Fenil and Bollywood

Posts Tagged ‘september 1

YAHOO.COM (January 2, 2010)

Mumbai, Jan 2 (IANS) Director Rajkumar Hirani Saturday produced the credits agreement with author Chetan Bhagat for hit film ’3 Idiots’ and maintained that the movie was not a copy of the bestseller ‘Five Point Someone’.

Hirani distributed copies of an agreement of credit and a non-disclosure agreement signed by Bhagat Sep 1, 2005 and Oct 3, 2007 respectively. Screenplay writer Abhijat Joshi was also present at the media meet.

‘It shall be obligatory on the part of the producer to accord credit to the author in the rolling credits… as under – Based on the novel ‘Five Point Someone’,’ the agreement on the issue of credit states.

The non-disclosure agreement was signed after Hirani gave a ‘four-hour narration’ of the final script to Bhagat, the director said.

Hirani also supported his argument by giving a copy of an interview that Bhagat gave to IANS Sep 26, 2008 titled: ‘I liked the final script of ‘Three Idiots’: Chetan Bhagat.’

‘The director took my book as the base but he has changed it according to his requirements. He took permission from me before taking my story but has not involved me in making it into the final script. But he has shown me the final script and I have liked it too,’ Bhagat had told IANS.

The credit row surfaced after Bhagat had posted on his blog that ’70 percent’ of ’3 Idiots’ is based on his book and therefore he should have got a prominent place in the rolling credits as well as during the film promotion. He also said that he was not shown the final script.

Producer Vidhu Vinod Chopra has said that as per their agreement, Bhagat’s name appeared in the rolling credits and he was paid the due amount.

Hirani, who has helmed movies like ‘Munnabhai MBBS’ and ‘Lage Raho Munnabhai’, also pointed out that the producer had bought the rights of ‘Five Point Someone’.

Hence, it was their prerogative whether to use ‘five percent of the book or 70 percent of it’.

shadow

A blind man as a hero…that’s something really novel and interesting! And this blind hero dances, does daring stunts and doesn’t look visually impaired at all. Unfortunately, in order to exhibit blind actor Nasser Khan’s greatness, the director and the screenwriters paid no attention to other factors and came up with a pathetic product, which due to some reason is titled Shadow. The loopholes in the narrative are big enough to drive a tanker through! Seriously, what were the writers thinking while scripting this film? Even kindergarten kids could have come up with a better film!

The story of the movie: Arjun Sherawat (Nasser Khan) is a serial sharp shooter who since few months is giving the Mumbai Police sleepless nights. He kills his victims and doesn’t leave any clues at all. Inspector Sanjana (Sonali Kulkarni) who is entrusted this case tries hard but fails to get any information or whereabouts regarding Arjun Sherawat. In real, Sherawat is a jovial car mechanic called Raju who has the ability to impress any girl by mouthing some crap dialogues in the most pathetic manner! Coming back to Sanjana, she gets clues that point that reporters Sheetal (Hrishitaa Bhatt) and Rahul (Milind Soman) (the latter who’s hell bent on criticizing Sanjana and Mumbai Police) may be Arjun Sherawat’s allies. But Sanjana is proved wrong when Sheetal informs her about Sherawat’s next victim. Sheetal couldn’t save Sherawat’s target but she’s able to kill him. Intermission time! Now we all know that picture abhi baaki hai and that Arjun Sherawat must be alive and that he’s not going to die just halfway. And as expected, he is indeed alive! He sends an audio clip, challenging Police that he’ll kidnap Builder Habib Faizal (Mushtaq Khan) on September 1-rok sake to rok le! If you want to know what happens next, you’ll have to commit an act of bravery, i.e. see this film!

The film could have been an engrossing fare, never mind the glitches, but even that doesn’t happen as songs are placed just anywhere in the film which badly hampers the pace of the film. There’s a scene where Sherawat aka Raju the mechanic fixes a screw in the car of a hottie (Sonia Mehra) who in turns gets floored and offers him 1000 bucks. Raju and his two colleagues feel that this is a reason to celeberate and so they visit a pub and break into the song ‘Yaariyan’! All this had no connection with the main plot and yet, director Rohit Nayyar happily wastes time on such stupid scenes!

