Posts tagged hrishikesh mukherjee
By Taran Adarsh, April 30, 2010 – 12:50 IST
At the very start of the film, Sajid Khan pays his respects to several notable names of the 1970s and 1980s, who redefined Hindi commercial cinema. And that gives you ample idea of what to expect from HOUSEFULL, which, very frankly, stresses on wholesome entertainment like those wonderful entertainers made by Manmohan Desai, Prakash Mehra, Feroz Khan, Hrishikesh Mukherjee, K. Raghavendra Rao, Narendra Bedi, Ravi Tandon and Brij. No wonder, films made by these icons have tremendous recall value even today.
The two things you expect from HOUSEFULL are non-stop laughter and non-stop entertainment. That’s because the promos of the film have already given you an inkling of what to expect from this film. Besides, Sajid Khan swears by wholesome entertainers, so it’s only natural to expect HOUSEFULL to bring the house down.
|BY BOLLYWOOD HUNGAMA.COM|
We loved Manmohan Desai and Prakash Mehra’s movies because they transported us to a world of make believe, into a fantasy world, keeping us thoroughly entertained for those 3 hours. Obviously, we never questioned the logic then because we knew that entertainment was the keyword. HOUSEFULL takes the same route.
HOUSEFULL entertains majorly at places, but it’s an uneven ride. Uneven, because the pace dips at several places. It’s not a rip-roaring laugh-riot or a non-stop laughathon that one expects it would be, since the focus is on emotions and drama as well. Even the climax, I am sure, will meet with diverse reactions. It will have its share of advocates and adversaries.
Final word? The actors are top notch and so are their performances. Wish the script would’ve been equally super. Yet, despite the hiccups, HOUSEFULL should be lapped by moviegoers in a big way because the audience is starved for that solid entertainer with big stars for more than two months now.
HOUSEFULL narrates the story of Aarush [Akshay Kumar], the world’s unluckiest man. Being jinxed, he believes his bad luck can vanish if he finds true love. In this quest for true love, he gets married to the daughter [Jiah Khan] of a wealthy businessman Kishore Samtani [Randhir Kapoor]. But there’s a twist in the tale…
Enter Sandy [Deepika Padukone], who falls in love with Aarush. But complications follow thereafter as Sandy’s brother, Major Krishna Rao [Arjun Rampal] and Hetal’s [Lara Dutta] father, Batuk Patel [Boman Irani] enter the scene. How Aarush and his buddy Bob [Riteish Deshmukh] come out of this mess forms the crux of the film.
Like HEYY BABYY, HOUSEFULL has a story to tell as well. It’s not merely an assemblage of funny sequences or a mere montage of comic scenes. But some of the funny sequences are sure to make you flex your facial muscles wide. Note Akshay’s intro, or the sequence involving the vacuum cleaner, or Akshay getting a pet home, or the entire Chunkey Pandey track in Italy. Simply howlarious!
Sajid balances the dramatic moments well. The Jiah Khan sequence soon after the marriage is very interesting and so are the sequences in the second hour, when Arjun and also Boman land up at the mansion. The comedy of errors is truly funny at times and also the gay angle, which has been injected in this half. It may not be as memorable as the Kantaben track in KAL HO NAA HO, but is funny nonetheless. Talking of dramatic sequences, the ones between Akshay and Arjun are fantastic, especially the lie detector test, which is amongst the best sequences of the film.
Director Sajid Khan knows his fundas right. He packs just about everything to entertain you for the next two hours, but the screenplay could’ve been tighter. While the pacing is slow in the first hour, it’s the second half which has a lot to offer. Overall, Sajid jumps into the big league of film-makers who make films for the masses and successfully at that!
Shankar-Ehsaan-Loy’s music is pleasant. Vikas Sivaraman’s cinematography is top notch. The locales of Italy are mind-boggling.
Every actor in this film takes the film to the next level. Akshay underplays his part beautifully. All those who felt that the actor tends to get loud or needs to be controlled will change their opinion with this film. He’s the soul of HOUSEFULL. Riteish is incredibly natural. I’ve often felt that Riteish is one actor who doesn’t give you an impression that he’s ‘acting’. Though the story primarily revolves around Akshay, Riteish stands shoulder to shoulder with Akshay in this one. Arjun Rampal is fantastic. Post OM SHANTI OM and ROCK ON!!, HOUSEFULL is yet another film that taps Arjun’s talent to the maximum.
