Let’s get straight to the point. Bollywood just can’t afford two big films. Not yesterday, not today, not tomorrow. It is as simple as that. While the media is going berserk ‘worrying’ about whether Shahrukh Khan’s yet untitled film with Yash Chopra would indeed have competition from Ajay Devgn’s ‘Son of Sardar’ this Diwali, it seems nothing more than just a fantastical feeling to actually foresee this happening.
No, the clash is definitely not happening and if one would have to ask Shahrukh or Ajay about it, they would say the same. Well, under their breath at least if not out in open.
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– Playing the son of ‘vaasna ka pujari’ Ranjeet, Akshay is a complete riot with his lusty mannerisms and overtures. Watch out for his opening scene in a shaking van, parachute landing over his prospective mother-in-law or the bedroom scene with Asin.
– John Abraham who lets go of his macho and masculine side here and (surprise-surprise) brings in a slight feminine streak in his walk, talk and body language. He clearly seems to be enjoying doing everything that he has never done before.
– What doesn’t quite cut much ice though are a couple of action sequences, one in each halves of the film, which are totally forced into the proceedings.
– Moreover in the middle of the second half, the emergence of third and the fourth Jolly leads to the narrative become a little confusing due to which you just give up as an audience to keep track of the actual happenings and just concentrate on fun on the screen. Continue reading
While of late style and technique has seen a manifold increase in Bollywood, filmmakers are also pushing the boundary when it comes to challenging the audience. Yes, there are escapist films being made (and loved as well). However there are filmmakers who are aspiring to merge hardcore commercial cinema with elements that require one to think hard and grasp the context of a scene rather than being spoon fed. ‘Agent Vinod’ is an example of one such cinema. Though there is always a risk element associated with such endeavours, Saif Ali Khan and Sriram Raghavan seem to have taken a conscious call in this direction.
One has to be very attentive while watching ‘Agent Vinod’, especially its first half. There are country settings that change every 10 minute while newer characters are also introduced at a rapid pace. It is in fact difficult to keep track of which character is doing what, where and in which time zone. Now while a section of audience is expected to grasp such a challenge with open arms, those used to getting entertained in an effortless manner are bound to feel a little restless.
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‘Agneepath’ turns out to be a film that starts off well, builds great momentum, has a wonderful interval point but then starts going down in the second half in a big way. So much so that by the time the moment of reckoning arrives, you have been so exhausted with at least 30-40 minutes of extended storytelling that you don’t really give out a cry of euphoria when Vijay Deenanath Chauhan eventually emerges victorious.
By Joginder Tuteja
1995 – That was the time when I was a school going teenager and there were only one recognised awards – ‘The Filmfare Awards’. Nominations were eagerly awaited, bets were placed on the eventual winner, homework was finished well in advance to watch the coveted awards ceremony (albeit it was ‘deferred live’, but the who cared) on Doordarshan and phone calls were made during advertisement breaks to share notes on what was the winning score by now (on the bets being won when nominations came spot on).
2012 – The scenario has changed. Well, completely.
This week’s ‘Reflections’ is about the innocence lost with commercialisation taking over everything and everyone.
‘Desi’ is in. Now haven’t we heard that way too often right through the year gone by? Ever since Ghajini turned into a huge success, Bollywood has been accused of picking up rights of South films (which pride themselves at being ‘desi’) left, right and centre at a feverish pace. Super success of films like Bodyguard, Ready and Singhamfurther resulted in rights of many other South films being picked soon after their release (or at times even before that). It is being also said that Bollywood is short of original ideas and South seems like the only resort. Also, it is being reaffirmed that going ‘desi’ is the only way out!
But wait, is that really the case?
The way I look at films lined up ahead, that doesn’t necessarily seem to be the case. Yes, of course there are close to a dozen odd ‘desi’ films (either remakes or originals) in the making but then well, these are not the only ones on which industry is pinning it’s hopes on. There are ‘videsi’ influences as well which not just defies the myth around ‘desi’ being the key to success but also conveys loud and clear that there are different genres and setups being explored.
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2011 was just about good when it came to music in Bollywood. There weren’t many earth shattering albums hitting the stands which worked in entirety and those which were lapped up did come with an expiry date. One hopes though that the scenario changes in 2012. Here is presenting the list of Top-10 most anticipated soundtracks in year to come.
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Top 11 soundtracks of 2011
By Joginder Tuteja, Jan 7, 2012 – 16:39 IST
In the year gone by there were quite a few surprises in store when it came to Bollywood music. While a few biggies didn’t quite boast of memorable music with the albums not even moving an inch on the stands, a few smaller movies sprung a pleasant surprise. Also, it was interesting to see young guns like Sachin-Jigar, Ram Sampath, Krsna and Sohail Sen making their presence felt in a big way. Here is presenting some of the best soundtracks from the year gone by. While some scored high on popularity meter, a couple didn’t quite cover the kind of distance they deserved though a few could well be ‘lambi race ka ghoda’!
Makers of Bittoo Boss are miffed with the manner in which their theatrical promo has come under the axe. Apparently, the Censor Board has found the humour quotient in the film way too risque and have simply banned its screening in theatres as well as television.