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
Legendary playback singer Shamshad Begum, who mesmerised music lovers with classics like Kahin pe nigahen kahin pe nishana, Mere Piya Gaye Rangoon, Kabhi aar kabhi paar and Kajra mohabbat wala, died at her Mumbai [ Images ] residence from age-related ailments.
She was 94.
“She was not keeping well for past few months and was in and out of hospital. She passed away last night at our home (Powai in northeast Mumbai). The funeral was a solemn affair with a few friends present,” Begum’s daughter Usha Ratra said.
The singer had been living with her daughter and son-in-law Yog Ratra in Mumbai ever since her husband Ganpat Lal Batto died in 1955. Continue reading
With 10 months of the year 2012 having faded away, it is amazing to watch back how well many movies in this year have done. This year has indeed been a good one for Bollywood. 12 Bollywood movies have so far been declared Super-Hits. The 12 movies are just from the time span of January 2012 to October 2012.
Koimoi has classified movies based on the below parameters:
Hit: Film which doubles the investment; Super-Hit: Film which more than doubles the investment; Average: Film which only recovers investment; Plus: Film which recovers investment & yields some profit; Flop: Film which loses 50% or more of investment; Losing: Film which does not recover the investment but loses less than 50% of it.
Based on these parameters Koimoi has established that the following movies has more than just doubled the investment. We have listed starting from the highest to lowest, ranking based on estimated multiples in Returns of Investment. Continue reading
Take a cauldron. Mix in ‘Harry Potter and The Goblet of Fire’ in generous doses, the essence of ‘Jaane Tu Ya Jaane Na’, few minutes of some other films-set-in-school, and add a dash of ‘3 Idiots’ for flavour. What you have is Karan Johar’s latest offering, ‘Student Of The Year’. The director’s latest offering justifies, to the last bit, the adage – ‘all that glitters is not gold’.
Set in the picturesque locales of Dehradun, more precisely, in the Forest Research Institute and Kasiga School, ‘Student Of The Year’ has every element of a Karan Johar school/college film. Beautiful surroundings; the fluff of snobbish, brand-obsessed people; few nerds – one of them bespectacled, inevitably; a Dean who just doesn’t understand the values of friendship and camaraderie and so on. You ask for it, and you get it. No stone is left unturned in leaving a large, bold Karan Johar signature on the film.
St. Teressa’s School is one of the best schools in the country. Students here, every year, have their eyes and goals set on only one end – the Student of the Year Trophy. A bespectacled Kayoze Irani narrates the story of St. T’s ten years after their batch dissipated from the school, and now gathered at the deathbed of their Dean, Yoginder Vashisht (Rishi Kapoor). The run for the Student of the Year trophy, ten years back, was one that was nothing short of a live-or-die competition for the inmates of St. T’s. However, no matter how much the posters of the film shout out, it certainly is no ‘competition for life’. Sigh. Continue reading
“English Vinglish” Marks The Victory Of Concept & Sridevi
“English Vinglish” started slowly at box office and after a good growth on Saturday and Sunday, film looked to settle with average numbers. But film’s amazing and a bit surprising performance in week two gave it not only the Hit tag but also marked the victory of a concept film and start status of Sridevi.
Film has collected some huge numbers overseas which are unheard of for a heroine oriented film. This was solely due to film’s overseas friendly content and presence of Sridevi. This is 3rd clean hit from R Balki (though this one was directed by his wife Gauri Shinde) after “Cheeni Kam” and “Paa”.
Film collected 60 lakh and 55 lakh on Wednesday and Thursday to take film’s two week collections to 31.50 cr nett. Film collected 10 cr nett in 2nd week which is approximately 45% drop from 1st week which is rare in today’s time. Though film will be out of most of the cinemas next week due to mammoth release of SOTY, but one thing is sure that Sridevi is back and with a bang!
Below are the collections for the film – Continue reading
t would’ve been more apt to title this movie ‘Dancer of the Year’, instead of ‘Student of the year’, because that’s what Karan Johar’s pretty students do the most. They break into a jig at the drop of a hat.
From extravagant weddings to snow-clad mountains, to funky clubs, to almost anywhere, they invest every waking hour in matching their steps to a host of remixed, old Hindi film classics.
At KJo’s new school, it’s only the dance moves that count, and nothing else.
