bol1 Голосов: 1 Адрес блога: http://boollywoodnews.blogspot.com/ Добавлен: 2013-02-09 12:37:59 блограйдером 1234zz

Check out Deepika on sets of Ram Leela

2013-02-09 12:32:00 (читать в оригинале)


The pretty Deepika Padukone was spotted shooting in Udaipur for Sanjay Leela Bhansali's Ram Leela. The film has Deepika paired opposite Ranveer Singh.


Deepika tried her best to evade the cameras but couldn't avoid being clicked. What is interesting is the ek chutki sindoor on her forehead. So does this imply that she plays a married lady in Ram Leela? One will have to wait and watch!

---

Youngest hero Shahid all set for South masala

2013-02-09 12:32:00 (читать в оригинале)

Days of playing a love boy would (finally) soon be over for Shahid Kapoor. After suffering from two back to back debacles (Mausam, Teri Meri Kahaani), none of which truly projected what he is actually capable of, Shahid is now all set to wear his action shoes and saviour a 'masala thali'. His Rambo Rajkumar, which has been in news for some time now, is all set to go on floors in a couple of weeks from now and Shahid is making massive preparations to get into some good form before he starts following his director Prabhu Dheva's instructions.

"e;No one is making any pretence of the fact that Rambo Rajkumar belongs to the same genre that has resulted in quite a few South remakes turning out to be successful, right from Wanted to Rowdy Rathore. Incidentally both were directed by Prabhu Dheva and life is coming back full circle for the director. Shahid is clear that he wants to go totally in the direction that Prabhu has set for him"e;, informs a source.

What makes the film further special for Shahid is the fact that in the recent past, the only South remakes to have made a killing at the box office have all featured a senior actor in the lead. This makes him the youngest ever to feature in a film belonging to this genre.

"e;Today if you go and see mainstream action masala movies, you see senior actors like Salman (Wanted, Bodyguard), Akshay (Rowdy Rathore) or Ajay (Singham) in there. You don't see someone who is a little fresh and younger featuring in such genre"e;, says Viki Rajani, who is producing the film along with Sunil Lulla, "e;This was one factor that really excited me as it would be something new for me as well as audience."e;

He isn't willing to term the movie as the one that belongs to 'South style'. "e;I would rather say that the film is more of 'Prabhu Dheva style'"e;, says Viki.

Well, we say, it is one and the same thing. However, to see Shahid in a kicking, punching and jumping avtar, should make for a new sight indeed.

A co-production of Eros and Next Gen Films Productions, Rambo Rajkumar is slated for November 15, release.

---

ABCD - Any Body Can Dance

2013-02-09 12:32:00 (читать в оригинале)

The first time I heard the title of his new movie, I asked Remo D'Souza, can anybody [and everybody] dance? But you get the response while surfing television channels: Dance-based shows have become a prerequisite for the programming department of most channels. From kids to young couples to even senior citizens, these dance-based shows feature just about anyone and everyone with the passion for dance. There's no 'age limit', frankly. Come to think of it, music and dance are an integral part of our culture and day-to-day life. We love dancing, don't we? Dancing on the streets, during weddings, birthday celebrations, festivals... we also break into a dance when India wins a crucial cricket match against a strong opponent.

Bollywood doesn't have the tradition of making out-and-out dance-based movies, like Hollywood does with amazing regularity. At a point of time, B. Subhash did attempt a film or two starring Mithun Chakraborty [DISCO DANCER, DANCE DANCE]. Also NACHE MAYURI, featuring Sudha Chandran. But ABCD - ANY BODY CAN DANCE is the first of its kind that's set against the backdrop of a dance competition. Does it ring a bell? Does it borrow from the STEP UP series? Perhaps, Remo may be motivated by the Hollywood film franchise, but he Indianizes it well enough, garnishing it with emotions that we can identify with and of course, choosing some of the best dancers for pivotal parts, besides casting Prabhu Dheva and Ganesh Acharya. Plus, this one's in 3D.

Of course, there are hiccups [more on that later], but the triumph of the underdog, if attempted with conviction, seldom fails. And ABCD - ANY BODY CAN DANCE does have its share of moments that work!

