Hindi Cinema Blog

SANJAY DUTT Sentenced to Jail in Mumbai Blasts Case

2013-03-21T20:31:00.000+05:30

Sanjay Dutt (Image: bollywoodgo.net)

One of the Hindi film industry's most talented and prominent actors, Sanjay Dutt, has received the verdict of the Supreme Court, who accuses him of possessing illegal weapons, purchased from the perpetrators of the 1993 Bombay blasts, a case for which he has already served jail in the past.

In a case that has dragged on for 18 years and has seen Dutt detained and bailed on several occasions, the recent verdict brings forward the frightening perspective of keeping the star in jail for 5 years. He has been requested by the Court to surrender within 4 weeks.

The news has seemingly put on hold 4 different films in which Dutt is currently cast: Rajkumar Hirani's "Peekay", Rensil D'Silva's "Unglee" and K. S. Ravikumar's "Policegiri" for which he is currently shooting, as well as Apoorva Lakhia's upcoming film.

The entertainment industry, as well as his huge fan base, have expressed shock regarding the verdict and have voiced their wishes of strength to the star and his family.

GATTU Review: A Child Conquers the Sky

2013-02-28T22:31:00.001+05:30

When a movie without special effects, exotic locations, huge stars and song and dance sequences is released, it tends to be classified in the art film category and is immediately slotted for an intellectual or purely regional audience. Gattu breaks the mould and brings us not only Indian entertainment that will appeal to family audiences but also simple and meaningful cinema.

Rajan Khosa's fable explores the life of a little orphan, Gattu, who lives and works with his chachu (performed by a realistic and pitch-perfect Naresh Kumar) in a scrap recycling yard. Despite his lack of formal education, Gattu is a clever boy who uses his intelligence to lie or steal and therefore be able to buy the necessary material to nurture his passion for kite-flying. Gattu dreams of defeating the best kite-flyer in town, who symbolically flies a black kite and slashes all other flying apprentices down day after day, but whose identity remains a mystery throughout most of the film.When the youngster discovers that the local school's terrace is the highest in town, he uses his street-smartness to sneak out of work everyday, pose as a student in the school and convince other children to join him in a mission to beat Kali the kite... discovering in the meantime that he enjoys school, the meaning of "Satyamev Jayate" and the value of true friendship.

A deeply endearing main character is played by an enormously talented child actor, Mohammad Samad, who could give any adult star a run for their money. Every frame adores him and he shines throughout the simply and subtly filmed story with undeniable panache accompanied by a wonderfully natural crew of fellow children actors. The music throughout the film by Sandesh Shandilya and the background score by K. Sethuraman are both subdued, effective and simply beautiful.

It took several months for me to watch Gattu and it is a film with simplicity that I would not pass the opportunity to watch again. It touches a sensitive variety of subjects such as illiteracy, child labour, education, adult authority over children and ultimately, a soul's resilience and capacity to evolve, even the youngest of them all. Gattu is a short and inspiring tale that will please young and old.

Buy the Gattu DVD at Flipkart

GATTU

Director: Rajan Khosa

Produced by: Children's Film Society

Cast: Mohammad Samad, Jayant Das, Naresh Kumar

Cinematography: Satya Rai Nagpaul

Music: Sandesh Shandilya, K Sethuraman

SPECIAL 26 Review: Thrill is the Word

2013-02-07T19:04:00.001+05:30

A Wednesday was the first Indian film I believe I watched in India and without English subtitles. I still remember a friend translating for me the parts I did not fully understand and feeling how the plot was getting entangled and detangled in my brain. Such a stimulating film had me looking forward to acclaimed director Neeraj Pandey's Special 26 (aka Special Chabbis) and I am glad the waiting is over.

While the director might have been facing nervousness this week before the release, one has to say that a trip to the cinema this weekend to watch it is pretty well worth it!

Special 26 is a film that takes up the true story of an "army" of conmen and makes us enter their universe and that of the officers who wish to capture them. The con artists are known for having carried out fake raids against the corrupt rich and famous in the 1980s, where they skillfully collected the willing victims' black money by posing as income tax or CBI officers. These activities culminated with a famous scam raid they conducted at the Opera House branch of Tribhovandas Bhimji Zaveri jewelers.

I have to confess that one of the reasons I was also awaiting this movie is because it finally looked like Akshay Kumar was dropping the triple "Masala / Martial arts / Sexist comedy star" label he had been linked to in recent times and was ready to give a shot to a more conventional but challenging role.

Photo: Times of India

I am happy to say I am not disappointed! (Add a hip hip hurrah to this). Even though I am not sure his style fully appeals to me, Akshay Kumar gives one of his most honest and proficient performances in this film without relying purely on his physique or his star status. He delivers his character as a sleek, sharp, subtle and charming thief. How can a character like this one not have layers? A big thumbs up to Akshay for having said a big "YES" to Neeraj Pandey this time.

And a big bravo to Pandey and his team for duly casting his film and paying such attention to detail. Every frame seems to be taken from a time machine ride into the 1980s and each actor brings his/her talent to the script. The same attention to detail may not be 100% foolproof in terms of script in a few instances, such as the unnecessary song/dance/romance sequences (which make Kajal Aggarwal's performance less likely to be appreciated) as well as an audition towards the end of the second half of the film. The soundtrack is not one of my favorites either but I do confess I am not exactly known to be a Himesh Reshammiya fan.

Photo: Bollywoodtrade

Overall, Special 26 counts with skillful performances and an engaging plot. A special mention goes to a show-stealing Manoj Bajpayee, whose talent pierces the screen when he portrays a police officer's life, tribulations and emotions as I have rarely seen recently in police-inspired films.

One should now have the pleasure of watching Special 26 several times until Neeraj Pandey's next, a comedy script allegedly titled Aman ki Asha starring Ali Zafar, Yami Gautam, Kirron Kher and Anupam Kher.

Read more about Special 26 on Wikipedia or on IMDb
Add Special 26 on Facebook
Follow Special 26 on Twitter
Purchase Special 26 soundtrack on Itunes

SPECIAL 26

Directed by: Neeraj Pandey

Produced by: Viacom 18 Motion Pictures, Friday Filmworks, Kumar Mangat, Shital Bhatia

Written by: Neeraj Pandey

Cast: Akshay Kumar, Kajal Aggarwal, Jimmy Shergill, Manoj Bajpayee, Anupam Kher, Divya Dutta

Music by: M. M. Keeravani, Himesh Reshammiya, Chandan Sharma

Cinematography: Bobby Singh

VISHWAROOP and the Voice of Kamal Hassan

2013-02-01T10:27:00.000+05:30


Kamal Hassan and Pooja Kumar at media meet in Bombay

Photograph by: Bollywoodhungama.com

India is a democracy that is admired by many a country in the world but when sensibilities in religious or communal groups are easily hurt, the foreign community observes with disarray and realizes how fragile a huge democracy might actually be.

Kamal Hassan's Vishwaroopam has been receiving good reviews from movie critics but has hurt a highly sensitive sector of the Muslim community this past week, thus sadly becoming the reason for a government issued ban on the film's release in the entire state of Tamil Nadu. Negotiations between Hassan's supporters, the government and the film's detractors have however luckily softened the initial protests that made it controversial and the film is set to release in Bombay this Friday, as originally programmed, while it is still banned in UP and Malaysia as we write.

The press in different sectors reports that protestors have not been able to provide proper arguments to support their cause given that the film solely portrays what is a sad reality in certain areas of Afghanistan: mainly the suffering of the Afghani population who is caught in the middle of a conflict between Al-Qaeda jihadis and the USA.

Let us not forget that Kamal Hassan is also the actor who made Hey Ram, a film that portrayed Hindu extremism. He is not a creative person to shy out of expressing his opinion through his work and this needs to be saluted. The protests and various bans seem deeply unfounded and it is sad to see that communities feel so easily targeted in a country that could be an example to many for its diversity. Communities should be aware that protesting against artistic liberty of expression, especially one that is not portraying their religion and community in a truly negative light, gives them more bad press than good reputation...

May Bombay's reaction to the film today clear any doubts of the national and international Muslim community regarding the film's intentions. May DTH releases, Internet paid screenings and other modern solutions for the cinema industry also free up creativity and allow viewers to have a choice and an option beyond what mobs or sudden bans can allow in the future.

Bollywood Infomercial Sleek: RACE 2 Review

2013-01-30T10:31:00.000+05:30

Let us quote and interview of Johann Verheem, founder of a weight loss company who became famous overnight due to one of his infomercials: “It's not just that sex sells, but one of the other things very important in direct selling, in infomercials, is that a product looks different enough for someone to stop and watch it.” (Inc. magazine)

Verheem's expert knowledge of "what sells" completely matches my impression of Abbas and Mustan Burmawalla's Race 2, where a score of gorgeous males and females show off their tanned and chiseled bodies and brand clothes in luxurious settings while trying to appear cool by emoting as minimum as possible and handling uncannily humongous sums of money (plus the shroud of Turin!) throughout a plot that unfortunately keeps craving for an ending well before the intermission.

