Detective Byomkesh Bakshy – Truly Spectacularly Different
Very few movies have been path breaking and DBB is one of them. It should be compared to the best of Hollywood movies. The settings, the costumes, the cinematography & the screenplay are Oscar worthy. The movie is very fast paced and if one doesn’t notice things or understand the followings then one will be like the character “Bhuvan Babu’s” son. It’s very amusing to find such movies made in Bollywood. This movie is in totally different league and the very opening scene itself affirms my claim.
Sushant Singh is Outstanding and the actor who played the character of Dr is brilliant but the main Hero is the director and so is the director Dibaker Banerjee. Take a bow Mr. Banerjee. Take a Bow.
Yes! The movie is truly Spectacular in its treatment, absolutely different kind of a movie that one has hardly seen in Indian cinema for a very long time and its soul is complete Desi yet Superior in Quality.
The unraveling of plot, build-up of suspense, twists and the details captured were intriguing, fascinating and engrossing. Overall an OUTSTANDING MOVIE OF THE YEAR. 5/5 Continue reading
Kangana Ranaut’s terrific performance as Tanu and Kusum in the sequel of Tanu Weds Manu is being widely appreciated both with words and in terms of the box-office figures it is generating. The film could soon be the first film to cross the Rs 100 crore mark, reports Businessstandard.com. According to the report, trade experts are of the opinion that Tanu Weds Manu Returns should meet the Rs 100 crore target in its second week, considering its box-office run so far. If this happens then TWMR surpass Akshay Kumar-starrer Gabbar is Back and Baby in the race to the Rs 100-crore club. The film has already collected Rs 76.5 crore.
While the film is all set to enter the Rs 100 crore club, read on to know why women are calling up R Madhavan after watching the Tanu Weds Manu Returns
Vishal Bhardwaj, who is riding high on the success of Haider, which has won accolades in India and abroad, is now all set to make a romantic film with a historical backdrop. Titled Rangoon, the film is a ‘Casablanca style’ love triangle between Kangna Ranaut, Saif Ali Khan and Shahid Kapoor.
The filmmaker not only confirmed the title but further added that this will one of his most expensive films to date and will also be a musical. While Vishal has worked with Shahid Kapoor in Kaminey and Haider, he has worked with Saif Ali Khan in Omkara. However, the two hunks of Bollywood have never come together for a Bollywood film. On the other hand, Vishal Bhardwaj will be working with Kangna Ranaut for the first time.
Elaborating on the plot of Rangoon, Vishal mentioned that the film will focus on the era of Second World War. Further reminiscing about those days filled with bloodshed, the filmmaker added that there are many graves of Indian soldiers in Imphal and Manipur who had lost their lives during this period of World War. In Rangoon, he will portray the
Tanu Weds Manu Returns held up very strong on Tuesday with a small drop from Monday. The film only dropped a little in the metros while other cities were same as Monday and some even better. The first five day business of Tanu Weds Manu Returns is as follows.
Friday – 8,50,00,000
Saturday – 13,00,00,000
Monday – 8,50,00,000 Continue reading
It looks like the All India Bakc..d (AIB)’s troubles over the December 20 ‘Roast’ show featuring Karan Johar, Arjun Kapoor, Ranveer Singh are far from over.
The latest in the controversy is the film industry’s spokesperson filmmaker Ashok Pandit claiming that the AIB had no official clearance to stage the controversial stage show which has ripped open an entire moral discussion on the social network.
Pandit who has lately been appointed as a member of the newly-revamped censor board says that AIB had no clearance for the controversial show.
“All staged performances, plays or stand-up comedies in Mumbai have to get permission from the Maharashtra police. They also have to submit their request for permission to the cultural ministry. The AIB has done none of these. They got no bloody clearance to have the show,” states Pandit angrily. Continue reading
Bollywood suffers from ‘gora-phobia’. Any sign of a collusion with a caucasian actor has even the biggest of our stars turning into jelly with excitement.
Nawazuddin Siddiqui who has lately become an actor to reckon with, is now on a firangi trip. Last week the papers were flooded with Nawaz’s PR overdrive claiming that he was being “paired opposite” Nicole Kidman in Garth Davis’ Lion.
Some careful probing reveals some very embarrassing facts about this sensational spot of casting (Kidman and Nawaz together does look like an unlikely combination).
A source very close to the project reveals, “I don’t know why Nawaz has created the impression that he’s paired opposite Nicole Kidman. Nawaz doesn’t have one shot with Nicole Kidman. He is in the film for sure. But he features in one episode and Nicole in another. They don’t even come face-to-face in the film.” Continue reading
Director: Neeraj Pandey
Cast: Akshay Kumar, Zachary Coffin, Rana Daggubati, Danny Denzongpa
Borrowing its structure from Zero Dark Thirty, its climax from Argo, its intention from Nikhil Advani’s D-Day, and its occasionally jingoistic tone from your standard Bollywood B-movie, Baby, directed by Neeraj Pandey, is a khichdi of influences, and an uneven film as a result. Pandey, who made a big impression with the provocative and controversial vigilante thriller A Wednesday, applied the same sense of urgency and tension to Special Chabbis, giving us a smart con film that involved an elaborate cat-and-mouse chase between cops and thieves. With Baby, his treatment is more escapist than realistic.
