happens in UP, that to grab a part of your property, your relatives show you dead on paper. It a story of a man who applies for a loan and then comes to know that he is dead on paper. He is told that his uncles have proven him dead. He is surprised and tells the person that he is alive sitting in front of him. Isn’t he a bigger truth than the paper? Then it takes him 18 years to prove that he is alive. He loses his youth, his money, his relationships, his love but fighting for his identity makes him a man, a social worker and a lawyer. An illiterate like him becomes a known entity and he gains a lot of knowledge on many subjects. He thanks God that he faced all this because this is what made him alive. So, he ads ‘Mritak’ to his name which means dead.

It will be made in Hindi but I intend to take it international. I am in talks with some studios. I may even play the lead role; most people tell me I look exactly like a common man and so would be suitable for it. But, for me, it’s first Teree Sang.