Director : James McTeigue

Writers: Matthew Sand ( Story, Screenplay ), J.Michael Straczynski ( II) ( Screenplay )

Release Date: 27 November 2009 ( USA )

Cast: Rain, Naomie Harris, Ben Miles

Producers: Joel Silver, Larry Wachowski, Andy Wachowski

Music: IIan Eshkeri

Cinematography: Karl Walter Lindenlaub

Film Editing: Giancarlo Ganziano, Joseph Jett Stanley

Vote your reactions for the movie below. Click on the number of stars you would like to give to the movie and add your short reaction in the comment block

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Are you making your One minute Movie for PFCOne 2010?

PFC Desktop | Permalink |
© PassionforCinema, 2009.
Post tags: Andy Wachowski, Ben Miles, Giancarlo Ganziano, IIan Eshkeri, J.Michael Straczynski, James McTeigue, Joel Silver, Joseph Jett Stanley, Karl Walter Lindenlaub, Larry Wachowski, Matthew Sand, Movie Reviews, Naomie Harris, Ninja Assassin, Ninja Assassin Movie Review, Rain

Director : Sukumar

Writer: Sukumar

Release Date: 27 November 2009 ( India )

Cast: Allu Arjun, Kajal Aggarwal, Navdeep

Producer: Aditya Babu

Music: Devi Sri Prasad

Cinematography: R.D.Rajasekhar

Film Editing: Marthand K.Venkatesh

Vote your reactions for the movie below. Click on the number of stars you would like to give to the movie and add your short reaction in the comment block

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3. Aadhavan

Are you making your One minute Movie for PFCOne 2010?

PFC Desktop | Permalink |
© PassionforCinema, 2009.
Post tags: Aditya Babu, Allu Arjun, Arya 2, Arya 2 Movie Review, Devi Sri Prasad, Kajal Aggarwal, Marthand.K.Venkatesh, Movie Reviews, Navdeep, R.D.Rajasekhar, Sukumar, Telugu

Director : Priyadarshan

Writer: Jay Master ( Dialogues )

Release Date: 27 November 2009 ( India )

Cast: Akshay Kumar, Sunil Shetty, Katrina Kaif

Producers: Ganesh Jain, Girish Jain

Music: Pritam

Cinematography: N.K.Ekambaram

Film Editing: Arun Kumar

Vote your reactions for the movie below. Click on the number of stars you would like to give to the movie and add your short reaction in the comment block

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Are you making your One minute Movie for PFCOne 2010?

PFC Desktop | Permalink |
© PassionforCinema, 2009.
Post tags: akshay kumar, Arun Kumar, De Dana Dan, De Dana Dan Movie Review, Ganesh Jain, Girish Jain, Jay Master, katrina kaif, Movie Reviews, N.K.Ekambaram, Pritam, priyadarshan, Sunil Shetty

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Are you making your One minute Movie for PFCOne 2010?

Nikhil V | Permalink |
© PassionforCinema, 2009.
Post tags: Salman Khan, Trailer, Veer, Veer Trailer, Video

The film being reviewed was “Arth’, a Shabana Azmi swan song, out of many swan songs for her. Mahesh Bhatt was on and in his casual style he threw it out there, something along these lines “I think it’s high time that we acknowledge the fact that Shabana is probably the best actress we ever had in the history of Indian cinema”. Now, that was quite a statement and you can call it exaggeration, particularly coming from Mr. Bhatt who typically speaks in exaggerations. But, somewhere he had a point and it touched me deeply.

I admit I have been in love with different Hindi film heroines at different times and even some of the Hollywood ones. Most of these infatuations die out after some time, either when a new face appears on screen or when my screen goddess starts to look old or starts appearing in one lousy film after another. But in case of Shabana Azmi, it wasn’t love at first sight. I had to grow up to be able to love Shabana Aazmi on screen. I am not sure if it was because of the choice of her roles or the unconventional beauty she represents in real life, once I grew up and got fixated, to this day, I haven’t overcome my fixation. I admit it on a mass medium like PFC, I find Shabana Azmi, the most beautiful and sexy face on screen.

But what Shabana Azmi represents on screen and why it takes growing up to like her is not just physical beauty. It’s a different kind of beauty, very similar to what we see in a bird’s flight or a cheetah’s run or even in Sachin Tendulkar’s batting or Wasim Akram’s bowling. It’s human talent and genius at work, perfectly in harmony with nature, not violating it. Not that she is not glamorous or can’t be sensual; watch her in a song from an unreleased film of her, Libaas, “Sili hawa chho gayi”. I find the song and Shabana Azmi in that as sexy as Sridevi in a wet blue sari in Mr. India.

Just like Sachin Tendulkar, I am amazed, how effortless Shabana Azmi makes acting look like. I remember, “Apne Paraye’, one of her not so famous films with Amol Palekar. The way she acts out the caring, loving yet strict and self respecting, chhoti bahu, you just wonder what research she did. There is probably nobody comes even close when it comes to portrayal of middle class every day characters, the way Shabana does it. She changes everything, the dressing style, the body language, the constant frown or smile on her face, everything brings the character alive on screen. I am not sure what ‘Method Acting’ means, but whatever method she applies, seems to be the best to me. In Arth, there are scenes where she defies human limitations to play emotions and characters on screen. In a scene or a sequence of scenes, she is out of her marriage and all by herself in the big bad world, finding shelter in a working women’s hostel. She looks so scared and shaken from her core, it freaks me out. Her transformation from there to a more confident and self assured woman to be able to take a tough progressive decision toward the end, not sure if any other actress wound have done justice to it.

Another example is Masoom, my forever favorite for a repeat watch anytime of the day. The film is a classic, and everything is great in the film, but if it were not for the lead pair, Naseer and Shabana, the film could’ve easily gone wrong. She is picture prefect as busy, happy, contented middle class housewife and mom in the first half, but it’s her sulking in the second half that takes the prize. I have never seen anybody sulk so bad or rather well on screen, may be Rajesh Khanna in Avishkar (a film about sulking ) comes close. Shabana’s sulking was so good, you start feeling sorry for Naseer’s character who is supposed to be the infidel in the relationship. You can count numerous such cine moments that Shabana made look so real yet so effortless on Indian cine screens.

There is very little written about Shabana, or may be haven’t looked hard enough. I couldn’t find s ingle piece on PFC. She is the daughter of one of our most famous Urdu poets, a fact well known. She is also quite popular as a film celebrity who is married to Jawed Akhtar and is a political activist. But I can bet, there is lot more to Shabana Azmi than the actress, celebrity and politician than we know. She must be very sharp individual and brilliant conversationalist in real-life, almost to the scale of Gulzar sab. As a complete outsider if was given the choice to spend an evening with any film personality, I would pick her or Gulzar sab any day or time.

