Posts tagged india
Remember Zakhmi Aurat, the cult shocker in which rapists were castrated thanks to the pioneering efforts of a club initiated by Dimple Kapadia (a victim) and co-victims Rama Vij and Aruna Irani? Shame on you if you don’t, because Avtar Bhogal is back.
And this time he’s making a film titled Honour Killing. Actors from India, Pakistan and the UK have just completed shooting for it.
|A still from Honour Killing|
When contacted, Bhogal said, “Not many people are aware but there are at least 15 to 20 girls being killed in London every year but it is never reported. This is unfair and that’s why I wanted this story to be told.”
Speaking about his absence from Bollywood over such a long period, he said, “The economics changed and I was wondering what to do. After that I shifted to London for my daughter’s studies and I am flying back now for her convocation ceremony.
However films are and will always be my first love. Now that she is done with her studies, I will be making more issue-based films.” Fans await.
The good, the bad and the outright funny at the just concluded 12th Mumbai Film Festival
|(From left) Yash Chopra, Oliver Stone and Jane Campion (Pics: Satyen K Bordoloi)|
A film festival, as the name suggests, should be about cinema and only cinema. However, as filmmakers and audiences converge upon a festival with tight schedules, the good, the bad and the downright hilarious often creep in. The 12th Mumbai Film Festival (MAMI), which just concluded on Thursday, had its share of each.
With 215 feature films from 59 countries (including 44 for the Japanese retrospective), 15 documentaries, 20 short films and a crore rupees in prize money, it’s hard to pack such a strong cinematic concentrate. As Fardeen Khan and Raima Sen said at the closing ceremony, this might have been the largest film festival ever in terms of the number of films that were screened.
Here are some highlights that defined this year’s MAMI.
Whether they take Kakkar seriously or not, most did take this comment of his with a pinch of laughter. One can only hope, for the sake of everything funny and cinematic, the catfight continues.
|Hordes of cinephiles turned up for screenings of awaited movies in theatres which were too small to accomodate everyone|
The festival organisers came under fire when mismanagement cost audiences the opportunity to attend events they had signed up for. Two eagerly-awaited films, The Social Network and Biutiful, were the reason for a lot of chaos that ensued as hordes of people turned up to watch these films in PVR Juhu’s tiny theatres with modest seating capacities. Why the organisers failed to foresee this, and did not arrange more screenings in bigger theatres (and other venues) is beyond us.
The result: both had to be re-screened, but only after much pandemonium had taken place and, in the case of Biutiful, the police had to be called. However, one must point out that it wasn’t just the organisers’ fault – a section of the audience from the previous show refused to budge from the theatre fearing that they wouldn’t be able to watch the movie, thereby resulting in a delay of nearly 45 minutes while the organisers tried all they could to get them to leave.
The Jane Campion masterclass also had similar problems, for which a number of aspiring filmmakers lined up eagerly, but were left disappointed when they were told that they couldn’t enter because the auditorium had no space. This, after standing patiently in line for more than an hour, while celebrities and their entourages waltzed in past them.
The organisers indulged in damage control by using their by-then favourite word: reschedule.
Who needs Dubya?
Sample these: “Before landing here, you were Oliver Stone. Now you are a precious stone.” Or “Our cameras are much more powerful than canons. Canons destroy, cameras create.” The credit for these sparkling gems goes to none other than veteran filmmaker and actor Manoj Kumar, the other recipient of the lifetime achievement award.
He totally saved the best for last, though. “Long live MAMI and long live maamu,” he said, hurriedly grabbing the mike just before the ceremony concluded.
Bushisms are passé. Who needs Dubya when we have Manoj ‘Bharat’ Kumar, right?
Delhi boy Suraj Sharma, 17, will play Pi Patel in Ang Lee’s upcoming adaptation of Yann Martel’s best-seller ‘Life of Pi’
|Suraj Sharma, 17, will be playing the lead role in Ang Lee’s upcoming Life of Pi|
Yes, India has much to rejoice about as Ang Lee has chosen 17-year-old newcomer Suraj Sharma to essay the role of Pi.
Suraj lives with his mathematician parents in Delhi. He has no previous acting experience and was cast following an extensive, months-long search. Over 3000 young men auditioned for the part.
