Jhoom Barabar Jhoom

Rahim Chacha is an old family help. He came over to the USA with my siblings and me. These days he visits my siblings once in a while, but thinks of my home as his home. As old as he is, he still insist on doing everything. He cooks & cleans, drives me around, he is the butler as well as the gardener. He is truly family to my siblings and me, and like true family members we subject him to a lot of pranks. We have convinced him that his eye sights are getting weaker. Every time a new Lil C movie comes to town, we take him to see the movie. On seeing Lil C, he always says, “When I see Fardeen Khan, I can see that he is Feroz Khan’s son. When I see Bobby Deol, I can see that he is Dharmendra’s son. When I see Nawab Saif Ali Khan Patuadi, I can see that he is Sharmila’s son, but when I see Lil C, it appears that I am seeing Gulshan Groover’s son”. Ofcourse all he has to do is say that and we pound him till he is convinced that his eyes are getting weaker.

Thanks to Rahim Chacha, I saw “Jhoom Barabar Jhoom”  on June 16, 2007. Rahim Chacha’s reaction was, “Kaisi Chali Hai Abh Ki Hawa Tere Shaher Mein, Bunday Bhi Ho Gayein Hai Khudah Tere Shaher Mein”. In the old days of Rahim Chacha there used to be Dilip Kumar, Raj Kapoor and Dev Aanad. He also saw the likes of Shammi Kappor, Sunil Dutt, Dharmendra. Unfortunately for him (as he puts it) he has lived to see Lil C, a ugly third class actor with no charisma being shoved down our throats by the media.

As opposed to many, I liked JBJ’s story. I can see why Adi invested in this venture. Nonetheless, the screenplay let the movie down and the dull direction just killed it. If you ask me who screwed up JBJ, I would say it is a toss up between lack luster direction of Shaad Ali and the poor acting of Lil C.

All Lil C had to do was be slightly better than Akshay Kumar (in Namaste London). Now how difficult can that be? But leave it up to Ash’s husband to screw up even a simple job. Instead of a Panju from Batinda, we see a Doodhwalla Bhaiya from Allahbad making all kind of faces. What was Lil C thinking ? Does he not know the difference between Punjab and UP ? He acts in JBJ as if this was some street “Nautanki”. Needless to say Lil C is so lacking in the charisma department that even Huffy Bhai scores over him. As usual, Lil C is very under whelming.

Preity Woman must be furious that after “Salaam Namaste”, she got demoted to a Lil C movie while Adi’s pet Rani, after Bunty & Bubly, got promoted to a Nawab Saif Ali Khan Patuadi movie. Thanks to Saif, Rani has a hit and thanks to Lil C, Preity has a flop.

Bobby Deol was the star in JBJ. He looked great and acted even better. Even in a relatively small role, he steals the show. Do not trust any review which claims that Lil C was better. Bobby did to Lil C in JBJ what HR did to him in Dhoom II. In the first half Bobby plays a rich suave guy and in the second half a nervous nelly. He does both of them so well that I would love to see him more often in comic roles. Along with Preity Woman, and Huffy Bhai he is the life of the movie.

Lara Dutt seriously needs to lose some weight and the less said about Big B the better. No wonder Big B is fast becoming very irrelevant. That Big B laughter close to the wee end of the movie was so fake and it puts into play the question, “Is Bachchalan Burnt Toast?”

At the end of the movie, I teasingly asked Rahim Chacha if he liked the kiss (Lil C kisses Preity Women in JBJ) ? To which Rahim Chacha replied, “You call that a kiss ? Kiss is what HR gave to Ash in Dhoom II”. It is safe to say that we all agree with Rahim Chacha. This was Lil C’s one last chance to prove that he is a contender for a slot in the top fifteen stars of Bollywood, unfortunately even with YRF’s backing, Lil C like a true Bachchan, fell flat on his face.