Every time you read whatever little is written about her, two things standout. One, her almost complete absence or non-presence in commercial cinema and second her rivalry with late Smita Patil. Not sure what it was, may be her reluctance to be a prop in our typically male dominated films of 70s and 80s or may be she lacked screen charisma which I seriously doubt. Her attempt at a full blown commercial film in Amar Akbar Anthony didn’t go well. Unlike everybody else who seemed to be having ball of a time, she completely looked a fish out of water. I am glad she didn’t repeat that and lose herself in the crowd of Anita Rajs, Reena Roys, Rekhas and so many other main stream heroines of her time. Instead, she went on to chart her own course and Hindi cinema is richer and better because of that. People probably doubted if she could ever do justice to a larger than life role, but she proved people wrong in Mandi where she was foul mouthed and loud. In Godmother, she gave Bachchanesq performance in the role of a female crime boss. Once again the entire body language was transformed including the dialect she spoke.

As for her rivalry with Smita Patil, I am biased as you can see. I loved Smita Patil too and some of the great every performance of hers, but there was sameness in her performances. Besides, I always found that Smita was Smita, no matter what role she was playing. Effective, sexy and graceful yes, but she was Smita Patil with her great screen presence. Shabana Azmi on the other hand was never Shabana in any of her roles. She became whatever the character was. This trait of her was visible right from her first film, Ankur, where she completely transformed herself into Laxmi, the village maid. The way she dresses, the way she walks around the house, the way she curses Anantnag in the end, masterpiece! In the end, Shabana and Smita were probably like Md. Rafi and Kishore Kumar, two gems of Indian cinema, meant for celebration instead of analysis or comparison.

Bestest ever, is a very hard case to make. That too in an art medium where best varies depending on the perspective of who is looking at it, it’s probably an impossible case to make. How do you decide, on what basis, whether somebody was as great or even better than someone like late Nutan or Madhubala or Meena Kumari or Nargis. In the end, it’ll probably always remain undecided. One thing is for sure, though, whenever someone makes a list of handful of names, Shabana Azmi’s name will be on that list, as a strong contender for the Bestest Ever!

Finally, wouldn’t be a great idea to celebrate some of these personalities by dedicating a month to them where we all write about one such personality who has touched out lives through their work in the field of Indian cinema. I would love to read so many great writers on PFC, including the personalities from inside the film world write about my all time favorite actress.

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2. Chaudhvin ka chand ho : A tribute to Shakeel Badayuni
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Are you making your One minute Movie for PFCOne 2010?

Amit Singh | Permalink |
© PassionforCinema, 2009.
Post tags:

Pran, a very intelligent and fine actor, brought maximum variety to the villainous characters in hindi cinema. In terms of variety no other actor, who has ever played villainous characters in hindi films, could compete with Pran.

Pran and Shatrughan Sinha remain two villains of Hindi cinema who were applauded when they returned to a negative character after many years of playing positive roles.

Pran, playing again a negative role, was one of the USPs of Andha Kanoon, which was launching pad of Rajni Kant in hindi films. People roared with excitement in the cinema halls when they saw Pran appearing again as a villain.

Pran always excelled in all kinds of acting whether question was to portray a character in a natural manner by living under the skin of that character or to enjoy the acting that was full of mannerisms and which was slightly or overtly dramatic.

He was equally at ease whether he was playing an illiterate villager or an anglicized city based character. He showed his brilliance in the powerful feudal characters as well as in the penniless and powerless characters.

In many films he matched scene by scene biggest acting sensation of 50s, Dilip Kumar. Their on screen rivalry created many great cinematic moments and contributed in creating many great hindi films.

An actor who plays a villain on the screen is respected properly when people hate his on- screen incarnations and Pran’s villains topped the list of these villainous characters. Legend is there that no parents dared to keep their son’s name as Pran after Pran’s name got the (in) fame as an evil like a villain. They hated the characters Pran played on the screen and his on-screen image became so powerful that people forgot the difference between Pran, an actor, a real person, and his on-screen characters.

As a villain he was a terror personified on the screen. Bimal Roy had kept a scene in the Madhumati where Vaijayanti Mala is waiting for Dilip Kumar in the forest and all of a sudden birds start flying away from that place. She does not understand it but being a person living in the forest so close to the nature she understands that there is some kind of danger and she gets up to walk away from there.

Pran reaches there riding his horse. Bimal Roy very significantly portrayed the character of this villain in Madhumati and impact wise this scene defines symbolically the impact of Pran’s villain on screen. His performance in Madhumati remains among his top five performances.

He did it film after film.

Hrishikesh Mukherjee gave an apt tribute to villainous image of Pran Saab in Guddi where Guddi (Jaya Bhaduri) goes to a film studio to meet Dharmendra and there she sees Dharmendra fighting with Pran and she detests the idea of Dharmendra talking to Pran after the shot is finished. She thinks that Pran is still doing some manipulations and trying to con Dharmendra. Dharmendra says to her that Pran Saab is one of the most benevolent and good hearted persons of film Industry.

This is true in a truest sense.

An actor who is playing good characters on screen is respected if people feel love and respect towards him. Pran Saab played a good hearted mendicant Malang Chacha in Manoj Kumar’s directorial debut Upkar and it changed the perception of people about Pran saab in an overnight manner.

Pran Saab mentions an incident himself. Upkar had been released and it had got a sensational success. Afterwards once he went to Delhi to attend the wedding ceremony of daughter of character actor Late Om Prakash Saab and as soon as he got down of his car and walked towards the wedding place, people, gathered as a crowd there, made a way for him saying respectfully that Malang Chacha has come, let him go inside.

Kasme vade pyar wafa sab itself is a wonderful song and Pran’s soulful acting has made this song deeply touching and impressive. A dejected person’s warnings are very well exhibited by Pran’s performance in it. He is unable to digest the cheating which Prem Chopra has done to his elder brother Manoj Kumar.

Pran and Manoj Kumar collaboration started with Shahid where Pran had played a bandit Kehar Singh who had got capital punishment. Short, dramatic but a very impressive performance was given by Pran in it. It was a fictitious character but because of the powerful performance of the Pran, it rose along with the giant statures of the martyrs, Bhagat Singh, Sukhdev, Raj Guru.

