Posts tagged Irrfan Khan
By Devansh Patel, November 13, 2010 – 11:12 IST
Oscar nominated director Deepa Mehta and multi-award-winning author Salman Rushdie’s screen adaptation of his extraordinary multi award-winning international bestselling novel Midnight’s Children will commence shooting in Sri Lanka in January 2011.
Shabana Azmi, Irrfan Khan, Soha Ali Khan, Nandita Das, Chandan Roy Sanyal and Seema Biswas will star in the English language film.
The film is being shot in Sri Lanka because Mehta has sworn off India following her nightmare experience shooting Water at Varanasi locations. Water was subsequently shot in Sri Lanka. But Midnight’s Children could yet run into problems because in the late 1990s the BBC was planning to film a five-part mini-series of the novel with Rahul Bose in the lead, but due to pressure from the Muslim community in Sri Lanka, the filming permit was revoked and the project was cancelled.
Mehta and Rushdie have been working together on the screenplay for the past two years. International sales agents FilmNation are handling the film and have already concluded distribution deals with E1 in the UK and UGC in France.
FilmNation CEO Glen Basner said, “At once epic, comic and magical, Midnight’s Children conjures images and characters as rich and unforgettable as India herself. It’s a wonderful project and we are humbled that we have been chosen to represent it.”
Midnight’s Children is the riveting personal story of Saleem, and his changeling twin Shiva, who are both born right at midnight on August 15, 1947, just as India gained its independence from the British Raj. We learn about other children born close to Independence Midnight who, like Saleem, possess special powers and can communicate with each other telepathically. He is not alone. The lives of all the Midnight’s Children are magically tied to the fate of Mother India. Saleem grows up in the shadow of the Raj, in a former British compound. His romantic nature (and his ability to “dial up” his Midnight’s Children comrades telepathically) keeps him afloat. Then shattering revelations about his true identity and a forbidden love send him spinning. Wars and terrible hardships overwhelm Saleem and the other Midnight’s Children but through it all, a bruised and hard-earned sense of hope and renewal is restored.
Midnight’s Children won both the 1981 Booker Prize and the James Tait Black Memorial Prize. It was awarded the “Booker of Bookers” Prize and the best all-time prize winners in 1993 and 2008 to celebrate the Booker Prize 25th and 40th anniversary. Midnight’s Children is also the only Indian novel on Time’s list of the 100 best English-language novels since it’s founding in 1923.
Mehta said of her passion for the novel, “I am intrigued by epic stories with complex people who have many layers and secrets, and tricks up their sleeves. This great novel of Rushdie’s is one of the most famous examples of this kind of generous storytelling, and had an instantaneous appeal for me.”
Speaking of his relationship with Mehta, Rushdie said, “Deepa asked me who had the rights to Midnight’s Children, and I told her that I did. She said “Can I do it?” and I said “Yes.” When asked why this was a such quick, sure decision for him, “Because her work has great beauty, and I always follow the passion.”
Midnight’s Children is produced by David Hamilton with Executive Producers Doug Mankoff and Andrew Spaulding from Echo Lake Entertainment and Steven Silver and Neil Tabatznik from Blue Ice Entertainment.
Mahie Gill talks about being comfortable with doing intimate sceens on screen
Prithwish Ganguly (BOMBAY TIMES; October 30, 2010)
Mahie Gill’s most popular film Dev.D so far might be a film that released a couple of years back, but she certainly credits it for the kind of offers that she has got. Hailing from Chandigarh, where she learnt acting from the theatre department of Punjab University, Mahie is utterly happy with how her career has shaped up so far.
“I have no words to thank Anurag Kashyap and his film Dev.D. It is because of that movie that I’m getting the good movies that I’m doing now. That movie gave me the scope to showcase my acting abilities and after than all the films that I have got offers from want me to act in them and not just be a girl who they want to cast. Right now I have three movies — Paan Singh Tomar with Irrfan khan, Michael with Naseeruddin Shah and filmmaker Tigmanshu Dhulia’s Sahib, Biwi Aur Gangster.
Interestingly, in Sahib Biwi Aur Gangster, which is a far off inspiration of Guru Dutt-Meena Kumari’s cult movie Sahib Biwi Aur Ghulam, Mahie is playing the role inspired by Meena Kumari’s. “I’m so glad that the director chose me to do the role. It will be quite a challenge for me,” she says, smiling.
