Posts tagged dibakar banerjee
The actor has been cast by YRF for the first time in a romantic film opposite Katrina Kaif
Imran Khan and Katrina Kaif have finally signed a film that will go on floors next month. After Sanjay Gadhvi’s 7 Days In Paris ran into financial trouble and Emraan Hashmi replaced Imran Khan in Dibakar’s next, Yash Raj Films has signed Imran Khan and Katrina for their next.
Though still untitled, the film will be directed by debutante Ali Abbas Zafar (As reported by Mumbai Mirror yesterday). Ali has written the script and the film will be the next one to go on floors under the YRF banner as early as next month.
|Katrina Kaif||Imran Khan|
Yes, YRF has got a fresh new face in Imran but the actor too has benefited from this deal. As reported earlier, Sanjay Gadhvi’s film ran into financial trouble and Emraan Hashmi replaced Imran Khan in Dibakar’s political thriller. Apparently, Imran and Dibakar intend to do a film eventually but that’s for later. In the meantime, the two debacles have seemingly brought luck to both Imran and Katrina.
Our source said, “This is the first time Imran will work in a YRF Film. The film was not scheduled to start earlier but since Katrina had bulk dates to give, considering Dostana 2 was postponed, Imran also agreed and the film is ready to take off immediately.
|Ali Abbas Zafar|
Imran is known to be choosy but he loved the script and has signed the film. It’s a romantic film. Ali has assisted YRF in four films earlier: Jhoom Barabar Jhoom, New York, Tashan and the recently released Badmash Company.”
Imran Khan confirmed, “I am happy to be a part of the film and to be working with YRF. I love the way Adi functions. I also liked the way Ali has visualised his script.”
BOMBAY TIMES (August 5, 2010)
Ira Dubey is all set to make her Bollywood debut with Anil Kapoor’s Aisha. However, the world of showbiz isn’t new to Ira, who’s the younger daughter of actress Lillete Dubey. Ira has been performing on stage since the age of six and has studied theatre and been a film critic on the filmbased show Chicks on Flicks. She says, “Films haven’t been on my agenda till now. I had acted in The President is Coming, but that was like a dress rehearsal. Aisha is a different, but fantastic new ball game and I am looking forward to pursuing a career in Hindi cinema with total focus now!”
Ira feels today, actors of every kind are getting a chance to make a mark in Bollywood. Armed with “hopefully, even half of my mother’s talent”, the actress senses that even though the mirch masala will never go out, realism and freshness are the order of the day. Ira plays Pinky Bose — Aisha’s best friend — in the movie that releases this Friday. The actress insists she’s tried to make this over-the-top, comical, character a bit different. “Pinky’s got a Punjabi gregariousness and zest for life, plus an outrageously flamboyant dress sense. I decided to give her spectacles, a dry, sarcastic sense of humour and a Bengali-esque sharp intellect, so she’s got a bit of both sides,” she says.
Ira is eager to begin her Bollywood innings. “I’m making sure I don’t get typecast and stuck in a mould! I’m extremely excited and eager to try everything. For now, I want to move away from roles that are just glamourous. I want to work with directors like Vishal Bhardwaj, Sudhir Mishra, Imtiaz Ali, Ayan Mukerji and Dibakar Banerjee, Zoya Akhtar and Karan Johar. And I want people to see that I can play a village belle, a glamourous character, the romantic heroine or a quirky fashionista with equal ease,” she says.
The filmmaker is shooting a political thriller loosely based on the ex-Prime Minister’s murder; Abhay Deol and Emraan Hashmi will act
Now that Dibakar Banerjee has had his fill with understanding the complexities of personal relationships in Love Sex Aur Dhokha, the director is taking an interest in politics.
His next is supposedly a political thriller that is loosely based on ex-Prime Minister Rajiv Gandhi’s assassination. The film will star Abhay Deol and Emraan Hashmi in the lead roles. Dibakar is yet to cast an actress to play the female lead.
A source says, “Dibakar is considering Manisha Koirala and Sushmita Sen for the role of a female politician in the film. Talks are also on with Kalki for playing the female lead in the film.”
