Posts tagged love sex aur dhokha
MID-DAY (May 3, 2013)
Ram Gopal Varma’s Satya was a defining film in Hindi cinema. For the first time ever, the audience was exposed to the stark reality of how the underworld really functions in India. Till date, the film serves as reference to anyone trying to make a film on gangsters.
Rang De Basanti
Rakyesh Omprakash Mehra Rang de Basanti will forever be etched in public memory for doing what no other film could–it encouraged the common man to take a stand against corrupt politicians who failed in their duty to provide basic amenities.
Vijay Anand’s Guide created hysteria when it released, and till date is spoken about for its subject of self-sacrifice. The film was the topic of national debate for months after its release.
Dilwale DulhaniMothera Le Jayenge
Aditya Chopra entered Bollywood with a huge bang. The film, released in 1995 and still running in a Mumbai theatre, is considered as the best romantic film ever, inspiring and influencing lovers the world over
Prakash Mehra created history at the box office with his directorial venture Zanjeer, but most importantly he gave the country its biggest superstar. Amitabh Bachchan was launched as the angry young man and decades later is still considered the only “angry young man” of the country.
Mehboob Khan’s Mother India has been described as perhaps India’s most revered film. A cinematic epic, a flag-bearer of Hindi cinema and a legend in its own right are just some of the words More >
Raj Kumar Yadav on being thrilled to share screen space with the star in their latest thriller
Urmimala Banerjee (MID-DAY; December 7, 2012)
After playing lead roles in Love Sex Aur Dhokha and Ragini MMS, it was the opportunity to act with Aamir Khan that made Rajkumar Yadav take up the small role of a cop in his recent film Talaash.
He says, “Aamir is someone I truly admire. So, when I got this chance to be with him, I just grabbed it. The fact that people have appreciated my performance is an added bonus.” And was the superstar helpful enough? “Oh yes! There are some scenes in the film where I am reacting to him. They are close-up shots of me. Aamir made sure that he was mouthing his dialogues from behind the camera so that my expressions would come out naturally and effortlessly. I never expected a superstar to do this for me. I now respect him a hundred times over.”
The Gurgaon boy is also glad that finally his 11-year-old niece was able to watch a film that he has been a part of. The actor says, “She always used to tell me that she couldn’t watch LSD or Ragini MMS due to the adult content. Finally, she’s thrilled to have watched my film in a movie hall.”
Bohemian Sneha Khanwalkar is trippin’ on the new sound of Bollywood
Anand Holla (MUMBAI MIRROR; June 17, 2012)
For cinema that yearns for romantic ballads, Sneha Khanwalkar, the composer of Anurag Kashyap’s Gangs Of Wasseypur is a renegade. “The only bona fide love song I’ve done is ironically titled Keh Ke Loonga,” she says. The song, a coarsely-worded revenge anthem, is as far as Sneha can stretch her soundscape to accommodate a romantic number. “If you alter the lyrics and the mood, it could become a love song,” the sprightly 29-year-old reasons.
After she scored the clutter-breaking Oye Lucky! Lucky Oye! and the unconventional Love Sex Aur Dhokha, this sound tripper lays bare her free-spiritedness with the rustic Gangs of Wasseypur. “I never try to be literal about the emotion in my music. So when I put tune to a ringing thought of manic retribution, I say it like a love song,” she says, tossing her tresses.
Bohemian as Sneha’s approach to Bollywood music is, it is far from the rebellion it can be mistaken for. She says, “Neither have I tried to be niche nor do I strive to be different. I am open to composing across genres. But this is my voice. I have never been a conventional musician and hence my unconventional sound.”
Though she didn’t formally learn music at Indore, where she completed her schooling before moving to Mumbai a decade ago, Sneha was swamped with strains of Hindustani classical music. Her maternal family from the Gwalior gharana gathered to perform More >
Abhay Deol on his transformation from being a Punjabi munda to playing a traditional Tamilian in the upcoming Shanghai
Meena Iyer (BOMBAY TIMES; May 5, 2012)
Clearly there’s no seven-year itch as far as Abhay Deol is concerned. In the years gone by, the 36-year-old actor has become one of the most respected actors on the marquee. After playing safe initially with lover-boy roles in Socha Na Tha, Ahista Ahista and Honeymoon Travels Pvt Ltd, he took giant strides into off-beat cinema and broke stereotypes in Ek Chalis Ki Last Local, Manorama Six Feet Under, Oye Lucky! Lucky Oye!, the avant-garde Dev.D and the super-successful Zindagi Na Milegi Dobara, getting accolades for every avatar. His Tamilian act in Shanghai will take him a few notches higher. After all, it isn’t everyday that a Punjabi munda slips seamlessly into a white dhoti and delivers a cool-as-a-cucumber performance in a hard-hitting film.