Akshay Kumar is Ajay, a highly skilled agent in an undercover counter-intelligence unit dubbed Baby that’s tasked with foiling terror attacks on the country. When Bilaal (Kay Kay Menon), a terrorist facing trial in India, escapes from prison, and it becomes clear that a major attack is being hatched by Pakistan’s Lashkar group, it’s up to Ajay and his team to save the nation. This mission sends Ajay racing between Turkey, Mumbai, New Delhi, Nepal, and the Middle East, where he more or less single-handedly flushes out rogue agents, dismantles terror plans, and vanquishes the bad guys in well-executed action scenes. He is both the brains and the muscle in the unit.
Unfortunately however Pandey gives us a first half that is loose, and one that serves little purpose other than to act as a set-up, and to introduce us to the main players. Danny Denzongpa is Ajay’s boss Feroze Ali Khan, who paces down corridors and stares grimly into open spaces, leaving his star officer to do all the heavy lifting. There’s also a hate-spewing, India-bashing mullah (Pakistani actor Rasheed Naz) who, in one of the film’s crucial scenes, echoes an oft-repeated (and controversial) sentiment pertaining to India’s typical response to terror attacks.
The pace picks up considerably post intermission, when Pandey gives us some terrific moments of breathless action and genuine tension. In a rare scene that allows another agent besides Ajay to flex their chops, Tapsee Pannu gets her big moment to shine in a Kathmandu hotel room. However implausible, another break-in scene at a desert resort is riveting, edge-of-the-seat stuff. The film’s last hour in fact is so crisply done you’re even willing to forgive Pandey the messiness of the first act and the routine lapses of logic in the screenplay, like Bilaal’s escape in broad daylight on Mumbai’s busy Marine Drive.
To be fair, the film is an engaging enough thriller sprinkled with witty lines and crowd-pleasing moments that Akshay Kumar performs with a deadpan expression to great effect. An example of that is a superb scene in which he calmly responds to an apathetic offhand remark made by a minister’s PA. Akshay, in fact, is in very good form, giving us a glimpse of the solid actor he can be when he isn’t cashing his paycheck making low-brow comedies. He’s ably supported, in the film’s final act, by a buff Rana Dagubatti, and particularly by Anupam Kher as fellow agents on a daredevil mission.
I was rankled by the film’s simplistic arguments, its all-too-convenient solutions to complex issues, and Pandey’s tokenism when it came to portraying a few ‘good Muslims’. Also, wouldn’t it have been great to get a protagonist that felt vulnerable instead of a superhero? Well, perhaps in another film.
I’m going with three out of five for Baby. Enjoy it for the brisk action thriller that it is, and try not to think about how much better it could’ve been.
Rating: 3 / 5
The History of Kissing in Bollywood: Timeline of a Taboo
Kissing in Bollywood films has been a volatile subject, a heated source of international ridicule and shame, for almost 100 years. This blog post is likely to horrify just as many readers as it intrigues. What many people do not know is that the taboo of kissing in Hindi films has evolved so dramatically since the birth of film. In its early days, intimacy on-screen was not the heretical offense it later became–in fact, an appropriate diegetic display of affection was once standard fare in Hindi film! But a carefully constructed web of symbolic cinematography and allegorical imagery soon replaced the film industry’s brief encounter with physical romance. Instead generations of Indians grew up in a world where pretty treetops and flowers were more passionate than any human interaction could ever become. We created scores of young men and women like myself who get so uncomfortable when kissing appears on-screen if Indian parents are present, that we actually have to leave the room to relieve tension. And when I first saw Shashi Kapoor sell his soul kissing in a Satyam Shivam Sundaram, I felt my world had come to an end.
Why is there such hype around kissing in Hindi films? After all, we’re all modern citizens of the world, and certainly Indians are some of the most romantic. Kissing in Bollywood films has jumped the spectrum from as liberal as the French in the 1920s to a wave of conservatism brought by the 1950s and again a shift back toward cinema’s early lip-locking roots by the 1990s. We at Mr. and Mrs. 55 hope our descriptive timeline of this fascinating cause célèbre sheds light on this controversial impulse of nature we were all led to believe pure Indian film stars did not possess!
Kohra Waheeda Rehman kiss fish symbolism
Director Biren Nag cleverly cuts from a threatened kissing scene in Kohra (1964) between Waheeda Rehman and Biswajeet to two fish finishing what the married couple started. Continue reading