Posts tagged 3 IDIOTS
Meena Iyer (MUMBAI MIRROR; October 03, 2010)
If you join the dots from S Shankar’s first film Gentleman (1993) to his latest Robot (2010) you’ll notice a common thread. For one, he has the finger on the pulse of the mainstream cinegoer. Plus, he knows how to embellish his work with gloss and grandeur at a scale still unimaginable by most filmmakers.
Real Indian palaces, heritage sights, Machu-Pichu, seven wonders of the world…he’s exploited them all long before Bollywood found their address.
But to grant the devil his due - his movies are not just special-effects ridden; there is a definite plot with a message. Also, the budgets get more phenomenal each time.
His first blockbuster Gentleman (1993) (with its iconic Chik paku raile number that introduced the world to Prabhu Deva’s dancing skills) brought a new style of filmmaking but his 90s protagonist is just a different avatar of Bollywood 70s phenomenon - Salim-Javed’s ‘angry young man’.
Quite like Amitabh Bachchan, Shankar’s hero has invariably been taking on the system, film after film. But where he leaves his contemporaries way behind is his technical wizardry. A fact just reiterated by his latest Robot (Endhiran, Tamil).
Comparisons to West
Two days after the release of the Rs 150 crore film, Kollywood’s Shankar is drawing comparisons to none other than James Cameron.
Both are August born; both spare no expense when it comes to their budgets and cinematic vision. And quite like Avatar, the highest worldwide grosser, Robot too has opened to a thunderous start.
The filmmaker himself remains remarkably modest about being “India’s Cameron quotient.” “Stop pulling my leg,’’ he says. “I don’t need any more spotlight on me than that is already there,” he laughs.
But with an enviable track record of seven of the biggest hits in Tamil cinema, Shankar is on the verge of rewriting history with his eight one. Trade sources confirm that Endhiran, has broken the record of the highest box office collections for a Tamil film - the film, they say, will cross the Rs 250 crore mark.
Decoding the director
So what’s Shankar all about? Born in a fairly affluent family in Kumbakonam, Tamil Nadu, he worked as a quality control supervisor till the movie bug bit him. On a telephone call he still introduces himself as, “Hi I’m Shankar, the director,’’ and when you incredulously ask him why he says that, he replies, “my films and I are twins, joined at the hip.’’
But while his on-screen heroes are the robust Robinhood-rascala amalgamation, Shankar himself is the anti-thesis. He’s more like a quiet mouse on set, rather than like a megalomaniac wielding the megaphone. And he lets his ADs have a field day liaising with Bollywood beauties and the crew.
But quiet demeanor apart, with his baseball cap and huge sun-shades, Shankar is the boss. He has worked with the legends of Tamil cinema - Kamal Haasan (Indian) and Rajnikanth (Sivaji-The Boss, Endhiran-Robot) but is neither in awe of his subject nor does he doesn’t brook any interference.
As he says, “Rajnikanth is the ultimate for any film-maker. His demi-God status aside, he’s the most obedient actor I’ve worked with. He doesn’t leave the set once he reports for work…and he still maintains a child-like curiosity about everything related to a film.’’
What makes him work
One of his assistant directors says the secret of his success lies in his engineering background - he goes about fixing each nut and bolt step by step while filmmaking. Robot was originally planned five years ago with Priety Zinta and Kamal Hasan.
The monies didn’t drop at that point. It was then revived with Shah Rukh Khan. Story goes when Shankar went to Orange County (with his wife, son, daughters Aditi and Aishwarya and team of writers) to give SRK a detailed narration, he had every colour scheme, every frame and other minute details worked out. SRK was visibly impressed but the deal fell through and the Rajni came on board.
He is also a tough cookie to please. A stickler for punctuality, years ago, when Manisha Koirala (Indian, Mudalvan) walked in just a few minutes late on a couple of occasions, he had turned shades of purple. And one has seen him lapse into complete silence after he and the Nepali actress had a slight altercation about a scene.
Of course all this doesn’t compromise his work relations. The next morning, he sorted the matter with Manisha and shooting progressed at a brisk pace.