What was your first reaction when Dibakar Banerjee asked you to play TA Krishnan, a Tamilian, in Shanghai? My first reaction was one of denial. I was like, ‘Are you all right? What is it? Does no other decent actor want to play the role?’
Then why did you relent? Dibakar is one filmmaker I’m happy working with even without him giving me a script narration. I trust him implicitly. In fact, after we did Oye Lucky! Lucky Oye!, he did Love, Sex Aur Dhoka and had no role for me. I hoped he has a role for me in his next film at least.
So tell me about Mr Krishnan. Well he is More >
By Devansh Patel, May 6, 2011 – 14:42 IST
It’s 5.30 on a Tuesday evening. My mobile was beeping with back to back text messages of Osama Bin Laden and then suddenly one text pops up that read – Come to Balaji to meet Ekta Kapoor. Now I’d be a fool not to take this one seriously. Within an hour I was dressed to meet India’s most powerful woman who has built an eponymous media empire named ‘Balaji’. So what does one do with so many preconceived notions? “Ekta is very strict. Mind your move”, “Ekta isn’t easy to deal with”, “Ekta’s interview is not going to be easy”, and the many more one line suggestions started to pour on my mobile as I left for her Andheri office. I reach Balaji at 7pm. Ekta is nowhere to be seen as she was just driving back from one of the television shows where she was the guest of honour. Time is ticking and its 8pm and I’ve already gulped down a cup of green tea and black coffee. Then I was told to come on the 5th floor where she is busy changing to get ready for my interview. It’s 8.30pm and Ekta is talking with me in her fifth floor suite because both her life and her company are very much in transition. But before our talks, Ekta being Ekta introduces me to a few of her colleagues where she is surprised to know that I know a few of them already: courtesy Facebook. In her flawless Malini Ramani, she looked every bit an actress, and with her stretched smile, you definitely get drawn to her stunning symmetry of beauty and brains all More >
BOMBAY TIMES (April 28, 2011)
If the recent buzz by the Bolly twitterati is anything to go by, Balaji has completed a hat-trick of acclaimed hits, with its thrillercomedy, Shor in the City, releasing today. Directed by Raj Nidimoru and Krishna DK, the film stars a wide ensemble including Sendhil Ramamurthy, Tusshar, Pitobash, Nikhil Dwivedi, former Miss England Preeti Desai, and Radhika Apte.
After LSD and OUATIM, Ekta Kapoor saw a massive hit in the award winning Marathi production, Taaryanche Bait. Now Shor is set to hit the bull’s eye. The makers were so confident of the product that they opened it out to industry and media folk substantially in advance of the release. The overwhelming response by those who saw it, has made the film a major talking point and the first choice of cinegoers today. With a smart, innovative and effective promotional strategy, the company has turned a costeffective favourite festival film (officially invited to Pusan and Dubai) into a keenly awaited commercial thriller-comedy, which promises to leave a mark at the box office. Made cost-effectively, the slick and energetic film, which has three parallel stories running with Mumbai as the backdrop, is set to set the cash register ringing.
A sample of what acclaimed filmmakers and critics are saying:
Just watched a SUPERB film…a technical and cinematic victory!!! SHOR is a must watch!! Well done ekta!!! – Karan Johar.
Watched last nite. Out of the box More >
By Bollywood Hungama News Network, April 27, 2011 – 15:39 IST
The International Indian Film Academy (IIFA) today announced the winners of the technical awards categories for the IIFA Awards 2011. The trophies will be presented to the winners during the Videocon IIFA Weekend in Toronto, Canada. Band Baaja Baaraat, Dabangg and Robot led the technical winners tally with three awards each.
Maneesh Sharma’s Band Baaja Baaraat won the awards for Editing by Namrata Rao, Song Recording for Vijay Dayal’s ‘Ainvayi Ainvayi‘ and Costume Designing by Niharika Khan. The Rajinikanth starrer Robot walked away with Best Art Director for Sabu Cyril who incidentally won the same award at IIFA 2010 as well. Robot also won the awards for Special Effects by Indian Artists and Make-up by Banu.
The Salman Khan starrer, Dabangg won an award for Choreography for the hit song, ‘Munni Badnaam Hui‘ choreographed by Farah Khan, and Leslie Fernandes who won for Best song recording. The film also won the award for Best Action by S. Vijayan.