His honesty in the real life became visible to all when his own film Beiman got the filmfare award and he openly advocated that other film deserved it.
Perhaps this became the first reason why his relations with Manoj Kumar could not remain good in later years.

Later he could not do Manoj Kumar’s film where he was supposed to play a Pathan, because he was doing a Pathan’s role in Prakash Mehra’s Zanjeer also and he did not want to repeat himself.

Pran had done a positive role way back in Aah (Raj Kapoor, Nargis) in 50s only but film had not got the success on BO. Perhaps Pran’s positive role was also a reason behind its poor performance on BO because at that time he had become quite famous in the villainous characters.

Pran had joined films while he was living in Lahore in late 30s. He started with Yamla Jat and become a saleable star there in the Lahore film Industry.

After the partition of India he and his family came to India and he reached Bombay along with his wife.

First he stayed in hotel Taj for a month or so and later long struggling period of several months forced him to shift to the economic hotels and ultimately luck favoured him and before his money could be finished he got a film.

He did not take much time in establishing again his star value in the film world. It is said that even in the 50s he had followed a self made professional commitment that he would charge more money in every new film than his previous film even if this amount was raised by Rs 1 only.

Pran had become one of the most saleable names in the film industry in 50s. His work had maintained a high quality and he was capable to compete leading actors in every single frame he was present. Being a gentleman, he had earned a great reputation among filmmakers and his colleagues and people working in film Industry.

To give a proper weightage to his name on the screen filmmakers made an arrangement to present his name in a proper manner.
First names of leading actors and senior actors would appear on screen and then “and Pran” would appear on screen to show the special emphasis given to his name. Coincidently, Bunny Reuben, writer of his biography, titled the biography as “and Pran” only.

In the beginning of his career Ashok Kumar had faced a problem with his hands. He did not know what to do with hands while giving a shot. He thought and he picked up a cigarette case and a lighter to keep his hands busy. He made cigarette a tool of his acting method.

Pran also utilized smoking as a tool to bring variety to his characters or to bring an impact in his characters.

He was the first actor who used blowing of smoke rings as a part of his acting range.
He would chew his cigarette or Bidi and it would create an interesting impact on the screen. He would take a lit cigarette inside his mouth with the help of his tongue and would take it out again to keep between his lips in Maryada and it would look so good on him on the screen.

He developed many different ways of smoking a cigarette, cigar, Cheroot, Bidi, Chilum and Hukka etc in different films to give some additional traits to his characters.

Pran was the first actor in hindi cinema who experimented vividly with the get-ups in his films. Like his fees which increased with every new film he had this notion also that he would not become a type cast and would play different characters in different films and even if he got sometimes a similar kind of character in few films then he would play them differently and to fulfill this desire to look and behave differently in different films he took inspirations from the people he had met or seen in the real life.

His observation power and capability to incorporate those observations into his characters have resulted in many great performances he has given in hindi films over the years. He selected a get up and a mannerism which he thought would suit his character and then he maintained a consistency throughout the film.

Bobby started a series of films where he played the father of the leading actor. In Bobby he developed this habit of keeping his thumbs in the pockets of his jacket and he maintained a consistency here also. Even in the ending while he runs along with Prem Nath, Dimple and Rishi, he does not forget to follow this body language.

He went on playing father to almost all the successful stars of 70s and 80s.

He developed different mannerisms for different characters in his films.
Because of his father’s profession (He was a contractor in the construction business) he lived in different places of united India during his childhood and that could be one of the reasons behind his command over different kinds of characters because he has seen many people at different places and they lived in his memory and helped him in his acting career.

He experimented with his sharp voice also for the sake of maintaining a variety in his characters. His sarcastic tone was completely acerbic in nature. Watch and hear him in a scene in Raj Kapoor’s Jis Desh mein Ganga behti hai where he addresses the bandits and says,” Haan Sardar to ab ye banega, ek police wala”.

Hear him saying, Ohh Rani Kalwati… in Shammi Kapoor starrer Rajkumar.

In one film he would jerk his head in a specific manner while saying his dialogues.
In another he would select a phrase which he would repeat many times in the film.
He played with his voice and dialogue delivery to a great extent. He had a voice which would be recognized in the crowd and he took full advantage of it.

In Halaku he was not the hero but he had played the title role. Ajit, villain of late 60s and 70s, had played the hero. Pran had played grandson of Genghise Khan. He paused at odd places while delivering his dialogues and made it one of his most specific roles.

For Zanjeer he again played with his voice and he used to give more emphasis on few words in his dialogues and his Pathan looked different than the Pathan character played by other actors in the past.

In Kasauti he brought a Nepali effect in his voice and dialogue delivery.

His experiments did not remain limited to variety in get-ups and voice modulation only but his sharp mind searched specific traits for the specific characters and these traits brought psychological depth to his characters.

When in the beginning audiences see him moving his fingers on his neck in Jis Desh mein Ganga behti hai, then they may not get why he is doing it but once film is finished they may simply admire his act which brings out the fear of a bandit playing hide and seek with the law.

He played brilliantly his complex character in Purab aur Paschim. He is a traitor and though on surface he lives like a self centered person but his behaviour is too complex to be defined in a black and white manner. Pran invented a perfect and quite impressive body language for such a complex character.

In this film he hardly looked anyone directly into the eyes. He did not accept anybody’s existence in his vicinity because he suffered from an inferiority complex. Deep inside him he is always passing through a constant conflict and that controls his outside behaviour. That was a marvelous performance.

With films like Munim Ji and Kashmir ki Kali he mixed comedy with his villainous act. Earlier it was the domain of the actors like Yakub, Jeevan and Kanhaiya Lal and when Pran joined this genre of acting then he excelled here also.

With Ashok Kumar he gave many hit films.

Their pair became a competent pair.

Last time he was seen in a good role in 1942 a Love story.

It is difficult to convey the brilliance of Pran as an actor to those who have not seen Pran’s villainous acts in the films which he did in 50s and 60s as even You tube can not be helpful as it contains only songs and not the scenes from the films and a villain rarely appears in songs and if appears then it is mostly a silent presence.

His only weakness as an actor could be his incapability to play a normal romantic character in a normal way and this is more his personal weakness because he could not prepare himself to do such roles. He found it difficult to sing romantic songs on screen.
He did it later but he did it in a comic manner.

Like many of the films stars of 50s and 60s he too has been involved in various social service activities and has fulfilled his social responsibilities very well as a responsible citizen.

