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108 Responses to “I Hate Luv Storys, Raavan & Rajneeti (ongoing) and more box office muck!”
What is love? II Corinthians chapter 13 of the Bible gives a brief definition. William Shakespeare tried to decrypt it with his various poems and plays. And our Bollywood film makers are forever trying to explain it!
But I’ll tell you what. Love is one helluva thing that we can never fully get right about. And certainly watching this movie isn’t going to enlighten you any more on this topic. Nor is it going to miraculously convert an ‘unbeliever- in- love’ to a ‘super-mushy softie’. Nope! No can Do!!
In, I Hate Luv Storys, we have J (Imran Khan) (which seems to be the ‘it’ name in Bollywood these days. Remember Hrithik Roshan in Kites?) who doesn’t believe in love. We have Simran (Sonam Kapoor) who does. And why wouldn’t she for she has her perfect love story to corroborate her beliefs. Yupp! She is engaged to her childhood sweetheart Raj (Samir Dattani). They are so compatible, they even dress up in colours that match!
J is as messed a man can be. A perfect contradiction to perfect Simran. He’s always late for work. He’s a boozard. AND – he trashes women once he’s bedded them. Nope! Commitment is not this fella’s cup of coffee.
However bad boy J pushes Simran to give a thought for guilty pleasure. She falls head over heels for him- the ultimate romantic that she is! However, as she does this she tips over her aptly perched life. But does she rebuild her life from scratch or does it just come crashing down is something you all have to watch out for.
The whole movie is full of cliches, straight and indirect lifts from the better Bollywood fare and very stupid or illogical scenes that make you go – how bizarre!
You’ll only get to wonder what sense the film made, after the screening gets over because the whole time the movie is on…there’s so much fun, half the time you’re laughing, half the time, well you’re smirking! With the very contemporary dialogues and fresh –in-your-face- sarcasm, the film’s comedy is pure pleasure. Period.
The music is not breathtaking but catchy and fun! There are a lot of adult jokes cracked so no taking your kids for over-sensitive parents.
The girl getting the very trashy guy to clean up his act is something that touches a chord. What about the girl? Well, she finally learns to let go and have fun in her life. Also, she learns that ‘perfect’ does not mean ‘happy’. So true. About time we accept flaws in us and our loved ones.
Sonam Kapoor is lissome and sweet. She gets to play her age, which works so wonderfully for her! Her strength is in her fragile features, which she uses excellently to express her emotions. Imran Khan is just adorable! Some may call him plastic but it just seems he is not into hyper-histrionics. He has his own unique, light style and it’s charming!
Sameer Dattani is forgettable. Sameer Soni is funny as the whacky director. Bruna Abdullah sizzles. Ketki Dave is a class act. Kavin Dave is super-cool as Imran’s super-sized pal. Aamir Ali is well-tuned. Puja Ghai fails to make an impression. Anju Mahendru’s cameo is sharp.
Let me get this straight- of you’re looking for logic in love you’ll never find it. This film so totally symbolifies love. ‘Cause there’s no logic in the film either! Ha ha. But just like love, if this film clicks with you, you’ll end up with a warm, fuzzy feeling … you will smile, laugh and glow with glee!
Box Office: I Hate Luv Storys opens below expectation; MSMM, Krantiveer 2
Friday, July 02, 2010
This week’s Karan Johar production I Hate Luv Storys starring Imran Khan and Sonam Kapoor has been billed to offer some respite for its youth centric entertainment segment offer this weekend, and being given a high release volume in multiplxes. But except for Delhi city and few select multiplexes in Mumbai, the film has not taken a good advance opening. In Calcutta plexes advance and opening is only around 5-10% in morning. Weak. Rest will depend on word of mouth.
Last week’s Krantiveer 2 and Mr. Singh Mrs. Mehta did not deliver collection worth roosting about either as each looks to have a brief stay with Krantiveer faring slightly better.
Raavan is about to exit from theaters with a bit over 30 crores. The tamil version Raavanan is faring better down in Chennai, Tamil Nadu, but there too Raavanan will be lucky to collect just about 4-5 crores or so. Had Mani Ratnam made a hit Hindi version instead, the Abhishek Bachchan-Aishwarya Rai starrer may have done a 40-50 crore collection from Bombay alone. Overall the 100 crore venture’s a heavy loser for Reliance.
With the end of the first half of 2010, there has been only one real hit across India: Prakash Jha’s Rajneeti. Followed by a couple of semi-hits like Housefull and Athithi Tum Kab Jaoge.
In 2010, so called big films are opening up at 30-40 crore opening weeks even though weekly collection capacity at 100% has risen to around Rs. 100 crore/week net. Indicating mass accepted stars and subjects for pan-india targetted Hindi film scripts are what’s lacking, not the actual box office potential.
Some upcoming films that will look to target this potential will be Akshay Kumar starrer Khatta Meetha later this month, Yash Raj’s Lafangey Parindey next month, and Salman Khan’s big release Dabangg after that.
Friday Fury- July 2
By Moviebuzz | Friday, 02 July , 2010, 10:21
There are three new releases in Tamil this week Ambasamudram Ambani, Pournami Nagam, Veluthu Kattu.
All of them are small films made on a shoe string budget, and is lucky to get good theatrical releases due to the clout of the producers.
The sad part is that a film like Kalavani, which has been appreciated by the critics and audiences is not given more number of shows or prime time screening in multiplexes.
Meanwhile single screens in Chennai city have also started showing multiple films in their daily four shows screening.
Karan Johar produced Imran Khan- Sonam starrer I Hate Love Storys is the big Bollywood release in seven screens. Mani Ratnam’s Raavanan has started sliding and all other earlier releases are virtually down to single shows in small screens.
I Hate Luv Storys Takes A Very Good Start
Friday 2nd July 2010 12.30 IST
Boxofficeindia.Com Trade Network
I Hate Luv Storys took a very good start this morning at multiplexes over its first two shows. The collections were excellent at multiplexes of big centres like Mumbai and Delhi while places like Lucknow and Jaipur had good collections.
The metroes were showing 80-90% collections while other places were around 60-70%. The figures from single screens are still to come but the film was heavily concentrated at multiplexes and the very good start gives the film a good chance of success.
The business of the film is likely to be strongest in Mumbai, Delhi/UP, East Punjab and Mysore.
Apart from the story, Indian audiences watch films also for its morals. In Raavan there is a point when Aishwarya who depicts Sita in the film develops soft corner for Abhishek who is Raavan, which is not at all acceptable to the audience that follows Ramayana. Had Mani been promoting the film simply as a story of an Adivasi leader, box office reports might have been different. Same goes for Teen Patti, although the subject of the film was good, but since gambling is looked upon as an immoral practice in India, it had to face the rejection. About Rann, it was a good film but electronic media deliberately shot it down and they were successful in keeping the audiences a
Public reaction as per IBNLive seems to be positive
The hunt for an entertaining film is finally over. After all the duds of films in the first half of the year, Punit Malhotra’s I Hate Luv Storys has finally managed to bring back the laughter and whistles back in the theatres.
Even the biggest films so far this year have had a good crowd at the first day first show. But for Imran and Sonam Kapoor starrer rom-com, it was a houseful.
So, let’s find out what the audiences have to say about I Hate Luv Storys.
Aditya Sheth (24) – “The film is too good. Lot of freshness in terms of pairing, cinematography and the way all the scenes unfold. The scenes that made me laugh are still running in mind.”
Chintan Vasani (39) – “I loved Imran in Jaane Tu… and that’s the reason I came to watch him again. I was sure he could pull of this role of a young guy not believing in love stories. He doesn’t try much as an actor. He just flows in the character.”
Farah (19) – “It is difficult to digest this is the same Sonam in Saawariya and Delhi 6. Her clothes were awesome in this film. May be her pairing with Imran may not be the best but it definitely worked for the film. Imran again is similar to Jaane Tu…but he still doesn’t bore you. He is cute.
Kaiv Shah (52) – At my age, I was not sure if I would enjoy a youthful film like this. But I liked the promos and I thought, lets give it a try. I enjoyed every minute. There is no character in the film that is not there without a reason. And, even in intense situations, the director has kept the mood very easy.
Namita Sinha (20) – I have come here with all my college friends and definitely we’ve all had a good time. The story is so nicely narrated that even when you know that it is getting too filmy, you want to watch it. Yes, the music is good, but could have been better.
Nishit Manek (22) – The first half was slow but it was gripping. For me, the second half was more exciting as that’s when the film started to take some twists. Imran and Sonam are looking good. Also, I would like to add that the other supporting characters have also added a lot of life to the film.
Vicky Kothari (31) – I am only disappointed with the music. It was good but not intense. It didn’t engage me. But other wise, I think it was very brave of Karan Johar to allow the debutant filmmaker to take a dig on all his movies. I think the director who Imran is assisting in the film is inspired by Karan Johar’s character.
Bhavna Anand (22)- After a long time, finally an entertaining watch.
Manish Vohra (23) –I like her when she wears a Saree and dances on the mountains. I think she looks hot. And she also has a good chemistry with Imran.
Krishna Prasad (42) – My son told me I should watch this film. That’s why I came along with him. I had a good time and I think after 3 Idiots, if I have heard so much laughter in the theatre, it is in this film. I think apart from the performance, lot of credit goes to the dialogues. They are simple but funny.
So, all you filmy people out there. There are definitely many reasons to go and catch this rom-com, that’s the Janta verdict.
Meanwhile, The Last Airbender is being massacred by the critics. Don’t ever recall a big special effects movie being thrashed like this. MNS needs to go back to his roots and so something small because no studio is giving him money after this debacle!!!
ofcourse…Ratnam is God here and Abishekh is Jesus Christ
To be fair though….TLA is a different case then Raavan. Though most critics did not like Raavan, the choice of words for TLA have to be read to believe. This one is a sure shot Razzie winner next year for Worst Movie and Director!!!!
a thoroughbred remains one even if he loses a race.. it however takes viewers to distinguish between thoroughbreds and donkeys (or perhaps ‘monkeys’ is the better fit this year judging by one of the successes!).
Star cast: Imran Khan, Sonam Kapoor, Samir Dattani, Samir Soni, Kavin Dave.
Plot: Sonam, an art director with a Bollywood director, falls in love with Imran who works as an assistant director in the same unit. But Imran doesn’t believe in love. Spurned, Sonam returns to her childhood friend, Samir Dattani. It is now Imran’s turn to fall in love with Sonam. But is she ready to accept him?
What’s Good: The freshness in the script, the chemistry between Imran and Sonam, the humour, the performances, and, of course, the music.
What’s Bad: Nothing really except, perhaps, the slow pace at times and the film industry-centric jokes.
Verdict: I Hate Luv Storys is a definite winner. City & multiplex audience and the youngsters will especially luv this luv story.
Loo break: Not really!
UTV Motion Pictures and Dharma Productions Pvt. Ltd.’s I Hate Luv Storys (UA) is the love story of Jay Dhingra (Imran Khan) and Simran (Sonam Kapoor). Jay works as an assistant to director Veer (Samir Soni) who makes mushy love stories which prove to be box-office hits. But Jay hates love stories and doesn’t fancy the idea of marriage, preferring instead to have affairs. Simran joins as the art director of Veer’s new film, Pyar Pyar Pyar. She identifies with the typical Bollywood heroine and she thinks life is a romantic film. As luck would have it, Jay is asked to assist Simran in the art department.
Jay and Simran, poles apart, begin by hating each other but soon, Simran begins to love Jay even though she is to be married to her childhood friend, Raj Dholakia (Samir Dattani). Jay’s imperfections make him extremely endearing to Simran who realises that the magic in her relationship with Raj is fast disappearing in spite of Raj loving her a lot. Mistaking Jay’s friendship (with her) for love, Simran confesses her love (for him) to Jay. Surprised, Jay tells her, he doesn’t love her.
Simran returns to the ever-forgiving Raj and tries to re-build that relationship but now, Jay realises that he is actually in love with Simran. Does Jay profess his love to Simran? Does Simran accept Jay or does she also spurn him the way he had spurned her?
Debut-making writer-director Punit Malhotra has penned a script which makes good-humoured digs at Bollywood romantic films, especially the mushy ones. For this, he falls back on landmark love stories like Kuch Kuch Hota Hai, Dilwale Dulhania Le Jayenge, Dil To Pagal Hai, Kabhi Khushi Kabhie Gham…, Kabhi Alvida Naa Kehna, Dil Chahta Hai, Devdas etc. Since the very scenes from these films, which have become memorable, are shown in a new and satirical light, the audience enjoys the humour that is created. But there’s a flip side too. While the comical look at landmark scenes is entertaining, the use of such memorable scenes to find a solution to Jay’s problem in the climax does not appeal as much. For, the audience expects that the resolution of the drama would offer complete novelty because the concept of the film is slightly new. Nevertheless, the humour towers above all else, even if the comedy is more class-appealing than for the masses. The youth, especially, would identify with the humour and the actions and reactions of Jay and Simran.
The first half starts off well but gets repetitive along the way. It, therefore, tends to get boring, also because the pace is a bit slow. Besides, director Veer giving so much importance to his assistant, Jay, doesn’t make too much sense. The other weak spot is that there is an overdose of film industry jokes, especially in the first half, which may not get the desired reaction from the public.
Not only does the pace pick up after interval but there is also more drama in the second half. Even the lighter moments of the post-interval portion are more entertaining and enjoyable. On the minus side is the emotional appeal which is quite low. As already mentioned, remodelling the climax on earlier films is also a weak point.
However, considering all the pros and cons, the film does come across as a whiff of fresh air even though it may not be consistently enjoyable. Secondly, the chemistry between the two lead actors is very palpable and, therefore, a major plus point. Dialogues are extremely witty and youth-centric but also more for the city crowds.
Imran Khan is endearing and does well for a good part of the film. But he does need to improve in emotional scenes. His acting seems slightly below the mark in the scenes in which he becomes emotional while talking to his mother as well as in the scene in which he professes his love for the first time to Sonam Kapoor. Imran is free and lovable in the light scenes. Sonam Kapoor does an excellent job. She gets into the skin of the character and shines in both, light as well as dramatic, scenes. She also looks very desirable. Samir Dattani is sincere. Samir Soni fails to evoke much laughter although his scenes are meant to be funny but that is not entirely his fault. His scenes are not comical enough and also, part of the humour lies in the fact that his character is inspired by Sanjay Leela Bhansali, which many among the audience may not understand. Kavin Dave, as Imran’s friend, Kunal, is rather cute. He has wonderful lines to mouth and his acting is very natural. Bruna Abdullah is extremely likeable as Giselle. Khushboo Shroff (as Nidhi) and Aseem Tiwari (as Nikhil) lend fair support. Ketaki Dave and Shirish Sharma are alright. Anju Mahendru provides able support. Aamir Ali has his moments. Pooja Ghai gets limited scope and is okay.
Punit Malhotra has penned a script that isn’t easy for a first-time director like himself but his narration is quite smooth. His efficiency, as director, is evident in several scenes, prominent among them being the one in which the tough security guard softens and smiles lovingly at a depressed Jay, and when Jay looks dejectedly at the little boy selling red flowers. Punit definitely has a bright future ahead of him. Vishal-Shekhar’s music is a major asset of the film. The title song and ‘Jab mila tu’ are already hit numbers. ‘Bin tere’, repeated thrice in the film, grows on the audience beautifully. ‘Sadka’ and ‘Bahaara’ songs are also quite nice. Song picturisations (Bosco-Caesar) are good. Ayananka Bose’s camerawork is splendid. Sets (Amrita MahalNakai) are very good. Costumes (by ManishMalhotra) deserve mention.
On the whole, I Hate Luv Storys is a good, entertaining fare for the city youth and the multiplex audience. Although it doesn’t have much for the smaller centres (where even the English title may prove to be a setback), it will emerge to be a plus fare on the strength of its business in the cities and its revenues from sources other than theatrical.
A poorly-written, outdated, sugar-coated love story where the lovers do little but mope
Sanjukta Sharma
Mumbai
There’s something irreversibly screwed up about a successful woman of the 21st century whose everyday bedtime read is Eric Segal’s Love Story and her bed companion, a furry, pink, oversized teddy bear. Other Barbie paraphernalia in her room: heart shaped little pillows, Cadbury chocolates and pink objects strewn here and there. She is the incurably romantic heroine, accessorized to suit the girl the designers at Archies had in mind 20 years ago. Her name is Simran (Sonam Kapoor), an art director working in Bollywood films and the heroine of Punit Malhotra’s debut film, I Hate Luv Storys. She is in love with a wispy, sentimental banker, Raj (Samir Dattani). Raj and Simran, get it?
They are childhood sweethearts who have grown up to be inseparable. He gives her a white flower every day, and she simpers and shimmies. It’s the kind of love she always dreamed of.
It’s a world far removed from today’s India, which is not necessarily a bad thing if I Hate Luv Storys (produced by Karan Johar’s Dharma Productions) was a period film. But which 17-year-old today reads Eric Segal and moons, or whose idea of a romantic evening is being fed coffee by her fiance at a beachside restaurant in New Zealand? They don’t drink on weekdays, we’re told repeatedly.
Malhotra is sorely out of touch with 2010. It is clear he wanted a Yash Raj-style rom com—snow-capped mountains, chiffon sari swaying in the wind, they’re all here. But just those evergreen cliché’s can’t make a two-hour movie. The best of this genre, pioneered by the original Raj and Simran in Dilwale Dulhaniya Le Jayenge, have sizzling on-screen chemistry, well-written scenes and timeless wit. I Hate Luv Storys have none of these.
To begin with, the story is wafer thin. Lovesick Simran meets Jay (Imran Khan), an intern at a Bollywood studio. He sniggers at his work and at the director he works for—seasoned at making Hindi romances, he “feeeeels” as he writes his scenes. For Jay, he is too passe and unreal; Simran, of course, considers him a visionary. Jay dates girls who are sexy, but also dumb and interested in sex. Some of them pounce on him across bar tables—the polar opposite of squeaky clean Simran. Malhotra has either tried to play very safe by writing characters who exist in Bollywood romances of the 1990s or much earlier, or he did not have anything original for a contemporary romantic comedy.
Simran falls in love with the unlikely hero, gets rejected, then unlikely hero falls in love with her. Who will she finally choose? Boring and safe banker or the imperfect, impulsive dude?
Many great romantic comedies have the same stupid dilemma—the choice is always the same. Some of these movies, especially some Hollywood ones set in New York, are my comfort movies. You suspend disbelief and give in—the best rom com couples have that lovely, indescribable magic thing, which, by the way Simran keeps talking about in this movie.
There is some chemistry between Kapoor and Khan. Some scenes, in the first half when Simran becomes aware of her feelings for him and later when he is trying to win her over, are funny and sweet. But overall, there’s very little happening in the film. Simran is either simpering or moping—and always looking crushed. Khan mopes during pretty much the entire second half. There is no hint of physical attraction between them, only two big, sore hearts.
Dialogues are shockingly bereft of wit, humour and realism. For example, the hero of the film Jay and Simran are crew members of, tells Jay, “Girls are like buses. One goes and another arrives. But there’s one bus that takes you home. Never miss that one.” Jay downs several shots of a red coloured spirit after this shot of wisdom, and passes out.
