Posts tagged dialogue
Ekta’s attempt to push the envelope with her upcoming raunchy flick fails, as the censor board deletes three important yet explicit scenes from her forthcoming film Ragini MMS
Vickey Lalwani (MUMBAI MIRROR; May 07, 2011)
A still from Ragini MMS , Ekta Kapoor (left)
In her ambitious move from saas to saucy (Mumbai Mirror, April 19), Ekta Kapoor has faced yet another obstacle. On May 5, we told you how the filmmaker’s promotions for her upcoming project Ragini MMS, based on the real life experience of 22-year old Deepika from Delhi, did not go down well with the authorities.
Many of the hoardings around the city were taken down on charges of vulgarity. Now we hear that the A -rated film, which underwent intense scrutiny by the censor board last afternoon, will not include three significant scenes.
A source close to the film explained, “The Censors objected to three scenes in particular:
1. When Rajkumar and Kainaz (the male and female lead in the film) reach the bungalow to spend a weekend, he talks to her about taking aphrodisiac tablets and the impact it would have on his anatomy in graphic language
2. Rajkumar visually indicates his expectations from her regarding oral sex
3. While the couple get intimate, they use outrageously vulgar language referring to male and female genitals.”
When asked how Ekta and her team in Balaji have reacted to the deletion of the scenes, the source said, “Nothing can be done.
Balaji officials, who were More >
By Taran Adarsh, April 22, 2011 – 09:25 IST
I’ve often heard irate moviegoers grumble that superior stories are in short supply, but I don’t subscribe to this viewpoint. I genuinely feel that we have great stories to narrate, but we mess up on screenplay writing, mutilating a brilliant story in the process. That’s an issue with DUM MAARO DUM as well. A fascinating concept may not translate into an enthralling and enticing film, right?
Come to think of it, Rohan Sippy has evolved into a stylish storyteller with the passage of time. And DUM MAARO DUM bears testimony to this fact. Right from the shot compositions to the edit pattern, the distinct stamp of Sippy Jr. just cannot be overlooked. But a collage of brilliantly executed sequences cannot compensate for a riveting screenplay. That’s precisely why DUM MAARO DUM lacks dum.BY BOLLYWOOD HUNGAMA.COM
At heart, DUM MAARO DUM is a chor-police game, with the cop [Abhishek Bachchan] going all out to nail the drug lord [Aditya Pancholi], the messiah of narcotics trade, but the content fails to hold your attention after a point [towards the second hour specifically]. The writing gets muddled in the post-interval portions, after one has savored some tremendous moments in the first hour. There are portions that put you off [Abhishek injects drugs in the thugs in order to extract information], that remain unexplained [what is it that Prateik knows and reveals in the letter?], that come as a complete shocker More >
VJ-turned actress Shenaz Treasurywala is a multifaceted person. After trying her hands in modelling and acting, the girl has now turned a screenplay and dialogue writer.
She penned down the screenplay and dialogue for Yash Raj’s youth film Luv Ka The End. This is her first film as a screenplay writer.
A friend of Shenaz revealed, “Yash Raj Films commissioned her to write it after reading another screenplay that she had written about earlier.
The girls in her first screenplay were older. It was kind of a Sex And The City in Bombay.
Her original script was called Dreading My Wedding but YRF wanted a young teen flick and they had their own story idea.
They liked her writing style which is young, fast paced with a strong female point of view and so they asked her to write this.”
By Philip Bode & Ryan Lobo, March 25, 2011 – 16:55 IST
We’ve all heard and even seen films, made by the infamously notorious Hollywood animation production house, Pixar. Unlike Pixar, other animation studios have faltered, but only in regards to the successful films they produce time and again. The animation studio has constantly managed to entertain us successfully with all their endeavors.
The second day of FICCI FRAMES at the Renaissance Hotel in Mumbai concluded with an epiphany of sorts attached with, a comical embarrassment of biblical proportions. The sweet epiphany was that, the session was based on the 11 ‘concealed’ techniques used by Pixar which churns out successful films. But the farce that came with the package was that not only did the session start a good twenty minutes late because of technical failure with the projector, but the session hall with a seating capacity of only 60, housed over 150 attendees most of whom incredibly stood with devout attention, for the whole two hour session listening to eminent screenwriter and development teacher, David Freeman host the session.