A simple man
In personal life he’s a plain-dresser. Though he arrives in a high-end automobile (he earlier drove a Merc but after his association with SRK, switched to a BMW) he has no shenanigans attached to his name. He’s the kind of guy who has no hesitation to eat food at roadside joints, goes about his work-home-work routine and shuns parties save for the occasional awards function.
But his budgets are the opposite. Ask him about why his budgets always get more prominence than his reviews, and he says, “I don’t know the intention of the press when it highlights the budgets of movies. In my movies the money has always been well-spent. In Robot, the animatronics used is of the same calibre of The Jurassic Park, Terminator and Avatar. And since it was also done at the Stan Winston Studios in the US, the SFX cost huge money. I only put my money where my mouth is. Robot needed high-end technical effects. If Indian cinema had a wider release, then I would have spent at least half of what Avatar did on SFX. However, I’ve always believed in bringing in something new via technology in every film of mine. And it is because of the novelty element that my films have a repeat value.”
“I think it’s wrong to talk about my movie budgets constantly. There is an equal amount of blood and sweat invested in the effort. The film took two years to make and we had a huge foreign crew involved. Every member of my unit and the foreign crew has worked so hard on this film that the money pales in comparison to the effort put in.’’
The journey ahead
Fair enough, but one wonders whether it is personal angst that is responsible for the Robinhood characters he writes. Says Shankar, “I’m a common man. And I’m fully aware of what is happening around me. As a journalist you have a pen that you use to highlight injustice. As a director, I have another medium to do exactly the same.’’
But the films he patronises are vastly different from the ones he makes. A self-confessed Mani Ratnam admirer, the other three films that have left an indelible mark on him are Ashutosh Gowarikar’s Lagaan, Farhan Akhtar’s Dil Chahta Hai and Raj Kumar Hirani’s 3 Idiots. “When I’m in between scripts the only things I make time for are watching movies,” he says.
And though his movies leave gadget freaks gasping, he’s technologically challenged in real life. “All the technology is reserved for my films. I don’t even know what hidden features my cell-phone has,’’ he laughs.
As he gets into his vehicle to visit the local Chennai theatres for reactions, he adds, “People want to know what I’m making next. I usually have some idea stashed away in my head for my next film even before the earlier one has wrapped.
In 17 years I have directed 10 films. I guess I have been prolific. But, this time around I want to wait for the hangover of Robot to subside. What I really need at this point is to splash some water on my face, clear my head and go for a long drive and feel the breeze blow.’’
|(L) A still from Boys (R) Aparichit|
|(L) Sivaji-The boss (R) Robot|
After 3 Idiots, Rajkumar Hirani’s love for Leh hasn’t waned. He has returned to shoot in Leh again.
After the disastrous cloud burst devastating the area, Raju sent monetary aid to the people in the town where 3 Idiots was shot, so that it could limp back to normalcy.
And now to further boost the spirit of the town, he will shoot an ad with Amitabh Bachchan there, also becoming the first director to shoot in Leh post the calamity.
A source said, “Raju only directs ads for friends so that he can keep polishing his creativity. However, this time he will be going back to Leh, where he shot his film, 3 Idiots. He was one of the first people to send monetary help to Leh after the tragedy.
The private person that Raju is, he preferred not to discuss this charity. He offered from his heart to the people there. He just wants to do his bit to help Leh out, as that place is very close to his heart.”
Despite its lowbrow sensibilities, ‘Dabangg’ has gone on to break box office records thanks to the charms of superstar Salman
|Salman Khan is one of the main reasons behind the success of Dabangg, say industry people|
How does one explain the stupendous success of a film like Dabangg, which is a cross between a Dharmendra and a Rajnikant movie? Why has the Salman-starrer grossed more money than Aamir Khan’s 3 Idiots and Prakash Jha’s Raajneeti, which have (arguably) far superior content? What has endeared it to the urban multiplex audience despite being aimed at small-town India?
The answer lies in the fact that it is an unpretentious entertainer rooted in Indian reality, say directors Mahesh Bhatt and Sudhir Mishra. “Dabangg (fearless) reclaimed the space that Hindi films had ceded to Bhojpuri films because of the metrocentric sensibility of Bollywood directors,” explained Bhatt.
