Friends, it's time to stand and applaud Abbas Tyrewala for his directorial debut, Jaane Tu ya Jaane Na. He has done it with absolute newcomers and managed to get the crowds in for 'repeat' views. A big praise to Aamir Khan for backing a venture that had no takers in the 'corporate' world of film financiers. Just goes to show that corporate India has no sense of cinema.
So what clicked in the film? I think what really mattered was an easy style of story-telling and engaging performances by Imraan Khan (Aamir's nephew), Genelia D'Souza and a host of young actors, including Prateek Babbar (son of late Smita Patil and Raj Babbar).
I felt good watching a young hero without any pretences of a he-man, minus the show of brawn. He is as ordinary and chilled-out as many of his generation are. When did we last see a hero who has not been beefed up to 'show-off' on the screen? Can't remember at all.
There is a lot of freshness in the way the story, though predictable at times, unfolds. The icing on the cake are cameos by Naseeruddin Shah, Ratna Pathak Shah, Paresh Rawal, Sohail and Arbaaz Khan. My favourite music director AR Rahman goes one better with a youthful score that will, I am sure, scorch the charts for a long time. ARR, you please make sure that you give one album for the young generation every year--and you might end up becoming a youth icon for a number of years to come.
With this film, Aamir Khan seals his stamp as a serious producer of quality cinema in Bollywood. Aamir along with Vishal Bharadwaj seem to be people who are beautifully dovetailing art and commerce in Indian cinema. They are showing the way to making films that can surprise, entertain and leave the audience with a 'wow' effect.
Monday, July 21, 2008
Thursday, June 26, 2008
Dasavathaaram--Oh what a disappointment!
It's been some time since I posted anything. But Kamal Haasan's recent release jolted me from my self-imposed inertia. What a film I had expected it to be, and what a disappointment it was. What is Mr Kamal Haasan upto--and why is he taking his self-obsession to obscene levels. Dasavathaaram is nothing but a film to showcase Mr Haasan's talents as an actor--and it fails miserably since the actor is trying to stretch himself too much in characters who don't fit in the razon-thin storyline. Even the make-up looked unconvincing--the faces (or masks, to call them) were too waxy and lifeless.
Two characters stood out (the RAW agent Balram Naidu and the Vaishnava priest), but the rest seem to be cut-and-paste jobs in a narrative that never grabs you by the neck. Come on, Mr Haasan, you talk about Indian films standing on their own in world cinema--and here you come up with a potboiler which has neither a boiling script nor a pot of cinematic riches. And please start playing your age; you look like actress Asin's father in the film. When will south Indian thespians realise that they look like used condoms in front of their young virile heroines? And how long can the masses accept such drivel on the screen.
If you want to see good Tamil cinema, then try the offbeat ones, stay away from the superstar-driven films.
Two characters stood out (the RAW agent Balram Naidu and the Vaishnava priest), but the rest seem to be cut-and-paste jobs in a narrative that never grabs you by the neck. Come on, Mr Haasan, you talk about Indian films standing on their own in world cinema--and here you come up with a potboiler which has neither a boiling script nor a pot of cinematic riches. And please start playing your age; you look like actress Asin's father in the film. When will south Indian thespians realise that they look like used condoms in front of their young virile heroines? And how long can the masses accept such drivel on the screen.
If you want to see good Tamil cinema, then try the offbeat ones, stay away from the superstar-driven films.
Monday, March 3, 2008
SRK-Entertainer No. 1
I always believed that SRK is probably India's foremost off-screen entertainer, and I will shout from the rooftops to say that again, after watching this year's Filmfare awards ceremony. It was SRK's show all the way, even though Saif played a great second-fiddle. Anchoring the show for the second time (point out if I am wrong), both of them took over the awards programme and never let it sag even for a minute. This time, their barbs flew in all directions of the audience, sparing none. They were happy tearing apart any one they felt like--Vidya Balan (for her dresses in Heyy! Baby, Ram Gopal Varma (for the debacle of Aag, the remake of Sholay), Amitabh Bachchan (for not inviting most people from Bollywood for Abhishek-Ash wedding).