Race 2 has a huge share of entertaining visuals, tons of bikinis, sleek cars and action scenes, commercial music and dance, a pinch of surprise and parachutes as well as cheesy sexist humor, such as lines uttered by a boss to his assistant: "Really Cherry! I don't have time to pop your cherry!"... How difficult was it to find that line?? :-(

It is enough to make anyone, quoting Verheem, "stop and watch it". But is it all there to ensure entertainment? I remain unsure of this and cannot fully comprehend why well-to-do actors - and producers!- would need to even accept such a script. Is it the perks of shooting in Turkey? Is it the gorgeous company? Or is the Indian public really going to pay for cinema that does not give them enough credit? Is Race 2 a long series of images or action clips that are only there for the sole purpose of selling a product: the film?

There is only so many minutes I can stand watching an engaging infomercial and Race 2 lasts for an excruciating 2 hours and a half to end in a climax that is decent but far from mind blowing. The film gave me the feeling of watching an endless teaser. Fortunately, Salim-Sulaiman's background score kept my ears engaged when necessary.

I wish John Abraham would stick to producing the good scripts he has an eye for (such as Vicky Donor). I wish Saif Ali Khan would become the emotive actor I used to like in Dil Chahta Hai, Being Cyrus, Parineeta, Omkara or Kal Ho Na Ho and wonder why he sadly keeps being slotted at the moment mainly in action movies that are not aiming for the potential he truly has. I deplore that beautiful Ameesha Patel accepted a role where she was to be treated in such a condescending macho way. I have nothing to say about Deepika Padukone, who for me is more of a top model and seems time and again to have no business in acting as she struggles to make audiences genuinely feel for each and every one of her characters.

All in all, if you are bored or need to empty your brain on some sexy music videos with easy tunes and images of luxurious destinations and beautiful bodies, go for it. If you like action movies with hardly any neuron stimulation while you laze out on the couch on a Sunday, do watch Race 2 on cable when it comes out. I leave it to the choice of the reader if opening your pocket is a good option to see the film in the cinema or on DVD.

Check out the Race 2 official trailer on Youtube
Learn more about Race 2 on Wikipedia
Get more information on Race 2 on IMDb
Follow Race 2 on Twitter
Get Race 2 updates on Facebook
Buy the Race 2 soundtrack on Itunes

RACE 2

Directed by: Abbas-Mustan

Produced by: Ramesh S. Taurani, Ronnie Screwvala, Siddharth Roy Kapur

Written by: Shiraz Ahmed

Cast: Saif Ali Khan, Deepika Padukone, John Abraham, Jacqueline Fernandez, Anil Kapoor, Ameesha Patel

Music by: Pritam, Atif Aslam

Background Score: Salim-Sulaiman

Cinematography: Ravi Yadav

MATRU KI BIJLEE KA MANDOLA Review: Bhardwaj's Off-beat Genius

2013-01-13T13:00:00.000+05:30

It was enough to see the promos featuring a smiling pink buffalo, Gulabi Bhains, prior to a Talaash screening to convince us we needed to watch Matru ki Bijlee ka Mandola. Seeing Vishal Bhardwaj's name appended to it convinced us further...

Though the plot has been analyzed and sometimes criticized by first-time viewers across the press expecting a mainstream movie with a dash of quirkiness or originality from Vishal Bhardwaj, I have to say I find most critics who were disappointed with Matru ki Bijlee ka Mandola have missed its point. In my very humble opinion, the movie's disjointedness and wackiness was written on purpose. One scene jumps to the next, the absurd creeps up every other scene and the plot includes a critical view of Indian village society while at the same time providing funny cracks. The film might not have the duality of Kaminey or the straightforward drama of Omkara; it might at times seem like Bhardwaj wrote a set of unfinished brilliant sketches for a set of characters he fleshed out in advance; but ultimately, the film follows a thread of veiled, surrealistic but effective critique of India that can absolutely not be brushed off.

Politics, the powerlessness of villagers, the overpowering decisions of industrialists, corruption, class differences, the whimsy choices of wealthy youth, to women's self-consciousness about their body weight, it is all more or less there in a rowdy sequence of scenes or dialogue. Speaking of dialogue, I have seldom seen such rich content in an Indian movie be effectively streamlined by tight and to-the-point dialogue. There is no bla-bla-bla in MKBKM. A special mention also goes to the cinematography by Kartik Vijay, which matches the dialogue's and film message's wit.

The film is a must-watch - and re-watch - for thinking Indians and for audiences who appreciate a true and talented performance by its actors, Pankaj Kapur effortlessly carries off the honours with his best performance to date. He is a fine pleasure to watch and takes the film to its purpose. After watching him, I wish several Bollywood stars would see the film repeatedly to learn histrionics! Shabana Azmi does justice to her pivotal role, as does her "son", Arya Babbar. Anushka Sharma is pretty, talented and lively as in other roles she has been featured in recently. One has to salute her for picking this offbeat satire and giving it her best. Another actor to be saluted for participating in this social critique is Imran Khan. One has the impression of seeing the real person behind the actor when he accepts satirical roles (remember Delhi Belly?). His performance as an educated Haryana village youth overpowers all his previous chocolatey roles.

Watch Matru ki Bijlee ka Mandola. Enter the cinema, take a seat, fasten your seatbelt, explore what Vishal Bhardwaj dreams about at night and observe the pink buffaloes! They have much to say with that grin of theirs.

Purchase the Matru Ki Bijlee Ka Mandola soundtrack
Visit the Matru Ki Bijlee Ka Mandola offiicial Facebook site
Watch the Matru Ki Bijlee Ka Mandola trailer
Read more information on Matru Ki Bijlee Ka Mandola on Wikipedia

MATRU KI BIJLEE KA MANDOLA

Directed by: Vishal Bhardwaj

Produced by: Vishal Bhardwaj, Fox Star Studios

Written by: Vishal Bhardwaj, Abhishek Chaubey

Cast: Imran Khan, Anushka Sharma, Pankaj Kapoor, Arya Babbar, Shabana Azmi

Music by: Vishal Bhardwaj
Cinematography: Kartik Vijay

DABANGG 2 Review: Chulbul Pandey Came and Went

2013-01-05T15:00:00.000+05:30

Bombay moviegoer's expectations were ablaze viewing the giant posters of Bollywood’s most masalaic hero pointing a gun at cars passing by on high avenues. The sequel to one of the cinema industry’s most recent box office monuments, Dabangg, was about to conquer the Indian psyche, or so it seemed...

While I am aware of the huge following Salman Khan has among Indians and while I do believe the icon he has become can become an acquired taste for those of us who did not grow up with masala as a run-of-the-mill method of storytelling, this blogger remains nonetheless underwhelmed with the result of the sequel to a very innovative and entertaining original Dabangg.

Dabangg 2 shows Chulbul Pandey (Salman Khan) being transferred to a police station in Kanpur, where his worst enemy becomes Bachcha Bhaiya (Prakash Raj), a vilain who is interested in becoming involved in local politics. By fighting crime, Chulbul Pandey kills Bachcha's brother and this sparks up a war between both main characters, involving temple-going Rajjo (Sonakshi Sinha), who is Chulbul's wife in the plot.

The film is a show for Salman Khan fans. Yes, he beats up the bad guys, takes off his shirt, cracks acid jokes. But apart from this there is too little to chew on in matters of a plot or even congruency. The clever component of the original Dabangg is cruelly missing in its sequel and one wonders why the Dabangg team might have wanted to release a pale film based on such a cult character.

Dabangg 2 sadly does not reflect love for cinema, but more of a love for box office numbers (this including $$$). Unconditional Salman Khan fans, please enjoy. The rest would be advised to wait for the actor's next.

DABANGG 2

Directed by: Arbaaz Khan

Produced by: Arbaaz Khan, Malaika Arora Khan

Written by: Dilip Shukla

Cast: Salman Khan, Sonakshi Sinha, Prakash Raj, Arbaaz Khan, Vinod Khanna

Music by: Sajid-Wajid

TOP 2012 BOLLYWOOD SONGS greet 2013

2012-12-31T17:08:00.000+05:30

Bollywood Hindi hits of 2012 greet the New Year. - Picture by: Thitimon Toyai

At the sound of crackers and cheer, the Hindi Cinema Blog welcomes 2013 with a celebration of the best 2012 Bollywood songs and albums that will continue to move audiences beyond the holiday season. Here is our humble pick for a TOP TEN (plus one!) songs classified into categories as we raise a toast to a very groovy 2013! Happy New Year!

Check our memorable Romantic, Dance and Atypical Top Ten Hits for 2012:
Romantic hits
Mohabbat from Ek Deewana Tha

Performed by AR Rahman, the song tinkles with jazzy romance. The promotional video features the composer and singer himself.

Main Kya Karoon from Barfi!

Celebrating the overwhelming butterflies that fly in one's tummy when love knocks at your door, Pritam created a Brazilian rhythmed tune sung by Nikhil Paul George, which charmed its way into our permanent favorites.

O Saiyyan from Agneepath

An already touching melody and arrangment by Ajay-Atul featured one of the greatest vocalists, Sonu Nigaam, making the song enter everyone's top hit list this year.

