Posts tagged audience
Peepli (Live) director Anusha Rizvi is unlikely to participate in the excitement regarding the film’s Oscar nomination. She explains why
In a day and age when a person even remotely associated with a hit film shouts from the rooftops about it, Anusha Rizvi seems remarkably unaffected and detached. The journalist-turned-director might have given a huge hit with her debut film, but would rather tour with her theatre group than be part of a marketing jamboree.
How did you get to know about the Oscar nomination for Peepli (Live)?
From the media! I heard it on NDTV. It was of course very exciting. Maybe we should’ve been informed by the government agency that decides which film goes to the Oscars.
Didn’t your producer Aamir Khan inform you?
He didn’t know! He is in London for the release of our film.
Why aren’t you in London for the release of Peepli (Live)?
Because I have not been asked to be in London. It is my film. But I live in Delhi. And I have no connection with the decisions that are taken in Mumbai.
Why have you cut yourself away from your film?
That’s partly because of the person that I am. I can’t change that. And I’m happy being that way. My work finished when I made the film that I had to make.
Of course publicity and marketing are important. And a lot more people went to see Peepli (Live) because of the way it was promoted. But what is more important to me is that a film should be seen for what it is. I think it is important for the audience to discover a film on their own.
A film should not be pushed down people’s throats. It’s important for it to create its own credibility.
Changes were made in the Peepli narrative for the London market. Are you aware of this?
Yes. Only two scenes were tampered with: one featuring a reference to Saif Ali Khan and the other to TRPs.
These were scenes that were never part of the original screenplay. Like many other scenes they were added later to increase the running time of the film for the Indian market.
Initially the interval was coming after 40 minutes of playing time.
I don’t think Peepli (Live) needed an interval. I don’t think so either. But it’s an intrinsic part of marketing our film. And I’ve no quibble with it. However I wish the film had not been pushed as a comedy, although I know that so many people would not have seen it otherwise. Let’s be honest. Peepli (Live) was not easy to market.
The film has made huge profits.
Would you be expecting a larger budget for your next film?
The content of the film and not the success or failure of the earlier film should decide the budget.
The DVD of Peepli (Live) is out soon. Are you participating in its editing?
I’ve got nothing to do with the DVD. I’m back in Delhi. I’m simply cut off from Mumbai and the film now. My husband Mahmood Farooqui and I are back to travelling with our small theatre group.
Hasn’t Peepli (Live) changed your life in any way?
Yes, to some extent. It’s become difficult to travel by train. I really miss that.
Your husband co-directed Peepli (Live). Not too many people know that.
It’s in the credits of the film. And of course he’s the co-director. He has also done all the casting. In the credits after my names comes a long list of producers. Then his name. That’s why his name is missed.
Why is his name not in the credits jointly with yours?
These are things that we had no knowledge or control over. Our main concern was to make the film we had.
What has the experience of directing Peepli (Live) taught you?
It has taught me to deal with a large number of people. It has been a huge learning curve for me. I know how to cope better with the production part of a film the next time.
You’re the first debutant director from India after Satyajit Ray to be going to the Oscars.
Yes the comparisons between my film and Pather Panchali keep surfacing. But there can be no comparison between the two. And I’m not being modest.
Are you and your husband going to Los Angeles for the Oscars?
It’s really exciting to see the film go to the Oscars. But it’s far more exciting to know that people in Patna, Gorakhpur and Barabankhi are watching and discussing it. Like I said Peepli (Live) was a film that we had to make. That it’s touched people is a very happy situation for us.
Final question. Would Aamir Khan be producing your next film?
No, he won’t.
By Subhash K. Jha, September 25, 2010 – 11:24 IST
The scandal-prone new film Dunno Y… Na Jaane Kyun has gotten itself into trouble with the Censor Board. Blurbs boasting that it is Indian cinema’s first gay love story have apparently not encouraged the censors to loosen up and act liberated.