The lead pair looked promising in the promotional trailers of the film. Imran Khan is already two flops old, following a successful debut with the hit Jaane Tu Ya Jaane Naa. When it comes to pushing his abilities for a better performance, this film has not done much for him. He looks the filmy dude—his body language is hip and urban. But when it comes to acting, especially one scene where he is on the phone with his divorced mother, his lack of control and inability to understand his character is sorely obvious. Kapoor has two or three expressions through the film—overjoyed, in tears, sulking. Her dialogue delivery is raw and unrehearsed and some of the words almost sound chewed. Manish Malhotra has dressed her up mostly in high street brands from New York and London. Sadly, Kapoor’s only achievement in the film is looking cute.
The performance of Samir Soni, who plays the hyperventilating Bollywood director, the boss who is a laughing stock, is the only really convincing performance in the film. In an attempt to laugh at the Bollywood genre it belongs to, the film makes fun of the director. But towards the end, the story of Raj and Simran begins to look similar to the one unfolding in the film they are working on.
It happens, the makers of I Hate Luv Storys seem to say. I couldn’t wait for it to end.
Can an entire movie rest on an elevated, eloquent, artfully tweezed eyebrow and a pink-lipped pout? When the aforesaid features belong to a boy? Well, if you’re I Hate Luv Storys, produced by the pasha of packaging, Karan Johar, it can. Almost.
I Hate Luv Storys relies entirely on Imran Khan’s genetic code and it almost succeeds. Please understand, it’s no small feat to make a romantic comedy. You have to marry a self-mocking tone with a sensibility that believes in pink hearts, cuddly toys and cute-as-a-button clothes. In the US, where this art has been perfected into a science, they get it wrong more often than they get it right. So it’s no wonder that Punit Malhotra, who clearly had Karan Johar films mixed in his mother’s milk, can’t quite hack it.
It’s not just the writing, which can be as pallid as the production design is vibrant. We’ve had it till here with the re-enatment of recent YashRaj and Karan Johar film scenes. There’s a sequence where every recent blockbuster is rehashed with unabashed self reference–from Dilwale Dulhaniya Le Jayenge to Kabhi Alvida Naa Kehna. It’s great for Aditya Chopra and Johar, who even has one of the principal characters, the maker of mushy movies, Vir (a camp-it-up Samir Soni) based on him. But not so good for the audience which has by now overdosed on this rehash of rehashes. It’s also the direction.
The movie begins as a post-it from Imran Khan to the audience. He addresses them directly through a voiceover, which is quite funny in parts, especially when faced with the heroine’s fiance, Raj Dholakia. In the second half, though, inexplicably, the director decides to do away with it, as his hero slips deeper and deeper in love, and should be doing stuff other than weeping on the phone to his mother in Long Island (she admonishes with remarkable lack of awareness of gender equity, don’t behave like a girl).
But that’s not the only flaw. As can be expected, it’s not a terribly original concept. Boy meets girl, who in keeping with contemporary Bollywood movies, is more successful and determined than him (he does, of course, being a good Punjabi boy, has a business to run which he is running away from). She’s the art director on a film called Pyaar Pyaar Pyaar and he’s an assistant director assigned to her. Girl falls in love with the boy, even though he’s Mr Wrong, goes to Marriot (where else, in this self-consciously Bollywood film?) to tell him that but sees him chatting up another girl, makes the declaration and gets rejected.
The movie begins as a post-it from Imran Khan to the audience. He addresses them directly through a voiceover, which is quite funny in parts, especially when faced with the heroine’s fiance, Raj Dholakia. In the second half, though, inexplicably, the director decides to do away with it, as his hero slips deeper and deeper in love, and should be doing stuff other than weeping on the phone to his mother in Long Island (she admonishes with remarkable lack of awareness of gender equity, don’t behave like a girl).
But that’s not the only flaw. As can be expected, it’s not a terribly original concept. Boy meets girl, who in keeping with contemporary Bollywood movies, is more successful and determined than him (he does, of course, being a good Punjabi boy, has a business to run which he is running away from). She’s the art director on a film called Pyaar Pyaar Pyaar and he’s an assistant director assigned to her. Girl falls in love with the boy, even though he’s Mr Wrong, goes to Marriot (where else, in this self-consciously Bollywood film?) to tell him that but sees him chatting up another girl, makes the declaration and gets rejected.
The other problem is it’s not very witty. One liners are at the heart of smart rom coms. Alec Baldwin touching Meryl Streep THERE and saying grandly, it’s great to be home in It’s Complicated. Or Julia Roberts telling Hugh Grant in Notting Hill, “I’m also just a girl, standing in front of a boy, asking him to love her.” Or in Harry Met Sally: “All I’m saying is that somewhere out there is the man you are supposed to marry. And if you don’t get him first, somebody else will, and you’ll have to spend the rest of your life knowing that somebody else is married to your husband.” Awww. I know. This is nowhere close. We’ve all heard the stock filmi romantic cliches being made fun of before: if she loves you, she will turn back and look at you; if you love her, you will run to the airport to get her (done to great effect in Imran Khan’s delicious debut, Jaane Tu…Ya Jaane Na with him on a white horse); and of you’re in love, you will start lying on the bed and staring at the ceiling in depression.
You will also start drinking shots, get wet in the rain, and find your friends’ love stories teeth-on-edge grating. Yes, the lead pair do all this with grace and charm. And they also knock you on your head if you forget a film reference–a friend (who as in all romantic comedies, is fat and funny) tells Imran to close his eyes and if he thinks of Sonam, he’s in love. Yes, it’s a scene from Dil Chahta Hai and we know it, and they know it, and if we’ve forgotten, they remind it.
It sort of spoils a favourite word of the film, magic. The problem with the film is the problem with Imran’s character, Jay Dhingra. He’s too cool for his own good. And he knows it. There’s only so much T-shirts announcing his interests can do. Yes, we know he’s cool because he’s wearing a T-shirt with Al Pacino’s face from Scarface. We know he’s cool because he’s wearing a T-shirt bearing The Beatles legend. And yes, yes, we know he’s cool because his T-shirt says Forget Superman, Try Me. We also know he has a reason for not believing in love–his parents are divorced. Wow. Of course, if we were Sonam Kapoor, a princess who believes in love and bankers with boring taste in clothes, even we would buy him. Er, is he on sale?
But he’s not and anyway it’s not enough to keep this charm boat afloat. It begins in a movie theatre and ends in a movie theatre. It’s like the experience of watching it–there’s nothing to take home.
Ok so the word is out. I Hate Luv Storys sucks! The early bird reviews from across the globe where the film has found an early release says that people are done with candyfloss romance. If you want to spoof it, put some spunk in it.
Ever wondered why Karan Johar did not promote his own production I Hate Luv Storys the way he promoted Dostana and Wake Up Sid?
For beginners, it stars Aamir Khan’s ne-phew! Imran Khan – who is never going to be hot property if he keeps talking about Avantika (his fiancé) in all his interviews – like a hen pecked BFF. Karan loves Imran, but he loves Shah Rukh Khan more, and anyone from Aamir’s camp is not welcome.
You will ask, then why work with Imran, K-Jo? Why not? He suits the bubblegum part – and he was chosen by director Punit Malhotra – who is designer Manish Malhotra’s ne-phew! Get the connection? Why will Karan say no to Manish Malhotra’s nephew’s choice for enemy Khan’s nephew in his fillum? That’s a lot of six-degrees! Go figure.
Sawaal number two. The film also stars Sonam Kapoor – now what is K-Jo’s problem with her? None. Shah Rukh Khan and Anil Kapoor have exchanged tu-tu-main-main over the years, in press, at award shows. Sonam is dying to work with the King Khan but Dharma Production is as close as she can get right now. No Red Chillies so far.
In the end, K-Jo is not too kicked about I Hate Luv Storys so he has done no ‘special coffee show’ to discuss the film with its leading actors. He’s not even promoted the actors the way he did Ranbir and Konkona during Wake Up Sid. But all this is khaali-peeli bakwaas! If the film was any good, he would have been screeching from his terrace. And the shrill sound of that we have all heard from that Maa Da Laadla.
So coming back to why I Hate Luv Storys sucks – it’s a khichdi of all Yash-Dharma films – we know that – its Mills & Boons woman meets Harry Potter child-man. Blech, we’ve had enough from their stables. You put a Sonam with an Imran, you don’t make Iron Man, do you? Is this the best Bollywood can with its current crop? Re-hash all your la-la land films once again with a fresh couple, without a shred of novelty to the story!
‘Imran has to lose the I-am-Sanjay-Dutt-body-double walk!’
‘He is so stiff, dialogue delivery so stilted, like he’s got a reed stuck in his throat’.
‘Sonam lights up the screen but her acting is still tubelight!’
‘Sonam has her head in the clouds but did she have to walk around leg-less as well, she just swims in and smiles and swims out and smiles – like a drunk fish in an aquarium.’
Just some of the comments being tweeted around even as we report.
Harsh early words…wait till you see how hopeless the film is, with its actors who have absolutely zero chemistry emitting between them, I Hate Luv Storys will not even spark off a new film idea!
B.O. update: Youth luves ‘Luv Storys’, film starts with a bang
- By Taran Adarsh, July 3, 2010 – 08:10 IST
The second half of 2010 has begun with a bang, with the first release of July, I HATE LUV STORYS, fetching a fantabulous start. The film took off in a big way from the morning shows itself, with big city multiplexes opening to 80% to 90% response. At places, the occupancy was 100% as well. At plexes of relatively smaller centres, the opening was in 60% to 70% range, while single screens, expectedly, were not strong. The opening at some single screens was good [it picked up at big centres during the course of the day], but at smaller centres, it was below average, in 30% to 40% range.
Looking at the tremendous response from the youth, several plexes decided to add more shows on Friday itself. Also, at several plexes, the film fetched one of the biggest starts of the year. The opening day figures at several plexes were at par with 3 IDIOTS and RAAJNEETI.
Imran’s second release, KIDNAP, which came right after the smash hit JAANE TU YA JAANE NA, had fetched approx. Rs. 4.85 cr. nett on Day 1 [Thursday; National Holiday], while LUCK had fetched approx. Rs. 3.5 cr. nett on Day 1. I HATE LUV STORYS, Imran’s fourth release after KIDNAP and LUCK sank at the box-office, is expected to fetch approx. Rs. 7 cr. on its opening day, which is fabulous.
The brand Karan Johar + fresh pairing + excellent music + terrific promotion have lured the youth in hordes, while the audience feedback ranges from good to excellent [the youth is loving it].
I Hate Luv Storys had a super strong at multiplexes in fact the opening at metro multiplexes can be called bumper. The opening at single screens was lower at around 30-50% depending on location but the release is heavily concentrated at multiplexes. The reports are good from its target audience and the film should at least do hit business.
Raavan fell badly in week two with around 4.50 crore nett business The two week total for the film is around 28.50 crore nett. The film is likely to stay under 30 crore nett for lifetime business. FLOP
Raajneeti continues to be rock steady with around 5 crore nett coming in week four. Raajneeti now has an approx 90 crore nett total after four weeks making it third biggest nett grosser in history of Hindi cinema. BLOCKBUSTER
Morning my malai mushroom tikkas! How goes the Friday morning for you? I’ve been up since the crack of dawn to do some kasratbaazi in my private gym, it’s been a long time since I did some workout.
Anyway, I’m off to my chahita Aamir Khan’s place, for he’s showing me a sneak dekko of his forthcoming movie, Peepli Live, this afternoon. For now, read on to know what everyone in tinsel town is gupshupping about.
A jasoos from Juhu has dropped in to tell me that Mani Ratnam might not work with Abhishek Bachchan and Aishwarya Rai… at least not so soon again. Reason: Amitabh Bachchan’s vishesh tipni on Raavan hasn’t gone down well with the movie’s director. Aur pata hai kya? Mani sir, who’s in the process of casting for his next production venture, for which Ranbir Kapoor is reportedly confirmed, apparently had second thoughts about talking to Abhi about it. My informer claims that’s the reason the filmmaker approached Imran Khan.
If you ask me, the combo of Ranbir and Imran does sound interesting in a Ratnam production. More so since Kapoor is on a roll at the box-office and Khan’s I Hate Luv Storys has generated a lot of positive buzz. Now, it only remains to be seen whether Ranbir and Imran approve of the subject and their roles in the storyline. Until then, my khabru is keeping his fingers crossed. Tsk tsk.
we thought only boi ,indiafm and co were against abhi baby now it seems apart from satyamshot whole world is biased against him………
This planet don’t deserve the greatest star-actor ever born!!!!!!!!!!!!!! we are such a poor souls,only god can save us now to improve our standards……………………………..
actually they’ve been on an ideological tear over this film for a long time… there have been tons of articles on it.. and they’ve never been in the Abhishek camp either.. he’s received more unkind coverage from him than the opposite throughout.. which is the point I have made forever!
Overall its a bit of a drag [as expected]. First half is better than second but neither half is that good anyway!
I cannot figure out if this was a aimed as a bit of a spoof because it certainly doesn’t get there.
Dharma and Yashraj clearly have the fascination with DDLJ and cannot get away from it one bit. And this film is quite frankly the “tip” of the iceberg. You’ve got Maahi Ve [Kal Ho Na Ho] playing in the backround throughout. Not just one or two filmi references but scores reference DDLJ, KHNK, KKHH, KANK and Dil Chahta Hai. You got specific scenes lifted! from DCH [at least 3 I counted]. You got one whole song mimicking Guzarish [Ghajini] and Jaane Kyun [DCH]. And the endless streams of DVDs of previous romantic films, mostly SRK ones, mostly SRK songs playing in the background, mostly SRK filmi dialogue references, mostly SRK film references blah blah blah blah blah blah.
Karan Johar and his directors and Chopras need to get out 1995 and 1998 and back into 2010!
Save for Imran and Sonam this is a total turkey. They have some decent moments and are the only good things here.
I can’t believe how many times films of past are copied or referenced!
It’s maybe some psychological or submersive thing here by Karan…lets get Aamir’s nephew and re-hash Raj and Simran! and have scores of SRK related images and songs in the background!
looks like this won’t do a JTYJN in that case.. this is the classic Johar move.. insist on the canonization of SRK! Doesn’t this betray an obvious anxiety? If the films and SRK were considered that canonical and ‘beyond debate’ why would he need to keep on asserting it?! Coincidentally I saw bits of BeH yesterday and this too is a similar film in that sense. Lots of SRK references.
Yes this is no JTYJN at all. That film I enjoyed at least but this one was very dragging.
On Johar, this is becoming quite an obsession now. This film could have referenced MPK or Bobby or Love Story! But everything it references is either a Dharma/Chopra film with the exception of DCH.
Imran is definitely a star in the making though. I went to a 11.10pm show and it was full. Did not get tickets to an earlier show. Not huge screens but it seems the young teenage crowd is liking him a lot. He is a fairly likeable on screen presence but his dialogue delivery on some key scenes was terrible. But he has a good eye for comedy. Sonam is definitely a good actress. But this film was a poor choice by both. There is nothing in the material here. It was just simply a quick win at the box office type of film.
Bollywood has never been more confused as now. Never been more unsure about the big stars/big film formula. Does this mean the movie game will change? Who and what will be the game-changer? Our correspondent talks to the biggest players about their hunt for that elusive thing: an idea that connects
Were you one of those who went into mourning when Hrithik Roshan donned a sombrero and salsa-ed his way out of our hearts in Kites, this year’s worst mega film till now? Despite having Hearthrob Hrithik, the film was old and stodgy, a good idea killed by lousy execution. Did you send a prayer to the gods that govern Bollywood, giving eternal thanks to the unsleazy sunshine shed by India’s first all-digital film Love Sex aur Dhokha? Despite having no celebrated faces, LSD was cool and groovy, finally unshackling sex and freeing love, reaching out to a young and restless audience that is changing at breakneck speed with each tweet.
The fact that you can get such startlingly different films within a couple of months of each other defines the confused state of Bollywood today. What works, what doesn’t, is more than ever a matter of gamble, and right now, 2010 shows all signs of an industry that doesn’t know whether it’s coming or going.
On two successive rain-spattered days in Mumbai, a clutch of B-town heavy-hitters talk about where the film industry is at and where they think it is headed. There’s Karan Johar who has gone from popcorn romance to infidelity to gayness to disability and religious identity and is now back to a contemporary date flick (I Hate Luv Storys released this week). Rohan Sippy, who has braved a second-go-around with Hollywood studios after the debacle of his Chandni Chowk to China, co-produced with Warner Bros (Dum Maaro Dum releases early next year in tandem with Star Fox). Ekta Kapoor who broke the barrier with Love Sex aur Dhokha and is now busy ramping up her new production offshoot, Alt Entertainment (LSD was the first film from the fledgling company). And, of course, Anurag Kashyap, the quintessential outsider who’s attempting the straddle between art and commerce like no one has before (Udaan, which he has mentored and produced, was India’s official entry at the Cannes film festival and is out later this month).
I have my opening line ready when I meet Karan Johar in his spiffy office, his desk surrounded by trophies, a collection of healthy nibbles at hand. Closest to him is a bottle of plump almonds. I ask for coffee. He grins and says, I get that a lot. What I get, instead, is conversation with Karan, who is now contemplating a radical change for Dharma Productions: a film with new faces. This, from a filmmaker who has flagrantly and proudly declared his penchant for big stars, big films: “How long can we carry on making movies with the same nine stars ? We will die of exhaustion.”
He’s known what it is to be golden. And also what it is to be reviled. His huge Twitter following is full of people who fling all sorts of invective at him, and he says he can understand that “because a happy, shiny person like me can be irritating”. “Earlier I used to get upset, now I just ignore them”, he says. And block them off his feed. Now on a sabbatical from directing, Johar is setting into motion the process which will have four films out next year, reading a script a day (“85 out of 90 are terrible”), thinking of ways to encourage good writing (“I would give anything for a perfect screenplay”), and mentoring debutant directors in his stable (“it helps if you have Malhotra as your last name, it seems like a karmic connection!”; I Hate Luv Storys is by Punit Malhotra). Are all you budding filmmakers with that surname listening?
The one truism that comes through loud and clear through all this is that stars are no longer guarantors of success. A Brad Pitt or a Tom Cruise alone can’t rake it in anymore in Hollywood. Ditto for a Shah Rukh or a Salman in Bollywood. So is there a formula that will pull the industry out of the doldrums? The game is begging to be changed: who will be the game-changer?
“Greed and fear are the twin emotions that dictate us,” says Rohan Sippy, third generation Bollywood (grandfather GP began it all, and no one’s yet bested father Ramesh’s Sholay: it is at the top of every Best Bollywood film list), sounding like a wiser, smarter Gordon Gekko. “Because of the money having dried up, we are scared. The moment we have two hits on our hands, we will be back again doing the same thing. We need to be better behaved with each other,” he says.
Over a delicious home-cooked lunch of dal, stuffed bhindi and perfectly spherical tiny phulkis (father Ramesh joins us, and noting my delight says, she’s from Delhi, they only have large rotis there), the conversation veers towards how Bollywood has lost the ability to make films accessible to everyone. “Those were the skill sets that dad had, and Yash Chopra had,” says Sippy. “Only Raju (Rajkumar Hirani) is continuing that tradition, he is the Capra of our times. We need to get back to making great movies like we used to, those that connect us to sheer spectacle and drama. And we need to adopt new technology (yes, 3D, yes, digital),” he says.