For Vishnu [Prabhu Dheva], dance is more than a passion -- it's the reason he lives! So when he finds himself thrown out from the dance academy he himself set up by his manipulative business partner [Kay Kay Menon], it feels like the oxygen has been sucked out from the air he breathes. Heart-broken, Vishnu decides to give up dance and leave Mumbai forever.

However, the night before his departure, he witnesses a most amazing sight -- a group of raw talent preparing for the upcoming dance competition during the Ganeshotsav. An annual festival that pits Mumbai's best dance groups against each other. Watching the amazing dancers helps Vishnu arrive at a decision. He decides to take this disparate group under his wing, help them overcome their personal rivalries and past demons and turn them into India's best dance squad!

Ideally, a well-known choreographer would make his directorial debut with a dance-based film, but after making a statement on the education system in F.A.L.T.U. [his first Hindi film, after attempting a Bengali film], Remo's second Hindi outing ABCD – ANY BODY CAN DANCE revolves around dance and dancers. Naturally then, ABCD - ANY BODY CAN DANCE boasts of some spectacular dance pieces, with Remo bringing alive estimable vigor, energy and imagination on the big screen. He blends the emotional quotient with dance and music and presto! You can't take your eyes off the screen every time a dance breaks out.

ABCD - ANY BODY CAN DANCE's biggest strength lies in the variety of dances that Remo presents to the spectators. Where the film falters is in its skeletal plotline, although writer Tushar Hiranandani comes up with several knockout sequences. But there's no denying that the screenwriting deviates into the conventional and foreseeable zone in the second hour. The curse of the second half [most films run out of steam in the post-interval portions] looms large here too, as Remo resorts to clichés to carry the story forward. Besides, the film is stretched by at least 15/20 minutes. Thankfully, the narrative gathers steam once again towards the closing portions and the dance competition in the finale is simply breathtaking.

The comparisons with F.A.L.T.U. would be foolhardy, since the two films belong to diverse genres, but Remo shows ample growth and confidence as a storyteller in ABCD – ANY BODY CAN DANCE. A few emotional and dramatic moments are the mainstay of the enterprise, while the sequences featuring the dancing talent are attention-grabbing as well. The real test lies in making the dancers [new talent] act. The gamble of casting dancers in pivotal parts seems to have worked, since most of them take to their parts with confidence.

Sachin-Jigar create a winsome soundtrack for the film, complimenting the theme of the movie. 'Bezuban' is, without a shred of doubt, the pick of the lot and its choreography is breathtaking. Also, the track during the end credits, featuring greats such as Saroj Khan, Prabhu Dheva, Ganesh Acharya and of course, Remo, is another crackling number. The Ganeshotsav song in also stays with you. The choreography of each song and dance piece deserves distinction marks. It's truly inventive and pop out from all kinds of places. The camerawork is perfect, while the 3D may seem gimmicky at times, but accentuates the impact of several scenes, especially the dance pieces.

Prabhu Dheva returns to the acting arena after a hiatus. Regarded as the dance legend by many, Prabhu is, expectedly, incomparable in dances, but the good news is that he handles the dramatic scenes well too. It's all the more significant since he's pitted against no less than Kay Kay Menon, a tremendous talent. Kay Kay is, as always, natural to the core, essaying his part with flourish. Ganesh Acharya is a revelation. He's efficient in a significant role.

The film introduces several new talents on the big screen, but Dharmesh, Salman and Punit Pathak catch your eye the most. Lauren Gottlieb is alright.

On the whole, ABCD - ANY BODY CAN DANCE has some incredible, eye-popping dances as its soul. While the template may be conventional -- the triumph of the underdog -- the film has its share of moments that stay with you, especially the concluding portions of the film. Decent watch!

---

Special 26

2013-02-09 12:32:00 (читать в оригинале)

Neeraj Pandey's directorial debut A WEDNESDAY, which made a strong social statement, remains fresh to this date. It's one of those rare movies that won critical acclaim, swept major awards and reaped box-office rewards as well. The supremely talented storyteller now carries a major responsibility on his shoulders: SPECIAL 26 has to be a worthy follow up to A WEDNESDAY. While A WEDNESDAY was about the common man, his second attempt, SPECIAL 26 is about a con man. Sorry, con men. The core issue remains the same: Law breakers and law enforcers. SPECIAL 26, however, is more of a caper, inspired by true incidents.

