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175 Responses to “Chashme Baddoor, Himmatwala (ongoing), the rest of the box office”
Friday 4th April 2013 11.00 IST
Boxofficeindia.Com Trade Network
Himmatwala had a low first week grossing around 38 crore nett. The film dropped rapidly at multiplexes over the weekdays while single screens were fair till Monday but also showed bigger falls from Tuesday onwards.
The film has done very dull business in Delhi, East Punjab, West Bengal and Mysore. The other circuits are better but no where near what they should be with UP, Bihar, CPCI and Rajasthan doing better as they have a larger ratio coming from single screens.
The business from week two onwards will be mainly single screens as there is a huge reduction of shows at multiplexes which will mean very low week two.
Friday 5th April 2013 12.00 IST
Boxofficeindia.Com Trade Network
Chasme Bhaddoor had a fair opening of at places while other places were not so great. The film opened to around 30-35% collections at some multiplexes in North India while cities in Maharashtra saw an opening as low as 10-15%.
Overall its a reasonable opening as the film has got an audience in the morning at some places despite no face value. The film can come out with a decent first day if it can have that normal improvement in the evening. Delhi/UP and East Punjab should out perform as they film has managed a decent opening in these circuits.
The other release Rise Of The Zombie had very low collections and has practically no chance at the box office.
B.O. update: ‘Chashme Baddoor’ has fairly good start!
By Taran Adarsh, April 5, 2013 – 12:15 IST
CHASHME BADDOOR took a lot of industry people by surprise as it opened to fairly good houses in morning shows. Despite the fact that the film does not boast of major star/s to lure the audiences, the average opening was 30% to 40%, while a few centres reported lesser openings too.
With no major opposition to contend with and armed with positive word of mouth and reviews from critics who matter, the business should witness an upward trend from Friday evening onwards. A respectable [weekend] total is on the cards!
Saibal Chatterjee on the whored version of Chashme Baddoor..
Chashme Baddoor movie review
Thursday, April 04, 2013
Cast:Ali Zafar, Siddharth, Divyendu Sharma, Taapsee and Rishi Kapoor
Director: David Dhawan
Don’t judge a film by its poster, a bright spark on the screen reminds the audience rather helpfully. We know, buddy. But what if the book turns out to be worse than the cover?
Actually, it isn’t quite that simple out here either way: neither the poster nor the film is worth wasting any considered judgment on.
David Dhawan’s Chashme Baddoor is a raggedy bag of gags as flimsy as the boxers that the three buddies strut around in – they are full of colour all right but add little value to the canvas.
Intended to be a breezy comic romp, the film is woefully short of wind in its sails despite all the bluff and bluster that it whips up.
The cult classic of 1981 that is still vividly etched in our collective memories receives the OTT Double D (over the top David Dhawan) treatment but isn’t even half the fun that Sai Paranjpye’s witty and infectiously mirthful Chashme Buddoor was.
Note the difference in spelling. Dhawan spells Baddoor with an ‘a’ – it adds up to too ‘bad’ and too far gone to be genuinely enjoyable.
Paranjpye had settled for a ‘u’ in her Buddoor – her film had instant ‘universal’ appeal. This ill-advised remake is less adult than asinine.
Watch Chashme Baddoor by all means if you nurture no reverence for Hindi cinema’s past, for whatever it is worth.
Watch it for all the frenzied dancing, prancing and romancing that Dhawan unleashes to the accompaniment of Hindi film hits of the none-too-distant past, in addition to a slew of new musical numbers.
For this critic, Chashme Baddoor does evoke a degree of nostalgia but not quite in the way one would expect.
You hear SP Balasubramanyam’s robust voice in a snatch of Dekha hai pehli baar and how you long for a return to the era of the great male singers who sounded male and not like some of the nasal, effeminate, monotonous wonders that rule the roost today!
Ali Zafar, the film’s lead actor who gets to sing a solitary peppy love ditty, comes pretty close to the tonal timbre of those great voices that once defined Hindi movie music.
Unfortunately, amid the high-pitched din that this Chashme Baddoor delivers, these little delights are but stray straws in a wild gust.
So, if you can’t stand the unseemly sight of a pristine idea being mauled, battered and pulverized out of shape and beyond recognition, do yourself a favour and stay away from this laboured, loud and lowbrow rehash of a truly magnificent comedy.
As a matter of fact, Chashme Baddoor doesn’t deserve to be designated as a remake: it demolishes much more than it actually makes.
Dhawan and his scriptwriter leave the core of the original storyline intact but tamper cavalierly with its essence. The result is anything but salutary.
They yank the bum chums away from their culture-specific Delhi location and transport them to an indeterminate Goan setting. In the bargain, all prospects of carving a genuinely funny caper flick out of the material are driven to the ground and many feet under.
It is one thing to seek to update a comic love story from a bygone era for present times. It’s quite another to trifle with its spirit.
Chashme Baddoor goes completely go off the rails in trying to eke out a laugh-a-minute ride by resorting to methods that one thought had gone out of currency with Govinda.
Yes, there is something unconscionably twisted and misplaced about this Chashme Baddoor.
The antics of the motor-mouth male trio at the centre of the rigmarole – Sid (Ali Zafar), Jai (Siddharth) and Omi (Divyendu Sharma) – border on the imbecile, and the one-liners that they direct at each other and at the world at large are delivered at decibel levels so high that that it could rattle even those that are hard of hearing.
Sid is an introverted goody two-shoes who believes in playing safe, but his two pals – one a wannabe poet who spouts irritatingly silly rhymes, the other a movie-crazy city slacker in love with the idea of who he is – are incorrigible skirt-chasers who repeatedly land in trouble.
One gets bitten on the rump by a frisky canine; the other gets whipped by a feisty granny. The trauma drives them over the edge and they lose all sense of what’s good for them. The duo is perfect advertisement for a film that has no clue where it is going.
The girl that they are out to woo, Seema (Taapsee Pannu), is no coy touch-me-not. On the run from an armyman dad (Anupam Kher) who wants her to marry a soldier, she seeks refuge in the Goa home of her civilian uncle (Anupam Kher again) and her spirited grandmother (Bharti Achrekar).
The mayhem that ensues as a result of a series of mistaken identities and misadventures has a deleterious effect on Chashme Baddoor – it goes from bad to worse.
Everyone, including a cafe owner called Joseph Furtado (Rishi Kapoor) and the object of his late-blooming desire, ageing spinster Josephine (Lilette Dubey), jumps into the pool of uncertainty.
Subtlety certainly isn’t the name of the game here. Wit is replaced by runaway buffoonery. As the humour assumes crude, if not lewd, overtones, the actors take the cue and ham away to glory.
But to their credit, they shriek, holler, run around in circles and make a spectacle of themselves and yet manage to stay on their feet for the most part. Wish one could say the same about the film as a whole.
If the original was a soothing and timeless melody, this is a raucous and forgettable item number. Give it a shot if you must, but don’t expect the world from it.
Salim Khan lashes out at the Zanjeer derivative..cannot agree more with him on the lack of literary quotient of today’s film-makers and their instant gratification via DVDs..
Writer Salim Khan claims that the copyright wrangle over the Zanjeer remake is nothing personal. It concerns a larger issue.
“We aren’t fighting only a copyright issue. It’s also a moral issue. If we allow this to go, other writers who are no more and who left behind families in financial need are liable to get affected. Let future generation of a writer’s family benefit from our action against Zanjeer. If we don’t do this, anyone can come along and remake anyone’s film without compensation,” Khan said.
