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303 Responses to “Rowdy Rathore trailers (updated)”
Looks like fun! Akshay could be better on his lines but it’s par for the course otherwise. Bollywood has really embraced contemporary Southern masala in a big way. Which is not what I’d necessarily hoped for (I’ll take what I can get!) though I am not completely surprised either. Aamir’s Ghajini remains the ‘exceptional’ film here as I’ve said many times before. Because firstly he precisely did not select the ‘run of the mill’ deal but also and crucially Ghajini presents a story of authentic loss that cannot simply be erased by the film’s end. Similarly the central scene of violence is appropriately brutal and uncomfortable to watch (his lover’s death). Within its Tamil contexts the original was hardly earth-shaking but for Bombay the remake was a rather radical move. That this film made as much as it did is in some ways a far more impressive achievement that even the 3I gross. In any case it’s unfortunate that no one has picked up the hint here and all the other stars who’re attempting this genre tend to fall into the ‘masala for stupids’ category where unsurprisingly it’s hard to beat Salman! But I also think that even if the gross is to be somewhat compromised the film stays in memory longer than these other disposable varieties. Again I’d rather have mindless masala than nothing (given that there are mindless love stories, mindless comedies, mindless ‘different’ films and what not) but it’s important to keep the distinction in mind. Sadly the stars much like the ‘fans’ don’t often spot these distinctions.
This is why I said some days ago that Aamir hasn’t done a completely mindless film since Mela. D3 will now be that exception assuming it’s going forward as planned. I’ve talked about Ghajini enough but even Fanaa was a 60s/70s hybrid. Escapist fare for sure but not mindless. And for that Yashraj terrain the story was quite rooted (this was 2006, other than this Yashraj had just done BnB along the same lines) and more importantly had an unrepentant terrorist who dies at the end. At any rate D3 will be the sort of plastic stuff that Aamir hasn’t done actually in just about forever. Because even Mela though an abominable film is not the best comparison. That was an old-school deal that was terrible. The same could be said for Aamir’s Inder Kumar ventures (Ishq being a classic example). One really has to go back to Aamir’s post-QSQT period to find something completely plastic. No wonder then that he cannot get his mind around the current film!
satyam- very topical points made regarding distinction between authentic and stupid masala. also, as u mentioned ‘the authentic loss of love’ which happened in ghajini, the thought of bhatt’s ‘naam'(not a masala)came to my mind-i can’t recall any other film where the protagonist(kumar gaurav in this context) sets out to fulfill his motive(to find and save sanju) but fails in it(sanju dies).he is able to kill the villains but that wasn’t his primary motive here-i found this an emotionally unique film
Any comparison would not save Ghajini [Hindi] from being termed a disastrous outing. Bringing Ra.One into picture wont hide the deficits of another pathetic film.Masal on this blog is highly misconstrued,one that keeps oscillating between Bachchan’s legendary stuffs to acceptance of immature attempt by Aamir just in order to keep the “SRK-Factor’ in check.
Khakee is exactly the sort of serious (and more importantly original) masala one hopes to see more of…the fact that there have been only a few movies that carried forward the promise of this film (among them are movies like Dum Maaro Dum) is a real shame.
I greatly lament this current trend of borrowing from Southern masala. Ghajini started this with perhaps some noble intent (as Satyam convincingly suggests) but Wanted altered the course of the trend. And I don’t have a problem with these films because I think they are “stupid” but because they are by and large too outlandish and self-consciously hokey to be taken seriously for the most part. A fun time and nothing to take home. At baseline Hindi cinema seems to be working so hard to create Rajini moments that they forget the Rajini type of phenomenon exists and emerges out of some level of authenticity to the history of a place and a cinema. These translations are lost in Hindi cinema and what you have is this comedic subgenre whereby the “true” novelty is seeing the joke of Hindi film heroes acting like Southern caricatures.
Well said and even in the South this is true inasmuch the stars who can never create the genuine archives that a phenomenon like Rajini did have no choice but to take the easy route of being parasitic on the paradigm. I don’t mean this in a judgmental sense but the point is that this kind of cinema (which I do enjoy when it’s well-made) is almost empty of politics. It repeats all the old moves but in a very mechanical way. So some are just villains, some are just heroes and the rest follows. They do not feed into any larger socio-political cross-currents. In this sense it’s more or less a cinema of pure ‘effect’. If you want to see a guy beat up ten people in somewhat stylized fashion, break into a few songs and so on you are in for a good ride. But this cinema also matches the politics of multiplex audiences across India. Those who aren’t in it for ‘revolution’, who’ve been great beneficiaries of ‘new India’ and who don’t want anyone/anything to rock the apple-cart. Hence when masala is delivered as a cinema of effect and devoid of a more unsettling political charge it can be easily consumed. Here to Vikram’s ever-lasting credit he is the very unusual and perhaps even unique example of a major commercial star who walked away from his extraordinarily dominant position. He discovered a certain impasse precisely when he reached his crowning moment with Anniyan. At other points I’ve been frustrated with his indecision but I can’t argue that there was a better way forward that didn’t involve simply xeroxing Saamy and so on. He did the mix for a while, did everything he conceivable could and then decided he didn’t want to be just the biggest star in an empty paradigm. It’s true that he’s been uneasily trying to define a certain balance for himself ever since and hasn’t yet found that mean but that he discovered a crisis where most wouldn’t (or would do anything about even if they did) is remarkable to say the least.
But this perhaps brings us to the rather inescapable conclusion that masala might not be possible anymore with anything like its former authentic charge. In the Tamil new wave by way of a return to Bharthiraja (slashed with Rathnam) they’ve downsized masala, married it to a more realistic mode and also rendered it a bit more user-friendly for ‘family’ audiences. It’s not at all a bad bargain. This is simply the most interesting commercial cinema in India. But the epic mode of masala is necessarily lost. I have a certain nostalgia for this not merely as a fan but I think that a more transcendent politics could be framed using these registers which is not really possible for the most part in the realistic mode. Because the realistic attempt by definition ‘localizes’ these questions. Therefore even when the latter are raised with a certain force they are ultimately imprisoned in the particulars. and here I think Rathnam has always understood this tension. In many ways he was ‘downsizing’ things before everyone else (with RGV it’s the opposite.. the struggle to maintain great transcendence in the midst of very ‘deconstructive’ realism). He too has never quite found the precise balance. There possibly isn’t one but this ‘tension’ gets replicated in very many films of his including Raavan.
ok, so puhleez do not even equate ra1 with ‘intelligence’.whoever calls it intelligence seems to have been lobotomised. ra1 was nothing but a sum of machinery parts taken out from a junkyard by poor srk and was made to pose as a science-fiction film.there is no science in it, it’s only fiction
Ghajini was Rape of Memento Premise/concept in typical BW way… now Such movies sell presently so dont have any problems but to sallu fans and other star fans, dabangg, another crap is also grt masala without any story … We are living in very Mediocre BW presently, So a little better film becomes SO great in relative context. Which its not.
oldgold-u said ‘ghajini was stupid masala’. if u think ghajini was stupid, i think ra1 was imbecile. anyway i have said whatever i had to say on this topic, do not find ra1 interesting to talk abt it at length.
satyam- obviously khakee was way better than ghajini(it was way better and smarter than most of the films). but that doesn’t mean ghajini was dumb. also once u r done with ra1, could u tell me abt ur take on ‘superstar’ and the point i mentioned abt ‘naam’
watch this satyam – i am talking about the trailer as i don’t know what RR film will be like? but sallu def. scores over akki as akki is still in that comic-hero mode here – also prabhu deva doesn’t give any impact here in any frame….
Always appreciate your support for Aamir & Ghajni. I also agree that it was intelligent film with masala as a main dish. That was the only ‘Southie masala’ style film I’ve liked totally….Dabang was close as was Singham but as the total package…ghajni was superior……the mother of all the present masala flicks.
Regards to Dhoom3….I’m expecting a good film with intelligent action…..not something dumb like Abhishek coming out of the water in a jet ski – ?!?
I think intelligence is probably a bar too high for the Dhoom franchise! In fact the intelligent move here is to not take things too seriously! But Aamir in a strange way does present a challenge for the franchise. Abhishek himself was a bit too ‘serious’ for the genre but it worked because you had the villain who was always plastic enough (don’t mean it as a criticism here) to be ‘par for the course’. And of course the last film was imbalanced anyway in this sense. With Aamir you have two serious guys! The only way out of this ‘problem’ is to really make the narrative much more hefty than it was before this and really play on ‘actor’ reputation of each star. Give them substantial moments together and so on. In other words you can’t just do fluff with Aamir even if the genre calls for exactly this. So I wouldn’t try to make the film more intelligent, I would just try to give it a stronger narrative. Even on this sort of terrain you can do far better than D2 and even in many ways the first one. Also it cannot just be about Aamir playing the villain. That’s a great selling point but it will work more to the film’s advantage if it [the film] is also seen as accounting for Aamir. Put differently if Aamir functions just like John or Hrithik in the film I think that’s a problem. which won’t be apparent on the opening but it will be on the final gross. The latter will be huge either way but it might not be the biggest possible one if they don’t play it right. When D2 released I felt that it could have done 100 crores then had they made a better film and certainly one with more balance. The thing is for any such ‘contest’ to really work you have to play to the strengths of each star. If you make it entirely to the advantage of one you can still get a success but you compromise the overall film and this shows up somewhere.
Looks like fun, but nothing particularly new especially given the film’s Southern roots..one wishes Akshay brought his Bachchan Pandey game to the proceedings. This seems a bit more tongue-in-cheek than that, though.
Moreover Akshay should just have jumped on this bandwagon some years ago, It’s amazing that in a contest between even this admittedly low-brow masala and a freak show like Houseful 2 he consistently opts for the latter.
I really hate this kitschy glorification of crass stupidity that these new masala films encourage. ‘Don’t angry me’ I mean- really? This is mindless cinema in its most proudly imbecilic form. I hope it becomes stale soon.
Akshay’s dialogue delivery is TERRIBLE and the moustache doesn’t suit him- I liked Sonakshi in the trailer though- she is seriously cute.
amy it’s not even kitschy, it’s plain trashy.kitsch is when sumone knows that his/her product is ridiculous and celebrates the fact.here these new people think that what they have made is proper refined masala which is superior to the older films(though i can trashy masala over most of those yrf/kjo rom-coms). by the way do not even dare the original telegu version, it’s pathetic beyond belief
Why dont you tell us how you really feel?