After a dire course correction which involves re-structuring film finances, curbing greedy stars, rationalising distribution patterns (just because the multiplexes are there, doesn’t mean every film needs a 2000 screen release), ditching corporate profligacy and wasteful high-pitched marketing, ultimately it all comes down to the film.
“We thought we had everything in place for Chandni Chowk, but we didn’t get it right,” says Sippy, who is currently in the process of wrapping up the shoot on Dum Maaro Dum, a drug-buster film set in Goa. “ There is no other road map — you have to make a good film.”
So what’s Ekta Kapoor up to after making Love Sex Aur Dhoka? Her office, at 7 pm, is a beehive. Several aides hover, a potential painted K-serial wannabe waits nervously. The czarina of Balaji Telefilms escorts me in, the phalanx of garland-festooned gods and goddesses that fill a wall the perfect counterpoint to her red tilak-adorned forehead. A pale pink Ganesha is pushed to one side to make space for the voice recorder.
The moment she opens her mouth, though, all notions of fluffiness are dispelled: she’s sharp and observant, backed by an uncanny sense of what will work. “Just because I’ve made one kind of film till now (Balaji till now was identified with raunchy comedies like Kya Kool Hain Hum) doesn’t mean I can’t make something that’s totally different. That’s the whole point of Alt Entertainment,” she says. LSD is certainly alternative.
And edgy and dark in ways Balaji has not known how to be. “The moment Dibakar (Banerjee) narrated the story, I loved it,” she says. “I look around me, and I see it happening everywhere.”
Alt Entertainment will run on a cost-driven philosophy. “ We want to inhabit both ends of the spectrum— after LSD, our next film, from Balaji, Once upon a time in Mumbaai (out July end) is as commercial as commercial can get,” she says. Her team looks at the ‘feasibility pattern’ of new projects, and then it’s down to Kapoor to give the final nod. “All I want from a film is that it should engage me completely,” she says. And to see what people are watching, and liking, she catches a film every Sunday at a nearby multiplex.
It’s appropriate that Anurag Kashyap gets in the last word, because everyone I speak to brings up his name (Dibakar Banerjee’s follows in the same breath) as being hugely instrumental in pushing Bollywood out of its conventional rat-hole. When Kashyap began, he had no takers (his scintillating debut film Paanch is still unreleased, and it doesn’t look as if it’s ever going to see the light of day). Now, after Dev.D, he’s at a place where he’s no longer having to write dialogue for cheesy mainstream films to get by. He cranks open his laptop and shows me the ads he’s now doing for “bread and butter”: one of them has Shah Rukh prancing around a sleeping beauty.
But he, like the others, is wary of claiming game-changer status.”Dev.D was not a game-changer, it didn’t crack the box office in the way a Bheja Fry did”, he says, raising his voice to be heard over the din at hip suburban hangout Zenzi (the Rs 60 lakh-to-Rs 12 crore Bheja Fry story is now part of Bollywood lore). “I am no game-changer. Main change hotey huey game mein ek wheel ho sakta hoon ( I can be a wheel in a game that’s changing). Aamir (Khan) was a game-changer in the way he started doing one film a year, and is now taking the role of the actor-producer so seriously. Ranbir (Kapoor) can be a game-changer if he continues to pick the right roles. I am just the guy who will take your film from the paper to the theatre,” he says. Vikramaditya Motwane, director of Udaan, can vouch for that fact.
“The idea is to put the money back into the kind of films I believe in, and use it for a distribution venture with Ranjan”, he says. (Ranjan Singh, indie film marketer, whose first outing was the excellent Indian Ocean rockumentary Leaving Home). Singh, who is alongside, has been filling me up with all the new ways films with exciting, so-called “unsafe” content can be put out into theatres, and is all fired up about his next ventures, Makrand Deshpande’s Shah Rukh Bola Khoobsoorat Hai Tu, and Kashyap’s untitled next.
Kashyap recalls a visit home recently for his sister’s wedding, where his mother fished out an old letter: the 19-year-old Anurag, bursting with Technicolor dreams, had written that he would go to Bombay and change the way movies were being made, “Main filmon ko badal doonga”. He hasn’t really got all the way there, but now, when he gets an automatic mention anytime people talk about “different”, you know that he’s both a source of inspiration for the indie brigade, and envy for case-hardened industry vets, and that, in Bollywood, still surviving on mom-and pop-instincts despite all the talk of corporatising, is a big deal.
So, yes, there is acknowledgment that the game as it is being played at all kinds of levels, whether they are the smaller-budget, high concept movies or the monstrous tent-poles, needs drastic changing. But there’s no ready-made game-changer willing to take on the responsibility of the entire film industry. What we have at the moment are filmmakers ready to create shifts.
The “golden period of our own” that Karan Johar is convinced is around the corner is still a way off. What the industry will have to hunt for, alongside its quest for its elusive chalice, is filmmakers who want simply to make a film, not a certified blockbuster from the get-go.
Go on, show us a movie. We will show you the money.
By DAVID GERMAIN, AP Movie Writer David Germain, Ap Movie Writer – Sun Jul 4, 1:11 pm ET
LOS ANGELES – “The Twilight Saga: Eclipse” is waning at the box office but still has gotten off to a blockbuster start with $161 million in its first five days, according to studio estimates Sunday.
The third chapter in Summit Entertainment’s vampire romance fell off sharply after debuting last Wednesday with $68.5 million. That was the second-best opening-day haul ever, behind its predecessor, last year’s “The Twilight Saga: New Moon,” which opened with $72.7 million.
After that huge first day, “Eclipse” averaged about $23 million daily over the next four days. That includes an estimate for a slow Sunday as people turned their attention to Fourth of July activities.
“Weather has a lot to do with a Fourth of July opening. I’m not looking to make excuses, but between barbecues and fireworks, we have a lot of competition,” said Richie Fay, head of distribution for Summit. “I do think people will come back to the movie.”
Its total through Sunday came in well short of the $200 million mark set last year by “Transformers: Revenge of the Fallen,” the record-holder for best five-day start for movies opening on Wednesday.
“Eclipse” easily held the No. 1 spot for the weekend, though its $69 million Friday-to-Sunday total was only a fraction more than what the movie took in just on opening day. “New Moon” took in $142.8 million in its first weekend last November, though the movie opened on Friday and the figure includes its record opening-day gross.
Summit estimates “Eclipse” will climb to around $181 million domestically by Monday. The movie also has added $100.2 million in 42 overseas markets.
“Eclipse” has found a wider fan base than “New Moon,” with a bigger percentage of males turning out for the latest installment. Female fans accounted for 80 percent of the audience on “New Moon” but only 65 percent of crowds for “Eclipse,” Summit reported.
The latest adaptation of Stephenie Meyer’s best-selling novels, “Eclipse” continues the love triangle involving a broody teen (Kristen Stewart), her vampire sweetheart (Robert Pattinson) and her werewolf pal (Taylor Lautner).
The weekend’s other new wide release, Paramount’s “The Last Airbender,” opened well with $40.7 million to finish at No. 2 for the three-day weekend. The movie took in $53.2 million since debuting Thursday.
Directed by M. Night Shyamalan (“The Sixth Sense”), “The Last Airbender” is based on the cartoon series about a youth with mythical powers who can unite four warring nations.
“The Last Airbender” found a solid audience despite dreadful reviews from critics, who found the plot muddled and the dialogue stilted.
Disney’s animated smash “Toy Story 3,” which had been No. 1 the previous two weekends, slipped to third-place with $30.2 million, raising its total to $289 million.
“Toy Story 3″ is about to pass last year’s “Up” at $293 million to become No. 2 on the chart of Pixar Animation’s blockbusters. The Disney unit’s top-grossing film is “Finding Nemo” at $339.7 million.
Hollywood’s overall business rose, helping to shore up this summer’s sliding box office. Total revenues came in at about $193 million from Friday to Sunday, up 19 percent from the Fourth of July weekend last year, according to box-office tracker Hollywood.com.
Revenues this season are running at $2.16 billion, down a fraction from summer 2009. Factoring in higher ticket prices, though, movie attendance this summer is down 6.7 percent, according to Hollywood.com.
Box Office: I Hate Luv Storys has good opening weekend
HETAL ADESARA 05 July , 2010
MUMBAI: Dharma Productions’ I Hate Luv Storys starring Imran Khan and Sonam Kapoor has had a strong opening weekend. The movie has done net business of approximately Rs 220 million (Rs 22 crore) across India in the first three days.
The movie opened with net collections of Rs 65 million (Rs 6.50 crore) on Friday, with the collections picking up on Saturday across some circuits.
The movie’s performance was strong at multiplexes across major centers as expected with occupancy close to 80 – 90 per cent.
OVERSEAS
In the US, the movie’s weekend box office stands at $462,867. While the movie collected $88,110 on Wednesday and Thursday, Friday’s collections were $123,613, Saturday was $140,984, whereas on Sunday, the movie collected $110,160.
In the UK, IHLS was released on 54 prints and has grossed GBP 66,315 on Friday, GBP 69,084 on Saturday and GBP 65,345 on Sunday. The weekend gross stands at GBP 200,744.
In the UAE, the movie opened on 38 screens. While the collections for Sunday are not yet in, till Saturday the movie collected $468,000 on 34 screens.
In Australia, IHLS opened on 11 screens and has grossed $78,000 in three days. On the other hand, in Pakistan, despite a shut down in main cinemas (six main multiplexes), the movie collected $63,000 in its opening weekend.
I Hate Luv Storys is directed by debutant Punit Malhotra and is co-produced by UTV Motion Pictures and Dharma Productions.
if it stays stable should have a 30 crore week.. and if it stays stable beyond that 50 crores should be on the cards which is good for a film of this scale but actually a relative underperformance compared to what JTYJN did a couple of years ago or whatever it was.
Nonetheless I would be pleased to see Imran get a success here.
why would I be happy for him?
I saw the movie and its totally bland. It’s not much better than any Luck or Kidnap that he’s done. I guess this one worked because its a love story being promoted by Kjo.
the truth is probably somewhere in between.. it’s clearly holding steady in the multiplexes but the TN film economy is defined far less by these screens as opposed to Hindi. Still compared to the Hindi disaster and Telugu disasters this is a way better performance. I’m obviously glad for Vikram but also pleased that Rathnam has got at least some respite on this.
I saw this luv story crap, it is just horrible in every way and represents everything that is wrong with Bollywood today. Artificial, sythentic and completely disconnected from life.
Imran Khan has zero screen presence, I guess he could do well in the 80s John Cusack type roles but it’s gonna be hard for him to get scripts like that.
saw IHLS-infact was nearly forced to see it by my “special friend”–who was keen to see this one after seeing the “interesting ” promos—had to endure it—I remained untouched (both by the movie and my surroundings)—crowds in the uk multiplex were significantly more than the ravan screening couple of weeks ago…which is a pity and symptomatic of a general malaise affecting “multiplex” bollywood and the “cool new ” crowd!
wonder how the likes of kjo keep churning the same stuff.
the guy who played the kjo-like director —soni is his name(actually he played it quite well)—feel he even suggested thast he knew his =movies are crap but he makes it for the (follish) audience—the two guys wrre actually laughing AT the very audience who is surprisingly lapping up this incongruent, superficial, wannabe movie.
also, one can notice that now that kjo cannot make the same type of archetypal kjo film, he slips one thru which is supposed to be a spoof or where the main hero appears to laugh at these type of movies. but at the same pretext, he gets away with slipping one more similar film down the audiences throat or up their ……
the only thing good about it was the music. this is the first imran khan movie i have ever watched—feel that he is better than i expected but still as a package is underwhelming (like the film)
someone should tell him that raising ONE eyebrow is not gr8 acting. also he seems to be trying to copy “scrubs” and “friends” type mannerisms and tries to pass it off as cool.
about sonam my opinion has still not changed –she is an air-head and she has STILL had just one good shot in her career–the sugarcane scene in the delhi 6 song
Sonam does behave like an airhead. I despise Shobhaa and her ilk but to make these comments about her is just stupid and shows a lack of class.
Sonam, Shobhaa De’s (word) war on Twitter!
Deepti Kaul | ITGD
New Delhi, July 5, 2010
Sonam Kapoor, who already shares cold vibes with writer Shobhaa De, has once again lashed out at her. But this time not directly, Sonam has retweeted on Punit Malhotra’s tweet. Writes Sonam Kapoor: “RT @punitdmalhotra: Guys pls don’t take Shobha De seriuosly. She’s a fossil who’s getting no action and going through menopause. So just for her…”
Action-reaction
It all started with Shobhaa De writing about recently released I Hate Luv Storys in a newspaper labeling it as I Hate Dumb Storys… She also posted the article on her blog page, “What an absolute waste casting Imran Khan and Sonam Kapoor in this utterly dull, total dud of a movie which is more a wonky tribute to Karan Johar’s earlier films, songs and screen pairings. After a point, all those ‘in’ jokes and references start bugging the viewer, particularly a replay of his popular songs as background scores and an embarrassingly gauche recreation of iconic scenes , like the Kuch Kuch Hota Hai dialogue between Shah Rukh Khan and Kajol. Come on guys, are you that desperate for original ideas that you have to pack so many reels of a contemporary film with such obvious take-offs? This isn’t clever tongue-in-cheek stuff. It’s plain unimaginative.”…
well, what SD wrote seems to be true – KJo needs to stop remembering his old films and forcing those memories again and again and again on public….but SK’s comment on SD was also a sixer
Imran’s solo movie fares better than Ranbir’s at BO
I Hate Luv StorysImran-Sonam starrer I Hate Luv Storys (IHLS) has opened to the collections of almost Rs 7 crore nationwide on Friday. Saturday was even better as the pickings rose to Rs 7.5 crore.
Interestingly, Imran’s latest movie has garnered more moolah than arch rival Ranbir’s last solo-hero movie Ajab Prem Ki Ghazab Kahani. Ajab Prem… had netted Rs 6.25 crore on the first day.
Imran tells Mid-day, “It still has to sink in yet. Maybe by Wednesday, it will. I am an extremely cautious person. I would prefer to wait before plunging into celebration mode.”
“I don’t know why people have to compare. What really matters is that you do your best, the film is successful and you are appreciated. This helps your next project,” says Imran.
Incidentally one of the rumors had Imran in a Rathnam film also! Some had him in it with Ranbir! All sorts of permutations. Of course just the other day Ranbir once again denied he was doing a Rathnam film. Hope it’s not an Imran solo!
“The good news is that the second half of 2010 has kicked off well with I Hate Luv Storys (Review) taking a good initial. But the bad news is that the first half saw the industry suffering losses to the tune of Rs. 3000 million. Raavan, Kites, Veer, Prince, Teen Patti and Rann were some of the notable flops and disasters which contributed generously to the losses of the first half of the year.
A total of 125 films were released from January to June this year. Of these, 81 were Hindi films, three were English, one was Bengali-English, two were animation films (in Hindi) and 38 were dubbed in Hindi from different languages.”
Monday update: ‘I Hate Luv Storys’ is rock-steady, despite Bharat Bandh
-By Taran Adarsh, July 6, 2010 – 17:22 IST
The Bharat Bandh on Monday, 5th July affected film business everywhere, with a majority of plexes/theatres remaining closed and resuming screenings only towards the evening. I HATE LUV STORYS was affected as well, although the film attracted footfalls aplenty when the plexes/theatres resumed screenings from 6 p.m./7 p.m. onwards. The film collected approx. Rs. 2.75 cr. nett on Monday, which takes the 4-day total to approx. Rs. 25.75 cr. nett [Friday to Sunday: Rs. 23 cr. nett + Monday: Rs. 2.75 cr. nett]. Had there been no Bharat Bandh on Monday, the film would’ve collected approx. Rs. 4.5 cr. nett, the distributors feel.
The status quo is being maintained. Raavanan is strong in the multiplexes, and is still at the number one slot, third week in a row. At number two is Singam which continues to roar in single screens, while it has lost its fizz in the multiplexes. In the third position is Kalavani, which has picked up well thanks to its word of mouth. At number four is the new Hindi filmI Hate Luv Storys, which has netted a decent Rs 18.5 lakhs from seven Chennai screens. The Karate Kid continues to be impressive at number five.
I am surprised that Rajneeti has not been appreciated for its box office success by the people in the movie industry.
Most of the other directors and actors have totally ignored it. Normally there is a lot of backslapping that goes on in the industry. In this case nobody has come out publicly and said that they liked it.
It is as always a question of ‘narrative’. Prakash Jha has in the past never achieved anything remotely close to this gross. So he can be credited with it only upto a point. Which is to say he has of course made the film but it became so big ‘despite’ him! Similarly the media narrative crowned Ranbir here. some of this is par for the course, stars gain from successful films. However when you have a 90-95 crore grosser, basically the biggest after 3I and Ghajini and when you have some of the top stars falling well short of this mark even in films that worked there are only two conclusions possible — either Ranbir is bigger than them (which in this kind of subject with a lot going on is not completely plausible) or that while Ranbir is a star he cannot equally be the guy who couldn’t outdo or even match Rock On in WUS, who couldn’t get Rocket Singh to 20 crores or whatever even in the wake of APKGK but who suddenly throws out a 90 crore grosser in a film where he is not even on friendly terrain. In an odd sense Ranbir would actually have profited more in ‘real’ terms if the film had just made 65 crores. Because then there would have been greater plausibility in a narrative attributing it to him. On the other hand if he got to that kind of stupendous gross in APKGK he would again get more credit because the film would have been all about him (or the female star). Even overall Rajneeti doesn’t quite belong to a dominant genre. It’s success is only partially surprising, it’s super success much more so. when a Hrithik or a SRK used to get to big grosses in strength genres you knew that was ‘replicable’. But Rajneeti isn’t really at that scale. So even though the media puts Ranbir all over the map in terms of star rankings no one who really knows the business buys it (which is not to say that this is a success any star would not want to have.. just that the narrative can be misleading). Nonetheless and as a larger matter Rajneeti’s box office graph is thrilling. It was absolutely unimaginable that this film with this subject and cast could do what the biggest stars weren’t able to. This too gets to my usual point about how even at a limited level these are surprises because they cannot be foreseen. Much as Aamir’s career after 2000 could not have been predicted in the 90s irrespective of how wise one was about these matters. In this sense all predictions on blogs and elsewhere are useless for the most part to the extent that they operate within the ‘calculable’. So a certain star at a certain point in his/her career can be expected to produce a certain gross depending on the film. But the history of cinema is not written this way. It is formed by those unforeseen moments. A last example: even after SRK started out successful no one could have predicted that he more than Aamir or Salman would become the ultimate darling of the new India and the diaspora.
cooltech,Rajneeti is a radical film which ended the dominant genre of tha yashraj-karan johar romances.The bourgeouse who like that genre are surprised.
The media is heavily invested in shahrukh,and aamir khan.So it is downplaying it.But it is a huge hit and a big step for Ranbir towards the top position.He just needs to take Anjaana Anjaani to a respectable total to become the next No1.
Akshay is the No1 star now.after him it could be Ranbir.