We also learnt, in the course of the interview, that Mahie is basically a very shy person. However, in her debut movie she had an ultra bold avatar — a character that was sexually liberated and had no problems taking the lead in intimate moments. Ask her how bold is bold for her and she shoots, “I have no limits to boldness. It totally depends on my comfort level with my director and how the film is being shot,” she says, adding her sex appeal lies in her eyes. Ask her to reveal what turns her on in a man and she shoots, “It’s his intelligence,” she ends.
(Contributed by Meena Iyer and PG)
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 Taran Adarsh, October 22, 2010 – 12:12 IST
A lot of us who’ve grown up on masala cinema of 1970s and 1980s will vividly recall two films made on ichhadhaari naagins – Rajkumar Kohli’s NAGIN  and Harmesh Malhotra’s NAGINA . Can we ever forget the revenge of the naagin? Can we ever forget the gripping plot, the spellbinding drama, the lilting music and of course, the unforgettable performances by Reena Roy and Sridevi, respectively?
When a film-maker attempts to make a film on an ichhadhaari naagin in 2010, the viewer expects to watch all of the above, besides great visual effects of course. More so because HISSS is helmed by a Hollywood director – Jennifer Lynch. But, to put it bluntly, HISSS is a nightmare. The film has absolutely nothing to offer – no story, no screenplay, no songs, no performances… even the making is so tacky.
|BY BOLLYWOOD HUNGAMA.COM
Final word? If there were Razzies in Bollywood, HISSS would win hands down.
The story is about the vengeance of an ichhadhaari naagin. George [Jeff Doucette], a ruthless American, travels to the jungles of India and captures her mate. She transforms into a woman [Mallika Sherawat] with absolutely no clue about contemporary civilization or the ways of mankind, and ventures into the city in desperate search for her lover with vengeance on her mind and venom in her fangs.
Vikram [Irrfan Khan] is entrusted the responsibility of solving the murders and tracking down the mysterious killer.
Films like HISSS make you realize what’s going wrong in Bollywood today. On one hand we celebrate the new stories being told in our movies and on the other, we churn out a HISSS, which is badly scripted, poorly enacted and carelessly directed. Believe me, it’s easy to solve the crossword puzzle in newspapers than it is to understand what exactly is going on in this film.
As for director Jennifer Lynch, she needs a crash course in film-making pronto. The visual effects seem straight out of a B-grade Bollywood film.
Actors often tell me that they choose films based on the script, so what exactly did Irrfan Khan see in HISSS? Mallika has no dialogue all through the film, she changes lenses, then changes into a snake outfit and also goes full monty. That’s it! Divya Dutta is wasted. Raman Trikha is passable. The actress enacting the role of Divya’s mother is okay.
On the whole, HISSS is best avoided.
Meena Iyer | TNN (BOMBAY TIMES; October 15, 2010)
What can get more attention than Kangna Ranaut’s vital statistics? Guess it can only be the numbers stashed away in Swiss bank accounts. AAP Entertainment Ltd and Sohail Maklai’s Knock Out that hits the marquee today gives the audience a ringside view of a tricky subject. It deals with India’s stashed away money in a foreign account. And then tracks the journey of the wealth back to where it rightfully belongs. “The subject is huge and concerns every Indian,’’ say the producers. And all those who have seen the sneak previews, including political leaders, media heavyweights, filmmakers, actors and Bollywood trade analysts, are unanimously saluting the strong content.
Sanjay Dutt, who has a very interesting role, says, “I felt right about being associated with this film from the start to the finish because everything worked according to plan. It was completed and is being released within a year. So, the adrenaline rush stayed.” Irrfan Khan, who refuses to do run-of-the-mill stuff, says, “Knock Out has such an interesting plot line that I got drawn to it. While my own role has various shades, the film itself is racy and doesn’t give too much time to think.’’
Apparently BJP heavyweight L K Advani, who saw it at a special show, was mighty impressed with the content and the pace. “Advanji said he didn’t realise how quickly the interval came,’’ says a source. The producers say that they didn’t want to create any hype through the shooting because it is being made by a first-time producer and a director (Mani Shankar) whose last few films have not really set the Box Office on fire. “But with Knock Out, we definitely knew that the film would create a buzz for itself. And that is exactly what’s happening,’’ say the guys at AAP Entertainment Ltd.
Kangna Ranaut, the solo female lead in this thriller, says, “The buzz on the film is really strong. I’ve attempted something new in Knock Out. And it has been truly exciting because the film unfolds in just two hours. It’s a kind of spot story that you see on television that gets you completely hooked.’’ Trade sources indicate that the film may be recommended for an entertainment tax exemption.