The 1970 film Zanjeer was co-written by Salim Khan and Javed Akhtar and produced by Prakash Mehra .
Now, Amit Mehra, son of Prakash Mehra has remade the film in Hindi and Telugu — the latest in the long line of ‘remakes’ of successful old films. Besides being a bone of contention between the heirs of Prakash Mehra, the right to remake the film has been challenged by the scriptwriters of the original film.
Khan admits there is an acute shortage of scripts these days and hence the rash of remakes. “The reason for this is that people don’t read any more. There’s no literary culture in our industry.
“There was a time when potential writers spent their free hours reading the latest bestsellers. Now they just put on a DVD or watch television. Unless they read where are today’s writers going to come up with good scenes and dialogues?
“In the entertainment industry, you can become anything without a proper education. But not a writer.
“When I came to Mumbai [ Images ], I was work-less. I spent my time going through every single book in a library in Mahim (a suburb of Mumbai). Soon the librarian told me there were no books left for me to read.”
Regarding the copyright of Zanjeer Khan says, “The matter is very simple. They should have come to us to negotiate. The South Indian remake rights of Zanjeer were with us. We have sold only the Tamil rights, not Telugu. So how can they remake Zanjeer in Telugu?
“At the time when Javed and my career in writing was taking off, the rights of Hindi films were sold into South Indian languages. But only after the films were successful in Hindi. We used to retain the rights for the South Indian remakes until the Hindi original was fully exploited in all the territories.”
Khan says he has proof that the only South Indian language for which the remake rights of Zanjeer have been sold is Tamil. “Hence the Telugu remake rights are with us. Even the Hindi remake rights are not with the producer. We didn’t give any producer perpetual remake rights.”
Moreover, Zanjeer is not a script that renders itself to various interpretations. “What the makers of the Zanjeer remake are doing is wrong on so many levels. We are the copyright owners of the script. If we allow them to remake it without consent or compensation, others would do the same to writers who are in need of money.
“If we were questioning the Zanjeer re-make merely because we wanted to create a hurdle, then we’d have done the same with Seeta Aur Geeta which seemed to have echoes in Chaalbaaz and Kishen Kanhaiya.
“Unlike our Seeta Aur Geeta, Zanjeer is an original idea which has not been done in other forms. The theme of twins swapping places in Seeta Aur Geeta was earlier done in Ram Aur Shyam and later, after our film, in Chaalbaaz and Kishen Kanhaiya. All these films were inspired by Daphne du Maurier’s 1957 novel The Scapegoat.
“Some 35-40 films have been done on this theme. Now we hear Seeta Aur Geeta is being remade with Katrina Kaif [ Images ]. That’s fine by us. We aren’t against remakes per se. If a filmmaker decides to give his own spin to our script it becomes a win-win situation for us. If the remake is a hit we get praised for writing the original. If the remake doesn’t run we still get praised in comparison.”
However, with Zanjeer, Salim-Javed are fighting a larger copyright issue.
Says Salim Khan, “By the grace of God we are financially well off. But what about those children and grandchildren of writers whose films are remade and who are not in a good financial condition? They need the compensatory money.
“The humane aspect of our fight covers a wider platform than a personal battle. Today a big-budget film spends Rs100 crore in the making and then they make Rs 150 crore. Even a broker gets two per cent commission. Shouldn’t the writer get five per cent compensation?”
He says a great deal of thought has gone into the action the writers are taking against the makers of Zanjeer. “The copyright laws clearly state that the writer has a moral authority over his property and no changes can be made to the original.
“If the Zanjeer re-makers claim they have changed our story entirely, then why did they announce it as a Zanjeer remake? And if they are not remaking the Prakash Mehra-Salim-Javed film, and they are making something else, why is Prakash Mehra’s son, the producer Amit Mehra, compensating his brothers for Zanjeer’s remake rights?” Salim Khan asks pertinently.
“When I came to Mumbai [ Images ], I was work-less. I spent my time going through every single book in a library in Mahim (a suburb of Mumbai). Soon the librarian told me there were no books left for me to read.”
Why 6 crores? Is not just a very huge amount? If they are so concerned about other scriptwriters, why they woke up only when Zanjeer remake has happened? If they love their story so much, why they sell it to anyone? Why dont they wait for some sincere producer and better actors? They are ready to sell for the biggest bidder and thats what it is all about. They may sugarcoat but the truth is there for all to see.
and he has no problems with his idiotic illiterate sons peddling even more idiotic stories. and remaking their own film from 2 years ago, making it even less interesting. may be he should hand out some script advice to them.
Liked ETT quite a bit —
check out this sample dialogue—
“Pataate pataate kahin khud nahin pat jaana” (original in hindi penned by memory)
on the surface of it, it seems only a frivolous line
but hey, its actually such a ‘deep’ line
ps–those who have seen ETT (like oldgold) will hoepfully know what im saying 🙂
ps2–satyam will remember the now legendary debates aka ETT200.
Unsurprisingly none of the so-called blockbusters broke the 200 cr barrier and the ‘trending-king’ aamir talaash khan fell short of the 100 cr barrier –but anyhow as i had predicted then—
ETT may remain salmans biggest hit of all time
and perhaps his best allround film (barring dabaang1)
didnt mind a revisit of ETT recently
really?? You liked it? I thought it was okay (the first 10 and last 20-ish minutes were pretty great), but, thought it got too melodramatic in the middle.
I think my favorite recent enough film of Salman is Wanted.
Unfortunately it must have very few takers in today’s world.
Today’s generation dont watch old classics in theatres.
Release any notable movie of the past, be it Mughal e azam, Aradhana, Sholay , Deewar, to DDLJ, TZP, HAHK, MPK, very few will watch it. that is the bitter truth. They had been telecast number of times, there are dvds and also a dated, stale feeling attached to such movies. Now the audience want fresh mal.
I booked ticket yesterday night show, Show cancelled due to lack of audience (Only 4 tickets were sold) .. ended up watching new CB.
Very true, today’s audience doesn’t have any interest in watching old classics on big screen, even when I approach my friends to accompany me for CB .. all were like “we can see on DVD, its available”. I mean they don’t have enough nostalgia to visit cinema for those classics.
Thanks Sanjana and Yakuza. Yes, it must also be available online. But still, it’s a different experience to watch a digitalized version on a big screen. Obviously hardly anyone thinks that though.
Very sad 😦
Dont be sad Oldgold-u do have a good refined taste
U didn’t answer about the spelling of ‘baddoor’ though..
And don’t cry over chashme buddoor –go watch jab tak hai jaan (if u haven’t already) 😉
Ps: some work now…
I meant fresh maal means present day actors than older ones though the latter maybe far far better actors. If old Golmal was relesed against newer Bol Bachchan or even newer Golmal series, obviously the former would have no chance of surviving even the first day. Ditto will would have been the case for Agnipath, original Don, Sholay etc.
“It’s urdu. One can write it anyway one wants in English as long as it doesn’t sound entirely different.”–thanx oldgold–even i thought so but wasnt sure…
Havent seen the original but seeing all the good reviews of original CB from all here may check it out on cd/dvd.
ps–apparently some are liking ali zafars comedy in the new one
I’m surprised too though I must confess I’m not that big on the original either. There’s nothing wrong with it but it doesn’t rise to the level of the greatest (or even somewhat lesser) Mukherjee/Chatterjee comedies for me. On Rangan though and while I always find his writing illuminating one way or the other he is kinder on Bollywood and harsher on contemporary Tamil cinema. For me it’s the opposite. And I think the difference involves the frame one uses as the normative one. Rangan is clearly very well-versed in both cinemas but he is ultimately more housed within the Tamil one and as such is perhaps a closer reader of the same. Put differently his bar for Tamil is (unconsciously) higher than his Hindi one because he knows the former too well. With the latter there possibly isn’t as much investment in the tradition even if he of course ‘knows’ everything and therefore he can examine a Hindi work in a somewhat less exacting way. Which is not to say he compromises on precision or rigor either way, just that with Tamil he’s more intimate and more intimately aware of everything.