Apparently, Dibakar has been wanting to make this political thriller for long now, but he got busy with LSD and this project was put on hold. Initially, he had planned to make the political thriller with Imran Khan and Abhay Deol with Katrina Kaif as the female lead.
|Dibakar Banerjee||Abhay Deol||Emraan Hashmi|
But Dibakar’s plans with Imran Khan didn’t work out because the actor couldn’t work out dates for the director. Imran Khan has now lost the film to his namesake (well almost), Emraan Hashmi.
Although the film is not based on the late Prime Minister’s life, it supposedly revolves around his death and the way he was killed. Dibakar has been researching diligently on attacks on top political leaders of the world.
When contacted, Emraan Hashmi confirms and says, “Yes I am in talks with Dibakar.” But despite repeated calls, Dibakar Banerjee remained unavailable for comment.
The low-budget film, which was giving big-ticket cinema a run for its money only a couple of years ago, is said to be in its death throes
Meena Iyer | TNN (THE TIMES OF INDIA; May 16, 2010)
The euphoria over Dibakar Banerjee’s path-breaking Love Sex Aur Dhoka, released this March, lasted less than a week. On the tenth day, the DVD of this unusual film made it to shelves across the world.
So what exactly happened? Why did the film that had every critic in town salivating over its form and concept meet with this fate? LSD broke many norms—it was shot on HD, it had greenhorns instead of stars, the concept wasn’t stolen. Yet, the film that gave the theatre-going audience a completely new experience couldn’t hold out for more than a few days at a multiplex.
LSD’s fate reflects the crisis that the small film—feted by audience and critics alike just a couple of years ago—finds itself in today. In a market that suddenly seems to have developed cold feet about the genre, there are over 100 small films, censored and ready, which have no buyers.
Two years ago, this category of cinema was being celebrated. Almost every big film corporation had developed a sub-brand committed to the cause of the smallbudget film, from UTV’s Spotboy and PNC’s Guerrilla to Mukta Arts’ Malpix and Sanjay Gupta’s White Feather Films’ Arthouse. Besides the big corporate honchos, there were others dedicated to this kind of cinema like Sunil Doshi (Halla Bol), Rajat Kapoor (Mixed Doubles, Mithiya) and Sagar Bellary (Bheja Fry). One of them lately confessed that he has six unsold films on hand.
Gupta, who lost a few crores with his last two experimental films, Pankh and The Great Indian Butterfly, says, “The market for
small films has dried up. I suffered huge losses by releasing these films. And now I have decided to shut my arthouse department. I’m committed to good cinema but I can’t mortgage my house, sell my office and give up my lifestyle to support its cause.’’
In the period after Bheja Fry, several small films—Aamras, Siddharth The Prisoner, The Waiting Room, Halla Bol, Saas Bahu Aur Sensex and Raat Gayi Baat Gayi to name only a few—have bitten the dust. One of Bollywood’s leading financiers has allegedly been set back by Rs 35 crore on this brand of cinema. “If you even make a rough estimate of the amount lost on thought-provoking cinema, it would be over Rs 150 crore,’’ says a trade analyst. He agrees that the losses on five mainstream films like Drona, Chandni Chowk To China, Kambakht Ishq, Luck and Kidnap would also amount to Rs 150 crore approximately. “But the point is that people still go to a theatre to see a puerile Akshay Kumar film rather than come and see Vinay Pathak (Dasvidaniya) or Ranvir Sheorey (Ugly Aur Pagli),’’ he says.
Why did small cinema sink like this? One of the reasons was the recession. Siddharth Roy Kapur, CEO of UTV Motion Pictures which had a golden run with middle-of-theroad cinema two summers ago (Khosla Ka Ghosla, Oye Lucky Lucky Oye, Aamir, Mumbai Meri Jaan, A Wednesday, Welcome to Sajjanpur and Dev D) says that the corporation spent double the money and energy to market films like Khosla Ka Ghosla and Dev D to counteract the pull of the big star film. When the economic downturn came, marketing budgets took a huge beating, and according to trade sources, the first casualty was the small films for which the oxygen masks were pulled off. “It’s also a myth that because of the low investment, small films are risk-free,’’ adds Roy Kapur. “On the contrary, if these films don’t hit the bull’seye you can end up losing your entire investment on them.’’