Lee, whose many other honors include an Oscar nomination for his direction of Crouching Tiger, Hidden Dragon, and whose Sense and Sensibility was a Best Picture nominee, will shoot Life of Pi in 3D, utilising groundbreaking techniques to capture the story’s epic scope.
Life of Pi is based on Yann Martel’s beloved book, one of the biggest publishing events of the past decade. The book has sold over seven million copies worldwide and continues to sell over 1,000 copies per week and has won the prestigious Man Booker Prize, and was a New York Times bestseller for over a year.
Yann Martel had this to say: ”I’m thrilled that Ang is adapting Life of Pi to film. He’s a brilliant, versatile director, with a stunning visual sensibility. He can capture the most intimate emotion as well as the most dynamic action. He’s the perfect filmmaker to bring Pi’s epic journey to the screen”
Life of Pi will take the audience through a young man’s incredible adventure – at turns thrilling and spiritual; joyous and harrowing; humorous and tragic. Audiences will follow Pi Patel as he travels from an exotic zoo in India on a voyage across the Pacific, where he survives a shipwreck and is cast adrift in a lifeboat with a Bengal tiger as his only company. Adrift in an endess expanse of ocean, Pi struggles to survive and train his companion, landing on a magical island that offers the two their only respite on their desperate journey.
|(From left) Ang Lee with Suraj Sharma|
Commented Ang Lee: “It has been a daunting and exciting process to develop a motion picture that brings Yann Martel’s fascinating, mind-boggling story to the big screen. Casting the sixteen-year old Pi was particularly challenging. We searched throughout India for a young man who had the innocence to capture our attention, the depth of character to break our hearts, and the physicality needed to embody Pi on his journey.
“Suraj is Pi,” Lee continued. “During his audition, he filled the room with emotion, much of which he conveyed simply through his eyes. His natural ability to believe and stay in the world of the story is a rare treasure.”
Vijay Singh, CEO, Fox Star Studios India says, “We are hugely excited that Ang is adapting the international best -seller Life of Pi. The fact that it will project Indian talent on the Global platform makes it doubly special. We are glad to have the young and talented Suraj Sharma on board for this exciting project. With it’s thrilling plot and groundbreaking 3D techniques, Life of Pi will be a hugely anticipated film in India.”
The film will begin production in January 2011 in India and Taiwan. Twentieth Century Fox will release the film on December 14th, 2012.
How bad can a film get? How low can it stoop? When it comes to pathetic cinema, I thought I had seen it all. But Hisss arrived and changed all my beliefs. Here’s a film where anything happens anytime. Moreover, that anything happens long after it should have happened! When a list of ten worst films of Bollywood will be prepared, Hisss would definitely be on numero uno position!
The story of the movie: George (Jeff Doucette) suffers from brain cancer and has only 6 months to live. He has heard about the legendary naagmani of icchadhaari naagain and wants to acquire it in order to become immortal. He penetrates deep within the jungles of India and captures the mate of the naagin. In other words, he kidnaps the mate and will release him when the naagin gives him the naagmani. The naagin transforms into a stunning woman (Mallika Sherawat) and enters the city of Naichi where George has kept her mate hostage. She fails to find him and hence starts killing rapists, wife-beaters et al. Her ways of killing people are most extraordinary, which baffles inspector Vikram (Irrfan) and his sidekick Navin (Raman Trikha). To find out how the naagin finds her partner and the kidnapper, watch Hisss!
What could have been told in precise 30 minutes is stretched into a 100 minutes affair. The direction is the worst I have ever seen (not to forget, the director is from Hollywood). Even the introduction of characters which should have been simple is done in an extremely weird manner. The director anyway didn’t have much scope here as there’s hardly any plot. The villain abducts the mate, provoking the naagin to transform into a woman to find the mate. While doing so, she kills some people and hence even the cops get involved in her adventure. Finally, she kills the villain, releases her mate. That’s it! Still the director (Jennifer Lynch) could have added some interesting and thrilling sequences to make it a watchable fare. But alas, that doesn’t happen.
Further, one fails to understand what exactly was the cop (Irrfan) doing in the whole movie? There was no need for the character at all as he was merely the onlooker in most of the scenes, even in the climax. His mother-in-law’s characterization was damn interesting. But in the end, she dies and no one bothers to arrange for her funeral. The cop gets to know about her death, mourns for few moments and then goes to work! Only 2 scenes were watchable-the chase sequence and Navin invited for dinner at Vikram’s place.