The Censor Board has clamped down heavily on the love-making sequences between the film’s leading man Kapil Sharma and the Delhi-based model Yuvraaj Parasher who plays Sharma’s lover. Apparently the film, which also features stalwarts Zeenat Aman and Helen, is carpeted with smooching and love-making sequences between the two guys. There is also a lingering gay love-making scene which goes all the way. It apparently had the ladies in the Censor Board walking off in a moral huff and eventually asking the film’s director Sanjay Sharma to delete the torrid kissing sequence and the love-making sequence.
The film’s leading man who says he’s straight in real life, is appalled by the hypocrisy of the Censor Board. “Why should the Censors be scandalized if two men are kissing and making love? My sequences with my screen partner go as far as the scenes showing a guy and girl doing it in our films. And let me tell you, some of these heterosexual sequences are extremely vulgar. The ones in my film are very aesthetic. And so what if it’s two men making love? Love is love regardless of gender.”
The film’s makers have now submitted their film to the revising committee where they hope the ostensibly objectionable sequences will be reviewed.
Says Kapil, “The Censor Board objected to the kissing and love-making scenes. They asked us to delete them. We refused. We aren’t trying to create any kind of sleazy stuff here. Ours is the first ever serious gay love-story. The intimacy is essential. Our film is now with the revising committee.”
This isn’t the first mainstream film to show intimacy between two men. In Madhur Bhandarkar’s Fashion, there was masculine passion in the form of a kiss between Samir Soni and his screen partner. Bhandarkar voluntarily snipped it out. Sudipto Chattopadhyay’s Pankh had a smooch between Maradona Rebello and his screen partner. In Onir’s I Am Rahul Bose and Arjun Mathur play a gay couple and have a kissing sequence.
Dunno Y… Na Jaane Kyun is the first film to show a gay love-making sequence. Defends Kapil Sharma, “It is sensual and bold, but not at all vulgar. It’s like any lovemaking between a guy and a girl. Why should we delete it?”
Yuvraaj Parasher who has gone nude for the camera plays Sharma’s gay partner . He adds, “I feel cinema and the audience have changed. I never wanted to make my debut as a collegian wooing a chick on a bike. When I was selected to play gay in the audition, I was elated. I’d rather do something unconventional.”
Speaking about making love to a guy on camera, Yuvraaj says, “It was awkward. After doing it with Kapil we avoided each other. Finally we looked at one another and burst laughing.”
Maybe Rituparno Ghosh who constantly has a problem casting his gay characters should meet these two guys.
Filmmakers are looking up North for inspiration
Deepali Dhingra | TNN (BOMBAY TIMES; September 21, 2010)
When Shilpa Shetty swung her hip and shook that patli kamar to Main Aayi Hoon UP-Bihar Lootne, she could well have been singing about Bollywood’s latest craze. That’s right! Hindi cinema suddenly seems to have woken up to the fact that there are interesting stories beyond Mumbai’s underworld, Kashmir’s conflicts and Europe’s breathtaking locales. From looking at the issue of groom kidnapping in Antardwand to Udaan that was set in Jamshedpur to Aakrosh that is based on honour killings in Haryana, filmmakers are exploring regions up-North to provide food for thought to the audience.
Director Abhinav Kashyap, whose debut film Dabangg is set in Uttar Pradesh, calls this emerging trend a sheer co-incidence. “But if it’s happening, it’s good because films should be pan India and I think places like UP-Bihar were falling off the map somehow. It’s important to have stories from everywhere.” While Abhinav’s film is about the unlawful practices in UP, his brother Anurag Kashyap is getting ready to dissect the rise of Bihar mafia in his next film.
Sushil Rajpal who directed Antardwand, believes that filmmakers making these movies are usually those who belong to these areas and are familiar with the culture. “Also, they are now in a position to experiment with stories and give the audience something they haven’t seen before,” he says. But is the audience ready to accept these films? “I think it would be naive for filmmakers to assume that the audience is immature,” is Abhinav’s reply.