Another reason for the death of small cinema, say sources, was that its economics too began to go haywire after its successful run. Studio gossip has it that actors Vinay Pathak and Ranvir Shorey and director Sagar Bellary, the trio that put together the enjoyable Bheja Fry for a mere Rs 50 lakh, with an additional Rs 50 lakh for marketing, became covetous and began demanding personal fees to the tune of Rs 5 crore to Rs 6 crore. The producers of small cinema too conned many film financiers by stating budgets far in excess of what they were.
And then there were the financiers themselves who, after Bheja Fry made four times its budget amount at the ticket windows, thought that small films would make their money appreciate faster. “With budgets on star capers having gone through the roof, these men reasoned that they’d rather make four small films than chase a superstar, whose remuneration is more than the budget of a modest film,’’ says a trade source. Quantity overtook quality, and the ensuing rash of badly made lowbudget films sank without a trace.
The final nail in the coffin was the price of the cinema ticket for a small film. “Most small films are on the DTH (direct to home) platform within days of their release,’’ says Gupta. “If the exhibitor charges Rs 300 for Pankh and a similar amount for My Name Is Khan, the audience will naturally opt for MNIK. Despite best efforts to bring down ticket prices for a certain kind of cinema, no solution has been found. And people would naturally prefer to shell out for a star film while paying their dish television provider Rs 50 for the small films.’’ The producer claimed on a FICCI platform recently that the multiplexes, which were launched to give a platform to the arthouse/middle-of-the-road cinema “are the ones who have actually killed these films’’.
So unless a miracle happens your small film will now only be viewed within the confines of your drawing room. The exhibitors have shortchanged it with a SRK starrer.
A circular sent by the government has left the censor board fuming. According to the circular, even a single scene showing smoking will invite an ‘A’ certificate for the film. For once, censor board chief Sharmila Tagore is willing to fight it out with her own people.
Says Sharmila, “This is absolutely absurd. While we agree cigarette smoking is bad and seeing stars smoking on screen creates the wrong impression, we can’t take ad-hoc decisions. Such matters have to be debated. We must hear out the producers before any decision is taken on this.”
But regarding most other matters, Sharmila is unperturbed by voices of dissent against censorship. “I am not worried about what disgruntled filmmakers have to say. I have very capable people in my staff. Do filmmakers like Vishal Bhardwaj and Dibakar Banerjee think that Kaminey and Love Sex Aur Dhoka (LSD) would get a ‘U’ certificate? A lot of people want to know why such films are passed at all.”
Getting more forthright, Sharmila adds, “When these filmmakers object, I know they’re doing it for publicity. When you knock the doors of the censor board, a talking point is created. We have codes to follow for censoring a film. The panel members are not even allowed to talk directly to the producer. It’s a procedure and it has worked so far.”
The only time Sharmila admits the censors erred in their job was with Ghajini.
“It should’ve never been given a UA certificate. How it got that certificate, I have no idea. I truly think we slipped up on that one. And if I’m asked to resign for it, I will do so even now. Strangely, hardly anyone complained about it. Now when people behind violent films use Ghajini as a reference point, I cringe. Just because we made one mistake doesn’t mean we can keep repeating it.”
By Subhash K. Jha, April 5, 2010 – 11:18 IST
With around 20 more days of shooting left for his bio-pic Rakta Charitra on the life of the outlaw-politician Paritala Ravi, Ram Gopal Varma is already thinking of his next film. And what better fodder for filming than the allegedly lurid life of Swami Nityanand?
Ramu doesn’t deny that the film’s title God & Sex comes in the wake of Dibakar Banerjee’s Love Sex Aur Dokha. Says Ramu, “I won’t deny that the word sex in a Hindi-film title seemed impossible before Love Sex Aur Dhokha. So to that extent, yes God & Sex is a title that owes its background to the earlier film.”
