This entry was posted on June 9, 2016 at 8:15 PM and is filed under the bad. You can follow any responses to this entry through the RSS 2.0 feed.
Responses are currently closed, but you can trackback from your own site.
133 Responses to “TE3N, Housefull (ongoing), the rest of the box office”
TE3N had poor opening of around 10-15% while Do Lafzon Ki Kahani was even worse at around 3-5%. This sort of expected for these type of films and its more about collections from late afternoon onward that they get some audience. TE3N should probably do better in the evening especially Kolkata, Mumbai and Bangalore where the chances are more.
A few circuits can be written off already for TE3N has the opening is so low that the pick up has to miraculous to even put average collections in the long run. The opening is lower than a similar film Wazir which was off the same thriller genre. Hollywood release The Conjuring 2 took a better opening than TE3N with 25-30%.
The genre factor and limited face value will also curtail business in the long run. Housefull 3 has held well and unless the new releases show some very good growth it will lead despite being in its second week.
Shahid Kapoor is usually calm and relaxed on the forefront. Even in tricky situations the actor maintains his composure.
But, what happened that the actor lost his patience and got irritated?
At an event, Kangana had announced that she is the third ‘Hero’ in Vishal Bharadwaj’s ‘Rangoon’ that also stars Shahid Kapoor, Saif Ali Khan in the lead roles along with her. This statement of the actress left everyone shocked.
So at the interviews of his upcoming film ‘Udta Punjab’, when we asked Shahid about this he got irritated and said, “Why doesn’t she say there are three HEROINES in the film? Is there anything less in being a heroine? There are three protagonists in the film and for me, being a HERO or a HEROINE makes no difference. So, if by saying that you being a hero makes you a bigger person, I don’t agree with that thought process.”
Further when he was asked that Kangana had also said that she is the highest paid Bollywood actress and that she got the same fees as Saif and Shahid.
To this Sasha retorted, “Pay parity depends on the saleability of a particular person. I can also sit and cry that I am getting less money than other male actors.”
Adding to it he said, “I can’t complain about my pay and I know that. That’s because my films sell for a certain amount of money whereas other actors sell for a different amount. Obviously that should not be the case and the audience should view a film for its content, regardless of whether it is a female driven or male driven. Unless that happens, you are paid for your viability. But if somebody is getting paid less than what they deserve, based on their commercial viability, that can be a problem!”
You need patience to sit through the build-up as the story takes a while to gain momentum. Director James Wan has little to offer in terms of surprises as the shocks mirror the ones from the prequel. But his smarts rescue a film that could’ve labelled predictable. He builds the milieu ably – where even a toy make you suspicious and phone calls make you jump in your seat. He offers a few inspired scenes that will blow your mind. The camera work is impeccable and his passion to create something fearsome is overwhelming. The one scene where Ed and the demon have a charged-up conversation is blood-curling.
In short – if Kejriwal supports a film – BAN IT!! Censor it!! Cut it to bits!!!
Kejriwal tweets his thoughts to and about everyone.
Whats that got to do with the film being obstructed like this anyway?
TE3N does not have much going for it as far as most of India is concerned. The makers probably think they are being creative with the name when it could easily be named Teen which also makes it easy to understand. But thats most of the industry today they become creative with pointless stuff but when it comes to content its all limited appeal so even if this section likes the film, the footfalls still remain very low.
The reviews are not strong and I expected it as soon as I realized that the director has MICHAEL to his credit. Disappointing. But still watching it today since with the type of commentary as above, it’s difficult to believe anyone..
I used to do that but then those threads became a free for all and there would be a thousand comments and the activity would drown out all other discussion. I do agree that this is sometimes a problem in the box office thread as well.
MUMBAI: Taking a line that many filmmakers pushed in the past, the Bombay high court pointed out to the Central Board of Film Certification (CBFC) that it was a body that was meant to certify films and not censor them. The court made the observation at a hearing on cuts the CBFC, widely referred to as ‘censor board’, was attempting to impose on the film ‘Udta Punjab’. The court will pass orders on the case on June 13, four days before the film’s scheduled release.
The court also took a shot at the censor board’s attempt to sanitize films. “In this age, only those movies having a strong content and script line do well and just using expletives will not work for the movie, and hence the CBFC need not be overly critical,” the Bombay high court observed on Friday.
The court directly addressed the row over the blacking out of all references to Punjab in the film. It defended the right of filmmakers to take critical lines, not just against places but also persons.
“From every dialogue and scene of the film if reference to Punjab will have to be deleted then the crux of the film will be lost. If the idea of the maker is to be critical of a place or person then that place or person will have to be shown,” said a division bench of justices SC Dharmadhikari and Shalini Phansalkar-Joshi, adding that directness sometimes helps open eyes.
The judges also said the film was not “made with a view to malign the state or its people”.
The court also pressed the CBFC to ban the whole film if it glorified the use of drugs, instead of taking the essence out of the film through censorious cuts.
The court also effectively blocked the CBFC’s attempts to snip expletives from the final version of the movie. “Today’s generation is very direct open and more mature. No film runs because of the use of cuss words… Let the public decide whether they want to see the movie or not. Use of expletives will not take the movie anywhere. Today’s generation is not going to be impressed with all this,” the judges said.
The filmmakers however have told the court that they would are willing to cut a scene which shows Shahid Kapoor, one of the stars of the film, urinating on a stage in front of a crowd. They also said they were ready to carry disclaimers along with scenes that featured expletives in the dialogue, saying they didn’t support the use of cuss words.
The row over ‘Udta Punjab’ escalated after the CBFC asked for a number of cuts in the film. The movie’s co-producer, Anurag Kashyap, had hit back and found support from a A-list crowd. In a press conference on Wednesday, they had called for the sacking of CBFC chief Pahalaj Nihalani.
Oree baba the Girta Yug Purush wanted to ban santa banta jokes, – is this true?
Aside- Here is what the darling of the left recommends –
Udta Punjab row: ‘Adult with Caution’ category for restricted viewing suggested by Shyam Benegal panel
Films with ‘A/C’ will have restricted viewing as they can’t be screened at cinema halls located near residential areas. We do not want to deny the filmmakers the right to screen their movies. When you do that, the movies go underground,” said veteran filmmaker Benegal, speaking a day after watching Udta Punjab, which he described as a “well-made” movie, at a special screening
Social media is up in arms over the idea of casting Hollywood superstar Leonardo DiCaprio as 13th-century Persian Sufi mystic, poet and philosopher Jalaluddin Rumi in a biopic.
Oscar-winning screenwriter David Franzoni, who will be helming the project, and with producer Stephen Joel Brown’s dream cast: Leonardo DiCaprio as Rumi, and Robert Downey Jr. as Shams Tabrizi, a teacher and spiritual adviser to Rumi.
While critics have declared it a case of “Hollywood whitewashing”, people on micro-blogging site Twitter reminded the writer that #RumiWasntWhite. People took to social media to vent their frustration and let Hollywood know that there exists a world beyond America.
TE3N fared poorly in week one with collections of 2.75 crore nett apprx. The film was a washout in places like Gujarat and CP Berar though did manage to pick up in Kolkata which is expected due to the regional flavour. The collections are around 50% of Wazir, a similar thriller released earlier this year. Even though it opened double of TE3N it still did not fare well. Housefull 3 had better collections on day eight at most places.
TE3N should have growth on Saturday as the film a huge chunk of business has come from metro multiplexes and these theatres rise on Saturday. The problem is the film needs huge growth of Saturday and follow up on Sunday due to such a bad start and that is a tough ask.
The other release Do Lafzon Ki Kahaani also could not collect much at around the 1 crore nett mark but is a low budget film.
The Conjuring 2 was the best of the lot with business of around 4.25 crore nett which is similar to films like X Men released a few weeks back.
