Posts tagged blockbuster
By Taran Adarsh, September 8, 2010 – 15:04 IST
The fight between good and bad has been the fodder of many a Hindi film of 1970s and 1980s. In fact, it wouldn’t be erroneous to state that these films dominated the cinema of yore and a lot of us, who have grown up on masala films/wholesome entertainers, will vividly recall the serpentine queues outside cinema halls and a mad scramble to book the tickets of those films. Hardcore masala films were relished with glee by the audience then.
However, for some inexplicable reason, masala films became extinct or should I say, disappeared from the face of Hindi cinema over a period of time. GHAJINI and WANTED revived this genre, bringing back memories of the bygone era. Now DABANGG takes this genre one step ahead.
|BY BOLLYWOOD HUNGAMA.COM
Be forewarned. DABANGG is rustic, has loads of action, harps on the age-old mother-son and varied relationships [half-brother, step-father], eventually turns into a vendetta fare, has a number of songs placed smartly in the narrative [including an item number]… but the packaging is slick and polished. Sure, it’s old wine, but packed in a brand new bottle, with a new brand ambassador [Salman Khan] endorsing this masalathon.
Most importantly, it has Salman like never before. Breathing fire and venom, Chulbul Pandey aka Robinhood Pandey taps Salman’s star power like no film has and the result is sheer magic. In fact, DABANGG stands on three pillars – Salman’s star power, smashing stunts and super music.
Final word? Salman fans, rejoice! You walk in DABANGG with 100% expectations and you exit with 200% gratification. Entertainment guaranteed. This film will create a pandemonium of sorts, a mass hysteria, crushing old records and setting new benchmarks at the box-office.
Set in Uttar Pradesh, DABANGG is a story of Chulbul Pandey [Salman Khan], a totally fearless but corrupt police officer with unorthodox working methods. But even the most fearless at times face a tough fight with their innermost demons. Chulbul has had a bitter childhood. His father passed away when he was very young, after which his mother [Dimple Kapadia] married Prajapati Pandey [Vinod Khanna]. Together, they had a son Makhanchan [Arbaaz Khan].
Prajapati favors Makhanchan, which does not go down well with Chulbul. He decides to take control of his destiny and detaches himself from his step-father and half-brother. His sole attachment is his mother. However, after his mother’s demise and an unsuccessful attempt to mend wounds, Chulbul snaps all ties with his step-father and half-brother.
Rajo [Sonakshi Sinha], with her unique perspective of life, enters his world and turns life upside down. Chulbul starts to see life more positively and also gets sensitized to the value of a family. But his detractors, especially the dubious Cheddi Singh [Sonu Sood], have their own vested interests and emerge as spokes in the wheels, putting one brother against the other. Makhanchan ends up carrying out an act oblivious to the consequences.
When Makhanchan realizes he has been used, he turns to Chulbul. Will Chulbul take his extended hand? Will the brothers be able to thwart their detractors?
The job of a promo is to give a gist of the film and prepare the audience well in advance about what to expect when they saunter into an auditorium. The promos of DABANGG have sent the right signals to the audience about it being a paisa vasool entertainer. Let’s face it, DABANGG has nothing ground-breaking to offer as far as its plot is concerned. We’ve visited similar stories in the past, but what makes DABANGG shine, and shine brightly, is Salman’s star power, which camouflages the aberrations wonderfully. The darling of the masses has been cast in a role that his fans love to see him in, which explains why this film works from start to end.
Like I pointed out earlier, DABANGG is special for two more reasons: S. Vijayan’s stunts and Sajid-Wajid’s music, with an additional song by Lalit Pandit. Talking of action scenes, Salman’s introduction at the start and the fight-to-finish in the climax will send the masses in frenzy. To state that the action scenes are outstanding, especially the fight in the finale, would be an understatement. In the finale fight, when Salman’s shirt tears apart and the rippling muscles and the bare-chest fight ensues, mark my words, it will lead to chaos at mass-dominated centres, especially at single screens. The climax will be one of the prime reasons for repeat viewing, for sure.
It’s difficult to accommodate music in an action film, but Sajid-Wajid come up with a melodious score. The title track, ‘Tere Mast Mast Do Nain’ and ‘Munni’ [composed by Lalit Pandit] are the icing on the cake.
