Posts tagged kerela
By Bollywood Hungama News Network, October 15, 2010 – 17:19 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 films that are going to be premiered for the first time ever at the festival:
1. The Way Home – Biju Kumar
Synopsis – The plot revolves around a doctor with a haunting past. Now working at a Prison Hospital, the Doctor is assigned the case of a woman a surviving member from a notorious terrorist group. .Before dying she entrusts him to find her five-year-old son and unite him with his father who is the head of terrorist group. Finding the boy from a village the Doctor and child set out on a journey to find his father. The journey is happening through the contemporary and mysterious path of the terrorist network in the vast country with many incidents.
PRINCIPAL CAST: PHRITHVIRAJ, MASTER GOVARDHAN, INDRAJITH, UDAY CHANDRA IRSHAD, VINAY, S SAJI, MELWYN, KIRAN RAJ, AZIM
Director – Dr. Biju Kumar
Dr. Biju is the most internationally reputed young filmmaker from Kerala. His earlier films Saira (2005), Raman (2008) are well received in many internationally film festivals inclusind Cannes and Cairo.
2. Hold Me Tight – Kasper Munk
Synopsis – What should be just another school day for teenagers Sara, Mikkel, Louise and Hassan turns out forever scarred. One-by-one seemingly minor events snowball things completely out of control, and leaves everyone involved marked for life. An intense youth drama that shows the hideous face of bullying. A reflection in a mirror that reveals the outlines of a doubtful and paralyzed generation of parents.
Director – Kasper Munk
Kasper Munk was born in 1971 in Denmark. He studied method acting and techniques from the New York and at the National Film School of Denmark. He then graduated with a BA in film studies at Copenhagen University in 1999. He also trained in the alternative film school Super 16 in 2006. Munk has nine short films, including fiction shorts, to his credit including Forsvunden (2006) which received the Odense award for Best Film for Children and Youth and Kyss, which was chosen by Buster Film Festival as their Opening Film. Hold Me Tight is Munk’s feature film directorial debut.
Screenplay – Jannik Tai Mosholt
Producer – Anders Toft Andersen
director of photography – David Katznelson
Editors – Ida Bregninge, Nanna Frank Møller
Cast – Julie Brochorst Andersen, Frederik Christian Johansen, Sofia Cukic
3. Camping – Jacob Bitsch
Synopsis – A tragicomic tale about the gloomy Connie Nielsen who has been emotionally detached since her father two years earlier committed suicide – on his birthday! Connie’s mother, Bodil, has taken to the bottle and lives through her 1982 participation in The Eurovison Song Contest; and Connie’s kid brother, CAMPING-Christian, has become an overweight bully beating up those smaller than him. To put it mildly, time seems to have ceased and the family ties are hanging by a thread. The otherwise annual caravan trip to the Danish island Langeland was buried along with the father and hasn’t been repeated since – until now!
Director – Jacob Bitsch
Screenplay – Anders Frithiof August
Appearances – Mia Lyhne, Kirsten Lehfeldt
Producer – Anders Toft Andersen
Executive Producer – Birgitte Hald, Bo Ehrhardt
Production – Nimbus Film
4. The Experiment – Louise N. D. Friedberg
Synopsis – THE EXPERIMENT is the story of the nurse Gert (Ellen Hillingsø), who is appointed as headmistress of a special children’s home, owned by the Danish state in Greenland, 1951. The children’s home is intended to accommodate 16 carefully selected Greenlandic children, who have just come home after a year of civilization in Denmark, and now they are to be introduced into the Greenlandic community as role models. Gert, who lives alone and has no family, accepts the assignment with pride. She is idealistic and ambitious and feels passionate about saving Greenland from destitution. The means to this end is to educate and civilize the 16 children in the Danish language and culture, so they can spearhead Greenland’s transformation from being a poor hunter society to being an equal part of Denmark. Due to her blind faith in the experiment, Gert underestimates the obvious personal costs to the children. And when the children as well as the Danish state fail her, she finds it harder and harder to maintain her idealism…
Dir: – Louise N. D. Friedberg
Director’s Bio – Louise N. D. Friedberg was born in 1953 in Denmark. She graduated in direction from the National Film School of Denmark in 2005 with her graduation film The Departure, which won the Nordic Presentation competition. She has worked as a continuity supervisor, assistant director and screenwriter since 1995, on films such as Mifunes Sidste Lang (1999) and Sma Ulykker (2002). Blood Sisters, Friedberg’s debut as a director, was selected for Berlin’s Generation programme, won the Grand Prix at the Melbourne International Film Festival, and awards at Rome, Sydney, Sao Paulo and Odense festivals. The Experiment is Friedberg’s feature film debut.
