Category: Hindi

Baahubali 2 catapults Sony Max across genres and in Hindi movies genre

BENGALURU: Baahubali 2 raked in viewership for Sony Max as the channel topped Broadcast Audience Research Council’s (BARC) weekly ratings for Top 5 Hindi Movie channels – HSM (U+R) : NCCS All : 2+ Individuals for week 41 of 2017 (Saturday, 7 October 2017 to Friday, 13 October 2017). Sony Max was ranked fourth in BARC’s weekly list of top 10 channels across genres (NCCS: All India (U+R): 2+ Individuals). Two other channels from the Sony Pictures Network (SPN) also were amongst BARC’s weekly list of top 10 channels across genres list for week 41 of 2017.

Like week 40 of 2017 (Saturday, 30 September 2017 to Friday, 6 October 2017), three channels each from Star India and SPN, two channels from Zee Entertainment Enterprises Limited (Zeel) and one channel each from The Sun Network and Network 18 comprised BARC’s top 10 channels across genres weekly list for week 41 of 2017. From the genres perspective, seven Hindi GEC channels, and one channel each from the Hindi GEC, Tamil GEC and Telugu GEC made it to the top 10 channels list across genres.

As is the norm (except during IPL cricket weeks) the top 10 channels across genre list was led by The Sun Network’s flagship Tamil GEC with 1,100.367 million impressions in week 41 of 2017. Sun TV was followed by Zeel’s FTA channel Zee Anmol with 759.094 million weekly impressions. Zee Anmol also led BARC’s top 10 Hindi GEC channels HSM (U+R): NCCS All: 2+ Individuals and top 10 Hindi GEC channels HSM (R): NCCS All : 2+ Individuals for the week. In the rural markets, Kaala Teeka on Zee Anmol was placed third among the top 5 Hindi GEC (R) programmes and helped the channel to its lead position in the rural markets.

Zeel’s flagship GEC Zee TV was third in BARC’s across genres list for week 41 with 708.222 million weekly impressions. Zee TV was also ranked second in the Hindi GEC (U+R) markets. Balaji Telefilms productions- Kumkum Bhagya and its spinoff Kundali Bhagya helped Zee TV retain its position in the Hindi GEC and the across genres markets.

As mentioned above, Sony Max was ranked fourth in the across genres list for week 41 of 2017 with 679.637 million weekly impressions followed by Viacom18’s flagship Hindi GEC Colors at fifth place with 644.187 million weekly impressions. Indian Hindi family drama Shakti – Astitva Ke Ehsaas Ki helped Colors, especially in the Hindi GEC urban markets in garnering viewership.

At sixth place in BARC’s top 10 channels across genres list for week 41 of 2017 was Star India’s FTA and recently renamed channel Star Bharat with 643.035 million weekly impressions. Star Bharat was ranked third in BARC’s top 10 Hindi GEC (U+R) list for week 41. Star Bharat was followed by SPN’s flagship Hindi GEC channel Sony Entertainment Television with 602.697 million weekly impressions at seventh place. The Amitabh Bachchan hosted Kaun Banega Crorepati (KBC) helped SET in garnering viewership.

Star India’s flagship Telugu GEC Star Maa was eighth in the top 10 channels across genres list for week 41 of 2017 with 581.897 million weekly impressions followed by SPN’s women focused Hindi GEC Star Pal with 530.962 million weekly impressions at ninth place. Star India’s flagship Hindi GEC Star Plus completed the top 10 channels across genres list for week 41 of 2017 with 527.26 million weekly impressions.

October 24, 2017
Women filmmakers’ northeast works to be highlighted at India fest in NY

NEW DELHI: Three films from northeast India and a special focus on films made by women filmmakers will be the highlights of the second edition of the India Kaleidoscope Film Festival (IKFF) to be held in New York next month. The festival is being presented by the Museum of the Moving Image (MOMI) and The India Centre Foundation (ICF) from 9 to 12 November 2017.

Drishyam Films’ Kadvi Hawa directed by Nila Madhab Panda will open the festival and it will close with Director Prakash Kunte’s Cycle. Actor-turned-produced Priyanka Chopra’s Pahuna and Anurag Kashyap’s Mukkabaaz will also feature at the festival.

The films to be screened will explore the most relevant and pressing topics facing the subcontinent, are being made by today’s most progressive filmmakers working in regional languages. This year, India Kaleidoscope will span seven different regional Indian languages and include new programming initiatives that bring independent regional Indian cinema to an even wider audience.