SRK is best when he is spontaneous and natural--whether in interviews, talk shows, or as anchor. Unlike films, where he usually hams in a big way, these are platforms which give him the maximum leeway to show off his creative instincts. One liners, puns, twists of phrase, black humour and whacky wit--SRK offers everything in one rollicking package. Why is he wasting his time in films when he could be doing a better job as a stand-up comic and anchor (a combination of Billy Crystal and Jay Leno) who can set the stage on fire with his sardonic wit and quicksilver repartees. SRK, television needs you, films don't.
Read: King Khan's De-risking Strategy
SRK is best when he is spontaneous and natural--whether in interviews, talk shows, or as anchor. Unlike films, where he usually hams in a big way, these are platforms which give him the maximum leeway to show off his creative instincts. One liners, puns, twists of phrase, black humour and whacky wit--SRK offers everything in one rollicking package. Why is he wasting his time in films when he could be doing a better job as a stand-up comic and anchor (a combination of Billy Crystal and Jay Leno) who can set the stage on fire with his sardonic wit and quicksilver repartees. SRK, television needs you, films don't.
Read: King Khan's De-risking Strategy
Tuesday, February 19, 2008
Gowarikar's Mughal-e-Awesome
Three cheers to Ashutosh Gowarikar for making Jodhaa Akbar. As I mentioned in my earlier post, I salute him for his rare courage and directorial vision to make a film of this genre in India. It's easy for critics to pick holes in the film, it's easier for people to say that the film distorts history (without bothering to see it). But I think what is more important is that he held on to his dream for nearly three years and translated it onto the screen with as much integrity and honesty that was visible in Lagaan and Swades. And let's not forget that he has done his due diligence on the subject and also been frank enough to admit that the film is 30% history and 70% imagination.
Since I am not a critic and I prefer being a film watcher, there is no point talking about the loopholes in the story and its sloppy script (as some bloggers and critics have pointed out). So I would avoid any analysis of the film. I think I enjoyed what I saw. In fact, I wanted the story to go on at its leisurely pace even after almost three and a half hours of viewing. It was almost like watching life in an era gone by. Everything--from battles, romance to intrigues and courtroom drama--seemed to follow an order that had its own logic (much like life), and not dictated by any commercially-driven script. Even if it did not have the big pull factor of an epic tragedy or an imperial drama, JA had the broad canvas to depict the life and times of an emperor with a secular heart and mind. No problem if the film did not show the grey shades in his character, sometimes it is more refreshing to see positive human emotions play out in idealistic scenarios.
What else? Kiran Deohans' cinematography was breathtaking, ARR's music was divine, Nitin Desai's art direction was appealing, and the lead stars Hrithik and Ash looked like the most exquisite creations on earth. Combine that with some of the most well shot battle scenes in the history of Indian films (please dont compare it to Troy or Gladiator--those guys work with very big budgets) .
To sign off, I think the film has a shimmering quality to it that one associates with a great historical, though it is nowhere near the masterpiece that I was expecting from Gowarikar. It definitely has an international look and feel to it. Any overseas Indian would be happy to show it to people from other parts of the world and say..'this is a slice of India's glorious history'.
Jodhaa Akbar should make a lot a money for its producers both in India and overseas. It will give enough muscle and confidence to Gowarikar to attempt more ostentatious and magnificent ventures in the future. Such guys need more support and encouragement from the viewers and producers. Most importantly for the film industry, he has opened a new market for the genre of Indian historicals. Gowarikar, you are there on top of my list of favourite directors. I hope you continue to show the promise and rightfully inherit the legacy of K Asif (Mughal-e-azam) and Mehboob Khan (Mother India).
Since I am not a critic and I prefer being a film watcher, there is no point talking about the loopholes in the story and its sloppy script (as some bloggers and critics have pointed out). So I would avoid any analysis of the film. I think I enjoyed what I saw. In fact, I wanted the story to go on at its leisurely pace even after almost three and a half hours of viewing. It was almost like watching life in an era gone by. Everything--from battles, romance to intrigues and courtroom drama--seemed to follow an order that had its own logic (much like life), and not dictated by any commercially-driven script. Even if it did not have the big pull factor of an epic tragedy or an imperial drama, JA had the broad canvas to depict the life and times of an emperor with a secular heart and mind. No problem if the film did not show the grey shades in his character, sometimes it is more refreshing to see positive human emotions play out in idealistic scenarios.