Housefull 3 has emerged a HIT film with business of around 3.50 crore nett on the all important day eight. The business was better than the new Hindi releases and there will be good growth over the weekend especially on Sunday as it could be a repeat of last week as the families come out. The business of the film is around 83.50 croe nett in eight days.
There are drops in some circuits but North, Gujarat and Central India continues to do well with some circuits set to to record the highest figures of the year. Gujarat / Saurashtra will be number one by the end of the second week.
The lifetime business of the film is hard to judge as a lot depends on the release of Udta Punjab. If Udta Punjab gets delayed it can add 10-15 crore nett business to the film as it will dominate theatres till Sultan. The lifetime range seems to be 115-130 crore nett depending on the Udta Punjab issue..
After his stunning, heart-wrenching performance in Sarbjit, Randeep Hooda is back with Do Lafzon ki Kahani, a mushy romance that echoes the fairytale idea of love.
Taking us back to the ‘90s when dialogues like “Haath mila rahi hu, maang nahi rahi” seemed cute, Do Lafzon Ki Kahaani is a tale of ‘eternal love’, one that makes you sacrifice all and suffer forever for the sake of your beloved.
Based on the 2011 Korean movie Always, this kahani follows Sooraj (Randeep), a former mixed martial arts fighter who sells his life to be able to afford importing cornea from the US for his beloved Jenny (Kajal Aggarwal).
By coming out in the open about her disappointment over her failure to fulfil the last wish of her grandma Madhu Jyotsna Akhouri on account of the hostile attitude of the local parish, actor Priyanka Chopra appears to have triggered a controversy.
The actor’s grandmother passed away on June 3 and her last wish was to be buried at the cemetery of her home parish Aattamangalam Church, along with her dear and near ones, in her ancestral village Kumarakom. However, as reported earlier, when the body was brought to Kottayam from Mumbai on June 5, it had to be buried at the cemetery of another parish at Ponkunnam, more than 30 miles from her ancestral village, on account of the opposition from the parish authorities.
The body was taken to a relative’s house at Paruthumpara, near here, for the last phase of the prayers and from there to Ponkunnam. Madhu Jyotsna Akhouri was born to the Kavalapara family and her maiden name was Mary John. A nurse, she had migrated to Bihar where she married Dr. Akhouri. She then changed her name to Madhu Jyotsna Akhouri. The couple were active during the freedom struggle and later in social work. They were Members of the Legislative Council in Bihar. Actor Priyanka Chopra is the daughter of Madhu Chopra, Akhouri’s daughter.
The parish authorities maintained that the lady was married outside the religion and had no touch with the parish for a long period and denied the right to burial at the cemetery. However, her relatives said she was a practising Christian and had in fact received Holy Eucharist from the parish priest at Aattamangalam Church, which denied her the right to be buried at its cemetery.
They also said the head of the Jacobite Syrian Christian Church and more than one bishop had given sanction for her funeral at the church cemetery. However, the church committee did not budge. On Friday, Bishop Thomas Mor Themotheos, Bishop of Kottayam diocese of the Jacobite Church, said it was he who arranged the funeral at St. Thomas Jacobite Church, Ponkunnam.
“She was a social worker and had done much good for the needy,” he said. “Marrying outside the religion is not a reason to deny this act of mercy to anyone,” he added.
“Denying her funeral rights was inhuman and unchristian,” the Metropolitan told the media. Both the parishes belong to the Jacobite Church.
Actor-filmmaker Kamal Haasan, who is currently directing portions of upcoming trilingual film “Sabash Naidu”, is said to be filling in for the film’s director, T.K. Rajeev Kumar, who is unwell and hospitalised.
“Rajeev is down with high fever. He has been hospitalised and he should back on the sets in a week. Kamal sir took over the reins of the project because he didn’t want it to get unnecessarily delayed, because they are working on a tight schedule,” a source from the film’s unit told IANS.
On Friday, when Kamal tweeted that he is directing a song in the film, rumours started spreading that he is ghost-directing the project.
“Kamal sir was just filling in for Rajeev. He’s just directing a song that we’re currently shooting,” the source said.
In the film, Kamal plays a RAW operative and the role is based on Balram Naidu, the popular character from 2010 Tamil film “Dasavatharam”.
Also starring Shruti Haasan, Ramya Krishnan, Brahmanandam, Saurabh Shukla and Roger Narayanan, the film is being simultaneously shot in Tamil, Telugu and Hindi.
The censor board’s suggestion of cuts in “Udta Punjab” has brought out the “unfortunate condition” that films and filmmakers face, says actor Hrithik Roshan, who is proud of how strangers have united and shown support for the movie.
“‘Udta Punjab’ brings out the unfortunate condition suffered by films. But fortunately reveals that strangers can stand up and unite for justice. Proud,” the “Mohenjo Daro” actor tweeted.
source says, “Shraddha has agreed to sing all her songs in Rock On 2. However she was not too keen to lend her voice for herself on screen. She likes singing ,as music runs in her family but she was skeptical of singing all songs.
She was fine with singing a one or two numbers. But her co-star and one of the makers of the film Farhan Akhtar convinced her and told her that it would be necessary for her to sing as it will look real and authentic and she agreed.” According to midday.com
Yesterday i watched the first episode of Kavach which maybe loosely based on Emily Rose as Ekta mentioned it.
Mona Singh of Jassi Jaise koi nahin fame is the protagonist and she is a spunky actress who can enliven any role. Mahek chahal of bigboss fame is the antagonist and she looked like Sadhana of Woh Kaun Thi. Yes, she is playing atma. After the highest trp raking drama Naagin, this is ekta’s second offer in that slot.
TE3N managed to show good growth on Saturday as the collections rose 60% and if the film had some sort of number on day one this would be great but with just 6.50 crore nett on the board, its still a struggle despite the growth. A similar costing Wazir which floped at the box officehad a 20 crore nett plus weekend and this is far short of even that. The first two day business of TE3N in the second week is as follows
Friday – 2,50,00,000
Saturday – 4,00,00,000 apprx
Total – 6,50,00,000
The film is doing better in West Bengal and Mysore (the collections doubled here on Saturday) but most circuits are very poor. Mumbai showed a good jump though the Gujarat side is not contributing which is holding back back overall circuit figures..
Bliss, I’ve deleted some of your tweets.. let’s not have a terrorism discussion here! One or two comments is fine. For the rest I’m sure you have other forums to go to. The same applies for Indian political discussions.
The 29-year-old suspect was known to the FBI, the officials said — one of hundreds of people on the agency’s radar suspected of being ISIS sympathizers, according to two law enforcement officials.
Omar Saddiqui Mateen was the gunman who opened fire at a gay nightclub in Orlando, killing at least 50 people, two law enforcement officials told CNN.
Housefull 3 is doing well in its second weekend though the Saturday growth could have been better. Some Hit films grow over 50% on the second Saturday while here it was in the 30-35% range.The two day business of Housefull 3 in the second week is as follows
Friday – 3,50,00,000
Saturday – 4,75,00,000 apprx
Total – 8,25,00,000
The total of the film is now 88 crore nett and it could be folloeing the trend of last week where the huge growth came on Sunday.
A censor board panel of mere six people cannot decide what 130 crore people of India should watch and what not, popular filmmaker S.S. Rajamouli said in the wake of the ongoing controversy over certification of the film “Udta Punjab”.
The “Udta Punjab” controversy has brought forward many filmmakers, actors and, most of all, common people who have questioned the role of the censor board. Even the Bombay High Court has pulled up the Central Board of Film Certification (CBFC) for insisting on ‘censoring’ films instead of ‘certifying’ them.
While the CBFC at one point demanded 89 cuts in the film, its Revising Committee brought down the number to 13.
Many known celebrities from the entertainment industry have come out in strong support of the film while demanding the removal of CBFC chief Pahlaj Nihalani.