Producer : Signe Leick Jensen, Birgitte Skov
Story & Script / Screenplay : Maj Rørbæk Damgaard, Louise Friedberg, Rikke De Fine Licht
Director of Photography : Magnus Nordenhof Jønck
Editor : Martin Schade
Music : Ola Kvernberg
Cast: Ellen Hillingsø, Nukaaka Coster-Waldau
5. Good Night Good Morning – Sudhish Kamath
Synopsis – Turiya, driving from New York to Philadelphia with buddies, and a mysterious girl staying alone in her hotel room – complete strangers – engage in an all-night phone conversation on New Year’s night. Anonymity could be comforting and such a situation could lead to an almost romance. Or something like it.
Cast: Manu Narayan, Seema Rahmani, Vasanth Vaz Santosham, Raja Sen
Director – Sudhish Kamath
Dir.Profile – Sudhish Kamath is a Chennai-based independent filmmaker, a journalist and film critic with The Hindu. ‘Good Night | Good Morning’ is his second feature. He also hosts a talk show called ‘Hands Up’ where he grills celebrities at gun-point. Recently, he signed up to do a movie review show on radio.
6. Next Year in Mumbai (France) – Directed and scripted by Jonas Parienté and Mathias Mangin
Synopsis – The documentary Next Year In Bombay is based on the lives of the Bene Israeli community of Indian Jews who sought asylum from religious persecution in India over 2000 years ago. The community lived without experiencing anti-semitism in India for centuries and yet, chose to move to Israel in the 1950s. Today the population of Bene Israelis in the city of Mumbai (formerly Bombay) and its nearby regions and districts number about 4000. The film focuses on the last two educators of the Bene Israeli community – Sharon and Sharona Galsulkar, who have been training in a yeshiva in Jerusalem and who have dedicated their lives towards bettering life for the Jewish community in India. As their daughters are getting older they are faced with the debate- should they remain in the country that has been their religious and social home for centuries and devote their work efforts here or should they relocate to their spiritual home in Israel and reunite their daughters with the promised homeland? All they want is to provide their children a good Jewish life. How much will uprooting a family that can trace its harmonious roots in a culture back to generations damage that very culture?
Producers: Jonas Pariente, Mathias Mangin, Sophie Goupil
Script: Jonas Parienté , Mathias Mangin
Editor: Luc Forveille
Director of Photography: Mathias Mangin and Jonas Pariente
Music: Raphael Elig
Cast: Sharon Galsulkar, Sharona Galsulkar, Joseph Dandekar, Aadiyel Wakrulkar
Director’s Biography: Jonas Pariente gained a Masters degree in Sociology in Paris and an MFA in Integrated Media Arts from New York, where he directed his first two documentaries. His film Bodies & Soul was about a former heroin addict who became a body builder. His A Rickshaw In The City is about the urbanization of Mumbai. Mathias Mangin was born in Sao Paulo but grew up in Paris, graduating in finance from Edhec Business School. He studied photography in Sao Paulo and filmmaking in New York. His short The Chance was selected in Paris and Toronto festivals. Mathias is currently writing fiction in the Atelier Scenario, Femis.
7. Florida Road (South Africa) by Brad Glass
This directorial debut by California-based Brad Glass is the culmination of a ten-year dream. The film revolves around the good-hearted Shaan Sahay who moves with his wealthy Indian family to the city of Durban (the film’s title derives from the city’s main highway where it was shot). Shaan yearns for his father’s love and approval as he pursues his passion for writing. He struggles trying to discover his identity and the importance of his culture and the love of family, when a tragedy hits his home and secrets are revealed. The director says, “Florida Road‘ has a Bollywood flavour with the Hollywood traditions that people all over the world can enjoy.” The film stars popular Mumbai-based actors Ashmit Patel, Vipin Sharma, Smita Jayakar and Priyanshu Chatterjee. They are teamed with South African actors Cokey Falkow, Corine Du Toit and Vicky Davis. ‘ Florida Road ‘ has traveled extensively to festivals within the United States as well as to Wales (UK) and Stutgart ( Germany ), collecting awards along the way. The screenplay was written by Hollywood veteran Fred Fontana who also co-produced the film. Fred Fontana has worked on many Hollywood Big Budget films including, ‘The Specialist’ (Sylvester Stallone, Sharon Stone).