David’s session spanned, from the subtle use of lighting and shapes to the more intuitive and subconscious levels of perception. Here we break down these techniques listing the subtle nuances that can differentiate between being just mediocre to that one streak of absolute intelligent magnificence.
1. High concept story How many times have films failed due to the More >
By Joginder Tuteja, March 17, 2011 – 12:05 IST
When Akshay Kumar and Bobby Deol started work on Thank You, they had no clue around what they were getting into. Leave aside the characterization, overall script and dialogues; they didn’t even know what the film’s exact story was other than the basic premise of Thank You being based on infidelity. All of this was courtesy writer-director Anees Bazmee who is known for improvising upon his script while the actual shooting is on.
“Though Akshay has still got used to Bazmee’s style of working after delivering two super-hits in Welcome and Singh Is Kinng, Bobby Deol was taken aback by the entire set up. He was quite worried if he had made the right choice as let alone a bounded script, he hadn’t even been given any narration by Bazmee”, says a senior crew member.
Bobby didn’t want to back out at the last minute though since he had already signed on the dotted line. He did report for the film’s shoot in Canada but he was a bundle of nerves as he didn’t know what he was getting into. “Since the film has other two male leads, like Irrfan Khan as well as Suniel Shetty, he was naturally worried about what was in store for him”, continues the source.
However, he felt much relaxed when Akshay comforted him by saying that even he hadn’t heard the script.
“In fact, when Bobby confided in Akshay and shared his point of worry, Akshay said to him with a straight face that ‘jab tumhe story pata chal jaaye, toh mujhe bhi bata More >
By Subhash K. Jha, March 10, 2011 – 14:34 IST
Arbaaz Khan is confident that he can pull off the direction of the sequel to Dabangg.
Says Arbaaz, “We had an array of great technicians helping Abhinav make his directorial debut. I’d get the same help. Finally, it’s the story that matters. My father (Salim Khan) is renowned scriptwriter with 40 years of experience. I’ve inherited his genes.”
Dileep Shukla wrote the basic story of Dabangg. Shukla who has written the story and dialogues for several films of Rajkumar Santoshi, is now being roped in to write the sequel to Dabangg 2.
Says Arbaaz Khan, “We are in communication with Dileep Shukla. We had no clue he had written the original story.”
Arbaaz says he has no time to nurse grudges. Says the producer who will turn director with Dabangg 2, “We cannot really figure out what went on in Abhinav’s mind nor do we care. But we do know he was not happy with the fact that we (Salman and Arbaaz) took creative charge of the Dabangg. He had made a film of 2 hours 50 minutes. We thought that was too long. We edited it down to 2 hours 2 minutes. Maybe Abhinav felt creatively challenged due to this. I really don’t know. All I know is God has his own plans. I didn’t know he planned to turn me into a director so suddenly.”
BOMBAY TIMES (January 31, 2011)
Deepshikha Nagpal, the actress who has worked in Koyla, Baadshah, Partner, Dhoom Dhadaka etc. is gearing up for bigger things. She is likely to be in the Limca Book of Records for playing eight roles in one film; and we don’t mean eight characters. The actress who is making her directorial debut with a serious drama Yeh Dooriyan is handling as many as eight departments at a time!
She is not only directing and acting in the film, she has also written the story, screenplay and dialogue besides choreographing and producing it too. Ask her about her varied roles and she says, “I have been in the industry since long. My grandfather was a renowned personality in the silent era and has to his credit the launch of cult heroes like Ashok Kumar and Mehmood. I myself have worked with Ashutosh Gowariker, Rakesh Roshan and Abbas Mustan and have learnt things from them. My film deals with a very sensitive subject and I had to convey it to people, so I thought I might as well take up the challenge and make the film myself.”