Pani da rang from Vicky Donor

Simplicity frames actor and singer Ayusman Khurana's voice creating a clean-cut pop romantic song that surprised listeners as much as the film.

Heer from Jab Tak Hai Jaan

Magnificent lyrics, as is to be expected from Gulzar, in this beautiful song by AR Rahman. A diamond of a song.

Dance 2013 away

Chikni Chameli from Agneepath

Shreya Ghoshal's pristine vocals accompanied Katrina Kaif dancing to the modern version of a Marathi folk tune, taking India by storm.

Jab se Mere Dil ko Uf! from Teri Meri Kahaani

Sunidhi Chauhan and Sonu Nigaam rock the decades away in this very catchy tune by Sajid-Wajid.

Ek Main aur Ekk Tu theme song
Poppish disco style, auto-tune, peppy rhythm, it is all there for party lovers to enjoy!

Aunty-Ji from Ek Main aur Ekk Tu
Yes, oh well, two tunes from the same album... What to do if both are fun to dance a late night to?

The atypical hit

Aami Shotti Bolchi from Kahaani

If we could nominate music for the Best Album category for 2012, our prize would definitely go to the Kahaani soundtrack, for the excellent work done by Vishal-Shekhar. "Aami Shotti Bolchi" sums up their genius in that venture!

Muskhaanien Jhooti Hai from Talaash

An eerie jazz tune with tight lyrics by Javed Akhtar titillates your ears, becoming what we believe is the best tune in the Talaash soundtrack.

Last but not least, after this Top Ten (and the quintessential "aur ek" we at HCB are so used to allowing ourselves), we are excitedly waiting for one of the most promising 2013 soundtracks: Bhaag Milkha Bhaag (film by Rakeysh Omprakash Mehra, starring Farhan Akhtar), by Shankar Ehsaan Loy. The trailer provides a powerful preview through an excerpt of the track "Zinda Hai Toh".

Cheers to a 2013 filled with music!

KAMAL HASSAN's DTH Revolution for VISHWAROOPAM

2012-12-12T13:30:00.000+05:30

Kamal Hassan is reportedly exploring the possibility of releasing his new Tamil film, Vishwaroopam, through telecast on a DTH platform on Thursday, January 10, before its full-fledged theatrical release. This is a new approach to publicity for the film and is a technique believed to create a positive word-of-mouth that will incite crowds to watch it at the cinema. The DTH operators telecasting this release would be Airtel, Dish, Videocom and Reliance while the film would have a simultaneous release in Los Angeles.

In a country where cinema-goers visit the cinema several times to watch their favorite hit film, this might be quite a strategy. Multiplex owners however are extremely worried this might negatively impact their business.

While skepticism from movie theatre owners may seem well justified, it remains to be seen if their fears are properly founded. A good film, and Kamal Hassan would seem very confident about his newest venture, just might make this experiment work.

The industry should watch closely and continue to attempt new ways of releasing films at a time when many blockbusters are sold as pirate DVD copies around town from the night of their release onwards. A release in both online and cinema platforms might be a solution, or maybe Kamal Hassan’s solution will spread like fire… May the film world keep closely watching.

Hrithik Roshan launches Virtual Academy of Cinema

2012-12-09T17:30:00.000+05:30

Whistling Woods International has recently launched the first ever Virtual Academy of Filmmaking, which has created its first online course. Hrithik Roshan was present to launch the new programme. He praised the institution and expressed his admiration for all the people who are a part of it, from its creators to its students.

The actor additionally hosted a masterclass at the school. Approximately three hundred students attended the class and participated in a final Q&A session which gave them an insight into the star’s experience of cinema, how he has come to value each experience he has encountered in his profession and how he advices each and every student to be fearless in their approach to cinema.

TALAASH: A Puzzle Unsolved

2012-12-08T15:02:00.000+05:30

**Review contains spoilers**

After queueing for tickets unsuccessfully a few times, today I was finally able to enter the cinema hall to watch Talaash, a film that had remained mysterious through its filming and even during its promotion for me and which I was patiently waiting to unveil.

Let's cut to the chase: The film starts with a fine cinematic glossing over Bombay’s underworld, sung masterfully by Suman Sridhar in what I believe is the most original song in the soundtrack. The poor, the gamblers, the prostitutes, the forgotten are all shown through a skillful lens… Once the tone has been set, a car falls into the sea in an accident that will become the object of investigation for inspector Surjan Singh Shekhawat (Aamir Khan). A few scenes later, the audience realizes that the inspector has lost his young son in an underwater accident too. This has affected his relationship with his beautiful wife (Rani Mukherji). The plot is set to deliver a profound psychological suspense drama. The audience’s curiosity is piqued as to how the main character will be freed from his grief through the findings he will make in his crime investigation.

When all seemed to be going well, despite a few easily forgettable inconsistencies, I felt sidetracked when the film turned towards spiritism and mediums to pepper an otherwise engaging storyline. So much, I believe, could have been achieved by sticking to the film’s fundamental and earthbound premise, such a touching story is that of a parent's grief over the loss of a little one, that I was left wondering why a medium would be incorporated into the plot. "Oh well, maybe the medium has something to do with the car accident," I thought..

I was wrong. Talaash actually uses its supernatural premise to finally liberate the main character from the anger and grief linked to the terrible loss of his beloved son. As I heard part of the audience start laughing in disbelief while watching the final scenes where all is revealed, I could not help but wonder why such a taut mystery needed to be solved through supernatural means. Why not? But yet why indeed? Additionally, the director or writer spells things out even more for the viewer in a final excavation scene, as if we had not understood who the ghost is and what his/her purpose is. This scene, in my view, should have been edited out to make the film’s statement more thought provoking or to make the surprise effect linger a bit in the audience.

After coming out of the cinema hall, I have been inevitably comparing Talaash to other Hollywood or world cinema psychological suspense dramas and I am left saddened to be left with the feeling that Talaash, as a script, was not up to a mark it could have very easily reached.

Watch Talaash for its extremely fine acting, mainly by the two female protagonists and Nawazuddin Siddiqui, who I was very eager to watch in a meaty role. He completely nails his character and will keep audiences glued to the screen. Aamir Khan is as always, a pleasure to watch, though I have to say that this is one of the roles where I was most unable to see the scope of his talent and sadly so. He reminded me of French 70s suspense heroes, who were the epitome of elegance by maintaining a similar expression throughout the entire film as to convey their strength and maleness. He does an excellent job in his very last scene and in the instances in which he is ridden with guilt throughout the film, but I would have liked to see and feel more from him and have unfortunately been left unsatisfied in that sense. A huge thumbs up to him however for appearing in romantic scenes with a heroine who is of his own generation (this blogger has been rooting for that to happen for most 40-something heroes). The couple looks beautiful and highly convincing together.

I am certain viewers looking for a supernatural thriller will be much more enticed by the film than those simply expecting a good mystery with a heavy psychological component. Be warned but most of all... watch it and enjoy the search.

Shah Rukh Star Power in Marrakesh

2012-12-04T19:15:00.000+05:30

The Marrakesh International Film Festival met with an euphoric crowd of more than 50,000 people at the Jemaa el-Fna square for several hours as fans awaited Shah Rukh Khan to grace the event’s red carpet. The star seemed so moved that he braved his own security to wave at the thousands gathered there.

Indian cinema has a huge following in Morocco and throughout Africa, which also caused crowd incidents when in 2007 Shah Rukh Khan, accompanied by Rani Mukherjee, Preity Zinta and the late Yash Chopra visited France, a country where a large population of Moroccan immigrants has taken residence.

Prince Moulay Rachid later invited the star to a royal dinner and presented Shah Rukh Khan with the Medal of Honour of Morocco for his contribution to cinema.

LIFE OF PI: Depths of a Soul's Ocean

2012-12-04T08:08:00.000+05:30

Not having read the book Life of Pi, by Yann Martel, I was skeptical about taking the “theatre leap” to watch a film based on such a universally praised novel. Facebook echoes of pleased viewers in India and the talent-studded cast of Irrfan Khan, Tabu, Gérard Dépardieu and Adil Hussain however ended nudging me towards watching the tigersome adventure.

I can joyfully say I was not disappointed. Apart from a few lengthy areas, the story had my companion and me hoping, feeling, smiling or speechless for the protagonist. And just when you think all has been said and done in the story, Pi’s ark provokes more thoughts and feelings than you expected.

It all starts with a parable narrated by mature Pi to a Western writer in search of a good story to write a novel. Pi, which is a nickname for the quirky name Piscine Molitor (the boy was named after a high end public swimming pool in Paris), leaves India on a ship with his family looking for a better destiny. He travels not only with his mother, father and brother but with an entire menagerie of exotic animals, which his father, a former zoo owner, hopes to sell in America. One night, the ship they have boarded faces a violent storm that leaves Pi alone, stranded on a boat, in the middle of the sea together with a zebra, a hyena, an orangutan and a beautiful Bengal tiger named Richard Parker. As the story unfolds, Pi’s relationship with the tiger will develop from fearful and violent into that of understanding, respect, protection and wise detachment.