Asked whether CBFC is restricting a filmmaker’s creative abilities, the “Baahubali: The Beginning” director told IANS: “Yes, they are. My sympathy stays with the filmmakers. The simple logic which everyone is asking is how a board of six members can decide what 130 crore people should watch and what not.
“That’s not logical (what they are doing). A father or a mother or a family head … is a better judge about what he or she and children can see and what they should avoid. Family members are better judges than those six people.
“They (CBFC) are restricting them. Personally, I haven’t faced much problems for the kind of films that I make. But there are so many diverse filmmakers who want to make different kind of cinema. They shouldn’t be restricted,” he added.
Actor Nithiin Reddy-starrer romantic drama “A…Aa” has become the third highest grossing Telugu film in the US after S.S. Rajamouli’s “Baahubali” and Mahesh Babu’s “Srimanthudu”.
“Having recently entered the $2 million club in the US, ‘A…Aa’ has officially become the third highest grossing Telugu film in the country. So far only ‘Baahubali’ and ‘Srimanthudu’ have collected over $2 million in the US,” trade analyst Trinath told IANS.
Directed by Trivikram and also starring Samantha Ruth Prabhu and Anupama Parameswaran, the film grossed over Rs.50 crore worldwide in its first week, with majority of its share coming from the US.
Even though the film received mixed response from the critics, it somehow struck a chord with the audience
Meanwhile, the makers will be celebrating the film’s success with a get-together on Sunday in Guntur.
Marathi blockbuster “Sairat”, a doomed love story, is all set to be remade in four southern languages. The remake rights have been acquired by popular producer Rockline Venkatesh.
“Venkatesh will jointly produce the southern remakes with the producers of the original. The casting process will begin in a few weeks and the makers plan to go on the floors in August,” a source close to Venkatesh told IANS.
Directed by National Award-winning filmmaker Nagaraj Manjule, “Sairat” is said to be one of the highest grossing films in Marathi industry.
The film’s lead pair Rinku Rajguru and Akash Thosar won over audiences and critics alike with their performances.
Can we have a disclaimer on top of the blog that only Pro-islamic thoughts are welcomed, whether they belong to hardcode criminals or terrorists?
Or in other words, “Sharia law prevails here” will work too. 🙂
Zeishan Quadri, the writer of ‘Gangs of Wasseypur’, has started work on the films’ upcoming sequel. Anurag Kashyap had hinted last September that there was going to be a sequel to the first two movies and instructed Quadri to write a plot. After watching ‘Meeruthiya Gangsters’, Quadri’s directorial debut, Kashyap suggested he direct the sequel as well. Quadri is now heading to Wasseypur to do further research for the story.
Quadri, who belongs to Wasseypur himself, tells us, “I came home when Ramzan began. Festival par ghar aana bhi ho gaya aur film ke liye research bhi. I will be spending a few weeks here and finalising the plot and characters while I’m here.” Talking about the film, he says, “It’s not a sequel or a prequel. If I have to give it a term, I’d call it a mid-equal (laughs). It will have the same timeline and setting as the first two films. Which is why we aren’t calling it part 3 but part 1.5. It will tell a parallel story between the two films.” So will we see some familiar faces in the sequel? “That’s being worked out. You might see some characters from the first two films, but it will be a new storyline,” Quadri says.
TE3N had a poor weekend as it grossed 11 crore nett plus in its first weekend. There was growth on Saturday but Sunday showed limited improvement as the Sunday audience preferred Housefull 3 and even The Conjuring 2 . The first weekend business of TE3N in the second week is as follows
Friday – 2,50,00,000
Saturday – 4,00,00,000
Sunday – 4,75,00,000 apprx
Total – 11,25,00,000
The first weekend business of Wazir was a little over 20 crore nett and this which is almost the double of TE3N leaving the film with little chance unless somehow the Monday busines is 20-25% better than Friday. The film fared better in West Bengal and Mysore but was very poor in many circuits including Gujarat / Saurashtra, Delhi / UP and East Punjab.
Housefull 3 had a normal second weekend as it grossed around 15 crore nett in its second weekend. The drop is around 70% which is a par drop. The weekend was less than Airlift which grossed around 18 crore nett in its second weekend. The film has grossed around 95 crore nett weekend. The second weekend business of Housefull 3 is as follows
Friday – 3,50,00,000
Saturday – 4,75,00,000
Sunday – 6,75,00,000 apprx
Total – 15,00,00,000
The film will hit the three figure mark in seventeen days but that is a bit irrelevant for big releases nowadays. More importantly the film will be the highest grosser of the year in Rajasthan, CI and possibly East Punjab. Delhi / UP will make it in terms of GROSS figures but not NETT as Airlift was Tax free in UP from second week onward.
t is a known fact, that time and again Abhishek Bachchan has been targeted for his performances in his films. He has always faced the brunt of comparison with his father Amitabh Bachchan and wife Aishwarya Rai Bachchan.
However, the actor has always taken it all very sportingly. But, at the recent event held for the success for his film ‘Housefull 3’, Jr. Bachchan lost his cool!
When the actor was asked whether he has any upcoming projects where he will be seen playing the lead role, he retorted: “I hope so. If you have a nice script, I’ll be more than happy to read it. But I didn’t understand your question.”
When mentioned as a ‘solo actor’, he said: “As the only person in the film? It will be a very boring film.”
When the journalist clarified that he meant ‘male lead’, by now Abhishek got little irritated and said: “So I act like a female right now or what? I’m not understanding your question.”
Further when the media tried to explain him by giving the examples of his previous films like ‘Guru’ and ‘Bluffmaster’, where he was the ‘lead’, Abhishek said: “In ‘Bluffmaster’, I had wonderful co-actors called Riteish Deshmukh and Boman Irani. In ‘Guru’ I had wonderful co-actors like Mithun da (Mithun Chakraborty), Maddy (R. Madhavan), Aishwarya (Rai) and Vidya Balan. What’re you trying to say?”
When told about being a ‘male lead’ in ‘Guru’, he said: “Mithun da and Madhavan were male actors in that as well.”
When told that he was the ‘lead actor’ in these two films, Abhishek finally said: “I don’t think so. I don’t look upon films like that. My definition is slightly different. I believe anybody, no matter how big or small their role, is equally responsible for the film and in the success or the failure. I don’t like to differentiate just based on the size of the role.
“If you look at ‘Housefull’; It’s a wonderful franchise and the most popular character of the ‘Housefull’ franchise is Chunky (Pandey), who shot for just three days in the film. Aakhri Pasta (Chunky’s character) has got the biggest recall in the ‘Housefull’ franchise. So the size of the role shouldn’t matter.”
Abhishek concluded by saying: “I just feel that every actor should be given the love and respect as his fellow actor. So I have never believed in this word ‘solo male lead’, for me a solo film is when you’re doing it alone; you’re the only person in the film.”
One of the very rare instances where Abhishek lost it. The journalist asked a very logical question and there was no hint of sarcam or ulterior motive it to but he lost it. His face shows it. Of course the way social media is now-a-days and the way folks take out their personal impotency and problems on better-known folks one day or the other it is but human [not being human] to lose one’s cool. Unfortunately, rather than a slimy journalist, it seems like it was a pretty straight-forward journalist that bore the brunt of Abhishek finally giving vent to his feelings..