Director Abhinav Singh Kashyap is in his element. He’s made an out and out entertainer with an eye at the masses and he succeeds in his endeavour. Doing justice to vintage formula is no cakewalk, let’s not forget. Besides, the director stays away from going overdramatic while handling the dramatic and emotional moments. This explains why you don’t exit the theatre with a spinning head. Mahesh Limaye’s cinematography is perfect. I’d like to make a note of the editing [Pranav V. Dhiwar], which is super-slick in action scenes. Dialogue, especially those delivered by Salman, will be greeted with claps and whistles. Especially the one ‘Itne chhed karunga’.
Salman Khan is the boss, when it comes to playing to the masses. This film reaffirms this truth. The role provides him ample opportunity to prove his star power and he does it with remarkable ease. Let me put it on record. DABANGG is yet another landmark film in his career, besides MAINE PYAR KIYA, HUM AAPKE HAIN KOUN, JUDWAA [tapping the funny side], TERE NAAM [tapping the emotional side] and WANTED.
Sonakshi Sinha looks fresh, acts confidently and pairs off very well with Salman. Most importantly, she delivers the right expressions and is not overpowered by the galaxy of stars in the cast. Arbaaz Khan is efficient. He underplays his part well. Sonu Sood is electrifying, matching up to Salman at every step. In fact, the fight in the finale between Salman and Sonu is awe-inspiring.
Vinod Khanna is excellent in a role that has grey shades. Dimple Kapadia is truly wonderful. Anupam Kher is, as always, good. Ditto for Om Puri. Mahesh Manjrekar doesn’t get ample scope. Mahi Gill is alright. Tinnu Anand is effective. Murli Sharma is nice. Malaika Arora Khan sizzles in the ‘Munni’ track.
On the whole, DABANGG is a full on entertainer with three aces – Salman Khan like never before, stylish action and super music. It’s a foregone conclusion that DABANGG will open huge. As far as the business prospects are concerned, the film will set new benchmarks, so much so that DABANGG will be one of the yardsticks to gauge the level of business in times to come. Sure to fetch an earth-shattering opening, the film will create a pandemonium at the box-office, cementing the status of Salman Khan as the darling of the masses and making the distributors laugh all the way to the bank. It has Blockbuster written all over it!
By Pritish Nandy (TOI blogs), September 1, 2010 – 12:20 IST
After years, the promos of a film have really excited me and I’m dying to watch it, first day, first show. No, I have no idea if the film is good or bad. In all probability, it will be awful. Two recent films in this genre were ghastly, though they made lots of money in the box office. And one of them, being a Aamir Khan film, assumed iconic proportions and got the star the moniker of being a matchless marketing whiz, particularly because he stole the thunder from under Shah Rukh’s nose. While Shah Rukh was doing his usual number for Rab Ne Bana Di Jodi, Aamir came in from behind with his buzz cut ushers in the theatres announcing the arrival of a thunderous blockbuster two weeks later. The whole focus shifted overnight from Surinder Sahni to Sanjay Singhania. Both films were as ordinary as they come. But Aamir’s went on to become a huge hit, announcing the arrival of a new genre in Bollywood: the Tamil bloodfest.
Its success quickened the release of another bloodfest, this time with Telugu origins: Wanted. You can’t get cheesier than Wanted. It’s possibly the worst movie you have seen, shoddily scripted, badly crafted, crudely put together: an astonishing display of plywood machismo. But even that couldn’t stop it from becoming a huge blockbuster simply because Salman Superbrat swaggered through the film with his trademark cheekiness, doing nothing, just being himself. That made the movie. If, like me, you watch movies not at their premiere, or on TV, but in a typical old fashioned theatre, not even in a multiplex, you will figure why Salman works. His every strut is greeted with wolf whistles and cat calls. His every line of cheeky dialogue is loudly chanted by his fans and some of them, who are watching the film for the umpteenth time, anticipate his lines by screaming them out a split second before they are spoken on screen. This is clearly one star whose fans don’t want him to act. They want him to strut through the film, doing nothing more than delivering cheesy lines of dialogue and beating up guys beefier than him. And, O yes, they reserve the maximum applause for that one moment in a film when he takes his shirt off, either for the mother of a fight or a chalu song. In both, Salman has exactly the same slightly funny, slightly exasperated expression as if to say: Why the hell am I doing this shit?