Mishra, known for acclaimed films such as Dharavi, Chameli and Hazaron Khwaishen Aisi said, “Our directors are living in their heads in America, they are ashamed of making Hindi films.” Big films, according to him, come from Indian reality “but of late, directors who come from Bollywood families have abdicated this space to small-town boys such as Vishal Bharadwaj, Raju Hirani and Anurag and Abhinav Kashyap.”
Bhatt said, “Just as Indian cinema was patting itself on its back for having grown up, the whole thing has been turned upside down!”
Explaining why the urban audience loved the film, Bhatt said, “The sophistication of our metro viewers is skin deep. Below the surface, we are all unabashed lovers of the ‘mela’, and this film has that carnival sensibility. It has met that elemental appetite.”
Alankrita Srivastava, Prakash Jha’s assistant whose debut film, Turning 30, is under post-production, went to see Dabangg with her friends expecting nothing more than the filmi equivalent of a ‘nautanki‘ (folk theatre). “We went to be entertained by Salman Khan and he did not disappoint us,” she said.“Of course, there are gaps in the story and awkward moments in the film but no one was looking for the negatives.”
“This is not my type of film but I made an exception for Dabangg being a former Salman fan. His appeal lies in the fact that he retains that unaffected and unsophisticated character of a `tapori’ (streetside ruffian),” said Shrivastava.
Director Madhur Bhandarkar, who saw the film at Bandra’s Gaiety theatre, said Salman has struck a chord with the masses as well as classes with his uninhibited performance. “Fans went hysterical, clapping and whistling at Salman’s lines. The last films I saw getting such reaction were Gadar and Lagaan,” said the director who shot to fame with Chandni Bar.
Paying tribute to Salman’s prowess as a star, Bhatt said, “A weak character cannot carry a strong plot but a strong character can carry a weak plot.” Indeed, even those who panned the film agreed that Salman has played the role of a corrupt but lovable cop with abandon.
The charm of the film was that it was an unapologetic and unabashed Salman starrer which went the whole hog, said Mishra. Bhatt admired the single mindedness and audacity of the filmmaker, Abhinav Kashyap.
The pre-release publicity of the film and the fact that it delivered what it promised — a total Salman Khan experience — also played its part in Dabangg’s success, said Shrivastava.
However, film critic Deepa Gahlot does not think much of Dabangg and dismisses it “a jazzed-up B-grade Bollywood film which Mithun Chakaraborty did by the dozen”. “It is only that this generation has grown up without watching such films.”
Bhatt and the other directors say the success of the film all over India shows that it has connected with the people. “It is very easy to fool the high-brow audience but difficult to entertain the masses,” said Bhatt.
Saturday 18th September 2010 15.00 IST/Friday 17th September 2010 13.00 IST
Boxofficeindia.Com Trade Network
Dabangg grossed 81.50 crore nett approx as per early estimates over its first week after its Thursday looks to be coming in around the 6 crore nett mark.
The film has smashed the first week record of 3 Idiots even if we include the paid previews of that film.
The film has set new first week circuit records in Delhi/UP, East Punjab, Bihar, CP Berar, CI, Rajasthan, Assam and Orissa while in Mumbai, West Bengal, Nizam/Andhra, Mysore and Tamil Nadu/Kerala the records of Three Idiots have held up. The collections over the second weekend should also be very good.
Meanwhile, Dabangg had a very good second Friday with business coming in around 6.20 crore nett as per early estimates. The 8 day business of the film is 87.25 crore nett plus. Dabangg should easily cross the 100 crore nett mark by the end of its second weekend. The ten day business should be in 103-105 crore nett range. The Friday business was better than Thursday. Below is the breakdown of the second Friday.