Can’t totally blame Abhishek though. The air is vituperative and he has been taking this for too long..It’s all romantic to say he is an idol of good behavior and wax this situation but really, it’s tough when you live in a society that considers Hrithik Roshan kissing Aishwarya Rai in D2 a sign of ’emascuation’ of Abhishek..
to me the debate is less about ‘good’ or ‘bad’ behavior and more about the terms of the subversion. If one wants to be subversive one can but this subversion must have a meaning. Arguing as he does here and as he often has on this point (about there being no solos and every actor being equally important and so on) is a meaningless claim. Not because people might snigger or something. That’s a different issue. The problem here is that this particular argument has no ‘meaning’. For instance I often like to quote the 70s as an example of a cinema where all the smaller parts or even the bit ones mattered and left an impression. The way the films were constructed allowed for this. The great Leone apparently spent more time casting for his bit parts than his leads. You can use all of this to frame an argument on how richer films also require richer supporting parts or bit parts and so forth. But you can’t say that Eastwood wasn’t the lead in the Leone film or that Amitabh Bachchan wasn’t in Deewar or some such thing. There are ensemble films where one can make that claim but most multistarrers are not ensemble efforts. They might even have equal footage for the lead stars but the symbolic weight of the film still lies more with one star. Note in this regard how significant ‘two hero’ films (which is to say not a film with Dharmendra and Jeetendra as the heroes! In such films there is no real symbolic center irrespective of the roles) where the stars have rough parity are always problematic and quite often fail at the box office. Because the film can never decide how the symbolic economy of such a film operates. It never seems to get started in a sense. And so Abhishek here isn’t offering some sort of alternative theory or a subversive one that only a few folks might be able to digest. He’s saying something that is essentially ‘meaningless’. And this is something I’ve always criticized coming from anyone. I say this routinely to his father on his blog. Whether one is being diplomatic or trying to be subversive, whatever the aim, one shouldn’t say the meaningless. And to reiterate I am not really bothered about how it is absorbed by people, whether everyone accepts it or not. It is about whether such a statement makes any sense in any possible register of meaning.
MUMBAI: The final call on the film ‘Udta Punjab’ is yet to be made by the Bombay High Court, but news began to spread on Sunday evening that the film would get Adult (A) certification.
Pahlaj Nihalani, CBFC chief, said that he never asked for the film’s title to be changed. According to PTI, Nihalani, who reportedly suggested a large number of cuts in the film, said nine members of the Central Board of Film Certification watched the film and “unanimously” cleared it after the proposed 13 cuts. “We have today cleared Udta Punjab under A (restricted for adult audience) category after 13 cuts,” Nihalani told reporters on the sidelines of an event.
Meanwhile, the Bombay High Court has reserved the verdict for today, Monday, and has asked the makers of Udta Punjab to add a disclaimer at the beginning of the film.
Despite the Central Board of Film Certification recommending 51 cuts for ‘Babuji Ek Ticket Bambai’, which revolves around commercial sex workers and passive euthanasia associated with the trade; the makers of the film are undaunted. KK Mundhada of Hari Kripa Films, who has produced the movie, says, “Words used in common parlance were muted, but we have abided by the Board’s recommendations. We were under the impression that the use of the word Bambai in the title would be a problem but the authorities have passed it.”
Rajpal Yadav, whose character in the film is totally different from his earlier comic roles, says, “With the growing competition from television and web, filmmakers have to do their utmost to make a product that will fetch best results. Sometimes, they go overboard in their enthusiasm to show things. However, freedom of expression as enshrined in the Indian Constitution curtails obscenity and prohibits anyone from making any statements that challenge the social or moral fibre of the country.”
Sudha Chandran, who also features in the film, adds, “In our country, censorship is critical as cinema enjoys a high degree of attention and retention as compared to other mediums. So, censorship by prior restraint is not only desirable but also necessary. However, I understand that the certification of A, U/A or U has large financial implications for the producers.”
The Bombay High Court pronounced its verdict on Monday (June 13).
Out of 89 cuts, HC has asked to implement only one cut. CBFC directed by Bombay HC to issue a fresh certificate to the film in two days.
The Bombay High Court pronounced its verdict on Monday (June 13). Out of 89 cuts, HC has asked to implement only one cut. CBFC directed by Bombay HC to issue a fresh certificate to the film in two days. CBFC’s demand for a stay refused by HC.
Here’s the proceedings from the court are as follows:
1. Bombay HC: On cut no 9 (Tommy Singh urinating in front of crowd) ,we don’t feel that this scene is necessary 2. Bombay HC: Punjab is land of green revolution,brave soldiers.One sentence (Zameen banjar te aulaad kanjar) can’t affect that image 3. Bombay HC: Cut suggestion no 7 not needed. No need to delete the scratching scene in song no 3 suggested by CBFC. 4. Bombay HC: Cut suggestion no 8 not necessary. O Bombay HC: Cut no 6 are general words ( MP,MLA,Parliament etc),don’t refer to any outfit but reflect for general political work; only one close up scene of injecting drug will not violate the mandate. 5. Bombay HC: There is no need to assert or incorporate abusive words in every dialogue 6. Bombay HC : We are not in agreement that in some films cuss words have been allowed so these should be allowed here too 7. Bombay HC:As far as cut no 5 suggested by CBFC is concerned, there are some abusive words, some abusive words need to be deleted.
As Udta Punjab’s release date inched closer, the film became a constant issue of discussion for cine-goers as the Censor Board asked to make as many as 89 cuts in the film. The film touted to be based on the persistent drugs problem in Punjab has been under scrutiny by the CBFC committee weeks before its release. After suggesting 13 cuts which would result in editing of as many as 89 scenes, the makers of ‘Udta Punjab’ took things in their own hands and filed a plea in The Bombay High Court.
Get unlimited 2G/3G/4G free mobile internet
Ad TaskBucks Install now
On Friday, the Bombay High Court passed its judgment claiming that the audience is sensible enough to understand what’s right and what’s wrong. In today’s hearing, HC observed: Filmmakers don’t support drugs. All characters show facets of drug menace, nothing to harm state’s sovereignty. Board should use power as per Constitution and Supreme Court’s direction. Downfall of a rockstar depicted.”
Meanwhile in an interview recently, Pahlaj Nihalani, CBFC chief, said that he never asked for the film’s title to be changed. Nihalani, who reportedly suggested a large number of cuts in the film, said nine members of the Central Board of Film Certification watched the film and “unanimously” cleared it after the proposed 13 cuts.
Recommended By Colombia
‘Udta Punjab’ row: Punjab & Haryana HC issues notice to the producers
Hiten J Trivedi | TNN | 10 mins ago
The latest update in the controversy is that the Punjab and Haryana High Court has issued notice to the producers of the film asking them why the film shouldn’t be banned in the state.
The producers and the director of ‘Udta Punjab’ and the audience are waiting with bated breath for the Bombay High Court’s verdict on the film. However, if the existing roadblocks weren’t enough, it seems the film will not see the light of day in Punjab and Haryana. The latest update in the controversy is that the Punjab and Haryana High Court has issued notice to the producers of the film asking them why the film shouldn’t be banned in the state.
On the one hand, while Bombay High Court’s observations are in the favour of the film and the High Court has ruled in the favour of the film uphelding only one cut out of suggested 89 cuts, on the other, Punjab and Haryana court is in no mood to let the film release in the state. As per a report on Times Now, the P&H High Court issued notice to the filmmakers asking for an explanation as to why the film shouldn’t be banned in Punjab and Haryana.
The onus is now on the producers to prove this. However, the Bombay HC verdict has finally ruled in the favour of the film, which can now be released with just one cut. The scene that the Bombay High Court have asked to delete from the film is where Shahid Kapoor’s character of Rockstar Tommy Singh is seen urinating in front of a large audience.
e3n went down badly on Monday as it collected around 1.25 crore nett. The drop was not huge but the collections have capitulated to very low levels, The business of TE3N in the first four days is as follows.
Friday – 2,50,00,000
Saturday – 4,00,00,000
Sunday – 4,75,00,000
Monday – 1,25,00,000
Total – 12,50,00,000
The first week business will be around 16 crore nett and with Udta Punjab coming on Friday, the film will be doing practically all its business in week one. Te3N is a big flop.