Even though some youngsters commented after the movie that they could see the animals in the film were not real but computer generated, I believe the animation effects were top end, whether they were used to create animals or the various surreal skies and waters necessary to create the magical atmosphere that would match Pi’s miracle story.

Irrfan Khan, Tabu and Adil Hussain all frame Ang Lee’s movie beautifully, but it is Suraj Sharma who appears stunningly talented at several points throughout the film. Acting well opposite other actors is already quite a craft, but acting convincingly opposite thin air is even more commendable. This was something most viewers discussed and expressed admiration towards as we all came out of the theatre.

Though I do wish the film had clued me into knowing that the story it was telling from the beginning was a parable, we had a good time and I can say that a sure thing the film has done, is push me towards buying the book to go into more depth. A beautiful parable of self-discovery deserves more time and reflection than what a movie, even an excellent one, might be able to encompass. I bow to Ang Lee for making a movie that honors the story it is telling and pushes one to look further into the mysteries of the soul.

Visit the Life of Pi official website

LIFE OF PI

Director: Ang Lee

Writers: David Magee, Yann Martel

Production: Ang Lee, David Lee

Cast: Suraj Sharma, Irrfan Khan, Tabu, Adil Hussain, Gérard Dépardieu

Visual effects: Rhythm & Hues Studios

INTERNATIONAL FILM FESTIVAL OF INDIA in GOA 2012

2012-11-29T00:43:00.000+05:30

“Wow! Someone who says there is more to Goa than its beaches!” a colleague teased me when he found out I was trying to reach Goa’s Maquinez Palace in Panjim in time for the 43^rd International Film Festival of India.

I rightfully did not want to miss the opportunity of seeing how Goans, filmmakers and delegates from throughout the world celebrated 100 years of Indian cinema this 2012. Apart from the international film category, the festival incorporated all-time Bollywood hits as well as several carefully selected films from all over the country, showcasing India’s diversity. From all the films selected for the programme, the following are a few of my favorite picks:

Samhita by Sunil Sukthankar: Two eras come together to question whether we are truly writing the script of our own life or giving in to the various pressures surrounding us.

Munich in India by Konstantin Fritz: A German painter lived in India in the 1930s and filmed his life there. His grandson follows his grandfather’s steps creating a portrait of yesterday and today’s India.

Dreaming of Taj Mahal by Nirmal Chander: A moving documentary on the true story of a Pakistani driver whose ultimate dream is to get an Indian visa to visit the Taj Mahal.

Lessons in Forgetting by Unni Vijayan: Based on Anita Nair’s book with the same title, the film tells the story of Meera, a middle-aged woman.

Ithramathram by Dr. K. Gopinathan: A Malayalam film. The unexpected death of a thirty-eight-year-old woman called Sumitra leaves her husband and daughter completely lost and helpless. Reflections on an individual’s death become a wondrous evocation of the colour, zest and zeal of the entire village life and entire network of collective human destiny.

Digant by Dnyanesh Moghe: A Konkani film in which the divide between urban and village life is explored through the nomadic “Gowli” community in Goa.

Garm Hava by M S Sathyu: The original 1973 film has been digitalized and restored to please current young audiences.

The festival offered viewers the occasion to rewatch box office or acclaimed hits on the big screen such as Pyaasa, Sholay, Lagaan, Mughal-e-Azam, The Namesake or Lage Raho Munna Bhai. Apart from films and open forums with international and national filmmakers and actors (such as Tabu and Irrfan Khan), there were also drama and music celebrations throughout Goa under the Chitrashatabdi – 100 Years of Indian Cinema programme, such as the November 27 performance by Sukhwinder Singh and a Footsteps of Bollywood event the following day. Bollywood stars Zeenat Aman and Bipasha Basu also walked the ramp at two different fashion events in Goa during the festival while Akshay Kumar graced the festival's opening ceremony.

Aside from the festivities, a stay in Panjim also granted authentic Portuguese-style surroundings, a laid back city atmosphere and fantastic cuisine – who invented the sinful bebinca? The stay was indeed in itself uma festa maravilhosa! (a wonderful celebration!)

YASH CHOPRA Rest in Peace

2012-10-23T21:41:00.000+05:30

To most Bollywood viewers abroad, the name Yash Chopra conjures memories of discovering the world of Indian cinema, its emotions, its romance, its beauty and its music.

The king of Bollywood romance passed away on October 21st following a multiple organ failure after succumbing to a serious strain of dengue fever. The film fraternity, friends and family have come to pay their homage at Studio 3 of Yash Raj studios before cremation took place. Colleagues from the film fraternity present at the studio were Shyam Benegal, Gulzar, Tabu, Shah Rukh Khan, Shankar-Ehsaan-Loy, Rishi Kapoor, Vidya Balan, Ranbir Kapoor, Shahid Kapoor, Subhash Ghai and Ashutosh Gowariker among many others.

Chopra had decided to retire from behind the camera with his last film, Jab Tak Hai Jaan, starring Shah Rukh Khan, Katrina Kaif and Anushka Sharma. The film is said to purposefully include scenes shot in many of Chopra's emblematic and favorite locations, such as the Swiss Alps. Today the film not only symbolizes Yash Chopra's last directorial venture but also his definite farewell to the film industry and to his loved ones.

Beyond the fact that this reporter once had the very brief pleasure of encountering Yash Chopra and his wife Pamela, it is the characteristic fairy tale romance and emotions of his escapist films, as well as the brilliant idea of successfully bringing Madan Mohan's music again to life through the film Veer-Zara, that will stay with me. May his creative soul rest in peace.

ENGLISH VINGLISH: A Queen Empowered

2012-10-12T19:57:00.000+05:30

More than one 90s queen of Bollywood has set her sights on making a "comeback" with a film that showcases her middle-age talent and beauty. Madhuri Dixit's Aaja Nachle and a more recent Aiyyaa starring Rani Mukherjee have received lukewarm responses, however a rare jewel of Hindi cinema was still to appear with the comeback of Sridevi, who held the coveted role of India's sweetheart for many a year.

I believe I have less words to express how strongly I recommend watching English Vinglish than for any other review I have written before. Quite simply because English Vinglish is much better watched than read through another viewer's eyes, as colorful or detailed critics as they may be.

The film's tale personally rang a thousand bells and pulled many heartstrings for the moviegoer I am, including the feeling of being completely helpless in a foreign culture, the judgmental stance of people who are in a better position than others, the frustration a housewife can endure when she repeatedly struggles to find respect or the abyssal freedom she may feel when she suddenly senses the spark of her empowerment. English Vinglish at instances made me vaguely recall the Marjane Sartrapi's disarming Persepolis, James L. Brook's broadminded Spanglish and other few films who explore the thoughts and emotions of those who are confronted to a new way of life and different cultural values. English Vinglish however brings a different and very welcome hue to the topic and is right up there with those wonderful filmic reflections by such respected directors and writers.

One of the most important reasons most viewers will purchase their ticket is to see Sridevi, who is back in what I consider to be her most beautiful appearance. Without excessive makeup, dressed modestly and with a discreet demeanor, Shashi (Sridevi's character) stands above her past performances as a model of class, grace and delicatesse. But concentrating on her looks would be missing the point. Sridevi has chosen an equally subtle, classy and discreet script with a role to suit and this is her major strength along with that of bringing her character to life in a way that one is left wondering if she ever made a faux-pas or a mistake in the way she was portraying Shashi. The answer is a clear: NO. She is mighty perfect! Every gesture, move of the hand, motion in her eyes is her character. What an absolute treat it is to watch an excellent actress perform!

Apart from Sridevi and her fabulous choice of script and character, there are several other good reasons to go catch English Vinglish today:

One of Amitabh Bachchan's most charming cameos to date.
A very moving supporting cast with a special mention for Mehdi Nebbou, who plays Frenchman Laurent, a character who is exactly where and how he should be in the story. Where most Hindi films use, in my opinion, moderately talented foreign actors when in need of them, or have the entire foreign cast speak Hindi as if they were born and raised in India, English Vinglish keeps everyone's identity and accent, has talented supporting foreign actors and this adds to the story's rich quality.
A beautiful final statement, and here I will not say more to not reveal the story to our readers.
Yes, this is is a "chick" theme, but guys are welcome to view it too, for the film's profound ability to put any viewer, regardless of their age or sex, in Shashi's shoes. Wah wah!
A sweet, simple and moving story.

So what are you waiting for... Check the timings. Buy the ticket. Watch the lights go out. Plunge and enjoy the comeback.

Directed by: Gauri Shinde

Writing credits: Gauri Shinde

Cast:

Sridevi
Adil Hussain
Mehdi Nebbou
Priya Anand
Sulabha Deshpande
Sujatha Kumar
Navika Kotia
Shivansh Kotia

Visit the English Vinglish official website
Check out what is happening for English Vinglish on Facebook

BHOOTER BHOBISHYOT: Spooky Wit Unleashed!

2012-10-01T23:56:00.000+05:30

Today's film review may be coming a bit late but when the Hindi Cinema Blog comes across witty and fun cinema, we tend to say "better late than never"!