It’s the performances that are the sole saving grace in Hisss. Mallika Sherawat has no dialogue in the film but leaves a mark in several scenes. Irrfan seemed disinterested at several places but still does a fine job. Divya Dutta pitches in a nice performance but gets very limited scope. Raman Trikha was good and so was Princess Lakshmi Bai of Travencore (who plays Irrfan’s mother in law). Jeff Doucette looked villainous. Others were okay.
There was no scope for music in the film. There were reports that Mallika Sherawat has sung a song in the film but it didn’t make it to the final cut. Alexander Van Bubenweim’s background score was good especially in the chase sequence. Special effects could have been better.
There are instances where directors have come up with a great product even with predictable, ordinary storylines. Jennifer Lynch also had a simple revenge saga in her hand but messes it completely. In fact, it’s shocking that producers even came forward to invest money in such a passable flick.
On the whole, Hisss will surely pissss you! Stay miles away from it!
By Neville Bode, October 22, 2010 – 16:28 IST
With its massive box-office collections, Robot is still making waves well into its third week. Shooting at exotic locations like Machu Picchu and with a budget of a hundred and fifty crores, Robot boasts of being one of the most expensive films churned out from India. With its colossal success the film makes its break in the evolution of filmmaking in India.
The film revolves around Dr. Vaseegaran played by Rajnikanth who invents a High-end robot named Chitti, a mirror of his own image. The scientific body, AIRD, declines the approval of the robot stating that it does not have emotions and the ability to make rational judgment. An unexpected flash of lightning induces emotions in the robot, and Chitti is geared up for its integration into the human world. Chitti then falls in love with Dr. Vaseegaran’ fiancee Sana played by Aishwarya Rai and goes against his creator.
In this second part series Bollywood Hungama delves in deeper with the visual effects behind the film to unveil the magnetism behind Rajinikanth in Robot.
Amalgamating Rajinikanth and the robot Chitti
Srinivas points out that although Rajinikanth was acting, the audiences perceived that he was a robot indeed. The fictional script was designed by the director with this notion in mind. In Hollywood, filmmakers shoot one scene where they insert a part of a droid and the rest of the film is based on the plot. But in India it’s a different situation all together, so in order to sell the idea to the audiences, the director decided to portray the story parts with all the details in tow.
In the first fifteen minutes of the film, the audiences learn that the robot is made up of many components inside. For Srinivas, the vfx supervisor, one of the biggest challenges was the transition scene where Dr. Vaseegaran played by Rajinikanth puts on the silicon mask on the robot while the machine was singing. This shot is immensely crucial for the film to succeed. If the transition process didn’t go well, then the entire credibility of the film would go off. This 19 second shot took an astounding three months to create.
Retaining Rajinikanth’ youth
To preserve Rajinikanth’s youth in the film, a combination of both make up and visual effects played an important part, touch ups were done where it deemed necessary for the team. But Srinivas emphasizes the fact that Rajinikanth’s charisma played a big part in bringing his character of Chitti to life.
Yes, Rajinikanth is magnetic indeed
The team placed 3D trackers on Rajinikanth’s body for executing the magnetic sequence. This is used to match the movements of CGI elements with live action. For the close-up shots, Srinivas avoided using CGI elements since the production unit got the biggest asset from Stanwinston studios with animatronics. So in the close up, all the metal objects and ornaments that were seen on Rajinikanth’ body was in fact shot live using the puppet.
Although the animatronic puppet was blended with CGI shots that were made, the vfx team utilized maximum amount of lights in the close-up shots to match up with the CGI wide shots of the Rajinikanth. Different layers were shot with the elements, in the live action layer, the team physically placed the metal objects around in the scene to match the CGI shot when Rajni’s character deactivates the magnet and the objects fall to the ground. For Srinivas the execution was simple because the concept was new.
Rajinikanth battles thugs in the train
For the train sequence, Srinivas and Shankar took up this particular scene in the test to get a better perspective of the look and feel of the shots. With the pre-production in place and meticulous planning of the visual effects break down, the team had creative freedom in executing this scene.
