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26 Responses to “Images from Gulaab Gang (updated)”
Arthi: Haha! Superb comment. Do remember a somewhat similar ‘deification’ of her character in that rather kitschy (but enjoyable and even emotionally disturbing at times) attempt by Santoshi at female-centric cinema called Lajja. Found her to be the best thing about that film though. Of course this poster also reminded me of thiss Balan one from Kahaani though the latter is far better not the least because of having a better visual-scheme- http://www.impawards.com/intl/india/2012/posters/kahaani_xlg.jpg
That not only says Superhit written all over it but the next years awards will have Madhuri taking away all of them and might just be the Oscar entry…happy for Madhuri though – a strong come back with Dedh Ishqiya and this one
The days when madhuri could look v beautiful have long gone.
She has to now depend on her talent/theatrics and presence
This poster has a certain ‘surprise element’ and a certain novelty that may draw some audience to the theatre
But the audience that laps up raam leela in huge numbers, are unlikely to patronise this beyond a point-poster notwithstanding..
(Unless the content is somethign like kahaani…)
Looks like Madhuri has a strong dose of Balan envy. She somehow finagled her way into a Balan vehicle reprise in Dedh Ishqiya. Now she makes her other movie look like Kahaani first poster. Kahaani was iconic, this is ridiculous.
My commiserations to the Madhuri fans, but Juhi is looking far better here than Mads. Especially like the top poster- her smile is looking ‘wicked’ and I mean it in the best sense (never thought I would get to see Juhi in such a role). Even in the trailer she looks more at home than Madhuri
Regarding Madhuri’s apparent lack of ‘acting skills’ or awkwardness for this role or her mis-match, I beg to differ.
Begum Para is someone that is supposed to be a ‘susceptible’ kind of person. She is NOT as quick-thinking or a ‘determined’, calculative sort of person as Vidya Balan’s character was in Ishqiya. If you notice, ALL the nitty-gritties of the kidnapping plot and all the necessities are taken care of by Muniya while Begum does nothing. (In the scene where Vijay Raaz finds out the truth and comes back to the haveli to check on Muniya, she picks up 2 passports (one hers and one Begum’s – implying again that when it comes to ‘technicalities’ of getting things done, the go-to person is Muniya). Begum is just happy to be with Muniya and with memories of her erst-while, laid-back, supposedly nawabi life; she is just interested in someone loving her passionately). It is Begum that lies on the ground wist-fully against a takiya/tree taking in the air and beauty of the environs. Muniya is always on the move. Even when she is sitting in her room smoking, she is still thinking of how to proceed with the kidnapping. She finds Babban’s loins to exploit and within an instant, does so with the end-motive in mind. Begum is simply the person that goes along.
Right till the moment Begum comes on the stage to announce her suitor, she is still unsure and asks Muniya if she is doing the right thing. Even after Muniya’s re-assurance, she takes very slow, unsure steps when coming down the stairs to announce and after a few seconds, takes a strong surge with ‘put-on’ confidence. This indicates a clear personality disorder (maybe bi-polor; maybe early schizophrenia (she is shown taking pills when she is anxiety-ridden or in an emotionally-distressed state).
Madhuri’s Begum needed to portray a certain inward turbulence, a mish-mash of looking at life ahead positively while also not letting the wounds of her past completely heal. And she does a fine job of that. There are very few times her face lights up; when dancing, when Khalu elevates her through shaayari, & when she is with Muniya. (Also note that the only time she is shown smiling alone, is when she switches on the TV in the hide-out to see Vijay Raaz pleading and agreeing for the ransom – she realizes now that the time to live with Muniya happily ‘ever-after’ is quite near fruition and laughs ‘whole-heartedly’ with excitement.)
So this ‘comparison’ with Vidya’s performance in ISHQIYA is laughable to say the least because the character-arc is COMPLETELY different. Vidya’s is a sure-footed, clear-aimed character and Madhuri’s Begum lacks even a percent of the shrewdness that Vidya’s character embodies.
In the Indian context, there are 2 extremities when an actor’s performance gets the wolf-whistles; a) the louder, theatrical, and in-your-face one gets (and it gets better if it doesn’t come with a star-actor’s baggage), the more one is noticed OR, b) playing a character that is outside of the realm of one’s cocooned existence (characters from the ‘by-lanes’ to put it mildly, one characterized by the folks in GOW or Pitobash’s in Shanghai giving 2 generic examples). A performance on the lines of Philip-Seymour Hoffman’s in Synecdoche NY or even Balraj Sahani’s in SEEMA always come secondary to Bachchan’s in Black or V. Shantaram’s in DO AANKHEN BARAH HAATH. It is true that Bachchan’s act in NISHABDH has to be the most nuanced, lacerating yet sensitive portrayal of a man caught between the confusions of societal morality and the heart’s ‘wantonness’. Post age 60+, this one HAS to be included in the comparatively lesser feathers (others of course including AKS, CHEENI KUM, DEV, and KHAKHEE) he has in his crown. But it never is.