I come at it from the other direction where starting out with the Hindi ‘standard’ I am willing to overlook a great deal in Tamil because the ‘average’ here seems so much superior. In the same vein many films from Bollywood that are celebrated by the media and many viewers seem less radical to me if at all. Because the comparison (in my mind) is either contemporary Tamil cinema or an older Hindi tradition. What Rangan takes as a ‘given’ with the Tamil new wave for instance seems to me remarkable with each new example. Partly it’s about access. For various reasons I am unable to watch Tamil films regularly or participate in discussions to the same extent with viewers of this cinema. On the other hand I watch very few Hindi releases every year but for obvious reasons there is still a greater awareness of everything that’s going on and so forth.
All of this is not to say that one is simply crippled by some of these histories. For instance it was enough to watch just a few Malayalam films from the 80s to realize that this was a very important archive. I know GF for instance is (or I think!) aless kind on Bollywood as well when he is closer to Rangan’s orientation in some ways (though the Malayalam cinema admixture makes all the difference!). It’s also in a way about political preferences. I am much less willing to forgive a certain Hindi urban dispensation than Rangan is. But in any case I find Rangan interesting either way. But his spectrum for Bollywood is not exactly the same as his similar one for Tamil cinema. Note however the ethical decision that recommends Rangan — it would be far more natural for him to have the opposite stance and be kinder towards Tamil than the reverse. But greater intimacy and ‘connection’ in this sense haven’t blunted his critical registers. Which is as it should be.
Really insightful comment Satyam. While I like Chashme Buddoor quite a bit I prefer the director’s Katha to it.
Btw did you notice the fact that when LBC (and even ZNMD) released the media was hailing the event as the emergence of first important female director in Bollywood. How easily the director of Sparsh was forgotten here- in my view one of the all time great Hindi films.
Her Saaz though is quite a weak effort and not the least because Shabana was miscast as Asha Bhosle
BTW do you remember Mahesh Bhatt’s Aaj (1987 Gaurav, raj Kiran starrer. Also has Akshay Kumar’s first appearance on screen)- a very engrossing film which also had the famous Jagjeet and Chitra ghazal Yeh Kaagaz Ki Kashti. I mention this because in case you are interested in buying this a vcd is there on Infibeam (I cannot locate it anywhere else). I have ordered the copy from the site today
don’t know much of south indian cinema but your comment about how people set different standards due to inherent expectations is bang on. i like the original chashme baddoor more than people here, it was always meant to be a more quirky work with a lot more physical comedy than her other stuff. but i agree with you and saurabh, cb has its place but katha is an absolute classic and one of my favorites. and sheikh is fantastic there. i also like the other farooq deepti starrer saath saath, great music
Even some critics are kind to this movie in their own way. I think this movie is not as bad as it is made out to be by some. The soul is the same but the body has changed or is it the other way? I am not surprised. And BO results are quite good.
But the middleclass loved Deepti naval and Farook sheik pair because of their simple looks, intelligent sober dress sense and of course their innate talent. It suited those times. And middleclass related to them very well.
Saturday 6th April 2013 10.00 IST
Boxofficeindia.Com Trade Network
Chasme Bhaddoor collected a decent 4.75 crore nett on its first day as the film put up good to decent figures in Delhi/UP, East Punjab, Gujarat, CI and Rajasthan. The collections were on the lower side in Eastern and Southern markets.
The film did much better at multiplexes than single screens as there was no face value for the single screen audience. The business in Delhi NCR and East Punjab was best with Delhi/UP going over 1 crore nett and East Punjab getting close to 50 lakhs.
The film should manage a healthy weekend as Saturday should show growth especially in multiplex dominated circuits.
This letter written to Ravi Baswani by Sai P shows how very *small* the small budget films were. He was paid Rs 3000 and no allowance for his role in the original ‘Chashme Buddoor’ which was first named ‘dhuan-dhuan’..
Very interesting letter to show how things worked then, and the personal equations.
Yes -well picked.
“The expressions of course are very very different.”– haha in the nargis pic, the expressions are of ‘anguish’ (as it should be)
In the vidya pic, she looks to be in ‘orgasm’ or something like that-isn’t it 🙂
Sundday 7th April 2013 14.00 IST
Boxofficeindia.Com Trade Network
Chasme Bhaddoor showed good growth on Saturday as collections with collections in the 5.75-6 crore nett. The growth was in the 20% region. Some circuits which did not open that great showed huge growth like Mysore which tells the film is likely to do well over the weekdays.
The film continued its good run in the North, CI and Rajasthan. The only circuits which are a bit below the mark are West Bengal and Bihar.
Single screens are not that good but a film of this size can easily go through with its multiplex business. Sunday should show good growth again and Chasme Bhaddoor is sure to emerge a good earner.
The credit for the triumph of new CB goes to the older one as it is the source and inspiration. So Paranjpe need not despair. Her film is being remembered all over once again. It is like mother daughter. The mother maybe sad that her daughter has interests and values different from her but she will also be happy and empathise with the new generation.
“Pimp kidnapped somebody’s daughter and is now prostituting her”— hahaha Oldgold–I nearly fell off the chair laughing.
Btw this was an anya-style comment–are u and anya same? 😉
Omg–there’s ‘suspense’, drama, intrigue, action, romance (& implicit stuff) all here on satyamblog!
We need to be paid for all this free entertainment we provide–what say Oldgold, sanju, anya 😉
“And I wanted to join the exclusive superior clique here ,under disguise. My inferior self can never make it.” cmon og–Theres nobody ‘superior’ here & u are definitely not ‘inferior’ to anyone (irrespective of whehter u are anya or not)–cheers, smile 🙂
ps–lol @ brrr –liked that sound hehe
“The mother maybe sad that her daughter has interests and values different from her but she will also be happy and empathise with the new generation.”– wow sanju – what a statement
Btw what if one like both ‘mother’&’ daugher ‘version– oops I mean old and new chashme baddoor ( for different reasons) 🙂
Haven’t seen the new one but maybe mindless fun….
” In his hands, a genteel middlebrow entertainer is transformed into a rowdy lowbrow comedy – and the shock is that, barring the few minutes of initial adjustment, he pulls it off. Low expectations can certainly make a movie look more than it is, but that isn’t the case here. The tone is so focused, the segues between scenes so smooth, the machine so well-oiled that the anticipated travesty turned out, at least for me, a pleasant surprise. ”
This reinforces my belief about comedy: Some people can be funny, others can’t. Dhawan can be funny. ( Hero No 1, Coolie No 1, Deewana Mastana, Biwi No 1..are some of my favourites from his oeuvre). Kundan Shah can be funny. Hrishikesh Mukherjee, Basu Chatterjee, Sai Parnjpayee can. Manmohnad Desai can. Sajid KHan, Farah Khan, Rajkumar Santoshi, Rajkumar Hirani, Priyadrashan can. Mani Ratnam, Madhur Bhandarkar, among manyy others cant.