During the political crisis in India in the late 70s, he was among few film stars who opposed emergency in a very vocal manner. He too joined the political party originated by Dev Anand.

This brief politically active phase could be the reason behind the fact that such a great actor of Hindi cinema has not been given the prestigious Dada Saheb Phalke Award.

He deserves it because of his contribution to the hindi cinema. Hope nation pays its tribute to this wonderful actor while he is alive. Hope Pran Saab gets the proper recognition and gets this award for which he truly deserves. His contribution is not less than many recipients who have got it in the past.

People may write to concerned authorities so that a deserving actor gets his due.

Even if Government organizations do not recognize the contribution of this brilliant actor to Hindi cinema, memories of his great performances will remain forever with the audiences and he will always be remembered as a great actor.

Perhaps following is the latest available video of Pran Saab.

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3. Dadasaheb Phalke Award to Manna Dey

Are you making your One minute Movie for PFCOne 2010?

Rk | Permalink |
© PassionforCinema, 2009.
Post tags: 1942 A love story, Aah, Adikar, Amitabh Bachchan, and Pran-A Biography, Andha Kanoon, Ashok Kumar, bimal roy, BOBBY, Bunny Reuben, Dada Saheb Phalke Award, Dev Anand, Dilip Kumar, Dimple Kapadia, Gopi, Half Ticket, Heer Raanjha, Hotel Taj, Jis desh mein Ganga behti hai, Jungle mein mangal, Kasauti, Kashmir ki kali, Madhumati, Munim Ji, Nargis, Pran, Prem Nath, Raj Kapoor, Rajini Kant, rajkumar, Ram aur Shyam, Rishi Kapoor, Shammi Kapoor, Sharabi, shatrughan sinha, Vajayanti Mala, Victoria number 203, Yamla Jat, Zanjeer

SSAF is a competition which is not only looking for talented animators but also good story tellers, so along with technique, content also matters.

SSAF is slated for the month of Feb/March 2010. It is open to students, professionals and studios.

The festival will travel to 5 cities in India in 50 days before crossing over to International borders.

For more information log on our website

Entries for the festival are open.

The final date to submit entries is 15th of December 2009.

So Hurry!! Send in your Animation shots today.

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1. PFCOne 2010 : the Third Online One Minute Film Festival – Call For Entries
2. Animation Films – ‘Cartoon’ Nahi Hain
3. IFFLA 2010 Announces Call for Entries!

Are you making your One minute Movie for PFCOne 2010?

Silver Salt Animation Festival 2010 | Permalink |
© PassionforCinema, 2009.
Post tags: animation, film festival, silver salt, Silver Salt Animation Festival, SSAF, SSAF 2010

Like  every  one  else,  yours  truly  dabbled  in  blogging,   switching  between  half  a  dozen  blogs,  but  not  taking  it  too  seriously  enough.  It  was only  since  2007,  that  i  started  to  put  all  my  articles  on  one  single  blog,  and then  in  2008, i  came  into  PFC,  and  as  the  cliche  goes,  “things  have never been  the  same  again”. Putting  together  the  list  of  my   favorite  movies  of  the  Noughties,  was   quite  a  task  for  me.    So  what  i  have  decided is  to  put  together  a  series  of  posts  on  my  favorite  movies,  of   each  year  of  the  decade,  till  the  end  of  the  year,  starting  off with  2000.  So   if  you  are  wondering   why  X  is  not  there  in the  list,  the   reason  could  be  a)  Its  not  of  that  year  b)  I  have  not  seen  it  c)  I  really  did  not  like it. This  is  a list  of  movies  i  have  liked  personally, so  chances  are  that  you  may  not  find  that  much  acclaimed  award  winning  movie,  or  you  may  find  the  name  of a  movie  that  was  either   slammed   or   not  too  well  known.  I  start  off  with  Y2K  aka  Year 2000,  or   Year 00,  the  year  a  certain  George  Herbert  Walker  Bush  Jr,  entered  the  Oval  Office,  in  the  most  controversial   election  in  history,  while   the  much  anticipated  Dot  Com  revolution,  ended  up   Dot  Bust,  throwing  the   economy  into a  tizzy.   So  here   goes  my  list  in no  particular  order.

Hey  Ram:  For  me  this   would  remain  the  best   of  the  year,  and  I  would  rate  this  movie  as  one  of  my  favorites  in  this  decade.  Sure  the  movie  had  it’s  own  flaws,   it  was  way  too  indulgent  at  times   with  Kamal  appearing  in  almost   every  other  frame,  the   “smooch-A-thons”   between  Kamal-Rani   and  Kamal-Vasundhara  just  went  on,  and   some  of  the  surreal  imagery  did  not  really  fit  in  the  movie.  But  this  was  a  movie,  where  the  positives  far  outweighed  the  negatives  for  me.  It  was  a  wonderful  depiction  of  the  title  character  Saket  Ram’s   transition  from a  sheltered,  blissful  life,   to  one  of  revenge,  when  his    wife  Aparna,  is  killed  and  raped in the  pre  Partition  riots  that  rocked   Calcutta  in the  30’s.   The  Hindu  fundamentalist  leader  Abhayankar, provides  Mahatma  Gandhi  as  the  scapegoat  for  all  the  troubles,  claiming his  policy  of  Muslim  appeasement  is  what  led  to the  situation.   Unlike  what  some  critics  made  it  out  to be,  the  movie  was  not  anti  Gandhi, it  merely  depicted  how  an  individual  who  had  lost  everything,  was  made  to believe  that   the  Mahatma  was  the root  of  all  his  troubles.   It  was a  movie  that   probed,   questioned,  made  you  think,  and  end  of  the day, you came  back  with  some  unforgettable  moments.   It   was one  of  the  few  movies  in  the  Noughties   where  we  got  to  see  Shahrukh Khan  the  actor,   rather  than  the star,  especially  in  one  memorable  scene,  where  he  pleads  with Kamal  to  save  the   lives of  the  Muslims  around.  And  yes  it  was  the  first  time  i  saw  a  certain  Atul  Kulkarni, in  one  of  the  finest  on  screen  performances,  as  Abhayankar,  and  from  then on  been  one  big  fan of  his  acting.

