Posts tagged 1970s
Finding the right period car for Emraan Hashmi in Once Upon A Time was no cake walk
Only now has Milan Luthria, the director of Once Upon A Time In Mumbaai, got a real taste of the problems of making a period film. Apart from getting the right look for the lead actors, Ajay Devgn and Emraan Hashmi, Milan has struggled to find them the right period cars.
The film is based in the 1970s. In the film, Ajay Devgn who plays the role of Haji Mastan drives a white 1967 Mercedes and Emraan Hashmi who plays Dawood Ibrahim has a Classic 1971 Ford LTD. The model Emraan drives, has been used in high-octane action movies like The French Connection and Terminator.
A source says, “It took about three months to find the white 1967 Mercedes. But it took Milan five months to find an apt car for Emraan’s character. He finally decided on the Ford LTD.”
Milan Luthria says, “For me it was great fun to source out these cars.” Being figurative, are we?
|Emraan Hashmi (right) with the Ford LTD|
Ajay Devgn returns with Emraan Hashmi to play a ‘don’ of the 1970s
Times News Network (BOMBAY TIMES; June 7, 2010)
Ajay Devgn is doing what he knows best. Seamlessly slipping into myriad characters in his films. The brouhaha of his recent political film has hardly died down and he’s ready to knock on the marquee again — this time as a mafia don in Balaji’s Once Upon A Time in Mumbaai which will release on July 30. Says the superstar, “Actors have no time to revel in the characters they do for too long. Before you know it, you’re dealing with another film.’’ Lighting up, he adds, “I know it seems convenient when I say that ‘mafia’ films are my favourite genre because I’m playing a character that has a reference to a don from the 70s, but the fact is that I do enjoy mafia films. I keep telling Ram Gopal Varma that Company, where I played a character that was like Dawood Ibrahim’s, still brings me fan mail. I guess there’s something interesting about the mafia.’’ He admits that Francis Ford Cappola’s Godfather makes for compulsive viewing, and adds that he has a collection of mafia flicks too. Director Milan Luthria, who is of the opinion that curiosity riding on mafia flicks is tremendous, says, “Once Upon A Time In Mumbaai should appeal to young and old alike because guns and gang-wars do have a draw.’’ Asked about his unusual casting that brings Ajay and Kangna Ranaut as also Ajay and Emraan Hashmi face-to-face for the first time, Milan says, “Interesting combinations make for interesting marketing and viewing of a film. This combination is generating interest in the media as well as in the fans. I am sure people are interested in seeing them take on each other in the film. I have successfully done other first time combos in Kachche Dhaage (Ajay and Saif Ali Khan) and Taxi No 9211 (Nana Patekar and John Abraham). Those combinations worked. I’m sure this one will also work.”
She’s still celebrating LSD, but Ekta Kapoor is worried by the pressure to change the name of her next film, Once Upon A Time in Bombay
This week Ekta is hosting what she’s calling the ‘LSD Party’. And there’s nothing that the cops can do. LSD is the acronym for her new film Love Sex Aur Dhokha. “I wanted to make an interesting and edgy film. Now I’m going to have an interesting and edgy party for all my friends on April 10.
This would be the first LSD party where no one needs to fear getting raided,” says an excited Ekta.
But before the celebration, there’s a problem to be dealt with. Ekta is caught in a strange dilemma because her next film as producer is a gangster epic Once Upon A Time In Bombay, and her production company Balaji Films is being pressurised to change the ‘Bombay’ in the title to ‘Mumbai’.
Admits Ekta, “Yes, there’s a lot of pressure on me to change it to ‘Mumbai’. But there was no ‘Mumbai’ in the 1960s and 1970s, the period in which my film is set. So how can we change the title?”
By Taran Adarsh, April 2, 2010 – 07:56 IST
We rarely make desi movies these days. Palatial mansions, swanky cars, designer outfits, the latest handsets and gizmos have replaced large kothis, traditional outfits, ghoda-gaadis and makke di roti aur sarson ka saag. True to its name, SADIYAAN takes you to a different era, when the warmth of relations mattered the most, when blood was thicker than water, when promises were meant to be honoured.