In DEV, most of the critics and public praised AB’s act but per them & the ‘junta’ , the actual ‘scene-stealer’ was Om Puri. In an interview, NASEER expressed his reservations on DEV saying the ultimate ‘mistake’ of Nihalani was making an outstanding, superior actor like Om play the role of a demagogue that hammered the nail more impactfully than Bachchan’s ‘docile’ all-encompassing act. Nasser’s impressions of AB can never be taken seriously since his glasses are tainted but the fact remains that the overall climate of critics’ and the public’s response was similar to that of Naseer’s response.
I am almost certain now that the reactions to Juhi’s & Madhuri’s performance in GULAB GANG will be a replay of the Amitabh/Om comparison. In GG, Juhi’s is an out-and-out negative character with NO shred of morality compared to Madhuri’s and her act is bound to garner the wolf-whistles. People conveniently forget the ‘added’ baggage of a bigger star that Madhuri carries in contrast to Juhi’s who has NO baggage at all after her initial burst during the DARR days. After HAHK and RAJA, she was pretty much routed out by Madhuri’s stardom. So the audience goes expecting a ‘star-turn’ from Madhuri but from Juhi, not much! Remember how the critics orgasmed over Rishi Kapoor’s ‘unexpected turn’ as the incarnation of evil in AGNEEPATH or AURANGZEB conveniently forgetting that he had also acted in KHOJ way back in 1989!! This ‘coming-on-strongly’ vibe is a precursor to that. This of course happened with Madhuri even during her hey-days! People were walking out of DILDO PAGAL HAI saying Karishma had upstaged Madhuri both in ‘acting’, ‘dancing’, and ‘age’!! Only the 3rd part was true. The whole point of the ludicrous movie was that it didn’t matter whether Karishma’s character was the better dancer or more beautiful; the point was that SRK and Madhuri were pre-ordained for each other in the movie: So whether Madhuri’s character is a horrific dancer or with one blind-eye or with one leg or 25 years older than Karishma or poorer (of course, ‘poor’ in SRK infested world of Johar and Chopras means one character’s ability to buy 55 DKNY pull-overs while the other’s ability to buy only 25 GAP tees), SRK would still fall only for Madhuri!
3 days before release — time to file a case!!!! Kumbhakaran jaage ho!!!
Gulaabi Gang leader files case against Gulaab Gang
By Joginder Tuteja, March 04, 2014 – 15:32 hrs IST#
Worst fears for the team of Anubhav Sinha’s Gulaab Gang have come true. Sampat Pal, leader of real life Gulaabi Gang, has filed a case against the film at Delhi High Court. Apparently her argument is that the makers don’t have a permission to make a film on her life.
The case joins the list of dozens of others when a development like this has taken place just days before a film’s release. With the film arriving this Friday and prints waiting to be dispatched, especially overseas, filing of the case couldn’t have been more ill timed for Sahara Movie Studios who are presenting the film.
We tried contacting Anubhav to gain an idea around further developments but he was unavailable for comments. A senior official attached to the film added though, “It is surprising that Sampat has filed this case when in last few months we have said hundreds of times that Gulaab Gang is not based on her story or that of Gulaabi Gang. We would be shortly sharing an official response on this case.”
Guess it would be a heated scenario for sure during next few days for both the parties.
Yes that’s hilarious. Even Nikhil Advani was bending over-backwards to say that D-DAY was based on a fictional character!!! It could have been anybody, he said..
I don’t understand the legality much but what I sure don’t understand is how do these ‘dissenters’ wake-up from hibernation just 2-3 days before release? If they knew from the beginning that someone was using your life’s story in a film or whatever what were you doing for the whole year when they were shooting?? Could’t you have brought on a stay-order then? Or is this because, as they say in our films,’Kanoon sochne ke liye mana nahin karta; karne ke liye karta hain?’
Why cause heart-attacks to people who have put in so much of hard work and stop them at such a late stage when the product is ready?
Why did you move the High Court just a few days before the film’s release?
We had sent a notice to the makers of Gulaab Gang’s in June 2013 asking them to refrain from going ahead without our consent. For the next 10 months we sent them imnumerable reminders, but they chose to reply only on February 4, saying that the film bears no semblance to Sampat Pal Devi’s life.
On what basis did you argue that the film is inspired by Pal’s life given that you haven’t seen the film or even read the script?
We based our assumption on the title, the trailers and the posters. There is no group in the entire world other than Pal’s which protests wearing pink saris. Also, Madhuri’s character bears a striking similary to Pal. She’s shown with a sickle in one hand and a laathi in the other. This is very derogatory for my client.