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Posts Tagged ‘Neil Nitin Mukesh

Neil Nitin Mukesh will make his relationship with his girlfriend Priyanka Bhatia official in 2010

By Subhash K Jha (MUMBAI MIRROR; December 25, 2009)


Neil Nitin Mukesh and his designer girlfriend Priyanka Bhatia will officially announce their relationship in 2010. They might also tie the knot in the coming year.

Neil is surprisingly candid on the matters of the heart. He says, “Priyanka and I spend so much time together, so making it official is hardly going to make a difference to our equation. There’s absolutely no family pressure on either of us. In fact, God forbid, if we ever decide not to carry our relationship further our parents will disown us.”

Neil and his girlfriend might soon get engaged. He tells us, “It’s just a matter of exchanging rings. Otherwise our relationship is as official as it gets.”

Neil doesn’t rule out the possibility of marriage in 2010 either. He reveals, “Neither Priyanka nor I see marriage as a hindrance to our career and ambitions. She’s a very talented designer. And we would both like to grow together and individually. Some of our most successful actors from Amitabh Bachchan to Shah Rukh to Hrithik are happily married. Gone are the days when heroes used to hide their girlfriends and wives.”

Neil would also like his future wife to design clothes in all his films. “She knows what looks good on me. And I take her advice about what to wear anyway. I don’t think I’d like to be dressed up by anyone else more than Priyanka.”

Cast: NEIL NITIN MUKESH, SOHA ALI KHAN, KAY KAY MENON, SHAHANA GOSWAMI, KARAN NATH

Producer: TUTU SHARMA

Director: SUDHIR MISHRA

Source: BOLLYWOOD HUNGAMA.COM

Filmmakers known for fairytale romances are now making movies with terrorism as the backdrop, finds Harshada Rege

It could be a reaction post the 26/11 terror attacks or just the fact that terrorism is a global phenomena, but filmmakers have never before been so keen to highlight this evil on the big screen. And the emphasis on this is laid by the fact that two production houses known for their romantic films, have taken a huge leap and have made movies on this topic. We are talking about Yash Chopra’s production house that’s known for movies like Chandni, Lamhe and Dilwale Dulhaniya Le Jayenge; and Karan Johar who has made feel-good movies like
Kuch Kuch Hota Hai and Kabhi Khushi Kabhie Gham to the more recent Dostana and Wake Up Sid. Yash Chopra’s banner has already brought out its offering on terrorism in the form of New York that was directed by Kabir Khan and starred John Abraham, Katrina Kaif and Neil Nitin Mukesh. Karan on the other hand produced the recently released and highly-acclaimed Kurbaan that stars Saif Ali Khan, Kareena Kapoor and Vivek Oberoi. While the movie is what Karan calls a “love story” it was a subject that Karan couldn’t stop thinking about. He asked Rensil D’Silva to write and develop it for him. He later asked Rensil to direct the project. “The story addresses this evil that has become a global phenomena,” he says.
But it was director Kunal Kohli, who surprised everyone with Fanaa in 2005. Easily one of the most successful films that had terrorism as the backdrop, Fanaa handled the issue very well. “Movies that are relevant to that particular time always click with the audience. Like Naya Daur or Namak Haraam that the audience remembers for those particular eras,” points Kunal, who has also directed Hum Tum, Mujhse Dosti Karoge! and Thoda Pyaar Thoda Magic. Speaking about Fanaa he says that the movie worked because it was a Hindi ‘picture’. “It had the right elements put together. It’s is very important to make your film entertaining. If you feel socially responsible and want to give a message you have to make it entertaining and not sound preachy,” he says. He feels that people liked the movie because the common man was the protagonist. “People found Rehan (Aamir Khan’s character) like any other man. He was a guide and a very mard character. He wasn’t just a boy, but a man,” says Kunal.
A trade pundit says, “As long as the director doesn’t get confused between making a love story or a film on terrorism it’s fine. In the end the audience has to feel for the characters.” Managing the commercial aspect and sending out a social message can be difficult. “Yes, it is very difficult. But that’s what the audience expects from you,” says Kunal.

BOMBAY TIMES (November 26, 2009)

WE CARE: Ranbir Kapoor, Neha Dhupia, Mugdha Godse and Neil Nitin Mukesh
Bollywood stars join Mumbaiites in 26/11 music video

NICOLE DASTUR Times News Network (BOMBAY TIMES; November 23, 2009)

Karan Johar, Farhan Akhtar, Ranbir Kapoor, Ajay Devgn, Yash Chopra, Boman Irani, Nandana Sen, Neha Dhupia, Neil Nitin Mukesh, Mugdha Godse, Ramesh Taurani, Gul Panag — just a couple of Bollywood log who will be part of a special song-cum-music video dedicated to the 26/11 terror attacks. The video, conceptualised and produced by Viraf Patel, directed by Arjun Sablok and composed by Monty Sharma, will go on air on the 26th itself and will also feature the aam junta — Mumbaiites from all stratas of society and all walks of life — besides the Bollywood brigade.