Deepika is a surprise. She carries her part with amazing confidence and again, post OM SHANTI OM and LOVE AAJKAL, HOUSEFULL is the film that would make people notice her talent as well as beauty. Lara is a seasoned player when it comes to comedies and she’s too good yet again. Her scenes with Riteish in particular and also with Boman are first-rate. Jiah is a revelation. Although she doesn’t get much scope, she manages to register an impact nonetheless.
Randhir Kapoor is very good. Boman Irani is excellent and is amongst the driving force of the second hour. Chunkey Pandey is sure to bring the house down. He is exceptional. Lilette Dubey is competent, as always. Malaika Arora Khan is alright.
On the whole, HOUSEFULL is not a complete laugh-riot, but is an entertainer all the way, targeted at the hardcore masses. What really works for the film is its massive star cast, gripping second half and also the skilled performances by each and every member of its cast. The audience is starved for a good commercial entertainer and HOUSEFULL should bring HOUSEFULL boards back outside cineplexes.
By Subhash K. Jha, March 25, 2010 – 10:49 IST
Sajid Khan is dedicating his second directorial venture Housefull to the seven filmmakers who have inspired him the most.
Says the excited director, “It came to me in a flash this week that there are many directors to whom I owe my career as a filmmaker. I short listed the seven directors who have made the maximum impact on me. And I’ll be putting in a credit card thanking them in Housefull.”
The lucky 7 are Manmohan Desai, Hrishikesh Mukherjee, K. Raghvendra Rao, K Bappaiah, Narendra Bedi, Prakash Mehra and Blake Edwards.
Says the enthusiastic director, “These are the directors who have most inspired me, provoked me into becoming a movie director. I love masala movies. And these directors made the films I can never get tired of watching. I had dedicated my first film Heyy Babyy to all the girls who agreed to make guest appearances in the title song.”
Sajid is aware some names in his list of 7 would surprise people. “But I feel someone like Narendra Bedi who made Jawani Diwani and Adalat shaped our commercial cinema. Both me and my sister Farah are hardcore commercial directors.”
Though Farah has started directing her film Tees Maar Khan, Sajid is keeping as far away as possible from his sister’s project. “I haven’t read her script. She hasn’t read mine. Though we’d give our lives for one another, we’re two different individuals. She is extroverted. I am more into myself. I like to spend my evenings alone at home watching films every evening.”
Sajid’s greatest joy these days is exchanging Bollywood trivia with Boman Irani. “Boman and Viveck Vaswani are the most knowledgeable movie people I know. Add me to the list. If Boman was not an actor I’d still be friends with him just to share movie info with him.”
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.”
By Taran Adarsh, March 11, 2010 – 22:40 IST
A wide majority of Hindi movies look at urban issues. Right from the outfits to the lingo, there’s no denying that Hindi movies also look at West for inspiration. In real life too, burgers, pizzas, sizzlers and colas have replaced sarson ka saag, dal-roti and sherbat-n-gola. But you do crave for desi food when you keep munching non-desi stuff all the while, don’t you?
The fact is, desi stories, with real characters, can never go out of fashion. In fact, a number of present-day film-makers often tell me that they look upon, besides other reputed names, Hrishikesh Mukherjee as an inspiration. On one hand you had Amitabh Bachchan, the reigning superstar of 1970s and 1980s, doing a SHOLAY and an AMAR AKBAR ANTHONY and on the other hand, doing a BEMISAAL and a CHUPKE CHUPKE for Hrishi-da.
|BY BOLLYWOOD HUNGAMA.COM
Debutante director Rahul Aggarwal also, very respectfully, credits his inspiration to Hrishi-da and his first outing NA GHAR KE NA GHAAT KE mirrors the fact at several points of the narrative. The protagonist in the film is like any other non-descript person you set your eyes on the street, who is as helpless as you and me in a life-changing situation.
A film like NA GHAR KE NA GHAAT KE ought to have a simple, uncomplicated plotline and actors who can pull off these roles without ‘acting’ those parts. While the writing is interesting at times and wobbly at places [the climax is weak], the set of actors are more or less believable.
Final word? NA GHAR KE NA GHAAT KE may not be that small little gem that sparkles brightly even in the dark, but it’s an earnest effort from a first-time storyteller [Rahul Aggarwal] nonetheless.
Devki Nandan Tripathi [Rahul Aggarwal] is a simple, rustic man who decides to try his luck in the city of dreams, Mumbai. He gets a job at the Mausam Vibhaag. In the city, he comes across an array of people who often find his innocence amusing and comical, but Devki realises that they stick with him even in the thickest of bogs that his life hauls him in.