The India Centre Foundation Founding Director Priya Giri Desai said “It is an honour to offer these cinematic works to the film-going community and to give exposure to new sights, sounds and languages from across the Indian subcontinent.”

Museum of the Moving Image Chief Curator David Schwartz said, “India Kaleidoscope, in just its second year, is already making a great impact as a showcase for the incredible diversity of Indian cinema, with its focus on artistic and independent films from the many regions of this sprawling, culturally rich country.”

“Indian cinema today is independent and regional language cinema, and these films represent the best and most exciting work from the country. We are thrilled to present this eclectic and wholly original selection of films and filmmakers to the New York and US audience,” said Sudeep Sharma, Festival Programmer.

India Kaleidoscope Film Festival 2017 will screen eight feature films, seven of which will be US or North American premieres. Most of the films will feature directors in person, and a major chunk of the programming lineup feature films directed by women filmmakers.

In an effort to expand IKFF to wider audiences, this year’s closing night screening will be held at the SAG-AFTRA Foundation Theatre in Manhattan. All films will be screened with English subtitles.

The IKFF 2017 programming committee includes Priya Giri Desai (The India Center Foundation), Ashok Sinha (The India Center Foundation), Priyadarshini Shanker (NYU Cinema Studies), Anupama Kapse (Loyola Marymount), Tristine Skyler (Writer and Producer), Ritesh Mehta (Film Independent) and Sudeep Sharma (Film Programmer); with additional programming support from Uma da Cunha and Christina Marouda (Museum of the Moving Image, IFFLA).

The films are: Kadvi Hawa in Hindi stars Sanjay Mishra, Ranvir Shorey, and Tillotama Shome; Mukkabaaz in Hindi has Vineet Kumar Singh, Zoya Hussain, and Jimmy Shergill; Sonar Baran Pakhi by director Bobby Sarma Baruah in Rajbangshi stars Pranami Borah, Arati Barua, and Pranjal Saikia; Prakasan by Director Bash Mohammed stars Dinesh Prabhakar, and Laya Krishna; Pahuna by director Paakhi Tyrewala in Sikkimese stars Ishika Gurung, Anmoul Limboo, and Manju KC Nanu; and Cycle by director: Prakash Kunte in Marathi stars Hrishikesh Joshi, Priyadarshan Jadhav, and Bhalachandra Kadam.

The documentaries are Up Down And Sideways (Kho ki pa lü) by directors Anushka Meenakshi and Iswar Srikumar in Chokri on rice cultivators, and Last Days. Last Shot by director Sumira Roy in Hindi/Bengali/Bhojpuri on how Life and death co-exist every day on the banks of the Ganges in Varanasi.

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October 23, 2017
Secret Superstar: Patchy underdog movie riding on Aamir’s fame

There have been numerous films on a protagonist going against the tide to fulfil his ambition and childhood dream. Usually, in films, such aspirants come from second rung cities, small towns or mofussil India. That adds to the sympathy or the underdog quotient as the script’s requirement.

Just about every actor would have played at least one if not more such roles of an underdog hitting the pinnacle of success. Be it in the field of entertainment, industry or underworld. In fact, there have been some films made on real life heroes too who made it big from humble beginnings; some acknowledged some unofficial. The prominent among these include films on Neerja, MS Dhoni, Dhirubhai Ambani, Sachin Tendulkar, Milkha Singh, Silk Smitha, Capt Nanavati, Azharuddin, Phoolan Devi, Phogat sisters, Mary Kom and just about every pre-independence political leader and freedom fighter.

But, unless dramatised, these biopics don’t work. Compare with, for example, M S Dhoni: The Untold Story and Sachin: A Billion Dreams. While Dhoni worked with the viewers, Sachin was rejected. The reason was that Dhoni was scripted to appeal while Sachin went on the lines of a documentary.

Secret Superstar is not a biopic but goes on the same lines of one and one wishes it had taken cue from films like Dhoni or Mary Kom where fighting the odds includes a lot of hurdles and not just one impractical father’s illogical angry outbursts.

Secret Superstar is the story of a teenaged Vadodara girl from a Muslim family though the film makes no reference to her community throughout the film. The character of Zaira goes to a co-ed school, which the makers don’t care if it comes across as English, Gujarati or Hindi medium.

Zaira aspires to be a singer. Her mother, a supressed wife, had bought her a guitar when she was six. Zaira strums on the guitar when her father, played by Raj Arjun, is not around for he lives with the ghosts of Aurangzeb. Zaira can go to a co-ed school, mingle with boys, burkha is never forced on women of the house, it is just that she can’t cultivate her hobby.