Bhooter Bhobishyot is a witty tale that gives us food for thought as it tells us the story of ancient Calcutta mansions which are being increasingly demolished to make way for the construction of modern shopping malls. The catch is that ghosts that inhabited and happily haunted the capital's heritage properties are finding themselves homeless without the civil society or the government doing anything about it! Ayan (Parambrata Chatterjee, who, for Bollywood buffs unfamiliar with Tollywood, is the pitch-perfect actor who starred opposite Vidya Balan in Kahaani) is an aspiring feature film maker. He listens to the story of a motley crew of ghosts from all social backgrounds, times, creeds, tastes and even nationalities in the search for the perfect plot to make a super hit movie.

A huge applause goes to Anik Dutta for the dialogues as well as to all actors, holding a special mention for Sabyasachi Chakraborty, who appears as a masterful storyteller. Despite the fact that I am not a Bengali speaker and cannot claim to have understood all of the various hilarious satiric references throughout the film, I was still completely charmed by the story, simple and efficient direction and most of the dialogue. Wit reaches far heights thanks to incisively funny lines and references: A yesteryear film star character named Kadalibala (which may be translated as "Bananabala") discusses flirting techniques with a low-waist-jean-clad teen in the hopes of finding a young "bhoot" boyfriend. Episodes of India's history merrily mix together while a ringtone using "Satyajit Ray's voice" chirps in the background. Modern ghosts hang out at the most happening social media network: Spookbook... and the list continues at a happy pace, only to be occasionally slowed down by musical interludes which I would have personally done without, except for the final item number.

The real question is, will this spooky crowd succeed in putting their joint effort towards saving their crumbling home, Chowdhuribari mansion? The answer is possibly in a quote belonging to cultivated gangster "Promod" (get it?) Podhan: “United we stand... Divided we misunderstand!”

Watch the Bhooter Bhobishyot trailer

Read more about Bhooter Bhobishyot on Wikipedia

Directed by: Anik Dutta

Produced by: Joy Ganguly

Dialogue and screenplay: Anik Dutta

Cast: Swastika Mukherjee, Parambrata Chatterjee, Sabyasachi Chakraborty, Paran Bandyopadhyay,

Samadarshi Dutta, Pablo Patranabis, Mumtaz Sorcar, Paran Banerjee, Biswajit Chakraborty, Mir Afsar Ali, Kharaj Mukherjee, Sumit Samaddar, George Baker, Monami Ghosh

Masterful Kapoor in BARFI!

2012-09-15T02:06:00.003+05:30

Long before Ranbir Kapoor, Ileana D'Cruz and Priyanka Chopra faced a stampede in Bangalore a few days ago, Barfi! had entered my consciousness with its adorable trailer. Having watched it at its release, I have searched my words for several hours and would say that the film does not end when one comes out of the cinema hall. This one stays with you well beyond.

Barfi! is the story of Murphy/Barfi (Ranbir Kapoor) set in 1970's Darjeeling and Calcutta. Barfi is a mischievous and clever deaf-mute youth who falls in love with Shruti (Ileana D'Cruz). While Shruti feels affection for Barfi, she prefers to marry a man approved by her parents. When several years later, Shruti and Barfi meet again, he lives with Jhilmil (Priyanka Chopra), his autistic childhood friend who suddenly goes missing. As Shruti helps Barfi find the girl he now loves, she understands that she has never stopped loving him. Love and the pursuit of happiness are delicately portrayed by all three actors.

Barfi! has it all, starting by its delicate and pacy script, absolutely charming music and lyrics often taking center stage, beautiful cinematography, emotions, excellent comedy and a well sought-out and directed cast. Protagonists and second roles included.

A beautiful Ileana D'Cruz, one of Telugu cinema's leading actresses, is a fine match for Ranbir Kapoor. She looks the part and smoothly takes the plot to emotional places that are difficult to attain for an actor, particularly because she is mostly silent herself when she is with her costar. Priyanka Chopra, completely devoid of her beauty queen aura gives a subdued performance. I still have to find a role in which the actress makes me feel for the character and I do wish she had been given a tad more scope to relate to her, but she is quite commendable in her role. Where most Indian films with protagonists who are mentally or physically challenged struggle with accuracy and sentimentalism, Barfi! does just the opposite. Anurag Basu's writing conveys that "different" does not mean "strange", but simply "human", and that is only one of the elements for which the story should be strongly applauded.

The leading man, Ranbir Kapoor, is absolutely masterful. As I watched him, so many memories of Raj Kapoor's best moments appeared. Ranbir is his grandfather's grandson indeed. Chaplin, Mr. Bean and Georges Valentin (The Artist) all come to mind but are surpassed as the actor creates a character which is even more enchanting and endearing. I have not been moved by a performance in Indian cinema in a long time as I have by this one, in which the actor expresses so many nuances of emotion and life with pitch-perfect histrionics and not a single word! I would fearlessly say that young heroines now have their ideal counterpart in young Ranbir, a man who is good at his craft, is no longer promising or building his career, but has in my honest opinion, reached the start of its peak. May he continue gracing our cinema screens for a very long time.

Love, the true kind, is made of happiness, even when that happiness is not directly ours to own. Barfi! is an ode to that principle and more. Anurag Basu's delicate and humourous watercolour of life's twists and beauties has released and it is cinema not to be missed.

Visit the Barfi! webpage for stills and more information on the film.

BARFI!

Director and screenplay: Anurag Basu

Cast

Priyanka Chopra

Ileana D'cruz

Ranbir Kapoor
Shaurabh Shukla
Rahul Garg
Sumona Chakravarti
Bhola Raja Sapkota
Jishu Sengupta

Producer: Siddharth Roy Kapur and Ronnie Screwvala

Music: Pritam

BRAZIL GOES BOLLYWOOD with FANAA

2012-08-27T18:30:00.000+05:30

Fanaa is being taken to Brazilian cinemas to woo audiences on the 100th anniversary of Indian cinema.The Kajol-Aamir Khan starrer is the first film to open in 25 different mainstream cinema halls throughout the large Brazilian territory in hopes that the audience will become acquainted with Bollywood cinema and develop a taste for it. If the film does well in its first week, it will continue to run for a second week and possibly increase its screenings to 40 cinemas. The project of its release has been led by Dinesh Sinha and Andre Nascimento, who are at the head of Bollywood Filmes, the new and very first distributor of Indian films in Latin America. They are being supported by the Sao Paulo Center for Indian Culture, Yash Raj, Bollywood Brazil, Mistika and Social Media i9. The Brazilian trailer for the 6 year old film has been created to attract the Brazilian audience.

The decision was consciously taken to avoid the world cinema circuit for the release of the film and Bollywood Filmes director, Dinesh Sinha has expressed his company's aim to target a larger audience who is keen to watch commercial cinema. Bollywood Filmes is also setting its sights on the possibility of making the beauty and variety of Brazil an attractive location for shooting Indian films.

Fanaa has been shortened to suit the current taste of Brazilian moviegoers. Four of the songs have been left out in hopes that Brazilians will enjoy the remaining musical sequences and will ask for more in subsequent screenings of films that have been expected to release later through the same distributor.

The fever of Bollywood is therefore bound to hit Brazil and will be followed by a 2013 retrospective of Bollywood classics (organized by Ibirá Machado) shown throughout the country, which has a population of approximately 100 million potential moviegoers. Latin America represents a vast market for Bollywood, given the films' similarity to storylines used in typically Latin American TV series called telenovelas, which are watched daily by hundreds of millions of people throughout the continent. The huge success of one of these series, called "Caminhos da India" (The Paths of India) in 2009 has reassured investors and distributors that Brazilians are ready to fall in love with Indian films.

Here is wishing Fanaa a fantastic opening. If you are in Brazil and wish to visit the official Brazilian website for Fanaa, you may do so at http://fanaaofilme.com.br/ (Se você quer, pode visitar o site oficial do filme Fanaa aqui). You may also watch an interview about Fanaa with Aamir Khan and Kajol subtitled in Portuguese here (Vocè tambem pode ver uma intervista com os dois atores principais de Fanaa, Aamir Khan e Kajol, legendada em portugués, aqui).

EK THA TIGER Review: Romancing Masala

2012-08-23T20:43:00.000+05:30

Once upon a time there was Tiger... A Salman Khan and Katrina Kaif starrer... a full-blown masala entertainer... what could rake in more box office success?

Ek Tha Tiger has been the press' favorite phenomenon this week due to its record breaking success figures and most media is likely to praise and recommend it.The film is a Yash Chopra production with Salman Khan as its main man and therefore makes the movie an entire Salman Khan centered affair, with a fresh-as-a-flower looking Katrina Kaif as his befitting love interest.

So let's concentrate on the man! Errrr... on Tiger. The spy agent aliased Tiger makes his first full appearance in the film through a curtain of raining ashes and cigarette butts filmed in slow motion (the background score playing in the background funnily reminded me of Farhan Akhtar's “Don” theme). Tiger (Salman Khan) is a secret agent on a mission to follow a defense expert to Dublin, in order to stop him from volunteering top secret information to Pakistan. Secret agent on a mission, he falls for Zoya (Katrina Kaif), the caretaker of the scientist's home in Ireland and sparks a friendship with her.