You are within your right not to like it but one can easily call MBKD or EMAET glorification of stupidity. They are all mindless. In one form the character is dehati in the other in phoren land or phoren return.
rajen- i do not think amy ever said that MBKD and similar films r more intelligent/classy than the recent masala ones. She just commented abt the recent films. it all boils down to our personal taste- though she may think that both r equally stupid, she may prefer rom-coms bcos she likes the genre. sameway, i will personally this trashy masala any day over those stupid rom-coms
I never claimed that EMAET was intelligent- but it is not this blatantly/ proudly stupid. It doesn’t present you with a man who is clearly intended to be an idiot and then glorify him as a larger than life hero. In EMAET the lead guy is always presented as someone who is completely average. With MBKD you have a reasonable parallel- since Kat’s character is very ditzy and immature and that is shown as a desirable quality and she is massively glorified.
And obviously a film is not intelligent just because the character is foreign- and I never said anything to that effect- I don’t know how you got that from my comment.
ami-saw ‘hunger games’, liked it a lot. u were dead right abt the points u made abt the film i.e. tangentially touches the socio-political issues without dwelling on them. i think that is the price the script has to pay for including the action. jennifer lawrence is so sweet and cute(got sisterly vibes from her,her face reminded me of my sis). but i got uneasy at the sight of that young girl being shot to death by an arrow(i just can’t a young girl being killed/raped in any film)
I think you guys missed the points.
My only point was – dont protest too much. We are all guilty of liking/promoting/encouraging mindless films. With the exception of rare films, one kind is not neccessarily better than others.
And, the owrst offence in my books is being kinder to superficially ‘sophisticated’ shit as opposed to the ‘crass shit’.
“And, the owrst offence in my books is being kinder to superficially ‘sophisticated’ shit as opposed to the ‘crass shit’.”
If you read my note on EMAET- you’ll see that I wasn’t too kind to it all. Its more to do with the genre than the level of sophistication as Saurabh pointed out- if I like a genre or a certain actor a lot then I will be more forgiving of the film than if its from a genre/ actor I don’t particularly favor.
Just because I object to a film on account of how crass it looks it doesn’t automatically mean that I am kinder to superficially sophisticated films.
And as for not protesting too much- I am allowed to voice my opinion aren’t I? I don’t see anybody getting upset with the extremely disparaging comments against mindless/ crass cinema on the Housefull 2 threads.
BTW- I’m not saying that anyone is diminished in anyway for enjoying films like these- but all of the biggest hits in recent times have been from these ‘masala for stupids’ brand of cinema and I am personally tiring of it.
Jennifer Lawrence is freaking adorale isn’t she? And she is really talented as well. The subplot concerning Rue’s murder was pretty heartbreaking- but the descriptions of violence that the kids inflict upon one another was far more graphic in the books- they’ve toned it down a lot for the film.
Re: I don’t see anybody getting upset with the extremely disparaging comments against mindless/ crass cinema on the Housefull 2 threads.
LOL! Personally, I cant wait to watch HF2!
Chill,Ami.It is all tongue in cheek. Was only half serious but I do think people in general find it easier to put down Akki films while gladly consuming other mindless films. I, myself can enjoy all kinds of films ( barring most of SRK films) without prejudice.
I didnt even mind IHLS or BKB. Just like I didnt mind Ready and Dabangg.
btw, The Hunger Games is behaving like sequels of popular franchises. A 55% fall is predicted for this weekend and at that rate might end up lower than 350 mill which is a little bit of disappointment given the tremendous opening.
Will make loads of money but with the law of diminishing returns the subsequent installments will find the going harder.
““The Hunger Games,” with the third-biggest opening weekend for a movie with $152.5 million sales, is showing staying power that may allow it to pass the leader, the final “Harry Potter,” in its theatrical run.
The Lions Gate Entertainment Corp. (LGF) picture will probably show a revenue decline of 54 percent or smaller this weekend, followed by a 36 percent drop the next week, estimates Monica Dicenso, an analyst with JPMorgan Chase & Co. in New York. THE CHART OF THE DAY shows the pace is similar to 2008’s “The Dark Knight,” which had the second-biggest opening of all time and generated $533.3 million in U.S. and Canadian theaters.”
I don’t think the Hunger Games can be classified as anything except a massive blockbuster success by any yardstick.🙂 The third largest opening weekend and the biggest opening weekend ever for a non-sequel followed by trending similar to The Dark Knight is nothing short of spectacular for any film- and most especially for a film starring a female action lead and made on a budget of less than $ 100 million dollars.
Good to see hunger games doing well-Amy
Unsurprisingly, the females, who have seen it have loved it.
Again there seems to be a subtle effort from some to ‘bring it down’
and muffle the significance
Sort of reminiscent of the ‘kahaani’ reactions
ps-havent seen enuf of jennifer lawrence to comment but have heard of a few murmurs…
Critics who called actress Jennifer Lawrence too big to play the lead character in the blockbuster film The Hunger Games are facing backlash from psychologists who say that message is toxic and dangerous.Actress Jennifer Lawrence leaves an appearance on the “Late Show with David Letterman” in New York. (Charles Sykes/Associated Press)
Multiple media critics have mentioned Lawrence’s physical appearance in the film, an exciting teen fantasy thriller, based on Suzanne Collins’ best-selling sci-fi action trilogy.
Most of the backlash seems to focus on a New York Times which said, “A few years ago Ms. Lawrence might have looked hungry enough to play Katniss, but now, at 21, her seductive, womanly figure makes a bad fit for a dystopian fantasy about a people starved into submission.”
Kelly Brownell, a professor of psychology at Yale University, said those kinds of reviews force “into the public psyche an arbitrary and unrealistic ideal that is attainable by few and leaves a great many scars in its wake.”
“They pressure people, especially girls, to be at odds with their bodies and to fight against whatever natural weight they might have,” Brownell told ABC News.
Last week ABC News also reported that nearly half of all three- to six-year-old girls worry about being fat.
The criticism of Lawrence appears to have done nothing to the film’s popularity. It took in $152.5 million in its opening weekend, and is expected to gross another $60 million this weekend.
What do you think about the controversy over Jennifer Lawrence’s body image? Do you think it sends the wrong message to girls about how a young woman should look? Why or why not? It’s not too late to have your voice heard, take our poll and let us know what you think.
Yeah- I really do not see how The Hunger Games could possibly be viewed as a disappointment. It is a HUGE success- and I don’t think that anyone is downplaying it- every major newspaper and magazine has multiple articles on the cultural significance of The Hunger Games and the impact it will have on future blockbusters and the representation of women in Hollywood and so on.
BTW- these are the most recent pictures of JL- I don’t think that she is fat by any standard-
And to be honest- the criticism was about her playing a girl from an impoverished, starving background- not about the fact that she appears ‘fat’. In any case the backlash against this criticism has been far more substantial than the criticism itself.
I dont think The Hunger Games can be called a disappointment overall in any sense but I think media overplayed it and is still doing it. Comparision to The Dark Knight is so hopeless. To put things in perspective, The Dark knight made 238 mill in first week after a 158 mill opening Hunger Gamas made 189 mill after 152 mill opening. Games tumbled 69% from Sun to Mon as opposed to TDK which fell much more modest 43%. I will still give benifit of doubt to Gamas as may be the younger crowd may turn up more on weekends. But, on evidence so far, the rate of attrition is far more rapid than TDK. It is all about trending.
Again, its overseas performance is much weaker and made only 59 million from a wide international release putting its weekend tally at around 210 mill as opposed to the Deathly Hollows which had an opening weekend of 483 million. I wouldnt believe everything I read. There is a lot of spin.
Again a fantastic performance for a non sequel but comparisions to Deathly Hollows part 2 and TDK are just laughable.
As for NYT review , I dont know how calling her seductive and womanly is same as calling her fat. There are some leeches that latch on to any cause like that Bromwell dude. I dont think NYT review seems to suggest to young girls that they should be thin or of certain body type. I think the critcism ( fair or unfair) was a rather full bodied female who according to the reviewer didnt fit in the landscape of the film.
ami- our ‘sweet ami’ adores hunger games, doesn’t she?(even i do, she is just so sweet).see i completely agree that this film will be a blockbuster( had i been a girl like u i also would have felt elated that a thinking man’s action thriller with a female lead is doing so well.)but rajen is right here,it simply can’t match dark knight or the deathly gallows. it will also be unfair for hunger games to be compared to these flicks as it will unnecessary take away some of the sheen from such a good project.
ami- completed ‘martha marcy’.easily the best thriller i have seen lately(thanks for recommending; u r my guide). but felt discomfort watching the ‘sex scene'(see i am a good boy) and the ordeal she goes thru at the hand of the cult. i adore violent/bloodshed films but violence meted out to girls makes me feel nauseated.dunno why?(got a bit jittery seeing jennifer’s leg bleed in hunger games)….by the way ami what’s ur age and which course r u doing?(just asking casually,hope no other meaning is taken out)
Hunger Games Fri estimate comes in lower than expected at 18.9 mill and weekend drop at 60%. So much,again for the TDK like trending!
I have no personal agenda against The Hunger Games but it bothers me when truth is being distorted.
It will still be making around $250 million in just ten days which is fantastic for a non sequel.
The talks about overtaking Deathly Hollows Part 2 and having a TDK like trending are like the stories popping up everytime there is a major BW release of breaking 3I records! Most of the time they end up below Ghajini!
Well – i visited the link and watched it.. stupid mistake🙂
But seriously, havent we already seen a plethora of such films being released? Once in a while its okay to celebrate someone’s love for cheesy action cinema, but seems everyone seems to be jumping on this bandwagon. if the film is successful (which im sure it has a good chance of) we might continue to see such stuff coming from Bollywood even more frequently. Ready n Bodyguard, jumping on the same bandwagon, were craptacular to put it mildly.
If you really want to do a tribute to masala genre, why not do it intelligently and apply an effort like what Raghavan did to Johnny Gaddar. That, in my opinion, was a spectacular tribute to the Hindi thrillers of yore (Teesri Manzil, Johnny mera naam) without insulting the audience’s intelligence. But here Prabhudeva seems to have taken the easy route.. inundate the story with lots of cheesy action sequences and random scenes that the interior audiences would undoubtedly lap up. This isnt progressive cinema. These ‘chaalu’ homages should have ended by Dabangg
Havent watched either . I did watch Once upon a time in Mumbai in bits n pieces but never got around finishing it. was fine while it lasted, at least much better than recent attempts at masala and definitely superior to Luthria’s last TDP
TM- so called -progressive cinema sey kissi ka pet nahee bharta, JG although a good movie had average collections…… Pet bharta hai sirf entertainment, entertainment entertainment sey…….
so called intellectual junta public ko Housefull- 2 hit banane ke liye gaali detee hai and then saari movies free mein apne laptop par movies dekhtee hai……
I am kind of tired of this snobbery TBH…
BTBH, everybody’s definition of entertainment is different.