The film would be inspired by the Swami Nityanand sex scandal. But it isn’t prompted by Vivek Oberoi, a self-confessed devotee of the Swami and Ramu’s close friend currently working in Rakta Charitra.
Smirks Ramu, “Vivek and I haven’t been discussing Nityanand or the other god men and their sex lives. But I can’t deny God & Sex is inspired by the Swami’s escapades. But it’s not his sexcapades that intrigue me. It’s an image that I saw in the video of the Swami watching Hindi film songs on television. It just struck me that behind closed doors everyone from God men to gun-men is doing the same routine things.”
Though the film will be called God & Sex it won’t only be about god-men and sex scandals.
Says Ramu, “It’s amazing how powerful our country’s god-men get in the corridors of power. Whether its politics or sex people like Chandraswami and Nityanand exude power and command a mass following. I remember my aunt had gone to a prayer meeting for Satya Sai Baba. She came back and put up a large photograph of the man. I asked her what prompted her to do so, was she that impressed by his ideas? She said she couldn’t follow a word of what he said. ‘But so many people can’t be wrong’, that statement of her’s stuck. These god-men generate mass hysteria because they are seen as a direct link with divinity. They are able to cash in on the gullibility, vulnerability and insecurities of the people because we live in desperate times and we need to have some faith to cling to.”
God & Sex won’t have a lot of sex in it. “How do these god-men manage to get so many women and girls interested in them? My film will dwell on that aspect. But it won’t be a sleazy look at their world.”
With Bollywood taking the risqué route, audiences can expect a hotter summer ahead
SARAH SALVADORE Times News Network (BOMBAY TIMES; March 29, 2010)
If crazy titles, out-of-the- box ideas and experimental cinema was big in 2009, this year promises to be no different. Apart from the cinematic aspect, the Hindi film industry is looking at capturing the market with their darebare act. Kissing on screen or shedding inhibitions regarding outfits and story ideas; Bollywood has never been so bold.
A look at some of the releases this year will prove that B-Town is indeed taking a step towards making some bold moves in cinema. From Hrithik Roshan and Barbara Mori’s sizzling onscreen chemistry in Kites to the three bikini babes of Housefull Deepika, Lara and Jiah, Dibakar Banerjee’s shocking Love, Sex Aur Dhoka and Vivek Oberoi’s lip lock with Aruna Shields in Prince — It’s Showtime, these films managed to create a buzz even before they hit the screens.
While the audience is lapping up everything that comes their way, industry folks are a happy lot with this new bolder face of Hindi cinema. “The Indian film industry and Hindi films are going through this wonderful phase where more and more experimental genres are being tapped into,” says an upcoming actor. “We are making some of the world’s finest films. In time, we’ll look back at these films and consider them as landmarks — cinema that truly took Hindi movies global,” says the actor.
With LSD capturing the imagination of many a cinema-goer, director Dibakar Banerjee seems to have succeeded in what he wanted to do — shock and provoke. The sex scene in the film, which is very bold, has been the talking point. “I am all for the creative integrity of the subject matter and my job is to see that the message is delivered. I’d say it’s a genre-defining film and the most emotionally draining, gut-wrenching movie I’ve made till now,” the director said recently. While the directors are taking all possible creative liberties, the actors too are not far behind when it comes to doing their bit on screen. Today, Bollywood’s top screen scorchers don’t shy away from locking lips with their costars or donning a bikini if the script demands. “It’s okay to show a girl swimming in a bikini, or two people in love kissing as long as it’s justified in the script,” says actress Anjana Sukhani, adding, “Our films are part of global cinema. They are getting real.” Aruna Shields, whose lip lock with Vivek Oberoi in Prince is creating ripples, feels that kissing on screen is no big deal. “It was not something new for me.” With so many actors taking the bolder route in films, one wonders what makes them shed those inhibitions. Film critic Komal Nahta explains, “It’s because of a combination of factors. Films are a reflection of society. With girls wearing bolder clothes and PDA being common in real life, reel-life can’t be different. Plus, competition from Hollywood films works as a catalyst to show more and more in Hindi movies.”