Although midway, due to global recession and some constraints the team couldn’t continue with the production company they were working with, the project changed hands when Kalanidhi Maran of Sun pictures took over the venture. Srinivas approached some notable companies from Hollywood such as ILM, Café FX and a few others who were excited and happy with the fresh content they we were churning out, but due to the fixed budget, the visual effects in the scene were done mainly in India and Hong Kong. Apart from Stanwinston’ animatronics, none of the American companies were used to execute the visual effects and CGI work for the film.
Peter Hein, the action coordinator, assisted the team in this scene. Rajinikanth was literally on the track in the shot where he gets back on the train. The actor was strapped to a harness for support and legs were replaced with wheels and his hands were replaced since a rig was used in its execution.
The logistics and filming equipment was put in an open bogey while shooting this sequence. The legs, hands and the bag were replaced with CGI components in post-production which worked out seamlessly. A stuntman was used in the wide shots on top of the train where the actor is running. The stuntman’s head was replaced with Rajinikanth’s head in post, but most of the work was done by Rajinikanth himself.
The climax sequence was the most challenging shot for the vfx team as Srinivas points out that there are no real characters in the scene. “Using CGI has its own draw backs,” says Srinivas. The main challenge was in balancing the fine line between imagination and realism. The scene was for the audiences to accept.
To get a detailed 3D model of Rajinikanth’s character Chitti, Srinivas used an innovative new technology called the Doom Light Stage invented by scientist Paul Debevec at the University of California at Berkeley. This invention captures the actor’s face from every possible lighting direction. From the captured data, specialized algorithms create realistic virtual renditions of the actor in the illumination of any location or set, reproducing colour, texture, shine, shading and translucency of the actor’s skin. The innovation has been used in Spiderman, The Curious Case of Benjamin Button, Avatar and the fourth being Robot.
The equipment consists of a dome with around 80 to 90 lights around it. Rajinikanth was made to sit in this dome while his face got scanned from all possible light angles. Since the robot Chitti had a silicon mask of Rajinikanth on its face an extra coating was required to be added on Rajinikanth’ face. For the Lightstage team, this was a new experience since fine tuning while scanning was complicated. Different scans with and without make up were taken. The final output churned out a high detailed rendition of his face; one wouldn’t be able to tell if it was CGI. This sequence in its own took an unbelievable two years to accomplish.
Drill made of a hundred Rajinikanth Robots
There were many versions made in the pre-visualization stage of the scene where in the army of robots forms a drill that goes underground to emerge as one massive robot. Frankie Chung, a VFX supervisor from Hong Kong, who has Kung Fu Hustle and Kill Bill to his credit, helped the team execute this climatic sequence. The dust particles added in the shot where the drill starts rotating blended very well with the CGI and live action layers.
The most challenging scene
Besides the climax sequence which proved to be the most challenging sequence, Srinivas the vfx supervisor of the film emphasizes on executing the dual role scene played by Rajinikanth’ characters Dr. Vaseegaran and the robot Chitti. Instead of using a motion control rig which is usually used to film dual role sequences that have movement, Srinivas used a regular trolley track, super 35mm film and rhythmic beep sounds. During post production both layer movements were matched using tracking software. Because of elaborate setup process of motion control rig, it would’ve taken an astounding five years to shoot the entire film. The motion control rig was used for a mere 10 days to film the complicated multiple character shots.
By Bollywood Hungama News Network, October 15, 2010 – 16:59 IST
The 12th edition of the Mumbai Film Festival by MAMI (Mumbai Academy of Moving Image) is scheduled to take place from Oct 21 to Oct 28 in Mumbai.