But film critic Komal Nahta warns that even such films might not work if they are treated in a documentary style. “If the issues are identifiable like corruption in Dabangg or has star value like that in Aakrosh, then there is no resistance from the audience. By setting these films in places like UP-Bihar, the filmmakers are giving the audience, lingo/culture/milieu that they haven’t seen before, thus giving it a fresh approach,” he says.
Ajay Devgn’s had three back-to-back-hits
Meena Iyer | TNN (BOMBAY TIMES; September 21, 2010)
He’s Bollywood’s proverbial dark horse, winning bets placed on him more often than most others. And though he had slipped off the radar last year with London Dreams, Bollywood superstar Ajay Devgn has since then managed to regain a lot of his lost ground. In 2010, the actor has had a dream run with three backto-back hits — the slice of life comedy Atithi Tum Kab Jaoge, the political drama Raajneeti, and the 70s underworld saga Once Upon A Time In Mumbaai.
The trade estimates that his last three films, that cut across genres, had around Rs 130 crores riding on them and Ajay super-safely delivered. A trade analyst says, “2010 has seen two superstars return to form, one is Salman Khan, the other is Ajay Devgn. One had Dabangg and the other came back with a bang.”
The Aakrosh producer, Kumar Mangat Pathak, says, “Ajay is a very sound box office proposition. I’m particularly happy because in Aakrosh he returns to his original form as an action hero. Though the story deals with the topic of honour killings, Priyadarshan has formatted Aakrosh like a fast-paced thriller. When it comes to action, Ajay has always delivered.”
Ajay himself has virtually had no time to access his professional victories. Says he, “I have been shooting continuously for two years now. After Golmaal Returns (Diwali 2008) I got into my home production All The Best (Diwali 2009). And after that it has been a crazy ride with Atithi… that we wrapped in 50 days, OUATIM and Raajneeti. I’m glad that people have taken notice of my success because I have literally had no time even for a breather. I have five to six releases this year. And even as one film releases, I’m preoccupied with the next one. Of course, when the buzz around you is positive, one knows that the collections are impressive. The assurances that come from the trade and the goodwill of the audience is the only incentive an actor looks for. Also, with success there is a change in the momentum around a star. That having been said, one just continues to do better work each day. Cinema is an on-going process, success only makes the journey more enjoyable.”
On October 1, Ajay will be seen in his fourth release of the year, Big Screen Entertainer’s Aakrosh, an investigative thriller about honour killings in which he plays a CBI officer.
After his hat-trick in the first half of 2010, the actor knows that there is huge expectation from both Aakrosh (an actionpacked thriller) and his fifth release Golmaal 3 (a comedy franchise that is very popular). And even as his friends, family and wellwishers stop to celebrate, this action aficionado gets ready to bite the bullet again. For Ajay, the game has just begun.
For a night, they’ll play at a night club to bring back the funky ‘70s for Action Replayy
Akshay Kumar and Aishwarya Rai are turning DJ for a night for Vipul Shah’s Action Replayy, which is set in the heady 1970s.
Akshay and Ash will be appearing at a nightclub in the same avatar-Akshay in long hair, printed shirts and high-waisted bell-bottoms with big buckle belts and Ash in tied tops, low-waisted polka dot skirts, big hoop earrings and platform shoes; both will be DJ-ing live and playing their favourite retro music at the promotional event.
After turning into a cook for the reality show Master Chef India, the desi version of Top Chef, Akshay Kumar is now learning DJ-ing. “Akshay, who is a big fan of retro music and has a CD of Boney M hits from the late 1970s in his car, will play retro music at the event.
He is also training with a local DJ and learning to scratch on turntables,” reveals the source close to Akshay.
Vipul Shah, who is upbeat about the event, confirms, “I’m expecting the magic of retro to come back. It’s the magic that Akshay will spin.
He will be playing his own list of favourite retro songs. Not only him, Aishwarya also will be playing a DJ that night. And both the stars will compete with each other. I think it’s going to be a spectacular night.”