Housefull 3 had a fair Monday but the film should have grown more on Saturday which would have enabled a higher second week. The total of the film is now 97.25 crore nett The four day second week business of Housefull 3 is as follows
Friday – 3,50,00,000
Saturday – 4,75,00,000
Sunday – 6,75,00,000
Monday – 2,25,00,000
Total – 17,25,00,000
The second week business will be average at around 22.50-23 crore nett whereas it should have really got 25 crore nett plus as competition was weak and week one trend was solid. The release of Udta Punjab will hit the collections as badly as Housefull 3 is mainly doing well at multiplexes and Udta Punjab also caters to that market.
That’s the advantage Akshay gets. He never needs to get to the 150 crs and 200 crs which other heroes have to…Even otherwise I doubt if he is even capable of getting those numbers unless it is a knockout script…….In last few years he has had two clean hits; Airlift and Holiday. Everything else is in between or flops….
The problem that I always have with some of the commentary in this regard is that while Housefull might not be a clean hit unless it reaches 120 somehow vastly more expensive films like HNY or whatever are considered to be so at 175 or something. The overall costs for such a film from production costs to distribution ones to what not are all dramatically higher. But somehow those films become ‘hits’ more easily. But then this has been a ‘historic’ argument of mine for 10-15 years and I can’t say I’ve received a persuasive answer so far.
But 175 was correct for HNY and Dilwale based on its economics. But for Khans we set a bar without taking economics into point. So while HNY did 180 or whatever no one debated that it was a disappointment as we expected it to go much higher. For Akshay there is no high bar. As long as his movies do 80 crores+ they all seem to somehow fall under the category of hit…
It’s not about expectations though when these expectations are brought up the response usually is ‘but it’s a hit at 25 crores’ (only exaggerating a bit!). And I know it’s always an ‘economics’ argument but I don’t quite buy it. Why? Because small films that do 40 crores are less easily called hits than massive films that do 150 or 175 or something. I don’t really buy this absurdity that smaller films are over budgeted most of the time while massive films are under budgeted. Which is what the ‘economics’ always implies. Now at least with Salman I can accept some of this. Most of his films are nothing efforts that probably don’t cost very much. Not true of course for something like ETT. So just throwing numbers around doesn’t pass the plausibility test in these things. I know the trade does the same, sites like BOI do too. But it’s first off arbitrary and secondly doesn’t pass the common sense test. In Hollywood big films are more expensive than smaller films. The former go over budget far more than the latter (this too makes absolute sense.. there are more variables with a big project not a small one). The entire economics (by the way transparently available and verifiable.. this isn’t a small matter.. who can truly verify a lot of these numbers in Bollywood? No one. Do some people know? Sure! The producers know how much they’re spending as do distributors etc… but nothing is available in a verifiable sense.. people have every incentive to not say more than generalities and the rest is spin for media consumption) makes sense. And year after year that bar for success goes higher. The Avengers needed to make 600m in the US to be counted as a success. IN the US. Not overseas. In India year after year we cling to arbitrary 100 cr, 200 cr, 300 cr nice round numbers and the moment you get to these people think a film is some sort of success. So from top to bottom the whole system isn’t transparent and from top to bottom the claims made are completely implausible. Here I don’t take anyone off the hook. The trade is compromised and/or corrupt most of the time. Everyone associated with a film has an interest in selling the film as a success irrespective of ground realities. You have completely biased sources from the trade to sites like BOI. Sure you can arrive at a general picture for a film in terms of gross but that says very little about the economics surrounding it. And it’s not enough to say ‘I got my numbers from x or y source’. either something is verifiable or it isn’t. I would for instance never commit to something completely just because someone told me unless I saw the evidence for myself. For instance if I know someone at BOI and they tell me these are the numbers that wouldn’t be good enough for me. I’d ‘interrogate’ them quite a bit before I started considering the numbers credible. Given their biased commentary my bar would be even higher. So again as I’ve pointed out in the past as this isn’t about believing someone or not, it’s about making factual claims when one cannot back them up other than by hearsay.Getting back to Akshay 80 is accepted for him as long as it’s a smaller film like Baby or something not Housefull. But when Housefull does more or less only as much as the previous film it’s clearly not had an optimal result. Now it might have a hit narrative in the media but that proves my point. Unlike Hollywood these narratives in India almost run independently of box office realities. a film has to be a total flop or totally rejected in some sense for people to call it one.
Earlier we had reported that in a casting coup of sorts, Rhea Kapoor has brought together two divas for her upcoming chick flick, Veere Di Wedding namely, Kareena Kapoor Khan and Sonam Kapoor. And now it has been revealed that Ekta Kapoor’s Balaji Motion Pictures too has come on board to co-produce the film.
Accompanying the two ladies, another names added to the cast are Swara Bhaskar and Wake Up Sid fame Shikha Talsania. While the four actresses play the lead, the names of the male cast is yet to be revealed. Being India’s first chick flick we hear that the film is inspired by the popular Hollywood movie The Sisterhood of Travelling Pants. Set at the backdrop of a big fat Indian wedding which the friends will be attending, the film revolves around the friendship of these four women and celebrates the spirit of modern Indian women.
Directed by Shashanka Ghosh, Veere Di Wedding will be shot extensively in Delhi and Thailand.
KOLKATA: To his die-hard cricket fans, Sachin Tendulkar is ‘God’, something a tribal village in West Bengal swears by after the Rajya Sabha MP intervened to fund the reconstruction of a 51-year-old neglected school.
Moved by a headmaster’s request, Tendulkar agreed to release Rs 76,21,050 for the “Gobindapur Makrampur Swarnamoyee Sasmal Siksha Niketan” from his MPLAD fund.
The school is located on NH-6 under Narayangadh police station about 140 kilometres southwest of Kolkata in the Midnapore (West) district.
Tendulkar has already released 75 per cent of the amount, which was paid in three installments, while the remaining amount would be given on production of the utilisation certificate, which was recently submitted.
It was nothing but a “miracle” for headmaster Uttam Kumar Mohanty who was left “frustrated and endured sleepless nights after making door to door” pleas to the local MPs and MLAs for financial assistance to the school which was on the verge of collapse.
Ten years after his struggle, one fine day in 2013, the idea of writing to Tendulkar occurred to him.
Satyam, if you are okay, would like a thread for this movie – The Field.
Brendan Frazer starts shooting for Rohit Karn Batra’s movie – The Field- in Mumbai!
The directors of that period weren’t auteurs for the most part (not that this was a demerit) but they had a certain instinctive understanding of the iconic and the mythological. And equally they knew how to set the stage and hit all the right dramatic notes at every point in the film.
This woman is a painter. This is her memory palace. All over this room one can see pictures of her dead lover. Including one obscured by the leaves on the right. This is just one shot but in the actual scene there are other images available of the very same subject. And of course dominating the frame there is a gigantic painting. The ‘professor’ if you will. The double (who is as we all know a petty criminal) is framed against this. The movie frame and within it all these smaller frames. But one gets pride of place. In a sense the whole story of the film is contained in this moment. The woman in a way between the doubles. The dead lover who must ‘perforce’ be an image while the living other right beside her trying to turn her face away from that huge life-like image. It goes without saying that the thief is trying to hide here and preventing the woman from making any sort of sound. But it’s wonderfully framed nonetheless. A little before this the thief breaks into the room and sees these images for the very first time and he’s of course stunned. This has been the ultimate con! And the joke’s on him. But all of this constitutes the film’s story in ‘miniature’ if you will because so much of it revolves around the journey the woman has to complete, the distance she has to travel from one lover to his lookalike other. But it is not simply a question of two different men. It is also about two radically different orders of society. The utterly genteel professor, the paragon of virtue and social mores and then the criminal who is his ‘devilish’ double. The latter for all this is the more interesting character. Because the film is also about his transformation. It is also about his authentic inner core that the woman eventually recognizes. The core he can only access because of her. If he begins the second half of the film in a kind of spiritual destitution, marked most potently by his conversation with a cockroach while inebriated (he, not the cockroach!), he in turn ends it by finally graduating to this symbol of purity who has otherwise decided to spend her life mourning for and creating an artistic mausoleum for her lover and who too struggles with her changing emotions not least because she considers this to be a betrayal of her original love (the brother-in-law is here essential to authorize this ‘transference’.. he will first become brother to the thug and in turn legitimize him as not just the shadow of his dead brother). But in any case not just doubles but representatives of two societal poles that can only be meaningfully bridged by the woman.