Since Raj Arjun works in Saudi Arabia, to the relief of Zaira and her mother, played Meher Vij, he is away 11 months a year and they can live normal lives. Zaira has to give an outlet to her talent without letting her father know about her exploits. Meher Vij, always by her side, sells an ornament to buy Zaira a laptop.

Secret Superstar is also a teenage love story on the side. He classmate, played by Tirth Sharma, loves her and is always ready to go out of his way to help her. Zaira’s journey starts with Meher Vij and Tirth by her side. She decides to sing and post her videos on Youtube hidden behind a burkha hoping for her songs to work and be noticed. Her identity on Youtube is Secret Superstar.

Youtube plays one of the characters in this film as it may have been a part of many others stories too since its inception in 2006. Zaira is an overnight sensation on the social media and is also praised by film stars and others but, mainly, by a cranky music director played by Aamir Khan.

Zaira, the social media sensation, and Aamir Khan, on the last lap of his creativity, join forces and Aamir manages to create a new singing superstar out of Zaira in the process reviving his own career.

Secret Superstar has a predictable story that has been turned and twisted at whim. Glitches are left to pass throughout. The producer’s reputation for minor details is missing here. The first half is designed to be negative where one man is cast out of a 1960 family social film in Raj Arjun.

With fair dialogue, average production values, the film has decent cinematography. For the kind of theme and script the film handles, its 150-minute duration is telling on the viewer. For a musical about launching a new singing talent, the film’s musical score is lacking.

While Zaira carries the film on her shoulders, she is well supported by Vij and Sharma. Arjun is effectively terrorising. Aamir has made a caricature out of the music composer that he plays wearing gaudy T shirts tucked in jeans, the kind of costume tapori hero used to wear in 1970s films to cater to the what was described as ‘frontbenchers’. His execution of the role borders on buffoonery.

Secret Superstar comes across as a patchy film riding on the name of Aamir but hoping for the Diwali weekend to salvage it.

Producers: Aamir Khan, Kiran Rao.

Director: Advait Chandan.

Cast: Aamir Khan, Zaira Wasim, Meher Vij, Tirth Sharma, Raj Arjun, Kabir Sajid.

October 21, 2017
Golmaal Again: Entertaining suspense thriller

The most successful franchise in Hindi films, Golmaal, strikes again. And, aptly, the title is Golmaal Again. The main faces of the franchise — Ajay Devgn, Arshad Warsi, Tusshar Kapoor, ShreyasTalpade and Kunal Khemu are very much there so are the other regulars, Sanjay Mishra, Mukesh Tiwari, Johny Lever, Murli Sharma and Vrajesh Hirjee.

However, what has changed is the film’s regular location, Goa, its sun, sea and sand. Golmaal Again is based in Ooty. That is because, the film needs something like British countryside with an old mansion as the backdrop.

The film deals with the supernatural, ghosts, deception and revenge. For a change, the climax here is not a farce as it usually is with this franchise.

The characters of Ajay, Arshad, Tusshar, Kunal and Shreyash are being tended in an orphanage in Ooty started by a millionaire, played by Uday Tikekar, who forsakes all his businesses to look after orphans. The five are divided into two groups: Ajay and Shreyas on one side while Arshad, Tusshar and Kunal are on the other. Both sides are always at loggerheads. One fine day, Ajay and Shreyas walk out of the orphanage after a scolding from Tikekar; Arshad, Tusshar and Kunal follow suit soon.

Both groups are now grown up and are into the same business: that of grabbing land and property for money on behalf of others. While Ajay does it for Sanjay Mishra, Arshad does it for Prakash Raj.

The five of them learn that the father figure of the orphanage, Tikekar, who cared for them has passed away, and they decide to visit the orphanage to take part in the rituals. But, the reason is more: both the groups are assigned to grab the land belonging to the orphanage along with the piece belonging to a blind ex-army man, played by Sachin Khedekar, Tikekar’s friend.

Tabu, a librarian in Ooty who looks after the affairs of the mansion, assigns rooms to the five to stay till the rituals are over. Tabu has a special gift in that she can see ghosts as well as communicate with them. At the mansion, the five also meet Parineeti Chopra who is introduced to them as the maid of the house.

After the usual gimmicks and the gags that the divided five go through like in other Golmaal instalments, it is time to lend some purpose to Golmaal Again. It turns out that Tikekar did not die by falling off the terrace. And that Parineeti is not really who she was introduced as. Only Tabu knew who she was.