The police are shown as utter fools while Arjun Sherawat is projected as an intelligent ‘sexy’ criminal who can escape from the cops right under their noses. And even characters were not well sketched. Even after the film ends, one doesn’t understand Hrisihita Bhatt’s connection with Nasser Khan. Milind Soman in the initial portions is shown as a reporter but later, we learn that he’s actually a senior cop of Delhi Crime Branch who was working on Sherawat’s case. Again, no explanation provided as to what Milind gained by pretending to be a reporter. Maybe, the director felt revealing Milind Soman’s true identity would give viewers the biggest shock of their lives!

Then there’s Sonali Kulkarni’s father (Vishwajeet Pradhan) who is the police commissioner and whom Sonali hates. This track served no purpose other than increasing the film’s duration. Post-interval, Sonali Kulkarni does a stupid item number (it was the most terrible sight I have seen in recent times) and then falls in love with Nasser Khan. Again, there was no need of this romantic angle in the plot. And how can I forget Home Minister Shiv Shankar (Sachin Khedekar) who used to pass his spare time raping young girls and killing them every week! Undoubtedly, Shadow was Nonsense No.1!

The climax of the film seemed little rushed-maybe the director felt that he has wasted enough time showing Nasser dancing and romancing and should finish the film ASAP. Surprisingly, the film has some good points-background score, music and Sameer Aftab’s performance. He was the only one who looked like a good actor in the film!

Nasser Khan, as we all know, is a bad actor with negligible dancing skills and pathetic dialogue delivery. But I’ll like to appreciate him for his efforts. It was next to impossible for a blind person doing such stunts, acting and even dubbing (the latter requires one to see). And he has also co-produced the film. If only he had improved the story and direction, then maybe Shadow would have been appreciated, notwithstanding his performance.

The film has lots of fine actors and it’s shocking to see them in such a film. Sonali Kulkarni impressed in the role of the cop initially but disappointed later with the item number and the pre-climax scenes. Milind Soman’s role was laughable and so his performance also got affected. Sachin Khedekar as the villainous serial rapist cum Home Minister gives a good performance. I hope he never ever signs such films! Samir Aftab, who played Khedekar’s PA, looked charming and he was the only one in the film who didn’t underperform or overact at all. Hrishitaa Bhatt, Vishwajeet Pradhan and Mushtaq Khan were fairly okay. Sonia Mehra was terrible.

Anand Raj Anand’s music was alright. ‘Khumariyan’ was the only good song of the lot. Raju Singh’s background score was the only thing that rocked in the film. Cinematographers Jalees Oberoi and Raju Badiger could have done a better job in the action scenes.

Rohit Nayyar failed as the director. He managed to showcase Nasser Khan but failed to come up with a well-made film. Mostly, action flicks manage to work in rural areas. But Shadow did a shoddy job even in rural places! In fact, after watching Shadow, I realize that Kamaal Rashid Khan’s Deshdrohi was so much better!

On the whole, Shadow was undoubtedly the worst film I have seen in my life. Stay miles away from this film. It’s worth recommending to your foes!

My rating-* out of 5!

This review first appeared on MouthShut.com: http://www.mouthshut.com/review/Shadow-174799-1.html

Salman Khan and Himesh Reshammiya, who had fallen out in 2006, decided to not let their egos get in the way of their reconciliation
By Vickey Lalwani (MUMBAI MIRROR; September 01, 2009)
Salman Khan and Himesh Reshammiya were good buddies once, but in Bollywood ego usually plays the villain. But like friendships, enmities in the fickle world of films don’t last long either. Yesterday morning, they kissed and patched up on the sets of Dus Ka Dum at RK Studios, Chembur, indicating a thawing-out for the first time since their problems peaked in 2006. Salman and Himesh hugged four times on the sets and they met like long lost friends. Shenaz Treasuryvala and Sonal Sehgal, Himesh’s co-stars in the forthcoming film Radio, accompanied him.

The age-old saying ‘time is a healer’ seems to have worked in the Salman-Himesh relationship, which had gone sour. Salman, who is very clear about his choices, had no issues when the channel invited Himesh to participate in the show. A source from the channel said, “Salman is consulted before sending out any invitation. Only when he showed no apprehensions about inviting Himesh, was he invited.”

Himesh Reshammiya

Salman Khan

Seeing Salman’s warm reception, Himesh was overwhelmed. Another source who was present at the shoot said, “Salman and Himesh were very comfortable with each other. Unlike the past, Salman did not take any digs at Himesh. The shoot wrapped up much sooner than expected.”

