Fenil and Bollywood

Posts Tagged ‘khosla ka ghosla

Dibakar Banerjee gets voyeuristic in his next film

PRIYA SUGATHAN Times News Network (BOMBAY TIMES; December 17, 2009)

With the super success of Khosla Ka Ghosla and Oye Lucky, Lucky Oye, Dibakar Banerjee has come to be the new-age Hrishikesh Mukherjee and Basu Chaterjee rolled in one. While his third film Love Sex Aur Dhoka (LSD) continues to remain urban-centric and small-budget, it is going to be a radically different experience than its predecessors.

“The word ‘sex’ adds to the allure of the film. Why do we make so much out of this three-letter-word? When it’s accepted that it’s as basic a need as eating food, everyone indulges in it, and yet there’s a taboo to it. It also forms a major part of voyeurism, which is the premise of the film. We have turned voyeuristic in recent times. We want to know what’s happening behind closed doors, or catch a celeb with his pants down. It’s a streak that’s spilling over in our relationships, in our entertainment and the news. Even our ideas on love or sex are not our own, but borrowed from what’s seen on screen,” says Dibakar as he explains the subject of his film.

LSD will be India’s first digital film. “The Hindi filmgoer is going to be stunned. The film could only be shot on a digital format. In this age of online videos, Youtube, MMS, it’s time we explored these mediums to tell our stories. The format has its own grammar. I had to unlearn all my filmi gyan. It was my ground zero. I shot the film using cameras that were smaller than a lipstick, from inside a purse and also used infra red lights that are mostly used by soldiers in the night during war. It was necessary as the ‘camera’ plays the important character in my film,” explains the director.

Another first for Dibakar is his collaboration with Ekta Kapoor. “No one understands entertainment the way Ekta does. The one thing that I look for in my producers is how excited they get with the idea. Ekta understood that she was looking at a new way of filmmaking that would rewrite the rules in the Indian film industry. She not only liked the unique treatment of the film, but also its universal story of love, sex and betrayal,” reveals Dibakar, whose ‘peep show’ is set to release in early 2010 with complete newcomers in the cast. A 10-minute screener was shown to international delegates and film festival conveners at the Goa Film Bazaar and the response was exhilarating.
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It’s always a pleasure to see a meaningful flick which entertains as well enlightens. Rajkumar Hirani is the master of such flicks (his forthcoming 3 Idiots is also expected to be the same). Rocket Singh also falls in this category. Although it is laden with some glitches, overall it gives you a great time and also teaches you some valuable lessons which we may have forgotten or ignored because of living in this fast-paced urban ‘corporatized’ life!

The story of the movie: Harpreet Singh Bedi (Ranbir Kapoor) has just graduated with low marks but is determined to enter into the world of sales. He justified himself as ‘number kam hai dimaag nahi’! With his confidence and ‘never quit’ attitude, he lands as a trainee in the reputed company, AYS. But he soon realizes that in this professional field, the people worked with the most unprofessional attitude! He always believed in working honestly and caring for the customers. He even attempted to apply his principles which received a sharp reaction from his seniors. Harpreet was then denounced and humiliated. And this is when he realized that instead of merely being an observer, he’ll be the change he wants to see! From here begins the journey of Harpreet aka Rocket Singh!

One won’t take to Rocket Singh instantly, esp in the first hour. This hour focuses more on establishing characters. Also the film hasn’t applied sync sound system well due to which one has difficulty in deciphering some of the dialogues. But after some time in the film, we get ‘accustomed’ to it!

But there are some sequences in the first hour that deserve a mention. The ‘complaint’ scene was great and the boss’ (Manish Choudhari) angry reaction looked quite real. Also watch out when Ranbir is humiliated by the boss with his ‘zero-value’ theory. It was a bit over the top but made an impact.

But the second hour is when the film rocks big time! Ranbir creating a company within a company and popularizing it with his honest ways and making partners was damn interesting. The pre-climax wonderfully built up tension but the climax was dragged a bit. Maybe, the lengthy dialogue should have been a bit crisp. It would have made a better impact.

But nonetheless, the film manages to put its message across in a cool manner. It’s a must for all in the sales field or anyone dealing with customers…maybe it will inspire them to adopt more ‘human’ and honest ways of working!

Without a doubt, it’s Ranbir Kapoor who carried the film fabulously on his shoulders and came up with a great performance. He looked charming even in his sardar look and managed to do a great job-as great as he did in Wake Up Sid and Ajab Prem Ki Ghazab Kahani. The film may unfortunately not work at the BO but Ranbir will surely be appreciated and Rocket Singh will be remembered as one of his best performances!

Prem Chopra as Ranbir’s paa played his part well. D. Santosh (famous for his Rajguru act in The Legend of Bhagat Singh) was outstanding! In fact, he delivers better performance than Ranbir in many of the scenes involving both of them! Watch out for him!

Besides these, the rest of actors were all newbies but leave a mark. Gauhar Khan as Koyna looks stunning and gives a top-class performance. Her career in Bollywood is on the right track with this film! Shazahn Padamsee gets very little scope but manages to impress. Mukesh Bhatt as Chotelal was just brilliant! And finally, the other two actors who leave a maximum impact as Ranbir and Santosh are Naveen Kaushik (as Nitin) and Manish Choudhari. Both were wonderful and if the film impresses, then they are also to be credited!

Salim-Sulaiman’s music doesn’t make a mark as song-and-dance isn’t part of this film. Pocket Mein Rocket is missing from the film. But their background score like everytime was fabulous.