Sunil Shetty or Paresh Rawal since they have # of comedy hits with Akshay. Or Rajpal Yadav.
Then comes likes of Aamir, SRK or Hrithik but to be honest they are not in league of Sunil Shetty or Paresh Rawal.
I Hate Luv Storys had a good Monday despite the bandh on Monday. The film collected around 2.75 crore nett taking its total to 4 day total to nearly 26 crore nett.
The drops in most circuits were around 65-70% but what told the real story was business in Delhi/UP. Delhi city remained opened all day and the drop was less than 45% in the circuit. It must be noted that only Delhi had a full days business while UP was like rest of the country so a 45% drop is very healthy.
I Hate Luv Storys should manage better business on Tuesday than Monday as the film heads for a 33-35 crore nett first week.
I agree with you but all of the actors performed well. I thought Ajay was not right for the role and was sidelined. Nana, Ranbir, Arjun and Bajpai were very good.
I liked the back and forth of the twists as the movie went along. The ending could have a little better.
All in all enjoyed it. It showed that the audience will choose script over stars. Raavan and Kites flopped because the audience could not connect with the script.
I don’t think it is a Ranbir’s film alone but more a multi star effort. Its been a long time since a multi starrer without a lone hero getting the credit came along.
The writing is clear on the wall: The youth holds the key to success. A film starring a fresh pair, exceptional music and remarkable promotion can entice and lure viewers to cineplexes. That, in a nutshell, explains the terrific opening weekend business of I HATE LUV STORYS. Of course, you cannot overlook the marvellous contribution by Karan Johar and UTV, two names that are synonymous with qualitative cinema. They ensured that the film was talked-about and more than visible prior to its release.
It was a foregone conclusion that I HATE LUV STORYS would open very well at the ticket window. The rom-com radiated the right vibes and like most Karan Johar movies, the urban audience/multiplex junta was expected to give a warm reception to the film.
If you scrutinize the business of I HATE LUV STORYS, you’d realize that the metros and centres with plexes have contributed around 85% to 90% of its business. The contribution by the youth is overwhelming. The single screens haven’t reacted well, but let’s not forget that a film with an English title and classy treatment finds it difficult to penetrate into smaller centres or the mass-dominated belt. The Salman Khan starrer WANTED, a hardcore masala film, reaped a harvest from single screens, while MAIN AUR MRS. KHANNA, starring the same actor, was not only rejected at urban centres, but also single screens and mass-dominated areas.
Monday being Bharat Bandh, the plexes/single screens resumed screenings from evening shows onwards. Of course, the business was severely affected, but the general consensus is that the film will remain steady on weekdays and also in its second weekend at metros.
What goes in its favour is its economics. The film was made in a moderate budget and sold to UTV for an equally nominal price [Rs. 18 cr.; excluding P. & A.], who in turn sold the film to various territory distributors. Karan has recovered his investment, UTV too recovered the money invested in the film and made profits before its release and with a terrific start on hand, the territory distributors have won half the battle. The nominal costs on one hand and the excellent shares from plexes on the other should ensure a quick recovery for the buyers. In fact, everyone associated with I HATE LUV STORYS — the producers, the principal distributor and the territory distributors — is likely to earn from it, which is quite a rarity in today’s times.
The title may be I HATE LUV STORYS, but the makers and distributors are chanting a different tune post its release: ‘We luv luv storys’.
“Of course, you cannot overlook the marvellous contribution by Karan Johar and UTV, two names that are synonymous with qualitative cinema.”
Karan Johar has had probably the worst lineage of ‘quality’ cinema i have ever witnessed! To say that KANK is your best effort is a pretty sad thing.
SRK and Imran need to stay away from this dude. Aamir has been smart enough not to give in to Johars/YashRaj brand. Imran needs to do the same. To me right now, Ranbir is more interesting than Imran.
Ranbir is definitely the better overall package but I do think Imran has more presence on screen. There is n oddness about him which could perhaps be well utilized with age. Right now he’s just too young.
Box Office: I Hate Luv Storys on track for Rs 320 million net collections in week 1
MUMBAI: Despite of the ‘Bharat bandh’ on Monday, Dharma Productions’ I Hate Luv Storys stood steady at the box office. The movie, which did a net business of Rs 220 million at the box office in its opening weekend, collected approximately Rs 27.50 million (Rs 2.75 crore) nett on Monday. On Tuesday, the movie collected approximately Rs 26 million (Rs 2.60 crore).
However, it must be kept in mind that the theaters had shutters down for most part of Monday and resumed playing movies only in the evening shows. If the bandh had not been there, the movie’s performance would have been much better.
The five days net collections of I Hate Luv Storys now stand at approximately Rs 273.50 million (Rs 27.35 crore).
By the end of the week, I Hate Luv Storys’ net collections are estimated to be in the range of Rs 310 – 320 million (Rs 31 – 32 crore).
You may want to start a new thread on this, Satyam, but for now this seems to be an appropriate place to post this:
Rs 300 crore riding on SRK
Agencies
New Delhi, July 08, 2010
As flicks like Kites and Raavan, which were high on star quotient, failed to do well at the expectant box office, all eyes are now on King Khan. A whopping amount of Rs 300 crore is riding on his shoulders! The buzz in the trade is that Reliance Big Pictures has bought the rights of SRK’s Don 2 from
related stories
Excel Entertainment for Rs 125 crore, which is about Rs 25 crore more than what they purchased Kites for.
SRKThere is also talk in the industry of Eros International buying Shah Rukh’s home-production Ra.One for a whopping Rs 175 crore.
A leading distributor says, “Shah Rukh rocks. He is still one of the top three stars in this country. His film guarantees good returns. Yes, Reliance Big Pictures has bought Don 2 for an amount which is definitely more than Rs 100 crore. But I think that Shah Rukh’s deal with Eros International on Ra.One could be a funding proposal, which implies that Shah Rukh can still sell the film to other buyers.”
Phew! That’s a lot of money riding on one man, imagine the pressure!
no issues! I did put up this story, possibly even within this thread, a couple of days ago. It’s the classic media narrative on SRK. The translation goes something like this: SRK is still very relevant! Leaving this aside I have seen for hears such exaggerated figures thrown around and then once the film releases suddenly it’s a 20 crore deal for both combined!
Apparently Mushtaq Sheikh has tweeted saying that the numbers for Raavan are fabricated, and should not be believed.
If you’re talking “media narrative” though, I thought it was interesting that the article says that SRK “is still one of the top three stars in this country”, whereas a few years ago, the quote would have been “he is the top star in the country.”
But in any case, it is clear that the numbers are exaggerated, since no business person with an ounce of sense will fork out to this amount given the recent track record of “big” films, and given the market limitations.
Untrue, inflated figures thrown by press about movies is worse than gossip about star lives. Coz they are meddling with serious business.RT
about 3 hours ago via Twitter for BlackBerry® .A paper today said Ra.one selling at 175 cr-is untrue’. News cooked up by the paper!! RT this so this gossip does not spread! #ra one
ohk…..so aamir gave 200 crores blockbuster that tajes awys SRK relevance…..
SRK has nver in recent years used all his potential in terms of box office.
if a film like OSO can do 85 crores,that says somethinga bout SRK.
what all he needs is a very good script and a solid direction which i believe DON 2 WILL AHVE..
ra.1 still looks dicey but lets hope for the best
Oldgold, “indirectly” is putting it lightly. This is outright manipulation of words. Aamir didn’t enter the discourse. If one is critical of SRK, it’s not necessarily an automatic attempt to bolster Aamir Khan. Ridiculous.
Oldgold, I often have to end up ‘translating’ what I’ve said! What I meant about SRK being relevant was that given his relative lack of dominance for so many years (measurable in many ways but the most precise ones being box office results and the ability to attract prestige projects), this ‘anxiety’ is presented by way of a certain media narrative where for example he is usually presented as a ‘savior’ when all else fails, or the high prices are supposed to signal his greatness, on and on.
There has never been another major star in Hindi cinema whose ‘importance’, ‘significance’, indeed ‘greatness’ had to be asserted so much. SRK cannot be understood as a star without the media apparatus that has sustained him so well for so many years. This ‘gap’ is precisely what I have always tried to highlight and argue against. And it is very much connected to some discussions elsewhere. The multiplex new Indian generation resorts to the suppression of history and the supplement of ‘propaganda’ to fill such a ‘gap’. The interesting thing about SRK is that even the contemporary definition of ‘superstar’ (already degraded and rendered meaningless since Rajesh Khanna and Amitabh Bachchan) that is used to ‘grade’ so many stars today is not a bar that SRK himself reaches ‘ever’ in the 90s even in his peak period. There is much talk about flops today. SRK never ever had consistency as a star in that period and had hits/superhits only in a certain Yashraj paradigm. This itself is not a problem since stars are usually wedded to genre. But SRK did a lot of other commercial stuff, even some prestige films of his age, none of it worked. Nothing! And this model can be brought about rather easily. Say Abhishek did a film like BnB once a year. He would have his big hit. The rest of the time he’d do D6 or whatever. These would be box office failures but sooner or later there would be that safe hit. Hardly the graph of a ‘superstar’. These are not my terms but the terms of those who use such standards for every other star.
And don’t respond with Aamir here. This kind of opposition on your part reveals another truth of the SRK structure. Aamir is the terrible anxiety here. The star who over the last decade more or less deconstructed the entire SRK enterprise. No SRK fan can ever forgive him for this. I have seen SRK fans who like Abhishek or at least don’t mind him. I have never seen a true SRK fan who did not minimally dislike Aamir!
It was you and others on this blog who decided I am an SRK fan because I find Amir repulsive. I don’t want to explain all the time that no, my dislike for Amir is not based on any fandom for SRK.
I do like SRK (call myself his fan because it’s simpler), but I’m immersed in ‘old’ cinema and don’t really find any present hero who can make me very interested in them. And Amir is such a paper tiger with all his hypocrisy, and artificial demeanour. I repeat, his ‘andhon mein kana raja’ status doesn’t excite admiration only ridicule.
Let me explain. Just as you (and I) think we have not to go by Abhishek’s films to consider him any less, similarly IMO we have not to go by Amir’s films to think he has created history.
I disliked him long before I got acquainted with SRK. My history of watching present films starts in 2007 (?) with Jodha Akbar. So you see, I really don’t have much knowledge about SRK’s position or whatever earlier. I know nothing about any deconstructions. Stars go up and down all the time. You talk as if no other star has achieved a top position ever except Amir.
And relax, I face no anxieties about Amir. I have a life
What anxieties do you have about SRK?
Why are you always so venemous in your opposition?
No, don’t answer.
*sigh* We seem to be going in circles and coming back to the same topic again and again.
Oldgold, the problem with your Aamir criticism is that there is no ‘base’ to it. You are not really calling him a bad actor, you are acknowledging him as a star also. But you find a problem with everything he does whether it’s TZP or Ghajini, Lagaan or 3I. It’s hard to see how all these films are ‘fake’ as you tend to insinuate all the time. In other words let’s assume that you are right and that Aamir is a great manipulator who has skillfully constructed a certain career for himself. This doesn’t really deny the authenticity of those films. Secondly it begs the larger question. Is Aamir the only manipulator in town?! But also using the terms of your own debate you are suggesting you love the blind but not the one-eyed? Does this make any sense?! I am not objecting to your Aamir objection. I have been unable to understand it so far though. Other than calling a hypocrite and artificial and so forth you do not really have a case against his body of work. And again everything is tied up together. It is as if I were to say I did not like KKHH on ideological grounds but not Dil Se either because SRK was just being a fake doing that film!
what is this whole fuss about aamir.3 idiots and ghajini did blockbuster business because they were genuinely well made films.
true measure of star power can be known by the business of comparatively bad films of stars.
OSO,RNBDJ,MNIK were in my opinion all average to bad films and still they did outstanding business.
3 idiots was first offerd to SRK so all these talks about him not getting prestigious films is bull…and te list is endless..lagaan,munnabhai,raavan to name the few.
“Say Abhishek did a film like BnB once a year. He would have his big hit. The rest of the time he’d do D6 or whatever”
so its that easy…ohk…..
why dont you write a book…the title cud be-
A GUIDE TO SUPERSTARDOM….or…HOW TO BECOME A SUPERSTAR IN 2 YEARS(4 big hits and 2 prestigious films)
oldisgold…..once again, what is your problem with correctly spelling Aamir’s name? Just hit ‘A’ twice…it’s not that hard. Here, you can try this as a practice line:
‘ Aamir is miles ahead of Shah Rukh Khan right now in every which way possible’.
I don’t wish to waste energy and time in typing an extra ‘a’.
In my mind his name is promounced as meaning ‘rich’ and not one of those middle eastern Lords called by the name he likes to spell it as.
>Aamir is miles ahead of Shah Rukh Khan right now in every which way possible’.
No matter how many miles ahead he is not even he can run a one-man industry, and make all else irrelevant.
July 1, 2010 at 4:16 PM
Another Decent Review for IHLS
————————————-
Cast: Imran Khan, Sonam Kapoor, Sameer Dattani
Director: Punit Malhotra
I Hate Luv Storys – Fully Fun-tastic!
What is love? II Corinthians chapter 13 of the Bible gives a brief definition. William Shakespeare tried to decrypt it with his various poems and plays. And our Bollywood film makers are forever trying to explain it!
But I’ll tell you what. Love is one helluva thing that we can never fully get right about. And certainly watching this movie isn’t going to enlighten you any more on this topic. Nor is it going to miraculously convert an ‘unbeliever- in- love’ to a ‘super-mushy softie’. Nope! No can Do!!
In, I Hate Luv Storys, we have J (Imran Khan) (which seems to be the ‘it’ name in Bollywood these days. Remember Hrithik Roshan in Kites?) who doesn’t believe in love. We have Simran (Sonam Kapoor) who does. And why wouldn’t she for she has her perfect love story to corroborate her beliefs. Yupp! She is engaged to her childhood sweetheart Raj (Samir Dattani). They are so compatible, they even dress up in colours that match!
J is as messed a man can be. A perfect contradiction to perfect Simran. He’s always late for work. He’s a boozard. AND – he trashes women once he’s bedded them. Nope! Commitment is not this fella’s cup of coffee.
However bad boy J pushes Simran to give a thought for guilty pleasure. She falls head over heels for him- the ultimate romantic that she is! However, as she does this she tips over her aptly perched life. But does she rebuild her life from scratch or does it just come crashing down is something you all have to watch out for.
The whole movie is full of cliches, straight and indirect lifts from the better Bollywood fare and very stupid or illogical scenes that make you go – how bizarre!
You’ll only get to wonder what sense the film made, after the screening gets over because the whole time the movie is on…there’s so much fun, half the time you’re laughing, half the time, well you’re smirking! With the very contemporary dialogues and fresh –in-your-face- sarcasm, the film’s comedy is pure pleasure. Period.
The music is not breathtaking but catchy and fun! There are a lot of adult jokes cracked so no taking your kids for over-sensitive parents.
The girl getting the very trashy guy to clean up his act is something that touches a chord. What about the girl? Well, she finally learns to let go and have fun in her life. Also, she learns that ‘perfect’ does not mean ‘happy’. So true. About time we accept flaws in us and our loved ones.
Sonam Kapoor is lissome and sweet. She gets to play her age, which works so wonderfully for her! Her strength is in her fragile features, which she uses excellently to express her emotions. Imran Khan is just adorable! Some may call him plastic but it just seems he is not into hyper-histrionics. He has his own unique, light style and it’s charming!
Sameer Dattani is forgettable. Sameer Soni is funny as the whacky director. Bruna Abdullah sizzles. Ketki Dave is a class act. Kavin Dave is super-cool as Imran’s super-sized pal. Aamir Ali is well-tuned. Puja Ghai fails to make an impression. Anju Mahendru’s cameo is sharp.
Let me get this straight- of you’re looking for logic in love you’ll never find it. This film so totally symbolifies love. ‘Cause there’s no logic in the film either! Ha ha. But just like love, if this film clicks with you, you’ll end up with a warm, fuzzy feeling … you will smile, laugh and glow with glee!
Rating: ***1/2
Reporter and Author: Susan Jose
July 2, 2010 at 2:02 AM
IBOS:
Box Office: I Hate Luv Storys opens below expectation; MSMM, Krantiveer 2
Friday, July 02, 2010
This week’s Karan Johar production I Hate Luv Storys starring Imran Khan and Sonam Kapoor has been billed to offer some respite for its youth centric entertainment segment offer this weekend, and being given a high release volume in multiplxes. But except for Delhi city and few select multiplexes in Mumbai, the film has not taken a good advance opening. In Calcutta plexes advance and opening is only around 5-10% in morning. Weak. Rest will depend on word of mouth.
Last week’s Krantiveer 2 and Mr. Singh Mrs. Mehta did not deliver collection worth roosting about either as each looks to have a brief stay with Krantiveer faring slightly better.
Raavan is about to exit from theaters with a bit over 30 crores. The tamil version Raavanan is faring better down in Chennai, Tamil Nadu, but there too Raavanan will be lucky to collect just about 4-5 crores or so. Had Mani Ratnam made a hit Hindi version instead, the Abhishek Bachchan-Aishwarya Rai starrer may have done a 40-50 crore collection from Bombay alone. Overall the 100 crore venture’s a heavy loser for Reliance.
With the end of the first half of 2010, there has been only one real hit across India: Prakash Jha’s Rajneeti. Followed by a couple of semi-hits like Housefull and Athithi Tum Kab Jaoge.
In 2010, so called big films are opening up at 30-40 crore opening weeks even though weekly collection capacity at 100% has risen to around Rs. 100 crore/week net. Indicating mass accepted stars and subjects for pan-india targetted Hindi film scripts are what’s lacking, not the actual box office potential.
Some upcoming films that will look to target this potential will be Akshay Kumar starrer Khatta Meetha later this month, Yash Raj’s Lafangey Parindey next month, and Salman Khan’s big release Dabangg after that.
July 2, 2010 at 2:03 AM
Friday Fury- July 2
By Moviebuzz | Friday, 02 July , 2010, 10:21
There are three new releases in Tamil this week Ambasamudram Ambani, Pournami Nagam, Veluthu Kattu.
All of them are small films made on a shoe string budget, and is lucky to get good theatrical releases due to the clout of the producers.
The sad part is that a film like Kalavani, which has been appreciated by the critics and audiences is not given more number of shows or prime time screening in multiplexes.
Meanwhile single screens in Chennai city have also started showing multiple films in their daily four shows screening.
Karan Johar produced Imran Khan- Sonam starrer I Hate Love Storys is the big Bollywood release in seven screens. Mani Ratnam’s Raavanan has started sliding and all other earlier releases are virtually down to single shows in small screens.
July 2, 2010 at 4:16 AM
I Hate Luv Storys Takes A Very Good Start
Friday 2nd July 2010 12.30 IST
Boxofficeindia.Com Trade Network
I Hate Luv Storys took a very good start this morning at multiplexes over its first two shows. The collections were excellent at multiplexes of big centres like Mumbai and Delhi while places like Lucknow and Jaipur had good collections.
The metroes were showing 80-90% collections while other places were around 60-70%. The figures from single screens are still to come but the film was heavily concentrated at multiplexes and the very good start gives the film a good chance of success.