SADIYAAN is set in the 1970s, but travels to the partition days. Raj Kanwar tackles a unique theme this time – of two mothers. The first is the biological mother, who gets separated from her child during the partition. The second raises the child like her own, when she crosses to India after partition. The basic premise is wonderful and you can draw parallels with Hindu mythology.
|BY BOLLYWOOD HUNGAMA.COM
SADIYAAN is divided into two parts. The first part focuses on the love story, which falls on the predictable, mundane stuff, with the Hindu-Muslim angle thrown in. But Raj Kanwar reserves the best for the second part, when the two women meet and the story takes rapid turns. But, let’s face it, SADIYAAN is not everyone’s idea of entertainment, since the ‘multiplex junta’ doesn’t patronise desi cinema anymore, unlike the single screen audience that adores this kind of cinema.
So what’s the final verdict? Watch it if you like desi melodrama of yore, which comes alive with SADIYAAN.
SADIYAAN is a period drama based on an incident which happened during the partition. It’s the story of two mothers, a Hindu played by Rekha and a Muslim mother played by Hema Malini.
In the chaos and confusion during partition in 1947, Benazir [Hema Malini] leaves behind her child in the mansion she lived in, before moving to Lahore. The child is rescued by Amrit [Rekha] and Rajveer [Rishi Kapoor], who try hard to locate the parents of the child, but in vain. They decide to raise the child themselves.
Ishaan [Luv Sinha] falls in love with Chandni [Ferena Wazeir], who lives in the same city [Amritsar]. However, Chandni’s parents oppose the match, since Ishaan is a Hindu. Amrit and Rajveer decide to reveal the truth to Ishaan and also to Chandni’s parents.
Two commonalities in Raj Kanwar movies… One, he has always stressed on drama in his movies and SADIYAAN is no exception. Two, the maker has often worked with newcomers [SRK in DEEWANA, Aarya Babbar and Amrita Rao in AB KE BARAS and Lara Dutta and Priyanka Chopra in ANDAAZ] and now, it’s Shatrughan Sinha’s son Luv Sinha in SADIYAAN.
SADIYAAN has two stories running concurrently – the love story [Luv, Ferena] and the story of two mothers [Rekha, Hema Malini]. While the love story is hardly exciting since it relies on the tried-and-tested stuff, the Indo-Pak angle in the mothers’ story makes this part extremely watchable.
The best moments are reserved for the second hour, with the penultimate moments proving the mainstay of the enterprise. However, as mentioned earlier, desi themes aren’t too popular these days, except in the hinterland. Hence, a film like SADIYAAN has its limitations to cut across to a universal audience. Another drawback is that a love story should be embellished with lilting music and unfortunately, Adnan Sami’s music is a letdown.
Directorially, Raj Kanwar handles the dramatic moments with flourish, but the writing, especially the love story, is archaic. Also, what was the need to force comedy in the narrative? Cinematography is alright, but the locations are eye-filling.
Rishi Kapoor, Rekha and Hema Malini are the lifeline of the film. Rishi is top notch. Rekha is amazing, while Hema is perfect. In fact, it’s a treat to watch the two actresses share screen space after a really long gap. Luv Sinha needs to polish his acting skills. He’s slightly awkward in the first part, but decent in the second half, when the goings-on get emotional. Ferena is a decent actor, but needs to work on her makeup and wardrobe.
Javed Sheikh is appropriate. Deep Dhillon is good. Vivek Shauq is getting typecast. Avtar Gill is perfect.
On the whole, SADIYAAN is an emotional drama narrated in old-fashioned style. If old world charm still excites you, there are chances you may like this one.
• Your next release Atithi Tum Kab Jaoge? is about an unwanted visitor. Have you ever encountered anything like this?
You know it’s bizarre but everyone has been telling me weird tales about unwanted guests but I have never faced the situation. Right through the making there were so many incidents I heard. I guess I will have to wait for my own experience.
• You are paired with Konkona Sen Sharma. Don’t you think it’s quite an odd pair?
We wanted someone who could look convincing as a housewife who is also a working woman. The feedback I have got so far has been quite encouraging. I have not worked with her before Atithi… but we did interact during Omkara. She is a brilliant actress and that’s what Ashwini (Dhir, director) wanted.
• You started your career with action then shifted to intense roles and now you are mostly doing comedy. Comment.
Doing the same thing over and over again is boring. I always try to do different things. My comedy films have worked so I am doing comedy at the moment. Atithi… is a situational comedy. You will sympathise with my character. But I am also doing Priyadarshan’s crime thriller, Garam Hawa as some people told me that they wanted to see me in action roles.
• Weren’t you supposed to start your next film as a director?