Producers: Fred Fontana, Brad Glass
Production Company: Sunworld Productions
Story & Script /Screenplay: Fred Fontana
Director of Photography: Dave Aenmey
Editor: Graham Austin
Music: Andrew T Mackay, Neill Solomom
Cast: Ashmit Patel, Vipin Sharma, Smita Jayakar, Priyanshu Chatterjee, Cokey Falkow, Corine Du Toit and Vicky Davis
Director’s Biography: Brad Glass started his acting career in his late 20′s, with bit parts in TV soaps. He later acted in several TV commercials overseas in Europe, Australia and Asia . His interest in direction began while working in the Philippines as a lead actor, as he observed takes from behind the camera. Brad eventually travelled to South Africa , a place he fell in love with, where he continued to work in TV commercials while he began pre production on ‘ Florida Road‘.
8. Punyam Aham by Raj Nair
Synopsis: Punyam Aham is a Malayalam-language feature about a man’s search for his own true identity, set in the heart of a small village in the North of Kerala. The film follows the story of Narayanan Unni, who has lived in the agony of the story of his origin for many years, and now wants to find the answers that will put an end to all the doubts, questions and unfulfilled desires. His father was a high-caste, fair complexioned Brahmin from a highly respected family. During the communist revolution, he married a low-caste, dark-skinned Parayee or a woman from the untouchable caste, from a southern farming community. Having done this deed that he considered to be noble, his father then left his family behind, and set out for the capital city, never to return. All these years later, Narayan Unni sets out for the capital in his father’s footsteps to discover why his father left in the first place. He is motivated by the sheer disgust he feels at what he considers his father’s grave misdeeds. He finds his answers upon this journey of discovery and they lead him to understand that people are ultimately enslaved by their heritage and genes.
Producers: Raj Nair, Shyam Chengalath, Janardhan Menon
Production Company: Mirabilia Films, 15d, 18 Hospital Road, Hong Kong. Tel: +852.2239.4789 Email: fil...@mirabiliafilms.com Web: www.miribiliafilms.com
Screenplay: Raj Nair
Director of Photography: M J Radhakrishnan
Editor: Bina Paul Venugopal
Music: Isaac Thomas Kottukappally
Cast: Prithviraj Sukumaran, Samvritha Sunil , Nedumudi Venu, M R Gopakumar
Director’s Biography: Raj Nair was born in Kerala. He studied in London and Harvard universities and is now settled in Australia. He is the author of fiction, poems and short stories. He published his first novel Nishabdathayilae Theerthadakan (A Pilgrim of Silence) in 2001. In 2004, his made his debut as in films with his feature length docu-drama, The Exhibits, on his grandmother, widow of famous Indian author, Thakazhi Sivasankara Pillai. Although he has spent a major part of his life in the west, his lineage inspires him to write in his mother tongue Malayalam on social issues of his birthplace, Kerala.
9. Alif (India)- K.M Kamal
Synopsis – Seven different stories in a single narrative- connecting different lives associated with a single character name called Mustafa. Mustafa is a school boy who gets punished, after being mistaken for another Mustafa who bunked class that day. The story then proceeds to Mustafa, a young man who tries to learn English as to appear for a job interview. Next one is Udit, who is obsessed with a video game character named Mustafa. The fourth Mustafa, is unseen, as he tries to annoy a married woman with his anonymous presence on her journey to buy her first burkah. Mustafa Ahmed, who lives in a ghetto comes next as he goes for the first day of his work at an international call centre. Mustafa, a goat, takes over the narration at this juncture. He is taken to a butcher shop by a man who visits a psychiatry clinic and a police station on the way. Mustafa is then butchered and packed off to a sex worker’s house where a small time goon disguises himself with a fake name ‘Mustafa’.
The film is produced by The Film and Television Institute of India, Pune, as part of the curriculum for the students specialising in Acting. The film is conceived and directed by K.M Kamal an alumnus of the same School as his debut feature film.
10. When Harry Tries to Marry (USA – India) – Nayan Padrai
Synopsis: Harish is a ruggedly good-looking American of desi origins who is on the verge of graduating with that coveted New York college degree. Harish as he was named, or ‘Harry’ as he is now known, has developed an aversion to the concept of a ‘love marriage’ because he is convinced that it will only leave him as bitterly divorced as his parents are. Everyone who hangs out with easy-going Harry is therefore in for a shock when he opts for an arranged marriage with Nita, a young woman from India who seems pretty perfect, but whom he hardly knows. Once he embarks on the journey towards marrying his perfect bride, the unfolding events begin to make him wonder if there really is any such thing as the perfect match. What is the formula, if there is one, to prevent mistakes in marriage – whether arranged or love? The more adamant Harish gets about his goal, the more Indian and American cultures clash through the two contrasting families – both pushy in their own right and both determined to uphold their own cultural traditions and customs. His growing friendship with an American girl, Theresa, adds to his confusion. Will Harish or Harry prevail?