Old gold might feel RNBDJ or OSO is the highest form of entertainment but for me it is worse than water boarding!
But, agree on the larger point i.e everyone seeks entertainment and by and large it is unfair to categorise people on the basis of what they find entertaining. SRK fans, obviously are excluded as they deserve ridicule regardless of what kind of films they patronise!
Like Ron Paul said in one of the debate to his fellow runners- You don’t understand the Moral logic, you don’t get the strategic logic so let me give you the economic logic ( this was for his stance against invading Iran)…
let me try the economic logic to some of the intellectuals here- The masala /comedy movies provide jobs to thousands of people and provide entertainment to millions of people……LOL!
PS- Rajen loved your sophisticated shit vs. crass shit comment….
No, I still don’t like ‘toilet humour’.
It wasn’t humour that I was appreciating but the fact how well it fitted rajen, who smells everything (especially SRK related fans/stuff) but not the smell of his own choice😀
But Rocky speaking for myself don’t you think I am indulging in exactly the opposite of ‘snobbery’?
1)First of all I am on the side of the ‘rickshawala’! When he got his chance we had that fine cinema of the 70s. When the aunties dominated the conversation we got Saved by the Bell impersonations! What could be less snobbish than saying the rickshawala knows better?! And incidentally even today the latter isn’t supporting most of the cinema. How well does a Houseful trend? Without multiplex participation these films would be nowhere! And again note how Ghajini trended way better than every big grosser other than 3I. So the rickshawala still knows better!
2)But also I am not making (nor have I ever made) a case for auteurist cinema. I am most often arguing against what I consider to be the Philistine attitudes of multiplex audiences. This Emperor has no clothes! And yet this Emperor chooses to comment on everyone else’s dress sense! The point is that these are the audiences that reject those older brands of cinema as ‘bad’ and ‘retrograde’ and then celebrate Yashraj or whatever it is. They don’t just prefer it, they place a value system on it. By their own logic they’re Philistines not by mine! If they never bring up these questions there’s no issue. But from the viewers to the reviewers there’s this pretense of great and path-breaking and grammar-changing (this being the favorite cliche) every month. The film turns out to be ZNMD! When the more authentic attempt comes about everyone starts screaming! If it’s just entertainment anything goes. I don’t have any taste for Houseful but I can hardly question anyone who likes it. The same goes for ZNMD or whatever. However if one is going to define some of this stuff as ‘profound’ and look down on the ‘bad days’ of yesteryear masala or what have you then this view has to be challenged.
Either way I am on the side of the ‘front-benchers’. In fact I am even guilty of idealizing them (though for strategic reasons). And if you recall I have very often argued against those who celebrate a certain kind of ‘fancy’ cinema that is ultimately (on my terms) empty. To put it in even more stark terms Ganga ki Saugandh (yes!) is far more interesting than 95% of films made in Bollywood over the last decade!
Satyam , I know you are the best champion of Masala/popular cinema here , It is just that we keep shifting the goal post of masala if it does not involve Bachchan, Aamir Khan , Kashyap,Shridhar or any one who looks or sounds angrez…..
Personally I enjoyed JBJ, Tashan, Dabang, Ghazni , BHTB , Dirty picture as masala….
Ya I admit I did like RDBDJ on subsequent viewing, but I did not like OSO !!!
as for Republicans- I just like to play The Devil’s Advocate.. I don’t support any party now including the BJP…….sab chor hain !!
But I’ve always conceded that there is a certain contemporary Southern configuration of masala. I just think it’s a weaker strand. Which is not tos say there weren’t such weaker films even in the 70s but these were usually not about pure effect. They were ‘lesser’ films that tried to do the sam stuff. Formula cinema for sure but not just a series of empty gestures. This disease in a different way struck Bombay in the 80s when it was just about the old gestures without much of a soul. It was a rather poor configuration. Neither the heart of the old enterprise was present in it nor the effects of the contemporary age.
i find even ‘ajooba’ more interesting than half of the films.atleast its hero is rooted and speaks proper hindi which could understood be rickshaw-wallahs unlike sumthing like ‘dhoom’ where the hero’s hindi is also anglicized. atleast it was unpretentious
About the last part of ur comment, im willing to spend more money in theatre watching JG than so called entertaining cinema. JG – I watched thrice in theatre🙂 (once alone, once with family and then again with friends)🙂
rajen- srk has lost it. on one of the award shows this yr he said-“ra1 did not work in india bcos it was too scientifically and technologically advanced for indian audiences”. ok i guess perhaps in whatever ‘alternate timeline’ he lives in, boob-grabbing(as shown in ra1) must be equal to scientific advancement. i think the rest of us would like to remain ‘primitive’ only
@ faces of modern bollywood ‘complete’ entertainers
Thanx folks : for reminding me of perhaps two of the best recent bollywood films
WOnt really use the term ‘masala’ since it opens a can of worms–about genre and sensibilities
BUt do remember being quite ‘satisfied’ with both interms of a certain ‘completeness’ in true bollywood tradition
And one doesnt need to pull down ghajini to glorify Khakee and vice versa
though Bachchans khakee turn remains my MOST favorite bachchan turn in the new millenium
Ghajini—ONe cant really call it just mindless gory action
There was a certain emotional tug here
Check this out
and what happened to the nauanced performer a-sin after this –remains a mystery…
and well.. rahman—hats off
The beginning and end of mainstream bollywood film is encpasulated in one small scene in khaki by bachchan for me
DOnt think anyone will agree with me about the greatness of that scene…any takes…
“Kaise Mujhe Tum’-Ghajini
The greatness of Rahman and aamir
One doesnt even have to dwell into the ‘violent’ ‘OTT’ stuff to get to the essence of what worked here with MOST audience
Quite a subtle nuanced vibe here
From the beginning of the song there is an attempt on the part of the script and the director to portray a ‘somethings about to give’ vibe
And see how aamir plays it perfectly—not a shade high and not a shade low
even asins good here
And unsurprisingly, (as one knows later), this is the last time aamirs character meets the heoroines character in the film
These are the times when one applauds the actro on aamir,but moreso how well he visualises the aidience reactions and how to play to it in a restrained non-OTT way
And rahman–well dont need to add anymore than hav already said
alex- my fav masala moment from this millenium is the ‘last fight scene between bachchan and devgan’- no cgi,no wires,simple good old hand to hand melee. it told me two things-1)bachchan just can’t grow old at action. he is the original action hero.”they just don’t make them like him any more” 2)devgn,among all of today actors, came closest in following bachchan’s angry young man avatar
Think saurabh minor has a very good and unbiased view of bollywood stuff from a ‘normal’ audiience perspective without feeling the pressure of either being ‘holier than thou’ or the (quite common) malaise of sounding to be in possession of ‘superior taste’
alex-thanks a lot. the fact that if one’s taste is low-brow, sumtimes it helps our case. also ones taste keeps improving if one keeps an eye on the new models of ‘bazooka'(lol). by the way, u r right on ‘kaisey mujhe mil’-very soulful song with simple lyrics. i love ‘behaka’ and ‘aye bachchoo’ also. regarding ‘guzaarish’, the real talent of rehman shows when he makes ‘sonu nigam’ hum the theme tone in the background of the song letting javed ali take centrestage
From 3:00ish onwards, note how aamir sort of takes charge (or shows in the making video) that he takes charge
DOnt care a damn of that
And dont either for whether he is ‘interfering’ or not
He DESERVES to take things in control or else shall be guilty of criminal negligence
ONe doesnt give a monkey (or two monkeys) the gun—or lese the result is “:drona” !!!!
Hats off to Aamir here and rahman as always
Creative process as it should be
Also agree with the romantic ‘melancholy”
Its no accident that aamir is perhaps the most eefective brain in bollywood right noe
Khakee is a great great movie but is NOT masala, I have seen it 2-3 times but given a choice I will be 100 times more inclined to revisit movies like Don, Deewar, Dharam veer, Namak Halaal, Amar Akbar Anthony, Sholay, Shaan, Naseeb, Parvarish, Kranti , Tashan, Dabang etc. – over Khaaki ..
to me how likely are you and your family to rewatch a movie with a smile on your face defines a good masala movie…
Why not Govinda Movies🙂 ???
They bring more smiles and rewatch and are best as far as entertainment quotient goes, even though they are silly but Govinda holds ur attention even with his silliness also..
I have never quite agreed with this. Bachchan was much older at that point and obviously couldn’t really behave like his much younger self in similar situations. It would have been ‘grotesque’ had he done so. In fact the problem with many older stars is precisely that they try to be exactly the same and it looks terrible. Bachchan has always realized this and so he took a much more relaxed, even deconstructive stance in the film. So he’s never ‘competing’ with Govinda. He’s sort of stepping back, showing flashes of his former self but also with the implicit idea that it is a bit late in the day for him. But otherwise it’s not as if he forgot the guy he was in tons of films and who became the ultimate school for the Govindas of the world. And much as Govinda was very fluid at comedy he was never more than a ‘wisp’ of that great Bachchan school he obviously belongs to.
“So he’s never ‘competing’ with Govinda. He’s sort of stepping back, showing flashes of his former self but also with the implicit idea that it is a bit late in the day for him. But otherwise it’s not as if he forgot the guy he was in tons of films and who became the ultimate school for the Govindas of the world. ”
Agree—gud points satyam
though govinda in comedy at his peak was also a handful for anyone.
But the ‘cultural currency’ of that ‘peak’ gets diluted whence once holds it next to bachchanism for comparison esp since one sees the reflections of bachchans own “antics’ in govnidas undeniable brilliance
To quote that famous line ‘the fox knows many things, but the hedgehog knows one big thing’! Bachchan is that rarest of stars who was both fox and hedgehog. People have often read him as the latter but this is to miss the ‘fox’ in him. And so when I watch Govinda who is again great at what he does the distinctions between him and Bachchan’s Desai self (for example) seem even more profound than they would with someone who was less of that school. But again to truly get this one has to be as ‘housed’ in those Bachchan films as one is in the present. Often one has seen the old stuff but it does not informs one’s sense of things in the most ‘immediate’ sense. So your last line here is completely on the money.