The film shows Tiger and Zoya running, jumping, kicking and almost flying in Dublin, of course, but in other exotic locations such as Havana (how did Bollywood even get there? Thumbs up!), Istanbul or some initial scenes in Iraq.

Be warned, though the film sports splendid images and stunts, do keep in mind that Ek Tha Tiger is somehow Bollywood masala's reply to Bond movies. As such, absurdity lurks just around the corner of each important scene, much alike the excitement and over-the-top stunts featured in a Bond film, adding a couple of generous helpings more, for due Indian super-spy hero effect.

Another small concern of mine is the pairing of 40 plus year old actors with 20 plus heroines. It is getting to the point in which I am finding this annoying, as if these actors refused appearing mature. So I am waiting for the movie who will feature a 40 plus man wooing a 40 year old woman. There are tons out there who are as good looking ladies as India's most bankable heroes. Anyway, I believe I have digressed.

Watch Ek Tha Tiger for the thrills and chills of action scenes that can be outworldly but entertaining. I sure could have done with a bit more brain stimulation and certainly more content and logic in the script and storyline, especially in a spy movie. I would say “could have done better” but I am certain that Salman “bhai” fans will certainly enjoy their favorite hero, particularly in the second part of the film, where his trademark style and attitude are more recognizable.

Find Ek Tha Tiger on Facebook

Buy the Ek Tha Tiger Soundtrack

EK THA TIGER

Directed by: Kabir Khan

Screenplay: Kabir Khan, Neelesh Misra

Cast: Salman Khan, Katrina Kaif

Produced by: Aditya Chopra

Soundtrack: Sohail Sen

INDIA INDEPENDENCE DAY: Celebrating Cinema

2012-08-15T03:00:00.000+05:30

Independence Day in India: AP Photo from Sulekha.com

As I wake up this 14 of August to merry music outside and talented high-pitched voices coming from a street sound system at 6am, there is no doubt. Festivities have been launched to celebrate India's independence.

Later, as the day subsides, evening streets are filled with people, honking vehicles, colored lanterns and sweet smelling flower garlands hanging from every imaginable corner and at every roundabout. The air smells of delicious fried snacks, spice, incense, smoke and excitement. Fleeting fireworks thunder here and there and the thumping of the latest movie hits sweeps through the trees. Movie soundtracks are such an integral part of the Independence Day celebration that I am compelled to draw a parallel between the nation's freedom and it's cinema's “independent” essence. Indian cinema to me has long represented that which has dared to create larger than life or over the top scenes or characters that have become legendary symbols... The temptation to do a recap of Indian cinema's unique and independent character is too pressing!
Here is my (albeit very) humble and brief attempt, looking back at legendary scenes, films and characters:

Pyaasa is an ageless watercolor of emotional depths and a social critique that is highly universal though it stands out for its distinct depiction of love. A poet's pining for recognition finds consolation only in the posthumal dedication of a prostitute who believes in him. True love is seldom portrayed in cinema. Pyaasa's is a selfless and ethereal love that has no expectations or queries. As such, the story of Vijay and Gulabo starts this list, marking Indian cinema's difference from the most common and usually passionate, possessive or insecure love that is usually portrayed throughout mainstream cinema.

Another Vijay enters this list through Amitabh Bachchan. The angry young man in an India caught by the disarray caused by the 70s crisis is the incarnation of revenge in Yash Chopra's Deewar. His character became emblematic for an entire generation and beyond as the quintessential Indian rebel, filled with stylish courage and aggressiveness despite having lived through poverty and injustice and thus, Bachchan became the most profound representative of young India at the time. But Amitabhji's uniqueness did not stop there. He was, together with Dharmendra the icon of everyone's favorite Indian film: G.P.Sippy's Sholay, which has just turned 37 years old today: a tale that has nothing to envy to Western cowboy classics or Italian westerns such as The Good, The Bad and The Ugly. It even brings more to the entertainment buffet with the sensually brave but painful dance performed by Basanti (Hema Malini) to save Jai (Dharmendra) and the fun and utterly unrealistic song-driving sequence for “Yeh Dosti".

One of the most impressive scenes I always go back to in Indian cinema to show friends or to reel in non-converts is the Chaiyya Chaiyya song in film Dil Se. How can one not be seduced or at least impressed by the dance sequence on top of a train rolling through amazing landscapes? Words seem too vane:

Another wonderfully independent and unique cliché of Indian cinema is fiery declarations of singing love in the snow, rolling on it, screaming "Yahoo!" in it, sliding on it, dancing on it, you mention it... The first scene that comes to mind is of course Junglee, with Shammi Kapoor and Saira Banu running around in an elegant salwar kameez and a coat. When filming snowy scenes shifted out of Kashmir, Yash Chopra immortalized the Swiss Alps with saree or minidress-clad heroines rolling down the snow, Kajol being, in my opinion the modern lady who I have seen doing the most memorable of these scenes in Dilwale Dulhania Le Jayenge for example. But let us go back in time to Shammi's avalanche causing "Yahoo!"

Another movie line that became a legend was Amrish Puri's simple statement "Mogambo khush hua" in the equally celebrated Mr. India, elevating his villain character to a cult status. Making such a simple line legendary owes it all to Amrish Puri's pitch-perfect performance and the film's scripting, giving Indian cinema one of its most iconic characters.

Speaking of iconic characters, usually the silent but persistent character that gives substance to many an Indian film is the Indian mother. She came to the center of a plot however in the much acclaimed Mother India through Nargis, who celebrated the quintessential, sacrificing, patient, dedicated and courageous Indian mother through her applauded and prize-winning performance. Seldom other filmed epics have encompassed or purely concentrated on what a mother's role signifies in a given culture and Mother India is a trophy to the Indian woman in more ways than one.

Mother India is India's most celebrated epic outside its borders but epic has also been the filming of two of my favorite Indian films: the groundbreaking Lagaan, which even generated a film about the film (Madness in the Desert) thanks to the long and infrahuman task of finding funding and then filming the script in an inhospitable desert. However, the most incredible determination to make a film is in my opinion that of the luxurious Mughal-e-Azam. From its idea in the early 1940s to its release in 1960, from the determination to make it grand to the actual exorbitant production cost and work, from the ofscreen coldness existing between the two main actors and the passion portrayed by their main characters on screen... the film has many reasons to be in this list, celebrating Indian cinema's uniqueness.

Indian cinema has also produced many stars who are producers, directors, film marketers and actors themselves, becoming cinema powerhouses and developing a body of work that often surpasses that of actors in other countries. One of the most celebrated of these actors in India and abroad is Raj Kapoor. From Andaz to Awaara and beyond, the patriotic Charlie Chaplin of India definitely figures in my Indian cinema's hall of fame.

Last but not least and moving fast through time, my mind sets on an airport scene. Yes, the visited and revisited airport scene gets a complete modern Bollywood twist in Jaane Tu Ya Jaane Na. Marking its independence from other Bolly scenes in which the hero breaks into a song and dance sequence, lip-synching a melodious declaration of love, Imran Khan rushes on a white horse through quiet and empty surburban night streets to my oh so familiar Bombay airport while his father's framed image dances victory. Imran escapes airport security by hiding in an X-ray luggage strip, is chased and is finally caught at gunpoint while he repeatedly screams MEOW! as if his life depended on it and finally sings a love song to his sweetheart in his own voice. No violins, no seductively perfect pitch singing. The scene is almost impossible to imagine in Hollywood or world cinema but it is different from the classic Bollywood ending too.

So much more can be mentioned here: the talent of countless actors and directors, the stars that appear in more than 100 films, the unrealistic action sequences, the song and dance frames, unique is the word for Indian cinema.

Happy Independence Day, India!

TORONTO TIFF does it again: INDIAN PREMIERES

2012-08-04T00:04:00.000+05:30

Still from Ship of Theseus by Anand Ghandi

Next September's Toronto International Film Festival 2012 is again interested in what happens in this side of the cinema world. Voicing its approval of contemporary Indian cinema by adopting Bombay as its Spotlight City for the festival's "City to City" programmes, this year's TIFF showcases ten new films from Bombay. Several of these releases are world premieres while some will be North American premieres. The lineup is:

Gangs of Wasseypur – Part One and Part Two by Anurag Kashyap
Starring Manoj Bajpayee, Richa Chadda and Reema Sen.

While Part One of Anurag Kashyap’s much awaited gangster saga has premiered in Cannes and New York, Toronto will see Part Two as a North American premiere. Gangs of Wasseypur tells the story of a bloody war between two mafia clans at the time of India's struggle towards independence. Indian audiences are eagerly expecting its release next week while its trailer does the rounds of several TV channels.

Ship of Theseus by Anand Gandhi
Starring Aida El-Kashef, Sohum Shah and Neeraj Kabi

Another debut feature film is delivered by the hands of Anand Gandhi, who has received great applause as a playwright. Gandhi opens a window into the lives of three Mumbaikars: a monk, a blind photographer and a stockbroker with a heightened sense of justice.