Producers: Sheetal Vyas, Nayan Padrai, Ritu Ahuja
Script: Ralph Stein and Nayan Padrai
Director of Photography: Nick Taylor
Editor: Jennifer Lilly
Music: Siddharth Kashyap
Cast: Rahul Rai , Stefanie Estes , Freishia Bomanbehram , Tony Mirrchandani , Zenobia Shroff , Osvaldo Hernandez Chavez , Caitlin Gold , Grant Kretchik , Kanti Pandya , Micky Makhija , Lauren LoGuidice
Director’s Biography: Nayan Padrai was born in 1975. He studied screenwriting and filmmaking at The School of Visual Arts, NYC. He is Co-Founder and President of CineMaya Media, one of the largest South Asian media, entertainment and marketing conglomerates in the US. Padrai has written, produced and directed over 300 hours of Indian television programming across genres. Padrai and his writing partner Ralph Stein have written over a dozen screenplays together. He adapted Beneath a Marble Sky based on the acclaimed eponymous novel. When Harry Tries To Marry which was one of the top ten finalists of the 2009 Creative Screenwriting magazine competition.
11. Sound of Mumbai: A Musical – Sarah McCarthy
Synopsis: Sound of Mumbai: A Musical captures the moving story of a choir of children from the slums of Mumbai who stage a concert of songs from the film, The Sound of Music with the Bombay Chamber Orchestra. The venue is the National Centre for Performing Arts in Mumbai, a grand theatre normally inaccessible to the poor. The choir comes from Muktangan school, an initiative of the Paragon Charitable Trust, which provides high quality education to low income families. The story is told through one of Muktangan’s best students; eleven-year-old Ashish, whose cheerful optimism and enthusiasm for songs from a film he has never seen would make you forget he lives in a slum. Ashish is performing a solo and the opportunity to participate in such a prestigious concert cannot help but set him daydreaming of opportunities that could open up for him. How far will singing songs about climbing mountains help him find his dreams? Ashish hopes to move a patron enough to sponsor his education and to win the affections of an upper class girl. The stakes are high and under the eye of the camera, Ashish’s story encapsulates the ambition and competitiveness that characterize growing up in Mumbai.
Producer: Joe Walters
Director of Photography: Liam Iandoli
Editor John Mister
Music: Jody Jenkins
Cast: Children from the Mukutangan School, Mumbai as selected by the Paragon Charitable Trust to perform with the Bombay Chamber Orchestra.
Director’s biography: Sarah McCarthy is a British documentary filmmaker who was born in Sydney and studied film in her native Australia, graduating with honours. She moved to London, England and worked in development for the BBC and RDF Media before working as a director. Her documentary heroes include Errol Morris and Werner Herzog. Her TV documentaries include Murderers on the Dancefloor and Black Widow Granny. The Sound of Mumbai:: A Musical is her third documentary and was screened as an official selection at the Toronto International Film Festival, 2010. McCarthy is currently working on her next film The Dark Matter of Love.
Bharati Dubey | TNN (THE TIMES OF INDIA; October 9, 2010)
Mumbai: Rajnikanth-starrer Endhiran has netted a collection of Rs 117 crore, surpassing the first-week collection of Bollywood’s highest firstweek grosser, Dabangg (Rs 82 crore).
Distributor and trade analyst Suniel Wadhwa said, “The film’s net collection is Rs 60 crore in Tamil Nadu, Rs 30 crore in Andhra Pradesh, Rs 8 crore in Karnataka and Rs 4 crore in Kerala. The Hindi version (Robot) has managed to collect Rs 15 crore. As the numbers suggest, the film has already crossed Dabangg’s two weeks’ net collection in just the first week of its release.’’
Incidentally, the entertainment tax structure and ticket-pricing formula are not uniform in India. “Ticket prices in south India are much lower as compared to other states in the country. This is the reason why boxoffice collection in the south pales as against the collection in northern states. Despite all this, the film’s BO collections prove the film has done remarkably well,’’ Wadhwa said.