The director-producer has no clue about the list of retro songs Akshay and Ash have selected for the night. “They haven’t informed me. Both of them are working on their list of songs. I am as curious and excited as the audience. It will be an electrifying night.”
Kiran Rao was completely in control, leading her two gown-clad actresses, Monica Dogra and Kriti Malhotra
The first day of the Toronto festival saw the evening screening of Dhobi Ghat at the city’s elegant and old world Elgin Theatre. Tickets, sold out well ahead, were being bartered in black. The cast and crew arrived late for their red carpet parade, which alarmed even the unflappable co-director of the festival and selector of Indian films, Cameron Bailey, waiting to receive them. The reason? Aamir Khan’s car and later he himself were mobbed en route.
The packed hall awaiting the film’s entourage started with the usual star-struck frenzy, with loud hoots and whistling and shrieks of “I love you, Aamir”. Then came Cameron Bailey’s introduction on stage of the film’s representatives. Kiran Rao, completely in control, led her two unknown female leads, Monica Dogra and Kriti Malhotra, whose stunning presence in long elegant gowns hugging their lissome figures brought about a hush.
A subdued Prateik Babbar accompanied them. Thundering applause broke out as Aamir Khan took the mic. He was all light humour, saying that he fell in love all over again with his wife when he read her extraordinary script and how he had to fight his way into being cast by her.
The audience was cosmopolitan even with its vocal Indian component. Surprisingly they watched the film in taut silence. They got totally into the mood of the film, taking Aamir’s entrance without a trace of the usual squeals that a star elicits. It was Prateik who drew chuckles and laughter as he played the simple dhobi with a guileless candour that was totally endearing.
The film ended to a loud and prolonged applause. The nervous Prateik followed on stage minutes later, and literally stumbled at the sudden vociferous standing ovation he received. He was so overwhelmed that he could barely speak.
The question-answer session that followed showed how closely the audience identified with the film’s story and its fine performances. Kiran explained that the film was her elegiac tribute to Mumbai, a city which had given and taught her so much in the decade-long formative years she had spent in it.
|The Dhobi Ghat team at the Toronto Festival|
Clearly the film’s gentle, thoughtful and humane approach to the city’s layered and complex life styles has a universal thrust. Aamir Khan here blends completely with the film’s richly observed characters, each one individually real and compelling. Kiran explained that she wanted newcomers who had the natural elements of the character they were portraying.
The two new actors hold they own with consummate grace, and neither has acted on screen before. Even Prateik shows a side that is unexpected and different to his persona as we sense it to be. His artless confusion at serving the very rich and cultured people he encounters is touching.
Clearly Kiran Rao is a confident and assured new talent, with her skill at scripting and dialogue, and her control of filming in both its creative and technical demands. Toronto accepted her with open arms.
At the prolonged Dhobi Ghat press conference, sitting unnoticed was the young and radiant Sarah McCarthy, director of the extraordinary documentary “Sound of Mumbai: A Musical”. She said she was in complete awe of the film’s young director after seeing her film the previous day. As Sarah stepped out of the room, the cameras swooped on her and she returned to her own star status.
Om Puri dominated the stage at the huge Roy Thompson theatre, where the film West is West was screened. This film, a brisk, bustling and heady comedy, touched on racial issues, as did its prequel, the celebrated East is East. Om Puri is the troubled middle-aged man from Pakistan, who has left his first wife behind and assuages his guilt by sending her money every month.
He has made a new life in England with a new English wife and many children, each one reacting differently to their dual nationality. That story was set in England. Eleven years later, intrepid producer Leslee Udwin chose debut director Andy de Emmony to take the same story forward but moving eastwards.
Om Puri returns to Pakistan with two of his sons, one for whom he intends to find a homespun bride and his youngest, an unbridled rebel who says he is all English and owes little to his father’s place of birth. Om Puri’s amazing range gives the film its depth, his anguish and inner conflicts making him a comical, yet tragic figure. The film was another audience favourite, its amusing clash of cultures making it a heartwarming experience.
