Ek Villain: What a terrible Loss (possible SPOILERS)

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Before I go into my views about Ek Villain, I’d like to state that I am a huge fan of “I Saw the Devil (ISTD)” (on which Ek Villain is based) and I consider it a cinematic masterpiece. When I heard that Mohit Suri is making an Indian version of ISTD I was contrastively (9 out of 10 times I hate Indianized version of classics) quite glad and upbeat about it. Reason: From the very first time I watched ISTD, I have always felt that it has a very universal story and despite all the violence its core element: “The story of ultimate pain and suffering and confronting it” is applicable to almost every variety of people.

What went unforgivably wrong in Ek Villain is the understanding of the story of ISTD by the director. I think Mohit Suri saw it as a story of revenge rather than for what it was. Throughout ISTD the audience witnesses the attitude of the protagonist (The husband) and it becomes very clear, how deeply hurt he is with his wife being killed. It is this pain and suffering that made him do what he did to the killer. In Ek Villain the director and the writers fail to portray that in Siddharth’s character. Even though the actor tried his level best but the treatment did not back him up at all.

Mohit Suri gets full marks in developing a back story and actually making it very Indian and very entertaining but what he completely messes up is establishing a connection of the husband’s grief with the audience. Despite the back story as an audience I hardly felt sorry for the husband’s character compared to what I felt for the same character in ISTD (even though there wasn’t a back story). Continue reading

Richard Attenborough, Actor, Director and Giant of British Cinema, Dies at 90

Richard Attenborough, Actor, Director and Giant of British Cinema, Dies at 90

Richard Attenborough, who after a distinguished stage and film acting career in Britain reinvented himself to become the internationally admired director of the monumental “Gandhi” and other films, died on Sunday. He was 90.

His death was confirmed by his son, Michael, according to the BBC. Continue reading

WELCOME TO THE NEW NAACHGAANA

Dear Members and Visitors,

We are back. After a few months of inactivity and bad design (both which I take great responsibility for), I have redone NG from scratch so goes back to being the BEST Bollywood/Indian film experience ever. NG has been through a lot yet we keep on going while others seem to give up or vanish completely. Our resilience is our trademark and this says more about you, the member – the visitor – than about a blog or me. I have tried to do my part by fixing many of the mistakes of the past in this new kind of NG. I hope this iteration brings everyone a new jot – with old friends and new faces – as we all rise NG to power.

To this, I say one word which says it all:

NAACHGAANA.

Love, Continue reading

How to deal with flops



After Humshakals was criticised by viewers and critics, actor Saif Ali Khan too trashed the film, saying it was regressive and he regretted being a part of it and underestimating his audience’s intelligence.

But how difficult is it for a director to stand by his own project, when the lead actor slams it by saying the film didn’t have a script to begin with? Director Teja, who has worked in Tollywood and Bollywood and directed films like Nuvvu Nenu, Jai and Nijam, feels that it is unfair of any actor to wash his hands off a project when it has failed.

“And in Saif’s case, he had a triple role in the film and he practically occupied 80 per cent of the screen space. How could it be that he of all people didn’t know what was going on?” he says.

Filmmakers Raj Nidimoru and Krishna D.K., who have directed films like Shor in the City and Go Goa Gone, have managed to get things going, and are working on their next film Happy Endings, even though Go Goa Gone didn’t fare very well at the box office. Continue reading

The Hundred-Foot Journey: My Book, Their Movie

My surreal journey into the world of movie-making started long before my family and I walked down the red carpet two weeks ago. That was the night producers Oprah Winfrey, Steven Spielberg, and Juliet Blake showcased their beautiful film of The Hundred-Foot Journey, my novel about a young Indian chef who becomes a three-star chef in Paris.

One of the most memorable moments actually happened last fall, when my wife and I visited the film set an hour outside of Toulouse, the mud fields where director Lasse Hallström and a long list of major-league talent, including actors Helen Mirren and Om Puri, were miraculously turning my little tale into a big-screen fable. Oprah Winfrey wanted to meet me, and so my wife and I nervously made our way to the producer’s tent, near the old farmhouse that had been turned into an Indian restaurant. Inside the tent, which was filled with lush platters of fruit, Oprah strode forward, shook my hand, and told me how much she enjoyed the book and how surprised she was to learn I wasn’t Indian. It was a bit like being summoned by the Queen — I babbled like an idiot.

Richard C. Morais, his wife Susan, left, and their daughter, Kate, at the premiere of The Hundred-Foot Journey. Photo: Newscom
But then I heard the voice I have had in my head for 17 years. It was my character, Madame Mallory, and I looked around for the source. There, on a small monitor in the tent, was a close-up of Helen Mirren, perfectly channeling my creation. I became a little emotional. “You must forgive me,” I stammered, “but it’s a bit overwhelming. This is my 100-foot journey.” Oprah fixed me with her leonine stare for a moment and said, “Richard, let’s face it. This is a lot more than a 100 feet.” Continue reading