Yes. In fact, I have just zeroed in on a fresh idea and I will start by the end of the year. After U Me Aur Hum, neither did I get the time nor did I get any subject which I was inclined to make. But all that is a thing of the past as I am finally excited about a subject.
• Have you watched My Name is Khan?
Not yet though I want to watch it. I have been out of town for the last three months.
• Your image is that of a very moody person but those who have worked with you have a completely different opinion.
Those who know me know that I am not moody. I guess my films have contributed to that image. But I guess I will have to change that now. (laughs)
• What do you have to say about playing Haji Mastan in Once Upon a Time in Mumbai?
It’s not completely based on but inspired by his life. It was fun as it required going back to the 1970s complete with bell bottoms and typical mannerisms. I am enjoying playing a don again. It’s different from what I did in Company.
• You only work with directors you are close to…
That’s not true. I won’t deny the fact that I am very comfortable working with Priyan or Rohit (Shetty) or Prakash Jha. But I am also open to working with other directors.
• Are you becoming more social? You were seen at an awards ceremony recently.
I was there in the capacity of a producer (for All The Best). My film was nominated and everyone said that I should be there, so I went. Otherwise I get bored by all this.
MEENA IYER Times News Network (BOMBAY TIMES; February 15, 2010)
It’s Saturday Night Fever all over again with Akshay Kumar hotstepping it disco-style and giving Aishwarya Rai Bachchan a swinging time in Action Replayy — Vipul Shah’s romantic retro trip to the 1970s.
Akshay, always a groovy dancer, is a big John Travolta fan and the number of times he must have seen the trend-setting film, even he has forgotten. So naturally, the Khiladi was pleased to step into Travolta’s dancing shoes for a special number with the lovely Ash. The duo practised the dance steps of the disco era and were enjoying it when Ash suddenly developed fever (no pun here) and was forced to pack up and rush home.
Akshay, who is a big retro music fan and has Boney M playing in his car, described the groove, “The 70s was full of energy, that’s the reason why retro is hip. There is something about the fashion and music of that era which makes it so funky even today and perhaps it will always be that way.”
Vipul, who also caught the wow factor on the set when the good-looking and intrinsically stylish duo was dancing, believes Akshay and Ash bring alive the past era. After all, who of that generation hasn’t privately aped Travolta and hoped to do it publicly some day!
|Dum Maaro Dum|
After remixing an old song, Sabse bada Rupaiya in Bluffmaster (2005), filmmaker Rohan Sippy is set to recreate another classic Dum Maro Dum from Dev Anand’s Hare Rama Hare Krishna (1971) for his new film. The song created a sensation when the film released, making Zeenat Aman an overnight star.
Incidentally, the title of the film is also Dum Maro Dum and stars Abhishek Bachchan, Pratik and Telugu star Rana Daggubati.
Confirming the news, Rohan says, “Yes, the title of the film is Dum Maro Dum. As far as the song goes, we are still in talks with SaRe GaMa for the necessary permissions. At the moment, we have finalised the songs. We will work on the title song only when we are closer to the release of the film.”
Incidentally, the film’s shooting is yet to begin.
Of all the old songs, what made Rohan opt for this particular song? “The song is a classic and everything about it is unique. These days everyone is doing promotional songs.
We want to be different and do something unique. Legendary names are involved with the song and we don’t want to tarnish their reputation by doing a bad job. We want to do complete justice to the song and live up to the expectations of the earlier song.
Pritam is composing music and Jaideep Sahni has written the lyrics. We will decide how to go about the song, once the film is shot,” says Rohan.
People talk about the other Khans of Bollywood being perfectionists. But here’s Salman Khan taking perfection to another level. For Veer, his Friday release by Eros International that’s directed by Anil Sharma, Salman plays a warrior during the turbulent British Raj. And to get his beefed-up bronzed look for the film, that Salman says was inspired from the 1970s hit Dharam-Veer, the actor took to training in the old-fashioned way. He stopped weight-training and started doing lot of free-hand exercises, push-ups, crunches, squats, pull-ups… exactly what a gladiator of that era might have done during a day and age when there were no air-conditioned gyms with state-of-the-art equipment. And the results speak for themselves. Arnold Schwarzenegger, if he were to resurrect Conan the Barbarian, could take tips from Salman in Veer. Even Russel Crowe in Gladiator would need to go to the back of the class! For no motion picture hero looked better in armour with a sword in one hand and a shield in the other than Salman in Veer. The war horse is waiting for the battle trumpet to sound on Friday.