Love stories are in for me: Rajat Kapoor

Love stories are in for me: Rajat Kapoor

Ashok Kumar (Expressindia.com)

New Delhi, August 1: Rajat Kapoor, who shot to limelight after his performance in Corporate, Monsoon Wedding and Bheja Fry, is one person in Bollywood who performs equally brilliantly as a director, actor and writer as well. He was in the capital recently at the world premiere of his Directorial venture Mithya wherein he gave the opportunity of small interaction to the media to peek in. What makes you indulge frequently in offbeat cinema instead of the mainstream one? The offbeat cinema is doing well these days. Unlike past, the dividing line, between the mainstream cinema and the offbeat one, is getting thinner and the larger sections of society are more readily accepting the latter. Your portrayal of gangsters in movies is very simplistic in nature and the treatment given to the outlaws is very earthy, which can be easily identified by people. Is it a conscious effort? (Laughs) Nobody knows how the gangsters lead their life. We just take on a particular style track in their portrayal. So, in the process we try to superimpose our lives on them. The final product is the outcome of all this understanding. What is next in store with you for your upcoming projects? Love stories are in for me. Now I would be concentrating more on the making of movies based on this subject. What drives you to make movies based on the people of underworld? My romance is with the old gangster films. But, now I will not make this kind of stuff in the near future. Do you buy the proposition that the rise in multiplex culture has boosted the prospects of the offbeat cinema, by providing to it, that, much needed niche audience? Of course, there is no doubt about it. With the rise of multiplex cinema in the metros and other big cities the scope for offbeat cinema has increased steadily which is one of the reasons why the offbeat cinema is doing better these days.

PARTNER joins the big league of DHOOM 2, KANK, KRRISH, DON

PARTNER joins the big league of DHOOM 2, KANK, KRRISH, DON

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August 1, 2007 5:31:32 PM IST Joginder Tuteja, Bollywood Trade News Network

No one, not even David Dhawan would have ever imagined PARTNER to be the kind of success it has become.

Delayed for some time, the film was carrying good reports as it was getting ready for release. But the scenario was unprecedented to say the least when the film hit the screens on July 20th.

As a solo release of the week, the film opened to an unbelievable response and stayed on to do excellent business throughout the first week. Result? The film has now joined the league of big budget extravaganzas and mega money spinners like DHOOM:2, KANK, KRRISH and DON.

Each of the aforementioned films have registered all time high first week collections at the box office. While DHOOM:2 sits at the top with 35 crores, KANK (28 crores), KRRISH (26.5 crores) and DON (24.5 crores) have been monumental too.

Now look at what PARTNER has earned in its first week. Believe it or not but now the film stands next only to DHOOM:2 as it has made close to 30 crores in it’s first week!

Tremendous to say the least, the film continues to attract audience due to two major reasons. First and foremost the film has garnered excellent word of mouth with repeat audience flocking the theaters too. Secondly, due to CASH postponing by a week, the ground was clear to make hay for PARTNER!

David Dhawan, Govinda and Salman Khan have struck big time. And how!!

‘Salman is very similar to Sean Connery’

‘Salman is very similar to Sean Connery’: Willard Carroll.
Rediff

Getting big stars to do his bidding isn’t exactly a new experience for Willard Carroll. The Maryland-born filmmaker graduated from the USC School of Cinema-Television in 1978 and, a mere 20 years later, produced Playing By Heart, starring Sean Connery and Angelina Jolie. It was nominated for a Golden Bear.

As his Indian romance Marigold — the film was written by Carroll — prepares to release worldwide, he tells Raja Sen how a chance visit to a theatre in Chennai four years ago led him to Salman Khan, and the world of the Bollywood musicals.

What is the first thing you want to tell us about Marigold?

The film is about an American actress who comes to India, ends up having a tiny role in a Bollywood musical and falls in love with the choreographer. It’s a romantic comedy, with seven songs.

Just how do songs find their way into your English film?

It’s set in the world of Bollywood, which gives it a reason to have those songs. I think American audiences might have a problem with that, so I thought this would be a good way in, to make them more organically part of the film. In the English version, only two songs are in English.

At screenings in the United States and United Kingdom, nobody mentioned the fact that the songs are in Hindi. When I first told my financiers I wanted to make an English film with Hindi songs, they thought I was crazy. But once you accept the songs are a part of the reality of this film, it seems right. In a weird way, I think music is more universal than even films. People respond to the sounds, the beat of a song.

The Hollywood musical classically interweaves songs as a part of the narrative, the characters singing out dialogues and expositions. Here, our songs are more abstract expressions. What route does Marigold take?

I wanted all the songs to comment on the relationship between Salman’s and (heroine) Ali Larter’s characters.

Would this be a film in the Bride & Prejudice vein?