Moreover, considering the fact that an additional 7% had to be paid as as entertainment tax to the government for being a dubbed movie, the collections are even more significant, an expert said. According to Wadhwa, the contribution of director Shankar too needs to be factored in . “Shankar is one director who has more brand value than Rajinikanth in AP. His films with Arjun, Prabhudeva and Vikram did wonders in the past. His last movie with Rajini did well at the box office though opinions were divided. Robot is an example of what a director like Shankar and a hero like Rajini can cumulatively deliver. ’’
Endhiran opened in 2,200 screens as compared to 1,400 for Dabangg. An industry source said, “More screens mean more revenue and this too has helped Robot. Also about 92 % of cinema halls are running the film and the collection continue to be rock steady,’’ another analyst said.
The film’s report in the Hindi belt too is quite good. Distributor Sunil Bohra said, `“The collection of the film in places like Jodhpur, Ghaziabad and Meerut is also impressive. The film is doing well both in single screens as well as at multiplexes.’’
Sources insist that though it is too early to speculate, the film has definitely grossed Rs 260 crore which is more than the entire collection of Aamir Khan starrer Ghajini.
The Hindi version of the film too has done a business of nearly Rs 30 crore in the first week. Amod Mehra said, “Robot has broken all the records of a dubbed film. I don’t remember any similar film crossing even the Rs 1 crore mark. In fact, Rajinikant’s last release Sivaji was a disaster at the box office.”
Though Aamir Khan tried to play peacemaker, Resul Pookutty is at war with a multiplex for botching up the screening of Rajni’s hit
It’s ironic that at a screening of Robot, of all things, the machines failed to work. Rajnikanth’s power show for his film at a suburban multiplex was full of glitches. And the sound editor of the film, Resul Pookutty, was certainly not amused.
Dissatisfied with the sound quality three hours prior to the show, Resul had voiced his discomfort too. But apparently, the theatre officials paid no heed and started the show. Sure enough, the sound crashed in the second half of the film, which had to be stalled as a result for over 30 minutes. Pookutty was livid with the organisers and only on Aamir Khan’s insistence was he pacified.
He felt that what happened on Monday night was unfortunate and symptomatic of how theatre owners are lackadaisical about the technical finesse involved in screening films. Said Pookutty, “We had a show for the biggest people in the industry but the sound quality was so inferior. I spent 45 days to design the sound of the film and this is the result we got. If this happens in the presence of the cream of the industry what must the common man be going through? This is like Husain making a classic painting and somebody throwing ink all over it.”
Pookutty feels that theatre owners are only interested in making their money and nothing else. “All our hard work goes down the drain. I hope that the government makes certain guidelines for the exhibition sector of our film industry, or else their licenses should be cancelled. I believe that every viewer who spends money to watch a film should get the best and nothing less than that. The Robot show was a blatant example of the entire system and the problems in it.”
Aamir Khan played truce-maker and the film was thus screened after this forced interval. Pookutty added, “I had predicated that something would go wrong. The sound was blown up and then we had to do a lot of damage control. We apologised to the invitees.”
For justice in the wake of this humiliation, Pookutty has drafted a letter to the Indian Motion Pictures and Producers’ Association. “I hope that the association, which is also aware of this, does something about it. I feel angry and humiliated at what is happening and I will continue my struggle to get these things sorted out,” he concluded.
Resul Pookutty to file RTI against multiplexes for poor sound & picture quality
By Subhash K. Jha, October 6, 2010 – 10:59 IST
On Monday evening, Rajinikanth’s warm and unparalleled gesture of bringing Robot to Mumbai personally for a special screening before his Bollywood friends, culminated in a horrendous mess with the sound being completely disrupted in the 7th reel, leading to a long and embarrassing and unscheduled break just before the crucial climax of the film.
The screening, it might be mentioned was, was leading man Rajinikanth and director Shankar’s belated but critical attempt to familiarize Bollywood’s who’s-who with Robot which had already swept the nation. Its disruption has hurt the film’s crew in both emotional and more practical ways.
And now heads will roll. The team behind Robot plans to sue the chain of theatres and also approach the government to specify quality-control methods to check sound systems in the multiplexes of Mumbai.
Speaking about the evening’s nightmarish, fiasco Robot’s bitterly disappointed enraged and now redressal-seeking sound designer Resul Pookutty says, “From the start of the screening I knew there was something seriously wrong. Then I came to know three sets of speakers were not working. I was so upset that I immediately wanted to stop the screening. But Aamir Khan pacified me, explaining it would look very improper in front of all these stalwarts to stop the show.”