Anita Basu, who was present at the shoot with her husband (producer of the show, Siddharth Basu), confirmed that there were surprisingly warm vibes between the two. She said, “Salman and Himesh definitely shared very good chemistry and the show went off very well.”

It may be recalled that Salman had suddenly stopped playing godfather to Himesh and no longer insisted on featuring him in all his films, and Himesh no longer referred to Salman as God, in gratitude for his help. The friction began at a Nagpur show, where Salman and Himesh had an ego clash. After that, they stopped talking to each other completely. But in true Salman style, the star often took digs at Himesh, making fun of the trademark nasal quality of Himesh’s singing.

Anyway, all’s well that ends well. A smiling Salman left RK Studios and Himesh too has been very happy since then.

For the first time, Sushmita talks about how she went from flab to fab in forty-five days
By Kunal M Shah (MUMBAI MIRROR; September 01, 2009)

Then

Now

Sushmita Sen’s sudden weight gain earned her enough flak to last a lifetime but her recent appearance at the inauguration of a spa left everyone speechless. In a matter of months, she went from rotund to fabulously sexy and svelte. While everybody has been keen to know what she did to again look every inch the glamorous star in a really short time, for the very first time she tells Mumbai Mirror why she gained weight and how she fought off her weight issues.

Explaining the reason for the sudden weight gain, Sushmita said, “I was asked to gain weight for my role in Do Knot Disturb. David and Vashuji wanted me to gain 14 kgs for the role. I have always been 58 kgs and I told them that gaining 14 kgs was just not possible. I ultimately gained nine kgs for the role.”

Wasn’t gaining all that weight only to lose it all over again a tedious task? “Gaining weight is the easiest process for a human being. You just have to binge. One can gain as much as 2 kgs every week by only binging. In my case I just stopped following my diet. Losing weight was the most difficult part as I also had to complete my other film Dulha Mil Gaya and I had to look thin for the second half of Do Knot Disturb. Now I have lost about eight kgs and currently weigh 59 kgs. I still need to lose one more kg.”

Giving details about her weight loss regime, she added, “It took me about one and a half months to get back to my original shape. I must say it was quite difficult. I am very lucky to have a very good trainer, Mupur Shikhare. I have never travelled with my trainer but on a recent trip to Delhi, I did just that. I was on a strict diet. I used to eat in parts and drank a lot of ugly looking vegetable juices. I completely stopped eating carbs after 7pm. However, I used to eat every two hours. It was not just a protein diet but a well-balanced one with a healthy mix of protein and carbs. My only requirement was a healthy diet and that was fulfilled. I also did some serious training during that period. Discipline and diet control made it all possible.”

Commenting on why she didn’t hit back when people said outrageous things about her weight gain, Sushmita said, “I don’t react to things. Quite frankly, I would have liked Vashuji or David to speak up for me at that time. But I guess they had their own reasons. It’s fine and now that the film is complete, people know that all my weight gain was for the film.”

Although director Ashu Trikha vehemently denies his film Baabarr is based on gangster Rafiq Qureshi’s life, the similarities are too striking to ignore

By Kunal M Shah (MUMBAI MIRROR; September 01, 2009)

bab

Director Ashu Trikha is ready with his film Baabarr which releases this month. Apparently, the film is based on gangster Rafiq Qureshi’s life and the  dreaded D2 gang, who ruled UP and especially Kanpur, for over 30 years. Although the filmmaker denies this, there are far too many similarities in the film to ignore.

A source said, “Rafiq, who was the leader of the D2 gang, was one of the most feared gangsters. The gang began operating in 1975 and Rafiq joined the gang in 1981 and immediately took over the reins. There were six brothers in the gang. In 2005, Rafiq was arrested in Kolkata. He was taken for interrogation to Kanpur where he was killed. Thereafter, two of his brothers, Taufiq and Iqbal were also killed. Two brothers, Afzal and Shafiq, are still in prison while another brother, Atiq is still absconding.”