I haven’t seen the film. But from the trailers I could see Dhawan and his actors were in top form and ( If you can’t change the girl, then CHANGE the girl’ was as good a one-liner as you would find in in a film.,
“I could see Dhawan and his actors were in top form and ( If you can’t change the girl, then CHANGE the girl’ was as good a one-liner as you would find in in a film”
haha utkal uncle–as mentioned u were the true casanova. We are just learners…lol
ps–the films apparently doing better than expected. Havent /wont see it but this postive review above
suprises eg ‘well-oiled machine…’
this guy zafar has a reasonably good comic timing .
and the sidhdharth guy apparently came specially from his south flicks to play his side-kick! surprising
Friday 8th April 2013 10.30 IST
Boxofficeindia.Com Trade Network
Chasme Bhaddoor had a decent start on Friday but with strong growth on Saturday and Sunday has come out with a good weekend of around 18.25 crore nett. Some circuits did not not start that well but by Sunday the film was doing good business practically all over.
The business on Sunday which is around 7.50 crore nett is a very good number for a film of its cost and limited face value.
Delhi/UP and East Punjab are the best with circuits with a close to 4 crore nett and 1.75 crore nett plus weekend respectively. They are followed by CP Berar, CI, Rajasthan and Gujarat all of which were very good on Sunday.
The weekend business of the film is only behind Race 2, Himmatwala, Special 26, and Matru Ki Bijlee Ka Mandola but these were 40 crore plus films while Chasme Bhaddoor is a medium to low budget film with a total investment including print and advertising of around 20 crore.
Good showing for CB.
And, also a lesson in remakes.
Original was a well liked, reasonably good film but not a classic or an iconic film by any stretch. And Dhawan seems to have a funny film, not overburdened with expectations. And, the results are there to see. Even, when attempting a remake of a hugely successful/iconic film, one has to consider what the audience identified with.If it was a star or an ensemble cast, it is hard to make a ‘successful’ remake or recreate the magic. With CB, what people had identified with was clean fun in a particular setting. And, the orginal was liked well enough for people to want to check out the remake.
For the record, I do not consider Agneepath a ‘successful’ remake. Inspite of being big at BO ( even if frontloaded), it does not the aura/appeal of the original which was purely average at BO.
The only thing I’d add with respect to Agneepath or Don is that in a way the audience doesn’t much care. It’s true that these films are pointless remakes at very many levels but I think we live in the age of disposable entertainment. And so the entire debate about whether a remake is desecrating an original or remaining true to it doesn’t seem to bother audiences very much. They might even agree that the remake isn’t a patch on the original but since they’re not going to a movie to have an ‘experience’ in the old sense they’re not bothered by these deeper questions. So whether it’s Race or Houseful or Agneepath, they absorb these films in the same way. There is no greater burden in their minds for Agneepath to live upto. Of course I still agree with your overall point. Because these remakes are not significant even by the standards of present day debates. So for instance Don isn’t a hotter franchise than Dhoom. It’s not even close.
A similar dynamic can be seen in the US (or even the UK) which is why good television shows today matter far more than movies and as many cultural critics have pointed out spark debates and buzz in the way most movies cannot anymore, even the celebrated ones.
Agree, Satyam. But , that is precisely my point. Remakes like Don and Agneepath are as you said disposable. Given the iconic status of originals, it is a disgrace and in my mind a colossal failure. Remakes of such films should atleast attempt a bit more. Otherwise, all involved come across as shameless oppurtunists.
And, in this respect while RGV fell flat on his face, atleast there was a more worthy intention in his attempt to remake Sholay.
You’re quite right. If one is going through the entire trouble of remaking a classic only for the low hanging fruit of a 5-7 day initial, something that can be got in other ways as well, the whole exercise is completely pointless. And agreed on Aag as well. It’s a terrible film but clearly RGV didn’t set out with cynical intentions here. Of course some of the casting changes and so on probably jeopardized his original vision anyway but he clearly wasn’t trying to just land a big grosser. I actually even believe that at its core the idea is a very interesting one. Having Bachchan do the Gabbar role. I’ve long felt that Bachchan’s character forms a kind of symmetric ‘pair’ with Gabbar. Interesting he never has anything to say to Gabbar in sharp contrast to his buddy or even the Thakur. Between Gabbar and the rest of the characters there is an abyss of language. They just don’t share a means of communication. It could be argued that Bachchan’s character exhibits these tendencies as well. He has very few lines in the film that are not intended sarcastically or ironically. Fascinatingly he also starts liking a woman who is in a sense mute.. What Jai is really about remains something mysterious. He could also be seen as equidistant between Gabbar and the Thakur, the two representing two different ‘signs’ for this universe. Only one can really survive. In any case the RGV idea isn’t as crazy as it sounds (Bachchan initially wanted to play Gabbar when he heard the script). But the further twist here is that RGV incorporated the Sarkar dynamic here as well. He wanted Abhishek in the Veeru part. Hence he’d have gone up against his father-as-Gabbar at the end! And who knows what might have happened?! A comment from a few days ago is also relevant:
“Others have commented on this and I myself used this reference in some of the Raavan discussions but the ethnic status of Gabbar is not the least of the film’s ambiguities. He could be a tribal, he could be a Maoist guerrilla of sorts (consider his ‘uniform’), or both. He could be seen as a lower caste character rebelling against Thakurs (the cutting of hands is a gesture with a long North Indian history). Beera can certainly be seen as his descendant in more ways than one including the ‘psychotic’ element in both characters. I just bring this up as an example. Sholay offers something remarkable at most points. In some ways Gabbar is the truest ‘hero-villain’ of the story. In a way the central figure or to be more theoretical its central signifier. All other kinds of meaning in the film’s world emanate from him. He is the ‘demon-god’ of this universe. Even a part of its folklore.”
I’d add finally that in Ramesh Sippy’s original vision both Jai and Gabbar die!
This entire passage on Sholay that you’ve written makes for really fascinating reading Satyam. Thank much. Very insightful. A few weeks ago when SM sparked that response on Sholay I thought to myself that I should revisit the film myself because I didn’t grow up around it, even if I was entirely aware of its position in Hindi cinema and some of what’s been written about it. My primary sense of the movie was that it was a first-rate entertainer with top-notch technique, especially considering its peers in the age. But I’d never really interrogated it very deeply beyond this and I have meant to revisit it for ages.
Thanks GF.. as I’ve said before for some odd reason I’ve always been an admirer of this film from a bit of distance. Have never quite loved it the way everyone else seems to. And I haven’t seen it that many times either compared to some of the other important films from that decade. However I was very glad to see Eros release the director’s cut on this some years ago. Given the state of these things in India it was something of a miracle!
the other thing I neglected to mention about the remake is that Mohanlal of course plays the Thakur. So RGV sets up a North-South axis as well between Gabbar and the Thakur. It was quite an interesting setup. Unfortunately it led to quite a disaster!
“…the other thing I neglected to mention about the remake is that Mohanlal of course plays the Thakur. So RGV sets up a North-South axis as well between Gabbar and the Thakur. ”
As a Lal and Bachchan fan it always irked me that this was their first onscreen pairing. (Not that the second was any better!) And I’ve always been completely dismissive of the entire effort but this is an intriguing thought.
actually even in rgvs sholay bachchan wasnt bad as gabbar. It was a different take on an already lionised worshipped role part of folklore. I havent watched sholay fully yet.
btw I thought mohun lals did a good job in the new sholay. Theres a scene where his hands are tied and he has to express anger only through his eyes in an implosive manner.