Miss Lovely by Ashim Ahluwalia

Starring Nawazuddin Siddiqui, Niharika Singh and Anil George

Deep, dark, dramatic. Miss Lovely depicts the sex-horror film industry of Bombay's 1980s. Cinematography, casting and the unusual choice of topic make it an interesting and intriguing option, apart from the fact that it was very well received in Cannes and that it stars an excellent actor such as Nawazzudin Siddiqui (who also stars in Kashyap's Gangs of Wasseypur).

Shanghai by Dibakar Banerjee

Starring Abhay Deol and Kalki Koechlin

Through an adaptation of Vassilis Vassilikos' Z, the director of Love Sex aur Dhokla delivers a paced and exciting political drama.

Shahid by Hansal Mehta

Starring Raj Kumar, Prabhleen Sandhu and Baljinder Kaur.
Shahid revisits the life of lawyer Shahid Azmi, who was murdered in 2010 after being involved in the defense of human rights. A fascinating story of a young Muslim boy who became a symbol later in his life.

Mumbai Cha Raja by Manjeet Singh

Starring Rahul Bairagi, Arbaaz Khan and Tejas Parvatkar.
Young Rahul and Arbaaz live in the streets of Bombay finding ways to make their existence more tolerable while Rahul searches a way to reclaim his dignity by "taking care" of his violent father.

Peddlers by Vasan Bala

Starring Gulshan Devaiah and Siddharth Mennon.

A directorial debut for Vasan Bala, Peddlers is a pulsating thriller that brings together the lives of three improbable characters in Bombay's underworld.

Ishaqzaade by Habib Faisal

Starring Arjun Kapoor and Parineeti Chopra

Action with a quirky edge, the love story between both protagonists has won accolades for delivering a different mainstream film.

The Bright Day by Mohit Takalkar

Starring Mohan Agashe, Radhika Apte and Shernaz Patel

Following the spiritual journey of a young man across India, images tell a soul's coming of age.

Consult the TIFF City to City programme 2012 for more information.

RAJESH KHANNA'S GREAT GIG IN THE SKY

2012-07-28T22:21:00.000+05:30

Post by: Narendra Kusnur

The Hindi Cinema Blog would like to thank Narendra Kusnur for accepting to have his article, celebrating Rajesh Khanna's life, talent and career, featured in our blog. Narendra is passionate about music and has turned his passion into his activity through music journalism and handling music projects for important labels in India. He writes informative and clever musings on Indian and international music at Kaansen Kalling and we music buffs at HCB continuously learn from him. It is a true pleasure to feature your thoughtful tribute to Rajesh Khanna, Narendra!

Ten days after leaving Mother Earth, Rajesh Khanna is wondering how he will settle in Paradise, when he is escorted to a door marked ‘Hindi Film Superstars’. It is one of many rooms given to newcomers based on their achievements in life. There, residents are allowed to spend exactly a year, before they move to a larger place called ‘Super Heaven’.

Before knocking the door, Khanna is very keen to visit the neighbouring room called ‘Musicians’, where Mehdi Hassan, Bhupen Hazarika and Jagjit Singh are rehearsing a song, composed by Ravi and featuring Sultan Khan on sarangi. But the director-general of Paradise insists that he can only enter the ‘Hindi Film Superstars’ room.

Hesitantly, Khanna walks in. The main hall is empty, and statues of KL Saigal and Raj Kapoor are placed in different corners. The walls are lined with pictures of some of the other greats who have entered Paradise — Rajendra Kumar, Guru Dutt, Sunil Dutt, Meena Kumari, Madhubala, Nargis, Nutan and others. Just as ‘India’s first superstar’ is looking around, a room opens.

It’s the evergreen Dev Anand. “Welcome to Paradise, Rajesh,” he says in his trademark style. “Honestly, I didn’t expect you here so early, but such is life.” The two superstars embrace and exchange pleasantries, when they hear the creak of another door opening.

Khanna can’t believe his eyes, as he meets another of his idols — Shammi Kapoor. “Rajesh-bhai, I’m sure Dev-saab must have welcomed you warmly. I can only add to his emotions. I am here for only 18 days more. After my first death anniversary on August 14, I shall be sent to Super Heaven,” he says.

“Don’t worry, Shammi-ji,” replies Khanna. “As long as the three of us are here together, we shall have a grand time.”

Dev continues: “I couldn’t have asked for better company. You know, at least 50 per cent of all male hit songs ever released in Hindi cinema have been picturised between the three of us — Shammi Kapoor, Rajesh Khanna and Dev Anand. All this is of course thanks to the numerous music directors, singers and lyricists who worked on these songs.”

Shammi adds: “You’re right, Dev-saab. We must be grateful to all the genius musicians who created these songs for us. For the three of us, they have literally composed the A to Z of male Hindi film music. Only Raj-saab and Bachchan had an equal number of hits, perhaps.”

Khanna chips in: “Absolutely! What would my songs be without RD Burman, Kishore Kumar and Anand Bakshi? And all those classic duets sung by Lata-ji and Asha-ji, picturised on my favourite co-star heroines! In fact, my friends on Mother Earth tell me that for the last 10 days, radio stations are only playing songs from my films.”

Dev quips: “They did the same with Shammi-ji and me. Looks like the radio stations desperately wait for our departure so they have something good to play. Otherwise, they don’t have much to play, with today’s kind of music. Anyway, let’s do something to remember these songs, maybe an antakshri or something like that.”

The three of them think for a while, before Dev comes up with a solution. He says: “Hey, didn’t Shammi-ji say the A to Z of male Hindi film music has been picturised on the three of us? So let’s play a game where we take each letter of the alphabet, and talk about songs or films with hit music beginning with that letter.”

Shammi says: “Great idea, Dev-saab. But let’s not go in any specific order. It’ll be something like a buzzer round. I only request Rajesh-bhai to begin with the letter ‘A’, as he’s just come in today.”

“Perfectly fine with me, sir,” says Khanna, and begins the game, which goes on something like this:

A (Rajesh Khanna): All my films beginning with ‘A’ have had hit music. Aradhana, Amar Prem, Anand, Aan Milo Sajna, Aap Ki Kasam, Ajnabee. Next, the letter ‘B’.

B (Shammi Kapoor, singing): ‘Baar baar dekho, hazaar baar dekho…’. One of my favourite songs. And the films Bluffmaster, Badtameez and Brahmachari had memorable songs too. Dev-saab, what do you have in ‘C’?

C (Dev Anand): Of course, CID! What songs. One of OP Nayyar’s masterpieces. ‘Ankhon hi aankon mein ishara ho gaya’ is one of my all-time favourites. (Sings).

D (Rajesh Khanna, singing one after the other): ‘Diye jalte hain’. ‘Deewana leke aaya hai’. ‘Dil ko dekho chehra na dekho’. Also films beginning with ‘D’ had amazing music — Do Raaste, Dushman, Daag.

E (Shammi Kapoor): ‘Ehsaan tera hoga muhpar’ from Junglee. The film Evening In Paris. Shankar-Jaikishen rocked.

F (Dev Anand): The film Funtoosh. SD Burman classics like ‘Dukhi man mere’ and Aye meri topi’.

G (Dev Anand, again): Sorry to break the order but ‘G’ has to mean Guide. Sachin-da again. Also Gambler, which had that super-duper hit ‘Dil aaj shayar hai’. I won’t go on for ‘H’.

H (Rajesh Khanna): ‘Hum dono do premi’, that train song from Ajnabee that only Pancham-da would have composed. Also ‘Hamein tumse pyaar kitna’ from Kudrat. Among the films with hit music, Haathi Mere Saathi, by Laxmi-Pyare.

I (Dev Anand): Definitely the film Ishq Ishq Ishq. Don’t remember much of the film myself, but RD was definitely in great form on ‘Valla kya nazara hai’.

J (Dev Anand, continuing): ‘J’ is to me what ‘A’ is for Rajesh-bhai. The songs of Jewel Thief, Jab Pyaar Kisise Hota Hai, Johnny Mera Naam, and that one hit from Joshila — (singing) ‘Kiska rasta dekhe, ai dil hai saudaai’. Actually, even ‘K’ has a lot of my hits like Kala Bazaar, Kala Paani, the songs ‘Khoya khoya chand’, ‘Khwab ho tum’ etceteraaaa etceteraaaa. But I have played two rounds continuously so might as well give the others a chance. I never believed in monopoly, you see. Shammi-ji, you’ve been silent for a while.

K (Shammi Kapoor): Sorry am a bit distracted as I’m missing my computer and gizmos. Hope to bump into Steve Jobs in Paradise one of these days and propose an Apple Afterlife series for people like us. Anyway, ‘K’ for Kashmir Ki Kali. How can one forget songs like ‘Diwana hua badal’, ‘Taareef karoon kya uski’ and ‘Isharon isharon’. Another of my favourite ‘K’ songs is from Junglee — ‘Karoon main kya suku suku… Aai yai yaa’ (dancing for a while).

L (Dev Anand): Love Marriage. Who can forget its classic song ‘Dheere dheere chal chand gagan mein’? (Sings the whole song).