In box office terms though, which is to say for a commercial star, it is better to be a hedgehog than a fox! Or be that one ‘thing’ that people adore.
satyam-do agree with sum of the points here but i believe bachchan was not spontaneous with his performance in this film. actually he was below the mark in a lot of films during that phase-mrityudata,suryavansham,lal baadshah-he was plain bad in sum of these(even in hindustan ki kasam, he was way over the top as ‘fakeera’).he also looked a bit stiff and it showed in his act
Well that depends on how masala is defined. If deewar is masala Khakee is too. If masala is however defined by way of the quintessential Desai film then neither film belongs to that genre. I could certainly see an argument either way. And it’s definitely true that Desai’s masala was the most influential kind.
alex- thanks a lot for reminding me that scene. bachchan, in that scene, tells us that ‘silence is often golden’. another similar scene was in ‘hum’, where an old bachchan is remembering his past and suddenly the phone rings with a single word coming from the other side,’tiger’.notice bachchan’s expression of being stunned at that moment. i think mukul anand and santoshi were the last 2 directors who understood the legend of bachchan
Dont care about the term ‘masala’ or non masala
and the movies u name are great in their own way
and yes –perhaps much better for ‘family’ viewing (though ‘tashan’ there with kareena in a g-string is not appropriate either for kids or adults lol)
Khakee explores a certain seminal ‘post-peak’ bachchan space
and one that im an unabashed fan
The bachchan ‘classroom workshop’ starts around 8:45 with the “photo album” around 12:50
and continues after that as well
by the way, in khakee devgan’s ajay aangre gives a very subtle homage to amjad’s gabbar-the way aangre says ‘pachhtaoge, bahut pachhtaoge’ is unmistakably similar to gabbar’s famous dialogue-holi kab hai. the twang is similar in both cases.
alex- my taste is bad but not that bad dude.(lol). superstar is a really fine film and khemu is the one who holds it together(whoever has seen has liked it to an extent).khemu as a child-actor was superb in zakhm(even better than devgn),sir and raja hindustani. as an adult he was pretty good in ‘kalyug’ as well as in that gem of a film, ’99’. he got good reviews from critics in all 3 roles. even in blood money which released yesterday,he is said to be the best thing abt the film alongwith the music
Well, minor–will believe u
havent seen any khemu film
but do know that he is a good actor
(One doesnt need to see a full movie to pick oout actors from non actors)
Not sure when he will become an ‘adult’ though
Incidentally saw parts of a song of ‘blood money’ now after u insisted
and he does appear to have done something positive to his looks
ALso—-who is that girl in blood money
ps2—who is the girl in vicky (sperm) donor film
alex- the blood money actress is amrita puri(who played that ‘behenji’ sort of a role in aisha, was the best thing abt that film). vicky donor has ‘yami gautam’ who is a former punjabi actress(she looks hot). by the way i am a huge sucker for double roles- i loved ranveer shorey’s in ‘mithya'(was not at all a masala film though). ok a trivia question for u alex(if u r a bachchan fan, u should know this)- which film had bachchan’s first double role ever?
“To quote that famous line ‘the fox knows many things, but the hedgehog knows one big thing’! Bachchan is that rarest of stars who was both fox and hedgehog. People have often read him as the latter but this is to miss the ‘fox’ in him……But again to truly get this one has to be as ‘housed’ in those Bachchan films as one is in the present. Often one has seen the old stuff but it does not informs one’s sense of things in the most ‘immediate’ sense. So your last line here is completely on the money. ”
After a while, satyams back in form and delivers an ace punch
finally it seems satyams ‘mysterious illness’ (aka ‘gupt rog’ in hindi apparentyl) has been overcome
Infact the best performance here after bachchan was tusshar (though his role was v brief)
But his ‘earnestness’ came thru–the good and bad thing is camera doesnt lie and holds no bias
He was v good here
btw this was perhaps akshays one of the best roles
(though devguns done better stuff he def wasnt bad here)
oldgold—btw have u finally ‘come of age’ now or will it take many other films (like ‘jude’)😉
Was it u who watched key portions of ‘jude’ on rewind in the name of seeing a ‘literary adaptation’ lol !!
if it wasnt u-sorry-perhaps im getting confused🙂
haha just joking
unrelated—liked kate winslet there
btw amy and oldgold
what training module of TDP (dirty picture) are u on currently…
the ‘theory’ or ‘practical’
Psstt-overheard theyve passed the theory with ‘flying colors’ and now honing their skills on the (more important from exam point of view) ‘practical stuff”
cmon just jokin😉
alex- i believe the academy has been foolish to have not recognised winslet’s performance apart from reader(she deserved an oscar for revolutionary road). alongwith paltrow,knightley and theron she is my fav actress of that lot. my fav performances of her are- 1)revolutionary road- she is magnetic here. and leo complements her beautifully 2)eterna sunshine of the spotless mind- here both kate and carrey were cast against type. winslet was at her cheerful(i loved her ever changing hair colour)
minor–this is ‘perfection’
Call it perfection at its best – in order to ensure that Kate Winslet’s body was consistent with the era projected in the film `The Reader’, the actress wore a pubic wig.
The Oscar-winning actress, who had to bare all for the Holocaust movie, told Allure magazine: “I had to grow the hair down there. But because of years of waxing, as all of us girls know, it doesn”t come back quite the way it used to, reports The China Daily.
“They even made me a merkin – a wig – because they were so concerned that I might not be able to grow enough.”
Kate previously confessed that she had no problem filming sex scenes with co-star David Kross, who is 18 years old.
The 33-year-old actress explained: “It was the same as shooting any other scene of that nature. A scene with that level of intimacy involving nudity, you know, it”s always nerve-wracking, and you really have to rehearse those scenes so that everybody knows exactly what”s going on. He didn”t need that much looking after.”
Folks—I am a fan of kate winslet and This is NOT just about ‘nudity’ (believe me-not joking!!)
Find something ‘arresting’!
Like so many tropes before – period drama, war, disenfranchised peoples, and the physically afflicted – Kate Winslet’s nudity has become award season bait. I’m saying this with the utmost respect for a woman who basically commands her body like it’s her indentured servant. Has there ever been a woman so in touch with her physical self on film? Kate Winslet’s films have taught me many things: you should never marry Kate Winslet, women can be honestly portrayed as complicated and human, and when an actress removes her clothes, it can be inspiring.
There’s nothing wrong with taking your clothes off; some women do it for money, others for attention, and some because they have evident paternal issues that can’t be resolved without literacy. And sometimes actresses do it for these reasons, but hopefully most of them follow Kate’s model and do it because the film, the character, and the scene demand it. Good nudity versus bad nudity – like everything it’s all subjective. If you’re honest, you’ll admit you like watching bare-chested blondes bounce around while serial killers/sexual deviants/bros stalk them, and you might even tell people you’ve seen The Informers. And again, there’s nothing wrong with appreciating this sort of base-desire nudity, but a fantastic actress will use her body like a tool and not a prop.
Winslet harbors curves like she’s stealing turkeys from the supermarket to feed her soot-faced Dickensian children, but there’s nothing salaciously or even openly sexual about her. She holds herself in ways that are almost awkward and unnatural, but not obviously so. I have a theory that most of this rests in the slight broadness of her shoulders and maybe even her feet which are a normal size (I’m guessing 9.5), but not the preferred dwarf size most people rely on as a measuring stick for ladylike features. There is nothing dainty about Winslet, although she probably makes a fierce tea (she is British, but I think we forget that until we remember Sam Mendes).
Her career quietly began with Peter Jackson’s HEAVENLY CREATURES, a darkly whimsical take on parental murder where she and Melanie Lynskey played partners in crime. A bathtub scene with Lynskey conjures ideas of soapy softcore, but there’s nothing inherently sexual in the scene. It’s an intimate moment between two friends whose relationship is an incredibly dangerous infatuation. They share delusions that emanate from their distinct mental shortcomings (namely, they’re both immature sociopaths who want to kill their parents so they can live in a fantasy medieval world). It’s mostly an analogy about resisting responsibility and refusing to grow up or become an adult. Sort of like Peter Pan, but with violence and New Zealand.
Winslet’s career took off with TITANIC and an infamous nude scene with Leonardo DiCaprio who was super skilled at drawing French prostitutes, a prelude to his relationship with that foreign model. Winslet’s nude scene here was labeled brave by some who kept referring to her as the “chubby girl” which exemplifies the impossible body image standards people are held to. You’re either Kate Moss or you’re Kathy Bates, but there’s no Goldilocks standard for “just right,” though it varies from person to person unless you’re a Kardashian, in which case you’re awfully full of it.
In 2006, Winslet starred opposite Patrick Wilson (a man who is always sexy, even if he’s creepy or kind of sweaty or has awkward sex to “Hallelujah” in an owl ship) in Todd Field’s LITTLE CHILDREN. Winslet played a housewife whose husband masturbated to porn with strange underwear on his face. Sarah was meant to be plain, but there’s something extraordinary about Winslet, especially when she strives to be ordinary; her face calls to mind 14th and 15th century paintings, sort of like how we see paintings of Marie Antoinette but she never looks as twee as Kirsten Dunst (and to that end, Winslet does for nudity what Sofia Coppola did for damask in MARIE ANTOINETTE). There’s a YouTube video that shows how faces have morphed in artwork over the years, but if you put Winslet in that video she could disprove facial evolution.
As Sarah she carefully purchases an Elizabeth Arden-red (note: not Baywatch) swimsuit from one of those Land’s End catalogues after Patrick Wilson shows her that she is capable of something better than a closeted, balding pervert (not that those guys don’t need love). When she dons the swimsuit I don’t suppose it has the intended effect of “Oh wow, she’s pretty,” reminiscent of removing glasses from a nerdy girl and discovering she’s suddenly attractive. Instead, she puts on the swimsuit and reaffirms what we the viewer know, but what Patrick Wilson finds so shocking. Again, there’s nothing quite sexual about her body in the film until she adulterates with Wilson on a washer/dryer set in the basement. When they’re sweaty and lounging post-coitus, I briefly think that after swimming at the community pool and engaging in basement sex she probably needs a shower. But really what I’m thinking is how beautiful she is as a person, and it’s in that moment when Winslet and Wilson, sweaty and covered in chlorine, smash their bodies together on a dingy mattress after sex that we understand that Wilson really likes her and might even love her in a way that he’s not ready to deal with.