What else? Kiran Deohans' cinematography was breathtaking, ARR's music was divine, Nitin Desai's art direction was appealing, and the lead stars Hrithik and Ash looked like the most exquisite creations on earth. Combine that with some of the most well shot battle scenes in the history of Indian films (please dont compare it to Troy or Gladiator--those guys work with very big budgets) .
To sign off, I think the film has a shimmering quality to it that one associates with a great historical, though it is nowhere near the masterpiece that I was expecting from Gowarikar. It definitely has an international look and feel to it. Any overseas Indian would be happy to show it to people from other parts of the world and say..'this is a slice of India's glorious history'.
Jodhaa Akbar should make a lot a money for its producers both in India and overseas. It will give enough muscle and confidence to Gowarikar to attempt more ostentatious and magnificent ventures in the future. Such guys need more support and encouragement from the viewers and producers. Most importantly for the film industry, he has opened a new market for the genre of Indian historicals. Gowarikar, you are there on top of my list of favourite directors. I hope you continue to show the promise and rightfully inherit the legacy of K Asif (Mughal-e-azam) and Mehboob Khan (Mother India).
Also Read
Every Rajput must watch Jodhaa Akbar: Gowariker
Jodhaa Akbar more liked than Lagaan: Ashutosh
Saturday, February 16, 2008
King Khan's De-risking Strategy
Mr Shah Rukh Khan loves media attention like nobody else, and will do anything to keep the arclights shining on him. As long as the news channels keep talking about him, he knows he is in the business. But my reasoned guess is that Mr Khan would not like to continue to place his best bets on films as an USP. The entertainer in him realises that his universe has got to become bigger.
Sooner than later, television will find a firm place in his scheme of things. So what if his return to the small screen last year as the host in Kaun Banega Karodpati series did not get him the TRP ratings. Remember, his entry to films was made possible by television serials like Fauji and Circus. Though audiences and programming have changed since then, television could still give him a new extension to his brand. Predictably, he has already announced his decision to now do a TV show for Star Plus channel. And my guess is that he will also be doing a few programmes for NDTV Imagine, the just-launched entertainment channel of NDTV group, in which his buddy Karan Johar has a stake.
Sport, it seems, will also play a crucial part in his de-risking strategy. He has already taken the first step with his foray into the cricketing world as owner of Indian Premier League's Calcutta Club. Expect more announcements from him in the near future.
Does somebody of his stature in the film industry need to spread himself so thin that he loses his real core? Let me stick out my neck and say that King Khan is an insecure man despite being the country's biggest superstar ever. Films might not ensure his future survival in the industry as much as his talents as an entertainer and entrepreneur.
Badshah and insecurity? You think I am probably nuts. But look at it this way. SRK never really has been an actor. Though he has had a dream run from Baazigar to OSO, he still does not have more than a couple of role-defining performances (barring Swades and Chake De) in his long career. Blame it also squarely on the AK factor (Aamir Khan) who seems to come up trumps every time SRK thinks he has done it better.
The AK factor comes into play almost every year. It happened in 2007 too. Badshah was basking in the critical acclaim of Chak De and box office glory of Om Shanti Om. He must have hoped to end the special year on a high. Then came the big spoiler in the form of AK's groundbreaking flick Taare Zameen Par. Here was a film that showcased the 'thinking' Khan's directorial talent and perspective, and his courage as a producer. Once again, AK stole SRK's thunder with a film that raised the cinematic bar in India (as in the case of Rangeela, Sarfarosh, Lagaan, Dil Chahta Hai and Rang De Basanti).
Call it creative pressure or a kick in the knuckles, TZP's achievement has made SRK sit up and announce a flick for kids at an eye-popping budget of Rs 100 crore. The film, to be directed by Anubhav Sinha, is supposed to have lots of special effects and CGI. And Mr Khan wants the best of technical minds from Hollywood to create and is touted as India's answer to Spiderman. But in his tearing hurry to straddle Bollywood, he might be once again falling into a trap that led him to produce forgettable ventures like Asoka, Phir Bhi Dil Hai Hindustani, Paheli and One Two ka Four.