Instead of all eyeballs n flaring nostrils, mohan lal portrayed the implosion very well. Ot doesnt take long to know the calibre.
The paperwieght scene in company and that scene in rgv ki aag is all it takes. obviously i dont know his kerala work but sometimes one doesnt have to see more…
correction–mohan lals ‘hands’ couldnt have been tied in sholay (4 obvious reasons)…that i now recall.
I also thought the amitabh intro scene in rgv sholay –think it was 5-6 min scene was exquisite. Masterful camerawork. it was as if the ‘non bachchan’ scenes were filmed by someone else (or perhaps by the actors themselves taking turns to play with the camera)
Very interesting reading of Sholay there.And, thought provoking. Personally, I am a huge fan of Sholay and consider it the pinnacle of maim stream film making. Not a single unneccessary/ unforgettable moment or a line. Only thing that comes close ( and even then, not too close) is 3 Idiots. Inspite of its BO success/popularity/acclaim, think 3I is an underappreciated film. In terms of pure entertainment that doesnt grate our sensibilities or insult our intelligence, these two have no competition! Obviously people who regard MNIK/RBDJ/Veer as pinnacle of film making might tend to differ.
“I’m releasing Krrish 3 on a Sunday” – Rakesh Roshan
By Subhash K. Jha, Apr 8, 2013 – 10:33 hrs IST
Rakesh Roshan has taken the prized Diwali release to the next level. Moving away from the traditional Friday release, Rakesh Roshan has decided to release Krrish 3 on Sunday, November 3, which is Diwali.
Confirming this development, Rakesh Roshan says, “November 3, is an auspicious day. So we’re releasing Krrish 3 on that day.”
However, there is a section of exhibitors who are not too pleased with the decision.
Roshan Singh, a prominent exhibitor of Bihar says, “It’s a known fact that people don’t see films on Diwali day, at least not in North India. Diwali day is restricted to spending time with the family and relatives. With due respects to Rakeshji, the film will lose out completely on the crucial Friday and Saturday collections, and there will be thin attendance in Sunday when Krrish 3 opens, in many parts of the country.”
“The problem with socialism is that you eventually run out of other people’s money.”
And that will remain the Gold Plated quote for ever until Kingdom cometh. Only a Grocer’s daughter could have understood accounting so deeply. Yahaan to Paul ko paise de-de kar bechare Peter ka deewaala nikal gaya hai.
And what she says is spot on. Eventually, Peter will run out of money to pay Paul with.
But, I do disagree about the Indian context, which is way extreme towards the other side. There is no concept of social security out there, and I fully support Paul in India, because Peter is an avatar of Scrooge in India. In the US, Peter is indeed doing all he can to help Paul, but Paul’s political party doesn’t seem to think that it is ever enough.
RIP Margaret Thatcher…
Obviously her active time was before ours but from media clippings, archives etc–she was a true leader!
Main ‘accomplishments’ being ‘taming’ of trade unions and hastening the dismantling of communism from Europe…!!
See a lot of similarity with Indira Gandhi (whom i admire a lot as well)
Hollywood superstar Tom Cruise has revealed that a fifth Mission: Impossible film is in the works.
Cruise confirmed the planned sequel during an appearance on The Graham Norton show, reported Digital Spy.
He replied when asked about the series: ‘I am working on the story.’
He declined to give any more details.
Cruise had said in October that he would be keen to make another Mission: Impossible film.
‘I started Mission: Impossible hoping I could make many of them. It’s a character that I can grow with. At that time it was the most expensive film in the history of Paramount Pictures, and the first film I was producing.
‘It’s been pretty exciting. Seeing an audience respond… to have that experience is really wonderful. I’ll make a bunch of those. I’ll make as many as people want to see… because they’re very challenging, and so much fun to make,’ he had said.
The actor also said that he ‘still felt good’ about doing action roles, despite turning 50 last year.
The last Mission: Impossible – Ghost Protocol released in 2011.
It’s hard to think of the Gulzar film that could easily have incorporated Bachchan. But yes it would have been great to see them work together though it’s not clear to me that the loss lies entirely on Bachchan’s side.
Well, I just feel that AB’s excellent comic timing and his command over the art when playing complex, troubled characters that was well exploited by Mukherjee could be taken many notches further if he were, during his hey-days, helmed by Gulzar also. If Gulzar could create memorable characters for a confirmed limited actor like Jeetendra, I think Amitabh would have done wonders and taken those films to altogether greater heights..
It would have been a joy to see him in movies like Kinara or Aandhi or even Koshish; it would be a perfect equalizer to Desai’s over-the-top but nonetheless entertaining antics..
I have actually yet to see — apart only from Balraj Sahni and Dilip Kumar — an actor in Hi fi (probably in the whole of India with whatever limited understanding I have of regional language films ) after Amitabh that would completely mesmerize the screen when playing a melancholic or an inwardly destroyed character.
agreed. i liked Amitabh best in the sensitive films of hrishida rather than the angry salim-javed roles, so i think him working with gulzar would have been awesome. i’m not sure gulzar’s movies would have been particular ‘improved’ by having bachchan there but certainly it would have added another facet to bachchan’s career.
up until a few years ago i was hoping it may still happen but now i don’t think gulzar will direct again 😦
two years ago when jaya was in london, they screened kora kaagaz. at the q&a i asked her why she hasn’t convinced gulzar to direct again – she said that she has tried but he doesn’t think the audiences want to see his type of movies any more. sad times.
something for jane austen fans like oldgold &/or anya…
not sure if its good news though–farah khan to make SRK darcy-like in her next!! 🙂
New Delhi, April 6 — Filmmaker Farah Khan is bracing herself for what she says is the biggest project of her career with actor Shah Rukh Khan, Happy New Year (HNY), which will go on the floors after SRK wraps up his Chennai Express shoot.
“After he is done with his ongoing film, Shah Rukh needs to take a break for about a month and work on his look for HNY. We’ll start with the film this year for sure,” says the 48-year-old.
In the film, Shah Rukh will be seen in a new avatar with a touch of intensity. “He will have a rugged look like never before, as his role is very intense. He’ll play a dark hero, like Mr Darcy type (a character from Jane Austen’s novel, Pride and Prejudice). He’ll also have a little stubble, more like a man you know,” says Farah.
This film will also highlight the 47-year-old actor’s macho side. “He needs to build his body a little bit. I want to see him bare-chested all the time. I’m going to make sure that he is seen without his shirt a couple of times in the movie,” adds Farah.
The choreographer-turned-director, who was recently in Delhi for an Ariel event, tells us SRK is not the only male actor on board. “This is a script that I have worked the hardest on. We are on the 15th draft, and every month we still try to hone it, because in a way, it’s also a multi-starrer. It’s got five men and a lady,” says Farah.
“It’s challenging to make each role interesting. It’s not like Shah Rukh is the hero and four people are on the back. Hats off to him to want to do it so eagerly, as a lot of people want to see themselves solo on screen. It’s going to be a fun ride for everybody,” she adds.
i would normally consider it a travesty to use darcy and srk in the same sentence. but seeing as this is farah khan who is probably just using her limited intelligence to describe the ‘type’ of character (taking shirt off = macho = darcy, according to her), i am not too offended. and we are talking about srk, so ‘intensity’ means bugging out teary eyes and quivering your lips and crank up the hamming to the max. with five people on the back. the beard is probably going to become a fixture for him now, considering how badly he is aging. so…….