Newcomer Soham plays the role of Rafiq, who is called Baabarr in the film. Commenting on the similarities, the source said, “The similarities are — Barbarr’s wife is shown fighting a human rights case against the government for the unlawful killing of her husband just like Rafiq’s wife. Barbarr gets married in jail while in custody just like Rafiq. Also, Rafiq belonged to Kuli bazaar where the film is being shot. There are also references to a lady politician, Lilavati (referencing Mayawati), who is shown being supportive of the gang. A minister, Kayam Singh (referencing Mulayam Singh) proves to be a nemesis for the gang. In the film, there is also a sequence where the Lucknow police give an affidavit in Kolkata court stating that they would not kill Barbarr in police custody, which happened with Rafiq too. However, Rafiq got killed within 24 hours of being shifted to UP. Apart from these, Baabarr also has six brothers just like Rafiq.”

Ashu Trikha denied the story. He said, “I am not aware of what you are saying. It’s a completely fictional story and I have gone and shot as per my script. It’s a commercial film and I have no idea if the film’s story is similar to anybody’s life.”

When pressed further about the similarities in the film, Ashu said, “I have no idea who your source is and where you found the similarities. I shot the film for 55 days in Lucknow but not a single person told me about the resemblance you are talking about. Yes, there are six brothers in my film and all the incidents you have mentioned are also there in my film; it must be a co-incidence.”

Sharmila Tagore has just done her first Marathi film Samantar, opposite Amol Palekar. She talks about her occasional foray into acting and lists her most memorable roles
By Indu Mirani (MUMBAI MIRROR; September 01, 2009)
What tempts you to do a film?

When I got married way back in 1968, my decision was to cut down on films but never give up. The very act of getting married means that you are not alone, you are taking on a family. In those days it could take two-three years to make a film. Now, we work on one film at a time, which is the ideal way to work. That’s how regional films are made.

I am turned on by a good script and a good role and I don’t judge a good role by its length. When you start doing character roles, it gives you a liberating feeling because you are no longer victim to looking good and you can then freely be the character.

I would love to do those characters with today’s directors like Vishal Bharadwaj or Raju Hirani. Imtiaz Ali obviously makes films about two young people in love but if he ever has a role for elderly people I would love to do it.Samantar offered all this?

In Samantar, although my character, Shama, is a recluse, she doesn’t go by social compulsions but by natural compulsions which is about being herself. Being herself means gardening, being close to nature, she creates beautiful pottery, she plays the violin. But in the company of people she isn’t herself. I chose this role because it is not a very verbose character so there is minimal dialogue except that I do have a three-page soliloquy.

Amol is a very sensitive director, and there is beautiful camera work, beautiful locations, and very competent and talented actors who play the smaller supporting characters. We shot at this place called Kalna which even the Bengali directors haven’t discovered. It’s a place of archeological importance. It’s a terracotta Shiv temple dating back 300 years, it has 108 Shivlings white and black.

The music by Anand Modak is excellent, Shomit’s lyrics are excellent.

Sharmila in Samantar

Why did it take you so long to take on a Marathi film?

Because nobody asked me so far. Amol was the first one who came with a Marathi proposal. I have been seeing Shashikalaji’s performances, Dr Mohan Agashe is a dear friend and I have always had the highest regard for Marathi actors because like in Bengal, they are all very good actors. If we can see Iranian films and Chinese films, why can’t we see our own regional films?

Doesn’t every language have its own meter and isn’t it difficult to adjust?

Bengali and Marathi have the same meter. Pauses, breaks and emphasis are the same. It’s just that some alphabets are pronounced differently.

So, is your character alone or lonely?

She chooses to be alone, but is not lonely. Like I said, she does not follow social compulsions. She is alright with herself, true to her own being and to her nature.

When you are alone, not enjoying yourself, are resentful and wanting company and when you don’t get company you feel deprived, that is being lonely. I would take loneliness in a negative sense. Somewhere in our souls we are all alone. To be alone I think is wonderful, that is when you can introspect, grow or evolve and that is a very positive thing. To be alone and doing your own thing, listening to music, exercising, looking at a beautiful flower, swimming in the sea or walking alone in the hills, it’s a wonderful healing process. When you are doing yoga you aren’t doing it to impress anybody, you are doing it for yourself. That is a healing and growing process. That is the difference between loneliness and being alone.

Which three Hindi films would you list as most memorable?