She repeats this alluring matron role again in THE READER, where she doesn’t have children but instead acts as a sexual shepherd to a teen boy in Nazi Germany. She emulates a mother as she bathes him, then acts as friendly prostitute when she educates him about sex. This is perhaps the greatest example of Winslet’s incredible ability to be asexual in a role that demands so much sex and nudity. She’s not afraid or ashamed of her body, and her lack of dainty features again come to her aid. Winslet is dignified in her nudity, but she’s not just physically naked, almost as if she’s unlocked a Zen actress achievement previously only available when you reached seniority; like an honorary achievement that you might give to Elizabeth Taylor who was once sexy in a wholesome and sophisticated way, but never gave in to the leers and demands at a time when men were awfully full of themselves. Her role in THE READER subtly alludes to a sinister, antiquated way of thinking where women were expected to be the mother and the whore, but her character is more of a feminist because she learns to read (duh) and because she chose to play sexy teacher.
Perhaps what is most sexual about Winslet’s nudity is how she reveals herself mentally and emotionally, but she’s wholly the master of herself, body and mind. Where some women on film automatically become more emotionally or mentally vulnerable when nude (ex: every slasher film), Winslet is only as vulnerable as she wants to be. She is in control from the moment she lets her hair down until you walk out the door. And you will probably walk out the door. Which leads us to REVOLUTIONARY ROAD.
Perhaps my favorite Winslet performance this side of her deliberately agitating show as Clementine in ETERNAL SUNSHINE OF THE SPOTLESS MIND, her work here as the difficult (read: progressive) April Wheeler is nearly sublime. She effortlessly borders the delicate line of bored housewife and resentful parent, and her sexuality here is mostly awkward, but not in a way that indicates naïveté. Her inelegance is mostly due to a discomfort, since, like most women of the era, the only man she had known sexually was her husband Frank. There’s no timidity during her tryst with the neighbor, however – only determined desperation.
In Todd Haynes’ take on MILDRED PIERCE for HBO, Winslet again encapsulates a difficult woman. She’s attained near sainthood in duplicitous roles. She is empathetic but perhaps at fault, sexual and not, difficult but maybe a doormat, resentful and distant, but maybe just a little too generous. While she is willing to accept help from a neighbor, she is all too determined to divorce her husband, and when she sets out to do the right thing and get a job to support her family, the mere ideas of servanthood or uniforms are beneath her. She is as complicated as any character Winslet has tackled before, but even more so because so many have called Pierce an early feminist. She is in the sense that she ultimately takes a job, but in 1931 that wasn’t shocking. Her status as divorcee is her most feminist asset, but it’s the way Pierce is written as a complex woman with ideas and gumption, who is afraid to confront her faults and embrace honesty within herself under the guise that she is already honest with herself – this is the most fully realized feminist part of Mildred Pierce: she is a woman with legit flaws.
Her nudity in MILDRED PIERCE has been minimal, and I find her more traditionally sexy in Part One when she stares at herself in a sensible nightgown in the mirror and almost like a teenage girl examines her legs and realizes how attractive she might be. Her sex scenes with Guy Pearce (as Monty Beragon) where she is fully nude have a sense of controlled chaos, but they also feel like they might be a little awkward, like when you have sex for the first time and you aren’t sure if anything you are doing is okay so you flail about until you’re guided a little. Mostly Monty Beragon reminds me of those guys who read Kama Sutra and light incense, have tattoos that they swear mean something because of their ancestry (but really because they have a book on Celtic words) and act like self-confident, slimy monsters because no girl has turned them down just yet; and they’re pretty forceful and gropey in bed. Monty is too forceful a lover, as evidenced by his declaration in Part Three, “Hell, what this needs is the crime of rape!” before fondling Mildred as if he’s tenderizing meat.
Still, Winslet’s embodiment of Mildred’s sexuality nearly sums up an entire decade of Winslet’s career. Here we have all of her flaws and awkward posturing, her subtlety and nuance when portraying a blemished woman, and for the sake of this commentary, the way she’s finely tuned her naked body as an instrument, as if it’s a supporting actor or an extension of her psyche. Kate Winslet is the anti-Angelina Jolie, an actress so remarkable who doesn’t rely on nudity the way a bombshell does, to manipulate her following and demand attention. She undresses herself because her character demands it and because it might help us understand that character a little more. Kate Winslet’s nudity is a favor to your brain, not your penis.
Err this needs a bit of clarification , I think..
This is not really meant to be a cheap celebration of ‘cheap nudes’ on celluloid
But how can an actress can override this ‘basal instinct’ approach to nudity to conjure up her own skillset to use even ‘nudity’ as a ‘tool’ rather than a ‘prop’
Have always been interested in Kate wins let as an actress–the above piece, every line in it, serves as an eloquent ‘tribute’ and definitely not as a titillatory pretext …
Kate winslet is perhaps one of the best living actresses today imo and her ‘detached’ mature to onscreen nudity is just ONE of her exquisite competencies ….
like i mentioned in the other thread…this one reminded me Dabangg big time. They pretty much aped that promo and put Akki in this instead. I don’t know how much better itll be because Sallu bhai’s comedy and dialogue delivery in Wanted and Dabangg were pitch perfect. Akki does not quite have that “aura”.
Q. So many small films have done well over last month so there is a change in the audience now to watch small films?
A. There is no change, small films have a chance in the Feb-May period as they get a window for release. The trend was same last year when small films did well in this period. Small films have a chance if its the right release period. A Tere Naal Love Ho Gaya, Paan Singh tomar or Kahaani would not have done this business if released in second half of the year when there is heavy flow of big films.
nice point brought up by u tony.BOI’s arguement is hogwash.but one of the often overlooked reason for the success of these small films,apart from their obvious cinematic merits,is that they have a central lead who is identifiable to even the low-middle class of the audience.trust me,if kahaani had ‘tabu’ instead of vidya,it wouldn’t have made half the money as people wouldn’t have gone to the theatres to see if film is good or not.even irrfan after his ‘vodafone ads’ has become sumwhat of a household name.
Tony, u r right abt chandni bar but it also had a sort of sensational and attractive subject matter. and do u actually believe that tabu’s presence would have been good enough for kahaani to garner this kind of a total, let’s not even think abt it. And if tabu also starred in a much better film than chandni bar called as ‘astitva’.what happened to it? A brilliant(and entertaining) film like ‘red alert’ came 2yrs back but it tanked, why? because it had suniel shetty in the lead who does not enjoy the same position at the box office as he did in the 90s. We don’t have to look too far- last year Dhulia’s Shagird, again a smart entertaining film tanked because nana is no more saleable as a lead
also vidya is on high after streak of hits and a big enough commercial face also today word of mouth spreads fast(thanks to social networking sites) thats why even after 1 year of promotion a movie ra one hardly made anythng after its first 5-6 days as it was rejected thouroughly
Looking forward to this, although, from the trailer, Akshay seems a bit out of it, as if he’s wandered into someone else’s film. But I’ll reserve judgment for now….Sonakshi Sinha looks absolutely gorgeous (I do think she can carry desi clothes better than any of her peers)…
Liking Ms Sinha’s curves. Now this is a body that a sari would love to drape itself around and caress. Her deliberate jatkas harking back to the moves of the nineties and before – seductive, sensuous, not vulgar. Shes just a novice but there are signs..
And this isn’t about her body alone, but a certain kind of ‘Indianness’ that she is bringing back into the limelight. I felt something similarly authentic was on when Antara Mali made her foray with Road / Naach, although in a different manner. Its refreshing…
yes, but everytime playing a village belle in such nonsensical films would not show too much of her acting abilities.would it? also look at her lineup of films this yr- joker(with akshay again), son of sardar(again a comedy, remake of maryada ramanna,opposite devgn), dabanng 2, lootera(a love story set in 60s with ranveer). i think lootera will be her first real test. also sumhow i never find her attractive.
But Bollywood is so completely male dominated- there are only about 5 actual, significant roles written for women every year- and these usually go to Vidya/ Kareena/ PC / Rani- the rest have to make do with being decorative objects in their films.
Let Sona cement her stardom by doing a few of these big masala films first- I’m sure she will make more interesting choices later. And I’m really looking forward to her performance in Lootera.
It wouldn’t, if all these films that you mention (except the Uddan director’s one) focus on similar coordinates. Why she is doing these initially, whether she is wanting to gain a stronger foothold in the industry before venturing into the more daring, I don’t know because I don’t follow these things. Am not the right person to discuss this with.
I’m basing my take on this trailer, and a song from Dabaang – the one at the train station – which I just watched to see more of her – and I don’t think I”m off in saying that this girl has more than a spark. She seems quite a natural. Agreed, within the limited screen time she has been given her acting ability hasn’t been proven so to say. But this is enough for me to look forward to a movie like Lootera. Coming from where I do, I wouldn’t quite consider this a litmus test for her. Stakes are high for Ranveer Singh, but don’t want to digress. (Again, she isn’t quite in the glam avatar here, so a basic comfort zone exists). But I look forward to watching the movie (if it is worth it, etc..that’s another different thing to evaluate..). Whether she goofs up or isn’t able to perform beyond a certain level, time will tell, but she gets a Lootera because of what she has shown shes capable of. Many of her contemporaries do not even qualify at this. Hence so.
“Liking Ms Sinha’s curves. Now this is a body that a sari would love to drape itself around and caress. Her deliberate jatkas harking back to the moves of the nineties and before – seductive, sensuous, not vulgar. Shes just a novice but there are signs..”
Arthi -nice wit there🙂
Though I don’t share the admiration for ‘miss sinha’
B’wood has been a no-touch zone for me. I do not watch any B town films but have begun to look at some aspects of contemporary B’wood and more of Hindi films of yore, thanks to this webspace here. But discussing B’wood, nopes…
Frankly, who in the right frame of mind does take NF and KK seriously? I’d have to be paid very very very very handsomely to sit through one of their films. My time is invaluable you see..:)
I wouldn’t care much if these girls disappeared off the face of this earth. Makes no difference..
Ami this one is especially for u-apparently,in a case of disastrous miscasting, Ami’s favs-cadbury boy ‘imran khan’ and village belle ‘sonakshi sinha’, have been confirmed for the sequel of ‘once upon a time in mumbai'(as if imagining akshay kumar as dawood wasn’t painful enough).imran is playing a gangster(r u kidding me) and sonakshi will be the gangster’s moll(this one is hilarious).i believe this one is set to be ekta kapoor’s first flop. devgn was brilliant as mirza,akshay can’t fill his shoes
Sonakshi is not my favorite- but I think she could do well in this part- it’s a man’s movie anyway- so she will not have much to do.