Almost  Famous: Cameron  Crowe   took  his  own  experiences  as  a  teen  writer  for  Rolling  Stone,  interviewing  rock bands  like  Led  Zeppelin,   Eagles  and  translated  them  on  screen,  in  an  endearing,  comming of  age  tale.  The  movie   in  one  way  traced  the  growing  up  process  of  the  15  year  old  lead  character  William Miller(  Patrick  Fuget)   who  has  to  deal  with  an  overbearing  Mom( Frances  Mc Dormand)  and   pressure  to get  better grades  at  school.    Miller  seeks  a  refuge  from  his  home  life,   by  working  as  a teen  reporter   covering  the  rock  and roll  scene.  His  friendship   with  the  Stillwater    band’s   lead  guitarist   Russel  Hammond( Billy  Crudup),  and  his  subsequent   growing  up  process,   including  his  love  for  Penny  Lane(  Kate  Hudson),  one  of  the  groupies.  Though  set   against  the   70’s  rock  music  scene,  the  movie   was  more  about  William’s   journey  from   a  gawky,  controlled  by  Mama  teen  to  a  adulthood,  including  moving  out  of  his  over  protective  Mama’s   care.  Crowe  takes   a  nostalgic,  affectionate  look  at  his  own  teen  years,  not  really  focussing  much  on  the  darker   side  of  the  rock  world.   What  works  for  the  movie  is  the  smart  and  witty  dialogue,  fabulous  performances  by  Fuget,  Frances  Mc Dormand(  first  rate  as  always),   Crudup  and  Kate  Hudson,  and  also  the  classic  70’s  rock  soundtrack.

Cast  Away: Not  too  often  does   a  movie  where  a  major  chunk  of  the  action  involves  a lone   man  and  a  volleyball   grab  one’s   attention,  as  Cast  Away  does.   Coming   together   after  Forrest  Gump,  Robert  Zemeckis  and   Tom  Hanks,   come  out  with  a  tale  of  a  modern  day  Robinson Crusoe,  marooned  on  an  island.  The  irony  is  that  Chuck  Noland,  Hanks  character,  is  some  one  obsessed  with  time,   and  schedules,  as  a  Fed  Ex executive.  And  one  fine  day,  he  finds  his   entire  life  turned  upside  down  literally,  when  his  plane  crashes  in  the  Pacific,  and  he  is  left  stranded  on  an  island.    It  was  not  just  the  theme,  but   director  Zemeckis  treatment,  that  makes   this  movie  truly  one  of  my  favorites.    Not  much  of   BGM,   no  fights  with  sharks  or  native  tribesmen,  nor  any  eye  popping  special  effects  of   thunderstorms  or   exploding  volcanoes.   The  narrative  goes  at  a leisurely peace,   showing  Chuck’s   struggle  for  survival  on  the  island,  his  conversations  with  the  volleyball  Mr. Wilson.  The  most poignant  scene  for  me,  Chuck  comming  back  from  the  island,  attends  a party,  looks  at  the  table  laden with dishes,  picks  up a  piece,  and  puts  it  down.  No  dialogue, no  VO,  but   it  conveys  so  much,  of  a person  who  experienced  scarcity,   now  having  to  deal  with  excess.

Crouching  Tiger,  Hidden  Dragon:   If  not  for  anything  else,  the  fact  that  this  movie   introduced  me  to  the  Wuxia  style  of   martial  arts,  should  be  a   reason  good  enough  to  put  it  in  the  list.  But   beyond  the   spectacular  cinematography,  the   breath  taking   martial  arts  scenes,   are  the  multiple  layers,   in  the  story   that  puts  this  movie  firmly  in  the  classic  status  for  me.  Be  it  the  deeply  etched  out  female  characters,  and  their  comment on  the  patriarchal  Chinese  society,  their  place  in  it.  Or  the  clash  between  the  value  systems  of  Confucianism,  Taoism  and  Zen  Buddhism,  represented  by the  3  female  characters.  The  symbolism  of  poison  as  a means  of  cowardice,  or  that  of  bamboo  to  represent  the  inner  self.   And   to  add  some  fabulous  performances  by  Chow  Yun  Fat, Michelle  Yeoh,  Zhang  Ziyi.  The  Wuxia  martial  arts  genre  has  been  one of  my  favorites,  not  just  because  of  the  colors  or  the   action   scenes,  but  also  the  layers  of  complexity  involved  in  the  stories.

Erin  Brockovich: Never  really  been a  big  fan  of    Julia  Roberts,  but  she  manages  to pack a  wallop  in this  Steven  Soderbergh   feature  about  a  feisty  single  mom  who  takes  on  the  energy  giant,  that has  been  polluting  the  water  supply  in  her  town.   Its  the  classic  legal  tale  of  a  David  taking  on  the  Goliath,   the  underdog  vs  the top  dog.  The  difference  is  Soderbergh,  here  ratchets  up  the  tension  and   drama, not  from  any  shady  conspiracy  hi  jinks   nor  does  Erin  herself  receive  any  threats,  but  from  her  interactions  with  the  local people,  her  digging  into  the  cases,   her  fight  against   cash  rich  Gas company,  that  could  buy out  the  entire  legal  system.  Nor  does  Soderbergh  get  into   the  trap  of   having   the  mandatory  climax  courtroom  speeches,  nor  any  big  courtroom drama.  In  fact  if  you  are  looking  for  a  fire  and brimstone  Hollywood  style  legal  drama,  Erin Brockovich is  certainly  not  it.  But   what  works  for  the  movie  is  the  smart  writing,  the  witty  dialogues  and  basically from Erin  herself.  My  favorite  quote  ” I just went out there and performed sexual favors. Six hundred and thirty-four blow jobs in five days… I’m really quite tired.”

Gladiator: I    was  initially  skeptical  about  putting  this  in my   favorites  list.  For  most  of  the  second  half,  the  movie  looked  like  an  extended   WWF  slugfest,   with  heads  rolling,  blood  squirting  around,  and  after  some  time  the  combat  scenes  got  tiresome.   But   then  again  the  positives   were  numerous,  the  opening  battle  scene,  as  rousing   as  it  gets,  “At  my  command,  raise  hell”. But  more  importantly,  the  entire  sequence  between  Maximus(  Russel  Crowe)  and  the  aged  Roman emperor  Marcus  Aurelius(  Richard  Harris),  where  he  decides  to make  Maximus  the  leader.  And  then  the  murder,  intrigue  by  Aurelius  jealous son  Commodus(  Joaquin  Phoenix),  which  results  in  Maximus  turning into a  slave  and  then  a  Gladiator.   Apart  from  some of  the  combat  scenes,  the  dramatic  confrontations  between   Maximus  and  Commodus  have been  well  picturized  too, and  also helped  by  some  solid  acting  from  Crowe  and  Phoenix.