With bolder scenes in almost every other film, the question is, do they really help the movie at the BO? “This could help in the initial shows but thereafter,
content would count,” says Nahta. With commercial Hindi cinema taking giant steps towards turning real, the industry and audience seem to love this leap of faith.
Bollywood is abuzz with new ideas. Risks are being taken to provide a new experience in movie making as well as in movie watching. Love Sex Aur Dhokha falls under it. Filmed using low-budget techniques, what makes the film a winner is not solely its title and that it’s a complete digital film but that it is very well written and scripted. And the performance by all the unknown actors is like an icing on the cake. Love Sex Aur Dhokha exposes the very dark and selfish side of humans. It’s as raw as it can get and it is as real as it can be!
The film is divided into 3 stories:
SUPERHIT PYAR: Rahul (Anshuman Jha) is making his graduation film titled ‘Mehendi Laga Ke Rakhna’. He casts Shruti (Shruti), daughter of a rich and powerful businessman as his heroine. Soon they fall in love with one another. They run away and get married. Is this the best or worst decision of their lives?
PAAP KI DUKAAN: Adarsh (Raj Kumar Yadav) installs security cameras in a 24-hour departmental store. He has only a week to clear his debts or else he’ll have to face dangerous consequences. His associate persuades him to woo Rashmi (Neha Chauhan), a salesgirl working in the store, have sex with her and shoot the entire footage using the security cameras as it would really get him lot of money. Will Adarsh commit this immoral act?
BADNAAM SHOHRAT: Prabhat (Amit Sial), a sting journalist, is facing a bad time. He comes across Naina (Arya Devdutta) who he saves while she attempts suicide. Naina is distressed as Loki Local (Herry Tangri), a popular pop star had slept with her in return for a promise for casting her in his next album. But Herry insteas casts a Russian blonde. Prabhat provokes her to take revenge in the form of a sting operation. Will everything go as per their plans?
Love Sex Aur Dhokha might remind of Sex Lies & Videotape or more recently of Cloverfield which was also filmed with similar techniques. However, the shaky and moving camerawork doesn’t bother or irritate at all. One miraculously adjusts to it as if we are used to such digitial flicks since years! Also, the convincing screenplay makes the film a winner!
My take on the 3 stories:
SUPERHIT PYAR: The first story inadvertently leaves the biggest impact. There’s not a single moment where the pace dips. It is funny, gaudy and has some sweet moments too. However, the culmination leaves you shocked and disturbed to say the least. Anshuman Jha’s aam aadmi looks helped him deliver a convincing performance. Shruti was great and the person who played Shruti’s father gives a brilliant performance.
PAAP KI DUKAAN: What I loved the most here is it is set in a supermarket. Since the happenings are viewed through surveillance cameras, there are only around 4-5 camera angles used throughout the story. Also the way the backroom of the store was partly converted into a CCTV monitoring centre was interesting. The story is the longest of all 3 and gathers momentum almost immediately. The widely discussed sex scene is a part of this story that leaves an impact for sure. The ending was unexpected and unconventional. Raj Kumar Yadav was perfect as the possessive boyfriend while Neha Chauhan wonderfully plays the role the of shy and reserved salesgirl. Also worth mentioning is the lady who played the talkative salesgirl.
BADNAAM SHOHRAT: Naina’s characterization impresses a lot here. The sequence where the sting gets shot is the highpoint of the story. There comes a strange twist where Naina goes to shoot a second and final sting. The ending again was unpredictable but to an extent justified. Arya Devdutta was completely natural as the wannabe model. Amit Sial was a lookalike of Nagarjuna while Herry Tangri was Mika’s lookalike (and this was intentional it seems!). Both however give a fabulous performance with Herry impressing a little more.
Sneha Khanwilkar’s music like her previous work (‘Oye Lucky! Lucky Oye!’) was hatke but likeable. The title song undoubtedly is the best track and is played in the end when credits roll. Nikos Andritsakis’s cinematography was the most unique aspect of the film. The film might have fallen like a pack of cards if Nikos hadn’t known his job well. Fortunately, he does a great job. Even the film was shot using spycams, camcorders and CCTV cameras and is shaky at parts, the film doesn’t turn confusing. One can decipher what’s going on. Great work! Namrata Rao’s editing was flawless.