By Joginder Tuteja, September 13, 2010 – 11:46 IST
Get ready to witness Anil Kapoor’s most famous signature step ever – as witnessed in the song ‘One Two Ka Four‘ [Ram Lakhan] – courtesy Farah Khan. The fascination to feature stars in cameos, something which was seen in dozens in Om Shanti Om, would be up on display in Tees Maar Khan once again.
Informs a source, “Anil Kapoor has shot for a special segment in the film where he is shown to be basking in the glory of all the international recognition that he has gained post Slumdog Millionaire. In Tees Maar Khan, there is an awards night which has been interspersed into the film’s narrative. It is on the lines of Oscars where Anil Kapoor is shown to be ecstatic after winning an award for himself.”
This is not all. Though one would have expected the man to be all sober and sophisticated about his big win, there is a twist in the tale. Anil Kapoor pronto breaks into a jig that has been patented by him ever since he did it first more than 20 years ago in Ram Lakhan (1989).
When contacted, Farah Khan did confirm that a sequence like this has indeed been shot.
“But we haven’t called it an Oscars night though”, laughs Farah, “You never know when someone wakes up and creates a controversy out of nowhere. We have named these awards a little different. And yes, Anil Kapoor has of course done the ‘One Two Ka Four‘ jig for us.”
She has a reason for that. “It is sacrilege to rope him in for a cameo and not make him to do that famous dance step. I have been a fan myself of this step and I am sure audience from the past would love to see him do it all over again. As for the current generation, it would be a good opportunity to see what they have missed out”, she smiles.
Well, with Salman already doing a ‘qawalli’ for the film and Anil Kapoor being brought in for ‘One Two Ka Four‘, what next is in store Farah?
Dharmendra talks about battling booze, making movies and getting fitter
• In your forthcoming film Yat Yamala Pagla Deewana you are working with your sons Sunny and Bobby for the second time after Apne. How is working with family?
With family, there are no ego clashes, no negativity. It always gives you an extra boost, which shows in the final output. After Apne, we were flooded with offers from filmmakers who wanted to cast the three of us. But we were waiting for a good script.
Yamala Pagla Deewana is a comedy, but the backbone is the emotion. Sunny and Bobby play my sons. I play a thug who has separated from my wife (played by Nafisa Joseph) and take Bobby with me. Let’s keep the rest of the story under wraps (smiles).
• You are working with your daughter Esha too in Tell Me O Khuda…
With daughters, you see, I am still a man from the village. Let’s not go there. All said and done, we live for the happiness of our children, don’t we? I felt very tense when I saw her doing so many action scenes. She was hanging from the wing of a plane. I was waiting in my vanity van and I called her. Her phone was off. I called up the director. She was hauled up and assured me that she was fine. When I wasn’t convinced, she said that she has my Jat blood and I should stop worrying about her.
• Does Hema Malini worry about her?
You rarely get such a brave and strong mother like her.
• And how is she as a director? Now that Mayur Puri, the director of Tell Me O Khuda, is out she is directing you…
On the sets, I only think of her as a director. The same applies to all my directors, even if they are my friends. Hema is a capable director. She knows what she is doing.
• Does your family come to you when they have issues?
(Smiles) No. They don’t want to give me any pain, I guess.
• Recently, you told Ramesh Sippy on national television that he should make a sequel of Sholay with Bobby and Abhishek in lead roles…
I was toying with the idea of a sequel. But it will never happen. It’s too late, 35 years have elapsed.
• But what do you envisage in the sequel?
I was thinking that Amitabh should be a soul who is still attached to Jaya. I return to the house where Jaya lives, but she informs me that the village now has more brutal dacoits than Gabbar Singh. I recruit Bobby and Abhishek to wipe them out. And then Jaya tells Amitabh’s soul that Bobby is his new Veeru, but he too is a boozard (laughs). Actually, I am writing a film script.
• Film script?