But isn’t there also a cinematic tale embedded here. An allegory even. The star’s image keeps multiplying. The audience keeps repeating its original romance with the star with each new turn. And yet there is always difference in such repetition. The question for the star might be this: how long before these shadows keep dissolving into the mechanical nature of repetition? How long before the difference each time gets diluted to the point where the authentic core can no longer be discerned and perhaps only summoned up from memory? A repetition which no longer re-stages things on the space of the original but is simply an empty shell which nonetheless superficially bears a strong resemblance to that foundational moment.
And needless to say this film releasing when it did was another kind of tribute to the Bachchan signature and mythos. Wherever one looks a certain image of Amitabh Bachchan greets one.
I shall have to revisit this film in short order. I have even otherwise always had a great weakness for it. ]
I remember watching Kasme Vade once , don’t remember anything except the plot, the songs and a few random scenes .never had the urge to watch it again, but I will now watch it again.
I have kind of slotted KV, Barsat kee ek Raat, Jurmana , Aalaap, together in my mind.
Just like- Ek Ajnabi, Inderjeet,Paa,Aarakhshan etc. in one slot!!
I liked it as kid so an Amitabh fan not liking is surprising 🙂
ps – As a kid, I used to think actors were behind the white screen. My memory of this movie was that, Amitabh was injured after coolie and they were showing kasme Vaade in near by hall. I was confused how come he is injured and in the movie 🙂
DEHRADUN/ALWAR: Bollywood can’t better this script. A soldier meets with an accident seven years ago, loses his memory and wanders around Haridwar as the Army declares him dead. And then the unthinkable happens. He meets with another accident and regains his memory. But there’s more.
Retired subedar Kailash Yadav was preparing to deal with a ‘drunkard’ knocking on his door late at night last week when to his utter surprise, he saw his “dead” son Dharamveer Singh standing before him. The startled welcome gave way to a teary reunion as Dharamveer recounted his journey to Alwar to his wife, two daughters and brother.
Singh, 39, a jawan with the 66 Armoured Regiment in Dehradun, had been missing since 2009 and was declared dead three years later, as is the norm. His brother Ram Niwas told TOI, “My brother was driving a military vehicle on Chakrata road in Dehradun when he and two other jawans met with an accident. Their vehicle overturned on a divider. None of the bodies was found.” The other jawans reported back to their units later but Singh had vanished into thin air.
The Army issued his death certificate and granted pension to his family. The family had little hope of ever seeing him, but Manoj Devi kept a fast for her husband’s safety. “Somewhere deep down in my heart, I knew I would see him again,” she said. And she did.
Singh told his family that he did not remember what had happened to him after the 2009 accident. “All he remembers is that he was begging on the streets of Haridwar last week, when he was hit by a bike. The rider rushed him to a hospital, where Dharamveer, after regaining consciousness, realized that he had recovered his memory,” said Ram Niwas, who is a doctor.
Singh, who can’t stop thanking God, said, “The biker who hit me gave me Rs 500. I took the money and bought a ticket for Delhi. After that I reached my village in Bhiteda, near Alwar. I am in shock. It felt so good to see all of them. I could hardly recognizse my daughters. They have become so big.” One of his daughters is in Class 10 while the other is in Class 12. The family has now brought Singh to Jaipur for treatment.
Udta Punjab has been in the wars with censor problems but will now release on Friday and this controversy which made big news has probably created extra awareness which should help the initial of the film. But as with heavy promotion, controversy can create hype and awareness but its hard to tell how much it is converting people to actually turn up to watch the film.
The film was looking to open well in the North even without the issues of the last week due to regional flavour and presence of Diljit Dosanjh which adds a bit extra especially in East Punjab. Now it remains to be seen how much of a boost comes in other parts, it will be in the metros like Mumbai, Pune and Bangalore mainly as despite the hype it will still be hard to pull in big numbers in B and C centres.
The important thing will be to get a clean release as the issue it faced was probably political rather than censor and these things also sometimes crop up when released. A clean release should mean a good number on day one.
The negative is probably that Shahid Kapoor films struggle to put up numbers. A R.. Rajkumar was just about decent but then whether its a Haider or Shaandaar the films just dont perform at the box office and it will be down to Udta Punjab to correct this.
After two days of celebrations over Bombay High Court’s judgment in their favour, ‘Udta Punjab’ makers went through a harrowing time yesterday. First, they woke up to the news that the film’s uncensored copy had been leaked online (Read more) and that a Punjab-based NGO has moved the Supreme Court, seeking to stop its release. Then, they had to spend anxious moments waiting for the Central Board of Film Certification (CBFC) to grant them certification in time.
“As directed by the High Court, the CBFC was supposed to award us the certification by 6 pm, but they made us wait till the last second. Without the censor certificate, we couldn’t have submitted the film on time for the show timings to be worked out. Had it been delayed by five more minutes, we would have dragged CBFC chief Pahlaj Nihalani to court again. It has been a long, tiring day,” a source involved with the project says.Says a source, “Two versions of the film — an uncensored, 2.20-hour copy, which includes a urination scene that the court asked to be removed, as well as one with all cuts suggested by the CBFC — were available for download online. It is a setback for the makers, who successfully fought against censorship and secured timely release for their film.”
Adding to the makers’ woes, the uncensored copy of ‘Udta Punjab’ found its way online and they have registered an FIR with the cyber crime cell, confirmed a senior Mumbai crime officer. Police sources said the complainant has given three Internet links, including one of a torrent site from where several netizens downloaded the uncut version of the film. Police have registered a case under relevant sections of the Information Technology Act and Copyright Act.
The makers remained unavailable for comment. A source close to the project says, “Some elements are hell bent on killing the film. We are in touch with the cyber crime cops to get to the root of this sabotage. We have asked them to help us pull down the leaked copy. However, we do believe that it is not the handiwork of a CBFC official since we submitted the DVD to them only today.” Over the last few weeks, the team of ‘Udta Punjab’ had been at loggerheads with the Censor Board, which had suggested at least 13 cuts to award certification. They later approached the High Court which shot down the Board’s suggestions and asked the makers to remove one scene and put up a revised disclaimer.
Now, a Punjab-based NGO named Human Rights Awareness Association has submitted a petition before the apex court, challenging the decision to clear the film. According to sources, the NGO has said that the High Court should not have interfered with the CBFC’s suggestions.
Ei Samay: John Biswas has a mysterious aura about him. So, who is he actually?
Amitabh: He is an Anglo-Bengali. This film was to be shot in Goa. So, when Sujoy and Ribhu decided on the characterisation, they wanted to set it in Goa. They wanted to give it a Christian background. But they had some problems of permissions and logistics there. And so they said, ‘what do we do?’ So I said, ‘Let’s go to Calcutta.’ Kolkata has always had a very large and prominent Anglo-Indian community, just like they have a very large Chinese community. When I was working there I knew a lot of them, I used to mix with them. Many of our activities, whether it was theatre, and sports and even the firm where I was working, we interacted with them. And we were all friends. So I said, ‘You can base it there, as it has an Anglo-Indian community’. So that’s what John Biswas is.