Mumbai – 2.05 crore
Delhi/UP – 1.45 crore
East Punjab – 55 lakhs
West Bengal – 40 lakhs
Bihar – 15 lakhs
Assam/Orissa – 7 lakhs
CP Berar – 35 lakhs
CI – 23 lakhs
Rajasthan – 33 lakhs
Nizam – 33 lakhs
Mysore – 22 lakhs
Tamil Nadu/Kerala – 7 lakhs
TOTAL – 6.20 crore
RESULTS OF ONLY FEATURE FILMS
Best Feature Film – Kutty Srank (Malayalam) [Director-Shaji N Karun]
Indira Gandhi Award for Best Debut Film of a Director – Lahore (Hindi) [Director-Sanjay Puran Singh Chauhan]
Award for Best Popular Film Providing Wholesome Entertainment – 3 Idiots (Hindi) [Director-Raj Kumar Hirani]
Nargis Dutt Award for Best Feature Film on National Integration – Delhi 6 (Hindi) [Director-Rakeysh Omprakash Mehra]
Best Film on Social Issues – Well Done Abba (Hindi) [Director-Shyam Benegal]
Best Children’s Film – Puttani Party (Kannada) [Director-Ramchandra P N] and Keshu (Malayalam) [Director-Sivan]
Best Direction – Rituparno Ghosh (Abohoman [Bengali])
Best Actor – Amitabh Bachchan (Paa [Hindi])
Best Actress – Ananya Chaterjee (Abohoman [Hindi])
Best Supporting Actor – Farooque Sheikh (Lahore [Hindi])
Best Supporting Actress – Arundhati Nag (Paa [Hindi])
Best Child Artist – Jeeva & Anba Karasu (Pasanga [Tamil])
Best Male Playback Singer – Rupam Islam (Mahanagar @ Kolkata [Bengali])
Best Female Playback Singer – Neelanjana Sarkar (Houseful [Bengali])
Best Cinematography – Anjuli Shukla (Kutty Srank [Malayalam])
Best Screenplay (Original) – P F Mathews & Harikrishna (Kutty Srank [Malayalam])
Best Screenplay (Adapted) – Kanasemba Kudureyaneri [Kannada]
Best Dialogues – Pandiraj (Pasanga [Tamil])
Best Audiography – Subhash Sahoo (Kaminey [Hindi]), Resool Pookutty (Kerela
Verma Pazhassi Raja [Malayalam]) & Anup Dev (3 Idiots [Hindi])
Best Editing – Arghyakamal Mitra (Abohoman [Bengali])
Best Production Design – Samir Chanda (Delhi 6 [Hindi])
Best Costume Desiger – Jayakumar (Kutty Srank [Malayalam])
Best Make-Up Artist – Christein Tinsley & Dominie Till (Paa [Hindi])
Best Music – Amit Trivedi (Dev D [Hindi])
Best Background Score – Ilayaraja (Kerela Verma Pazhassi Raja [Malayalam])
Best Lyrics – Behti Hawa Sa Tha Woh (3 Idiots [Hindi])
Special Jury Award – Sreekar Prasad (Kaminey [Hindi]), (Kutty Srank [Malayalam]) & (Kerela Verma Pazhassi Raja [Malayalam])
Best Special Effects – R Kamal Kannan (Magadheera [Telegu])
Best Choreography – K Siva Shankar (Magadheera [Telegu])
Best Feature Film in Each Language:
Assamese – Basundhara
Bengali – Abohoman
Hindi – Paa
Kannada – Kanasemba Kudureyaneri
Konkani – Palatadcho Munis
Malayalam – Kerela Verma Pazhassi Raja
Marathi – Natarang
Tamil – Pasanga
Special Mention Award – Padmapriya
Source: Press Information Bureau, Govt of India (www.pib.nic.in) (http://www.pib.nic.in/newsite/erelease.aspx?relid=65776)
By Taran Adarsh, September 14, 2010 – 08:32 IST
Like Aamir Khan seems to have a monopoly on the Christmas weekend, Salman Khan seems to have monopolized the festive Eid week for his releases. It’s a known fact that Aamir has released his films in the Christmas weekend – TAARE ZAMEEN PAR , GHAJINI  and 3 IDIOTS  – and the results are astounding. Similarly, Salman has been lucky during Eid, with both WANTED  and DABANGG  proving mega-hits. Now, Salman and his producers have decided to continue with the trend of releasing the actor’s new films on the festive occasion of Eid.
Although Salman’s brother-in-law Atul Agnihotri hasn’t started shooting his next venture MY LOVE STORY [remake of the Malayalam hit BODYGUARD], he has already decided to bring the film in Eid . Prior to that Salman will have one more film hitting the screens – Bhushan Kumar’s READY, directed by Anees Bazmee and co-starring Asin. “We will release READY in Summer 2011,” Bhushan states.