Dibakar Banerjee and Kanu Behl have written the story and screenplay and have done an excellent job with it. The premise of all 3 films is very topical and something we are all aware of. We all know about MMS scandals, sting operations and opposition to interclass marriages and hence the film is easily relatable and is realistic. Fortunately, the duo comes up with a great story as well and that’s what rocks. Also, all the 3 stories are smartly interlinked too! Bravo guys!
Dibakar impressed a lot with his debut film Khosla Ka Ghosla and now his fan base has increased with this truly path-breaking film. Dibakar in an interview said that with Love Sex Aur Dhokha, he wants to show that he can make non Delhi-centric films too! However, the Delhi hangover can be seen at several points throughout the film. In fact, one can argue that the film is based in Delhi (as nowhere in the flick there is a mention of the city’s name). But then no one is complaining too! We love the Delhi magic that Dibakar captures and it gets shot here too although unintentionally!
The best thing is that Dibakar had done extensive homework before shooting. He somehow realized which ‘hatke’ camera angle and close will manage to impact and he was bang on! Also he should be applauded too for casting all unknown actors which made this film realistic and true to life. Hats off and waiting for your next project!
Some of the best scenes:
1. Shruti’s dad showing his palatial house to Rahul
2. Shruti’s dad informing Rahul that Shruti’s marriage is fixed
3. Rahul and Shruti in the hotel
4. End of Story 1 (gory and shocking)
5. Committee goons threaten Adarsh
6. Adarsh’s attempts to woo Rashmi
7. End of Story 2
8. Prabhat and Naina’s failed suicide attempt
9. Prabhat and Naina at the momo stall
10. Naina meets Loki in the hotel room
11. Sting no.1 and 2
On the whole, Love Sex Aur Dhokha is a raw, original and intense cinema. It is one-of-its-kind in Bollywood and wins because of its story, dialogues, script and performances. Go for it and have a very very hatke experience!
My rating-**** out of 5!
Turn on, tune in, drop out… LSD breaks all norms of mainstream filmmaking. Meenal Baghel meets its director Dibakar Bannerjee
The sign outside Dibakar Bannerjee’s office reads: Please do not smoke in the corridor. If you must burn your lungs, walk a few steps down.
Inside the small, unpretentious office, where Bannerjee is the boss, he lights up ever so frequently.
The 38-year-old director, Bollywood’s flavour of the month, has just returned from Delhi where he picked up a national award for his 2008 film Oye Lucky, Lucky Oye, and also to visit his parents.
The influence of his growing up years in Delhi, first in the bustling Karol Bagh, then Ashok Vihar, saturate his work, making him one of the finest chroniclers of contemporary Delhi culture. His observation of a certain breed of Delhi women - talkative, with an in-your-face sensuality, and yet exuding vulnerability - is particularly astute.
But he does not want to be seen as a ‘Delhi filmmaker.’
“I think with Love, Sex Aur Dhokha (quirkily acronymed LSD) I have made a more universal film which could be located anywhere in India…I need to break out of this Delhi stamp.”
|Pic: Satish Malavade|
The director, it emerges over the course of the interview, is wary of any form of straight-jacketing and is very much his own man, a bit of an anomaly in Bollywood, where, despite the patina of sophistication, the puppy, jhappi, happy culture is to co-opt (especially the successful).
Perhaps, to escape that, he has chosen to maintain an office in quiet, leafy Matunga, away from the brassiness of Andheri. Which is why, when he was being hailed as the new Hrishikesh Mukherjee after the surprise success of Khsola Ka Ghosla, he chose to make Oye Lucky… depicting the middle class as the anti-thesis of the romanticized, and idealized notion of the previous film.
With LSD, Bannerjee has a made a film like no other in the Hindi film industry. Comprising loosely-linked three set-pieces, and shot digitally, it subverts every idea of mainstream cinema that we have. No placebos, no naach-gaana, no pretty stars, it’s an unflinching and beautifully nuanced look at the perversion of values and the voyeurism we revel in.