I haven’t seen Bride & Prejudice but I’m told it’s a Bollywood movie in English. That is not what I’m trying to do. Bollywood has made inroads in some aspects in America, in the bigger cities. But most Americans have never seen a Bollywood film. The fact that it is set in Bollywood is almost the second level of the story; the first is that of somebody travelling somewhere to find themselves.

So it is Ali’s story.

It is Ali’s story, about what happens when she comes to India for the first time. Actually, it’s very close to what she went through — an actress who can’t dance coming to India for the first time.

In the film, Salman teaches her to dance, and he had to help her through most of the choreography. We adopted the Bollywood style of shooting, which was different from how we’d shoot it there. Ali was open to all this, but also terrified, I think. But she went away pretty altered as an actress. It was a great experience for her.

How was it for you? What is shooting in India like?

It was great. I was lucky because I have been here many times before. I had been on a lot of sets and met a lot of industry people so it didn’t come as a surprise to me. I didn’t come with a Hollywood crew; I hired everyone here. So I had the right group of people, and the shoot went smoothly. Also, we shot very fast — 41 days — and it sometimes went like a blur. It wasn’t easy, but it was fun.

When did you start watching Hindi films?

I saw a film in Chennai about four years ago in a theatre, and loved it. I hadn’t watched any other Bollywood film through to the end till then, to be honest. I decided to give myself a Bollywood education, so I bought about 150 movies, which I then watched in about six months. They were mostly films made in the last five years. One of my favourites was Hum Dil De Chuke Sanam, so I hired the cameraman and production designer who did it. I wanted to keep it authentic. I am an American, an outsider, so the movie has an outsider’s perspective, but I wanted the tapestry of the movie to be legitimate.

Is it a tongue-in-cheek look at Bollywood?

No. It’s not a parody of Bollywood, and it doesn’t take cheap shots. That’s not the kind of movie I like to watch. There’s obviously humour to be found in the process and I hoped I mined some of it. But I wanted the humour to come out of the characters, instead of making it campy.

Why Salman? Was that also because of your appreciation for Hum Dil De Chuke Sanam?

Actually, the first movie I saw was Chori Chori Chupke Chupke, and I thought he was terrific in it. When I went home, I saw his older films — I can honestly say I have seen every one of Salman Khan’s films. I thought he would appeal to an American audience. I met him on my second trip here, and his persona in real life is even more entertaining than his persona on screen; he’s such a funny guy, so smart, and with such an idiosyncratic way of speaking. So I wrote the movie for him, for his style of talking, his delivery.

What was the trickiest thing about shooting in India?

The trickiest thing was shooting with Salman, just because he’s Salman. You’d suddenly have 50 people, and then thousands, all queuing up to see him. That was tough because we were shooting sync-sound — it is the first time Salman is doing sync-sound — and that made it a little difficult for us.

Sometimes, when the extras came in for a scene, the locals would come with them. And the problem is we couldn’t tell the extras from the villagers (laughs)! The most difficult was the shot at Mumbai’s Gateway of India. That was crazy, but in a fun way.

What is working with him like?

It was great. He’s a very spontaneous actor and, because I’d known him for about two years before we shot, there was a good comfort level there. He had been involved in the development of the script, so there weren’t any surprises for him. I wanted a more low-key Salman, and this film is closer to some of his earlier performances, his earlier characters — which is also why I named his character Prem.

He was also great with Ali. They come from totally different disciplines: Ali loves to rehearse, to analyse the character and scene. Salman doesn’t want to rehearse; he knows what he’s going to do before he gets there.

I did a movie with Sean Connery, and he’s actually very similar to Sean in that way — they don’t like a lot of takes, and don’t like to really talk about stuff except during the script process.