- By Taran Adarsh, September 13, 2010 – 12:32 IST
Dababngg has shattered all records and emerged the biggest opener ever. It has crossed the opening weekend business of 3 IDIOTS, which held the record of the biggest opener. The opening weekend business of 3 IDIOTS was Rs. 41 cr. nett [incl. Thursday previews], while DABANGG has collected Rs. 47.75 cr. to Rs. 48.5 cr. nett in its first 3 days. The day-wise breakup is as follows:- Fri: Rs. 14.5 cr., Sat: Rs. 15.75 cr. to Rs. 16 cr., Sun: Rs. 17.5 cr. to Rs. 18 cr. Business at multiplexes as well as single screens was spectacular. The business is noteworthy because unlike other biggies, the ticket rates were not hiked to capitalize on the craze of the film.
|Abhinav Kashyap||Shiney Ahuja|
It is known that Dabangg has crossed the opening of 3 Idiots. What is not known is that Abhinav Kashyap had asked Shiney to play Chulbul Pandey.
The grapevine is that before he went to Salman, Abhinav chose to offer it to Shiney. Shiney kept Abhinav waiting. The rest, as they say, is history. We wonder if Shiney is repenting having played hard to get.
As for Abhinav, perhaps Shiney not taking up the offer was a blessing in disguise.
The cash registers ringing this entire weekend has set box-office history, and now there’s even talk of a sequel…Wonder if Shiney will be blessed with a role in this one.
- By Taran Adarsh, September 10, 2010 – 19:11 IST
As expected and predicted by this writer time and again, DABANGG opened to an earth-shattering and record-breaking response across the country. The film drew full houses from its first show onwards everywhere. Even at multiplexes, where ceetees and taalis are a rarity, the response to DABANGG was overwhelming, with fans clapping and whsitling at Salman’s intro, Salman’s dialogue [at several places] and of course, the climax fight.
DABANGG has opened in 1,584 screens in India and in terms of numbers, the film is expected to have a bigger Friday than RAAJNEETI [the biggest opener of 2010, which collected Rs. 10.5 cr. nett on Friday] and should be at par [or bigger] than 3 IDIOTS, which is the biggest opener ever [collected Rs. 13 cr. nett on Friday]. Eid will be celebrated on Saturday, so once can imagine the [grand] business on not just Saturday and Sunday, but also Monday. As per initial trends, DABANGG will be competing with just one film – 3 IDIOTS.
TOP 5 OPENING FRIDAYS
|3 IDIOTS||Rs. 13 cr.|
|RAAJNEETI||Rs. 10.5 cr.|
|KITES||Rs. 10.5 cr.|
|HOUSE FULL||Rs. 10 cr.|
|GHAJINI||Rs. 9 cr.|
TOP 5 3-DAY OPENING WEEKENDS
|3 IDIOTS||Rs. 41 cr. [incl. Thursday previews]|
|RAAJNEETI||Rs. 34 cr.|
|MY NAME IS KHAN||Rs. 33.2 cr.|
|HOUSE FULL||Rs. 32 cr.|
|GHAJINI||Rs. 30 cr. [4-day wknd. was Rs. 40 cr.]|
By Taran Adarsh, September 7, 2010 – 08:22 IST
Okay, so everyone’s speculating about the release date of Aamir Khan’s DHOBI GHAT. Besides the fact that it’s an Aamir Khan production and is directed by his wife Kiran, the film is being eyed minutely because it stars Aamir in a pivotal role. In the past, Aamir has released his movies in Christmas – TAARE ZAMEEN PAR , GHAJINI  and 3 IDIOTS  – and it’s said that Aamir will bring DHOBI GHAT this Christmas.
But the truth is something else. Aamir is not releasing DHOBI GHAT on 24th December this year. In fact, he has finalized the month of release, but not the date of release of DHOBI GHAT. Aamir confirmed it to this writer: “We are thinking of February 2011 for DHOBI GHAT. Not locked the final date yet.” That should put an end to all speculation… and those planning to release their films on 24th December this year, can heave a sigh of relief.