Imran as Don does sound hilarious- he looks so grotesque with his beard now- I wish he would shave it off and stop trying be some macho hero and just stick to being the good-looking romantic lead- he is not a versatile actor and rom-coms are what he does best.
ami, imran’s stubble is for bharadwaj’s ‘matru ki bijlee ka mandola’.i again wonder how ge got this one too but vishal’s film could be a game-changer for him.i believe his is miscast here also as a haryaanvi rural lad but vishal can make anyone do wonders(case in point-saif in omkara).hope it turns out well for him. ‘sonakshi is not my fav’- i was just pulling ur leg babe.she’s not bad, can act decently. but doesn’t hold a candle infront of my great mrs.ayesha takia.(lol)
SAK had EHT and Being C before VB’s O. Am pretty sure the director wasn’t in the dark about how this actor’s onscreen histrionics had shaped up over the years. It is naive to think B was hellbent on making Khan work his way through O.
SAK showed more than a glimpse of the meanness he is capable of in these two films and VB gleaned precisely this out of the actor for the role of LT. Its to VB’s credit he knew how malleable Khan the actor is and its to Khan’s credit himself that he has it in him…
The transformation that Khan has undergone – from a gawky , effeminate lad speaking accented Hindi in the nineties to what he is today…Who’d have thought?….Is there any other mainstream star cum actor who has his performance growth curve so positively steep? (Am asking here, no rhetorics…)
well said arthi. agreed more or less with the points u point. yes saif’s metamorphosis from a non-actor to an actor to reckon with, had been hitherto unseen in bwood. yes,again vishal would have closely gone through saif’s portrayal of characters in being cyrus and EHT but one thing which should not be missed here is that both the films had saif playing suave urban characters.that vishal imagined him in a role which required him to speak in a dialect which is pretty tough to learn is commendable.
Good post there arti bout saif -agree
His metamorphosis has been rare
Btw I like him more in urbane roles like salaam namaste-loved him there
As for his other films like vb, not a big fan
What r ur fave heros /heroines
Ok hollywood included
Saif is actually a very good actor. Possible one of the very few stars who can do justice to any role.
He was simply terrific in Omkara. I say this from the POV of a cinema man who watched it FDFS without knowing anything about the film or Saif’s act that received a lot of attention from the media and public later.
As far as he movie was concerned, I was rendered speechless. Yes I had a few minor issues with the screenplay but VB as a director blew me away
also those previous of saif,brilliant as they were, were present in a much smaller setting. here in omkara, the stakes were really high. that vishal gave saif the chance to portray bard’s Iago(one of the most morally complex character ever in literature)was a huge risk taken by the director. because previously saif had never carried a film on his shoulders. but here, even in the presence of other characters, his character of the antagonist held much more weight than even that of the protagonist O
Yes, I agree- Saif’s growth arc as an actor has been amazing and he is one of the best actors out of the heroes today.
I’m not so thrilled with Saif as a producer though- he has this knack of choosing interesting directors and forcing them to churn out films that are a lot more insipid their other efforts- Imitiaz’s LAK and Shridar’s AV- hoping that Raj and Krishna’s Go Goa Gone! and Homi’s Cocktail prove me wrong on this point.
But certainly Cocktail- a love triangle featuring Deepika, Saif and some new model set in picturesque locales abroad-already sounds a lot less exciting than Being Cyrus.
Actor Shahrukh Khan, who will be sharing screen with Katrina Kaif in their maiden romantic film by Yash Chopra says that his co-star is a stupendous actor and that he tried to adapt himself to her work approach.
After a gap of eight years, Yash Chopra has returned to direction with with this untitled film, which also stars Anushka Sharma.
The shoot started in February in London. “I got to shoot with Katrina Kaif for the first time, which was wonderful. I do a couple of films a year and I haven’t worked with her. I think she is a stupendous actor. Everyone says about her being hardworking and very talented. Its more important how we work together..how we work as a team,” Shahrukh told reporters at an event.
The model-turned-actress has been in Bollywood since nine years and all those who have worked with her have always praised her. “When I work with a lot of young actors, I learn a lot as they have a different way of doing scenes. I have worked now for 21 years, they have been working for 10 years. When Katrina is doing a scene, she has a different way of approaching it. And when she approaches it differently, as a co-actor I also try to think if she is doing it differently, there must be a reason so let me also try it and adapt myself to do it differently. So that give and take has been absolutely fantastic,” Shahrukh said.
Wow. What a treat! Two ‘stupendous’ acting talents coming together for the first time! Someone should divest the likes of SRK and Katrina of the notion that the preening and dancing around that they do in front of the camera is considered acting!
“But discussing B’wood, nopes…”
ok arthi plz tell us about your ‘hollywood’ tastes
U write very well (like Amy )🙂
thankx for telling me the name of the singer–is she well known?
And agree about the ‘drunken’ casual vibe in the song above from shaitaan
Will call it the slight ‘wanton lasciviousness’ that interests lads here
ANother similar performance by a singer that i liked
though this kalpen guy and the picturisation spoils it partly for me
ami, is ur friend’s brother some big shot or what that he has got this bombshell?(lol). one can easily see in the trailers that the girl does not have any sort of ‘inhibitions’, hope her date hasn’t seen them.(lol). by the way did u get to see agent vinod or have u dropped the idea after seeing its ‘thunderous reception’?(lol)
LOL! He is Armaan Gujral- a 20 year old student at Boston University- quite a spoilt brat- but his father is one of the richest men in Delhi and his mother is a former model/ socialite who has a lot of connections in Bollywood- I’m guessing that is where the appeal lies for Esha. Although I could be wrong- I met Esha once and she seemed very nice and down-to -earth.
His mother is a model/ dancer herself- Feroze Gujral- she did an item number is Dil, Dosti etc a few years back- so I do not think he’ll mind this trailer.
I’m going to see AV in a couple of hours🙂 I didn’t really want to watch it after the dismal reaction it received- but my friend adores Kareena and he is dragging me along to watch the film- I’m hoping that I end up liking it despite it’s shortcomings.
ami- u better like it sweetheart( i and tony r the only ones pimping for the film shamelessly). and then please come and praise it profusely on my ‘note'(i am retitling it ad ‘an elegy to agent vinod’)
thanx minor–btw what did she do to become a ‘bhatt favorite’ ha–seems a bit ‘different’ and wt bout the shaittan girl
btw need to catch up some work big time……….
Incidentally just heard this song on telly -surprsingly good
Somtimes even inane films have good songs
also Dedicated to Imran ‘puppy’ khan fans —
Alex- considering how infatuated you are with Little Miss Daffy Duck- it’s a bit rich of you to comment on Imran ‘Puppy’ Khan’s resemblance to any member of the animal kingdom- at least he did not undergo surgical procedures for the express purpose of making his featuress resemble that of avian wildlife😛
sum of the hindi films i am interested in this yr- 1)lootera-(motwane’s udaan is sumthing very close to my heart,it took me back to my boarding school days, so hugely looking forward to this one). 2)talaash 3)cocktail- saif in a script of imtiaz which is helmed by homi adjania 4)gangs of wasseypur- kashyap returns with bajpai 5)department- sanju in a cop drama with ramu,need i ask more 6)tezz-a slick product from priyadarshan and there is devgn 7)barfi-ranbir and pc with anurag,dish looks tasty
9)david- bejoy nambiar’s next with tabu,vikram,neil 10)special chhabbis- neeraj pandey returns with a heist film toplining akki 11)hate story- yes, i have liked the promo and gulshan deviah is terrific 12)mohalla assi- sunny as a banarsi pundit, should be sumthing to watch out for 13)shanghai- abhay,kalki and emraan under dibakar 14)inkaar- sudhir mishra is one of my fav 15)matru ki bijli ka mandola- they don’t make it much better than bharadwaj 16)go goa gone(khemu, dir-raj and d.k.)- a zombie comedy
ami- rocket singh wasn’t helmed by habib fazal. it had shimit amin as the director. but yes ishaqzaade looks good and do dooni chaar was heart-warming.aiyaa also seems promising just like most of the films from kashyap’s stable. can’t say the same abt ek tha tiger-salman is just not good enough for the genre.and yes, sumhow find bhandharkar’s films boring without having any conscience in them.his best effort was page 3 but also liked traffic signal simply bcos it had kunal khemu
You missed an important name while mentioning Rocket Singh – Jaideep Sahni. This man has a bundle of talent waiting to be explored by the right man. His screenplays for CDI, Khosla Ka Ghosla, Company and Rocket Singh were a treat to experience.
Incidentally Rocket Singh, one of my favourite films in the past 3 years, went completely noticed by the media, public and even the awards ceremonies, which was a shame. Still waiting for the film to receive its due.
yes, by taking sahni’s name u brought up the relevant and oft-forgotten art of screen-writing.and sahni has also sum great lyrics in rnbdj and bunty-bubli.and looked at the diverse array of films for which sahni has written- from jungle to company, from cdi to bunty-babli. he is certainly one of the best in the business(another fine talent who started with ramu alongwith raghavan, kashyap and amin).
and yes rocket singh was easily one of the best to cum out from the yrf which usually churns out crap of different kinds.it was a very ‘honest’ film just like its honest lead.i believe the topic of business world was not everyone’s cup of tea.also yash raj just didn’t promote the film enough and the music also didn’t catch on. but it had ranbir in one of his most challenging roles as here he had to give a sedate performance which is so unlike his real self. i also enjoyed prem chopra after a long time
I am a new entrant in this blog. So I might not find as much acceptance for my comments as many do…
But I would have really loved to see movies (or even their trailers) directed by most of you…🙂
And more interestingly loved to have seen those who would watch those movies..
Rocky’s comments have been most logical..
The very common mistake we all make is believing in our personal opinions to be the universal facts…
A good friend of mine had very brilliantly answered one of my questions by saying “A few netizens don’t represent the opinion of mass audiences.”…
gourav,welcum to the blog mate.this is a blog where everyone’s opinions r heard and taken in the right spirit so feel feee to comment(these people and satyam r bearing with me so that’s an achievement).i am also relatively new here. and yes u right that personal opinions do not have accepted by everyone. but then ‘opinions r like a*#holes, each one has one.’ so we have the right to express ours. ok gourav which r ur fav bwood films,actors,actresses?
I have no personal favorites. I enjoy movies that can entertain me for 2 hours and force me to watch them atleast once more. I thoroughly enjoy hollywood comedies and action thriller flicks…
By the end of the day it is just the worth of my money that I look out for…
Akshay is one of those actors who have never bored me in most of his movies barring TMK… I love watching Aamir’s movies, but then his dhobighat was a boring fair…So every actor has his share of dull moments. Ajay Devgn is one great actor in the present main league…
I truly support Rocky’s point that movies should make money… Pseudos might write big statements in the favor of “different/realistic” movies (I loved paan singh tomar, a wednesday, no smoking, kahani, gulaal, shaitaan).. But then how many people watch them? I loved them because they were engaging…
You guys may cringe over the success of movies like houseful, golmaal series, singham, ready or ghajini…but the bottomline is that these movies have got highest number of footfalls and didn’t stoop in collections after first week…They are truly liked and appreciated movies by masses (real masses, who watch movies in theaters… not torrent cinema lovers)..