Then Resul’s worst fears came true. “After seven reels with 40 minutes of playing-time to go, the sound collapsed completely. It was a nightmare. When finally the screening was restored the sound was worst than before. It was one of the most humiliating evenings of my life. I haven’t slept the whole night. And now I won’t sleep until I receive justice on behalf of all the technicians of Indian cinema, not to mention the average patron who is not aware of the deplorable standards of sound and projection provided by almost all the multiplex chains in Mumbai.”
The disappointment and sense of betrayal is so enormous that Resul chokes with emotion while talking. “We (the Robot core crew) had decided on the show after seeing the impact it had made in the South. Down there I have fought a relentless battle to change the sound quality in theatres. And now patrons in the South are so conscious of their rights to get optimum-quality sound and visual value that in Kerala, audiences broke seats and disrupted screenings at theatres with sub-standard technical value.”
Resul wants to create the same value-awareness among audiences in Mumbai, and a critical step ahead in his fight against sub-standard projection and sound in Mumbai’s multiplexes is an RTI being filed before the government.
Says Resul, “After that evening’s experience I have already approached the IMPPA (Indian Motion Pictures Producers’ Association) on behalf of the sound association of the Indian film industry. I’m next filing an RTI (Right To Information) with the government seeking to know what are the yardsticks applied before multiplexes are granted licences for operation. Are sound and projection quality a part of the licensing checks?”
Resul won’t sit easy until the matter is resolved. “After Slumdog Millionaire and the national and international awards, I at least have voice about sound in our movie theatres. While in South India the sound-quality in theatres has been drastically upgraded, in the North I am sorry to say theatres continue to use an inferior technical infrastructure. Sometimes smuggled machines are employed. I’ve often bribed projectionists to do their jobs better. During Black, Sanjay Bhansali and I went personally from theatre to theatre to check the sound. What we discovered was shocking. Does the average patron who pays Rs.150 for a ticket know how he’s being cheated? This is why I’m filing an RTI with the government.”
Legal action against the multiplex chain that was behind the Robot team’s shame on Monday evening is also being taken.
Says Resul, “We were already fighting an intense battle against the quality of visuals and sound provided by the multiplexes. After being so humiliated and shamed in front of the film industry on Monday evening, it’s an all-out battle for our rights and the rights of the cinema-going audience. Actually what happened on Monday evening was a shame not just for the Robot team but the entire Indian movie industry.”
Meena Iyer | TNN (BOMBAY TIMES; September 22, 2010)
Kareena Kapoor is elated. She had one more reason to celebrate her birthday, yesterday. Salman Khan’s sister Alvira and her husband Atul Agnihotri have signed her as the female lead opposite the Dabangg phenomenon in their film Bodyguard.
The film will be directed by Siddique from Kerala who directed the original version. Bodyguard will mount the floors in December. Trade sources say that though the film is Salman-centric (now all his films will be that way), the female lead needed a very performanceoriented actor. Atul says, “When we saw the original version done by Nayantara, we were convinced that only Bebo could do the Hindi version.” Atul also sets the record straight on Katrina Kaif being chosen for the lead: “When a film is being launched, producers go through the thoughtprocess of which of the top three actresses can one cast. We also thought about who was best suited to Salman bhai in this film. But we hadn’t approached anyone. As I said, we were convinced from the start that Bebo would be the best choice.”
Atul says that since Bodyguard is a remake, the prep-work on the project is being approached in a very scientific way.
The film is being adapted for a Hindi-speaking audience. Pritam is working on the music and Atul and Alvira will be hands-on producers involved in the creative process as well, because Siddique is new to the Bollywood scene.
Saturday 18th September 2010 15.00 IST/Friday 17th September 2010 13.00 IST
Boxofficeindia.Com Trade Network
Dabangg grossed 81.50 crore nett approx as per early estimates over its first week after its Thursday looks to be coming in around the 6 crore nett mark.
The film has smashed the first week record of 3 Idiots even if we include the paid previews of that film.
The film has set new first week circuit records in Delhi/UP, East Punjab, Bihar, CP Berar, CI, Rajasthan, Assam and Orissa while in Mumbai, West Bengal, Nizam/Andhra, Mysore and Tamil Nadu/Kerala the records of Three Idiots have held up. The collections over the second weekend should also be very good.
Meanwhile, Dabangg had a very good second Friday with business coming in around 6.20 crore nett as per early estimates. The 8 day business of the film is 87.25 crore nett plus. Dabangg should easily cross the 100 crore nett mark by the end of its second weekend. The ten day business should be in 103-105 crore nett range. The Friday business was better than Thursday. Below is the breakdown of the second Friday.