Following is the complete list of all the Indian films that are going to be screened at the festival:
|1||Autumn (Harud)||Aamir Bashir||India (Urdu)||International Competition|
|2||Virgin Goat||Murali Nair||India||Indian Frame|
|3||Iti Mrinalini||Aparna Sen||India (Bengali)||Indian Frame|
|4||Riding The Stallion Of A Dream (Kanasemba Kudureyaneri)||Girish Kasarvalli||India (Kannada)||Indian Frame|
|5||I Am Kalam||Nila Madhab Panda||India (Hindi)||Indian Frame|
|6||The Way Home (Veettilekkulla Vazhi)||Dr. Biju||India (Malayalam-Hindi)||Indian Frame|
|7||Ayirathil Oruvan||Selvaraghavan||India (Tamil)||Indian Frame|
|8||Memories In March||Sanjay Nag||India||Indian Frame|
|9||Semshook||Siddhartha A. Kumar||India- Spain||Indian Frame|
|10||Nirmalya||Shekhar Sartandel||India (Marathi)||Indian Frame|
|11||BBD||Anjan Dutt||India||Indian Frame|
|12||Mani Mangalsutra||Gauri Sarawate||India (Marathi)||Indian Frame|
|13||Good Morning Good Night||Sudish Kamath||India (English)||Indian Frame|
|14||Mirch||Vinay Shukla||India (Sindhi / Rajasthani / English / Hindi)||
|15||Tripping on a Bicycle||Nallamuthu||India (English)||New Faces in Indian Cinema|
|16||The Untitled Kartik Krishnan Project||Srinivas Sunderrajan||India (English-Hindi)||New Faces in Indian Cinema|
|17||Burzwagaman – Biography Of A Farmer (Burzwagaman – Shetkaryachi Atmakatha)||Hitendra Upasani||India (Marathi)||New Faces in Indian Cinema|
|18||Alif||Kamal||India (Hindi/Marathi/English)||New Faces in Indian Cinema|
|19||Athmakadha||Premlal||India ( Malayalam)||New Faces in Indian Cinema|
|20||Platform||Veena Lokur||India (Marathi)||New Faces in Indian Cinema|
By Taran Adarsh, October 12, 2010 – 08:49 IST
After directing one of the stories in DUS KAHANIYAAN and winning tremendous critical acclaim for it, actor-director Rohit Roy is gearing up to start his new film. This time, it’s a remake of Basu Chatterjee’s immensely likable and successful film SHAUKEEN, which starred Ashok Kumar, Utpal Dutt and A.K. Hangal with Mithun Chakraborty and Rati Agnihotri in lead roles.
“The remaking rights have been acquired [from Basu-da] by Bunty Bahl, who will produce the film,” Rohit reveals. Although Rohit and Bunty have decided to retain the story and characters from the film, they have decided to update it to suit the present-day scenario. “SHAUKEEN was very simplistic. The new SHAUKEEN will be a modern version. Also, the original version was set in India. But we are not placing our film in India. We are looking at Las Vegas, Spain or Malaysia,” Rohit divulges.
Producer Bunty Bahl states that they will finalize the star cast of their film after they update the script [post Diwali]. The makers plan to begin filming early next year.
Prithwish Ganguly | TNN (BOMBAY TIMES; October 12, 2010)
Soccer crazy Abhishek Bachchan recently bonded with Dutch soccer star Wesley Sneijder, who is looking to come down to India. Junior Bachchan met Wesley at a recent event and has become friends with him. They are in constant touch. Wesley was with his stunning model and TV presenter wife Yolanthe Cabau van Kasbergen Sneijder, who in turn chatted up with Ash.
All four of them even hung out for hours together as Abhishek and Wesley kept chatting over football. Wesley informed Abhi that he was fascinated about India and was planning to come down to the country with his wife. Abhi immediately told the footballer to inform him when he is flying down as he wanted to host them in Mumbai.
Wesley, who was in the thick of controversy over whether he would quit Inter Milan for any other club, apparently also informed Abhi that he doesn’t want to do a hurricane trip to the country. He is looking for a relaxed holiday soon and we hear he might be planning a romantic getaway with his wife in North India. Yolanthe has become a great fan of Ash as they were heard talking about fashion and style.
Image courtesy: Prasad Naik
Being a small-town 17-year-old from Bhambla in Himachal Pradesh didn’t stop this stunner from taking on Bollywood. Waiting in her vanity van to front the camera for Knock Out, her latest movie with Sanjay Dutt and Irrfan Khan, where Kangna plays a crime journalist – today’s Kangna is confident, composed and totally at ease with being ‘real’.
Excerpts from the interview:
What made you become an actor?
I was restless when I was 15/16. I was pursuing science but I was more attracted towards art. So I started pursuing theatre. Thereon, I also tried modelling because people kept harping that I looked different. I signed up with a modelling agency and took it quite seriously. Unfortunately, modelling didn’t take me very seriously! I figured that in India, modelling is only something you can be happy doing part-time. In the mean time, I was pursuing theatre and my guruji, Arvind Gaur encouraged me a lot. I started giving auditions for movies. The truth is even if I wasn’t selected for Anurag Basu’s Gangster, I would’ve tried other projects. However, I got selected and Bollywood became my career.