SRK's choice of director for his mega-venture shows his knack for getting the wrong people for his production ventures. Anubhav Sinha's last two films, Dus and Cash, were disappointing flicks--all gloss without story and soul. SRK's best directorial bet is still Farah Khan, who gave him two of his biggest hits--Main Hoon Na and Om Shanti Om. Farah is one director who knows her masala inside out.
But who can dare a Khan who knows too well that he is riding a high now, and that anything which he tosses up in the air--a romantic flick with a 20-year-old as heroine, a TV show, a dance event, or an ad campaign, or a twenty20 cricket match--will be lapped up by a dumbstruck audience with bated breath.
Sooner than later, television will find a firm place in his scheme of things. So what if his return to the small screen last year as the host in Kaun Banega Karodpati series did not get him the TRP ratings. Remember, his entry to films was made possible by television serials like Fauji and Circus. Though audiences and programming have changed since then, television could still give him a new extension to his brand. Predictably, he has already announced his decision to now do a TV show for Star Plus channel. And my guess is that he will also be doing a few programmes for NDTV Imagine, the just-launched entertainment channel of NDTV group, in which his buddy Karan Johar has a stake.
Sport, it seems, will also play a crucial part in his de-risking strategy. He has already taken the first step with his foray into the cricketing world as owner of Indian Premier League's Calcutta Club. Expect more announcements from him in the near future.
Does somebody of his stature in the film industry need to spread himself so thin that he loses his real core? Let me stick out my neck and say that King Khan is an insecure man despite being the country's biggest superstar ever. Films might not ensure his future survival in the industry as much as his talents as an entertainer and entrepreneur.
Badshah and insecurity? You think I am probably nuts. But look at it this way. SRK never really has been an actor. Though he has had a dream run from Baazigar to OSO, he still does not have more than a couple of role-defining performances (barring Swades and Chake De) in his long career. Blame it also squarely on the AK factor (Aamir Khan) who seems to come up trumps every time SRK thinks he has done it better.
The AK factor comes into play almost every year. It happened in 2007 too. Badshah was basking in the critical acclaim of Chak De and box office glory of Om Shanti Om. He must have hoped to end the special year on a high. Then came the big spoiler in the form of AK's groundbreaking flick Taare Zameen Par. Here was a film that showcased the 'thinking' Khan's directorial talent and perspective, and his courage as a producer. Once again, AK stole SRK's thunder with a film that raised the cinematic bar in India (as in the case of Rangeela, Sarfarosh, Lagaan, Dil Chahta Hai and Rang De Basanti).
Call it creative pressure or a kick in the knuckles, TZP's achievement has made SRK sit up and announce a flick for kids at an eye-popping budget of Rs 100 crore. The film, to be directed by Anubhav Sinha, is supposed to have lots of special effects and CGI. And Mr Khan wants the best of technical minds from Hollywood to create and is touted as India's answer to Spiderman. But in his tearing hurry to straddle Bollywood, he might be once again falling into a trap that led him to produce forgettable ventures like Asoka, Phir Bhi Dil Hai Hindustani, Paheli and One Two ka Four.
SRK's choice of director for his mega-venture shows his knack for getting the wrong people for his production ventures. Anubhav Sinha's last two films, Dus and Cash, were disappointing flicks--all gloss without story and soul. SRK's best directorial bet is still Farah Khan, who gave him two of his biggest hits--Main Hoon Na and Om Shanti Om. Farah is one director who knows her masala inside out.
But who can dare a Khan who knows too well that he is riding a high now, and that anything which he tosses up in the air--a romantic flick with a 20-year-old as heroine, a TV show, a dance event, or an ad campaign, or a twenty20 cricket match--will be lapped up by a dumbstruck audience with bated breath.