Mumbai – 2.05 crore
Delhi/UP – 1.45 crore
East Punjab – 55 lakhs
West Bengal – 40 lakhs
Bihar – 15 lakhs
Assam/Orissa – 7 lakhs
CP Berar – 35 lakhs
CI – 23 lakhs
Rajasthan – 33 lakhs
Nizam – 33 lakhs
Mysore – 22 lakhs
Tamil Nadu/Kerala – 7 lakhs
TOTAL – 6.20 crore
By Bollywood Hungama News Network, September 10, 2010 – 22:10 IST
She is someone for whom the color green holds lots of significance. Her career will surely be ever-green with many sensational films under her belt. Let’s face it…looking at her glowing and growing career, there are many heroines out there, who go green with envy.
Well, green is also the theme of the magazine called ‘Green Life’, for which Vidya has been chosen as the cover girl. Vidya, on her part, speaks all about her life, like never before. Speaking about her favourite holiday destination, she says, “It would have to be the backwaters of Allepy in Kerala. It is truly God’s own country and even on the hottest day, the air that you breathe is so clean and pure”. The issue also highlights Vidya’s three golden rules with which she makes her life so worthwhile.
All in all, a must buy this season!
The actress who was too sick to travel, has started penning her first book
Prithwish Ganguly | TNN (BOMBAY TIMES; August 30, 2010)
Lisa Ray, who was supposed to visit India late last month and also promote her new movie on breast cancer, was forced to cancel her trip. Sources indicate that Lisa, who has been fighting cancer for a year now (she was diagnosed on June 23, 2009) wasn’t feeling too well and not keen to meet people when she was down, having put up a brave front all this while. She is still undecided when to visit India but will soon disclose the revised dates.
Lisa, who was expected to be in India around August 20, was in British Columbia at the end of July at her friend’s place. A close friend of the actress who lives in Mumbai revealed, “Lisa has been fighting cancer with a smile and she will continue to do so. She will soon be in India as she strongly wants the proceeds collected from the country to go to a Multiple Myeloma charitable foundation. Her friend Lisa Haydon is also scouting for cancer associations in the city to whom she can extend her helping hand to sensitise people about cancer. She will do all that during her visit.”
Meanwhile, Lisa has taken to yoga in a big way. “She is a keen follower of Moksha yoga which she learned in Kerala. She feels that it has made her a more confident human being who knows what her goal in life is,” the friend said, adding that the actress is almost ready to start her first book. “Knowing Lisa, it will be lucid, candid and fiery. It will be like knowing Lisa through pages. She has found a collaborator who will ensure that the book hits globally. She is very particular about how to approach this book. She intends to write a few more,” said the source.
By Bollywood Hungama News Network, April 22, 2010 – 13:01 IST
There is something about Vidya Balan and the cameras that every time she comes on screen; she turns into the seductress, this temptress who will hypnotise you into committing a thousand sins. The cover of Hi! Living magazine is one you can stare at forever as Vidya shines through in her classic Indian attire, looking every bit of beautiful woman that she is.
The cover shoot took place in the pristine locales of Kerala which also happens to be Vidya’s hometown. The backdrop shows the beautiful backwaters and lush greens that have been captured by photographer Joy Datta in an exceptional manner. The theme of the magazine celebrates the Indian beauty and the inimitable quality of it and who better than Vidya to stand as a case in point for that. Staying true to the premise, Vidya was dressed in classic Indian designs and luxurious ethnic wears by Sabyasachi and traditional jewellery was by PC Jwellers.
The Goddess that Vidya looked is one you will have to catch in the April 2010 Issue of Hi! Living magazine.
His character is based on the Maoist leader and his ideology in Mani Ratnam’s Raavana
While everyone thinks that Abhishek Bachchan plays a character based on Raavana in Mani Ratnam’s Raavana, the film’s most well-kept secret is out. Abhishek’s character in the forthcoming film is not only based on the life of Raavana but also on Maoist leader Kobad Ghandy.
While everyone thinks that Abhishek Bachchan plays a character based on Raavana in Mani Ratnam’s Raavana, the film’s most well-kept secret is out.
Abhishek’s character in the forthcoming film is not only based on the life of Raavana but also on Maoist leader Kobad Ghandy.
Our source said, “Mani Ratnam loves having a strong element of contemporary history in his films. Be it Nayakan based on don Vardha Rajan’s life, Guru based on Dhirubhai Ambani’s life or Bombay which depicted the Hindu-Muslim riots in Mumbai after the Babri Masjid demolition.