Aamir’s the opposite. He’s intense to a fault. Every role appears to be a matter of life and death for him. He has to get it just right. His films too are exactly the opposite of Salman’s. They are so carefully crafted that every emotion, every feeling is wrung out of every scene. Often even the manipulation shows. Most times he gets away with it simply because he’s Aamir and can do no wrong. His producers too have taken on Shah Rukh at the numbers game. Huge full page ads declare box office figures that keep spiralling till the pundits finally throw up their hands in exasperation. Akshay Kumar’s producers too briefly joined this numbers game but are now slightly subdued with Akshay having signed on a few duds. But Akshay remains chilled. He knows he has an innate goofy charm that can survive all the tacky screenplays he cheerfully sleepwalks through.
Funnily, barring Salman, the others are looking less and less like stars today. They are beginning to look like businessmen. Shah Rukh has even hit the cover of a business magazine and is sounding, behaving more like a producer than a star. So is Aamir. What they don’t realise is that popular fan bases are not built on the imagery of businessmen or producers. The common man does not admire a bania. The villain in most films of my growing up years was the village mahajan or the city slicker in a white shark skin suit sitting with his bottle of Vat 69. India may have changed. Money is no longer a bad word but the man on the street still admires a hero, not a wealthy man. The iconic hero of Bollywood was for over two decades the Angry Young Man who fought the entire might of the system and brought it tumbling down.
This brings me back to Chulbul Pandey. I am sure Dabangg will be whatever. But what the heck, I love movies where a cracked hero walks through an equally cracked screenplay doing the weirdest, whackiest things, and no one does that better than Salman. Will I ever make a film like that? Unlikely. Will I recommend a film like that? Not over my dead body. Will I go to a sweaty, stinking theatre to watch it, surrounded by screaming, whistling, hysteric Salman fans? Yes, I will. That’s the movie watching experience I pay for. It reminds me of my adolescence. It reminds of the time when movies were movies and heroes could do anything and get away with it.
Courtesy: TOI blogs
By Joginder Tuteja, August 27, 2010 – 14:07 IST
Ever since his comeback in Bollywood, Chunky Pandey seems to have become favourite with filmmaker Subhash Ghai. He got a major role in Apna Sapna Money Money (terrific), followed it up with Paying Guests (insignificant) and would now be seen again in Hello Darling. Though Javed Jaffrey is the man of the moment in this film about sexual harassment, Chunky has enjoyed his place under the sun as well. So much so that after the super success of Housefull (where Chunky played an unforgettable role of ‘Aakhri Pasta’), Ghai decided to increase his role by adding a few more scenes.
Says a source close to Chunky, “He is lying low as he wants audience to be surprised with what they see in the film. Especially after Housefull, he has made further impression as a comic character and since Hello Darling is a comedy, it was imperative that there is more of Chunky. However, he doesn’t want to make much noise because audience may start expecting another ‘Aakhri Pasta’ and he doesn’t want any comparisons here.”
In the film, Chunky plays a wannabe rockstar who is actually a good for nothing failed musician. He is a huge fan of Elvis Presley and tries to imitate him. Though he comes form Ulhasnagar, he believes that he has it in him to become huge in the world of international music.
Says Chunky, “Even in real life, I have always been a huge fan of Elvis. So it was an honour to be actually impersonating him. However, I am a very bad mimic though I am a good actor. So instead of just copying him to the T, I just picked up a few mannerisms and added my own stuff to it. I guess a character stands out only when you add your own touch. Mere copying doesn’t help.”
On his role being increased in the film, Chunky says, “Well, you should check out the film to know more about that. This is a small film about harassment at workplace and narrated in a comic way.”
Meanwhile, one does wonder about the route that he is looking at taking in his career post Housefull. Frankly, after Aankhen this was one film that saw maximum recognition coming for him as an actor.
“On the contrary, recognition and appreciation was the most ever in case of Housefull“, Chunky lights up here; “Aankhen didn’t get so much media attention because TV media wasn’t so strong then. When Aankhen became a blockbuster, we enjoyed our moments but that was again restricted to our own space. There were no massive events happening. Post my comeback, I did enjoy some great times with D Company and Apna Sapna Money Money. However, Housefull proved to be the biggest of all.”