BOMBAY TIMES (January 20, 2010)
By Taran Adarsh, January 1, 2010 – 12:31 IST
Surprise, surprise, surprise! Sometimes, the expectations from a movie are zilch, but what unfolds on screen is beyond expectations. It surprises you, to put it simply.
On face-value, BOLO RAAM looks like it’s straight out of 1970s cinema. A movie with predictability written all over it. A movie that carries zero hype and matches it with zero content. But BOLO RAAM isn’t archaic, isn’t the usual masala, isn’t zero content.
A remake of the Tamil film RAAM [2005; starring Jeeva, Saranya, Rehman, Murali], BOLO RAAM has an interesting plot with an engaging screenplay that compels you to look at the screen for most parts of the movie. But, of course, there’re hiccups. A few non-actors and a done to death climax could’ve been avoided.
|BY BOLLYWOOD HUNGAMA.COM
Raam [Rishi Bhutani] is charged with the murder of his mother Archana [Padmini Kolhapure]. Raam falls into a state of shock, brief psychotic disorder, after his mother’s death and becomes silent, refusing to talk or react in any manner.
The investigating officer, Indrajeet Singh Rathi [Om Puri] is puzzled and unable to make Raam speak. He consults a psychiatrist, Dr. Negi [Naseeruddin Shah], to determine the cause of Raam’s state of mind and the reason for his silence.
Rathi interrogates various personalities for the case, questioning Raam. Every possible motive that Raam might have for murdering his mother is explored. Furthermore, Raam’s neighbours, Sub-Inspector Sajid Khan’s [Govind Namdev] daughter Juhi [Disha Pandey] and son Sameer [Krishan Khatra], are summoned by Rathi for interrogation. Will his silence solve the puzzle?
Without wasting any time, BOLO RAAM takes off from its opening titles itself. The story goes back and forth, several new characters are introduced, but the narrative stays faithful to the main plot. The best is reserved for the second half. Layer after layer is peeled with expertise. The viewer is keen to know the identity of the killer and that’s when the film fumbles and tumbles.
The culprit’s track is sloppy and a major put off. In fact, the circumstances that lead to the murder are quite amateurish and look far from convincing. Surely, the writer could’ve thought of a better culmination. Also, the one-sided love affair is functional.
Debutante director Rakesh Chaturvedi ‘Om’ makes a confident debut, although he should’ve cast some better actors for key roles. There’s not much scope for music [Sachin Gupta] in the film and hence, just one song merits mention – ‘Maa Tere Jaisa’. The background score [Sanjay Chowdhury] deserves special mention.
Newcomer Rishi Bhutani does a commendable job. He oozes confidence, despite sharing the same frame with accomplished actors. Om Puri gets into the skin of his character and is impressive, while Padmini Kolhapure is a pleasure to watch after a long gap. She is beautifully restrained. Naseeruddin Shah has a brief role and the veteran does it well. Govind Namdev is very good.
Rajpal Yadav is wasted. Both Disha Pandey and Krishan Khatra are non-actors. Manoj Pahwa does his usual act.
On the whole, BOLO RAAM has decent merits [hence those 2 stars], but the problem is its wrong release timing. It won’t stand a chance in front of a hurricane called 3 IDIOTS.
Helen sizzled on screen with her divine dancing skills and is a tough act to match. Producer Ekta Kapoor and director Milan Luthria are trying to achieve the impossible – a hunt for a young Helen is on for a cabaret number for their tentatively titled film, Once Upon a Time in Bombay.
Every girl shaking her booty in a club is a potential Helen for them. Explains Milan, “Since our film is set during the late 1960s and 1970s, I wanted to bring in the feel, flavour and mood of the era through a cabaret. At first, we thought of an item song with a celebrated guest actress. But that would break the flow and rhythm of the narration. Now, we want a completely new face, Helen of the new millennium. The girl should possess the poise, grace and rhythm of Helen in the 60s.”
Music director Pritam Chakraborty is composing the song right now for Luthria. Pritam says, “That’s precisely the brief given to me. To recreate – I won’t call it a remix – one of RD Burman-Asha Bhosle’s most beloved cabaret songs. It would be a mix of the original rhythm with fresh paces like ‘…and we twist’ in Love Aaj Kal.”
Kangna Ranaut will also be a part of the cabaret item.
|(L): Helen in Piya tu…, Milan Luthria, Pritam|