During her recent sojourn at Rann Utsav as part of various promotional activities lined up for her movie, ‘Tumhari Sulu’, the versatile actor seemed to drift between the personas she is — both on and off screen. At times, she was the happy-go-lucky Sulochana (Sulu), a suburban Mumbai housewife; and then, she was the quintessential star who made the line ‘entertainment, entertainment and entertainment’ a catchphrase.
The story of An Insignificant Man is the product of a long-term project, which was pre-visualised in a brilliant way. It shows a certain time in history, which cannot be ignored – neither can it be repeated.
It’s like someone has put you in a time-machine and you hurtling with the mufflerman Arvind Kejriwal through Delhi streets. One of Indian politics’ simplest trendsetters on and off the political field, Kejriwal’s story has everything – struggles, challenges, scams, mufflers, khaansi and Wagon R. The movie confirmed its preconceived notion that it would be one-sided. So it is! But many interesting sub-stories have been left out.
It could’ve been tempting for filmmakers to delve into a lot of live footage, and the rights and wrongs of elections. But even amidst the thick foliage of footages, the documentary shows clarity of thought and a strong focus on the story of Kejriwal, who through his unflinching negotiation skills coupled with a very perceptive moral compass, pulls off a very important election win amidst hatred, mistreatment and non-cooperation from his own party members! The story just goes from one sketch to another.
In the aftermath of Information and Broadcasting Ministry’s sudden decision to drop two films from the line-up of International Film Festival of India’s Indian Panorama section, director Sujoy Ghosh had stepped down from the jury yesterday. Now, writer Apurva Asrani has also decided to resign from the jury. Sanal Kumar Sasidharan’s ‘S Durga’ and Ravi Jadhav’s ‘Nude’ were originally approved by the jury, but the I & B ministry removed them without any intimation.
His upcoming film ‘Padmavati’ is facing opposition from many quarters in the country, but actor Shahid Kapoor has urged the people to first watch the movie without harbouring any preconceived notions.
Several outfits in Noida protested against the Sanjay Leela Bhansali-directed film yesterday and appealed to the masses not to watch the movie, due to release on December 1.
The new gen star of Bollywood, Ranveer Singh recently impressed Manoj Kumar with his photoshoot! It was not an ordinary photo-shoot. It was Ranveer Singh mimicking the iconic pose of Manoj Kumar with his hand on his face. The same pose was mimicked by Shah Rukh Khan during Om Shanti Om and he was dragged in the court by the veteran actor. When asked about why he chose to react positively to Ranveer Singh’s this photoshoot, he gave his reasons to hitlist.
He told,” I have seen the snapshot. He has done a good job of imitating me. I laughed a lot when I saw the picture. Ranveer is on the right track. What Shah Rukh did was hitting below the belt, what Ranveer did was in good taste.”
Well, it was just a decade ago and it is surprising that Manoj Kumar gave his thumbs up to Ranveer’s experiment with the pose. He even captioned the photo as ‘Workin’ the Manoj Kumar.’ It turns out that the much loved veteran actor is quite impressed with Ranveer Singh’s acting.
There was much speculation about Baahubali actress Anushka Shetty’s Bollywood debut, with filmmaker Karan Johar. However, the actress, who shot to fame with the Baahubali franchise, has now reportedly opted out of the project, as she did not like the role offered to her.
“Karan was keen on casting Anushka in one of his projects, but she didn’t find the role adequate enough for her. She had rejected Tamasha for similar reasons as well. And yes, there are speculations that she may have consulted Prabhas before refusing the film,” said a source.
Earlier, Anushka had rejected Ajay Devgn’s Singham and the Golmaal series.
Looks like Anushka is following in Prabhas’s footsteps. KJo had approached Prabhas for a film, but apparently Prabhas asked for a salary of Rs 20 crore, which KJo didn’t agree to.
Anushka and Prabhas have always created much buzz, because of their extremely close friendship. However, they have vehemently denied being in a relationship.
Currently, she is part of G Ashok’s modern-day thriller Bhaagamathie
The first 25 minutes of Shaadi Mein Zaroor Aana are the best. It takes turns to sometimes feel like Bareilly ki Barfi, then Badrinath ki Dulhaniya and at other times like Shubh Mangal Saavdhan.