O Brother, Where Art   Thou?:   3   escaped  convicts from a  chain  gang,  hidden  treasure,  whacked  out  characters  all  over,  small  town  Rural  South  America  in  the  Depression, and  the  allusions  to  Homer’s  Odyssey  throughout  the  movie.   One of  my  favorite  Coen  Brothers  movie,   and  to me  not  many  movie  makers  capture  the  pop  culture,  small town  rural  America,  better  than  these  guys.  Mixing  up  Klansmen, Missisippi sharecroppers,  chain  gangs  with  a  hero  named  Ulysees, a modern  day  Cyclops,  the  3  convicts   being  seduced to sleep  by sirens,  it  to me  again would  be  one  of  my   favorite  movies  of  this  decade.  Add to it  some  fab  acting by  George  Clooney  as  Ulyssess, John  Turturro  as  Pete  and  Holly Hunter  as  Penelope.

Requiem  for  a  Dream:  Dark, unsettling,  holding  back  no  punches,  Darren  Aronofsky’s  Requiem  for  a Dream,  is  a  mirror  to  the  lives  gone  waste  from  drug  addiction.  No  sugar  coating, no  sermonizing,  what  Aronofosky  does  is  stick  a mirror,  asks  us  to  take  a look  at  it,  as  is,  and  the  picture  ain’t  too  pleasant.  The  movie  follows  the  lives  of   4  different  characters,  each  of  whom  takes  to drugs  for  their  own  personal  reasons.  Harry( Jared  Leto)  and   Tyrone(  Marlon Wayans) are  two  stringed  out  junkies,  hoping to  open a  fashion  store  that  would show  case  the  designs  of   Marion(  Jennifer  Connelly), a junkie  herself. The  other  person is  Harry’s  mom Sara( Ellen Burnstyn), who gets  hooked  on to  drugs,  while  trying  to  undergo  a weight  loss  program, that  would  help  her  appear on a  Tv  show.   It’s  a movie  that  is depressing,  as  we  see the  characters  going  down  into a  spiral  of  self  destruction,   with  no  redemption  in  sight.  And  of  course  brilliant  acting by all  the  4  principal  players,  makes  this  memorable.

Snatch:   Guy  Ritchie  follows  his  obsession  for  the  low  life  scum  of  the  London Underworld,  after  Lock Stock  and  2  Smoking  Barrels,  this  time  though on  a more  larger  canvas,  and  interweaving  numerous  storylines.  The lowlives  here  are  the  narrator  Turkish(  Jason Statham),  a boxing  promoter,    Franky  4  fingers( Benicio  Del Toro)  the  diamond  thief,   the  Irish  “pikey”  Michael O Neill(  Brad  Pitt),  ex  KGB  agent  and arms  dealer  Boris  The  Blade  and  the  bounty  hunter  Bullet  Tooth  Tony.  And the  usage of  jump  cuts, quick edits,  as   Guy  Ritchie  moves  at  a  furious  pace,  connecting  the  numerous  stories  to  the  single  point,  the   hunt  for  a 84  karat  diamond,  that  has  been  stolen. And  an  ensemble  cast  featuring  Jason  Statham,  Brad  Pitt,  Benicio  Del  Toro,  Vinnie  Jones,  Dennis  Farina   adds  the  icing  on  the  cake  perfectly.

Traffic:  One  movie  that  would   make  it  to  my  Top  10  Movies  of  this  decade.   Stephen  Soderbergh’s  on  screen  adaptation  of  the  TV  series,  that  explores  the  entire  spectrum  of    the  drug  mafia- from  it’s  origins in  the  poppy  fields  of  Pakistan-Afghanistan,  it’s   distribution  across  the  West  and  it’s  use.   The  movie  takes  a  look  at  the  drug  world,  through  3   different  interwoven  tales,  a   Mexican cop  Javier  Rodriquez(  Benicio  Del Toro) used  by  a  high  ranking  Mexican  official  to  apprehend  a notorious  hitman,  working  for the  cartels.  A  conservative  Ohio  judge   Robert  Wakefield(  Michael  Douglas) leading  the fight  on  the  drugs,  at  the  same  time  having  to  deal with  the  fact  that  his  daughter  is  a junkie  herself.  And  a  pair  of  undercover  agents  in San  Diego,  trying to  nail a  powerful   drug  lord  Carlos  Ayala,   and   his  wife  Helena( Catherine  Zeta  Jones) trying  to  subvert  the  trial.  Soderbergh,   takes  us  straight  into  the  world  of  drug  trafficking,  as  we  get  to know  the  various  persona,  the  side  characters,  the  players  involved. Liked  the  use  of  different  color  tints   based on  the  backdrops,  and  also  the  personal  conflicts  among  the  lead  characters.  The  ever   dependable  Del  Toro  is  brilliant,  as  is  Michael  Douglas  as  the  Judge,  torn  between  duty  and his own  family life.  Catherine  Zeta  Jones,  shows  there is much more  to her  than  just  a pretty  face.

Unbreakable:  For  me,  this  remains  to date  my  favorite  Shyamalan  movie,  much  ahead  of   The  6th  Sense.   While  the  6th  Sense,  for  all  it’s   surprise  shock  ending,  was  a  Ghost  tale  simple  and  straight,  i liked  Unbreakable  more  because  of  it’s  look  at  the  concept  of   the  superhero,  the  way  the  protagonist,  begins  to  discover   his  super  hero  qualities.  The  relationship  between  the  physically  fragile   Mr. Glass aka  Elijah  Price( Samuel  Jackson),  and  David  Dunn( Bruce Willis),  the  lone  survivor  of  a  train crash,  that  killed  131  passengers,  Elijah’s   attempts  to  convince  David  of  his  own  superhero  qualities   is  what  drives  the  entire  movie.   The  twist  in  the  end  though,  however  looked  a bit  too  forced  for  me,  did  not  really  fit  into  the  story.

Some  other  movies   with  a Honorable  mention  in  2000

Hera  Pheri-  Cracker  of  a  performance  by  Paresh  Rawal,  one of  the  best  Hindi comedies  of  this decade,  and  a welcome  relief  from the  David  Dhawan  stuff.

Rythm-  A  movie  that is  somewhat  of  a rarity,  in  Kollywood, a  love  story  that is  mature,  understated  and subtle.    Vasanth’s  take  on  the  love  between  a  widow  and  widower,  their  lives  coming together,   is  done with a  sensitivity  that  is  quite  often  hard  to find in  mainstream  Indian cinema.  Arjun  and  Meena  are  excellent  in the lead  roles,  and  this  has  to be one  of  A.R.Rehman’s  best  musical  scores  ever,  every  song  a  winner  in  it’s  own right.