The business of the film is likely to be strongest in Mumbai, Delhi/UP, East Punjab and Mysore.
http://boxofficeindia.com/npages.php?page=shownews&articleid=1787&nCat=news
July 2, 2010 at 6:35 AM
Are you a star!
http://movies.indiainfo.com/are-you-a-star-1381357.html
Apart from the story, Indian audiences watch films also for its morals. In Raavan there is a point when Aishwarya who depicts Sita in the film develops soft corner for Abhishek who is Raavan, which is not at all acceptable to the audience that follows Ramayana. Had Mani been promoting the film simply as a story of an Adivasi leader, box office reports might have been different. Same goes for Teen Patti, although the subject of the film was good, but since gambling is looked upon as an immoral practice in India, it had to face the rejection. About Rann, it was a good film but electronic media deliberately shot it down and they were successful in keeping the audiences a
July 2, 2010 at 9:47 AM
bakwaas!!!
puting blames on the concept of the story for a movies failure is a big stupidity.
July 2, 2010 at 9:29 AM
Public reaction as per IBNLive seems to be positive
The hunt for an entertaining film is finally over. After all the duds of films in the first half of the year, Punit Malhotra’s I Hate Luv Storys has finally managed to bring back the laughter and whistles back in the theatres.
Even the biggest films so far this year have had a good crowd at the first day first show. But for Imran and Sonam Kapoor starrer rom-com, it was a houseful.
So, let’s find out what the audiences have to say about I Hate Luv Storys.
Aditya Sheth (24) – “The film is too good. Lot of freshness in terms of pairing, cinematography and the way all the scenes unfold. The scenes that made me laugh are still running in mind.”
Chintan Vasani (39) – “I loved Imran in Jaane Tu… and that’s the reason I came to watch him again. I was sure he could pull of this role of a young guy not believing in love stories. He doesn’t try much as an actor. He just flows in the character.”
Farah (19) – “It is difficult to digest this is the same Sonam in Saawariya and Delhi 6. Her clothes were awesome in this film. May be her pairing with Imran may not be the best but it definitely worked for the film. Imran again is similar to Jaane Tu…but he still doesn’t bore you. He is cute.
Kaiv Shah (52) – At my age, I was not sure if I would enjoy a youthful film like this. But I liked the promos and I thought, lets give it a try. I enjoyed every minute. There is no character in the film that is not there without a reason. And, even in intense situations, the director has kept the mood very easy.
Namita Sinha (20) – I have come here with all my college friends and definitely we’ve all had a good time. The story is so nicely narrated that even when you know that it is getting too filmy, you want to watch it. Yes, the music is good, but could have been better.
Nishit Manek (22) – The first half was slow but it was gripping. For me, the second half was more exciting as that’s when the film started to take some twists. Imran and Sonam are looking good. Also, I would like to add that the other supporting characters have also added a lot of life to the film.
Vicky Kothari (31) – I am only disappointed with the music. It was good but not intense. It didn’t engage me. But other wise, I think it was very brave of Karan Johar to allow the debutant filmmaker to take a dig on all his movies. I think the director who Imran is assisting in the film is inspired by Karan Johar’s character.
Bhavna Anand (22)- After a long time, finally an entertaining watch.
Manish Vohra (23) –I like her when she wears a Saree and dances on the mountains. I think she looks hot. And she also has a good chemistry with Imran.
Krishna Prasad (42) – My son told me I should watch this film. That’s why I came along with him. I had a good time and I think after 3 Idiots, if I have heard so much laughter in the theatre, it is in this film. I think apart from the performance, lot of credit goes to the dialogues. They are simple but funny.
So, all you filmy people out there. There are definitely many reasons to go and catch this rom-com, that’s the Janta verdict.
http://ibnlive.in.com/news/janta-verdict-no-one-hates-i-hate-luv-storys/125846-8-66.html
July 2, 2010 at 9:39 AM
Meanwhile, The Last Airbender is being massacred by the critics. Don’t ever recall a big special effects movie being thrashed like this. MNS needs to go back to his roots and so something small because no studio is giving him money after this debacle!!!
http://us.rottentomatoes.com/m/last_airbender/
July 2, 2010 at 9:43 AM
Some of us suggested the same cure for Ratnam after the Raavan massacre, however reactions to that suggestion was not well received on this forum.
July 2, 2010 at 9:46 AM
ofcourse…Ratnam is God here and Abishekh is Jesus Christ
To be fair though….TLA is a different case then Raavan. Though most critics did not like Raavan, the choice of words for TLA have to be read to believe. This one is a sure shot Razzie winner next year for Worst Movie and Director!!!!
July 2, 2010 at 9:56 AM
Damn, Raavan will not win any Golden Kela awards next year thanks to Kites !! Maybe Abhishek may beat Hrithik for the male performance award?
July 2, 2010 at 9:58 AM
Don’t worry….Salman wouldn’t let either Abishekh or Hrithik win that award.
July 2, 2010 at 12:33 PM
a thoroughbred remains one even if he loses a race.. it however takes viewers to distinguish between thoroughbreds and donkeys (or perhaps ‘monkeys’ is the better fit this year judging by one of the successes!).
July 6, 2010 at 5:41 AM
The critics ofcourse can see the difference.
July 2, 2010 at 10:15 AM
The reception to IHLS is as expected.
July 2, 2010 at 10:22 AM
Komal Nahata – 3.5 stars
Star cast: Imran Khan, Sonam Kapoor, Samir Dattani, Samir Soni, Kavin Dave.
Plot: Sonam, an art director with a Bollywood director, falls in love with Imran who works as an assistant director in the same unit. But Imran doesn’t believe in love. Spurned, Sonam returns to her childhood friend, Samir Dattani. It is now Imran’s turn to fall in love with Sonam. But is she ready to accept him?
What’s Good: The freshness in the script, the chemistry between Imran and Sonam, the humour, the performances, and, of course, the music.
What’s Bad: Nothing really except, perhaps, the slow pace at times and the film industry-centric jokes.
Verdict: I Hate Luv Storys is a definite winner. City & multiplex audience and the youngsters will especially luv this luv story.
Loo break: Not really!
UTV Motion Pictures and Dharma Productions Pvt. Ltd.’s I Hate Luv Storys (UA) is the love story of Jay Dhingra (Imran Khan) and Simran (Sonam Kapoor). Jay works as an assistant to director Veer (Samir Soni) who makes mushy love stories which prove to be box-office hits. But Jay hates love stories and doesn’t fancy the idea of marriage, preferring instead to have affairs. Simran joins as the art director of Veer’s new film, Pyar Pyar Pyar. She identifies with the typical Bollywood heroine and she thinks life is a romantic film. As luck would have it, Jay is asked to assist Simran in the art department.
Jay and Simran, poles apart, begin by hating each other but soon, Simran begins to love Jay even though she is to be married to her childhood friend, Raj Dholakia (Samir Dattani). Jay’s imperfections make him extremely endearing to Simran who realises that the magic in her relationship with Raj is fast disappearing in spite of Raj loving her a lot. Mistaking Jay’s friendship (with her) for love, Simran confesses her love (for him) to Jay. Surprised, Jay tells her, he doesn’t love her.
Simran returns to the ever-forgiving Raj and tries to re-build that relationship but now, Jay realises that he is actually in love with Simran. Does Jay profess his love to Simran? Does Simran accept Jay or does she also spurn him the way he had spurned her?
Debut-making writer-director Punit Malhotra has penned a script which makes good-humoured digs at Bollywood romantic films, especially the mushy ones. For this, he falls back on landmark love stories like Kuch Kuch Hota Hai, Dilwale Dulhania Le Jayenge, Dil To Pagal Hai, Kabhi Khushi Kabhie Gham…, Kabhi Alvida Naa Kehna, Dil Chahta Hai, Devdas etc. Since the very scenes from these films, which have become memorable, are shown in a new and satirical light, the audience enjoys the humour that is created. But there’s a flip side too. While the comical look at landmark scenes is entertaining, the use of such memorable scenes to find a solution to Jay’s problem in the climax does not appeal as much. For, the audience expects that the resolution of the drama would offer complete novelty because the concept of the film is slightly new. Nevertheless, the humour towers above all else, even if the comedy is more class-appealing than for the masses. The youth, especially, would identify with the humour and the actions and reactions of Jay and Simran.
The first half starts off well but gets repetitive along the way. It, therefore, tends to get boring, also because the pace is a bit slow. Besides, director Veer giving so much importance to his assistant, Jay, doesn’t make too much sense. The other weak spot is that there is an overdose of film industry jokes, especially in the first half, which may not get the desired reaction from the public.
Not only does the pace pick up after interval but there is also more drama in the second half. Even the lighter moments of the post-interval portion are more entertaining and enjoyable. On the minus side is the emotional appeal which is quite low. As already mentioned, remodelling the climax on earlier films is also a weak point.
However, considering all the pros and cons, the film does come across as a whiff of fresh air even though it may not be consistently enjoyable. Secondly, the chemistry between the two lead actors is very palpable and, therefore, a major plus point. Dialogues are extremely witty and youth-centric but also more for the city crowds.
Imran Khan is endearing and does well for a good part of the film. But he does need to improve in emotional scenes. His acting seems slightly below the mark in the scenes in which he becomes emotional while talking to his mother as well as in the scene in which he professes his love for the first time to Sonam Kapoor. Imran is free and lovable in the light scenes. Sonam Kapoor does an excellent job. She gets into the skin of the character and shines in both, light as well as dramatic, scenes. She also looks very desirable. Samir Dattani is sincere. Samir Soni fails to evoke much laughter although his scenes are meant to be funny but that is not entirely his fault. His scenes are not comical enough and also, part of the humour lies in the fact that his character is inspired by Sanjay Leela Bhansali, which many among the audience may not understand. Kavin Dave, as Imran’s friend, Kunal, is rather cute. He has wonderful lines to mouth and his acting is very natural. Bruna Abdullah is extremely likeable as Giselle. Khushboo Shroff (as Nidhi) and Aseem Tiwari (as Nikhil) lend fair support. Ketaki Dave and Shirish Sharma are alright. Anju Mahendru provides able support. Aamir Ali has his moments. Pooja Ghai gets limited scope and is okay.
Punit Malhotra has penned a script that isn’t easy for a first-time director like himself but his narration is quite smooth. His efficiency, as director, is evident in several scenes, prominent among them being the one in which the tough security guard softens and smiles lovingly at a depressed Jay, and when Jay looks dejectedly at the little boy selling red flowers. Punit definitely has a bright future ahead of him. Vishal-Shekhar’s music is a major asset of the film. The title song and ‘Jab mila tu’ are already hit numbers. ‘Bin tere’, repeated thrice in the film, grows on the audience beautifully. ‘Sadka’ and ‘Bahaara’ songs are also quite nice. Song picturisations (Bosco-Caesar) are good. Ayananka Bose’s camerawork is splendid. Sets (Amrita MahalNakai) are very good. Costumes (by ManishMalhotra) deserve mention.
On the whole, I Hate Luv Storys is a good, entertaining fare for the city youth and the multiplex audience. Although it doesn’t have much for the smaller centres (where even the English title may prove to be a setback), it will emerge to be a plus fare on the strength of its business in the cities and its revenues from sources other than theatrical.
By Komal Nahta
http://koimoi.c2w.com/2010/07/02/komal-nahtas-review-i-hate-luv-storys-2/
July 2, 2010 at 10:54 AM
I Hate Luv Storys | Squeaky clean rom com
A poorly-written, outdated, sugar-coated love story where the lovers do little but mope
Sanjukta Sharma
Mumbai
There’s something irreversibly screwed up about a successful woman of the 21st century whose everyday bedtime read is Eric Segal’s Love Story and her bed companion, a furry, pink, oversized teddy bear. Other Barbie paraphernalia in her room: heart shaped little pillows, Cadbury chocolates and pink objects strewn here and there. She is the incurably romantic heroine, accessorized to suit the girl the designers at Archies had in mind 20 years ago. Her name is Simran (Sonam Kapoor), an art director working in Bollywood films and the heroine of Punit Malhotra’s debut film, I Hate Luv Storys. She is in love with a wispy, sentimental banker, Raj (Samir Dattani). Raj and Simran, get it?
They are childhood sweethearts who have grown up to be inseparable. He gives her a white flower every day, and she simpers and shimmies. It’s the kind of love she always dreamed of.
It’s a world far removed from today’s India, which is not necessarily a bad thing if I Hate Luv Storys (produced by Karan Johar’s Dharma Productions) was a period film. But which 17-year-old today reads Eric Segal and moons, or whose idea of a romantic evening is being fed coffee by her fiance at a beachside restaurant in New Zealand? They don’t drink on weekdays, we’re told repeatedly.
Malhotra is sorely out of touch with 2010. It is clear he wanted a Yash Raj-style rom com—snow-capped mountains, chiffon sari swaying in the wind, they’re all here. But just those evergreen cliché’s can’t make a two-hour movie. The best of this genre, pioneered by the original Raj and Simran in Dilwale Dulhaniya Le Jayenge, have sizzling on-screen chemistry, well-written scenes and timeless wit. I Hate Luv Storys have none of these.
To begin with, the story is wafer thin. Lovesick Simran meets Jay (Imran Khan), an intern at a Bollywood studio. He sniggers at his work and at the director he works for—seasoned at making Hindi romances, he “feeeeels” as he writes his scenes. For Jay, he is too passe and unreal; Simran, of course, considers him a visionary. Jay dates girls who are sexy, but also dumb and interested in sex. Some of them pounce on him across bar tables—the polar opposite of squeaky clean Simran. Malhotra has either tried to play very safe by writing characters who exist in Bollywood romances of the 1990s or much earlier, or he did not have anything original for a contemporary romantic comedy.
Simran falls in love with the unlikely hero, gets rejected, then unlikely hero falls in love with her. Who will she finally choose? Boring and safe banker or the imperfect, impulsive dude?
Many great romantic comedies have the same stupid dilemma—the choice is always the same. Some of these movies, especially some Hollywood ones set in New York, are my comfort movies. You suspend disbelief and give in—the best rom com couples have that lovely, indescribable magic thing, which, by the way Simran keeps talking about in this movie.
There is some chemistry between Kapoor and Khan. Some scenes, in the first half when Simran becomes aware of her feelings for him and later when he is trying to win her over, are funny and sweet. But overall, there’s very little happening in the film. Simran is either simpering or moping—and always looking crushed. Khan mopes during pretty much the entire second half. There is no hint of physical attraction between them, only two big, sore hearts.
Dialogues are shockingly bereft of wit, humour and realism. For example, the hero of the film Jay and Simran are crew members of, tells Jay, “Girls are like buses. One goes and another arrives. But there’s one bus that takes you home. Never miss that one.” Jay downs several shots of a red coloured spirit after this shot of wisdom, and passes out.
The lead pair looked promising in the promotional trailers of the film. Imran Khan is already two flops old, following a successful debut with the hit Jaane Tu Ya Jaane Naa. When it comes to pushing his abilities for a better performance, this film has not done much for him. He looks the filmy dude—his body language is hip and urban. But when it comes to acting, especially one scene where he is on the phone with his divorced mother, his lack of control and inability to understand his character is sorely obvious. Kapoor has two or three expressions through the film—overjoyed, in tears, sulking. Her dialogue delivery is raw and unrehearsed and some of the words almost sound chewed. Manish Malhotra has dressed her up mostly in high street brands from New York and London. Sadly, Kapoor’s only achievement in the film is looking cute.
The performance of Samir Soni, who plays the hyperventilating Bollywood director, the boss who is a laughing stock, is the only really convincing performance in the film. In an attempt to laugh at the Bollywood genre it belongs to, the film makes fun of the director. But towards the end, the story of Raj and Simran begins to look similar to the one unfolding in the film they are working on.
It happens, the makers of I Hate Luv Storys seem to say. I couldn’t wait for it to end.
http://www.livemint.com/2010/07/02144406/I-Hate-Luv-Storys–Squeaky-cl.html?h=A3
July 2, 2010 at 10:57 AM
Film review: I Hate Luv Storys
Kaveree Bamzai
Rating: 2.5/5
Can an entire movie rest on an elevated, eloquent, artfully tweezed eyebrow and a pink-lipped pout? When the aforesaid features belong to a boy? Well, if you’re I Hate Luv Storys, produced by the pasha of packaging, Karan Johar, it can. Almost.
I Hate Luv Storys relies entirely on Imran Khan’s genetic code and it almost succeeds. Please understand, it’s no small feat to make a romantic comedy. You have to marry a self-mocking tone with a sensibility that believes in pink hearts, cuddly toys and cute-as-a-button clothes. In the US, where this art has been perfected into a science, they get it wrong more often than they get it right. So it’s no wonder that Punit Malhotra, who clearly had Karan Johar films mixed in his mother’s milk, can’t quite hack it.
It’s not just the writing, which can be as pallid as the production design is vibrant. We’ve had it till here with the re-enatment of recent YashRaj and Karan Johar film scenes. There’s a sequence where every recent blockbuster is rehashed with unabashed self reference–from Dilwale Dulhaniya Le Jayenge to Kabhi Alvida Naa Kehna. It’s great for Aditya Chopra and Johar, who even has one of the principal characters, the maker of mushy movies, Vir (a camp-it-up Samir Soni) based on him. But not so good for the audience which has by now overdosed on this rehash of rehashes. It’s also the direction.
The movie begins as a post-it from Imran Khan to the audience. He addresses them directly through a voiceover, which is quite funny in parts, especially when faced with the heroine’s fiance, Raj Dholakia. In the second half, though, inexplicably, the director decides to do away with it, as his hero slips deeper and deeper in love, and should be doing stuff other than weeping on the phone to his mother in Long Island (she admonishes with remarkable lack of awareness of gender equity, don’t behave like a girl).
But that’s not the only flaw. As can be expected, it’s not a terribly original concept. Boy meets girl, who in keeping with contemporary Bollywood movies, is more successful and determined than him (he does, of course, being a good Punjabi boy, has a business to run which he is running away from). She’s the art director on a film called Pyaar Pyaar Pyaar and he’s an assistant director assigned to her. Girl falls in love with the boy, even though he’s Mr Wrong, goes to Marriot (where else, in this self-consciously Bollywood film?) to tell him that but sees him chatting up another girl, makes the declaration and gets rejected.
The movie begins as a post-it from Imran Khan to the audience. He addresses them directly through a voiceover, which is quite funny in parts, especially when faced with the heroine’s fiance, Raj Dholakia. In the second half, though, inexplicably, the director decides to do away with it, as his hero slips deeper and deeper in love, and should be doing stuff other than weeping on the phone to his mother in Long Island (she admonishes with remarkable lack of awareness of gender equity, don’t behave like a girl).
But that’s not the only flaw. As can be expected, it’s not a terribly original concept. Boy meets girl, who in keeping with contemporary Bollywood movies, is more successful and determined than him (he does, of course, being a good Punjabi boy, has a business to run which he is running away from). She’s the art director on a film called Pyaar Pyaar Pyaar and he’s an assistant director assigned to her. Girl falls in love with the boy, even though he’s Mr Wrong, goes to Marriot (where else, in this self-consciously Bollywood film?) to tell him that but sees him chatting up another girl, makes the declaration and gets rejected.