The very first sequence of NA GHAR KE NA GHAAT KE sets the mood of the film and you instantly get drawn into the world of Devki Nandan Tripathi. While major portions of the first hour are plain ordinary, it’s the second half that catches your eye. The sequences between Paresh and Rahul are the mainstay of the film and the subsequent arrival of the villagers to prove that Rahul and Narayani are indeed married brings a big smile on your face.
But the smile transforms into a frown as the film nears its climax. The chase and the subsequent marriage in the police station premises appears filmi and a complete compromise from the writing point of view. A better culmination to the story would’ve only enhanced the impact.
Debutante director Rahul Aggarwal knows the grammar of film-making right, but a little more emphasis on the screenplay would’ve helped enormously. Lalit Pandit’s music is strictly okay. K. Rajkumar’s cinematography is alright.
Rahul Aggarwal enacts the pivotal part with conviction. Narayani Shastri does a decent job. Both Paresh Rawal and Om Puri are first-rate. Neena Gupta is wasted. Ravi Kishan carries off the loud character very well. Ananth Mahadevan is alright.
On the whole, NA GHAR KE NA GHAAT KE is a simple film told in the most simplistic manner. Should appeal mainly to those who cherish the Hrishikesh Mukherjee movies of yore.
By Taran Adarsh, March 4, 2010 – 15:58 IST
One of my childhood memories is that of several relatives visiting us in Mumbai [presumably for a few days], but overstaying their welcome. Those days, the atithis were never looked upon as ‘intruders’.
Times have changed! If you live in a metropolis, if your spouse and you work round-the-clock and have commitments to honour, any extra person – other than those living with us or is part of our day-to-day schedule – is strictly unwelcome. His/her arrival may cause hindrance and rob you of your privacy.
|BY BOLLYWOOD HUNGAMA.COM
ATITHI TUM KAB JAOGE? mirrors a reality, but the story has scope for not just humour and emotions, the staple diet of most Hindi movies, but there’s a generous dose of devotional quotient that is well integrated in the storyline.
Do you miss movies of yore, helmed by masters like Hrishikesh Mukherjee and Basu Chatterjee? ATITHI TUM KAB JAOGE? may not be a CHUPKE CHUPKE, GOLMAAL, CHITCHOR or KHATTA MEETHA, but it has a certain old-world charm that one misses in cinema of today.
Final word? Bring this atithi home!
It tells the story of Puneet [Ajay Devgn] and Munmun [Konkona], a married couple living in Mumbai. Their lives take an interesting turn when a distant relative, Chachaji [Paresh Rawal], turns up unannounced at their doorstep from a far-off village. The guest overstays his welcome, so much so that the exasperated couple come up with various ploys to hasten his departure.
ATITHI TUM KAB JAOGE? is a light-hearted entertainer that tickles your funny bone at several points. The best part is, you not only laugh at the funny one-liners, but also at situations, which are so life-like and which makes you connect with them instantly.
ATITHI TUM KAB JAOGE? rests on three characters primarily – Ajay, Konkona and Paresh – and director Ashwni Dhir and his team of writers [Robin Bhatt, Tushar Hiranandani] have ensured that there are ample [enjoyable] scenes that you carry home. What really takes you by surprise is the devotional factor that has been smartly injected in the screenplay. The traditional Indian audiences would love the Mata ki aarti, the Ganesh Chaturthi festival and the sanskaar that the atithi instils in Ajay and Konkona’s child.
But the writing wanders into unwanted areas, which could’ve been avoided in the first place. The raid at the hotel, where Ajay, Konkona and their son move into, seems unnecessary. Ditto for the subsequent scene at the cop station. Immediately thereafter, Ajay hires the services of a Bhai to get rid of Paresh, which looks far-fetched. These three incidents, which come back to back, only add to the length of the film. Also, Paresh breaking wind [gas/flatulence] looks funny in a scene or two, but why make it a recurring occurrence? An overdose is embarrassing!
However, the climax, which starts with the sthapna of Lord Ganesh’s idol in Ajay’s home, till the culmination of the story, makes the goings-on immensely watchable. Director Ashwni Dhir, best known for penning comic shows, proves that he’s at ease handling dramatic [interval point] and emotional [climax] scenes with gusto. Pritam’s music is ordinary, but the songs fit well in the narrative, especially the two devotional tracks. The title track [Amit Mishra] is quite catchy. Aseem Bajaj’s camerawork is first-rate. Dialogues [Ashwni Dhir] are excellent.