“The song will be interspersed with the stars and the people giving out their own personal, heartfelt messages, the crux of which will be ‘I am Indian’, ‘Main Hindustani Hoon’, ‘Main Bharatiya Hoon’… the variations of the same statement is a deliberate attempt to reflect the diversity and unity of India. Although the terrorists struck Mumbai, every Indian was affected. The aftermath was pan-Indian. The idea of the single is to stir the emotions of every Indian,” says Viraf of the music video which will be aired on all television channels.

By Taran Adarsh, November 19, 2009 – 15:14 IST

Post 9/11, there’s anger, distrust, suspicion, uneasiness all around. Not a day passes when you don’t hear of terrorists killing civilians in the name of religion.

Many storytellers have, in the past, narrated stories about terrorists and their nefarious and despicable plans. But let me state one thing categorically. You haven’t watched a more profound, a more thought-provoking, a more dramatic story on this subject before KURBAAN. It’s not just the most powerful film to come out of Dharma Productions, it’s the most powerful film to come out of the Hindi film industry this year, thus far.

BY BOLLYWOOD HUNGAMA.COM

KURBAAN tries to penetrate into the psyche of not just the terrorist, but also someone who has been a helpless spectator all this while. This film is sure to spark off discussions and debates, although it must also be noted that it doesn’t take sides or gets preachy.

Rensil D’Silva has chosen a burning issue for his directorial debut, which is a complete departure from Karan Johar’s earlier films. For some inexplicable reasons, parallels are being drawn with FANAA [Aamir Khan, Kajol] and NEW YORK [John Abraham, Neil Nitin Mukesh, Katrina Kaif], but the fact remains that barring the backdrop of terrorism, there’s no similarity with those films.

I’ve often felt that certain films are beyond box-office. Movies are not meant to merely entertain, but enlighten and educate as well. They need to prick your conscience and in the process, make an attempt to make this world a better place. KURBAAN does just that and for this very reason, it deserves a double thumbs up.

Final word? Drop everything else you’re doing to watch KURBAAN. Movies like these need to be made, encouraged and lauded.

Avantika [Kareena Kapoor] is a teacher at a university in Delhi. She has come back from New York where she teaches, because her father [Aakash Khurana] has suffered a heart attack. During this period, she meets a Professor called Ehsaan Khan [Saif Ali Khan]. Soon, they begin seeing each other and love blossoms.

A few months later, Avantika receives a call from her university in New York, asking her to come back. Avantika breaks the news to Ehsaan. He, in turn, tells her he doesn’t mind coming to the States with her. But first they need to get married.

Soon after the marriage, they leave to start a new life in New York. They buy a house in an Indian neighbourhood and move in. Just as they are setting up home, their conservative Muslim neighbours invite them over for dinner. The next morning, Salma [Nauheed Cyrusi], one of the women Avantika met the night before at the dinner, visits her under the pretext of gifting her sweets.

When Avantika invites her in, Salma tells her that she is in grave danger. Nothing is what it seems. Salma pleads with Avantika to help her. What follows next is a series of incidents that sucks Avantika into a vortex of danger and intrigue. As her life spirals out of control, Avantika realizes that she is a pawn in a huge game.

KURBAAN has two stories running concurrently – the love story between Saif and Kareena and the story of Islamic terrorists. Rensil sets the stage in the initial 15 minutes itself, after which there’s a twist in the tale every 15-20 minutes, which catches you completely unaware. Rensil doesn’t borrow from the past, which makes the proceedings thoroughly captivating.

The highpoint is the 35-minute climax, which leaves you spellbound. The culmination to the story shakes you completely, largely because it’s pragmatic and has been executed most logically as well. In fact, filming the climax at the various underground tube stations must’ve been the toughest challenge for the director.

On the flip side, KURBAAN caters more to the intelligentsia or the thinking viewer and might not be lapped up whole-heartedly by those who survive on the staple diet of hardcore masala fares.

Some of the finest technicians in the business are associated with KURBAAN. Hemant Chaturvedi’s cinematography is super. The film bears an international look all through. Salim-Sulaiman’s music is well integrated in the narrative. At least two tracks merit a mention – ‘Shukran Allah’ and ‘Ali Maula’. Anurag Kashyap and Niranjan Iyengar’s dialogue are superb. The lines enhance the impact of several sequences. Thrills are, again, in sync with the mood of the film.