And if Housefull gets to 100 crores Rowdy Rathore should be a sure shot for the same. Would be a remarkable comeback for Akshay after a rough time the last two years or so. And again I’d be very pleased for him even if I find most of his movies unwatchable.
Prabhu Deva on his cameo in Rowdy Rathore and film with Salman
By Subhash K. Jha ,Apr 17, 2012 – 10:39 hrs IST
Prabhu Deva who has made a surprise guest appearance in a dance item with Akshay Kumar in Rowdy Rathore, would be soon doing another film with Salman Khan. The two worked together in Wanted. At the IPL inauguration earlier this week in Chennai, Salman met Prabhu Deva with much warmth and discussed a film they’d be doing.
When asked about his dancing cameo in Rowdy Rathore, Prabhu shies away from a direct admission. “Let my appearance be a surprise. If I reveal everything now, who would want to see my film?”
We can also play a spoilsport by revealing that Prabhu Deva has choreographed a sizzling-hot item song in Rowdy Rathore featuring Mumaith Khan who danced her way to fame with the ‘Seekh Le’ number in Munnabhai MBBS, and Mariam Zakaria who accompanied Kareena Kapoor in her disco-Mujra in Agent Vinod. There’s also a third item girl named Sakhti in the item song. Quite a houseful of item girls.
Laughs Prabhu Deva, “Choreography remains a passion. But as a dancer I find younger and younger and better dancers are coming in. At 39 I find I am getting too old to be as agile on my feet as I used to be.”
Earlier this week Prabhu was in Chennai for the IPL and he met up with his old friend Salman Khan. When Salman heard Prabhu was there, he invited him backstage.
Says Prabhu, “He met me and my children with such warmth. We’re definitely working together again. But it has to be a project that takes us both beyond Wanted. No point in just coming together for the sake of the boxoffice.”
At the moment, Prabhu is putting finishing touches to Rowdy Rathore. “It’s a remake of a South film. And it’s exactly the kind of entertainment that audiences would expect from me and Akshay Kumar. When you have so much at stake you can’t afford to be experimental.”
Being a Major Hit of Akshay’s Career is “almost” a forgone conclusion here…. but this can be the movie(along with HF2), which might lead him to win back some audience faith, after his horrendous run of last 3 years.
Rowdy Rathore is surely gonna challenge all previous box-office records. Non-festive season, back to back releases of other films may stop RR from being the biggest grosser. I am still hopeful it may well collect big in first week itself!!! Akshay is back, happy very happy for him!!!
saw this promo for the first time
Will have to be real bad for it to fail on the box office –knowing the mutiplex tastes and this genre
Seems akshay kr is back in a big way after hf2 and this…
ps–sonakshi continues to amaze–how can she get leading roles
any random person from the street may have a chance of look better (and slimmer)…though she does have (more than a) screen presence
Oh yeah, I agree I am loving every bit of Rowdy Rathore that I have seen so far. This is the exact “Masala” that I am looking forward to, This maybe be the real tribute to all the 80’s masala flicks that we have grown up to. Looking forward to this. And when I made the comment about Raaj Tilak, I meant it in a good way, (I actually liked that movie, when I was a kid haven’t revisited since, would love to one of these days)
i do agree its a “90’s album”. its so refreshing. people complain that 80’s and 90’s had the worse music but i strongly disagree. anyways my fave have to be chinta ta ta chita, chamak challo and even though its HEAVILY influenced by rahman like music…i like chandaniya. sherya ghosal has dominated this album. and good to hear kumar sanu make a “cameo”.
Hmm-haven’t heard the songs but this line ^ seems good
Anyhow akshay signs nargis f whose Hindi seems to be improving!
American model-turned-actress Nargis Fakhri, whose voice in her debut film Rockstar was dubbed due to her poor Hindi diction, is busy working on the language and reveals that finally she can read and write a bit of Hindi. “Everything takes time, it doesn’t happen like this.
out of the sky and put here. So, it’s taking time but it’s going well,” she said Monday at the launch of the Gaja Store.
“I am really happy, I am reading and writing, which is great. So at least when I can read I am like, ‘Yes, I can read’,” she added.
The 32-year-old has one film in hand, Khiladi 786 opposite Akshay Kumar. The film also stars Paresh Rawal. Meanwhile, she is reading scripts and may zero in on something soon.
“I have been doing a lot of events, brands and magazines and I have also been reading a lot of scripts and I have taken my time. Now I have found something I really love. So it’s all coming along. It’s patience. If I want to do it, I’ll do it. If I don’t want to do it, I will not do it,” said Nargis.
Tamil star Vijay does cameo in Rowdy Rathore
By Bollywood Hungama News Network ,May 7, 2012 – 12:18 hrs IST
The two time Tamil Nadu State Film Award winner Vijay, who is currently shooting for A R Murugadoss’ Thuppakki in Mumbai, was roped in by director Prabhudeva for a friendly jig with Akshay Kumar in the street anthem ‘Chinta Ta’ from the action-entertainer Rowdy Rathore.
Prabhudeva was keen on having Tamil actor, singer and dancer Vijay whom he directed in the very successful Pokiri, do a cameo in the film. On learning that Akshay was part of the song, Vijay, a huge Akshay Kumar fan, jumped at the opportunity
Says Vijay “I have always been a fan of Akshay Kumar since his Khiladi days. The promos of Rowdy Rathore are very interesting. Prabhudeva just had to ask me once and I readily agreed. They were very friendly and I won’t ever forget the experience shooting for the song.”
If that wasn’t enough, director Prabhudeva has decided on throwing a party at his Chennai residence with the lead actors Ravi Tejaa, Sudeep and Karthi from the Tamil, Telugu and Kannada versions of Rowdy Rathore.
Starring Akshay Kumar and Sonakshi Sinha, UTV’s Rowdy Rathore produced by Sanjay Leela Bhansali and co-produced by Shabinaa Khan promises to break the stereotypical boundaries of the action genre and is scheduled to release June 1, 2012.
AMidst some ‘mind numbing’ hectic work, saw bits of this rowdy rathore song
Well, it is entertainingly ‘gross’
Im not aware of this “south masala tradition’ but this was too “strong’
This whizzing past, loud echoes, akki throwing humans around like a t-shirt!!
But must give it to prabhu deva—inspite of the over the top cheese factor etc—
It rocks !!!
And must commend these three ‘dancers’ –who are they?
I mean, not talking about the obvious dodgy perversions, but looks at their sheer “athleticism”
after ‘hard work’ this is what one needs to get ‘fresh’
there is a ‘raw rustic village’ sort of vibe here
not sure how to describe this ludicrous fun
but it sets the ‘tempo’
for what seems like a big winner for the actor /director….
ps–the best one besides the “back slow’ pelvic thrust is
The “three on one’ guy loaded girl act
nothing perverted folks–just admiring the acrobatic prowess of these ‘dancers’
enjoy and leave your ‘hang ups’ behind
Alex: I must admit I was quite wrong about this song. I saw “Rowdy Rathore” last weekend, and while I haven’t had time to write on the film, suffice it to say that this song — its incredible energy, its sweep, the sheer amount of activity that occurs in every frame of it, is one of the movie’s highlights, and completely swept my prejudice away. Stirring stuff.
Utkal uncle: u have ‘disappointed’ me for the first time !!🙂
I do NOT agree this is any more crass than munni or shiela!!!!
It’s quite energetic and has a certain ‘zing’
And it’s not surprising that classy folks like qalander didn’t like it
It’s not for them!!
Sheila was hardly great as far as either the lyrics or the music was concerned, but I will say this: at a minimum it belongs to the genre of item numbers that cast the woman at its erotic center as a goddess, unapproachable by the slathering men who surround her; she is powerful, even if her only power is to evoke desire and withhold its satisfaction. Whereas “Pritam Pyaare” belongs to a rather different genre: the women at its center are fucktoys, analogous to the low-grade item numbers in villains’ dens in years past (not surprisingly, it is the former sort of item number that attracts cameos by major stars — Aishwariya in Kajra Re; Katrina Kaif in Chikni Chameli — or by specialists — e.g. Malaika Arora Khan; the latter sort of item number typically entails actresses who aren’t in a position to turn it down (this song from Rowdy Rathore is a good example).
You have a fair point about Sheila Vs. Pritam- but I think that Chikni belonged very firmly the latter category as well- infact, it is an item number in a villain’s den. And Chikni’s behaviour is that of a much more easily accessible, disposable woman than a Sheila or Kajra Re where the item girls have a more mythical, aloof quality to their interactions with the surrounding men.
Re: “…I think that Chikni belonged very firmly the latter category as well…”
Yes, I do agree. Lyrically I believe the song is somewhat in (what I’ve called) the first genre, but (I believe Satyam once wrote about it), there is something pliant about Kaif’s persona that undermines any transcendence…
That’s where u have also got ‘distracted’ too by the ‘fcuktoys’-qalander🙂
As mentioned, the sheer ‘athleticism’ and the ‘skillful moves’ have to be assessed independently of the ‘lewd’ element (which is a part n parcel of ALL these enterprises)
Be it Sheila , munni, chameli, or pritam pyare
THAT objective stays the same….
Ps–I’m being absolutely ‘honest’ that I really appreciated these girls ‘midair’ gymnastic-esque routines
Showed a certain energy zing and physicality rarely seen in Indians (honestly)
And akshay Kumar propped up by prahu deva comes up with a raw impactful appearance here
Am not aware of the south Indian masala which seems to be imbroidled here
Inspite of the ‘cheesiness’ , ‘lewdness” ‘crassness’
Imo This song rocks , period !!!!
Ps-have seen bits of the other songs of this film now and they are quite subpar and akshay seems to be overdoing the ‘dabang’ hangover
But this particular sog is different
And I feel the ‘baggage’ of past such endeavours should nt be carried over to this one!!!
Utkal uncle : u are completely off here
Why is Sheila munni superior to this?