Yes, with Bobby in the lead. The film will be called Portable Lover. The protagonist is an emotional person who gets into various relationships. Many girls come into his life and go away. I will also play a role.
• You’ve completed 50 years in Bollywood. What are the high points of your career?
In terms of movies, I would say the highs have been Phool Aur Pathar, Sholay, Chupke Chupke, Anupama and Bandini. In terms of adulation, I think I am blessed. I am born to love and to get love. I want to trace even one person who doesn’t like me. I had wanted to attain heights and never retire. But frankly, I hadn’t expected that I’ll last 50 years in Bollywood.
• What is your day like?
On most days, I get up by 6 am. I get on the exercycle machine for an hour. I gradually raise my heart rate to 100 per minute. Then I feel on top of the world.
• Have you stopped drinking?
Yes. That’s why I am kicking again. I mistreated alcohol. Sharab mujhse gussa ho gayi, usne mujhse kaha ki tumhe mujhe peena nahin aaya. Chahte toh, zindagi bhar pee sakte.
• When did you realise that you should stop drinking?
The realization dawned often. But I’d go back to drinking again. Lekin ab, bilkul nahin, bahut ho gaya. It’s been six months now. I am enjoying working out. I am enjoying my food; I eat cereals in cold milk in the morning, just one chapati and bhaji for lunch and a soup in the evening. No food after 7 pm. I am enjoying my newfound fitness.
• There were reports that you had a heart scare…
No. I was just hurt and was admitted for a check-up.
• Is Sunny Sound Studios being redeveloped?
Yeah. The plan is to make a building there.
• Do you watch films in a theatre?
No. That excitement is gone, woh zamaana kuch aur tha, first day first show, ghanti bajti thi, news reel, those samosas in the interval. If a child cried, the audience would get irritated. Today, it seems people come to theatres to recline in comfortable seats, have popcorn and drink colas.
• What do you think of today’s films?
I think films are still good. Only they have become shorter. They don’t take time to explain the characters and the situations. But then, the world is in a hurry, isn’t it?
• What else is happening in your life?
I am writing my autobiography. I also want to put my life on celluloid by making a short film.
There was a time when masala action flicks were the order of the day. Such films were regularly churned out and it had a dedicated audience who wholeheartedly endorsed this kind of cinema. However, as time passed, the number of such films began to decline drastically. But still the love for these flicks hasn’t died down and we won’t mind watching them once in a while. Aamir Khan’s Ghajini re-popularized the trend followed by Salman Khan’s Wanted. And Sallu is now back with another sureshot masala entertainer Dabangg, a film that is meant to just fully entertain the viewers! Nothing new in terms of storyline, what works in Dabangg is solely Salman and his brilliant performance!
The story of the movie: Chulbul Pandey (Salman Khan) is a fearless but corrupt police officer in the town of Laalgunj, Uttar Pradesh. He family consists of his mother Naini (Dimple Kapadia), step father Prajapati Pandey (Vinod Khanna) and step brother Makhanchan aka Makkhi (Arbaaz Khan), the latter two who are hated by Chulbul due to bitter experiences of childhood. Chulbul at this point comes across Rajo (Sonakshi Sinha), a girl with a unique perspective of life and he instantly falls for her. Things were going smoothly for Chulbul when his world turns upside down with a sudden catastrophe. A ruthless villain enters his life-Cheddi Singh (Sonu Sood). How he fights evil and emerges triumphant is what the rest of the film is all about.
Dabangg at several points reminds of Wanted. Remember Salman’s intro scene in Wanted where he enters the goon’s adda and attacks them single-handedly which is followed by a foot-tapping song? Something similar is to be seen in Dabangg too! Thankfully, the action scenes are much more refined and have a dash of humour too. Same with the interval scene which is similar to Wanted (Salman bashing up goons while the heroine looks on with an expression of shock)! Yet, the film doesn’t give a reason to complain as the treatment for both the films is drastically different. Also, as mentioned before, Dabangg is a full on entertainer. The film is made only to give the viewers a paisa-vasool experience and special care is taken by the director and writers for the same. There’s not a single dull moment and although the film slows down at places, it still keeps the viewers gripped.