Even in Roja, Dil Se and Yuva, Mani dealt with serious issues such as terrorism in Kashmir, a woman suicide bomber and college politics respectively. While there is a buzz about Raavana being inspired from the Ramayana and that Abhishek is playing Raavana, fact is that the real inspiration for Abhishek’s character came from Kobad Ghandy.”
Mani had appointed a team of researchers to get as much data available about Kobad Ghandy as he wanted Abhishek’s character to be strikingly similar to the Maoist leader. “In Raavana Abhishek plays Veera, a naxalite leader of the downtrodden villagers in eastern Madhya Pradesh. Just like Ghandy’s Communist party India-Maoist is banned, Abhishek’s organisation is also banned in the film,” added the source.
“Abhishek’s character in Raavana is very intelligent. Ghandy was assigned the task to win over the middle class and intellectual society in Karnataka and Kerala as the Maoists thought that he could do this with ease.
The major difference between the two characters is that while Ghandy is an educated man, Abhishek’s character is from a small and remote village from Eastern MP. In short, the story of the Ramayana is very nicely and intelligently woven into the story of Kobad Ghandy,” said the source.
By Taran Adarsh, February 26, 2010 – 10:19 IST
Have you ever received a call from yourself? Is it possible in the first place? There are several theories doing the rounds about the two Karthiks in this movie. So what is it? Is Karthik hallucinating? Does he have a double role? Or a split personality? For most parts of the film, you actually buy the explanation that Karthik does receive calls from, well, Karthik.
Let’s accept the fact that a concept like this instinctively generates curiosity in the film. But the real test is to make the story work in those 2 hours. Also – this is vital – the identity of the caller should come as a jolt when the film concludes.
|BY BOLLYWOOD HUNGAMA.COM
KARTHIK CALLING KARTHIK works in parts, but during the penultimate part, when the story shifts from Mumbai to Kerala, the sand castle, so beautifully built by debutante director Vijay Lalwani, gets washed away.
One doesn’t want to challenge the behavioural patterns of a person with a certain disorder, but when it comes to the big screen, when you are narrating a story on celluloid, you need to do a lot of spoon-feeding and make it look convincing. In this case, unfortunately, the finale is just not convincing and therefore, acts as a spoilsport.
Meet Karthik [Farhan Akhtar], an introvert by nature and shy by choice. Karthik suffers with huge confidence issues and is miserable at his average job that yields less than average results. His boss [Ram Kapoor] treats him like dirt. Shonali [Deepika Padukone], his colleague, who he secretly loves, doesn’t even know that he exists. Karthik is a loser. He knows it. He accepts it.
Suddenly, one night, the phone rings. And Karthik speaks to someone he never thought he would. He speaks to a man who also claims to be Karthik. The man on the phone says he’s here to change Karthik’s life. Karthik accepts the phone in his life and soon it becomes his guide, his mentor, his friend, his guardian.
KARTHIK CALLING KARTHIK is a love story as also a suspense fare that teases your mind. Any love story works if the chemistry and also the moments between the on-screen lovers looks real and the chemistry between Farhan and Deepika works well.
Correspondingly, a suspense film works if the viewer keeps guessing what the culmination to the story would be. The mystery only deepens when not only Karthik, but also his girlfriend and psychiatrist are engulfed in this storm. All hell breaks loose when Karthik’s life goes upside down and Karthik is back to square one. But from this point onwards, the graph of the film only goes downwards.
Debutante director Vijay Lalwani knows his job well, but he’s letdown by his own writing. The second hour not only looks stretched [two songs flow one after the other, with the story coming to a grinding halt], but the pace also gets excruciatingly slow at this juncture. The climax, as mentioned earlier, is a complete downer.
Shankar-Ehsaan-Loy’s musical score is an asset. The film has some lilting tunes. Cinematography [Sanu John Varughese] is perfect. Dialogues are simple mostly and at times, very witty.
This is Farhan Akhtar’s third film as an actor and it must be said that he takes giant strides when it comes to acting. The story throws several challenges at him and fortunately, he emerges trumps in the most difficult moments. This is, by far, his best work.
Deepika Padukone looks bewitching and acts natural throughout. Ram Kapoor is fantastic. Why don’t we see him so frequently on the big screen? Shifaali Shah is excellent. Vivan Bhatena is good. Tarana, Vipin Sharma and Yatin Karyekar are serviceable.
On the whole, KARTHIK CALLING KARTHIK is a decent product with an unconvincing conclusion. Watch it for the wonderful performances of Farhan and Deepika, if you have to. Caters to the youth in metros mainly.