I would say Safar with Asit Sen, Dooriyan with Bhimsain and Mausam. Safar and Dooriyan were the two films where I follow an individual goal as a woman. Usually all women put the family before and sacrifice for them. These two women want to follow their careers and are therefore misunderstood. Indian films should have professional women because the moment you become a working woman, you are  a negative character, you are the cause of divorce. Children should feel, ‘I have a working mother’ and look at it with added value as opposed to that she is working woman, she must be neglecting her children.

The change is happening…

It needs to change more. Look at the disparity between the hero’s salary and the heroine’s.

What did you think of Saif in the Kal part of Love Aaj Kal?

It’s written very well, and Saif is very good, specially in the Kal part. Whatever he does, pulls his shirt in front, the earnestness, he does it very well. He is one of those very spontaneous actors. When he interacts with others, the screen looks good, not that he outsmarts the others. He doesn’t interact with his audience, he interacts with his co-stars. Therefore his scenes are very real and I think he is becoming a wonderful actor.

You are set to have a celebrity daughter-in-law soon ( Kareena Kapoor). How will it affect family dynamics?

I don’t think it changes anything. She also comes from a film background and we come from various fields. One extra person comes in and things change, but it’s for the better. You have to grow, everything grows.

By Lekha Menon (MUMBAI MIRROR; September 01, 2009)

When lost in a foreign country, Bollywood always comes to your rescue. Especially Shah Rukh Khan. That King Khan has a crazy fan following from Ambarnath to Amsterdam is stale news. But what you don’t expect is to see strangers, otherwise hostile to Asians, suddenly becoming more approachable, the moment they realise you belong to SRK’s country. Recently, a group of tourists from India were gallivanting in Naples, Italy, trying to find their way out of a maze of confusing streets.With not a soul in sight who could speak even half-decent English, they had a tough time negotiating the nukkads of Naples.

Shah Rukh Khan

Suddenly popped up Giovanni, a local youngster chilling out with his friends on a street corner. Hesitantly (after having experienced some not-so-polite encounters with Europeans), they approached him for help. “India?” was Giovanni’s first response to a rather long-winded question. “SRK?” was his next one-word query. And out of the blue, broke into ‘Tujhe dekha toh yeh jaana sanam’ from DDLJ in what sounded like a strange mix of Italian, English and Hindi. “I love Saahruk,” he informed the stupefied tourists. Turned out, Giovanni was a musician with a passion for world music. He had heard the song, watched the film and had fallen in love with Shah Rukh. Incidentally he hadn’t heard of Amitabh Bachchan or Akshay Kumar, neither had he visited India. But touring Mannat was certainly on his wish-list. Needless to say, the Bollywood convert immediately became a helpful guide for our stranded Indians, taking them on an impromptu tour of the city.

So the next time you feel directionless abroad, just say S-R-K.

Thanks to Arjun Rampal, the usually reticent Akshay Kumar couldn’t stop dancing and singing at the wrap-up party of Housefull in London. Twinkle is delighted
By Subhash K Jha (MUMBAI MIRROR; September 01, 2009)

Akshay Kumar

Akshay Kumar and parties never went hand in hand. That is till a few weeks ago. Everyone who knows Akshay knows him as this reticent actor who stayed away from late night parties and socialising preferring instead to stick to his healthy lifestyle, which included going to bed at 10pm and waking up in the wee hours of the morning to exercise. During parties, including his own, Akshay would always let his friends have fun while he quietly stood smiling in a corner with a glass of juice in his hand.

The juice still hasn’t changed. Akshay remains a teetotaler but the man has turned into a party animal in London, thanks to Arjun Rampal. The two were shooting together for Housefull and Arjun would try to drag Akshay to pubs and clubs almost every night.

A source said, “Arjun really brought out Akshay’s extrovert side. They would often go out together for a boys’ night out whenever their respective families were not in London.”

After Arjun left London, Akshay’s newfound fun side was made clear last week when the unit of Housefull saw Akshay having a great time during the wrap-up party. The star went to the dance floor and sang aloud Jee karda from Singh Is Kinng. Those present were shocked.

Arjun Rampal

A guest present at the party said, “It was most unexpected. First, Ritesh Deshmukh and Akshay sang and danced to a song called I am a loser from Housefull. When the DJ started playing Jee karda, Akshay took the mike and not only sang the song but also danced.”

The one person who is the happiest about the outgoing Akshay is his wife Twinkle. For years, she has been complaining about how staid he tends to be in crowds.


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