Textbooks, sports and any other extracurricular activities, barring the one that touches the heart, are sidelined and pitched towards the fag end of the two-and-a-half-hour race. Continue reading
This has probably never happened in the history of Bollywood. A 49-year-old mainstream actress, absent from the limelight for almost 15 years, makes a comeback in a starring role.
Her role in English Vinglish has won over the fans all over again. What’s more, contrary to what was normally seen in her heydays of the eighties, this time critics as well as the cerebral crowd are loving it too.
But then Sridevi has always been an enigma, a departure from all that has forever defined stardom for the average Bollywood heroine over the years.
The press would recall her as a star who avoided giving interviews or resorting to convenient antics to hog off-screen spotlight even in the days when she reigned as Hindi cinema’s undisputed number one female star.
Fans would vouch for her innate ability to smoothly mix sex appeal with a peculiar streak of innocence.
As Mr India director Shekhar Kapur once famously said, Sridevi was almost a ‘child woman’ on screen – her face seemingly unaware of what her body was doing to her legions of male fans.
English Vinglish was, of course, different. Gauri Shinde’s film demanded Sridevi wholly rid herself of the cute sexy charm of yore.
Madhuri Dixit , pictured left will be seen in Dedh Ishqiya and Gulab Gang and Manisha Koirala will be seen in Bhoot Returns
She plays a middle-class Marathi homemaker draped in the whole nine-yards, conscious of her self-complex of not knowing spoken English in a world that laughs at her ignorance of the language, and yet driven by the steely resolve to prove a point in her own quiet way.
Mainstream superstars are known to be shackled by the very image that takes them to the top.
In Sridevi’s case, you cannot think of many instances barring Yash Chopra’s Lamhe in 1991 where a script offered her the scope to break free.
If English Vinglish is the season’s surprise hit, it is because debutant director Shinde bravely created room for her lead star to move beyond the trademark Hawa hawai image.
You would say that at 49 it was impossible for a senior actress to turn on the formula that worked for her when she was 20.
In an era when every other PYT actress is gunning to score with the oomph quotient, Sridevi had to do something different.
That she has managed to impress despite moving away from the image that made her a phenomenon is itself an achievement in Bollywood, where stars are not encouraged to experiment.
Shinde has said Sridevi is a star who ‘is completely there when she faces the camera’, describing her as ‘a director’s actor’.
Uncanny, how her description echoes what Shekhar Kapur said 25 years ago after Mr India became a blockbuster. Continue reading
But there are all kinds of silent-film acting, with different levels of exaggeration, and what Sridevi does is just enough to render dialogue or explanation unnecessary. This is not the silent-film acting of far-flung arms and clasped bosoms, but the kind where a normal expression (one that would have been expressed without emphasis by, say, Shabana Azmi) is imbued with just the right amount of highlighting so that we register this emotion without being slapped on the face with it. It’s marvellously direct – and it’s there in the scene where her insensitive husband declares in front of family that his wife was born to cook. Her reaction – which seems to say “Is there no end to the extent you will go to humiliate me? I mean, I’m standing right here, right in front of you!” – is enclosed in the gentlest of quotation marks. Every single person in the audience knows what that face is thinking, what it’s saying without saying. This is a beautiful instance of silent-film acting, and it doesn’t need an intertitle.
Sridevi, in the days she was the No. 1 heroine, was rarely called to exhibit this dimension of her talent. She was asked, primarily, to do the other kind of silent-film acting, the wildly exaggerated kind. Of course, she was very good at that too – it’s not difficult to see why Kamal Haasan, once, called her an excellent bag of tricks – and she gives us just a glimpse of that self when her young son asks her to imitate Michael Jackson’s dance moves. This performance is so pleasurable because it reminds you of livewire actors like Farida Jalal and Juhi Chawla, who are often dismissed as “spontaneous,” without the acknowledgement that this spontaneity is its own kind of talent (if not technique). Certainly none of today’s Western-looking, long-legged models, who double as heroines, can carry this off. (They aren’t much good in the ‘subtle” and “nuanced” department either.) Of the current crop of actresses, only Parineeti Chopra, Sonakshi Sinha and Anushka Sharma show promise of carefully shaded silent-film acting (and let’s hope they’re not going to be slapped with the label “spontaneous”).
Read full article : http://baradwajrangan.wordpress.com/2012/10/12/lights-camera-conversation-speaking-volumes-through-silent-cinema/