Wednesday, February 13, 2008
Just two days for Jodha Akbar's release
I can't wait to see Jodhaa Akbar. I really hope the film does not disappoint me. A R Rahman's music score has raised my expectations of Ashutosh Gowarikar's latest offering. I have become the film's brand ambassador on the presumption that Gowarikar would have done a great job with an ensemble cast that includes Indian filmdom's high-appeal stars, Hrithik Roshan and Aishwarya Rai. I would love to see them decked in royal splendour and enact a love story set in one of the most momentous times in India's history.
Most people I know have given the film the thumbs down. They say that a historical will not get the audiences in today's times. I would be happy if they take back their words after seeing the film. I fail to understand why people would not like to see a story that takes us back to an era gone by. If the story is well told, I am sure anybody would sit through 3 and 20 minutes (the length of JA's final cut) without a murmur. Gowarikar gave us an enjoyable film in Lagaan, which was a longer film.
More crucially, JA has already raked in a fair bit of controversy during the past few weeks. I think it's good for the film. One must thank certain sections of the Rajputs who are opposed to the film (they say Jodhaa was Akbar's son Jehangir's wife and not Akbar's wife). I think that's nothing but bunkum especially after the direct descendants of Jodhaa have cleared the film.
I am sure the film will generate more controversy once it is released. I think it's hard for many people in India to digest a Hindu-Muslim love story, especially if it shows that the lovers lived happily ever after.
Whatever the fate of the film, three cheers to Ashutosh Gowarikar for an honest effort to bring alive a slice of history. He has the guts and vision to translate his dream to reality. Inshallah, JA will create a sensation at the box office in India and the world (it's releasing in 26 countries around the world).
Most people I know have given the film the thumbs down. They say that a historical will not get the audiences in today's times. I would be happy if they take back their words after seeing the film. I fail to understand why people would not like to see a story that takes us back to an era gone by. If the story is well told, I am sure anybody would sit through 3 and 20 minutes (the length of JA's final cut) without a murmur. Gowarikar gave us an enjoyable film in Lagaan, which was a longer film.
More crucially, JA has already raked in a fair bit of controversy during the past few weeks. I think it's good for the film. One must thank certain sections of the Rajputs who are opposed to the film (they say Jodhaa was Akbar's son Jehangir's wife and not Akbar's wife). I think that's nothing but bunkum especially after the direct descendants of Jodhaa have cleared the film.
I am sure the film will generate more controversy once it is released. I think it's hard for many people in India to digest a Hindu-Muslim love story, especially if it shows that the lovers lived happily ever after.
Whatever the fate of the film, three cheers to Ashutosh Gowarikar for an honest effort to bring alive a slice of history. He has the guts and vision to translate his dream to reality. Inshallah, JA will create a sensation at the box office in India and the world (it's releasing in 26 countries around the world).
Rajni's Change of Policy
Just read a news piece in a website that Tamil superstar Rajni is planning to start work on his new venture 'Robot', to be directed by Shankar of Sivaji fame, from April this year. I wonder whether Rajni has broken his long standing norm of doing one film at a time. Even before Robot goes on floors, Rajni would have begun shooting for Kuselan, a quickie that will be based on a Malayalam film. Rajni is even talking about doing a Telugu flick. So is it a change of policy, or is it a sign of new-found confidence in his abilities to rock the box office after the stupendous success of Sivaji?
I would love to see Rajni adding more variety to his roles. This is the best time for him to once again experiment with new genres and new narratives. There is no doubt that he still has the energy and the presence to light up the screens. What he needs is a makeover that will once again establish him as a director's actor. And that would mean that he plays roles that befit his age and experience. A tall order that, if you know what Rajni's fans expect of him--a larger than life messiah who keeps spouting social messages by the minute when he is not dancing with heroines younger than his daughters.
I would love to see Rajni adding more variety to his roles. This is the best time for him to once again experiment with new genres and new narratives. There is no doubt that he still has the energy and the presence to light up the screens. What he needs is a makeover that will once again establish him as a director's actor. And that would mean that he plays roles that befit his age and experience. A tall order that, if you know what Rajni's fans expect of him--a larger than life messiah who keeps spouting social messages by the minute when he is not dancing with heroines younger than his daughters.
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