Well, doesn’t look like Chunky would mind if Hello Darling manages to go half the distance.
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
By Subhash K. Jha, August 9, 2010 – 10:54 IST
Paul the Octopus created a worldwide stir with his accurate predictions for the World Cup matches. But nearer home it is Salman the Rock-star who is rapidly building up a reputation for accurate prophecies on the Twitter.
Ever since Salman started tweeting, he has been regularly recommending one film or another. And the ones that he has so far recommended have all been successes. It started first with Raajneeti. One of Salman’s first tweets was in favour of the film, although he had not seen it. Raajneeti became the first blockbuster of 2010.
Then came Salman’s tweets on debutant Punit Malhotra’s I Hate LUV Storys. That too jelled with the audience. Lately Salman has been gung-ho about another debutant Abhishek Sharma’s Tere Bin Laden, apparently because the producer Pooja Shetty is a pal. That too has been very well- received.
The aftermath of Salman the Soothsayer’s soothing recommendations? Brother Arbaaz Khan is now sure the tweet-magic would work for their home production. Without informing Arbaaz, Salman has already started posting images and comments on Dabangg on the social network.
Laughs Arbaaz, “If Salman’s recommendations worked for three films so far, why not for us? We seem to have a resident soothsayer. And I plan to make maximum use of him.”
Arbaaz admits Salman has started his Twitter campaign for Dabangg a little prematurely. “He has been going around taking pictures on the sets and putting them on Twitter. It shows his enthusiasm for the film. I am happy to have Salman on my side. Dabangg is a very important release for Salman. He has no other release this year. We hope to use his time for him to visit non-metropolitan cities for promotion, since Dabangg is set in a small North Indian town.”
As for his uninterrupted luck on Twitter, Arbaaz laughs, “I think more producers need to have Salman on their side, if the industry is to have more hits.”
Thursday 29th July 2010 17.00 IST
Boxofficeindia.Com Trade Network
Raajneeti has fetched the second highest price ever for satellite rights. The film has gone for 25 crore which is only behind the 33 crore deal for 3 Idiots.
The deal for Raajneeti was done prior to the release of the film but the price was not set. The deal was that the price would be linked to the distributor share of the film. The minimum price was 18 crore but as the film crossed the 45 crore distributor share threshold it fetched 25 crore
Raajneeti emerged a big blockbuster at the box office and the more it grossed, the higher its satellite price went. Raajneeti is by far the biggest hit of 2010 and the only film this year to give profits in excess of 25 crore to its distributors.
Friday 23rd July 2010 09.00 IST
Boxofficeindia.Com Trade Network
Mel Karade Rabba is an earth shattering blockbuster with an extraordinary first week in Punjab and a few stations of Haryana. The collections of the film fell just 20% on Monday from its Sunday collections and the weekdays were rock steady with little falls. The weekend collection was 90 lakhs approx and weekdays added another 85 lakhs approx giving a weekly total of 1.75 crore. The distributor share is 1.15 crore approx
In one week the film has shattered all records for Punjabi films Even lifetime business records of all other Punjabi films have been shattered in just a single week. Both single screens and multiplexes are recording humungous collections.
An indication of the astounding success of the film is that in a C centre Bansal – Baghapurana the Hindi All Time Blockbuster Ghajini grossed 58,000 in week one while Mel Karade Rabba has grossed 1.50 lakhs approx at the same cinema. Infact the first day alone was nearly 34,000 at Bansal Baghapurana. These are just unbelievable collections as Ghajini itself was a huge blockbuster in Punjab.
The film was a super hit and so was the merchandise, especially with sporty ten-year-old boys. Brace yourself guys, your light-eyed hero will soon be back on screen for a sequel.
After the debacle of Kites, papa Rakesh Roshan has now taken it upon himself to ensure that Hrithik’s career gets back on track. Rakesh Roshan will now be directing Krrish 2 with Hrithik once again playing the superhero.