Darcy was a jerk. Rude, and…. ahem….. full of superiority complex looking down upon others.
Not at all my favourite Austen hero, though I like him for being an Austen hero, the ONLY hero who’s a prototype of romances of late 20th century.
Contrary to popular perception none of Austen heroes were the ‘MIlls & Boons’ type.
>He’ll play a dark hero,
I don’t think that’s difficult for SRK.
But the description of her hero in HNY;
>“He will have a rugged look like never before, as his role is very intense.
A rugged hero is hardly a description of Darcy who’s described as;
“tall person, handsome features, noble mien,..”
tall – well the top heros seeing to be getting away with not being that.
handsome – he *is* charming and attractive
noble mien – excludes looking rugged.
I think ABsr in his younger days was a perfect Darcy.in looks (not expressions).
Perhaps Farah is going by the 1995 adaptation with the ‘intense’ bit.
That was the script writer’s idea.
In the book he stands staring at Elizabeth once ‘complacently’.
“just using her limited intelligence to describe the ‘type’ of character (taking shirt off = macho = darcy, according to her), i am not too offended. and we are talking about srk, so ‘intensity’ means bugging out teary eyes and quivering your lips and crank up the hamming to the max”—- haha anu 🙂
As for Margaret Thatcher – I think she burst the bubble of male ego, and they are after her like a pack of hounds.
I confess I don’t know the details of her policies, but she couldn’t be worse than Bush.
Just read a few things about her policies, especially the coalmines etc
Whatever her reasons may have been, I think the coal mines being closed can be called a blessing in disguise. I’m all for other sources of energy. No one should have to work in mines, an opinion further strengthened after a visit to the Big Pit coal mine Museum at Blaenavon in Wales. *shudder*
Perhaps the power of the labour unions had to be checked too, just as the power of the corporates has to be checked today But who’ll bell the cat? – Another M. Thatcher is needed.
Whatever happened then Re: labour unions, a change came about, it took another direction, and today there is no need for muscle-flexing by them. They work differently.
she was an iron lady,learned the tricks from indira gandhi,whatever her policy,politics is worse profession to go to.
she had good points and had some bad points,she brought Britain from doldrums and winter of discontent,labour goverment brought it in,I spent entire life in uk and she was the best prime minister…god bless her R.I.P
LONDON: Six British police officers were injured, one of them seriously, as they tried to break up a street party apparently celebrating the death of ex-prime minister Margaret Thatcher, police said Tuesday.
The incident in Bristol, southwest England, happened at one of a number of impromptu events across the country held by critics of the so-called “Iron Lady”.
yeah sanju–these ‘death parties’ were simply disgusting..
“I’m all for other sources of energy. No one should have to work in mines, an opinion further strengthened after a visit to the Big Pit coal mine Museum at Blaenavon in Wales. *shudder”–thats a good point og
havent been there—do they actually take u underground on a tour? sounds interesting…
I am counting films which will be safe from attacks. First they stole the titles and now films themselves. The future generations will treat the old classics with the same derision and mock that we bestow on K.L.Saigal and Ashok Kumar. And the mimicry artists add to this mocktale.
Tuesday 8th April 2013 10.30 IST
Boxofficeindia.Com Trade Network
Chasme Bhaddoor was rock steady on Monday as it collected in the 3.25 crore nett range. The drop from Friday is in the 35% range. The total business for four days is in the 21.50 crore nett range. The film should close the week on 29-30 crore nett.
The film has seen steady collections all over on Monday with a circuit like CI just dropping just 23% from Monday.
The film has two well promoted but no face value new releases for competition this week in the form of Commando and Nautaanki Saala which will slow business down but it remains to be seen by how much as a lot depends on how the audience takes to these new releases.
Hit Hain Boss!
By Taran Adarsh, April 10, 2013 – 08:17 IST
The second quarter has begun with a bang. Last week, a wave of pessimism had gripped the corridors of the film industry after HIMMATWALA emerged a financial setback. Apparently, when a big-budget film fails, the repercussions are felt across the length and breadth of the trade. But the immediate release, CHASHME BADDOOR, has brought about a wave of optimism, especially amongst those in the thick of medium-range movies.
I distinctly remember, when Viacom18 and David Dhawan decided to join hands to remake CHASHME BADDOOR, a section of the industry had opined that David was playing with fire. David was no longer the badshaah of entertainers after the failure of RASCALS… the title had been snatched from him by the same people who eulogized the film-maker when he delivered hit after hit not too long ago. One Friday changes equations here!
The bigger gamble was the casting of CHASHME BADDOOR. Having worked with A-list stars all through his career, David had to prove that he was no spent force, that he had it in him, that he could adapt to the changing times effortlessly, that he could deliver a success with relative newcomers too… The gamble has paid off, with CHASHME BADDOOR packing a solid punch in its opening weekend and maintaining very well on weekdays. The moviegoer is laughing to the on-screen antics of the three boys, while the investors of this mid-range film are sure to laugh all the way to the bank.
CHASHME BADDOOR has cost around Rs 20 cr to make, which includes the P and A expenses and more than 50% of it has been recovered from the sale of its Satellite rights. The balance amount should be a cakewalk for its investors. Hit hain boss!
PS: CHASHME BADDOOR has withstood a strong opponent like IPL. So the next time someone deters a film-maker against releasing the film during cricket matches, give them references of BIWI NO. 1 [World Cup], JANNAT, HOUSEFULL series and CHASHME BADDOOR swimming against the tide and emerging success stories!
The Queen of hearts, and rumored Queen of Yash Raj Banner, Rani Mukerji, is all set to again join hands with Yash Raj Films for her next Mardaani. She is reported to have signed a film with them, with a role which is all hatke.
Directed by Pradeep Sarkar, who even directed Rani in Laaga Chunari Me Daag, Mardaani is reported to be the boldest movie under the YRF brand. The film is drawn on lines where Rani is donning the role of a female cop. The cine is said to be upon a barefaced and brazen subject, never seen under the tag of YRF.
Rani whom we saw in diametrically opposite roles last year, in Aiyyaa and Talaash, is all set to feature this year in Bombay Talkies that marks the celebration of 100 years of Cinema. Also, the bong beauty will be seen in a cameo in Rohit Shetty’s Chennai Express.
Mardaani is slated to go on floors later this year, with a large chunk being shot in Mumbai. The flick is expected to create waves since it foresees, Sarkar’s exit from romantic family dramas and entry into the raw and gritty subjects.
Sanjana: “I thought it was ABCD or Kai Po Che.” Yes. Witha similar kind of set up, medium budget, newcomers…Kai PO Che is going to net 3-5 cr more than Chashme Baddoor and ABCD. AS I have said earlier , the achievement of KPC is more commendable, as it is the only film in recent times to register this kind of success without resorting to comedy, song&dance or action. Success built on pure dramatic storytelling.
Chennai Box-Office – April 5 to 7
Wednesday, 10 April , 2013, 11:46
UTV`s Settai is the number one at the CBO this week. The film has done nearly Rs 1.45 Cr in its opening weekend.
At number two is NTR`s Telugu action entertainer Baadshah, which has opened big in nearly 20 screens in city and suburbs.
In the third place is Sivakarthikeyan-Vimal starrer Kedi Billa Killadi Ranga, which is now a big hit, followed by Chennayil Oru Naal which is doing well in multiplexes.
And at number five is Chashme Baddoor, which opened well in multiplexes.