It is time for the five to join forces along with Tabu and Parineeti to sort out things and bring culprits to book. The change of background in Golmaal Again takes a while for the viewer to get adjusted to. As this one moves from Goa to Ooty, and is a suspense thriller instead of being an all fun film. But, once into the film, it does not fail to entertain.

The best part, of course, is the dialogue and one-liners that keep the pace going. Shot on scenic, lush green background, the cinematography is soothing to the eye.

The usual Golmaal gang of Ajay, Arshad, Tushaar, Kunal and Shreyas have nothing new to do beyond what they have done earlier.The casting of Parineeti and Tabu brings a fresh look to the film.

The film has a proper villain in Prakash Raj this time and springs a surprise with Neil Nitin Mukesh joining the action in the latter half. The actors mimicking Nana Patekar followed by his sudden cameo make for pleasant viewing.

Lever, Mishra, Tiwari and Hirjee provide relief from time to time.

Golmaal Again is the right kind entertainer for the festive period. Keeps you happy while you are watching it. The opening day response has been encouraging, and the weekend is expected to help maintain the momentum.

Producer, director: Rohit Shetty.

Cast: Ajay Devgn, Tabu, Parineeti Chopra, Arshad Warsi, Tusshar Kapoor, Kunal Khemu, ShreyasTalpade, Sanjay Mishra, Johny Liver, Mukesh Tiwari, VrajeshHirjee,Murli Sharma, Prakash Raj, Neil Nitin Mukesh and Nana Patekar (cameo).

October 21, 2017
Pre-Diwali period sees some flops

The pre-Diwali period saw a few flops.

Judwaa2 saved the situation to some extent for the exhibition section providing relief with a considerable number of footfalls for a couple of weeks. Besides this, Newton was in news, a small film which got some favourable box office but more media hype as it was chosen as India’s entry to the Oscars the same day it released.

Sadly, among other failures, the wrong release plan made a yesteryear star out of Saif Ali Khan in a single Friday as his latest release, Chef, went grossly unnoticed.

Besides this, a lot of small films get playtime at the multiplexes during such dull periods and we had films like Daddy, Lucknow Central, Patel Ki Punjabi Shaadi, Bhoomi, Haseena Parkar, Tu Hai Mera Sunday, Ranchi Diaries and such.

Though there is no hyped film releasing this Diwali, the exhibitors can take some comfort in the fact that the small film due for release during the Diwali this year is Aamir Khan’s Secret Superstar which should balance things with the other release, Golmaal Returns. The advantage with Golmaal Returns is that, it is the fourth instalment of the Golmaal series and earlier, two out of three have worked well.

What is also good about Golmaal Returns is its genre is that, it is just the film one would hope to watch during the festive period of Diwali this being a feel good comedy entertainer.

This week: The latest release, Ranchi Diaries, does not amount to anything. The films shows are either cancelled or passed on to Judwaa 2. This is not good enough for the multiplexes, a sort of a compromise, yet, better than screening Ranchi Dairies. This was the last disaster of the wrong period, wrong release.

In the last week release, Saif Ali Khan starrer, Chef is a disaster. Surprised that T Series, having invested more than Rs 250 million in the film, agree to such a compromised release strategy! Rather suicidal.

* Ranchi Diaries finds no audience. Goes unnoticed.

* Chef, the last week’s release, emerges very poor. The film collects just about Rs 51.5 million in its first week.

* Judwaa2 sets a kind of record for the second week as it collects Rs 264 million for its second week to take its two week total to Rs 1.23 million.

* Newton is still holding well in its third week having collected Rs 16 million in its third week and taking its three week total to Rs 175.5 million.

October 16, 2017
PVR sub-brand in tier-III towns on anvil, engages fans with interactive card

NEW DELHI: Rs 21.8-billion multiplex chain PVR, which is aiming to touch 1000 screens by 2020 having crossed 600 recently, is likely to form another brand to tap tier-III towns.

PVR sources confirmed to indiantelevision.com that the aim was to cater to every price category, and extend its reach to the entire country.

However, PVR chairman and managing director Ajay Bijli said the plan was still in early stages and, it may take some time to work out the right model.

Meanwhile PVR, which has completed 20 years of its existence, has launched a scheme to attract regular cinegoers by launching a PVR Privilege loyalty programme which will offer its estimated 75 million loyal visitors an enriched array of first-class redemption opportunities and enhanced benefits.

To support the launch, PVR is offering food and beverage vouchers of the same value as the activation fee, so that the membership is at zero cost to new members at its 131 properties nationwide comprising 600 screens.