Vikash Nowlakha’s cinematography was flawless. Manas Choudhury, the sync sound recordist, could have done a better job.

Jaideep Sahni has written the story, screenplay, dialogues and lyrics. His work was exceptional in all four. Only the screenplay could have been a tighter in the climax and easy in the initial portions. But the best part is-his Khosla Ka Ghosla magic is wonderfully seen in some of the scenes which really makes the film impressive.

This is Shimit Amin’s weakest directorial venture, simply because his last two flicks, Ab Tak Chappan and Chak De! India are considered as classics. But still even in his weak performance, he impresses! Watch out for how he has paid attention to little details to make the film look as realistic and closer to real life as possible. Watch out for the beginning portions when the credits appear-observe how the simple articles found in every household are impressively highlighted. Overall, a good job, could have been better and best wishes for the next project!

Some of the best scenes of the film:
1.     Harpreet’s first interview
2.     Harpreet’s complaint box ‘kaarnama
3.     Boss reacts to Harpreet’s kaarnama!
4.     Colleagues scold Harpreet
5.     The intermission point
6.     Koyna joins Harpreet
7.     Harpreet and his boss’ telephonic conversation (best scene of the film!)
8.     Boss finds out the truth (amazing!)
9.     The final scene

On the whole, Rocket Singh is a feel-good film and should be seen by all sales professionals and corporates. A must watch for Ranbir too. Go for it to have a different kinda experience!

My rating-*** out of 5!

This review first appeared on MouthShut.com: http://www.mouthshut.com/review/Rocket_Singh-181580-1.html

A WINNER ALREADY: A still from the film
… and this time, it’s a Marathi film that’s taking India global

TIMES NEWS NETWORK (BOMBAY TIMES; October 22, 2009)


Marathi writer-director Paresh Mokashi, is one happy man. And why not, his debut film, Harishchandrachi Factory
is India’s official selection for the 82nd Academy Awards. It’s an honour of course, for which Paresh has UTV, Paprika Media and Mayasabha Productions to thank for. UTV whose Rang De Basanti got nominated for the BAFTAs and Taare Zameen Par for the Oscars, will see that this film too, gains global recognition. They have kicked off an aggressive campaign, will target the international media and have extensive screenings in Los Angeles in October and November.

Siddharth Roy Kapur, CEO of UTV Motion Pictures, said, “The Academy recognises films with unusual themes. A little over 90 minutes, HCF has the ability to reach out to international audiences in a grammar of film-making they are conversant with.”


His thoughts are echoed by Vikas Bahl, Chief Creative Officer, UTV Motion Pictures. “We are proud to be bringing worldwide audience a film that tells the story of the birth of film-making in India — the world’s most prolific film producing nation,” he said.


Paresh, who through HCF presented the incredible journey of Dadasaheb Phalke to make India’s very first motion picture,

Raja Harishchandra, said, “What better than to have
one’s debut film about the making of India’s debut film! My search for the subject of my film was over when I first read the adventures of Dadasaheb Phalke. Selection to the Oscars is a very sweet surprise and now I’m hoping for the best.”


According to Smiti Kanodia, Founder & Chairperson of Paprika Media Pvt. Ltd., they were gung-ho about co-producing the film after hearing Paresh’s narration. “It captures the essence of Dadasaheb’s character and showcases fine performances by the actors, music composer and those behind the camera.”


No one in recent years has won more awards than UTV — from Rang De Basanti to Jodhaa Akbar, from Fashion
to Life in a Metro, from Khosla ka Ghosla to A Wednesday, from Mumbai Meri Jaan to Oye Lucky! Lucky Oye! and from Welcome to Sajjanpur to Dev. D. And now, they have yet another winner on their hands.

Ekta Kapoor
NO SEX PLEASE…in film titles that is. Evidently, censorship begins at the title stage. AMPTPP will not register a title with the word ‘sex’ in it

KUNAL M SHAH (MUMBAI MIRROR; August 17, 2009)



Given that Hindi films have a generous dash of pelvic thrusts, French kissing and hot lovemaking scenes these days, this is one of the most incongruous things to have happened in the film industry in recent times. Ekta Kapoor and director Dibakar Banerjee were in for a rude shock when the title they wanted for their next film was rejected by the Association of Motion Pictures and TV Programme Producers. The association rejected the two shortlisted titles Love Sex Aur Dhokha and Pyaar Sex Aur Dhokha saying that the titles are obscene. And here we thought birds kissing and flowers gently dashing against each other are a thing of the past.


A source said, “Both Ekta
and Dibakar are extremely dejected. Dibakar always stresses on having apt titles for his films. For instance, his earlier two films were titled Khosla Ka Ghosla and Oye Lucky Lucky Oye. They were shocked on receiving the reject letter from the association. They tried to reason it out but it was a futile attempt. Now they have no option but to look for an alternative title.”


Ekta Kapoor confirmed the story but didn’t divulge any more details. Dibakar Banerjee said, “We wanted to register the title Love Sex Aur Dhokha. The word pyaar could have been used in place of the
word love. We had submitted the title to check if it was available. However, the association rejected the title saying that it is too obscene. We contacted them to ask why they thought that our title is obscene. They have heard our argument and the matter is subjudice so I can’t give you any details. They are going to give us their reason soon.”


Commenting on the title’s importance, Dibakar said, “This title was extremely important to us and as it suggests everything, which will be depicted on screen. The title explains the entire script and the way the film
will be treated. All I can say is that it’s a film within a film and is like a window looking into the lives of the characters.”


Ratan Jain, President AMPTPP, remained unavailable for comment.


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