The award for Best Cinematographer went to Sudeep Chatterjee for Guzaarish and Shankar, Ehsaan, Loy won the award for the best background score for My Name Is Khan while Pritam Das won for Best Sound Recording for Love, Sex Aur Dhokha.
The IIFA Awards Voting process is a stringent and methodical procedure that is closely monitored by PriceWaterHouse Coopers (PwC), the official auditors for the event. The popular category nominations will then be available for More >
By Joginder Tuteja, April 23, 2011 – 11:49 IST
‘Shor In The City is up for it’s theatrical next week. Also in the year gone by the film has travelled film festivals across Pusan, Dubai and New York. Appreciated by the critics, the film had fetched high ratings for itself with wide coverage in international media as well. In fact a special mention had come from Mira Nair as well who was quite excited about the film’s unique narrative.
“Yes, she really liked what she saw and was pretty generous in her appreciation”, Tusshar smiles, “See, the fact is that Shor In The City bears the kind of sensibilities that works for the regular audience as well as the international viewers. Though it is not a regular Bollywood entertainer, it has that distinct Indian appeal to it which makes it stand out in the crowd.”
Generally though when a film makes it to the festivals, the tag of offbeat gets attached to it. Tusshar however has taken it upon himself to change this perception with Shor In The City.
“On the contrary, the kind of audience response that I saw in the festivals woke me up to the commercial viability of the film”, says Tusshar whose last release was a far more commercial Golmaal 3 (2010), “The film was appreciated by not just the folks who frequent festival circuit but also the regular NRI/crossover crowd. You know the kind of crowd for which a Hindi film stands for Kabhi Khushi Kabhie Gham. In any case Shor In The City was not made just for the festivals. Still, More >
By Taran Adarsh, April 21, 2011 – 08:15 IST
* Kabir Sadanand, director of POPCORN KHAO MAST HO JAO and TUM MILO TOH SAHI, has taken a big leap. Kabir has launched his production company called Frog Unlimited [Frog stands for Fultoo Rely On God] and his first assignment starred none other than the King Khan, Shah Rukh Khan. Kabir directed this ad film with SRK on Tuesday for Matrix Forex. Though the superstar was slightly unwell, he ensured that he completed the ad film shoot on time. Kabir’s next ad will feature cricketers from SRK’s KKR and is for Matrix Cellular.
* Entrepreneur ho to Ekta Kapoor jaisi! The Queen of Television, who has proved her credentials by producing several path-breaking films like LOVE SEX AUR DHOKHA and ONCE UPON A TIME IN MUMBAAI, is known for making hi-concept films within a stipulated budget. Interestingly, Ekta’s next two films – SHOR – IN THE CITY and RAGINI MMS – besides having attention-grabbing concepts, are economically viable propositions as well. SHOR – IN THE CITY has cost Rs 3 cr to make, while RAGINI MMS, made in two versions [Hindi + Telugu], has cost Rs. 1 cr only. Ekta can teach a lesson or two to some of our corporate honchos when it comes to budgeting a film. Way to go Ekta!
* The trend of actors turning film-makers is not new. But when film-makers take to acting, well, that makes news. Rajat Rawail, one of the producers of NO PROBLEM and now READY, has been cast in a significant role in the Salman-Kareena More >
Ekta Kapoor reveals why she has consciously decided to get bolder with her projects which often deal with taboo subjects rather than continuing with the family driven sagas
Vickey Lalwani (MUMBAI MIRROR; April 19, 2011)
Ekta Kapoor, the queen of TV soaps, the ruler of the living room is slowly but surely moving towards the bedroom with films like Love, Sex Aur Dhokha, Shor In The City, Ragini MMS and Dirty Picture. What brought about this sudden image makeover? The producer reveals the reason behind this very conscious effort. Read On…
You were a drawing room person. Why did you decide to get into the bedroom? Getting bolder eh!
I am not getting into bedrooms and it’s not about being bold. Most American movies have sex scenes. Do you label them as sex films? No, na? Then why my work? I just realised that I needed to change with time. Change is the essence of life, yaar.
I felt that I should dabble at making clutter-breaking stuff. And I saw around myself to see that there was a hunger building up for cinema, which would have sex just as a part of it.
There were movies of this kind, which were making just the right noises.
And I took the final decision to change myself after I saw films like Dev.D and Ishqiya. My company and I decided to tread on issues faced by youngsters. (Pauses).
But I was sure that I wouldn’t make such stuff under the banner of Balaji Motion Pictures. Hence, I started a new company, Balaji Alt, where Alt More >