The new loyalty programme was launched at an event in Delhi where the versatile actor Aamir Khan – whose latest film ‘Secret Superstar’ directed by Advait Chandan is being released next week — became the first member of this programme.

Actress Zaira Wasim was also present at the event. ‘Secret Superstar’ has a unique storyline revolving around Insu (Zaira), a young Muslim girl, who aspires to become a singer but faces restrictions from her conservative father. She happens to cross paths with a musician, which unfolds into an exciting journey.

About the film, Khan said he took up a subject that excited him and not by the trends prevalent at that time.

Bijli said: “Watching movies becomes a one-sided affair. The aim of the loyalty programme is to involve every cinegoer who will send in his views about the film, and about the facilities in the theatre premises. This will make it more engaging for the cinegoer.”

Joint MD Sanjeev Kumar Bijli said: “This is designed to be one of the most rewarding programme in cinemas. It will enable members to enjoy a remarkably simple and a fast way to free tickets or F&B offerings. He told indiantelevision.com that it could also customise diets for viewers who may have diabetes or are glutton-allergic.

PVR chief of strategy Kamal Gianchandani, who designed the loyalty programme, said the phone number of a viewer becomes his entry into the programme. He said the +1 Approach is to increase visitation as well as make the theatre relevant to advertisers. Every point earned by a member is equivalent to Rs 50. There is no entry fee by a five per cent benefit on becoming a member. He added that PVR releases around 900 films a year, and will attempt to ensure that it is able to cater to each member individually to inform him or her in advance about the kind of films being released. The programme works best on a smartphone but can also be used on a feature phone, he added.

Guests can inquire at their local PVR cinema, at pvrcinemas.com or can download the PVR mobile app.

The Privilege programme is India’s first fully digital cinema loyalty programme and offers the following consumer benefits:

· Reward points on each purchase of tickets or food and beverages

· Automated conversion of Reward points into vouchers that can be used to pay for tickets and F&B

· Personalised offers, and services at cinemas

· Bonus points during special occasions

· Easy to use, with a QR-code based virtual card in App, Website and at Cinemas

October 16, 2017
Maiden Indian film fest in Poland honours Koirala, Mittra

NEW DELHI: Wave Cinemas’ CEO Rahul Mitra and actress Manisha Koirala were honoured with special awards at the first-ever Indian Film Festival in Poland (Warsaw).

They also took part in the grand red carpet event at the iconic ‘Kinoteka’ theatre in the heart of Warsaw. A special audience of hundreds of Polish and Indian film buffs and dignitaries attended the event, along with key representatives of the Indian film industry led by Mittra, an award-winning filmmaker.

His current production Saheb Biwi aur Gangster 3 with Sanjay Dutt and Koirala is being shot in Bikaner.

The event co-curated by Captain Rahul Bali and RC Dalal screened some blockbuster Bollywood movies like Sarkar 3 apart from three regional language films from the states of Gujarat, Maharashtra and Assam. The package of seven films will thus give Polish and diaspora audiences a glimpse of the huge talent in India’s regional film industry as well.

Koirala, who had acted in ‘1942- A love story’ among others was a special guest at the festival while Mittra was awarded for his outstanding contribution to Indian Cinema. In a short span of time, he has produced blockbusters like Saheb Biwi aur Gangster series, Bullett Raja, Revolver Rani, Sarkar 3, among other, and is known for backing good content.

Ambassador Ajay Bisaria lauded the growing engagement between the film industries of India and Poland and invited the Polish audience to witness the strength of the Indian film industry with its boundless creativity.

October 14, 2017
Judwa remake has an advantage over Chef

*Wrong time release and the film pays heavily. Much beyond its demerits. Pre-Diwali is the dullest period to release a new film but, even the best of production houses with years of standing still go ahead and do it.

T Series released Chef in this dull period and, when asked, the explanation was that the weeks ahead were crowded with multiple releases! This explanation showed a total lack of confidence in your own product where you have invested somewhere around Rs 250 million plus!

So, was it the wise thing to do to release the film when nobody cares for visiting cinema houses and be done with it? Commit a financial suicide? Sure, Judwaa2 released during this dull period but the film had an advantage of a long four day weekend with two additional national holidays! That was an exception, not an example.

Also, Judwaa 2 featured a rising star in Varun Dhawan and had the advantage of being the remake of the `1997 Salman Khan hit, Judwaa, with the common director, David Dhawan.