‘Let Alibaug go to hell, I’m upset about Sanjay’: Gupta

‘Let Alibaug go to hell, I’m upset about Sanjay’

Suruchi Mazumdar

Mumbai, August 1: The 14-year wait is over. But sadly not on a note that would make the film industry happy. As the threat of six years’ rigorous imprisonment looms large on Sanjay Dutt’s fate, the fraternity grapples with its consequences. Post his Munnabhai MBBS success, Dutt’s renewed star status had producers and directors making a beeline to sign him up for their big projects. And he has several of them in the wings. There are Abbas-Mustan’s Mr Fraud, Sanjay Gadhvi’s Kidnap and Sanjay Gupta’s Alibaug and Dus Kahaniyan. In Hansal Mehta’s Woodstock Villa, also a Gupta production, Dutt makes a guest appearance. Two more ‘Munnabhai’ films are also waiting to be made. “Dutt has about Rs 100 crore riding on him,” says trade analyst Taran Adarsh. While the actor had just started shooting for Alibaug, he was halfway through with both Mr Fraud and Kidnap. “Nearly 40 to 45 per cent of shooting is over for Mr Fraud and Kidnap. The industry is shell-shocked,” says a source. A sentence at this crucial juncture has certainly jeopardised the future of all these productions. In most cases, the directors and producers are ready to stall their productions as a gesture of solidarity for their friend and superstar. “There will be no Alladin without Sanjay Dutt. I’ll wait for him,” says director Sujoy Ghosh who was supposed to direct the lavish fairy tale film with Amitabh Bachchan, Sanjay Dutt and Riteish Deshmukh in the lead. “Let Alibaug go to hell. At present I’m more concerned and upset with the fact that a dear family member is going to jail,” says an irate Gupta. The status of Mr Fraud, which had already been delayed with the shooting dates coinciding with Dutt’s court case hearings, becomes all the more uncertain. “We could not make much progress with the shooting because of Dutt’s court case,” said Mustan in an earlier interview. Meanwhile, Dutt also has two old releases coming up in the next few months: Both Indra Kumar’s Dhamaal, which also features Arshad Warsi and Deshmukh, and Afzal Khan’s Mehbooba with Ajay Devgan and Manisha Koirala, were long overdue. “However, the fates of these movies are not likely to be affected by Dutt’s sentence,” says Adarsh.

The Shah Rukh Khan Phenomenon

By Ansari

 

“Shah Rukh Khan is Shah Rukh Khan.” “There’s no one like Shah Rukh Khan.” “Nobody can match Shah Rukh Khan’s Popularity.” These and similar statements are commonly heard. And not just in the film trade but also among the general public. What is it that makes Shah Rukh Khan so different from the others of his ilk? Why in the last 15 years have we never had any actor who has had the same fan following and who could clearly step into his shoes?

What is it that really has made Shah Rukh Khan stand above all the other stars who’ve come after the superstar first made an appearance on the screen in 1992 in Deewana?

Quite simply, Shah Rukh Khan’s string of box-office hits! One after the other, the actor’s films hit the jackpot with such alarming regularity that in the nineties and 2000’s, Shah Rukh Khan became the safest bet for producers, distributors and exhibitors alike. I use the world alike to differentiate the scene that existed when Shah Rukh Khan is the numero uno and the one that exists now.

For instance, a Salman Khan today may guarantee mega-bucks for the producers of his films but there’s no like guarantee that distributors and exhibitors of his starrers will also make money. As in the case of most of his releases before his latest, Tere Naam. While producers of Salman-starrers made table profits, distributors of his films burnt their fingers rather badly when those films flopped. It was after almost two-three years that everybody associated with a Salman-starrer made money in Tere Naam.

Ditto in the case of films of other topline stars like Aamir Khan or others like Ajay Devgan, Akshay Kumar, Sunny Deol or, for that matter, anybody else. Why, even current heartthrob Hrithik Roshan’s films such as Aap Mujhe Achche Lagne Lage and Na Tum Jaano Na Hum entailed heavy losses to its distributors. That is not the case with Shah Rukh Khan Flicks.