By Joginder Tuteja, April 11, 2013 – 10:55 hrs IST
Saif Ali Khan has dismissed speculations around him having second thoughts about doing Sajid Khan’s next. On the contrary, he stays as excited as ever before and is looking forward to beginning work on the film.
“Such rumours are uncalled for. If someone is spreading it, he should have a spine to come out in open and talk about it. Why should I be jittery about doing his film just because his Himmatwala didn’t work as expected? He never promised anything different from what he delivered. He wanted to revisit the 80s in his own way and this is what he did. Sometimes things work and sometimes they don’t. That doesn’t mean you start doubting a director”, says Saif.
Saif goes on to add that he has liked Sajid’s earlier work.
“Right from Heyy Babyy to Housefull series, he has made entertaining films. I am glad that we are working together now. I am all excited to start the film this summer. It is going to be a fun outing”, assures Saif before signing off.
Now that should kill all rumours once for and all.
I think Krrish 3 and D3 would essentially have to be remarkable flops to just make 120. films that open to 80 crores or so over the first week get to 120 even with poor trending. And the real big ones actually do 90 or more within the same period. ETT was at 130-140 in the same sense. I think the ETT comparison is a perfectly fair one for both films. Krrish is the second sequel to a franchise that has given two blockbusters. The story is the same for D3. There’s no way that these films will not have stratospheric openings. So 120 will be surpassed even if these films are flops! These won’t be open at 70 or 80 to make the 120 a ‘target’ of some sort. So for the initial the ETT benchmark is a completely fair one and actually these films should breach it given all the factors in their favor. Then it’s about trending. ETT had terrible trending. With that kind of initial a film should be doing 220 or so at the very least.
When Amit Mehra decided to foray in films by producing a remake of his father Prakash Mehra’s iconic Zanjeer, little did he know that the stumbling blocks ahead would almost destroy his yet-to-kickstart career.
Mired in controversy, the remake has to struggle some more with the original film’s writers Salim Khan and Javed Akhtar refusing to part with the film’s remake rights. To make matters worse, the film is being remade in Telugu too, creating copyright complications.
When contacted, Javed Akhtar opened up on the issue for the first time and revealed that he has the legal papers to prove that the South Indian remake rights of Zanjeer belong to the Salim-Javed partnership.
‘It’s very simple, really. Salim Saab and my contract was with Prakash Mehra Productions (PMP) for our script to be made only in Hindi.
‘The South Indian rights for Zanjeer were with us. Back in those days, we’d just sell our hit films to the South without determining which South Indian language it would be remade into. They would give us Rs 1 lakh or so for the rights. We had sold South Indian rights of several of our hits like Don and Yaadon Ki Baraat.”
The noted lyricist says he was shocked to hear that Prakash Mehra’s son was remaking Zanjeer in not only Hindi but also in Telugu.
“Salim Saab and I informed Amit Mehra of our misigivings and advised him to sort the matter out amicably with us but he didn’t take us seriously.
“The super-hit Hindi films that are made into Telugu get up to Rs 3 crore. So we feel we too deserve a compensation of Rs 3 crore for the rights to remake Zanjeer which we hold and have papers to prove it. Secondly, when we had sold the Zanjeer script to PMP it was for a film titled Production No.1 which starred Amitabh Bachchan, Jaya Bhaduri and Pran. If it’s the same script that is being remade then the same cast should be in the film. We gave the rights to make a film with a particular cast and crew. We did not give the right to remake that film in Hindi with any other cast and crew. So money must be paid for remake rights in Hindi as well,” he explains.
Akhtar sees the whole Zanjeer fracas as another example of how badly writers are treated in the Indian film industry.
“They are willing to spend huge amounts on everyone and everything — stars, locations, costumes, choreographer, action director — but they won’t spend money on a script. The truth is, only those filmmakers who have taken the scripts seriously have survived for long,” he says.
Meanwhile, a prominent member of the remake crew reveals, “Amit Mehra is not averse to the idea of paying the remake rights. But why would he pay to two parties for the same script when his brothers claim that they have the remake rights of the film and he has already paid them for it?’
While the court will have the last word on who really has the remake rights of Zanjeer, the film could turn out to be the costliest remake in Indian film industry till date if Mehra is asked to pay both the parties.
THere is no way Kriss 3 or Dhoom 3 will make anything less than 200cr. Likh ke le lo. And Yakuza: Kriss is no ordinary masala film. It is sci-fi masala , a genre whose time has come. Dhoom I could have had doubts on, but Aamir has not faltered once in his script selection in the last 12 years and I dont see why he should with this.
Re.- Likh ke le lo..
yeh kya ho raha hai Satyam, Bliss and Di….
Kashyap kehta hai, keh kar loonga. Utkal sir kehtey hain likh kar le lo….I mean what is this ? ( Ref. Anu Kapoor in Mr. India)
P.S.- Utkal sir, just joking, please don’t mind mat karna.
Yeah .. D3 and K3 should do 200+ .. but looking at current scenario of declining interest in Masala .. I have some doubts. About Krish .. I think first one was pathetic, though that’s a different thing that Rakesh roshan movies never interests me .. He made only one entertaining movie so far .. Kishan Kanhiya. Among others Karan Arjun, Khoon Bhari Mang and Khudgarz was passable .. Rest all were pathetic including Kaho Na Pyaar Hai.
Rakesh Roshan makes these really cheesy efforts but he Indianizes things just enough. Not that Krrish is masala anyway. Nor is D3 except in some very plastic way (unless the script is really different this time around with the Tashan director in charge). On the rest though I don’t believe there’s declining interest in masala. The films though has mostly followed the worst examples in this format. Even when the films do very well the trending is poor or average. In fact what seemed to be the former became the standard and hence the latter. But some films did poorer still! Whatever the genre there has to be some ‘substance’ to a film. You can ride out initials or the popularity of lead stars only upto a point. These films literally have nothing. It’s amazing that something as lowbrow as Rowdy seems like a classic compared to the rest of the stuff that’s been made and Ghajini meanwhile looks like high art! Even Singham was alright but most of the other stuff is utter junk. A lot of these movies could have done a lot more had there been more of a script. But no one tries in Bollywood anymore. In most genres. Everyone just goes for the low hanging fruit of the initial. The films are like extended ads. There’s nothing more to them.
Yup .. with declining interest I mean that directors today don’t have vision to put masala genre in authentic way. Also none of star today have charisma to justify this genre .. it require screen presence as magnetic as bachchan .. and I don’t see such impact coming even in next 100 years. With types of Salman and Akshay best in this genre, we are just compromising with mediocrity.
Case in point .. bachchan’s 30 sec appearance in Old chashme Buddoor realizes every one in cinema that screen ablaze with some divine presence .. and it was testified by young girls sitting behind me cheering and whistling.
It’s true that the authentic transcendence of an earlier cinema is totally missing in today’s consumption medium. And of course Bachchan is in another stratosphere altogether. Which is why one pities many of the statements that are made today about all kinds of films and stars. Only someone completely unfamiliar with the history and/or unschooled in these matters (which many sadly are because of various biases and what not even when they’re relatively exposed to things) could not be able to tell the difference. And it has nothing to do with false nostalgia. This is the case for many people but it can be overcome in various ways. I don’t have a problem recognizing or feeling in the strongest ways all the potency that Awara displays in various ways. I am light years removed from the world of that film. Ultimately as viewers we too have to be willing to truly engage with works that are not part of our immediate experience. Similarly we also have to be more critical about the latter precisely because we are so invested in it. And so in a lot of conversations here one tends to disagree with a lot of things but most of all one is left with the impression that one’s interlocutor (!) is simply unaware of anything that matters prior to a certain date. Which is fine in itself except that the same folks then end up making the grandest pronouncements about things they obviously know next to nothing about! Getting back to what you’ve been saying masala in its truest guise was associated with a certain transcendence that has vanished from cinema everywhere in the world. No one can do anything about this. However this doesn’t mean that better scripts cannot be written or that a better culture cannot be fostered. Many of the films that pass off as masala today would have seemed like Z-grade rehashes once upon a time. I’m not even exaggerating.