The other problem is it’s not very witty. One liners are at the heart of smart rom coms. Alec Baldwin touching Meryl Streep THERE and saying grandly, it’s great to be home in It’s Complicated. Or Julia Roberts telling Hugh Grant in Notting Hill, “I’m also just a girl, standing in front of a boy, asking him to love her.” Or in Harry Met Sally: “All I’m saying is that somewhere out there is the man you are supposed to marry. And if you don’t get him first, somebody else will, and you’ll have to spend the rest of your life knowing that somebody else is married to your husband.” Awww. I know. This is nowhere close. We’ve all heard the stock filmi romantic cliches being made fun of before: if she loves you, she will turn back and look at you; if you love her, you will run to the airport to get her (done to great effect in Imran Khan’s delicious debut, Jaane Tu…Ya Jaane Na with him on a white horse); and of you’re in love, you will start lying on the bed and staring at the ceiling in depression.
You will also start drinking shots, get wet in the rain, and find your friends’ love stories teeth-on-edge grating. Yes, the lead pair do all this with grace and charm. And they also knock you on your head if you forget a film reference–a friend (who as in all romantic comedies, is fat and funny) tells Imran to close his eyes and if he thinks of Sonam, he’s in love. Yes, it’s a scene from Dil Chahta Hai and we know it, and they know it, and if we’ve forgotten, they remind it.
It sort of spoils a favourite word of the film, magic. The problem with the film is the problem with Imran’s character, Jay Dhingra. He’s too cool for his own good. And he knows it. There’s only so much T-shirts announcing his interests can do. Yes, we know he’s cool because he’s wearing a T-shirt with Al Pacino’s face from Scarface. We know he’s cool because he’s wearing a T-shirt bearing The Beatles legend. And yes, yes, we know he’s cool because his T-shirt says Forget Superman, Try Me. We also know he has a reason for not believing in love–his parents are divorced. Wow. Of course, if we were Sonam Kapoor, a princess who believes in love and bankers with boring taste in clothes, even we would buy him. Er, is he on sale?
But he’s not and anyway it’s not enough to keep this charm boat afloat. It begins in a movie theatre and ends in a movie theatre. It’s like the experience of watching it–there’s nothing to take home.
http://indiatoday.intoday.in/site/Story/103914/film–review-i-hate-luv-storys.html?page=0
July 2, 2010 at 12:49 PM
I Hate Luv Storys Sucks!!!
Manish Gaekwad, Buzz Bureau
Mumbai, July 01, 2010
Ok so the word is out. I Hate Luv Storys sucks! The early bird reviews from across the globe where the film has found an early release says that people are done with candyfloss romance. If you want to spoof it, put some spunk in it.
Ever wondered why Karan Johar did not promote his own production I Hate Luv Storys the way he promoted Dostana and Wake Up Sid?
For beginners, it stars Aamir Khan’s ne-phew! Imran Khan – who is never going to be hot property if he keeps talking about Avantika (his fiancé) in all his interviews – like a hen pecked BFF. Karan loves Imran, but he loves Shah Rukh Khan more, and anyone from Aamir’s camp is not welcome.
You will ask, then why work with Imran, K-Jo? Why not? He suits the bubblegum part – and he was chosen by director Punit Malhotra – who is designer Manish Malhotra’s ne-phew! Get the connection? Why will Karan say no to Manish Malhotra’s nephew’s choice for enemy Khan’s nephew in his fillum? That’s a lot of six-degrees! Go figure.
Sawaal number two. The film also stars Sonam Kapoor – now what is K-Jo’s problem with her? None. Shah Rukh Khan and Anil Kapoor have exchanged tu-tu-main-main over the years, in press, at award shows. Sonam is dying to work with the King Khan but Dharma Production is as close as she can get right now. No Red Chillies so far.
In the end, K-Jo is not too kicked about I Hate Luv Storys so he has done no ‘special coffee show’ to discuss the film with its leading actors. He’s not even promoted the actors the way he did Ranbir and Konkona during Wake Up Sid. But all this is khaali-peeli bakwaas! If the film was any good, he would have been screeching from his terrace. And the shrill sound of that we have all heard from that Maa Da Laadla.
So coming back to why I Hate Luv Storys sucks – it’s a khichdi of all Yash-Dharma films – we know that – its Mills & Boons woman meets Harry Potter child-man. Blech, we’ve had enough from their stables. You put a Sonam with an Imran, you don’t make Iron Man, do you? Is this the best Bollywood can with its current crop? Re-hash all your la-la land films once again with a fresh couple, without a shred of novelty to the story!
‘Imran has to lose the I-am-Sanjay-Dutt-body-double walk!’
‘He is so stiff, dialogue delivery so stilted, like he’s got a reed stuck in his throat’.
‘Sonam lights up the screen but her acting is still tubelight!’
‘Sonam has her head in the clouds but did she have to walk around leg-less as well, she just swims in and smiles and swims out and smiles – like a drunk fish in an aquarium.’
Just some of the comments being tweeted around even as we report.
Harsh early words…wait till you see how hopeless the film is, with its actors who have absolutely zero chemistry emitting between them, I Hate Luv Storys will not even spark off a new film idea!
I Hate Dull Storys.
Rating: 2.5/5
http://www.buzzintown.com/delhi/article-review–i-hate-luv-storys-sucks/ref–related-article/id–1664.html
July 2, 2010 at 1:25 PM
Munna:
Bollywood In Distress
July 2, 2010 at 11:19 PM
B.O. update: Youth luves ‘Luv Storys’, film starts with a bang
- By Taran Adarsh, July 3, 2010 – 08:10 IST
The second half of 2010 has begun with a bang, with the first release of July, I HATE LUV STORYS, fetching a fantabulous start. The film took off in a big way from the morning shows itself, with big city multiplexes opening to 80% to 90% response. At places, the occupancy was 100% as well. At plexes of relatively smaller centres, the opening was in 60% to 70% range, while single screens, expectedly, were not strong. The opening at some single screens was good [it picked up at big centres during the course of the day], but at smaller centres, it was below average, in 30% to 40% range.
Looking at the tremendous response from the youth, several plexes decided to add more shows on Friday itself. Also, at several plexes, the film fetched one of the biggest starts of the year. The opening day figures at several plexes were at par with 3 IDIOTS and RAAJNEETI.
Imran’s second release, KIDNAP, which came right after the smash hit JAANE TU YA JAANE NA, had fetched approx. Rs. 4.85 cr. nett on Day 1 [Thursday; National Holiday], while LUCK had fetched approx. Rs. 3.5 cr. nett on Day 1. I HATE LUV STORYS, Imran’s fourth release after KIDNAP and LUCK sank at the box-office, is expected to fetch approx. Rs. 7 cr. on its opening day, which is fabulous.
The brand Karan Johar + fresh pairing + excellent music + terrific promotion have lured the youth in hordes, while the audience feedback ranges from good to excellent [the youth is loving it].
http://www.bollywoodhungama.com/trade/boxoffice_update/index.html
July 2, 2010 at 11:20 PM
Has far crossed my expectation here, was thinking 5ish, got 7. Great.
July 3, 2010 at 12:06 AM
http://www.boxofficeindia.com/npages.php?page=shownews&articleid=1789&nCat=news
I Hate Luv Storys had a super strong at multiplexes in fact the opening at metro multiplexes can be called bumper. The opening at single screens was lower at around 30-50% depending on location but the release is heavily concentrated at multiplexes. The reports are good from its target audience and the film should at least do hit business.
Raavan fell badly in week two with around 4.50 crore nett business The two week total for the film is around 28.50 crore nett. The film is likely to stay under 30 crore nett for lifetime business. FLOP
Raajneeti continues to be rock steady with around 5 crore nett coming in week four. Raajneeti now has an approx 90 crore nett total after four weeks making it third biggest nett grosser in history of Hindi cinema. BLOCKBUSTER
July 3, 2010 at 12:30 AM
happy for imran
July 3, 2010 at 12:36 AM
satyam – trade feauture. by taran adarsh. if u can get the table will be good.
interesting stuff
aamir, srk
http://www.bollywoodhungama.com/trade/special_features/index.html
July 3, 2010 at 12:57 AM
tfs rooney
imho, if IHLS works like trade thinks it will, Imran will overtake Abhishek in this list, maybe even Ajay.
Yeah, it is a fair reflection of where the actors stand today.
July 3, 2010 at 2:20 AM
no offense but just refer comparative piece of abzee, theres a message for u.
(just acting as messenger here)
July 3, 2010 at 1:15 AM
Its old table, Taran just updated with last 6 months, good nonetheless.
July 3, 2010 at 1:15 AM
No Bachchans for Mani?
Hindustan Times
Mumbai, July 02, 2010
Morning my malai mushroom tikkas! How goes the Friday morning for you? I’ve been up since the crack of dawn to do some kasratbaazi in my private gym, it’s been a long time since I did some workout.
Anyway, I’m off to my chahita Aamir Khan’s place, for he’s showing me a sneak dekko of his forthcoming movie, Peepli Live, this afternoon. For now, read on to know what everyone in tinsel town is gupshupping about.
A jasoos from Juhu has dropped in to tell me that Mani Ratnam might not work with Abhishek Bachchan and Aishwarya Rai… at least not so soon again. Reason: Amitabh Bachchan’s vishesh tipni on Raavan hasn’t gone down well with the movie’s director. Aur pata hai kya? Mani sir, who’s in the process of casting for his next production venture, for which Ranbir Kapoor is reportedly confirmed, apparently had second thoughts about talking to Abhi about it. My informer claims that’s the reason the filmmaker approached Imran Khan.
If you ask me, the combo of Ranbir and Imran does sound interesting in a Ratnam production. More so since Kapoor is on a roll at the box-office and Khan’s I Hate Luv Storys has generated a lot of positive buzz. Now, it only remains to be seen whether Ranbir and Imran approve of the subject and their roles in the storyline. Until then, my khabru is keeping his fingers crossed. Tsk tsk.
http://www.hindustantimes.com/No-Bachchans-for-Mani/Article1-566350.aspx
July 3, 2010 at 10:11 AM
Those who thought IBOS is biased towards Bachchan’s……..must read this wonderful article…….. why abhishek career in danger???????
http://www.ibosnetwork.com/newsmanager/templates/template1.aspx?a=22128&z=4
we thought only boi ,indiafm and co were against abhi baby now it seems apart from satyamshot whole world is biased against him………
This planet don’t deserve the greatest star-actor ever born!!!!!!!!!!!!!! we are such a poor souls,only god can save us now to improve our standards……………………………..
July 3, 2010 at 10:54 AM
actually they’ve been on an ideological tear over this film for a long time… there have been tons of articles on it.. and they’ve never been in the Abhishek camp either.. he’s received more unkind coverage from him than the opposite throughout.. which is the point I have made forever!
July 3, 2010 at 10:13 AM
Rangan on IHLS
http://baradwajrangan.wordpress.com/2010/07/03/review-i-hate-luv-storys/
July 3, 2010 at 10:42 AM
http://in.movies.yahoo.com/news-detail/92906/Ash-Good-As-Murthy.html
Ash as godd as Murthy!!
July 4, 2010 at 11:20 AM
I watched I Hate Luv Stories last night.
Overall its a bit of a drag [as expected]. First half is better than second but neither half is that good anyway!
I cannot figure out if this was a aimed as a bit of a spoof because it certainly doesn’t get there.
Dharma and Yashraj clearly have the fascination with DDLJ and cannot get away from it one bit. And this film is quite frankly the “tip” of the iceberg. You’ve got Maahi Ve [Kal Ho Na Ho] playing in the backround throughout. Not just one or two filmi references but scores reference DDLJ, KHNK, KKHH, KANK and Dil Chahta Hai. You got specific scenes lifted! from DCH [at least 3 I counted]. You got one whole song mimicking Guzarish [Ghajini] and Jaane Kyun [DCH]. And the endless streams of DVDs of previous romantic films, mostly SRK ones, mostly SRK songs playing in the background, mostly SRK filmi dialogue references, mostly SRK film references blah blah blah blah blah blah.
Karan Johar and his directors and Chopras need to get out 1995 and 1998 and back into 2010!
Save for Imran and Sonam this is a total turkey. They have some decent moments and are the only good things here.
I can’t believe how many times films of past are copied or referenced!
It’s maybe some psychological or submersive thing here by Karan…lets get Aamir’s nephew and re-hash Raj and Simran! and have scores of SRK related images and songs in the background!
July 4, 2010 at 11:30 AM
looks like this won’t do a JTYJN in that case.. this is the classic Johar move.. insist on the canonization of SRK! Doesn’t this betray an obvious anxiety? If the films and SRK were considered that canonical and ‘beyond debate’ why would he need to keep on asserting it?! Coincidentally I saw bits of BeH yesterday and this too is a similar film in that sense. Lots of SRK references.
July 4, 2010 at 12:34 PM
Yes this is no JTYJN at all. That film I enjoyed at least but this one was very dragging.
On Johar, this is becoming quite an obsession now. This film could have referenced MPK or Bobby or Love Story! But everything it references is either a Dharma/Chopra film with the exception of DCH.
Imran is definitely a star in the making though. I went to a 11.10pm show and it was full. Did not get tickets to an earlier show. Not huge screens but it seems the young teenage crowd is liking him a lot. He is a fairly likeable on screen presence but his dialogue delivery on some key scenes was terrible. But he has a good eye for comedy. Sonam is definitely a good actress. But this film was a poor choice by both. There is nothing in the material here. It was just simply a quick win at the box office type of film.
July 4, 2010 at 4:20 PM
perhaps it gets a big enough initial and then stays somewhat stable to get to a fairly healthy total..
July 4, 2010 at 1:46 PM
Show us a film, we’ll show you the money
Shubhra Gupta
Posted: Sun Jul 04 2010, 13:49 hrs
Bollywood has never been more confused as now. Never been more unsure about the big stars/big film formula. Does this mean the movie game will change? Who and what will be the game-changer? Our correspondent talks to the biggest players about their hunt for that elusive thing: an idea that connects
Were you one of those who went into mourning when Hrithik Roshan donned a sombrero and salsa-ed his way out of our hearts in Kites, this year’s worst mega film till now? Despite having Hearthrob Hrithik, the film was old and stodgy, a good idea killed by lousy execution. Did you send a prayer to the gods that govern Bollywood, giving eternal thanks to the unsleazy sunshine shed by India’s first all-digital film Love Sex aur Dhokha? Despite having no celebrated faces, LSD was cool and groovy, finally unshackling sex and freeing love, reaching out to a young and restless audience that is changing at breakneck speed with each tweet.
The fact that you can get such startlingly different films within a couple of months of each other defines the confused state of Bollywood today. What works, what doesn’t, is more than ever a matter of gamble, and right now, 2010 shows all signs of an industry that doesn’t know whether it’s coming or going.
On two successive rain-spattered days in Mumbai, a clutch of B-town heavy-hitters talk about where the film industry is at and where they think it is headed. There’s Karan Johar who has gone from popcorn romance to infidelity to gayness to disability and religious identity and is now back to a contemporary date flick (I Hate Luv Storys released this week). Rohan Sippy, who has braved a second-go-around with Hollywood studios after the debacle of his Chandni Chowk to China, co-produced with Warner Bros (Dum Maaro Dum releases early next year in tandem with Star Fox). Ekta Kapoor who broke the barrier with Love Sex aur Dhokha and is now busy ramping up her new production offshoot, Alt Entertainment (LSD was the first film from the fledgling company). And, of course, Anurag Kashyap, the quintessential outsider who’s attempting the straddle between art and commerce like no one has before (Udaan, which he has mentored and produced, was India’s official entry at the Cannes film festival and is out later this month).
I have my opening line ready when I meet Karan Johar in his spiffy office, his desk surrounded by trophies, a collection of healthy nibbles at hand. Closest to him is a bottle of plump almonds. I ask for coffee. He grins and says, I get that a lot. What I get, instead, is conversation with Karan, who is now contemplating a radical change for Dharma Productions: a film with new faces. This, from a filmmaker who has flagrantly and proudly declared his penchant for big stars, big films: “How long can we carry on making movies with the same nine stars ? We will die of exhaustion.”
He’s known what it is to be golden. And also what it is to be reviled. His huge Twitter following is full of people who fling all sorts of invective at him, and he says he can understand that “because a happy, shiny person like me can be irritating”. “Earlier I used to get upset, now I just ignore them”, he says. And block them off his feed. Now on a sabbatical from directing, Johar is setting into motion the process which will have four films out next year, reading a script a day (“85 out of 90 are terrible”), thinking of ways to encourage good writing (“I would give anything for a perfect screenplay”), and mentoring debutant directors in his stable (“it helps if you have Malhotra as your last name, it seems like a karmic connection!”; I Hate Luv Storys is by Punit Malhotra). Are all you budding filmmakers with that surname listening?
The one truism that comes through loud and clear through all this is that stars are no longer guarantors of success. A Brad Pitt or a Tom Cruise alone can’t rake it in anymore in Hollywood. Ditto for a Shah Rukh or a Salman in Bollywood. So is there a formula that will pull the industry out of the doldrums? The game is begging to be changed: who will be the game-changer?
“Greed and fear are the twin emotions that dictate us,” says Rohan Sippy, third generation Bollywood (grandfather GP began it all, and no one’s yet bested father Ramesh’s Sholay: it is at the top of every Best Bollywood film list), sounding like a wiser, smarter Gordon Gekko. “Because of the money having dried up, we are scared. The moment we have two hits on our hands, we will be back again doing the same thing. We need to be better behaved with each other,” he says.
Over a delicious home-cooked lunch of dal, stuffed bhindi and perfectly spherical tiny phulkis (father Ramesh joins us, and noting my delight says, she’s from Delhi, they only have large rotis there), the conversation veers towards how Bollywood has lost the ability to make films accessible to everyone. “Those were the skill sets that dad had, and Yash Chopra had,” says Sippy. “Only Raju (Rajkumar Hirani) is continuing that tradition, he is the Capra of our times. We need to get back to making great movies like we used to, those that connect us to sheer spectacle and drama. And we need to adopt new technology (yes, 3D, yes, digital),” he says.
After a dire course correction which involves re-structuring film finances, curbing greedy stars, rationalising distribution patterns (just because the multiplexes are there, doesn’t mean every film needs a 2000 screen release), ditching corporate profligacy and wasteful high-pitched marketing, ultimately it all comes down to the film.
“We thought we had everything in place for Chandni Chowk, but we didn’t get it right,” says Sippy, who is currently in the process of wrapping up the shoot on Dum Maaro Dum, a drug-buster film set in Goa. “ There is no other road map — you have to make a good film.”
So what’s Ekta Kapoor up to after making Love Sex Aur Dhoka? Her office, at 7 pm, is a beehive. Several aides hover, a potential painted K-serial wannabe waits nervously. The czarina of Balaji Telefilms escorts me in, the phalanx of garland-festooned gods and goddesses that fill a wall the perfect counterpoint to her red tilak-adorned forehead. A pale pink Ganesha is pushed to one side to make space for the voice recorder.