Being a single mother herself and having a story which resembles her life, Deepshikha feels a special connect with the subject and wants to reach out to many women like her. “Yeh Dooriyan has the tag line Love After Divorce… is it a crime? And I really want to raise this question in society through my film. Women like me have to go through a lot and I hope my film opens the eyes of many,” says the More >
Their new film has brought the smile back to Bollywood
Meena Iyer | TNN (BOMBAY TIMES; January 22, 2011)
Even the box office has felt the impact of their punch. The Deols — Dharmendra, Sunny and Bobby — who have the largest fists in Bollywood, and who normally beat the bad guys to pulp, have done themselves a good turn this time around. They have delivered a knockout punch at the box office.
Trade consultant Amod Mehra says, “Yamla Pagla Deewana is a hit in Punjab, Rajasthan, Delhi and overseas. It has also done promising numbers in Mumbai and a few other territories. It is still running to packed houses in some places. The film has made a decent profit in the first week. It will have a good run even its second week. To access figures at this point is premature but the way YPD is going, the Deols have a winner on hand. And the industry has reason to celebrate.”
Sunny’s sunshine smile is back on his face. The actor who alongwith his father and younger brother spearheaded the marketing campaign for YPD is very excited. Accepting the congratulatory messages and the collections with grace, the very shy Sunny says, “From now on, I promise to get totally involved in every aspect of our movies; especially the marketing. So far, we Deols didn’t know how to market ourselves. YPD has been a learning experience.”
He admits that from day one the promos brought in accolades. And even as he readies himself for a sequel, he is happy More >
The ‘old wine in new bottle’ packaging has been in vogue since a long time due to many reasons, 2 of them being that it’s perceived as a safe measure and also maybe because of absence of new ideas. Whatever maybe the reason, if given the right treatment, such films can work wonders at the BO and also ensure electrifying start at the box office (Last year’s Dabangg being the classic example). Yamla Pagla Deewana also belongs to the category of masala films of yesteryears and has been inspired by many films across decades. Still it manages to tickle your funny bone mainly because it has its heart and intentions at the right place! The script is loaded with some amazing funny moments and the three Deols just rock the show!
The story of the movie: Paramveer Singh Dhillon (Sunny Deol) stays in Vancouver with his wife Mary (Emma Brown Garrett), two sons and mother (Nafisa Ali). He learns that his brother Gajodhar (Bobby Deol) and father Dharam Singh (Dharmendra) who got separated from Paramveer and his mother during childhood are in Banaras. Paramveer therefore embarks on a journey to the holy city to meet his remaining family! There he learns that the father-son duo is the biggest conmen in the city, who always manage to pull off hilarious cons on unsuspecting people! But once they are all set to get beaten up but the brave Paramveer saves them. Paramveer is then willingly accepted into the father-son’s gang because of his muscle strength. Gajodhar meanwhile More >
By Taran Adarsh, January 14, 2011 – 08:27 IST
In the 1970s and 1980s, Bollywood churned out hardcore masala films by the dozens. Those films appealed to the ‘Balcony Class’ as well as the ‘Stall Audience’ [terminology used for dissecting the audience then]. Even today, films like SHOLAY, AMAR AKBAR ANTHONY, NAMAK HALAAL, DON, ROTI KAPADA AUR MAKAAN, DHARAM-VEER, MUQADDAR KA SIKANDAR et al, the most popular films of that era, appeal to the guy riding an auto rickshaw as well as the CEO of a multinational company. Masala films, in my opinion, can never go out of vogue. The gargantuan success of films like DABANGG and GOLMAAL 3 last year endorses this viewpoint.
The reason why masala films tick to this date is because they have the power to entertain. I’ve often heard my non-film friends comment that cinema, for them, symbolizes an outing with their family. They want to be transported to a world of make-believe in those 3 hours and forget their worries/sorrows/trials/tribulations in the process. YAMLA PAGLA DEEWANA does that and does so most convincingly.BY BOLLYWOOD HUNGAMA.COM
YAMLA PAGLA DEEWANA is a tribute to the cinema of yore. Every rule in the book that made hardcore commercial films major money spinners then have been read minutely and integrated in the plotline of this one. Generally, movie makers often claim that their film is hatke, that it boasts of stuff that the viewer hasn’t watched on screen before, but YAMLA PAGLA DEEWANA makes no More >