What is the creative process that goes behind every character you etch?
Each role is challenging. You have to do your homework. For instance, in Abhinay Deo’s Game, I play a cop from London and she has a Brit accent. It was difficult for me to emulate that. Acting is a job where you have to learn to look, talk and project a certain body language. The trick is to remain focused, yet flexible.
With no filmi background, how do you hold yourself in this fiercely competitive industry?
People in Mumbai are judgemental. Here, your fate changes every Friday. Also, it’s true that if you’re a star kid or if you’re a star girlfriend, you get extra mileage. But if none of these things work in your favour, you tend to work on your talent. My challenge was to be able to fit in here. People criticised the way I talked, walked and even the way I looked—more so because I come from a small town. There are two ways of dealing with such a situation: either you care a damn; or you can improve yourself.
You’ve gone through several ups and downs in your personal life. Do you think the media has been fair to you?
I feel that the media, somewhat, is nicer to people coming from a filmi background, or personalities they have connections with. The media doesn’t accept you easily. A Shah Rukh Khan or Aamir (Khan) have been around for two decades and have established a relationship with the media and the public. That’s why their films get 90% opening. So, tomorrow, of course their children will get special treatment because the rapport is already there. But now I realise that if I connect with the media personally, it always works better. They figure out your dimension too.
And how have you evolved as an actor?
I’ve always been surrounded by very creative people—whether it’s Bhatt saab, Anurag Basu, Mohit Suri, Madhur Bhandarkar. I can write a whole book on my experiences and the craft I’ve learnt in the last five years! (laughs) When I entered Bollywood, (Mahesh) Bhatt saab made me unlearn everything – he taught me not to act and be real in front of the camera. You don’t fake crying or laughing. You actually do it.
But the turning point came when one day Bhatt saab told me I was the ugliest woman he’d seen. I asked, why? He retorted, asking where my dark circles, pimples were and why I was hiding behind makeup. He called me a mannequin! That’s when I realised that it’s important to be real.
Can you actually be ‘real’ in Bollywood?
It’s difficult. It’s almost like being naked in front of the public. Every time you’re in front of the camera, there are so many emotions you let out and you’re not scared. You may even portray emotions that might not be familiar to you. But you need to be you, your real self, to give that astounding performance.
How do you keep fit?
I take care of my body and make sure that I’m happy. I work out, but I don’t over-do. I don’t remove that cheese slice from my sandwich; or remove the oil when I’m having kheema pav! I try to be as normal as I can be in my habits. I love food and I love life. So I’m not the kind who’d count calories everyday and kill myself in the gym, or die doing yoga. I listen to myself and my body. I don’t push myself very hard.
What’s more important to you: critical acclaim vis-à-vis box office success?
For me, there are two kinds of movies– good or bad. To please only a particular group of people is not my goal. I think a film should be entertaining.
Kangna’s hit list
Holiday destination: Paris
Perfume: I wear men’s perfume. But I like Chanel.
Dream director: Aamir Khan
SRK has convinced cult director Vishal Bhardwaj to direct his next
It promises to be quite a dashing combination of creativity and charisma: auteur Vishal Bhardwaj, still fresh from the cult adulation of Kaminey, has been signed on by SRK for his next feature after RA.One and Don 2. The details of this SRK-Bhardwaj collaboration are being kept under wraps.
A source informed, “Vishal and SRK have been meeting regularly for some time now. SRK and Vishal both wanted to work with each other. However in the past they had their share of differences and the project could not take off. The patch-up happened some months back and after that they have had regular meetings. However now it’s official and SRK and Vishal have zeroed down on a film. SRK has been impressed by the work that Vishal has been doing in recent times. Both of them have immense respect for each other and although the details of the script are not known, it is a film which will be based in a small town and have a mofussil feel to it.”
The source further said, “Vishal had also said in an interview to a leading film magazine recently that he wants to work with SRK and it seems that his dream has been fulfilled. The film will start mid next year.”
Guess Saif and Shahid’s loss is SRK’s gain. SRK and Vishal remained unavailable for comments. They must be busy bouncing ideas off one another. Incidentally, King Khan is also in talks with Vidhu Vinod Chopra productions.
Vishal’s spokesperson said, “Vishal is in Pune with his son Aasman watching an India vs Vietnam football match. And I can’t confirm anything right now.” Love all, play!