The moment she opens her mouth, though, all notions of fluffiness are dispelled: she’s sharp and observant, backed by an uncanny sense of what will work. “Just because I’ve made one kind of film till now (Balaji till now was identified with raunchy comedies like Kya Kool Hain Hum) doesn’t mean I can’t make something that’s totally different. That’s the whole point of Alt Entertainment,” she says. LSD is certainly alternative.
And edgy and dark in ways Balaji has not known how to be. “The moment Dibakar (Banerjee) narrated the story, I loved it,” she says. “I look around me, and I see it happening everywhere.”
Alt Entertainment will run on a cost-driven philosophy. “ We want to inhabit both ends of the spectrum— after LSD, our next film, from Balaji, Once upon a time in Mumbaai (out July end) is as commercial as commercial can get,” she says. Her team looks at the ‘feasibility pattern’ of new projects, and then it’s down to Kapoor to give the final nod. “All I want from a film is that it should engage me completely,” she says. And to see what people are watching, and liking, she catches a film every Sunday at a nearby multiplex.
It’s appropriate that Anurag Kashyap gets in the last word, because everyone I speak to brings up his name (Dibakar Banerjee’s follows in the same breath) as being hugely instrumental in pushing Bollywood out of its conventional rat-hole. When Kashyap began, he had no takers (his scintillating debut film Paanch is still unreleased, and it doesn’t look as if it’s ever going to see the light of day). Now, after Dev.D, he’s at a place where he’s no longer having to write dialogue for cheesy mainstream films to get by. He cranks open his laptop and shows me the ads he’s now doing for “bread and butter”: one of them has Shah Rukh prancing around a sleeping beauty.
But he, like the others, is wary of claiming game-changer status.”Dev.D was not a game-changer, it didn’t crack the box office in the way a Bheja Fry did”, he says, raising his voice to be heard over the din at hip suburban hangout Zenzi (the Rs 60 lakh-to-Rs 12 crore Bheja Fry story is now part of Bollywood lore). “I am no game-changer. Main change hotey huey game mein ek wheel ho sakta hoon ( I can be a wheel in a game that’s changing). Aamir (Khan) was a game-changer in the way he started doing one film a year, and is now taking the role of the actor-producer so seriously. Ranbir (Kapoor) can be a game-changer if he continues to pick the right roles. I am just the guy who will take your film from the paper to the theatre,” he says. Vikramaditya Motwane, director of Udaan, can vouch for that fact.
“The idea is to put the money back into the kind of films I believe in, and use it for a distribution venture with Ranjan”, he says. (Ranjan Singh, indie film marketer, whose first outing was the excellent Indian Ocean rockumentary Leaving Home). Singh, who is alongside, has been filling me up with all the new ways films with exciting, so-called “unsafe” content can be put out into theatres, and is all fired up about his next ventures, Makrand Deshpande’s Shah Rukh Bola Khoobsoorat Hai Tu, and Kashyap’s untitled next.
Kashyap recalls a visit home recently for his sister’s wedding, where his mother fished out an old letter: the 19-year-old Anurag, bursting with Technicolor dreams, had written that he would go to Bombay and change the way movies were being made, “Main filmon ko badal doonga”. He hasn’t really got all the way there, but now, when he gets an automatic mention anytime people talk about “different”, you know that he’s both a source of inspiration for the indie brigade, and envy for case-hardened industry vets, and that, in Bollywood, still surviving on mom-and pop-instincts despite all the talk of corporatising, is a big deal.
So, yes, there is acknowledgment that the game as it is being played at all kinds of levels, whether they are the smaller-budget, high concept movies or the monstrous tent-poles, needs drastic changing. But there’s no ready-made game-changer willing to take on the responsibility of the entire film industry. What we have at the moment are filmmakers ready to create shifts.
The “golden period of our own” that Karan Johar is convinced is around the corner is still a way off. What the industry will have to hunt for, alongside its quest for its elusive chalice, is filmmakers who want simply to make a film, not a certified blockbuster from the get-go.
Go on, show us a movie. We will show you the money.
http://www.indianexpress.com/news/show-us-a-film-well-show-you-the-money/641840/0
July 4, 2010 at 5:59 PM
‘Twilight’ falls sharply but makes it to $161M
AP
By DAVID GERMAIN, AP Movie Writer David Germain, Ap Movie Writer – Sun Jul 4, 1:11 pm ET
LOS ANGELES – “The Twilight Saga: Eclipse” is waning at the box office but still has gotten off to a blockbuster start with $161 million in its first five days, according to studio estimates Sunday.
The third chapter in Summit Entertainment’s vampire romance fell off sharply after debuting last Wednesday with $68.5 million. That was the second-best opening-day haul ever, behind its predecessor, last year’s “The Twilight Saga: New Moon,” which opened with $72.7 million.
After that huge first day, “Eclipse” averaged about $23 million daily over the next four days. That includes an estimate for a slow Sunday as people turned their attention to Fourth of July activities.
“Weather has a lot to do with a Fourth of July opening. I’m not looking to make excuses, but between barbecues and fireworks, we have a lot of competition,” said Richie Fay, head of distribution for Summit. “I do think people will come back to the movie.”
Its total through Sunday came in well short of the $200 million mark set last year by “Transformers: Revenge of the Fallen,” the record-holder for best five-day start for movies opening on Wednesday.
“Eclipse” easily held the No. 1 spot for the weekend, though its $69 million Friday-to-Sunday total was only a fraction more than what the movie took in just on opening day. “New Moon” took in $142.8 million in its first weekend last November, though the movie opened on Friday and the figure includes its record opening-day gross.
Summit estimates “Eclipse” will climb to around $181 million domestically by Monday. The movie also has added $100.2 million in 42 overseas markets.
“Eclipse” has found a wider fan base than “New Moon,” with a bigger percentage of males turning out for the latest installment. Female fans accounted for 80 percent of the audience on “New Moon” but only 65 percent of crowds for “Eclipse,” Summit reported.
The latest adaptation of Stephenie Meyer’s best-selling novels, “Eclipse” continues the love triangle involving a broody teen (Kristen Stewart), her vampire sweetheart (Robert Pattinson) and her werewolf pal (Taylor Lautner).
The weekend’s other new wide release, Paramount’s “The Last Airbender,” opened well with $40.7 million to finish at No. 2 for the three-day weekend. The movie took in $53.2 million since debuting Thursday.
Directed by M. Night Shyamalan (“The Sixth Sense”), “The Last Airbender” is based on the cartoon series about a youth with mythical powers who can unite four warring nations.
“The Last Airbender” found a solid audience despite dreadful reviews from critics, who found the plot muddled and the dialogue stilted.
Disney’s animated smash “Toy Story 3,” which had been No. 1 the previous two weekends, slipped to third-place with $30.2 million, raising its total to $289 million.
“Toy Story 3″ is about to pass last year’s “Up” at $293 million to become No. 2 on the chart of Pixar Animation’s blockbusters. The Disney unit’s top-grossing film is “Finding Nemo” at $339.7 million.
Hollywood’s overall business rose, helping to shore up this summer’s sliding box office. Total revenues came in at about $193 million from Friday to Sunday, up 19 percent from the Fourth of July weekend last year, according to box-office tracker Hollywood.com.
Revenues this season are running at $2.16 billion, down a fraction from summer 2009. Factoring in higher ticket prices, though, movie attendance this summer is down 6.7 percent, according to Hollywood.com.
July 5, 2010 at 10:39 AM
Boxofficeindia.Com Trade Network
The figures of I Hate Luv Storys have come in higher than estimated earlier at around the 22.75 crore nett mark. The breakdown is as follows.
Mumbai – 9.25 crore
Delhi/UP – 4.60 crore
East Punjab – 2.15 crore
West Bengal – 1.10 crore
Bihar – 25 lakhs
CP Berar – 90 lakhs
CI – 60 lakhs
Rajasthan – 80 lakhs
Nizam/Andhra – 1.20 crore
Mysore – 1.40 crore
Others – 45 lakhs
July 5, 2010 at 10:46 AM
Box Office: I Hate Luv Storys has good opening weekend
HETAL ADESARA 05 July , 2010
MUMBAI: Dharma Productions’ I Hate Luv Storys starring Imran Khan and Sonam Kapoor has had a strong opening weekend. The movie has done net business of approximately Rs 220 million (Rs 22 crore) across India in the first three days.
The movie opened with net collections of Rs 65 million (Rs 6.50 crore) on Friday, with the collections picking up on Saturday across some circuits.
The movie’s performance was strong at multiplexes across major centers as expected with occupancy close to 80 – 90 per cent.
OVERSEAS
In the US, the movie’s weekend box office stands at $462,867. While the movie collected $88,110 on Wednesday and Thursday, Friday’s collections were $123,613, Saturday was $140,984, whereas on Sunday, the movie collected $110,160.
In the UK, IHLS was released on 54 prints and has grossed GBP 66,315 on Friday, GBP 69,084 on Saturday and GBP 65,345 on Sunday. The weekend gross stands at GBP 200,744.
In the UAE, the movie opened on 38 screens. While the collections for Sunday are not yet in, till Saturday the movie collected $468,000 on 34 screens.
In Australia, IHLS opened on 11 screens and has grossed $78,000 in three days. On the other hand, in Pakistan, despite a shut down in main cinemas (six main multiplexes), the movie collected $63,000 in its opening weekend.
I Hate Luv Storys is directed by debutant Punit Malhotra and is co-produced by UTV Motion Pictures and Dharma Productions.
http://businessofcinema.com/news.php?newsid=16556
July 5, 2010 at 10:53 AM
Midweek B.O.: ‘IHLS’ has fantastic weekend, collects Rs. 23 cr. nett
http://www.bollywoodhungama.com/trade/top5/index.html
July 5, 2010 at 11:28 AM
if it stays stable should have a 30 crore week.. and if it stays stable beyond that 50 crores should be on the cards which is good for a film of this scale but actually a relative underperformance compared to what JTYJN did a couple of years ago or whatever it was.
Nonetheless I would be pleased to see Imran get a success here.
July 5, 2010 at 11:44 AM
agreed on imran point .. be happy for him.
July 5, 2010 at 11:49 AM
why would I be happy for him?
I saw the movie and its totally bland. It’s not much better than any Luck or Kidnap that he’s done. I guess this one worked because its a love story being promoted by Kjo.
July 5, 2010 at 4:49 PM
after agreeing with the rest of the Tamil media that Raavanan was benefited by the holidays Sify is calling Raavanan a hit here:
http://sify.com/movies/Half-yearly-report-Hits-of-2010-imagegallery-kollywood-kg4tfOgidee.html
great news!
July 5, 2010 at 4:52 PM
behindwoods, quite reliably anti-Vikram, calls it average:
http://www.behindwoods.com/tamil-movies-slide-shows/movie-4/top-ten-movies/tamil-cinema-topten-movie-thittakudi.html
the truth is probably somewhere in between.. it’s clearly holding steady in the multiplexes but the TN film economy is defined far less by these screens as opposed to Hindi. Still compared to the Hindi disaster and Telugu disasters this is a way better performance. I’m obviously glad for Vikram but also pleased that Rathnam has got at least some respite on this.
July 5, 2010 at 5:14 PM
I saw this luv story crap, it is just horrible in every way and represents everything that is wrong with Bollywood today. Artificial, sythentic and completely disconnected from life.
July 5, 2010 at 5:16 PM
Imran Khan has zero screen presence, I guess he could do well in the 80s John Cusack type roles but it’s gonna be hard for him to get scripts like that.
July 5, 2010 at 5:28 PM
Dont like Imran at all. He is a terrible actor IMO. So I guess I will skip this luv story going by the reviews.
July 5, 2010 at 6:06 PM
saw IHLS-infact was nearly forced to see it by my “special friend”–who was keen to see this one after seeing the “interesting ” promos—had to endure it—I remained untouched (both by the movie and my surroundings)—crowds in the uk multiplex were significantly more than the ravan screening couple of weeks ago…which is a pity and symptomatic of a general malaise affecting “multiplex” bollywood and the “cool new ” crowd!
wonder how the likes of kjo keep churning the same stuff.
the guy who played the kjo-like director —soni is his name(actually he played it quite well)—feel he even suggested thast he knew his =movies are crap but he makes it for the (follish) audience—the two guys wrre actually laughing AT the very audience who is surprisingly lapping up this incongruent, superficial, wannabe movie.
also, one can notice that now that kjo cannot make the same type of archetypal kjo film, he slips one thru which is supposed to be a spoof or where the main hero appears to laugh at these type of movies. but at the same pretext, he gets away with slipping one more similar film down the audiences throat or up their ……
the only thing good about it was the music. this is the first imran khan movie i have ever watched—feel that he is better than i expected but still as a package is underwhelming (like the film)
someone should tell him that raising ONE eyebrow is not gr8 acting. also he seems to be trying to copy “scrubs” and “friends” type mannerisms and tries to pass it off as cool.
about sonam my opinion has still not changed –she is an air-head and she has STILL had just one good shot in her career–the sugarcane scene in the delhi 6 song
July 5, 2010 at 6:43 PM
Sonam does behave like an airhead. I despise Shobhaa and her ilk but to make these comments about her is just stupid and shows a lack of class.
Sonam, Shobhaa De’s (word) war on Twitter!
Deepti Kaul | ITGD
New Delhi, July 5, 2010
Sonam Kapoor, who already shares cold vibes with writer Shobhaa De, has once again lashed out at her. But this time not directly, Sonam has retweeted on Punit Malhotra’s tweet. Writes Sonam Kapoor: “RT @punitdmalhotra: Guys pls don’t take Shobha De seriuosly. She’s a fossil who’s getting no action and going through menopause. So just for her…”
Action-reaction
It all started with Shobhaa De writing about recently released I Hate Luv Storys in a newspaper labeling it as I Hate Dumb Storys… She also posted the article on her blog page, “What an absolute waste casting Imran Khan and Sonam Kapoor in this utterly dull, total dud of a movie which is more a wonky tribute to Karan Johar’s earlier films, songs and screen pairings. After a point, all those ‘in’ jokes and references start bugging the viewer, particularly a replay of his popular songs as background scores and an embarrassingly gauche recreation of iconic scenes , like the Kuch Kuch Hota Hai dialogue between Shah Rukh Khan and Kajol. Come on guys, are you that desperate for original ideas that you have to pack so many reels of a contemporary film with such obvious take-offs? This isn’t clever tongue-in-cheek stuff. It’s plain unimaginative.”…
http://indiatoday.intoday.in/site/Story/104222/Cinema/sonam,-shobhaa-des-%28word%29-war-on-twitter.html
July 6, 2010 at 1:00 AM
well, what SD wrote seems to be true – KJo needs to stop remembering his old films and forcing those memories again and again and again on public….but SK’s comment on SD was also a sixer
July 6, 2010 at 2:00 AM
http://www.masala.com/23167-heres-the-real-boman-irani
July 6, 2010 at 3:35 AM
Imran’s solo movie fares better than Ranbir’s at BO
I Hate Luv StorysImran-Sonam starrer I Hate Luv Storys (IHLS) has opened to the collections of almost Rs 7 crore nationwide on Friday. Saturday was even better as the pickings rose to Rs 7.5 crore.
Interestingly, Imran’s latest movie has garnered more moolah than arch rival Ranbir’s last solo-hero movie Ajab Prem Ki Ghazab Kahani. Ajab Prem… had netted Rs 6.25 crore on the first day.
Imran tells Mid-day, “It still has to sink in yet. Maybe by Wednesday, it will. I am an extremely cautious person. I would prefer to wait before plunging into celebration mode.”
“I don’t know why people have to compare. What really matters is that you do your best, the film is successful and you are appreciated. This helps your next project,” says Imran.
July 6, 2010 at 3:37 AM
Incidentally one of the rumors had Imran in a Rathnam film also! Some had him in it with Ranbir! All sorts of permutations. Of course just the other day Ranbir once again denied he was doing a Rathnam film. Hope it’s not an Imran solo!
July 6, 2010 at 4:25 AM
but, it needs to be seen whether IHLS does better than APKG…in overall business…..i doubt….
July 6, 2010 at 4:25 AM
http://koimoi.c2w.com/2010/07/06/box-office-half-yearly-report-card-red-marks-all-the-way/
“The good news is that the second half of 2010 has kicked off well with I Hate Luv Storys (Review) taking a good initial. But the bad news is that the first half saw the industry suffering losses to the tune of Rs. 3000 million. Raavan, Kites, Veer, Prince, Teen Patti and Rann were some of the notable flops and disasters which contributed generously to the losses of the first half of the year.
A total of 125 films were released from January to June this year. Of these, 81 were Hindi films, three were English, one was Bengali-English, two were animation films (in Hindi) and 38 were dubbed in Hindi from different languages.”
July 6, 2010 at 8:20 AM
Monday update: ‘I Hate Luv Storys’ is rock-steady, despite Bharat Bandh
-By Taran Adarsh, July 6, 2010 – 17:22 IST
The Bharat Bandh on Monday, 5th July affected film business everywhere, with a majority of plexes/theatres remaining closed and resuming screenings only towards the evening. I HATE LUV STORYS was affected as well, although the film attracted footfalls aplenty when the plexes/theatres resumed screenings from 6 p.m./7 p.m. onwards. The film collected approx. Rs. 2.75 cr. nett on Monday, which takes the 4-day total to approx. Rs. 25.75 cr. nett [Friday to Sunday: Rs. 23 cr. nett + Monday: Rs. 2.75 cr. nett]. Had there been no Bharat Bandh on Monday, the film would’ve collected approx. Rs. 4.5 cr. nett, the distributors feel.
July 6, 2010 at 8:23 AM
CBO- July 2 to 4
Tuesday, 06 July , 2010, 10:06
The status quo is being maintained. Raavanan is strong in the multiplexes, and is still at the number one slot, third week in a row. At number two is Singam which continues to roar in single screens, while it has lost its fizz in the multiplexes. In the third position is Kalavani, which has picked up well thanks to its word of mouth. At number four is the new Hindi filmI Hate Luv Storys, which has netted a decent Rs 18.5 lakhs from seven Chennai screens. The Karate Kid continues to be impressive at number five.
Trade Facts : Above Average
http://sify.com/movies/tamil/fullstory.php?id=14948261&cid=13525926
July 6, 2010 at 8:24 AM
http://satyamshot.wordpress.com/2010/06/30/i-hate-luv-storys-raavan-rajneeti-ongoing-and-more-box-office-muck/#comment-59800
July 6, 2010 at 12:12 PM
I am surprised that Rajneeti has not been appreciated for its box office success by the people in the movie industry.
Most of the other directors and actors have totally ignored it. Normally there is a lot of backslapping that goes on in the industry. In this case nobody has come out publicly and said that they liked it.