Secondly, merely the superstar’s name is enough to draw in the crowds into cinemas in any given day. Today, no hero can boast of such charisma as to lure the audiences to theatres on the sheer strength of their names. Salman Khan’s home production, Auzaar and Hello Brother, could not even manage decent houses on the opening day, leave alone full houses. Aamir Khan has never really drawn initial crowds; his starrers usually pick up by word of mouth publicity if they are good. Even action heroes like Ajay Devgan and Akshay Kumar had had to remain content with dismal opening of their flicks on more occasions then one. But the Shah Rukh Khan magic is one of a kind. Whether it was Aziz Mirza’s Raju Ban Gaya Gentlemen in 1992 or Yash Chopra’s evergreen Darr in 1993, Rakesh Roshan’s multi-star cast Karan Arjun in 1995 or Aditya Chopra’s All Time Blockbuster Dilwale Dulhania Le Jayenge in 1995, Shah Rukh Khan’s first film with Aishwarya Rai – Josh – in 2000 or Farah Khan’s biggest entertainer, Main Hoon Naa in 2004, the two common features in all these hits were Shah Rukh Khan’s towering presence in them and a bumper box-office initial draw. Yes Boss, Pardes and Dil To Pagal Hai made 1997 a memorable year for the King Khan. The following year may not have been as good but Shah Rukh Khan, nevertheless, did deliver massive hit Kuch Kuch Hota Hai in 1998. The next decade was equally exciting for the superstar. Josh, Mohabbatein, Kabhi Khushi Kabhie Gham, Hum Tumhare Hain Sanam, Devdas, Chalte Chalte, Kal Ho Naa Ho, Main Hoon Naa, Veer – Zaara, Kabhi Alvida Naa Kehna and Don – The Chase Begins Again is some of the actor’s great hits of the first and second half of the 2000’s.

Of course, when Shah Rukh Khan has reigned supreme, films did have to face the opposition of video and cable piracy. Cinema going was the expensive form of entertainment for the masses that identified with the Lover Boy image of Shah Rukh Khan. Still Shah Rukh Khan delivered Hit after Hit.

 

Yet another factor that went in Shah Rukh Khan’s favour in making him the darling of all sections of society was his unbelievable versatility. It is not for nothing that the King Khan became a superstar. Although he was adored in Lover Boy roles, Shah Rukh Khan never let down his fans in Action films like Karan Arjun, Ram Jaane, Josh and Main Hoon Naa. Yes Boss and Baadshah come to mind instantly when one thinks of Shah Rukh Khan’s flair for comedy. With equal ease, Shah Rukh Khan also played the intense lover as in Darr and Anjaam. For Art Lovers there was Asoka, Swades and Paheli.  

The range which Shah Rukh Khan portrayed in his performances remains unmatched. Today, films do businesses of Rs 10 and 15 crores it is considered good, but Shah Rukh Khan Movie’s continuously do business of 30 Corer’s+.

 

Shah Rukh Khan is also the last star to have had a universal appeal that cut across geographical boundaries. Whether it was the man on the street in Ludhiana in the North or Latur down South, whether it was a company executive in Porbandar in Western India or a college student studying in Patna in East India, the fondness for Shah Rukh Khan is the same. Today, a Sunny Deol runs more in Northern Indian because of his action image; a Akshay Kumar is a hot favourite of U.P. and Bihar whereas an Aamir Khan flick generally records dull collections in Bihar. That is to say, Shah Rukh Khan’s charm affected the audiences in the North, South, East and West with equal intensity. Not just in India, but across the seven seas too, Shah Rukh Khan reigned supreme. His super-hit stage shows bore testimony to his immense popularity the world over.

Today when jubilees are difficult to get, Shah Rukh Khan’s films celebrated genuine silver, golden, diamond and platinum jubilees. Mohabbatein in 2000 celebrated silver jubilee in as many as 9 cinemas of Mumbai, a record unparalleled! From 2000 onwards Shah Rukh Khan has 19 releases out of which 5 of his Movies completed Silver Jubilees, 2 Golden Jubilees, 1 Diamond Jubilee, 1 Platinum Jubilee and 3 100 Days. Whereas Dilwale Dulhania Le Jayenge turned out to be the highest running movie of Indian cinema 600 weeks+ (12 Years).

It is not that only Shah Rukh Khan good movies were successful. Even the actor managed to make successes out of ordinary films like Anjaam, Ram Jaane, Army and Hum Tumhare Hain Sanam.  Shah Rukh Khan star power can be seen from Super Hit Don – The Chase Begins Again. It was the most worst reviewed movie of 2006, still it collected 51 corers in India and 110 corers Worldwide.  Phir Bhi Dil Hai Hindustani, Swades and Paheli which are termed failures by media for producers, distributors and exhibitors it was successful ventures.

Did you know?

1. Shah Rukh Khan is the only actor who gave at least one successful every year since his debut in 1992 Deewana till 2006 Don – The Chase Begins Again.

