Posts tagged art house cinema
By Subhash K. Jha, May 7, 2011 – 15:08 IST
Arjun Rampal and Jacqueline Fernandez who shared a fleeting moment of song-and-dance camaraderie in Housefull are all set to get really cosy as husband and wife in Tigmanshu Dhulia’s Jai Ramji.
Dhulia, who never shies away from hot breathy love-making sequences, recently shot some torrid scenes with Randeep Hooda and Mahie Gill in Sahib Bibi Aur Gangster. For Jai Ramji too he has some extra-special plans for the bedroom.
The idea of casting Jacqueline came to Tigmanshu after he saw the lately-emboldened actress comfortably cuddling up to Emraan Hashmi in the stills of Murder 2.
It’s time for the actress to carry her sizzle further in the inspiring company of Arjun Rampal who lately did an semi-x-rated love-making sequence with TV actress Shruti Seth in Raajneeti .
After Preity Zinta, it’s Jacqueline Fernandez who has been added to the cast of Tigmanshu Dhulia’s rustic tale Jai Ramji. And he plans to add a number of more glamorous babes from Mumbai in even the smaller female parts. He has already spoken to number glam-dolls for even the cameos and walk-on parts. They’ve all agreed to be part of Dhulia’s glamour bazaar.
Tigmanshu’s logic is simple. Going rustic and real doesn’t mean relinquishing glamour. “This is a logic we’ve inherited from the art-house films where realism was equated with a lack of glamour. My film is set in a small town. But it will feature sexy glamorous Bollywood actresses. We need to break the More >
By Devansh Patel, April 26, 2011 – 14:58 IST
What’s the first thing that comes to your mind when I say: Nandita Das? That she does films that aren’t entertaining? That she does ‘off beat’ or ‘art house’ or ‘parallel’ cinema? That she does all controversial films? That she thinks she’s too much of a pseudo intellectual? If you all think that’s what describes Das, then stop reading further. Now to my next: Will there ever be an end to our obsession with Nandita Das? No, Never! There she was, dressed in a ‘peacock blue’ Punjabi dress with a dark pink duppata and standing all alone in a corner of a packed room full of media and guests, Nandita was trying to send someone a text from her mobile. I wasn’t going to let go of that once-in-a-lifetime opportunity and so walked towards her to strike a conversation. But the moment she turned and smiled, I was falling short of words. Don’t be surprised! Nandita didn’t hold back. She was generous enough to offer a handshake and introduce herself. It is her volatile acting prowess that draws you towards her and her characters. Pretty, sexy and dramatic are one of the very few synonyms that describe the actress. Yes, it’s true that her stature derives largely from roles that disguise her real beauty. Nandita can be tagged as our industry’s brand ambassador of sorts, with her award winning performances in highly acclaimed films that travel world over, her being on the jury of the World’s biggest Film Festival – Cannes More >
By Nikhil Ramsubramaniam, March 14, 2011 – 19:09 IST
The year 2010-11 could be well termed as a Renaissance year for the Hindi film industry. While big budget films such as Raavan, Kites, Action Replayy, Khelein Hum Jee Jaan Sey and Guzaarish failed to set the Box Office on fire, smaller films such as Udaan, Peepli [LIVE], Tere Bin Laden, LSD, Phas Gaye Re Obama & Dhobi Ghat etc. with relatively lesser known stars and debutant directors (in most cases) won both critical acclaim and commercial success.
Most of these films were made at a limited budget and focussed more on their content rather than big stars and exotic locations. An interesting part is the fact that even the marketing strategy used to promote these films was quite different and subtle targeting a niche audience.
As a unique case study we take a look at 3 such off-beat films namely Dhobi Ghat, Love, Sex Aur Dhokha (LSD) and Udaan to try and understand how an innovative marketing strategy helped in the film finding its target audience.
Any Aamir Khan Productions’ film always generates tremendous hype and curiosity given the actor’s penchant for quality cinema. If needed, Aamir could have cashed in on this very hype by promoting wifey’s directorial debut Dhobi Ghat as a film for all. However, Aamir didn’t want his loyal audience to feel cheated and adopted a marketing strategy which not many would adopt.
Perhaps, the most poignant insight came from an industry insider who notes that the More >
- By Taran Adarsh, January 21, 2011 – 18:34 IST
DHOBI GHAT, a film catering to a niche audience, opened to a superb response at select properties across all urban centres. The opening at the main 25/30 odd properties was in 80% to 90% range, while the occupancy at non-urban centres/mass belt properties ranged from 30% to 40%. The film has been released in 325 screens in India, which, some people feel, is still on the higher side given the genre of this film [art house cinema]. However, with Aamir Khan as the producer and also one of the actors of this film, the screen count seems appropriate, since the week is very good [Wednesday, 26 January is a holiday] and the producers, who are also its distributors, feel that a tidy sum can be recovered in its initial week.