A quick clarification before I proceed further. SPECIAL 26 is not one of those mindless masala entertainers with leave-your-brains-at-home attitude. You may assume it's one because Akshay Kumar is synonymous with films like HOUSEFULL series, ROWDY RATHORE and KHILADI 786. SPECIAL 26, which borrows from real-life incidents, is a heist drama, has no forced humor, no South-styled stunts, no song-and-dance routine with foreign dancers in the background. SPECIAL 26 is more of a 'treatment' movie, a plot-driven fare. So, there!

SPECIAL 26 may be a fictionalized account of events that occurred in the 1980s, but Neeraj ensures it does not transform into a dry film/documentary that focuses completely and absolutely on the incidents. The film has the soul of a thriller and the director makes sure that it not only enlightens [to the present-day viewer], but entertains as well. While the volatile plot and enthralling drama catches your attention, the execution of the written material, besides proficient performances from each and every member of the cast, makes SPECIAL 26 a game changer, a worthy follow up to the director's A WEDNESDAY.

SPECIAL 26 brings to the big screen the scandalous and outrageous incidents that occurred in the 1980s. The film narrates the story of a group of con men who orchestrated and executed a series of robberies, targeting the rich and famous, business magnets and politicians by posing as CBI or IT officers, under the pretext of confiscating unaccounted wealth [black money] from their premises.

SPECIAL 26 encompasses three startling cases that sent a shiver down the spine of many a businessman in the 1980s. What makes the film tick is the manner in which Neeraj Pandey integrates these episodes in a sequence and develops a clever cat and mouse saga between law breakers and law enforcers. Like A WEDNESDAY, SPECIAL 26 also sets you thinking, but the motive this time is not to convey any message or make any social statement. The intention is crystal clear: Make an entertainer with a refreshingly different premise, which is a 360-degree transition from the customary masala fare. Yet, it's sharp, intelligent and thoroughly enjoyable.

Although SPECIAL 26 is about criminals, Neeraj shuns the unwanted bloodshed/violence and coarse language that would make the spectator uncomfortable. On the contrary, a film like SPECIAL 26 teaches you that you can attempt a thriller without resorting to the above-mentioned components, yet make a slick period thriller that's thoroughly engaging and charming. Also, since it's a period film [depicting the 1980s], Neeraj seems meticulous about everything that appears on screen, from vehicles to clothing to ambience to the overall look and feel.

Blemishes? Yes, the romantic track is an eye-sore. Was it necessary to include romance and songs in this movie? Why, Neeraj? The first half gets diluted for this reason, although the post-interval portions are simply outstanding. As for the soundtrack, there's nothing to hum about. Bobby Singh's cinematography is top notch and captures the bygone era with flourish.

Now to the performances! Akshay Kumar does a complete U-turn with SPECIAL 26. Deviating from the comic/action roles he is recognized for, Akshay truly reinvents himself with SPECIAL 26. No two opinions on that. This is, without doubt, one of the most challenging roles in his career and the seasoned actor enacts it with complete authority. Not only will Akshay's fans adore him in this new avatar, even the skeptical types will applaud this superb act.

Manoj Bajpayee has been associated with several path-breaking/cult films and one must add SPECIAL 26 to his fascinating repertoire. The skilled actor delivers yet another noteworthy performance that'll be hard to erase from your memory. Anupam Kher is another splendid actor who has an illustrious body of work and his part and performance in SPECIAL 26 is truly special. In fact, together with Akshay, Anupam and Manoj add so much power to the written scenes and lines.

Jimmy Sheirgill is first-rate, although the focus is primarily on the above-named three actors. Kajal Agarwal, who plays Akshay's love interest in the film, doesn't have anything substantial to do. Rajesh Sharma and Kishore Kadam lend superior support. Divya Dutta has a brief role, which she enacts well. Deepraj Rana is alright.

On the whole, SPECIAL 26 is an intelligently woven, slick and smart period thriller with its subject matter as its USP. It's sure to get listed as one of the most gripping heist dramas based on real life occurrences. A film that's sure to win accolades, acclaim and awards. Also, box-office rewards!