2. Shah Rukh Khan has acted in 4 films directed by Aziz Mirza (Raju Ban Gaya Gentlemen, Yes Boss, Phir Bhi Dil Hai Hindustani & Chalte Chalte). Rakesh Roshan (King Uncle, Karan Arjun & Koyla), Yash Chopra (Darr, Dil To Pagal Hai and Veer – Zaara) and Karan Johar (Kuch Kuch Hota Hai, Kabhi Khushi Kabhie Gham & Kabhi Alvida Naa Kehna) directed Shah Rukh Khan in 3 films each respectively. Abbas – Mustan (Baazigar & Baadshah), Aditya Chopra (Dilwale Dulhania Le Jayenge & Mohabbatein), Ketan Mehta (Maya Memsaab & Oh Darling Yeh Hai India) and Rajiv Mehra (Chamtkar & Ram Jaane) directed Super Star Shah Rukh Khan in 2 films each respectively.

3. Shah Rukh Khan has won 13 Filmfare Awards, Out of which 6 has been Best Actor Baazigar, Dilwale Dulhania Le Jayenge, Dil To Pagal Hai, Kuch Kuch Hota Hai, Devdas and Swades, 2 Critic’s Kabhi Haan Kabhi Naa (Performance) and Mohabbatein (Best Actor), 2 Power Awards, 1 Villain Anjaam, 1 Debut Deewana and 1 Special Award Swiss Consulate Trophy.

4. Shah Rukh Khan was the 1st actor to win all popular awards for Devdas (Filmfare, Screen, Zee, Sansui, Bollywood Awards & IFFA), which was next year matched by Hrithik Roshan for Koi Mil Gayaa.

5. Shah Rukh Khan is the only actor who has given maximum hits with debut directors. Raj Kanwar (Deewana), Aziz Mirza (Raju Ban Gaya Gentlemen), Aditya Chopra (Dilwale Dulhania Le Jayenge), Karan Johar (Kuch Kuch Hota Hai), K.S.Adhiyaman (Hum Tumhare Hain Sanam), Nikhil Advani (Kal Ho Naa Ho) & Farah Khan (Main Hoon Naa).

‘Laaga Chunari..’ with Chak De India?

It has become like a ‘rivaaz’ for Yash Raj films to unveil the trailer of their forthcoming movie during the screening of their movie. This has been going on since Dhoom (Veer-Zaara trailer was shown during Dhoom). In their last movie, Jhoom Barabar Jhoom, viewers got to see a long but interesting promo of Chak De India. And now when Chak De India is all set to release on August 10, the big question is-will we get a chance to watch the trailer of their next, Laaga Chunari Mein Daag? Laaga Chunari Mein Daag, directed by Pradeep Sarkar of Parineeta fame, stars Rani Mukherji, Konkana Sen Sharma, Kunal Kapoor, Abhishek Bachchan, Jaya Bachchan, Anupam Kher and Sushant Singh. The movie has been in the news not long ago when producer Aditya Chopra decided to reshoot some of the portions of the movie. The movie is also in a legal hassle because of its title. Now will we get to watch its promo? Only time will tell!

Numero Uno star’s ambitious plans

Indiafm

The Numero Uno star has ambitious plans to make an empire. While he’s setting up a special effects division in the suburbs, there’s talk that he’s planning something bigger now. According to sources, he’s on the lookout for a massive property in Mumbai or outskirts of Mumbai to build a colossal studio complex, with readymade sets to cater to the needs of film producers. Wow!

Meanwhile, the other star, who has delivered a huge hit, has hiked his fees. He’s quoting 12 now. Interesting!

Bhansali gives music composer a tough time

Bhansali gives music composer a tough time By MovieTalkies.com, 1 August 2007

Sanjay Leela Bhansali is known to be a hard taskmaster and a perfectionist and music composer for Saawariya, Monty Sharma is learning this the hard way. The director is still unable to settle on the right background score for his film and the composer is at his wit’s end. According to sources, the director has recorded and then scrapped and then re-recorded the score three times already and is still not satisfied with the result. The first background score was recorded in oriental style and the end result was not what Bhansali wanted. So the score was next recorded in European style. But that too was scrapped by the fussy director. He re-recorded the score for a third time. But it is believed that he is still not satisfied. Music does play a very important role in all of Bhansali’s films, so his penchant for perfection is quite understandable. And the poor music composer is paying the price for it.