KURBAAN is embellished with superlative performances. Saif is extra-ordinary in a role that only proves his versatility once again. If he won your heart with a winning performance in LOVE AAJ KAL a few months ago, you need to watch this supremely talented actor underplay his part so beautifully in KURBAAN. As for Kareena, KURBAAN reiterates one fact yet again: She’s the best in the business. No two opinions on that! Watch her get those emotional sequences right, it’s incredible. Here’s a performance that truly merits the highest praise and admiration, besides fetching her awards and accolades.

Vivek Oberoi is fantastic. Matching Saif and Kareena at every step, KURBAAN should be the turning point in Vivek’s career. It’s a difficult role to portray and only an actor with a wide range could’ve portrayed this part so effectively. Om Puri is top notch and so is Kirron Kher. Kirron is marvellous, especially in the penultimate scene. Dia Mirza, Nauheed Cyrusi and Kulbhushan Kharbanda lend credibility to their brief roles.

On the whole, KURBAAN is the most powerful film to come out of the Hindi film industry in 2009, so far. The film has a captivating plot, gripping screenplay, super performances and a climax that shakes you up completely. Watching this movie should be on top of your agenda this week.

STILL FRIENDS? Deepika Padukone
Deepika Padukone keeps herself busy with work

MEENA IYER Times News Netowrk (BOMBAY TIMES; November 19, 2009)


A few days before Diwali, Deepika Padukone was a girl deeply in love. Despite her own work assignments, the leggy beauty was shunting between Mumbai, Bangalore and Bhopal just to be able to spend quality time with beau Ranbir Kapoor. Just when they were crowned the hottest couple of Bollywood, came the news that they had decided to part ways. BT even heard a diva, with chocolate-like complexion, telling people on the sets of a comedy film that the hotshot couple had made a clean break. But if rumours are to be believed, the embers haven’t died down yet. True, Ranbir and Deepika are no longer the couple they used to be, but the two still exchange a dozen phone calls everyday. While one may or may not give credence to this, it’s very clear that the young actors don’t want to ruin a friendship they’ve shared even if the ‘fondness’ levels have dipped. Besides, both are smart enough to understand that being in the same industry, they will cross each other’s paths everytime. Meanwhile, instead of wallowing in self pity, Deepika has decided to keep herself immersed in work. The girl has green lighted Ashutosh Gowarikar’s Khelien Hum Jee Jaan Se with Abhishek Bachchan; Kunal Kohli’s next with Imran Khan and Pradeep Sarkar’s film with Neil Nitin Mukesh. She’s expected to fly to the US on a work assignment around November 20, do two new commercial endorsements and then there’s also Kartik Calling Kartik and Houseful which she has to complete.

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.

Kareena Kapoor and Abhishek Bachchan are mutually ready to forgive and forget; to star together in Abbas Mustan’s

By Sonal Chawla (MUMBAI MIRROR; October 31, 2009)

 

Over the years, Abhishek Bachchan and Kareena Kapoor have been quite vociferous about not wanting to work together after his marriage to Karisma Kapoor was called off. Now things seem to be looking up as Kareena and Abhishek are in the mood to move on and have agreed to star together in a film after six years. Buzz is that the two have been signed for Abbas Mustan’s untitled film, a remake of the Hollywood film, Italian Job.  The movie will also star Katrina Kaif and Neil Nitin Mukesh in lead roles.

 

A source says, “Initially talks were on with Saif Ali Khan but he did not have dates and Abhishek Bachchan replaced him. Although Saif and Kareena’s chemistry would have sizzled onscreen, it will be nice to watch Abhishek and Kareena after Main Prem Ki Diwani Hoon, which was their last film together in 2003. Both actors made their acting debut together in Refugee and have been in the industry for years but have only starred together in two films till date.”

While Kareena’s manager Zahid denies that she has signed the film, a source close to Abbas Mustan says, “The directors always had Kareena in mind and now they have managed to get Katrina on board too. The film will go on the floors in April and like every Abbas Mustan film, this too will also be shot on a lavish budget at international locations. The directors are clear about who they want to cast in the film.”

The Italian Job (2003) rights are with Studio 18. CEO Sandeep Bhargava of Studio 18 says, “We have the rights of Italian Job. Abbas Mustan are working on the script and will also direct the film. The movie will go on the floors sometime next year.”

When asked about the star cast, Bhargava says, “We can’t approach any actors till the script is ready.”

Despite several attempts, Abbas Mustan remained unavailable for comment.