Rakesh Roshan was entertaining PRIMARILY till he worked with other stars. Though KHEL was an unabashed/unacknowledged copy of Dirty Rotten Scoundrels, the chutzpah & talent of Madhuri made it work. Even Karan Arjun was a better re-working of the ‘lost-and-found’ brothers’ story.
However, once he realized that his averagely-talented son could rake in HUGE moolah based on his 12 packed plasticity that is what is currently in vogue with the consumerist mall-leeching youngsters and the ‘family-outing via films’ syndrome (Dadaji, Dadiji, mausaji, Ramu Kaka – aaj kya karna hain shaam ko? Chalo HR ka naya picture aaya hain – uske baap ne direct kiya hain; chalo dekhte hain; aur kya kare – aaj thodi si salary bhi bachi hain!!) afflicting the middle and upper-middle class Indian society, he pornographically used his son by building a skeleton of a story around him (so would KMG have fallen flat on its face if it didn’t have the shot of HR’s shirt auto-ripping to show his muscles? Go figure.)
For all his braggadocio talks of ‘sci-fi’, KMG and KRISSH are horribly copied and derived films. Remember that scene in KMG where they pull out the old ‘dusted’ computer of ‘scientist’ Rakesh Roshan and by connecting just a couple of wires somewhere, they start getting ‘signals’ from the aliens!! This was the first time I kind of went into a mental paralysis when watching the father and son’s adventures. And this RR with no hair has the bollocks to claim on a television show that he thought KMG and/or KRISHH should have been sent to OSCARS to prove that India is not behind technologically!! ) That was the second time I went into mental paralysis. After that, I decided that keeping away from these father-son monstrosities was the only way I could prevent the third paralysis that could break the straw and result in death. Mr. India, made much, much before and with a quarter of the budget and technological advancement, had far more entertainment quotient than the COMBINED films of father-son. Because unlike RR, Shekhar knew that he HAD to rely the bag of ‘Indian’ emotions to be considered a ‘lambi race ka ghoda’ – but he KNEW when to stretch it and when to shrink it quite brilliantly. That is why Mr. India can be watched by ANY age-group EVEN now, even after being exposed to the BEST of technology via ET, after Oblivion, after Prometheus, after Minority Report : But KMG and KRISSH, though films of the new millennium, look as out-dated and tasteless as a 45 year old car-muffler.
yeah I think Yakuza is a bit harsh on Rakesh Roshan. He’s made solid films (for what he attempts which admittedly isn’t much!) in a number of instances. He’s not remotely a special director in any sense. But he’s way better than many 100 crore directors working today.
great set of points in the comment, however I really liked him in K3G even more than Mohabbatein. He totally made the movie about his character.
agree that similar roles like Ek Rishta, Armaan, Waqt,Aitbar etc. were not that great.
Wowwwwwwww .. What an experienceeeeeeee .. Classiccc. Show was 80% full at IMAX Inorbit Mall, Hyderabad. Last Friday it was cancelled due to No audience and today almost full 🙂
And I can clearly see Audience enjoying every moment of movie .. much more than new CB .. And mostly were youngsters.There not even 1% of doubt that CB(1981) has timeless entertainment value which can mesmerize even today’s youngsters.
This was priceless experience to watch such a classic comedy on big screen with crowd and pleasant to see every one enjoying
Some gems of scenes
1. Opening scene where three principle characters smoking cigarette.
2. Omi and Jay attempts to woo Neha at her home.
3. Lallan Miyan entry.
4. Fabricated stories told by Omi and Jay to Sidharth
5. Entire Sequence of Neha coming to their room, hiding of Jay and Omi, Entire Chamko sequence.
6. Kali Ghodi Dwar Khadi .. 🙂
7. Sidharth and Neha’s first date and intermission point.
8. Sidharth and Neha’s love confession and garden song sequence.
9. Amitabh bachchan pleasant guest appearance .. and heartening to see audience (girls sitting behind me) wooing on his smarty looks, he was really looking much handsome.
10. Pyaar Mohabbat iShq song
11. Kahan Se Aaye Badra sing
12. Dadi’s visit to Omi and Jay room.
13. Climax scene.
14. Final .. “The End” with Omi And Jay on Next Shikaaaaar.
Chashme Buddor (1981) made me realized once more that how pathetic have become today’s movies .. without much technology and budget, this was far more effective than new one .. leave new one .. in fact I didn’t enjoy any movie so much in recent time … and I was not alone feeling same … And yes .. While coming out of theater, one couple was chatting that they want to see DON(1978) on big screen !!
hmm yakuza–are u going gaga over the new chashme buddoor or the old chashme baddoor
Anyhow–prompted by your ‘profuse’ praise, i youtubed a bit
Didnt think much of the rest of the song–but this track isnt bad
this guy does have certain ‘timing’ (tho nothin gr8)
who is this new girl btw–neva seen b4–lemme put my xray lasses on 🙂
dhoom is currently the biggest franchise in terms of ‘volume’ in india ever. If i know aamir, he may now want to ‘take over’ the dhoom franchise ie he may like to do the next dhoom as well! why should he inject his own script sense and credibility into it and let someone else take it as a ‘relay’ race–and to add let someone like srk to take it–no way–Watch the space folks and u wil know where u heard it first!!!
And which film is gonna compete dhoom3–Krish3!
SOme may argue about the ‘filmkraft’ rakesh roshan deal and all that—take out HR from Krish –put ANY hero in it and see the results
Built around the persona and appeal of ONE hero–no”relay’ here, no multihero deals here, no sharing of blame & responsibility here–
infact no piggy-back on the heroine here
PLain simple solo stardom—
This brings into perspective what i have been saying about HR—on his day at his genre he can be lethal
Ranbir maybe a more ‘evolved’ actor for ‘his’ stage and age but interms of pure stardom and charisma he is still behind HR
As for this CLASH=
I admit we areNOT talking about quality or EDGY stuff!!
But theres something about big VOLUMES that i love and excites me
pure solo DEBAUCHERY of the box office
I love the big numbers and moolah
& krish3 may well be the first non-heroine spoof here
The INTENT in Krish3 is CLEAR—-
Very easily a Katrina may have been added or even a deepika or kareena (Yuck!!) to jack up the numbers (esp in the case of katrina ala Dhoom3!)
Very easily two or three side-kick-esque/lesser ‘heroes’ could have been added (ala dhoom3)
Very easily a CIRCUS could have been created ala most salman & akshay films to jack up the numbers
Even if dhoom 3 beats krish3 numbers, the latter is poised to be the biggest solo hero film ever….(unless one wanna call dhoom3 a solo hero film
But its plain n simple Hritik Roshan against the biggest franchise dhoom in the biggest Banner YRF witht the
biggest hero currently (if we add prestige, credibility, script sense! aamir maybe ahead of salman)
I LIKE this intent–cant say bout the qulaity of the film etc-
SOLO box office debauchery
will enjoy it 🙂
now if only i get the mood to kick some work…hahah