So, if Kites failed to fly, Hrithik in his Krrish cape will do the needful now. Considering the first film turned out to be a blockbuster Rakesh Roshan can at least count on a couple of his loyal Krrish fans to turn up, maybe even with their eye-masks on, for the sequel.
|Rakesh and Hrithik Roshan|
Our source said, “The meetings for the sequel have already started. The Roshans have not taken the failure of Kites lightly and are making sure that the hit combination continues. Rakesh Roshan and Hrithik Roshan have done only three films together in ten years, which include Hrithik’s debut film Kaho Naa… Pyaar hai, Koi Mil Gaya and Krrish. After that Rakesh wanted to take a break and produce films. In midst of all this, Rakyesh Omprakash Mehra was to direct the sequel of Krrish and many meetings were organised for that but it all fizzled out.”
Apparently, the Roshans got busy with Kites. Now that that is out of the way, Rakesh after thinking long and hard, has decided to take matters in his own hand. He is currently meeting regularly with his trusted writer Robin Bhatt. The basic idea of the sequel has been fixed and the work on the scripting has started. They plan to bring in some other writer for the dialogues but Rakesh Roshan and Robin Bhatt will write the screenplay.
The buzz was that papa Roshan had dropped the idea of making the sequel after the release of James Cameron’s Avatar. Roshan thought that Avtar has already seen so much special effects. However that’s the thing of the past and Krrish sequel is definitely happening.” Roshan remained unavailable for comment.
The stylishly dishevelled actor would undergo a drastic, rather rustic makeover for his next, Milan Talkies
Forget Pratik’s shaggy metro sexual Jaane Tu… Ya Jaane Na image; he’s up for a complete makeover. For Tigmanshu Dhulia’s Milan Talkies, which starts shooting in October, Pratik will have to undo his urban look and get into a brand new rustic avatar. Pratik has been asked to study the local dialects of Uttar Pradesh very carefully. He also has to watch Amitabh Bachchan’s body language in Namak Halaal, a film that incidentally starred Pratik’s mother Smita Patil.
In Milan Talkies Pratik plays a small-town boy from UP who makes duplicate video films of famous blockbusters. This character was earlier to be played by Irrfan Khan who had even begun researching on the basics of such a character and his mannerisms.
But at that time Irrfan’s other film Paan Singh Tomar with Dhulia was in progress and while playing the character of the real-life athlete, Irrfan broke his ankle, which in turn caused a delay. Hence, there was no way Irrfan could accommodate another Dhulia project into his schedule. That’s when Pratik was brought into the picture.
Says Dhulia, “Pratik came to my mind immediately because he’s dark and very intense, much like his mother (the late Smita Patil). I had seen and liked him immensely in Jaane Tu…Ya Jaane Na. One hurdle was that he had so far only been seen as an urban personality. But Pratik has also done Kiran Rao’s Dhobi Ghat, where he plays a small-town character. I haven’t seen a frame of Dhobi Ghat but if Aamir Khan had faith in Pratik to play a non-urban role, I was sure he could.”
Pratik was asked by the director to shed all his sophistication for his playing this role. The young actor will now have to change his look, body language and speech to play the character. And one of the most important additions would have to be acquiring a North Indian accent. But that might take a while since the actor has barely managed to get a hang of normal Hindi.
So, Dhulia has found a unique way of getting Pratik to speak like a street-smart small-towner from UP. “I’ve asked him to read a Hindi newspaper every morning and to watch Hindi plays and films with UP-Haryanvi heroes like Bachchan saab in Namak Halaal. As for his clothes he doesn’t have to dress up too flamboyantly. No small-town guy dresses up in red shirts and yellow trousers any more.”
Saturday 3rd July 2010 09.00 IST
Boxofficeindia.Com Trade Network
I Hate Luv Storys had a super strong at multiplexes in fact the opening at metro multiplexes can be called bumper. The opening at single screens was lower at around 30-50% depending on location but the release is heavily concentrated at multiplexes. The reports are good from its target audience and the film should at least do hit business.
Raavan fell badly in week two with around 4.50 crore nett business The two week total for the film is around 28.50 crore nett. The film is likely to stay under 30 crore nett for lifetime business. FLOP
Raajneeti continues to be rock steady with around 5 crore nett coming in week four. Raajneeti now has an approx 90 crore nett total after four weeks making it third biggest nett grosser in history of Hindi cinema. BLOCKBUSTER