A few weeks ago we saw Vikas Gupta lose his cool on Bigg Boss 11 after his co-contestant Shilpa Shinde mentioned actor-model Parth Samthaan’s name in front of him. In case you don’t know, Parth had accused Vikas of sexual harassment, non-payment of dues for working on his show Pyaar Tune Kya Kiya and constant threats of ruining his career.
There are two sets of viewers emerging in India, more so this year.
While superstars still enjoy the privilege of being, well, superstars, and a large group of loyal fans, they have nurtured over the years, roots for them. There are others who are willing to shed the same amount of money on films with good content and without stars.
The second group doesn’t bother about the star value of a film and whether it will be a good idea to spend Rs 250-300 on a ticket. In the ten months of 2017, the filmmakers have shown the willingness to break away from the traditional mindset that only star-driven formula films can make good money.
In fact, the opposite has happened. Apart from Golmaal Again, most of the other highly successful films offered fresh takes. Be it Akshay Kumar’s Toilet Ek Prem Katha or Jolly LLB 2, or even Varun Dhawan’s Badrinath Ki Dulhania, directors dared to leave the urban set-up and entered rural landscapes.
Then there are films such as Bareilly Ki Barfi, Newton, Shubh Mangal Savdhan, Secret Superstar and Hindi Medium which tried to find the middle ground, a bit of humour, a dash of drama kind of films.
At this juncture, a new formula seems to be emerging that’s not blatantly market driven, but isn’t experimental either. It’s a blend of typical Bollywood sensibilities and new way of packaging things.
Hindi Medium was a good example of this mixture. It had a message-oriented approach, featured popular music and good actors. It’s a deadly mix, but it’s in the usual bracket, which means it’s a better mixture prepared with the same ingredients.
In that regard, Irrfan Khan’s next Qarib Qarib Singlle is a more audacious attempt. Two middle-aged people go on a trip together to explore the possibility of love in director Tanuja Chandra’s film, and it doesn’t look ‘arty’. In fact, it’s vibrant and presented like any other love story.
Tanuja Chandra, in a conversation with HT, explained how the story of Qarib Qarib Singlle took shape. She said, “My mother wrote the story. It was a radio play, but we adapted it to suit the medium. It’s a story of people like you and me, not about someone who we have never seen in our lives.”
In the same interview, Irrfan said a very remarkable thing. He said, “I want to see films where men and women are not competing against each other. Both the genders have their own peculiarities.”
This statement draws our attention to how Bollywood has been presenting the gender roles. Most of the times, it’s about catching the current trend for the sake of some quick bucks rather than contributing profoundly to the ongoing debate.
Digging deep into it, in 2017, there aren’t many films that released pan-India and can be called experimental in true sense. Though there are films like Shlok Sharma’s Haraamkhor, Vikramaditya Motwane’s Trapped, Anshai Lal’s Phillauri, Shubhasish Bhutiani’s Mukti Bhawan, Amit Masurkar’s Newton, and a couple of other films that broke the conventional mould this year but they are very few in numbers. They weren’t pan-India releases either. In fact, most of these films won the heart in film festivals circuits but not of the masses.
Out of these, Newton did good business but the news of it being India’s Oscar entry contributed significantly to it.
If the number of such films is not even ten in an entire year, despite producing most number of films in the world, it’s probably not a good condition for diversity.
Shlok Sharma, the director of critically acclaimed Haraamkhor, who has shot his new film Zoo on an iPhone, says, “If you honestly ask me, both of them can co-exist because, they both have their own specific audience. Having said that, in 2017 we also saw a lot of content- driven films reaching a wider audience. A lot of independent producers, not attached to the big studios, are also coming forward and are putting their trust in the vision of the content and character-driven films and film-makers. So times are changing.”
Sharma seems hopeful about the future, but becoming ‘experimental’ in true sense is still a far-fetched idea in Bollywood
In spite of being as busy as we all are, there is something that we always find time for–intruding into other people’s personal lives.
Thanks to social media, our newly conquered field of free expression, there are a lot of people out there who do not miss a single chance to assert their opinion about others. A popular breed among such people are the infamous trolls that have now populated the social-media platforms. Their favourite pass-time? Hunting people down, to teach them lessons on ”morality.”
Their common targets are celebrities of course, judging them for what they say, eat, wear or for the people they hang out with. A fresh target of this sport of trolling is Milind Soman.