TE3N, finally had a chance to watch it last night,only because England vs Wales were playing tonight as I was under impression it was last night,anyways this film had a great script although it was a remake,first 25 minutes are extremely slug pace,when it picks after that for 8 minutes it becomes sluggish again,the whole story to is it could have had done better but it was weak in every department.Will not say much as lots of people here still has to watch…
Amitabh Bachan out performs everyone…..5*
Overall the film was completely disappointment ……..2*
Saving grace Amitabh and script……..boxoffice …….1*….
is this the Amitabh biggest flop ?…….its not even a week and looks like it will be out of cinemas soon….feeling very very sad…:(
Veteran Tamil film director AC Tirulokachandar, who had directed over 60 movies including Tamil, Telugu and some Hindi films, passed away on June 15.
“He was 85 and he passed away at a hospital here due to age related health issues and he is survived by a son and a daughter,” N Shan, son-in-law of Raj Chandar, son of Tirlokachandar told PTI.
Remembered for films in which he directed iconic yesteryear actors like MG Ramachandran and Sivaji Ganesan, he debuted in the Tamil film industry with the 1962 movie Veera Thirumagan, a AVM production.
Before that AC Tirulokachandar worked in film studios and had written numerous short stories in Tamil magazines.
Films like Anbey Vaa (1966), Ramu (1966), Athey Kangal (1967), Naanum Oru Pen (1963), Baratha Vilas (1973), Enga Mama (1970) were among his Tamil hits.
“The last movie that he directed was Sivaji starrer Anbulla Appa (1986),” Shan said.
Totally, he had directed 65 films, most of them in Tamil followed by Telugu and Hindi, he said. He also directed Rajinikanth starrer movies, including Badrakali.
Meanwhile, a press release from his publicist said he won a host of awards, which included Kalaimamani Award from the Tamil Nadu government, and Filmfare Awards.
He also headed a State government panel to select best movies, it added. The cremation would be held on June 16, Shan said.
Chief Minister Jayalalithaa expressed her grief over the demise of the veteran director.
“He was a very learned, and well bred individual and an excellent film director who directed his movies with dexterity,” she said in an official release.
She further stated he was an expert in making women-centric movies and “a pastmaster in excellent characterisation.”
Jayalalithaa recalled that he directed Anbey Va (her mentor and AIADMK founder MG Ramachandran starrer-movie) Deiva Magan, Engiruntho Vanthal, Dharmam Engey and Enga Mama, in which she played the lead roles.
Deiva Magan was first Tamil film sent by India to the Oscars in the best foreign language film category.
The film was the first in India for any language to be screened continuously for one year in a multiplex. The film recorded the highest box-office collections in the history of Kannada cinema and currently holds the record for the longest running film at a multiplex.Overall it ran over 865-days in Karnataka. It was remade in Telugu as Vaana and in Bengali as Premer Kahin. From Wiki.
Enthiran 2.0: Did Akshay Kumar just charge more than superstar Rajinikanth for Shankar’s film?
The makers had initially approached Salman Khan, Hrithik Roshan and Hollywood actor Arnold Schwarzenegger for the antagonist role but nothing panned out well and they ended up signing in Khiladi Kumar for the role.
Yes, you heard it right. Reportedly Akshay Kumar has charged more than superstar Rajinikanth for playing the antagonist role in the upcoming sci-fi thriller, 2.0, according to a report published in DNA.
Akshay Kumar: There is only one superstar in the country and that is Rajinikanth
When the host of the event addressed the actor as “superstar Akshay Kumar’, he reverted back by saying that he is not a superstar and there is only one in the country which is Rajinikanth.
“The lady here announced my name as Superstar. But there is only one Superstar in the country – and that is Rajinikanth sir”, Akshay Kumar said. Undoubtedly, the crowd went into a frenzy after hearing the statement from Khiladi Kumar.
The actor then added that it was ‘dream come true’ for him to work in a direct Tamil film and he is looking forward to working in more south films.
Akshay Kumar is playing the antagonist in Shankar’s upcoming project 2.0, which has Rajinikanth in the lead role. Amy Jackson is playing the lead lady in the film which has music by two-time Academy Award winner AR Rahman.
Aamir however also said that ‘onus and responsibility also lies on artists and director to show what is appropriate.’ “Artists ki bhi responsibility hai ki kuch aisa na dikhaayein (Artist should also see that something inappropriate is not shown). But I hail the Bombay High Court verdict on the issue. It is appreciable that freedom of express has not been killed,” said Aamir.
When asked about a possible sequel to ‘Andaz Apna Apna’, the actor was all smiles saying, “I would love to do ‘Andaz Apna Apna 2’ with Salman. If the script would be good then we will do it. Casting is a creative decision. I hope to work with Salman again but the right script has to come up and the right film has to come up. I’m sure both of us would love to do it. Right now, I don’t have any such script.”
There were rumors of Aamir and Salman having a fallout because of the similarities between ‘Dangal’ and ‘Sultan’ but Khan rubbished them. “‘Sultan’ is coming in July and I am really excited to watch it because every film of Salman is an entertaining watch. We enjoy his films a lot. Despite wrestling being a common aspect in our films, the story of our films is different. I loved the teaser and promo of the film and also the song, which has been coincidentally shot in Punjab. Neither have we done any changes to the Dhobi Pachaad sequence nor have we asked for any. There are different tactics in wrestling. Dhobhi Pachaad is one of them. There is no rule that if one wrestler does a Dhobhi Pachaad, other wrestlers across the country can’t do it. You plan your moves according to different situations you come across during a fight. It can be possible that you Dhobhi Pachaad thrice during one fight.”
amir did not forget to mention his mentor for learning wrestling Kripashankar, who works with the Indian Railways but took out a year of his life to teach Aamir and his onscreen daughters everything about wrestling for the sole purpose of promoting the sport. “Kripashankar ji has taught us wrestling in this film. He is one of India’s national coaches. He works with the Indian Railways. We took special permission for him as our film would promote wrestling in the country. He gave his one year to the film and taught me and my onscreen daughters everything about wrestling. He is a wonderful coach. It is his hard work and mind behind our wrestling moves.”
Lastly, on comparisons with Salman’s body post his fierce transformation, Khan laughed away saying, “I have always been a huge fan of Salman Khan. The industry has always admired his body. If someone has been involved in body building in our industry, it is Salman. I am a fan of his body and his fitness. I don’t think my body is as good as Salman. I try to come close to him, but he is the original bodybuilder of the industry.”
In a recent interview with Times of India in Ludhiana, Aamir Khan opened up about the ‘Udta Punjab’ controversy, sequel to ‘Andaz Apna Apna’, ‘Sultan’ and his transformation for ‘Dangal’. Here are the excerpts from the interview:Khan seemed delighted when he was asked about the decision passed by the High Court on ‘Udta Punjab’ controversy. “We should not press an artist’s voice. Also, artists should be that much responsible that they should show something that is not good for the society. So responsibility should be from both sides. I feel the decision made by High Court is correct and now the film is releasing tomorrow. So, we are eagerly waiting for its release. I’ll watch the film in Punjab only as I’m shooting here,” he said.
When further probed about the movie getting leaked on online platforms, he rebuked the concerned authority, “If it’s not confirmed (whether Censor Board itself has leaked the film), I can’t comment on it. If it is a censor copy, though we are not sure whether it is, then it’s a big shame for the CBFC and it’s something which will reflect very badly on the CBFC.”
On the possibility of it not being a censor copy, he said, “If it’s not a censor copy, then piracy is an issue that we have been fighting for very long and unfortunately, what I feel is that when a common man is watching a pirated film, then he doesn’t understand that he is committing a crime… When we see a pirated film, we don’t even realize that we are committing a crime and doing something wrong. So this sensitivity should increase in the society because we artists work very hard. We should leave it to the audience and let them decide that they won’t do this.”