Come to think of it, it requires a lot of courage to play a role that’s devoid of star mannerisms and Ajay enacts this part most convincingly. Konkona is spontaneous and a complete natural. Paresh is superb as the atithi. He’s definitely the scene-stealer! Satish Kaushik shines, especially in the sequence when he apologises to Ajay. Akhilendra Mishra, Mukesh Tiwari and Viju Khote are alright. Sanjay Mishra is first-rate.
On the whole, ATITHI TUM KAB JAOGE? is a hilarious movie, but unlike any slapstick comedy. It’s a light-hearted film with sensibility, humour and a strong undercurrent of emotion. This atithi is sure to find a place in your heart!
MEENA IYER Times News Network (BOMBAY TIMES; March 5, 2010)
Ajay Devgn’s histrionics are not in doubt. So it isn’t surprising that today there’s a buzz around the actor’s latest laugh-a-riot Atithi Tum Kab Jaoge? produced by Wide Frame Films in collaboration with the Hollywood giant Warner Bros (India). Trade experts say that Atithi… has what it takes to bring a smile to your lips, and keep it there!
“What’s in favour of the film is the title. It has the instant identifiable quality. Every home across the globe would have had a guest who has overstayed,” says trade analyst Komal Nahata. Ajay is happy with the final outcome of the film. “It’s a comedy that I recommend watching with your close and extended family,’’ says the actor and adds, “and laugh aloud because most of the situations are identical to what all of us have experienced. Atithi… is the slice-of-life film that we constantly crave. Even today when I see Hrishikesh Mukherjee’s Khubsoorat (1980), Bawarchi (1972), Chupke Chupke (1975), I guffaw. These are films I have seen several times over and yet when I catch a repeat run, they hold my interest because the theme and the characters are identifiable.’’
Young Amita Pathak, the first-time producer, is also happy. Says Amita, “Atithi… marks the return of innocence in a way. It’s uncomplicated and the strength of the film lies in its simplicity.’’ She also thanks her super-talented star cast that has made the film what it is. “Be it Ajay, Konkona SenSharma or Paresh Rawal, my three principal characters, each of them is a delightful actor to watch. Their comic timing is so perfect that you almost feel they’re real,’’ says Amita.
Ajay says, “Frankly the plot isn’t new. But like it is said, some things get better with age. One has seen some similar gags in Hollywood and Bollywood but the novelty factor is the treatment.’’ While the trade gives the film a thumbs-up for the contemporary feel and the fabulous production values, the hardcore cinema lovers can just come along for the ride. It’s the recommended stress-buster most people go to the theatres for.
By Taran Adarsh, February 19, 2010 – 10:00 IST
A lot of present-day directors seem inspired by Hrishikesh Mukherjee and Basu Chatterjee’s movies. The veterans told simple stories in the most simplistic manner. Director Kedarh Shinde, one presumes, also seems inspired by their master works and attempts to narrate a story that’s identifiable and at the same time, dipped in humour.
But TOH BAAT PAKKI is not as invigorating as one expects it to be. The film has some wonderful moments, some old-world charm, but the humour, at several points, falls flat. Especially towards the penultimate portions.
|BY BOLLYWOOD HUNGAMA.COM
Final word? It’s a half-baked fare!
Rajeshwari [Tabu], married to Vinay [Ayub Khan], dreams of getting her sister Nisha [Yuvika Choudhary] married to the most suitable boy within their Saxena community. Also, Rajeshwari is against the dowry system.
Rajeshwari finds a good Saxena boy studying engineering and has prospects of a promising future. Rahul [Sharman Joshi] is a good proposition for her sister and she even gets him to move into her house as a paying guest.
However, when Rajeshwari learns that Rahul is not interested in marriage, she smartly devices a plan to bring her sister and make them get to know each other. She’s confident that once he meets Nisha, there is no turning away. They fall in love. Rajeshwari is happy. Marriage is fixed.
Things take a turn when Yuvraaj [Vatsal Sheth] lands up at Rajeshwari’s house. Yuvraaj is also a Saxena. He has a good job and is waiting to move into his house. Rajeshwari can’t believe her luck. This is a better prospect. The story takes a turn when Rajeshwari tries to set up Nisha with Yuvraaj.
The problem with most storytellers is, the story they choose may sound convincing at narration level, but what eventually unfolds on screen is half as convincing. On paper, the 4-para synopsis of TOH BAAT PAKKI holds promise, but the screenplay, spread over two hours, has its share of hiccups.