X-Men-  One  of  my  favorite  super hero flicks,  it  works  because  of  the  way  each  character  is  finely  etched  out,  both  the  mutants  and  the  humans,  and  add to it  some  eye  popping  special  effects,  and  excellent  performances  from  Hugh  Jackman(  Wolverine), Anna  Paquin( Rogue),   Hale Berry( Storm),  Rebecca Romjin Stamos( Mystique).

Remember  the Titans: Predictable,  feel  good  sports  flick,  that  works  well.  Excellent performance  as  always  from  Denzel  Washington,  as  the  coach  who has  to  deal  with  racism,  as  well  as  motivate  his  team to  win.

Related posts:

1. Amitabh Bachchan: After 2000
2. Welcome to the world of Coens
3. One Scene Character

Are you making your One minute Movie for PFCOne 2010?

Ratnakar Sadasyula | Permalink |
© PassionforCinema, 2009.
Post tags: 2000 Movies, Almost Famous, Cast Away, Coen Brothers, Crouching Tiger, Erin Brockovich, Gladiator, Hey Ram, Hidden Dragon, O Brother Where Art Thou, REQUIEM FOR A DREAM, Snatch, Traffic, Unbreakable

Every evening show at his Prithvi theatre, he is wheelchaired in, he watches every play and when the place is emptying, waves bye bye, nods, or just smiles tiredly.

I waved to him last week after a show of Veenapani Chawla’s Tortoise and the Hare, and he smiled. And to think there was a time when he’d be sparring with me about a review or chatting genially in the course of a drive through the outskirts of Bengalaru where Utsav was being filmed. Before the unit lunch, he’d check if the mishti dohi he had ordered specially from Kolkata had arrived. Of course, it had.

Lately at the MAMI film festival, he was honoured with the Lifetime Achievement Award. And the fan in me just had to reflect and write..

That his influence  has been undervalued. Those who do not thunder, bellow, hubble or bubble, carry out elaborate death scenes, are not viewed as great actors. He didn’t participate in any of those acting tricks, he just made every little emotion – love, hate or something in between – so darn effortless, that he was to a camera born. Casual, cool, collected.

Shashi Kapoor was my hero, I-wish-I-was-like-him poster boy of the 1960s. Terrific looks, coiffed  and cologned, a jagged but disarming smile, neatly turned out. He  advanced a fashion statement with those flapper collared silk shirts – floral printed! – and bell bottoms. Many of his films credited wife Jennifer with the costume designs; below her credit, there would be the name of the Taj Mahal Hotel boutique, Burlington’s. The boutique is still there, you cannot walk past it without thinking of Shashi Kapoor.

Angrezi ka mausam

Shashi Kapoor with his wife the late Jennifer Kendall

When you look at today’s actors, there may be inheritors of the Dilip Kumar-Raj Kapoor-Dev Anand styles – but there’s no one who comes quite close to the Shashi Kapoor charisma which was always equated with the “western..angrez” stereotype. Nasir Husain, who directed him in Pyar ka Mausam (1969), once said that his hero’s appeal is essentially to the urban audience, but added, “When he leaves all his questions and doubts at home, then he appeals to all, be it to a college student or a truck driver.”

Indeed it was facile to call Shashi Kapoor “westernised”, and unfairly sourced in his personal life, since he had a ‘memsahib’ wife. Also his roots in the theatre craft of the Kapoor clan as well as that of the  Kendals’ Shakespearana made him an oddity of sorts. Hey, here was an actor who had travelled abroad extensively, believed in the Bard and literature, and actually spoke in his interviews about his elaborate English breakfasts on Sunday. And what do you know?.. Jennifer Kendal Kapoor and he even had a library with books that were actually read! And there was that music system playing Mozart, Bach, Beethoven.

For a starry-eyed boy studying in a Bombay school – the Cathedral and John Connon — where other students considered Hindi films infra dig, Shashi Kapoor was a guilty pleasure of sorts. When the Shakespareana troupe arrived at Cathedral one afternoon to stage excerpts from A Midsummer Night’s Dream, he was royally ignored. Or perhaps other students had not heard of him yet. Because Ivory-Merchant’s The Householder (1963) had arrived and vanished, faster than breeze, from a handful of cinema halls.

In that, he portrayed a man very babu and lower middle class in his values. Just the opposite of what he was in real life. Earlier, his B R Chopra film Dharm Putra (1961) had tanked, since it dealt with the serious issue of communal strife. Both The Householder and Dharm Putra were black-and-white, he wasn’t a glamour-exuding star yet. That afternoon, I was the only one who asked him for his autograph which he gave with much ceremony, asking me my name, where I live, and how come I knew about him.

Chat amiably with a boy who’s been tracking him, and the actor has him hooked for life. Years later, I was to tell Shashi Kapoor that I had written him a fan letter but had received no reply, a snub which can snuff out adulation immediately. “Naaaah, come on,you didn’t,” he laughed. “You are not the type who writes fan letters.” Well..

Fan..tastic!

The fan in me surfaced for Shashi Kapoor. He was so likeable in Jab Jab Phool Khile (1965) as the poor Kashmiri who falls in love with swanky Nanda, and its songs were so marvellously picturised, that I couldn’t miss a single movie of his, and it had to be seen first-day-first-show.

I ended up liking his films, which are hardly on the recall file today: Mehndi Lagi Mere Haath (1962), Mohabbat Isko Kahte Hain (1965) and  Neend Hamari Khwab Tumhare (1966), all teaming him with Nanda, and a slick whodidwhat titled Aamne Saamne (1966) opposite Sharmila Tagore. Shashi looked best with La Tagore but was  more successful with Nanda, forming a ‘hit pair’ in the magazine terminology of the time. With Hayley Mills in Pretty Polly (1966), he cut a sharp, saturnine figure..but the film was not up to scratch.

There was a lull in his career, ascribed to that ‘western’ personality. The return came with Sharmilee (1971), a womancentric thriller in which Shashi Kapoor carromed between the double roled Raakhees. Occasionally, there would be the odd movie like Dil ne Pukara (1967) in which Rajshree had to make a choice between him and Sanjay Khan. I remember a reader’s letter in Filmfare, then, in which a woman reader wrote, “But where’s the competition between the two? Which woman would not opt for Shashi, eyes closed?” The lesser-known work of the actor is also his most appealing, as in Suhana Safar (1970), Abhinetri (1970) and Paap aur Punya (1974).