It could be narcissism or sheer intellectual bankruptcy. Or it could be a stroke of genius. You decide. Sudhir Mishra’s latest film, Yeh Saali Zindagi (previously called Dil Dar-Ba-Dar), starring Irrfan Khan, Chitrangda Singh and Arunoday Singh, is inspired from his earlier feature Iss Raat Ki Subah Nahi.
Ye Saali Zindagi is also a story of two men who are pushed to the brink by the women they love. When questioned on re-heating the same stock, Sudhir adds, “What’s wrong with inspiration?
It’s like Iss Raat Ki… in style but a bit more romantic and edgier. It’s a better film than Iss Raat… and not its sequel.” To give him credit, auteur Michael Hanake did remake his cult horror flick Funny Games. That too was pretty edgy.
BOMBAY TIMES (October 13, 2010)
It’s already created ripples with its interesting promos. Now AAP Entertainments Ltd and Sohail Maklai’s Knock Out, starring Sanjay Dutt, Irrfan Khan and Kangna Ranaut, has impressed Bhartiya Janata Party leader L K Advani as well.
A special screening was held at the Film Divisions auditorium in New Delhi which was attended by Advani, his wife and daughter Pratibha. After the show, the senior politician congratulated the actors, director Mani Shankar, and the rest of the crew. He was enchanted by the technical excellence and fast pace of the film. Knock Out was Bollywood’s answer to what Advani has been saying for decades, about the crores of public money stolen by political leaders and stashed away in Swiss banks. Advani was impressed by the way Dutt played the protagonist — a determined man whose life’s mission was to get a part of that money back, and the film’s realism. Former law minister Ravi Shankar Prasad and ex mayor of Delhi Aarti Mehra, who joined Advani for the screening, were also suitably impressed. Not just by the film, but also its cast, led by Kangna looking resplendent in a traditional avatar, Dutt at his charming best, and Irrfan playing the gracious host. Knock Out hits theatres this Friday.
By Bollywood Hungama News Network, October 12, 2010 – 14:03 IST
The Sanjay Dutt, Irrfan Khan and Kangna starrer Knock Out is facing major trouble just days before its release. The Mani Shankar directed film is facing plagiarism allegations from a reputed Hollywood studio.
The case so far in question cropped up when 20th Century Fox moved the Bombay High Court alleging a copyright infringement, and seeking an injunction on the release of Sohail Maklai’s Knock Out. The basis for this petition being that the film Knock Out is a blatant copy of their Hollywood film Phone Booth starring Colin Farrell.
What’s interesting to know is that both films show the protagonist taking a victim hostage within a phone booth and forcing him to reveal certain dark secrets.
Yesterday, the High Court directed Sohail Maklai Entertainment Private Limited (SMEPL), producer of Knock Out, to give Fox Studios a copy of their screenplay and adjourned the case till Oct 13.
What is to be seen now, is if this case will delay the release of the film from its scheduled release date of Oct 15.
Rachel Fernandes (BOMBAY TIMES; October 10, 2010)
Irrfan Khan’s reputation for versatility is well know in the film industry. He is one of the few actor who has essayed a wide range of characters, both dark and romantic, with equal panache. And in Knock Out, where he plays the role of a street-smart investment banker, the target of a nameless foe (Sanjay Dutt) who turns his world upside down, Irrfan has gone a step further by getting himself a brand new look. It’s suave, sexy and “very metrosexual” as the actor chooses to describe it.
“My role is that of a flamboyant guy and it needed me to sport a metrosexual look. Hence, I got myself a different hairstyle and consequently, a new look. I must say I’m really looking different and I feel it’s made a huge difference to my role. Had I stuck to my regular look, I think it wouldn’t have made the same impact on my character,” says the actor. He adds that though the producers initially weren’t keen on him changing his look, they eventually ended up loving what they saw.
Flamboyant and Irrfan? That’s got to be something new for his fans, isn’t it? “If one has to look at the same face again and again, it gets quite boring. Sometimes the role demands a new look, but sometimes I do it just for the heck of it. ,” he says.
Talking about the experience of shooting this fast-paced thriller, Irrfan says, “It was a bit tedious. There was no face to look at. All through the movie, the other person was on the phone and hence, it became a bit mechanical. But I have seen the film and I am very excited by it,” he says. About the rumours that his role is a copy of Colin Farrell’s in Phone Booth, Irrfan has just one thing to say, “Watch the film and then give the verdict. Anyways, what’s the point of doing a role that’s already been done by someone else?”
So will he carry on with this metrosexual look post the film? “If my future roles and of course, the public demand it, I will definitely repeat it,” the actor concludes.
Knock Out releases on October 15.
(Contributed by Meena Iyer and Prithwish Ganguly)
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