M (Rajesh Khanna): I have loads here. ‘Mere sapnon ji rani kab aayegi tu’. ‘Mere dil mein aaj kya hai’. ‘ ‘Main shayar badnaam’. ‘Meri pyaari bahaniya banegi dulhaniya’. ‘Maine tere liye hi saat rang ke sapne’. ‘Mere naina saawan bhadon’. ‘Maine dekha tune dekha’. ‘M’ was a very lucky letter for me.

N (Dev Anand, singing): ‘Nafrat karne waalon ke seene mein pyaar bhar doon’. Kalyanji-Anandji’s music and Indeevar’s words in Johnny Mera Naam.

O (Rajesh Khanna, singing the whole song): ‘O mere dil ke chain…’. Kishore, RD and Majrooh-saab combined to produce one of my biggest hits.

P (Shammi Kapoor): Prince and Professor. Specially for the songs ‘Badan pe sitare’ and ‘Aye gulbadan’.

Q (they all think a while, and don’t remember a song, before Dev Anand asks): Guys, can I cheat a little? Since we can’t think of a song in Q, will this do? (Sings). Qasam li. Hey maine qasam li. Nahin honge judaa, hum. Okay, okay, I know, it’s Kasam, not Qasam, but this was the closest I could get. Hopefully, there are no nitpicking music critics here (The others agree).

R (Rajesh Khanna, singing): ‘Roop tera mastana, pyaar mera deewana’. One of my biggest hits ever.

S (Rajesh Khanna, again): The films Safar and Saccha Jhoota had some gems from Kalyanji-Anandji.

T (Dev Anand): Tere Ghar Ke Saamne (sings the title song). Teen Deviyan. Taxi Driver. Tere Mere Sapne. All SD Burman beauties. In fact, Sachin-da gave me most of my biggest hits.

U (Dev Anand, getting up and swaying to the tune): ‘Uff yumma’. It became a catch phrase when Jab Pyaar Kisise Hota Hai was released. It was a rage. Uff yumma! (accompanied by the Dev swagger)

V (Rajesh Khanna): ‘Vaada tera vaada’ from Dushman was one of the biggest hits of its time.

W (Rajesh Khanna again, singing): ‘Woh sham kuch ajeeb thi’ from Khamoshi. Hemant Kumar’s composition and Kishore Kumar’s voice. Bliss!

X (for a while, they can’t figure out a song, and Dev Anand jokes): None of us do X-rated songs or X-rated films. Leave that for today’s generation. Ha ha ha! (the others join in the laughter). So let’s move to ‘Y’.

Y (Shammi Kapoor, in a total rock and roll mood now, dancing and jumping): Yaaaahoooooo!!!! Yaaaahoooooo!!! Chahe mujhe koi jungle kahe….. (He sings and enacts the entire song).

Z (Rajesh Khanna): The word ‘zindagi’ was used in so many hit songs. (Sings the first lines of each). ‘Zindagi ka safar hai yeh kaisa safar’. ‘Zindagi ek safar hai suhana’. ‘Zindagi kaisi hai paheli haaye’. “Zindagi ke safar mein bichad jaate hain jo makaam’. Strange I am still singing them after my ‘zindagi’ is over.

The game over, the three superstars are full of joy. They all want to continue the celebration. Dev says: “Yes, there’s no doubt that 50 per cent of the hit male songs of Hindi film music have been picturised on the three of us. Someone should give us a combined Lifetime Achievement Award for our contribution to music.”

Rajesh yodels: “Udley udley yohooo, udley udley yo’, and Shammi does an Elvis Presley jig.

Suddenly, the door is swung open. A voice comes out of nowhere. It says: “I want to play too. Let’s start again with the letter ‘A’. ‘Awaaa hoon. Awara hoon. Ya gardish mein hoon aasman ka taara hoon.” It’s the great Raj Kapoor, who has walked in with Mukesh, Shankar and Jaikishen.

Shammi Is stunned. “Bhai-saab, so good to see you. Am surprised you could make it. I wasn’t allowed to meet you till August 14, but you were the first person I wanted to meet here.”

Raj replies: “I was sitting in Super Heaven, when I heard you guys partying. I couldn’t resist. Honestly, 60 per cent of all male hit songs have been picturised on the four of us. I wasn’t allowed entry into this room, but after much pleading, the director-general of Paradise made an exception, only for a day.”

Another voice is heard. It says: “I too managed to make it for a day. I’m playing the game too. B for ‘Baharon phool barsao.” It’s Rajendra Kumar!

Suddenly, Guru Dutt also comes in. He says: “’C’ for ‘Chaudhvin ka chand ho ya aftaab ho’ (sings the full song). The most romantic song ever written.” Composer Ravi walks in from the neighbouring room. And a few minutes later, the song’s singer Mohammed Rafi and lyricist Shakeel Badayuni march in together.

Within half an hour, the greatest names from Hindi films and film music are in the room. All the legends who have left Mother Earth. The next to come in is the legendary Naushad, greeting everyone with his trademark ‘Khawateen-o-hazrat’. Jagjit, Bhupen, Sultan Khan and Mehdi-saab walk in from the neighbouring room.

Soon, the ‘Hindi Film Superstars’ room is packed. The stars include KL Saigal, Bharat Bhushan, Sunil Dutt, Rajkumar, Balraj Sahni, Nargis, Madhubala, Nutan and Meena Kumari. Among the singers, Kishore Kumar, Hemant Kumar, Talat Mahmood, Geeta Dutt, Noorjehan and Suraiya join those already present. Among the music directors, SD Burman, RD Burman, Madan Mohan, OP Nayyar, Roshan, Salil Chowdhury, C Ramchandra, Anil Biswas, Laxmikant and Kalyanji arrive too. The list of lyricists is long: it includes Majrooh Sultanpuri, Sahir Ludhianvi, Anand Bakshi, Kaifi Azmi, Jan Nisar Akhtar, Shailendra, Rajendra Krishan, Indeevar, Hasrat Jaipuri, Gulshan Bawra and Raja Mehdi Ali Khan, among others.

Each genre of Indian music is represented. Bhimsen Joshi and Bismillah Khan. Begum Akhtar and Nusrat. The divine Subbulakshmi herself.

In Paradise, the biggest musical night in history has just begun. It’s the greatest gig in the sky, the mother of all music get-togethers. And in the audience, Bach, Mozart, Beethoven, Miles Davis, Louis Armstrong, Ella Fitzgerald, Elvis Presley, John Lennon, Jim Morrison, Jimi Hendrix, Michael Jackson, Donna Summer, ‘newcomer’ Jon Lord and scores of other international luminaries are getting a first-hand taste of old Hindi film music, hearing some of the most tuneful, wonderful and heavenly melodies ever produced.

VENICE FILM FESTIVAL honours Shekhar Kapur

2012-07-24T19:09:00.000+05:30

Shekhar Kapur will be presiding over the 2012 Venice Film Festival's Lion of the Future "Luigi di Laurentiis" award, which will be granted to a debut film. He will be selecting the awarded film alongside Isabella Ferrari, Matt Reeves and Michel Demopoulos from the film fraternity and Bob Sinclar from the music world. Other personalities participating in the Biennale's jury for other sections include Laetitia Casta, Pablo Trapero (The Secret in their Eyes), Ari Folman (Waltz with Bashir), and Michael Mann, among others.

The jury shall select only one among all the debut feature-length films competing throughout the various sections of the Venice Film Festival (Official Selection and Independent Parallel Sections) to be awarded. The winner will be announced once the festival starts on August 29th.

THE DEWARISTS BRONZE AT CANNES LIONS!

2012-06-30T06:33:00.000+05:30

The novel music series THE DEWARISTS by Only Much Louder Entertainment and Babblefish has made Indians proud by being awarded the Bronze Lion at the Cannes 59th International Festival of Creativity for Best non-fiction program, series or film where a client has successfully created a reality, documentary or light entertainment show around a product(s) or brand(s).

"Dewarists" has become a new term to designate those people who believe in passion and things worth doing. "What better language to convey that passion than music, so some things are worth doing", may have thought the young team behind such a successful programme showcasing the best of Indian contemporary music and featuring some of its finest performers, from the cinema world an outside of it.

As Season 1 has already conquered audiences here in India and abroad, we are eagerly awaiting season 2, its renewed passion, new destinations and sounds.

Watch Season 1 of The Dewarists on Youtube

Visit The Dewarists official website

Follow The Dewarists on Facebook

THE DEWARISTS (TV series)

Direction: Vishwesh Krishnamoorthy with Fred & Nick

Starring: Imogen Heap, Vishal-Shekhar, Shantanu Moitra, Swanand Kirire, Karsh Kale, Midival Punditz, Zeb and Haniya, Shantanu Moitra, Swanand Kirkire, Indian Ocean, Mohit Chauhan, Parikrama, Agnee, Shilpa Rao, Shri, Monica Dogra, Rajasthan Roots, Papon, Rabbi Shergill, Shubha Mudgal, Swarathma, Baiju Dharmajan, Raghu Dixit and Rewben Mashangva

Theme song: Raghu Dixit

Season episodes: 10

Production: Babble Fish Productions, Only Much Louder

TV Channel: STAR WORLD India

Season 1 run: October 16, 2011 – December 21, 2011