The film begins with a bang with Salman’s rocking entry followed by the title song. Chulbul’s ways of wooing Rajo bring a smile on the face! The film jumps to a new level after the song Humka Peeni Hai with an interesting development in the plot. Post-intermission, its Chulbul’s unique way of marrying Rajo that was too good. The bomb blast and Makkhi realizing he has been used was damn impactful. And as for the climax, it was just outstanding and perfect for such kind of a film! See it to believe it!
However, while the director focused on making this film totally mass-centric, he didn’t prefer to give some additional touches to the plot and the characters which might have improved the film to some extent. Chulbul Pandey had a bitter childhood as he never got the love and affection from his father. The director could have treated this angle in a better way. Also, maybe, they could have focused on how Chulbul became a positive person and realized the importance of having a family after meeting Rajo. However, all these aspects were ignored in the quest for delivering a ‘massworthy’ product. Still no complaints as the film entertained!
The film obviously belongs to Salman Khan! He is totally rocking as Chulbul Pandey aka Robinhood Pandey! He’s an expert when it comes to playing such kind of roles. He proved it in Wanted and does the same good job in Dabangg as well. To be frank, I am at a total loss of words and will simply end by saying-Salman, you may be giving couple of duds here and there but still you were and you are THE SUPERSTAR! Rock on Sallu!
Sonakshi Sinha looks extremely beautiful and has loads of talent which she unfortunately doesn’t get to exhibit here. Hope to see her in better roles in future! Sonu Sood entered the narrative in the beginning, disappeared midway but came back into focus in the 2nd half. Performance-wise, he was too good and delivers as per expectations. He proved his worth with Singh Is Kinng and Ek Vivaah Aisa Bhi (where he was the solo hero) that he has immense talent and with Dabangg, he’s going to be noticed by more and his fan base is bound to increase! Arbaaz Khan (who’s also the co-producer of the film) plays his part well. Malaika Arora Khan (also a co-producer and the sexiest one ever!) was sizzling in the item song Munni Badnaam Hui! Vinod Khanna was okay while Dimple Kapadia leaves a mark. Mahesh Manjrekar, Om Puri, Anupam Kher, Tinnu Anand and Mahie Gill were good in their respective roles.
Sajid-Wajid’s music was foot-tapping and had the wonderful rustic touch to it. Tere Mast Mast Do Nain and Udd Udd Dabangg are the best of the lot followed by Munni (by Lalit Pandit). Special mention should be made of the choreography, especially of Salman’s phaadu dance steps in Tere Mast Mast Do Nain and Munni! Sandeep Shirodkar’s background score was topnotch.
Wasiq Khan’s production design was damn impressive. The sets seemed very authentic (especially Salman’s residence). Mahesh Limaye’s cinematography was flawless. S Vijayan’s action is one of the best things about the film. Some of the action scenes are creatively handled and executed which makes it a pleasure to witness them especially on the big screen.
Dilip Shukla and Abhinav Singh Kashyap, the writers, deserve credit and appreciation mostly for the fast-paced script and dialogues. In such kind of films, the dialogues have to be clapworthy and sharp. Dabangg fortunately has many such dialogues that enhance impact in many sequences. As for the story, well, as mentioned above, it was very ordinary and nothing special! Abhinav’s direction is excellent for most part of the film. He knew his job well and what he actually wanted to deliver and he does it convincingly. But as commented above, if he would have taken care of finer details of some characters, the film might have touched and impacted the viewers more. But notwithstanding the same, he shines and succeeds!