That such a film is produced by Ekta Kapoor, doyenne of conservative, low-brow entertainment, must have tickled them both and one can imagine them chortling over the delicious irony.
Bannerjee, who is also a tabla player and amateur painter, dropped out of the prestigious National Institute of Design, much to his middle class family’s horror. He was not suited to the academic environment, he says, becoming a rebel “who did not particularly want to rebel.”
“I am too much of a working person. I am a fantastic slave; as a trainee I was great for all my bosses.” He may not have acquired a degree, but carries the influences picked up at NID which show in his highly aestheticised films. “I learnt so much about art, design, cinema, and also the exposure to some of the brightest minds in the country was fantastic.”
He returned to Delhi to work as a copy-writer at Contract advertising agency and learnt the ropes of filmmaking from Parineeta director Pradip Sarkar whom he describes “a one-man film studio.” He also moonlighted, making Edward Muibridge-inspired promos and graphics for the now-defunct BiTV.
Among his colleagues at Contract were Shoojit Sircar and Jaideep Sahni. The latter scripted Khosla Ka Ghosla and was instrumental in Bannerjee becoming a film director and relocating to Mumbai in 2003.
So, what does he make of Bollywood?
He takes a cigarette break to think and enunciates carefully. “Its capacity to be inexact is monumental - creatively and also business wise. And out of that capacity comes a very evolved science of guesswork. There’s a lot of ego, guess work and wild west territorialism at play. But now there are guys who are rising above that and doing well.”
He is also quick to caution that he does not mean to snigger at Bollywood - “I consider myself a part of it” - but that his critique stems from a real concern for the business model. “It is over-idealistic to think that just three or four films each year should carry the weight of the many flops.
That’s not tenable.” The phone ring cuts him mid-sentence. It’s his producer Priya Sreedharan. In the two days since release LSD has clocked Rs 1.5 crore. “She’s from Sophia, likes Kieslowski, Tarantino and Soderbergh and here she is tracking collections from across small towns. It’s important to track that. To flourish creatively an industry also has to make money.” He quotes a slogan on a bus he saw once as a smart rule of thumb: ‘Udhaar-wale khisko; nagad-wale disco.’
Bannerjee is particularly keen to know how the film will be received in the small towns. “We keep hearing of this amorphous ‘mass’ waiting in the wings to wreak havoc,” he says with a hint of laughter. And while he gratefully acknowledges the benefits of liberalization that have allowed filmmakers like him to succeed, his concerns lie with the other Indias - “Our ability to hurt our fellow beings is monumental” - and those who are materially and linguistically dispossessed. In fact his next film is set in a fictionalized new state which is waiting for an SEZ (Special Economic Zone) to change its fortune and how a political assassination sets things haywire.
He’s working on the nth draft of the script and does not know yet if it will have any big stars though he would like to work with some of them. “Anyway there are world class actors smoking cigarette after cigarette at the Yari Road Barista. They are very observant and I like that.”
THREE INTERESTING FILMS THIS WEEKEND!
Tomorrow, three small-budget but very interesting films are all set to hit the screens. My take:
LOVE SEX AUR DHOKHA: The film has a title which more than half of the population would hesitate mentioning! Thankfully, to make things easier, the makers of the film has emphasized more on the abbreviation of the title-LSD! India’s first digital film, LSD is based on a voyeurism and from the promos it seems to be a truly path-breaking film. The film has no famous actor at all and yet the film has scored because of its title, theme and promos. Also it is directed by Dibakar Banerjee who has impressed many by his last 2 films-Khosla Ka Ghosla and ‘Oye Lucky! Lucky Oye!’. However, LSD is a completely new territory and there are high chances that the makers might not come with a film that meets the expectations. Let’s hope for the best!