Ps-chikni chameli was a different matter-it had a certain ‘cultish masala’ element
But like akshays sheer energy and presence here
Read my comments above
Just ‘trashing’ something as ‘gutter’ etc is ok for self gratification and certification, but then one has to justify lol
As for qalander–he seens to bave a certain ‘refined’ taste (given some of the other stuff he has liked in the past) and has visited after ages-so will give him a pass😉
I definitely agree that Munni’s lyrics (or even better, Gulzar’s sublime lyrics for “Beedi” or “Namak” in Omkara) are far beyond this drivel.
[Aside: on Munni, note that it re-worked an old North Indian song, “launda badnaam hua, Naseeban tere liye”; i.e. whereas in the original, the narrator is a man who has been ruined on account of a courtesan, in the Dabangg song it is the naatch-girl who seems to have been ruined for a lover, a less plausible conceit.]
Qalander -comparing munnis lyrics admittedly lifted from some two-bit setting from a neighbouring country of India
Lyrics of ‘beedi jalaile’ by gulzar is something surprising from u!!🙂
Javed Akhtar himself admitted that if there is one song by another lyricist he would wish were his own –was ‘beedi jalayile’
Infact it doesn’t even sound like someones ‘film lyrics’
But a “folk song”
The point here is not about the “lyrics” only but
The entire impact and panache
The (3) nautch gals in this song have situated most from the central premise (but I don’t blame them since it’s difficult to put these sort of suggestive moves in the background)
Ps –this is only on this ONE song of rowdy rathore
Haven’t seen most of the others and the few I’ve seen we’re subpar!!
Re: “…admittedly lifted from some two-bit setting from a neighbouring country of India..”
Boss, as far as I know, before this was any kind of Pakistani song, it was a song from Bihar from decades ago, pre-partition.
And I wasn’t comparing Munni’s lyrics with Gulzar’s; the latter’s in Omkara are among the summits of item number lyric-writing — but even far more accessible heigts (or depths!) like Munni are far beyond Pritam Pyare.
The initial points were not on this songs ‘lyrics’ at all
Infact not sure if it has any lyrics at all (atleast I didn’t notice em)
The point was always about the overall ‘impact’, tempo energy and zing
The first time I saw it today-felt a certain energy and zing
And yes:it wasn’t due to the ‘sexuality’ element alone🙂
yes Qalandar and Munna sir r bang-on that munni is derived from a Nautanki number. Nautanki, which was once, a well developed folk art of UP has now been reduced to utter crass stuff with no lyrical or thematic depth. and as i hail from the same region, i have myself had the pleasure of seeing such dance performances in marriages- they r hilariously crude. and though i loved ‘beedi’, the 2 other numbers- namak issq ka and laakad bring out the real essence of western u.p./bundelkhand
Utkal uncle: just by using ‘buzz words’ like ‘wit and humour and smartness’ may get u ’rounded up’ here!!
I’m awaiting a long definitive response from u now lol
Ps-suggest u watch this song with aunty not around and try it with a pint of beer–then cum bak lol
The dilemma for poor sonakshi
Sonakshi who has been working with ‘grown ups’ like Salman, akshay suddenly faces a dilemma
She’s suddenly being considered to look ‘too old’ to star opposite the ranbirs and shahids -who are actually her age !!!
Shah Rukh Khan started the trend, when he starred in the remake of Don. Hrithik Roshan took it a step forward, when he too stepped into Amitabh Bachchan’s oversized boots with Karan Johar’s Agneepath. And now Ajay Devgn is all set to complete the trinity; Devgn, sources say, has been zeroed in for the remake of Hum. Though the actor himself is yet to confirm the buzz, indications are that the remake will be helmed by Rowdy Rathore director Prabhu Deva. In fact, it’s not just Amitabh that they are drawing inspiration from; it’s also said to be inspired by Rajinikanth’s Baasha. “There has been a strong buzz around Ajay featuring in a film that has its roots in Baasha. Now that would be amusing indeed, as Baasha itself was the official remake of Hum,” says a source.
“Big B could be the biggest reference point even if they remake Baasha. Actually, it would have been much simpler had they made a remake of Hum instead of bringing Rajini in. It’s only fitting Ajay — who’s got an ‘angry young man’ vibe about him, does an Amitabh,” comments a film-maker.
Prabhudheva’s next with Ajay Devgn
By Bollywood Hungama News Network ,May 14, 2012 – 12:30 hrs IST
After the success of Wanted, ace choreographer turned director Prabhudheva is surely focusing more on Bollywood. While his next directorial venture Rowdy Rathore starring Akshay Kumar is ready for release on June 1, Prabhudheva is already busy planning his next.
The buzz is that Prabhudheva has roped in none other than Ajay Devgn for his next directorial venture.
The film will be a remake of the Rajinikanth super-hit Tamil film Baasha.
The film will go on floors once Ajay finishes with his current commitments.
It’s often been called a loose remake but I’ve never seen much similarity except in a very generic sense. In any case this is one of Rajni’s signature films. A better example of a remake that became an essential part of the later star’s iconic appeal is Billa. This is an exact remake of Don and is yet an essential part of Rajni’s oeuvre. He did probably a dozen Bachchan remakes but nothing became quite as important as this one (though there were successes elsewhere too with the remakes). Something which didn’t happen with SRK when he did his Don (for all the propaganda) nor were Rajni’s Southern counterparts quite so lucky.
Incidentally I’m not a great fan of Hum. It seems too much of a rehash of iconic Bachchan moments to me. Obviously this became an important film for Bachchan but it seems like the swan song of an entire peak period of his career. An enjoyable film for sure but beyond the extraordinary gesturality he brings to first half of the film there’s nothing special here by way of plot and so on. Prefer Baasha (if one wants to have the comparison) on this score. Of course Mukul Anand’s dazzling visual sense is often on display in the Bachchan film,
You r right on Hum. But somehow one of my guilty pleasure from the film is the scene where Tiger, on finding that his friend his dead, runs after Bakhtawar with a dagger in his hand- somehow Mukul Anand filmed that scene really well
yes true.. and Bachchan is magnificent here. I have a thesis about this film that the ones who truly adore it are mostly those who do not really ‘live’ with the great Bachchan films of the 70s and 80s.
“I have a thesis about this film that the ones who truly adore it are mostly those who do not really ‘live’ with the great Bachchan films of the 70s and 80s.”- LOL- that’s so mean of u🙂 . The fact is the film is released in 90’s and was one of Bachchan’s very hits during the periods, so anyone like me, who was born and brought up in the 90’s likes the film even after its weak storyline. But that does not mean we do not like his 70’s and 80’s films.
Anyway, could we have that ‘thesis’ of urs- will be an interesting read
what I simply meant was that impressive as Bachchan is at many points here if one is more informed by his peak period than less one will not admire Hum as much as say Lawaaris or Coolie if not something earlier.
But there are many viewer who like that whole period because in films like Agneepath or Hum or Shahenshah or what have you (without forgetting any of the distinctions) he is literally an overman. Or more precisely these films are in the business of staging his ‘epic’ persona at increasingly greater ‘magnitudes’. In terms of gesturality if you try to out-Coolie Coolie (to stick with this example) you run the risk of producing something ‘monstrous’. Obviously Bachchan is extraordinary doing even this but some of the more human elements that informed all of his best older performances are missing. Because the films become operatic in this sense and are literally trying to portray/depict a ‘god’ rather than a ‘hero’. There’s a difference. A god is always a little monstrous! So a kind of mutation occurs here. Which is why some of these films are great in bits but often there’s nowhere to go beyond a point. The star so overwhelms things that it seems like a bit too much beyond a point. Here once again Akayla must be mentioned as the ‘un-Agneepath’.
To be absolutely clear Agneepath is very impressive at many levels, very interesting in the same way but it’s also symptomatic of a certain problem. With Rajni they’ve gone at it a somewhat different way. They’ve focused more on the impish elements of his persona. And hence the ‘supernatural’ elements if you will dominate in the late films. The elements all bow before this great figure. The one advantage here is that otherwise Rajni is pretty normal in these films. Shankar after the surprisingly deconstructive Sivaji handled this whole problem of ‘the legend’ brilliantly in Enthiran.
Getting back to Hum I am impressed with Bachchan here but not necessarily very interested. With Coolie it’s both.
Should be another easy big one for Akshay. I think if it’s just at Wanted level in terms of content it will do better than most of the Salman films. Whether Akshay can get those sky high initials remains to be seen.
Getting past Sonakshi’s helipad head, elephantine nose, saggy belly (and what seems to be a prominent crotch in that god-awful saree-churidar ensemble), one begins to appreciate this rather new bindaas Dhadang Dhadang avatar of the Bihari babe.
Just what the front benchers ordered, picture hit zaroor hogi.
i have been saying this that this one looks atrocious. and i have the bad luck of seeing the south original ‘vikramakardu'(dubbed version, was coming on a channel sumtime back) with that offensive ravi teja in the lead- i can bet that no one will be to stand this south film for more than half an hour.
there’s a funda that must e followed efore watching such films in theatre – never ever take a female along with you to a single screen. Had a terrible experience watching Ishaqzaade with a friend in PVR Priya – one of the famous ones in the city. every kissing scene was commented upon, and lovemaking scenes were commented upon, ranging from ‘chodna mat saali ko’ to ‘ache se le le’.
how does such cinema make the EMAET type cinema any inferior? If there are patrons who believe above masala provides nostalgia and unforgettable experience, I’d say the makers are no less ‘chalu’ than the ones who invest in multiplex romances..
completely agreed with u. and just like u i have had such misadventures when a female friend has come along with my group- most famous being murder 2. and i don’t why someone like Satyam is saying such positive things abt Rowdy- this is a ridicule of masala- any masala lover should be hating this. And EMAET, which even otherwise a good film, is zillion times better than this. actually EMAET was the best rom-com which has come in last 2 yrs.
Ami will love to hear ur views! btw ‘men in black 3’ releases this friday- not a fan of the franchise but this one looks- also no hindi releases- so will watch it. what abt u. btw my fav film of this yr, alongwith AV, remains ‘the grey’- what a film! i love the beast vs. man genre and this one just redefined it- brought back the days of ‘adventure films’- must see (it reminded me of another damn good film in the same vein- ‘the edge’ with anthony hopkins and alec baldwin)
What an utterly nonsensical promo- you have Kareena posing sexily- not even attempting to dance!- intercut with footage of some random girls and Vijay making an inexplicable cameo in the midst of it all.
I feel like most of these filmmakers are desperately groping around in the dark and inserting every gimmick and cliche they can lay their hands on into the movie hoping that something, somewhere will work- there is simply no idea, thought, logic or coherence behind any of their filmmaking choices.
Agree with Tony/ Saurabh- this is the definition of regressive filmmaking- and it’s becoming increasingly common.