For instance, the portions depicting Sharman helping Tabu during the marriage celebrations are far from convincing. In fact, the screenplay starts losing its grip from hereon. Even Sharman’s attempts to poison Himani Shivpuri and Vatsal Sheth’s mind appears childish. Ditto for the abduction drama towards the end. The Sharat Saxena track also looks forced.
Kedarh Shinde’s direction holds your attention at a few places only. Especially during Tabu and Sharman’s portions towards the first half. But the patchy writing lets him down. Pritam’s music doesn’t work, except ‘Jis Din Mera Byaah’. Dialogues are too flowery at times.
Tabu is a pleasure to watch. She’s natural and it must be said that it gets difficult to move your eyes when she’s on screen. Sharman, again, is likable and gets it right. Vatsal does fairly well. Yuvika doesn’t get much scope. Ayub Khan is passable. Himani Shivpuri and Suhasini Mulay are as usual. Upasna Singh is loud.
On the whole, TOH BAAT PAKKI has a few interesting moments, but not enough to keep you hooked. It will have to rely on a strong word of mouth, especially from family audiences, to stay afloat.
|Shahrukh Khan and Karan Johar at a press conference for My Name is Khan|
It hasn’t been a bad beginning to the New Year for Bollywood. While the spillover effects of ‘3 Idiots’ continues to dazzle the 2010 box office too with its rich haul that of a staggering total gross of Rs 196 crore, ‘My Name is Khan’ has sent the industry in a tizzy once again.
The film shows up a first day haul of Rs 8 crore with Mumbai screening it in only half the theatres and Pune drawing a no-show due to the Shiv Sena threat. Trade pundits would like to add another Rs 2 crores to the first day total gross, if the film had been screened as per scheduled: to total capacity in both Pune and Mumbai which accounts for a major share of the box office receipts. This would have taken the first day total to Rs 10 crore and pitched MNIK amongst the top slots when it comes to first day pickings. Currently, it is at second spot.
In most other cities, the multiplexes ran to 100% capacity, while the single screens opened to a 70% showing. The film has also reportedly opened to serpentine queues in the overseas market. Trade analysts are still counting the figures for the weekend and will pass their verdict shortly on whether the film comes close to the ‘3 Idiots’ juggernaut. Nevertheless, the industry is already upbeat.
Add to this, a fair run by Abhisek Chaubey’s ‘Ishqiya’, with a two week gross of Rs 21 crore and it doesn’t seem to be too dull a start for 2010. The success of ‘Ishqiya’ is specially heartening, since the film does not fall into the traditional slot of mainstream masala and breaks the stereotype completely. Surely, this augurs for better — and content-wise richer — times for the industry.
Sadly, Chandan Arora’s ‘Striker’ didn’t manage to create ripples, despite the fact that it is an unusual and immensely watchable film, with a sterling act by the ensemble cast comprising Siddharth, Ankur Vikal, Seema Biswas, Vidya Malwade and Aditya Pancholi.
According to a trade portal, the film has a first week net of Rs 1.25 crore. Truly, figures rarely reflect the quality of a film. Ram Gopal Varma’s ‘Rann’ too hasn’t had a fair run, despite its thriller pace, its topicality and Amitabh Bachchan’s gritty act as a media baron. The film has made Rs 7.5 crores in two weeks.
The other disappointment of the year has been ‘Veer’. Salman Khan’s testosterone act as the Indian brave heart didn’t actually create an impact at the BO and managed to reap in a total gross of 36 crores.
Now that isn’t a rich haul for a Salman Khan movie, considering his Wanted managed to make the moolah roll, only few months ago. All eyes are now focused on Bachchan’s third offering in a short span of two months: Leena Yadav’s ‘Teen Patti’ which boasts of Ben Kinglsey too, the Deepika Padukone-Farhan Akhtar romance in ‘Karthik Calling Karthik’ and ‘Atithi Tum Kab Jaoge’, the Ajay Devgan-Paresh Rawal comedy which promises to bring back the flavour of Hrishikesh Mukherjee back to contemporary cinema.
Ajay Devgn says social comedies are the perfect recipe for a family audience
MEENA IYER Times News Network (BOMBAY TIMES; February 7, 2010)
Ajay Devgn is itching to do an action film — he started his career with the super hit Phool Aur Kaante. But what Ajay wants, is certainly not what Ajay gets. The two times National Award winner has become the king of comedy in recent years.