---

Mai

2013-02-09 12:32:00 (читать в оригинале)

There are innumerable heartbreaking stories of children cutting off all ties with their parents in their ripe age. Ill-treating parents, enrolling them at old-age homes, avoiding them, abusing them, even torturing them during the sunset of their lives... the behavior is despicable, appalling and disgraceful. How does the modern world treat its elders? Why do kids push their parents -- who need all the love, care and attention -- into the dark alley? MAI... raises the disturbing issue of a distressed mother discarded by her son.

A subject like this isn't new for the Hindi screen. ZINDAGI [Sanjeev Kumar, Mala Sinha], AVTAAR [Rajesh Khanna, Shabana Azmi] and BAGHBAN [Amitabh Bachchan, Hema Malini], besides several films, have dealt with elderly parents being neglected by their children. In those films, the senior citizens were mistreated by their kids. In MAI..., the mother is reluctant to admit that her son has discarded her and is embarrassed to stay with her daughter and son-in-law. Therein lies the difference!

The premise may be archaic -- elderly parents being neglected/ignored/mistreated by their family -- but it's relevant even in this day and age of nuclear families and children who don't think beyond themselves. Apparently, the subject matter [screenplay: Manoj Tapadia and Mahesh Kodiyal] demands a sensitive storyteller and director Mahesh Kodiyal executes the material with extreme sincerity and sensitivity.

MAI... banks heavily on the emotional quotient, making you think about the woman who helped her son take the first steps, but the ungrateful son deserts her when she needs to take her last ones. Loaded with emotions, with heart wrenching situations, MAI... is a sincere attempt at telling an uncomplicated story with straightforwardness, with episodes that tug at your heartstrings.

MAI... is about a woman [Asha Bhosle] suffering from Alzheimer, who is tossed between her four children. The only son, who she had great expectations from, isolates her the moment he lands a job in a foreign country. The two youngest daughters try to run away from the responsibility too. The eldest daughter, Madhu [Padmini Kolhapure], a woman of substance, takes a stand against the wishes of her husband [Ram Kapoor] and daughter takes the responsibility of tending for her.

As time progresses, Mai's health deteriorates. The family life of her daughter is in shambles due to the prevailing tension with her husband. However, Madhu balances her disgruntled family and work pressure, until, one day, the condition of her mother forces her to quit her job. At this stage, the relation between Mai and her son-in-law takes a miraculous turn, which changes his life forever.

In this era of new-age cinema and experimental themes, MAI... may come across as an old-fashioned tale, with cliches aplenty, but some subjects can never go out of fashion. The tried and tested formula continues to work despite contrived scenes and situations, if handled with dexterity. That's one of the prime reasons why MAI... works -- the expert handling by its director. Rich in emotions, the film never deviates into unnecessary sub-plots, which explains why the focus remains on the core issue.

Downers? The run time could've been shorter, with Kodiyal doing away with a couple of sequences and songs. Also, a few sequences don't leave much of an impact, perhaps because they seem too predictable. Besides, one of the vital points in the screenplay -- the change of heart of the son-in-law -- seems abrupt and far from convincing. There had to be a strong reason, which is missing here.

Cinematography deserves special mention, mainly because a major chunk of the film is shot indoors [in a home, in this case]. Dialogue are straight out of life and sound so real.

Asha Bhosle, who makes her acting debut with MAI..., surprises you with a controlled, refined, truly wonderful performance. She lends a lot of credibility to her character and makes it seem so genuine. Padmini Kolhapure is supremely efficient, while Ram Kapoor handles his part with flourish. Note Ram's outburst in an inebriated state. His contribution to several sequences is truly wonderful. Both, Padmini and Ram contribute enormously to the dramatic moments, which, frankly, would've fallen flat if entrusted to amateurish actors.

Anupam Kher is perfect in a cameo. Naveen Kaushik, enacting the part of the son, doesn't get much scope, while Shivani Joshi, who plays Padmini and Ram's daughter, is alright.

On the whole, MAI... is an honest attempt. It moves you on several occasions thanks to its emotional quotient, but it needs a strong word of mouth and patronage to sustain from its target audience -- the families.