Shashi Kapoor, Nirupa Roy and Amitabh Bachchan in Deewar

I am not sure whether I liked him playing second fiddle to Amitabh Bachchan at all. Bachchan got all the powerful scenes in Deewaar (1975) but there’s that silver lining here. It was Shashi Kapoor who delivered that classic line, “Mere paas maa hai.” But take Do aur Do Paanch (1980), what the hell was he doing, not quite putting on a convincing show in a project that required a zany approach. The actor’s  flair for comedy, sporadically evidenced in  movies like Pyaar Kiye Jaa (1966) and Shaan (1980) was never quite exploited completely.

Although the  wizard of madcap comedy Manmohan Desai did cast him in the nondescipt Suhaag, it was Bachchan and Rekha who were given all the crowd-pleasing footage. Before that  the director had cast Shashi Kapoor in the more ‘serious’ Aa Gale Lag Ja (1973), absurdist but narrated with a straight face, like the finale showing our hero going haywire  on roller skates.

Producer ka Junoon

With time, alas, in mainstream commercial cinema Shashi Kapoor was typecast in nice-guy roles, be in Namak Halaal (1982) or Ghungroo (1983). Shashi Kapoor was accepting the backseat, presumably because he didn’t relate to the leads being offered to him, and because he was shifting gears towards the production of films of the sensible kind. Monetarily, those films burnt him. Still that was his most admirable phase, as the producer of Shyam Benegal’s Junoon (1978) and Kalyug (1981), Aparna Sen’s 36 Chowringhee Lane (with the performance of a lifetime by Jennifer Kendal), Girish Karnad’s Utsav (1984) and Govind Nihalani’s Vijeta (1986). Perhaps, he was hoping to break into the international market, an idea that was far ahead of its time. Junoon fetched rave notices in the international press and was much-sought-after at international film festivals.But that was it..

Shashi  has not been able to take criticism easily though. My review of Junoon raised his hackles and at our first face-to-face meeting at a film festival in Kolkata, he was anything but cordial. Subsequently, he thawed and how. If I was interviewing him, he would insist, “Listen ask me tough questions..or I’ll fall asleep.” He didn’t fall asleep.

Those films didn’t fetch him money. And the only film he directed Ajooba (1991) shoved him to brink of bankruptcy. The film industry spoke about him in whispers. This did affect him. Compounded with the loss of Jennifer to cancer, he appeared to have lost his love for life and cinema. Never have I see a man turn from an Adonis to a corpulent figure overnight, the excess weight and disinterest were there as if to say, “Who cares?”

Gradually, he perked up and the dazzling smile returned, but it was evident that he had withdrawn into a shell, spending his quality time with his grandchildren.

All the world’s a stage

At his home in Atlas Apartments on Malabar Hill, there was a small waiting room which the household laughed was the “chamcha room.” There the flatterers and the gainseekers would congregate when Shashi Kapoor was in the gravy. Today, he has shifted to an apartment in Juhu, adjoining the Prithvi theatre. The theatre has been maintained for decades by Shashi Kapoor under the helmsmanship of his daughter. The hub of the city’s theatre activity, it is a magnificent gift to the city by the actor, in memory of his father Prithviraj Kapoor who straddled the worlds of theatre and cinema.

Almost withdrawn from the entertainment world, Shashi Kapoor still talks fondly of the late Ismail Merchant, a producer who could sell the Buckingham Palace. The collaboration between the producer, the actor, director James Ivory and at times, author Ruth Prawer Jhabwala, are an entirely different subtext of his life and career. The films are a delectable assortment ranging from the moodily elegiac (Shakespearewalla, 1965) the playful Bombay Talkie (1970), the yearningly nostalgic Heat and Dust (1983) and In Custody (1994) which showcased him as an aristocrat gone to seed. This performance, in the latter phase of his career, is remarkable for its implosiveness.

Mr Elegant

Out of the Ivory-Merchant fold, New Delhi Times (1986) sees him in an unforgettable performance, as real as it incisive about the machinations of the media.There are countless performances I can open out from the vaults of my heart right now, but suffice it to say that his early films especially catch him at his subtlest, like Bimal Roy’s Prem Patra (1962) and Benazir (1964) And he has that ability, too, to snatch an entire film away from under the nose of the leading man – as in Ijaazat (1998), an elegant punctuation before the end.

Of the three Kapoor brothers, Shashi was the youngest and the most boyishly endearing of them all. Raj Kapoor directed him in Satyam Shivam Sundaram (1978) but everyone looked uncomfortable before the half-clad Zeenat Aman gambolling across in 35 mm.

Shashi Kapoor, born, Balbir Raj could have retained his Peter Pan looks but chose not to. He would have been so right in a Satyajit Ray film, so right in Seemabadha and Shatranj ke Khilari, for instance. Yet he made no pitch to the master.

That certain smile

Today Shashi Kapoor, at 71, accepts the popping flashbulbs of the paparazzi with visible bemusement. He doesn’t accept awards. I had fallen at his feet to accept the Filmfare Lifetime Achievement Award, and he had just smiled an inscrutable smile. There was another occasion to request him to accept another  Lifetime Achievement Award. The request was made to him on board an aircraft. And he said, “Naaah, you know how I am, sweet of you but…now behave yourself..go fasten your seat belt.”

I don’t exactly know why he has been allergic to awards, but I was thrilled that he consented to accept the festival’s award.He’s not so stubborn after all.

And for that I would like to write him a fan letter once again…to say, “Thank you sir for your art..and for being my poster-boy of all time.”

Related posts:

1. Mere Paas Maa hai…
2. Halla Bol: Mere Paas Gurda Hai
3. Mere Angne mein – Is She a Male ?

Are you making your One minute Movie for PFCOne 2010?

Khalid Mohamed | Permalink |
© PassionforCinema, 2009.
Post tags: 36 Chowringhee Lane, Jennifer Kendal, Junoon, Kalyug, Shakespearwallah, Shashi Kapoor, Utsav, Vijeta

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Are you making your One minute Movie for PFCOne 2010?

Nikhil V | Permalink |
© PassionforCinema, 2009.
Post tags: comic book, Mark Millar, Matthew Vaughn, Trailer

Source

Check out Sourabh’s blog on PFC here

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Are you making your One minute Movie for PFCOne 2010?

Sethumadhavan N | Permalink |
© PassionforCinema, 2009.
Post tags: Rajeev Khandelwal, Return Gift, Sourabh Narang, UTV spotboy, Vaastu Shastra