[These days witch-hunting @anuragkashyap72 is one of the more fashionable things one can do. At least since Bombay Velvet this has become something of a mainstream profession. Now I’m not necessarily sympathizing with Kashyap here (with whom I’ve had my disagreements, often strong ones, and continue to have them) nor am I pretending that he (or anyone else for that matter) is sitting on some higher ethical pedestal (contrary to the self-righteous protestations of many including Kashyap himself in this regard). I am just standing up for a few larger principles here…
1)the politics of hysteria has become a rather significant disease when it comes to the reception of film releases in India. Raavan is still the all-time record holder in my book in this context but there have been others too and once again including Bombay Velvet. To an extent this is par for the course these days as a certain mob sentiment takes over on social media quite frequently. This is the same impulse that once upon a time (and still in some parts of the world including India) drives lynchings and so forth. One can only express disgust at this impulse whenever and wherever it occurs. Unfortunately those who feel so very ‘hurt’ when it happens to their films are not quite as willing to stand up for the films of others. At least not unconditionally. One cannot defend these principles only when it’s about friends or films one supports. One must do so in every instance.
2)But today as with so much else there is a deeper and much more disturbing political strain here where people are also attacked for other ideological reasons. Twitter armies race zombie-like towards any twitter handle deemed to be ‘injurious’ to their own political side. If it’s a celebrity you get two for the price of one. The juvenile (and not less malicious because of this) instinct to drag down a public figure and at the same time coupled with the sanctimoniousness that one has done one’s duty for one’s cause. We see this everywhere, again aided by this new technological universe, and now the arts and entertainment are no exception to it. And so Kashyap finds himself at the receiving end of much of this discourse as well.
3)It’s probably useless to protest as he does that he’s had censorship problems with other governments of other political leanings and that he’s spoken out then also. You can’t exactly argue with zombies. Those hordes get you irrespective of whether you have a good debate to offer or not. Having said that it’s also safe to say that thought Kashyap might not have been friends with other governments he was nonetheless on their side of the ideological divide. Also running into trouble because a film takes on controversial subjects is quite different from militating against a government. I don’t really think Kashyap was doing the latter very much at all but in fairness I don’t believe he’s been indulging in the same at this juncture either. And so many of the attacks on him are really absurd but of course not completely so because zombies on any side of the ideological divide simply don’t like independent humans walking around one way or the other.
4)Once again this is not some sort of defense of Kashyap as a hero of sorts in any sense. I do not believe this and I have good reasons not to. However this is very different from evaluating him as a filmmaker where I continue to believe he’s one of India’s very significant contemporary talents (even if I wish he’d curb his rebellion a bit, relax, and concentrate on making good films! much like his mentor RGV sometimes the sticking-it-to-the-world temptation can overwhelm even the strongest artistic impulses). I have not liked all of his films, I have even argued against many of them but one way or the other I have been interested in all of them (a confession: I have yet to see BV. I didn’t watch it in the theater and didn’t want to do so in an inadequate transfer. Admittedly I’ve had a proper transfer at my disposal for some time now and I hope to get to it sooner than later). Whatever I might think of Kashyap as a human being or as Bollywood’s enfant terrible is less important. It is far more so to argue against this hysteria, whatever form it takes. Filmmakers have missteps. There is nothing particularly odd about this fact. It’s hard to lie down some mistakes for all sorts of reasons. But this doesn’t mean a filmmaker’s intrinsic value is reduced this way. provided he had some in the first place. I continue to believe in Kashyap’s films and voice. Whether I not I subscribe to each and every example of his output is again not very important.
5)We should all find it easy to argue against censorship. Whichever government indulges in this and of whatever persuasion it is simply not acceptable. Not on fraudulent grounds of ‘good taste’ not equally convenient bad faith ones of ‘public order’. People have the right to stay away from a film or work they don’t like. They can protest against it, write against it, do whatever. But they can’t go further than this. Nor do institutions have the right to do the same. And here we are all aware of the notorious examples and infractions of previous governments. That hardly proves anything. Either one considers something wrong or one doesn’t. And even if people argue selectively about these things or discover their consciences only in certain instances this still ought not to stop one from arguing for the larger principle involved.
Once more, and to sum up, if there is a larger, deeper point to all this it’s that one’s positions in this context or any other cannot depend on who is involved or what government is in power or who did what previously. This is simply a way to avoid responsibility and to continue to take sides. One just wishes to keep playing the ideological game and one will latch on to any excuse that allows one to do so. These days in the world of social media one can always find ‘like-minded’ people. In short one can become a zombie if one so wishes. Otherwise one should, in this matter, tick the box named Anurag Kashyap. The principle will have once again been larger than the name or the biographical twists and turns.]
Kashyap is getting a taste of his own chutiyapa.
just a few weeks back he was asking his army to watch Masaan on illegal download or DVD.
His chamchas are all comrades and act like zombies.
But I do understand why you have all of a sudden become a Kashyap fan…LOL
no I am not suddenly a fan. My comment makes that clear. And my comment isn’t about the downloading aspect of it and more about the censorship debate. Beyond this I see folks on the right going crazy about him all of a sudden. In any case my comment isn’t about Kashyap’s hypocrisies or whatever. It’s about the larger issue. And again I continue to find this formula on the right..
1)Something isn’t wrong at all
2)It’s wrong but the previous govt did it too
3)You don’t have a right to criticize this govt because you’re not a fan anyway
the problem is that one is then a perfect example of everything one object to. One considers many things ok today that one found very objectionable yesterday. One keeps finding alibis and excuses not to call something wrong. So on and so forth. I’ve brought up all of this several times before.
By the way it’s a bit odd to blame people for being chamchas or whatever of Kashyap (you’re certainly right here) when the same culture operates with others in the industry as well (how come we never blame Johar’s chamchas?) and furthermore everywhere in politics including all the folks one supports!
Re.One considers many things ok today that one found very objectionable yesterday. One keeps finding alibis and excuses not to call something wrong. And again I continue to find this formula on the right..
Sir please reconsider, all the right wingers supported the Udta Punjab team and were against Nihlani.
OTOH- None of the libtards spoke a word in favor of Vivek Agneehotri .
But again quoting you- one reads news from the same set of people so gets only one side of the news !!
There are two kinds of battles being fought in the Indian Social Media
– Bhakts vs Pseudo Liberals. – Here both parties are equally foolish and equally damaging.
The second battle is the more serious one
– Naivety vs ‘People against hypocrisy’.
The Naive Indians- There are a lot of concerned Indians who feel hurt about throttling of freedom of expression and rightly so. They (along with everyone else) want to see Udta Punjab uncensored. They want Kanhaiya to be able to speak his mind, irrespective of whether they agree to him or not. This is the kind of people any country needs.
The only problem with this lot is that they are driven by whatever media shows them. Hence the all the sympathy wave for Udta Punjab and Dadri but none for Malda. So much concern for the freedom of expression of a Kanahiyaa who speaks against Modi but none whatsoever for Kamlesh Tiwari who spoke against the prophet.
I don’t club the naïve Indians with the pseudo liberals because the former unlike the latter don’t really have an agenda. As social media evolves and becomes more reachable with all kinds of writers its going to be interesting which side it will tilt towards.
@”As social media evolves and becomes more reachable with all kinds of writers its going to be interesting which side it will tilt towards.”
India is a country with known prejudices and ‘societal norms’ has a way of curbing those ‘extremities’ publicly. So in the Indian context freedom of expression takes a very different meaning and mostly is at the cost of wrecking the balance. Everyone knows what one writes is public, but because there’s a screen in front of you, you feel somewhat anonymous.
On an aside, looking to what is happening with Twitter/ Face book and Snap Chat and Whatapp etc we are becoming a disposable society at a much faster pace than earlier imagined. These electronic tools in the hands of Donald Trumps of the world can create havoc with their narcissistic impulses & tweets in no time. So personally I see only bad things happening with this so called freedom of expression in technological world esp if a country has law and order issues and is not fully matured!!
However I just wish to place a disclaimer on freedom of expression ramblings here as I am also a believer in Stephen Hawking kind of thought process where the physicist feels science and technology advances made by the human race would likely be its undoing..