Abhishek Bachchan Neil Nitin Mukesh
Katrina Kaif Kareena Kapoor

 

By Joginder Tuteja, October 27, 2009 – 11:22 IST

jail1

Last week, Madhur Bhandarkar had presented his upcoming film Jail for a Censor certificate. While it is common news by now that his film was granted a U/A certificate, what hasn’t come out so far is the heated argument that went inside the confines of the four walls. Situation had turned so ugly that during the 45 minutes debate with the Censor officials, Madhur threatened to follow the path of many of his contemporaries in Bollywood and henceforth make only candy floss films. Reason being that Censors had a strong objection against usage of abusive language in certain scenes, depiction of jail inmates, a sex scene involving two gay inmates, skin show by Mugdha Godse and of course much hyped nude scene featuring Neil Nitin Mukesh.

Here is a blow by blow account on what actually transpired in the screening room:

“Once the film’s screening was through, Censors were quite happy with the realistic depiction of life in jail. They appreciated the fact that as promised, it was shown realistically without being overtly dramatized. Also, they felt that a movie like this was the need of an hour as it broke away from stereotype cinema and showed something new to the audiences. They congratulated Madhur for his brave effort and were liberal with compliments”, says a source closely attached to the film.

However, trouble began when it came down to handing over the Censor certificate to the film. Apparently, Censor board felt that the film was not at all suitable for underage audiences and hence was willing to grant only an ‘A’ certificate if the film was to be retained as it is. When Madhur asked for reasons, they came up with such a long list of objectionable scenes and dialogues that it completely flabbergasted the filmmaker, who has made a career out of depicting reality on screen.

“Madhur really didn’t know what hit him because he was quite sure that Censors would keep the theme of Jail in mind before passing the verdict. He was not at all expecting the ‘A’ certificate and the cuts suggested by the Censors were unacceptable to him. He felt that it was unfair on his movie since he had made it after such an extensive research. He couldn’t fathom why Censors were being harsh on the film when his intention was not to glamorize the entire jail world or give rise to any scandals”, recounts the source.

So what were these ‘objectionable points’ in the film that have resulted in such hue and cry? And what’s the counter argument given by the makers of Jail? Let’s have a look:

A dialogue mouthed by a police official to an inmate: ‘Danda neeche se daloonga aur moonh se nikaloonga’
Argument: You don’t expect police to be polite when they are dealing with criminals (or possible criminals). Moreover, Akshay Kumar (who had played a cop) had said the same to Irrfan Khan in Madhur’s own Aan – Men At Work.

Masturbation scene featuring Neil
Argument: How otherwise would an inmate let out his sexual frustration? Nevertheless, keeping the sensibilities of family audiences in mind, the scene has been deleted.

A dialogue mouthed by one of the characters: ‘Mumbai ki khudai Grant Road ki ch***i, kabhi khatam naho hone waali mere bhai
Argument: That’s a tapori way of speaking and the film does show such characters. No more comments.

Expletives like ch***a and more
Argument: You don’t expect a decent language when hundreds of men are lodged together in a jail. Even otherwise, there have been at least a dozen odd movies before Jail that have allowed liberal dose of colourful language.

A scene showing Mugdha’s cleavage
Argument: A very small part of the song ‘Saiyan Ve‘ shows Mugdha and Neil getting intimate with each other where her night dress slips down a little. Censors saw red in that. Wonder, as there has been far more skin show in practically every second film that releases today.

A scene showing two gay inmates making out with each other
Argument: Doesn’t that happen in jails worldwide? The scene features two gays getting intimate in a bathroom. Censors had objections to this which is surprising since Madhur’s own Page 3 had a similar scene. In any case, the dialogue has now been changed in Jail. However, the scene has been retained.

Neil’s nude scene
Argument: Censors felt that the scene was still quite bold for the Indian audience. However, it is a basic process where every inmate is required to strip down completely to reveal any weapons that he may be carrying. In any case, we had pixilated the scene but the Censors wanted it to be further blurred. We were left with no options.

Due to scenes as above going through a change and or in case even completely chopped off, Madhur was left fuming. More so because otherwise the Censors were unwilling to grant it even a U/A certificate.

When contacted, Madhur was expectedly diplomatic about the entire affair. Not willing to comment much, all he stated was – “I want my film to reach out to a larger audience. I am happy with the U/A certificate. Censors were working in their own set parameters and I don’t want to challenge that.”

However, the source continues, “Ironically, this is not the first time that Madhur’s films have faced an axe from Censors. We don’t really have to go very deep down the memory lane for this. Fashion got an ‘A’ certificate and still, it was such a good success. On the other hand, both Page 3 and Traffic Signal were given U/A certificate, but they went on to get National Awards for Madhur. We are just hoping that the same happens for Jail as well though it would have been great had the film been retained as it is.”

Bollywood Hungama.com