Some of the best scenes:
1. Chulbul’s entry
2. The title song, Tere Mast Mast Do Nain and Munni
3. Chulbul trying to woo Rajo
4. The intermission point
5. Chulbul marries Rajo
6. Makkhi joins Cheddi Singh
7. Makkhi realizes that he has been betrayed
8. The climax
On the whole, Dabangg is a totally rocking entertainer that delivers as per the expectations. Don’t go looking for a nice story. Just sit back, relax and enjoy Salman’s histrionics which is much more worth than a movie ticket any day! Another advice: if possible, watch this film in a single-screen theatre. The seeti-taali crowd present in such theatres will ensure you have a rocking time when you see Dabangg, something which you won’t be able to experience in multiplexes! Enjoy!
My rating-*** ½ out of 5!
Presenting the trend of film ‘tracking’, the tool that analyses which film the audience is more inclined to watch
Ever wondered why Salman Khan’s Wanted was a blockbuster while Main Aurr Mrs Khanna, released a few weeks later, starring the same actor was a dud? Or why Yashraj’s New York clicked but a similar-themed Kurbaan flopped despite heavy promotion?
While it’s still impossible to foretell the fate of a film or its opening weekend numbers (the biggest aspect that makes or breaks a movie these days), one tool helps a filmmaker gauge if he’s on the right path to box-office success – organised tracking.
What is Tracking
A common feature in Hollywood, tracking has now come to Bollywood too. This is basically a statistical and scientific technique which tracks the buzz about a film and predicts if it will translate into footfall.
Twelve-16 weeks before a film is released, the PR machinery gets into action. Tracking analyses whether this buzz – promos, songs, posters, media coverage etc – is actually clicking with the audience. Is the movie-goer impressed enough with the campaign to spend his money on a ticket?
And in a day and age when the marketing budget of a film ranges from Rs 4 crore to Rs 12 crore, such insight can change the fortune of a film. Also, this technique tests the creative materials – trailers and film posters – before it goes for public consumption. “The data thus provides a ready reckoner on whether the makers have been able to communicate effectively to the masses,” says Dr C R Sridhar, IIT-alumnus and a director of 4Sight, a recently set-up film tracking company.
Tracking is different from focus group discussions, a popular tool with the likes of Aamir Khan and Karan Johar who use it extensively to know audience reaction before a film releases so that necessary changes can be incorporated. “Focus group is qualitative but tracking gives you the metrics,” says Sridhar, a pioneer in film tracking in India.
The advantage to a filmmaker is obvious. Based on the input, he can change his pitch to the audience which might impact a film’s initial.
How it works
The method is very scientific and quantitative. A database of one lakh movie goers across 22 towns has been created. A sample group is chosen and sent a questionnaire based on five parameters.
• Awareness about the film
• Source of awareness (TV, Newspapers, Radio, Net…)
• Desire to see the film
• The urgency – will it be watched first day first show or would the viewer rather wait for the DVD?
• What are the drivers – songs, action, dialogue, stars etc.
The data is then fed into Film Track Analytical Engine (FTAE), an indigenously developed engine by Sridhar and the report is out.
The results point out to the perception of the film in the public’s mind.
4Sight shares with Mirror their analysis of the campaigns and mood about five forthcoming films that will hit the screens in the next few weeks.
Reading the figures
The film track data for the week August 13-20 shows that Dabangg is tracking quite well with a 17% unaided recall – the highest among all five movies. That is, it is uppermost on a movie-goer’s mind. Sallu seems to be on a winning track.
Following closely is Anjaana Anjaani with a 10 % spontaneous recall. Not bad considering the film is still a few weeks away from release (generally, the closer the release date, the more is the recall).
We Are Family, surprisingly, is average considering its stellar cast and banner, but might pick up next week. But Aashayein, the next immediate release, with less than 10 % spontaneous recall is low. Himesh Reshammiya needs to pull up his socks as Kajraare has spontaneous recall of only 2.8%.
Mere awareness isn’t enough, it needs to convert to viewing also. Here again Dabangg scores high at about 90 %.
Bottomline: Among all films it’s the promos of Dabangg and Anjaana Anjaani and to some extent We Are Family that have aroused curiosity.
• Data for August 13-20 • Base score – 100