“I had a hattrick of comedies Golmaal, Golmaal Returns and All The Best, so now I’m saddled with roles in comic films,” said the actor.
Check out the promotions of his latest comic flick Atithi Tum Kab Jaoge that are on air from today. The film, produced by Amita Pathak and Warner Bros (India), will make it to the theatres across the world on March 5, 2010. Those who’ve seen the film’s preview, have given it a thumbs up.
Ashwni Dhir who has directed Ajay in Atithi… said, “Ajay is a first-rate actor. You can give him just about anything to do whether it is action, comedy or drama. He is natural in front of the camera.”
The director says working with Ajay, Konkona SenSharma and Paresh Rawal on this sweet, social comedy was the best working experience of his career. “Not only are these three actors amongst the best in the business, they’re also so dedicated. Had it not been for their professionalism, I couldn’t have dreamt of completing Atithi… in a 45-day schedule,” he said.
This is certainly not a mean achievement. Atithi… has large-scale production values and the film has been shot on a big canvas, yet meticulous planning made it possible for the film-maker to wrap up filming in one continuous schedule.
“Our generation didn’t have the privilege of working with masters like Hrishikesh Mukherjee, Basu Chatterjee and even Gulzar saab who made some really amazing social films with a comic twist. The reason I agreed to Atithi Tum Kab Jaoge almost minutes after I heard the first draft is because to me, this film fitted into that genre of Hrishida. Films like Chupke Chupke, Bawarchi, Rajnigandha, Khubsoorat, Angoor, Golmaal (Amol Palekar) made by stalwarts like Hrishida, Basuda and Gulzar saab tickled your funny bone, but they also had a soul,” said Ajay.
His eyes crinkled with a smile, as he said, “Atithi… is from that school of film-making that made a huge impact through the 70-80s. Yet the film has a contemporary look. Believe me, everytime I say I will run away from comedy, comedy chooses me. After this film, I plunge headlong into Golmaal-3. Sometimes I think actors don’t choose a role, a role chooses them. It is uncanny and it is best to go with the flow. When you deliberately resist something, it has a way of following you.”
Ajay laughed and added, “They say man proposes, God disposes. For actors it should be — an actor proposes, a film-maker disposes. Amitabh Bachchan was an angry young man and then did some delectable comedies. I was the action guy who went into comedies. And, though I keep saying I want to get back to action flicks, I will trust my instinct and accept a good comedy if it comes my way.”
The talented actress will be seen in a Bollywood comedy releasing on Feb 19
MEENA IYER Times News Network (BOMBAY TIMES; January 17, 2010)
It’s time to uncork the bubbly. Two times National Award winning actress Tabu who’s been sorely missed by discerning cineastes, will be back on the silver screen on February 19 in producer Ramesh Taurani’s Toh Baat Pakki. Says Ramesh, “the film is a slice of life comedy in the genre made by Hrishikesh Mukherjee and Basu Chatterjee.’’
The first look of the film will unfold across satellite channels today January 17, 2010 and the excitement around the project can be felt. TBP is directed by the very talented Marathi film writer-director Kedar Shinde who has stormed the Marathi box office with Agabai Arrechya, Jatra, Majha Navra Tujhi Baiko and Galgale Nighale.
About his Bollywood debut, Kedar says, `I’m grateful to Ramesh Taurani for giving me Tabu in my very first film. She’s hugely talented; and what’s more—she is a very humble person. I just loved working with her.’’
There you go—whether it is the junta or the director, everyone is singing Tabu’s praises. The actress herself says she only green-lighted this project because her producers-Tips Films categorically told her that if she wasn’t in the film, they would not make it. “It is very flattering for an actor to hear this,’’ says Tabu. She continues, “I agreed to this film because I haven’t done a comedy for a while. And, everything about Toh Baat Pakki felt right. My role and the script are fantastic, like it was in Biwi No.1.” Tabu has also done comic capers like Hera Pheri and Chachi 420, but she says, “While these films were cult classics, my roles were not necessarily funny in both films. However in TBP I’ve got something that I wanted.’’ Kedar, according to her, has made a sensible comedy. “There is nothing outlandish or over-the-top here.’’ She also feels that since Kedar has a stage background he is able to control performances and work-things around like a pro. Of her two co-stars, she feels Sharman Joshi is super-talented, very committed and a fab co-star. Vatsal Sheth is a kid, always up to pranks, but she loved the energy he brought on the sets. So look at Toh Baat Pakki any which way… and it looks poised to be a winner.