The evening and night shows of DHOBI GHAT are expected to be very good at urban centres [the advance booking has been very good] and a healthy weekend is on the cards.
What goes in its favor is its low cost. The cost of production is Rs. 5 cr [the figure has been confirmed by Aamir Khan to this writer] and an additional Rs. 2.5 cr to Rs. 3 cr has been spent on P & A, which takes the total cost to approx. Rs. 7.5 cr to Rs. 8 cr. While Aamir is in talks for the Satellite Rights of the film, he should be able to recover the entire figure [Rs. 8 cr] from Satellite itself, while the theatrical business in India, Overseas and also the revenue generated from Home Video should come as More >
By Taran Adarsh, July 6, 2010 – 08:18 IST
That RED ALERT – THE WAR WITHIN tackles a topical, burning issue is well-known by now. Realising the topicality of the film, its producers, T.P. Aggarwal and his son Rahul Aggarwal, have decided to take the film forward and have dubbed it in three languages — Telugu, Chhattisgarhi and English. In fact, the producers have decided to release all four versions simultaneously this Friday — Hindi, Telugu, Chhattisgarhi and English.
The English version will be released at select screens internationally in the first round. “We are releasing it as art house cinema at select screens in the Overseas market. We’re not doing a mainstream release there,” Rahul Aggarwal confirms. In fact, every actor in the film, which includes Suniel Shetty, Vinod Khanna and Naseeruddin Shah, have dubbed their lines themselves, which only goes to show how excited they are about the film.
By Taran Adarsh, April 2, 2010 – 08:01 IST
Most movies are entertainment-driven, but a few movies, apart from entertaining, also raise pertinent questions that stay in your mind. THE GREAT INDIAN BUTTERFLY belongs to this group.
People travel miles, cross borders, go on an endless pursuit to attain happiness, peace, love and luck, which would make their journey on this planet memorable. THE GREAT INDIAN BUTTERFLY talks of a couple on the brink of a failed relationship and who travel from Mumbai to Goa to ‘trace’ the butterfly that would make their lives full of sunshine.
A beautiful thought undoubtedly, but how one wishes director Sarthak Dasgupta would’ve narrated the story concisely, without overstretching it to almost two hours.BY BOLLYWOOD HUNGAMA.COM
THE GREAT INDIAN BUTTERFLY mirrors a reality. You empathize with the on-screen characters and that’s one of the reasons why this film works. But the flipside is that English-language films cater to a niche audience in India, which means you lose out on a big chunk of audience. Also, in this case, the awareness level of THE GREAT INDIAN BUTTERFLY is zilch. So that would hamper its prospects further, although the film has its heart in the right place.
Krish [Aamir Bashir] and Meera [Sandhya Mridul], a young couple, go in search of a legendary magical insect — The Great Indian Butterfly. Last seen by an unknown Portuguese explorer, in a remote valley located in Goa, the butterfly possesses a magical More >
By Taran Adarsh, March 5, 2010 – 12:02 IST
Just a thought before I review this film… When you saunter in for the screening of a movie directed by a celebrated film-maker, a movie which has had a good run at film festivals, a movie which tilts towards art house cinema, it is expected that the critic shower the film with lavish praises and speak of it in glowing terms.
If you don’t, get ready to be ostracized by pseudos masquerading as messiahs of parallel cinema, get ready to be labelled a nincompoop by netizens, get ready to face the constant bitching and loose talk by the ‘Balcony Class’ presswalas. Believe me, a few people are in awe of such cinema and feel they need to prove how cerebral they are by praising such films.BY BOLLYWOOD HUNGAMA.COM
Now to the review! Either the film works or it doesn’t. It’s all about the story and how convincingly the storyteller narrates it. If the story is absorbing, you can’t take your eyes off screen. If it isn’t, you break into a yawn, you fidget with your cell phone, you start looking at all places, except the screen.
What you’re attempting to say, is important. But how many people actually follow what you’re saying, is even more important. ROAD, MOVIE narrates the journey of a young man and the people he encounters on his way. But the problem is, what is ROAD, MOVIE trying to say? You’re clueless!
Is it about the water mafia? Is it about a touring cinema? Is it a love story between an educated youth More >