July 6, 2010 at 12:39 PM
It is as always a question of ‘narrative’. Prakash Jha has in the past never achieved anything remotely close to this gross. So he can be credited with it only upto a point. Which is to say he has of course made the film but it became so big ‘despite’ him! Similarly the media narrative crowned Ranbir here. some of this is par for the course, stars gain from successful films. However when you have a 90-95 crore grosser, basically the biggest after 3I and Ghajini and when you have some of the top stars falling well short of this mark even in films that worked there are only two conclusions possible — either Ranbir is bigger than them (which in this kind of subject with a lot going on is not completely plausible) or that while Ranbir is a star he cannot equally be the guy who couldn’t outdo or even match Rock On in WUS, who couldn’t get Rocket Singh to 20 crores or whatever even in the wake of APKGK but who suddenly throws out a 90 crore grosser in a film where he is not even on friendly terrain. In an odd sense Ranbir would actually have profited more in ‘real’ terms if the film had just made 65 crores. Because then there would have been greater plausibility in a narrative attributing it to him. On the other hand if he got to that kind of stupendous gross in APKGK he would again get more credit because the film would have been all about him (or the female star). Even overall Rajneeti doesn’t quite belong to a dominant genre. It’s success is only partially surprising, it’s super success much more so. when a Hrithik or a SRK used to get to big grosses in strength genres you knew that was ‘replicable’. But Rajneeti isn’t really at that scale. So even though the media puts Ranbir all over the map in terms of star rankings no one who really knows the business buys it (which is not to say that this is a success any star would not want to have.. just that the narrative can be misleading). Nonetheless and as a larger matter Rajneeti’s box office graph is thrilling. It was absolutely unimaginable that this film with this subject and cast could do what the biggest stars weren’t able to. This too gets to my usual point about how even at a limited level these are surprises because they cannot be foreseen. Much as Aamir’s career after 2000 could not have been predicted in the 90s irrespective of how wise one was about these matters. In this sense all predictions on blogs and elsewhere are useless for the most part to the extent that they operate within the ‘calculable’. So a certain star at a certain point in his/her career can be expected to produce a certain gross depending on the film. But the history of cinema is not written this way. It is formed by those unforeseen moments. A last example: even after SRK started out successful no one could have predicted that he more than Aamir or Salman would become the ultimate darling of the new India and the diaspora.
July 7, 2010 at 5:55 AM
cooltech,Rajneeti is a radical film which ended the dominant genre of tha yashraj-karan johar romances.The bourgeouse who like that genre are surprised.
The media is heavily invested in shahrukh,and aamir khan.So it is downplaying it.But it is a huge hit and a big step for Ranbir towards the top position.He just needs to take Anjaana Anjaani to a respectable total to become the next No1.
Akshay is the No1 star now.after him it could be Ranbir.
July 7, 2010 at 8:39 AM
‘Akshay is the No1 star now’
on which planet??? Uranus??
July 7, 2010 at 12:20 PM
Who is no1 if not Akshay?
July 7, 2010 at 12:24 PM
uday chopra.akshay comes next
July 7, 2010 at 12:25 PM
Sunil Shetty or Paresh Rawal since they have # of comedy hits with Akshay. Or Rajpal Yadav.
Then comes likes of Aamir, SRK or Hrithik but to be honest they are not in league of Sunil Shetty or Paresh Rawal.
July 6, 2010 at 1:08 PM
I Hate Luv Storys Has Good Monday
Tuesday 6th July 2010 20.00 IST
Boxofficeindia.Com Trade Network
I Hate Luv Storys had a good Monday despite the bandh on Monday. The film collected around 2.75 crore nett taking its total to 4 day total to nearly 26 crore nett.
The drops in most circuits were around 65-70% but what told the real story was business in Delhi/UP. Delhi city remained opened all day and the drop was less than 45% in the circuit. It must be noted that only Delhi had a full days business while UP was like rest of the country so a 45% drop is very healthy.
I Hate Luv Storys should manage better business on Tuesday than Monday as the film heads for a 33-35 crore nett first week.
http://www.boxofficeindia.com/npages.php?page=shownews&articleid=1805&nCat=news
July 6, 2010 at 1:09 PM
Satyam:
I agree with you but all of the actors performed well. I thought Ajay was not right for the role and was sidelined. Nana, Ranbir, Arjun and Bajpai were very good.
I liked the back and forth of the twists as the movie went along. The ending could have a little better.
All in all enjoyed it. It showed that the audience will choose script over stars. Raavan and Kites flopped because the audience could not connect with the script.
I don’t think it is a Ranbir’s film alone but more a multi star effort. Its been a long time since a multi starrer without a lone hero getting the credit came along.
July 6, 2010 at 1:26 PM
yes I did enjoy Rajneeti a lot..
July 6, 2010 at 11:19 PM
Taran..
Youth power zindabad!
July 7, 2010 – 08:21 IST
The writing is clear on the wall: The youth holds the key to success. A film starring a fresh pair, exceptional music and remarkable promotion can entice and lure viewers to cineplexes. That, in a nutshell, explains the terrific opening weekend business of I HATE LUV STORYS. Of course, you cannot overlook the marvellous contribution by Karan Johar and UTV, two names that are synonymous with qualitative cinema. They ensured that the film was talked-about and more than visible prior to its release.
It was a foregone conclusion that I HATE LUV STORYS would open very well at the ticket window. The rom-com radiated the right vibes and like most Karan Johar movies, the urban audience/multiplex junta was expected to give a warm reception to the film.
If you scrutinize the business of I HATE LUV STORYS, you’d realize that the metros and centres with plexes have contributed around 85% to 90% of its business. The contribution by the youth is overwhelming. The single screens haven’t reacted well, but let’s not forget that a film with an English title and classy treatment finds it difficult to penetrate into smaller centres or the mass-dominated belt. The Salman Khan starrer WANTED, a hardcore masala film, reaped a harvest from single screens, while MAIN AUR MRS. KHANNA, starring the same actor, was not only rejected at urban centres, but also single screens and mass-dominated areas.
Monday being Bharat Bandh, the plexes/single screens resumed screenings from evening shows onwards. Of course, the business was severely affected, but the general consensus is that the film will remain steady on weekdays and also in its second weekend at metros.
What goes in its favour is its economics. The film was made in a moderate budget and sold to UTV for an equally nominal price [Rs. 18 cr.; excluding P. & A.], who in turn sold the film to various territory distributors. Karan has recovered his investment, UTV too recovered the money invested in the film and made profits before its release and with a terrific start on hand, the territory distributors have won half the battle. The nominal costs on one hand and the excellent shares from plexes on the other should ensure a quick recovery for the buyers. In fact, everyone associated with I HATE LUV STORYS — the producers, the principal distributor and the territory distributors — is likely to earn from it, which is quite a rarity in today’s times.
The title may be I HATE LUV STORYS, but the makers and distributors are chanting a different tune post its release: ‘We luv luv storys’.
July 7, 2010 at 5:40 AM
“Of course, you cannot overlook the marvellous contribution by Karan Johar and UTV, two names that are synonymous with qualitative cinema.”
Karan Johar has had probably the worst lineage of ‘quality’ cinema i have ever witnessed! To say that KANK is your best effort is a pretty sad thing.
SRK and Imran need to stay away from this dude. Aamir has been smart enough not to give in to Johars/YashRaj brand. Imran needs to do the same. To me right now, Ranbir is more interesting than Imran.
July 7, 2010 at 12:42 PM
Ranbir is definitely better over Imran.
July 7, 2010 at 3:12 PM
Ranbir is definitely the better overall package but I do think Imran has more presence on screen. There is n oddness about him which could perhaps be well utilized with age. Right now he’s just too young.
July 7, 2010 at 12:41 PM
Hrithik in Wax
http://www.asianimage.co.uk/news/8259800.Hrithik_Roshan_in_wax_/
July 8, 2010 at 12:21 AM
BoC:
Box Office: I Hate Luv Storys on track for Rs 320 million net collections in week 1
MUMBAI: Despite of the ‘Bharat bandh’ on Monday, Dharma Productions’ I Hate Luv Storys stood steady at the box office. The movie, which did a net business of Rs 220 million at the box office in its opening weekend, collected approximately Rs 27.50 million (Rs 2.75 crore) nett on Monday. On Tuesday, the movie collected approximately Rs 26 million (Rs 2.60 crore).
However, it must be kept in mind that the theaters had shutters down for most part of Monday and resumed playing movies only in the evening shows. If the bandh had not been there, the movie’s performance would have been much better.
The five days net collections of I Hate Luv Storys now stand at approximately Rs 273.50 million (Rs 27.35 crore).
By the end of the week, I Hate Luv Storys’ net collections are estimated to be in the range of Rs 310 – 320 million (Rs 31 – 32 crore).
July 8, 2010 at 1:25 PM
You may want to start a new thread on this, Satyam, but for now this seems to be an appropriate place to post this:
Rs 300 crore riding on SRK
Agencies
New Delhi, July 08, 2010
As flicks like Kites and Raavan, which were high on star quotient, failed to do well at the expectant box office, all eyes are now on King Khan. A whopping amount of Rs 300 crore is riding on his shoulders! The buzz in the trade is that Reliance Big Pictures has bought the rights of SRK’s Don 2 from
related stories
Excel Entertainment for Rs 125 crore, which is about Rs 25 crore more than what they purchased Kites for.
SRKThere is also talk in the industry of Eros International buying Shah Rukh’s home-production Ra.One for a whopping Rs 175 crore.
A leading distributor says, “Shah Rukh rocks. He is still one of the top three stars in this country. His film guarantees good returns. Yes, Reliance Big Pictures has bought Don 2 for an amount which is definitely more than Rs 100 crore. But I think that Shah Rukh’s deal with Eros International on Ra.One could be a funding proposal, which implies that Shah Rukh can still sell the film to other buyers.”
Phew! That’s a lot of money riding on one man, imagine the pressure!
http://www.hindustantimes.com/Rs-300-crore-riding-on-SRK/Article1-569194.aspx
It seems like Reliance hasn’t learned much from their recent experiences.
July 8, 2010 at 1:26 PM
Aargh! OK, sorry once again for not cleaning up the muck in the above post.
Satyam, you may yet see me become a member, solely to have the power of editing my posts!
July 8, 2010 at 1:30 PM
no issues! I did put up this story, possibly even within this thread, a couple of days ago. It’s the classic media narrative on SRK. The translation goes something like this: SRK is still very relevant! Leaving this aside I have seen for hears such exaggerated figures thrown around and then once the film releases suddenly it’s a 20 crore deal for both combined!
July 8, 2010 at 2:05 PM
Oh, sorry, I didn’t see it before.
Apparently Mushtaq Sheikh has tweeted saying that the numbers for Raavan are fabricated, and should not be believed.
If you’re talking “media narrative” though, I thought it was interesting that the article says that SRK “is still one of the top three stars in this country”, whereas a few years ago, the quote would have been “he is the top star in the country.”
But in any case, it is clear that the numbers are exaggerated, since no business person with an ounce of sense will fork out to this amount given the recent track record of “big” films, and given the market limitations.
July 8, 2010 at 3:11 PM
http://twitter.com/shiekhspear
Untrue, inflated figures thrown by press about movies is worse than gossip about star lives. Coz they are meddling with serious business.RT
about 3 hours ago via Twitter for BlackBerry® .A paper today said Ra.one selling at 175 cr-is untrue’. News cooked up by the paper!! RT this so this gossip does not spread! #ra one
July 8, 2010 at 3:53 PM
good point on SRK!
July 8, 2010 at 3:11 PM
ohk…..so aamir gave 200 crores blockbuster that tajes awys SRK relevance…..
SRK has nver in recent years used all his potential in terms of box office.
if a film like OSO can do 85 crores,that says somethinga bout SRK.
what all he needs is a very good script and a solid direction which i believe DON 2 WILL AHVE..
ra.1 still looks dicey but lets hope for the best
July 8, 2010 at 3:13 PM
Where did anyone say anything about Aamir?
July 8, 2010 at 3:50 PM
@GF
>Where did anyone say anything about Aamir?
I think it was indirectly implied in satyam’s comment where he says;
>The translation goes something like this: SRK is still very relevant!
“*still* very relevant” being the words that speak.
July 8, 2010 at 4:09 PM
Oldgold, “indirectly” is putting it lightly. This is outright manipulation of words. Aamir didn’t enter the discourse. If one is critical of SRK, it’s not necessarily an automatic attempt to bolster Aamir Khan. Ridiculous.
July 8, 2010 at 4:25 PM
It’s not about manipulation of words. *Still relevant* would mean his relevance was somehow in doubt due to …what? Here Amir comes in.
July 8, 2010 at 4:37 PM
Oldgold, you must teach me these nuances of language sometime!
July 8, 2010 at 4:37 PM
Sure, whatever, oldgold.
July 8, 2010 at 6:01 PM
>Oldgold, you must teach me these nuances of language sometime!
You know it very well.
Don’t you see anxieties and what not in others’ comments?
July 8, 2010 at 2:13 PM
RA.1 , Production Budget ~ 70, Might reach close to 100 cr by the time it releases(including everything).
Don 2 definitely ~ 100 cr Inclusive everything.
July 8, 2010 at 4:05 PM
Oldgold, I often have to end up ‘translating’ what I’ve said! What I meant about SRK being relevant was that given his relative lack of dominance for so many years (measurable in many ways but the most precise ones being box office results and the ability to attract prestige projects), this ‘anxiety’ is presented by way of a certain media narrative where for example he is usually presented as a ‘savior’ when all else fails, or the high prices are supposed to signal his greatness, on and on.
There has never been another major star in Hindi cinema whose ‘importance’, ‘significance’, indeed ‘greatness’ had to be asserted so much. SRK cannot be understood as a star without the media apparatus that has sustained him so well for so many years. This ‘gap’ is precisely what I have always tried to highlight and argue against. And it is very much connected to some discussions elsewhere. The multiplex new Indian generation resorts to the suppression of history and the supplement of ‘propaganda’ to fill such a ‘gap’. The interesting thing about SRK is that even the contemporary definition of ‘superstar’ (already degraded and rendered meaningless since Rajesh Khanna and Amitabh Bachchan) that is used to ‘grade’ so many stars today is not a bar that SRK himself reaches ‘ever’ in the 90s even in his peak period. There is much talk about flops today. SRK never ever had consistency as a star in that period and had hits/superhits only in a certain Yashraj paradigm. This itself is not a problem since stars are usually wedded to genre. But SRK did a lot of other commercial stuff, even some prestige films of his age, none of it worked. Nothing! And this model can be brought about rather easily. Say Abhishek did a film like BnB once a year. He would have his big hit. The rest of the time he’d do D6 or whatever. These would be box office failures but sooner or later there would be that safe hit. Hardly the graph of a ‘superstar’. These are not my terms but the terms of those who use such standards for every other star.
And don’t respond with Aamir here. This kind of opposition on your part reveals another truth of the SRK structure. Aamir is the terrible anxiety here. The star who over the last decade more or less deconstructed the entire SRK enterprise. No SRK fan can ever forgive him for this. I have seen SRK fans who like Abhishek or at least don’t mind him. I have never seen a true SRK fan who did not minimally dislike Aamir!
July 8, 2010 at 4:37 PM
Isn’t Henry a SRK fan who likes Aamir as well???
July 8, 2010 at 4:37 PM
actually he doesn’t like aamir very much though he likes Abhishek a lot..
July 8, 2010 at 5:45 PM
It was you and others on this blog who decided I am an SRK fan because I find Amir repulsive. I don’t want to explain all the time that no, my dislike for Amir is not based on any fandom for SRK.
I do like SRK (call myself his fan because it’s simpler), but I’m immersed in ‘old’ cinema and don’t really find any present hero who can make me very interested in them. And Amir is such a paper tiger with all his hypocrisy, and artificial demeanour. I repeat, his ‘andhon mein kana raja’ status doesn’t excite admiration only ridicule.
Let me explain. Just as you (and I) think we have not to go by Abhishek’s films to consider him any less, similarly IMO we have not to go by Amir’s films to think he has created history.
I disliked him long before I got acquainted with SRK. My history of watching present films starts in 2007 (?) with Jodha Akbar. So you see, I really don’t have much knowledge about SRK’s position or whatever earlier. I know nothing about any deconstructions. Stars go up and down all the time. You talk as if no other star has achieved a top position ever except Amir.
And relax, I face no anxieties about Amir. I have a life
What anxieties do you have about SRK?
Why are you always so venemous in your opposition?
No, don’t answer.
*sigh* We seem to be going in circles and coming back to the same topic again and again.
July 8, 2010 at 10:30 PM
Oldgold, the problem with your Aamir criticism is that there is no ‘base’ to it. You are not really calling him a bad actor, you are acknowledging him as a star also. But you find a problem with everything he does whether it’s TZP or Ghajini, Lagaan or 3I. It’s hard to see how all these films are ‘fake’ as you tend to insinuate all the time. In other words let’s assume that you are right and that Aamir is a great manipulator who has skillfully constructed a certain career for himself. This doesn’t really deny the authenticity of those films. Secondly it begs the larger question. Is Aamir the only manipulator in town?! But also using the terms of your own debate you are suggesting you love the blind but not the one-eyed? Does this make any sense?! I am not objecting to your Aamir objection. I have been unable to understand it so far though. Other than calling a hypocrite and artificial and so forth you do not really have a case against his body of work. And again everything is tied up together. It is as if I were to say I did not like KKHH on ideological grounds but not Dil Se either because SRK was just being a fake doing that film!
July 8, 2010 at 6:02 PM
what is this whole fuss about aamir.3 idiots and ghajini did blockbuster business because they were genuinely well made films.
true measure of star power can be known by the business of comparatively bad films of stars.
OSO,RNBDJ,MNIK were in my opinion all average to bad films and still they did outstanding business.
3 idiots was first offerd to SRK so all these talks about him not getting prestigious films is bull…and te list is endless..lagaan,munnabhai,raavan to name the few.
July 8, 2010 at 6:07 PM
I heard he was offered Deewar and Sholay too..
July 8, 2010 at 6:25 PM
NO U HEARD IT WRONG MY FRND….
for your ur kind information SRK did not even enter film industry at that time and you call urself hindi film lover……
July 8, 2010 at 7:48 PM
That is the power of SRK that he was offered this films even while he was stillrunning through an entire carton box of Huggies pull us in a day.
I guess sarcasm is lost on some.
July 8, 2010 at 9:42 PM
“I guess sarcasm is lost on some.”
the same can be said abt you my frnd……
July 8, 2010 at 6:23 PM
“Say Abhishek did a film like BnB once a year. He would have his big hit. The rest of the time he’d do D6 or whatever”
so its that easy…ohk…..
why dont you write a book…the title cud be-
A GUIDE TO SUPERSTARDOM….or…HOW TO BECOME A SUPERSTAR IN 2 YEARS(4 big hits and 2 prestigious films)
July 8, 2010 at 4:36 PM
oldisgold…..once again, what is your problem with correctly spelling Aamir’s name? Just hit ‘A’ twice…it’s not that hard. Here, you can try this as a practice line:
‘ Aamir is miles ahead of Shah Rukh Khan right now in every which way possible’.
July 8, 2010 at 5:04 PM
I don’t wish to waste energy and time in typing an extra ‘a’.
In my mind his name is promounced as meaning ‘rich’ and not one of those middle eastern Lords called by the name he likes to spell it as.
>Aamir is miles ahead of Shah Rukh Khan right now in every which way possible’.
No matter how many miles ahead he is not even he can run a one-man industry, and make all else irrelevant.
July 8, 2010 at 5:12 PM
since you are arguing with yourself on this score and finding language where none exists I will have no more to say on the topic..
July 8, 2010 at 5:51 PM
duh, I thought I was replying to TheCoolDude.
July 8, 2010 at 5:28 PM
Munna:
Music Round-up – 2010 first half: Melody on a leash