SHAAPIT: Vikram Bhatt is back after the successful 1920 with another horror flick, Shaapit. It marks the acting debut of Aditya Narayan and also television actress Shweta Agarwal. Promotion could have been better but still the film has made many curious. Also it has Aditya who has a considerable fan following. Like for every other film, Shaapit needs to be well-made to get box office success. 1920 also had newcomers and it clicked wonderfully with the audience and was a hit too. And the same is expected from Shaapit too. It would definitely get the best opening out of the three!
LAHORE: This flick would definitely get the poorest opening but has high chances of being much better than the above 2 films! Surprisingly, Lahore gives a message on peace through the medium of a violent game, kickboxing! The film marks the debut of Aanaahad, who went for rigorous kickboxing training in China for 6 months for this role. Also Lahore gives viewers probably the last chance to see deceased Nirmal Pandey in theatres! The film is backed by Warner Bros and has toured numerous film festivals and has won many awards and nominations. Those not interested in LSD and Shaapit should try for Lahore!
Which film you most interested in? Do let me know!
GOLDEN KELA AWARDS-BOLLYWOOD’S OWN RAZZIE!
Chandni Chowk To China, Kambakkht Ishq and ‘What’s Your Raashee?’ won the maximum awards in a recently held award function! Shocked? Don’t be ‘coz the awards recognized the worst in cinema! Golden Kela Awards, desi version of Razzies, held its 2nd edition last weekend and the winners and the funny categories it consisted were as follows:
Worst Actor (Male) Award-HARMAN BAWEJA (What’s Your Raashee?)
Worst Actor (Female) Award-KAREENA KAPOOR (Kambakkht Ishq)
Worst Supporting Actor (Male)-RANVIR SHOREY (Chandni Chowk To China)
Worst Supporting Actor (Female)-DEEPIKA PADUKONE (Chandni Chowk To China)
Worst Film-KAMBAKKHT ISHQ
Worst Director-ASHUTOSH GOWARIKER (What’s Your Raashee?)
Worst Debutant (Male)-JACKKY BHAGNANI (Kal Kissne Dekha)
Worst Debutant (Female)-SHRUTI HASAN (Luck)\
Most ‘Original’ Story-DIL BOLE HADIPPA (Copied from She’s The Man)
‘Baawra Ho Gaya Hai Ke’ Award-SYLVESTER STALLONE and DENISE RICHARDS (Kambakkht Ishq)
Most Atrocious Lyrics-SAMEER (Love Me Love Me…Wanted)
Most Irritating Song of the Year-PRITAM (Love Mera Hit Hit…Billu)
When Did This Come Out Award-FOX (*ing Sunny Deol, Arjun Rampal; directed by Deepak Tijori)
Worst Pair Award-RANI MUKHERJEE and SHAHID KAPOOR (Dil Bole Hadippa)
The Lajja Award for Worst Treatment of a Serious Issue-KABIR KHAN and ADITYA CHOPRA (New York)
The Dara Singh Award (!!) for Worst Accent-ABHISHEK BACHCHAN (Delhi-6)
The Critic’s Award-TARAN ADARSH
The Black Award for Emotional Blackmail-PAA
The Insensitivity Award- CHANDNI CHOWK TO CHINA
The Bas Kijiye Bahut Ho Gaya Award-MADHUR BHANDARKAR
Cyrus Broacha Memorial Award-CYRUS BROACHA
My personal favourite category is ‘Baawra Ho Gaya Hai Ke’ Award which was presented to Sylvester and Denise! However, the Bas Kijiye Bahut Ho Gaya should not have been given to Madhur Bhandarkar. There are so many out there who deserve it badly!! Another funny thing is that Cyrus Broacha Memorial Award was given away to Cyrus himself! In his acceptance speech, he said, “It’s great. I’m thrilled. I hope to win this award every year”! Obviously, none of the film starring Cyrus featured in the awards (although one might argue that his disastrous flick Fruit N Nut should have got some award!).
Golden Kela Awards were launched last year by Random Magazine. The nominees were shortlisted by its editorial board and the winners were selected by a public poll. Needless to say, none of the winners were present in the event to take away the prized trophies!
Did you like the idea of Golden Kela Awards? Satisfied with the winners’ list? Do let me know!