So the week delivers a decent film in Chef, what can be called a family fare for the weekend. The film had nothing besides the fading star Saif Ali Khan on the cast, lacked totally in promotion or creating awareness of any kind about it and paid the price. It faced rejection on day one failing to reach even a crore mark. Equally bad on day two though there was a little improvement but, how do you expect a film to pick up when there is no promotion and, hence, no awareness about it? The film will end its opening weekend with Rs 35 million.

The scene was so bad, the exhibitors cancelled the shows of Chef and gave them to Judwaa2 on day one of release!

*Another watchable film which went unnoticed last Friday was Tu Hi Mera Sunday. A pleasant film was not worth watching at multiplex admission rates. Somewhere, the exhibition trade is killing the same business they expect to earn monies from!

The film went totally unnoticed.

*The other release of the week, Tu Hi Mera Sunday and 2016: The End, won’t even leave a trace.

*Judwaa2, though released during a dull period had so much going for it. It was the remake of a successful franchise, starred an upcoming star and was backed by a four day weekend. It collected by leaps and bounds and, then, continued to do well even in its second week in the face of poor new releases.
The film ended its first week with as much as Rs 961 million and even continued to do fairly well during its second weekend. Having added about another Rs 170 million in its second weekend the film has collected Rs 1.13 billion for 10 days.

*Newton has added Rs 57 million in its second week to take its two week total to Rs 169.5 million.

October 10, 2017
Chef: Where is the audience?

Chef is a remake of 2014 Hollywood film of the same name, written, directed and co-produced by Jon Favreau, who also essayed the lead role.

Once in a while, an English movie story fits to the T catering to the Indian tastes. We had the 1970 film Love Story (Erich Segal) which Rajshri Pictures made in to “Ankhiyon Ke Jharokhon Se” and, may be a few more; Segal’s own Man Woman And Child, which Shekhar Kapur adapted to make the acclaimed 1983 film, Masoom.

There are few such films which have universal sentiments and appeal to all. Chef is one such, despite its alien title. But, then, it aims to cater to the select audience.

The character of Saif Ali Khan is an Old Delhi, Chandni Chowk lad of the pre-3 Idiots generation when the kids were not allowed to dream of a career but parents decided what they would do. Somehow, Saif is interested in cooking and loves to stop at the famous street corner eatery selling chhole puri to learn the art. Aspirations were not encouraged in those days and, as a revolt to his father’s dictates, Saif runs away from home.

Having worked at a couple of Old Delhi dhabas, Saif hones his skills at the Golden Temple, as a kitchen help.

By this time, Saif has excelled at devising new recipes; chefs do that, a cook or a bawarchi just cooks up regular fare. Saif is famous, has made a name for himself in the US having left behind a divorced wife and a teenaged son in Cochin in Kerala.

One fine day, Saif’s food is criticised by a patron. Enraged and believing too much into his reputation as a renowned chef, Saif assaults the patron. Social media takes over, and there is no place for Saif anymore in the culinary circuit.

But, Saif has a growing son, played by Svar Kamble, overly fond of him, and an ex-wife, played by Padmapriya Janakiraman, who thinks Saif should devote some time to the son at this vital juncture in his life. The Padmapriya and Svar want him to visit.

Saif arrives in Kerala, builds bonhomie with his son and both are soon inseparable. While the mother is living her own life, the son discovers his father for the first time.

The world has had this wheelbarrow culture providing street food for ages which gradually moved on to food trucks. Major cities all over the world have a number of them. Then, there are also mobile restaurants like the double-decker buses which move around the scenic places of a town while you dine.

So there is the character of Milind Soman, Padmapriya’s friend, who offers him a dilapidated double-decker bus which he thinks is worth converting into a travelling/mobile restaurant.

Reluctant at first, Saif accepts the offer. He converts the bus into a restaurant with the help of his son.

The film turns into a road movie from here on. Saif may have married a Kerala woman but the place he wants to prove himself in is Delhi. The bus is on the move. Via Goa and other scenic places. A happy ending is promised which is what makes the film adaptable in Hindi from its Hollywood version.

What is good about the film is that is has been de-glamourised right on the onset. An effort is made so that it looks real life. The direction is apt sticking mostly to the original. Dialogue is lifelike. Visually, the film gives a pleasant feeling. Music is fair.

Chef is a watchable feel good film but, coming as it does during a dull period and lacking a draw (only Saif to count on), the opening has been poor and not much hope being held out either.

Producers: Bhushan Kumar, Kishan Kumar, Raja Krishna Menon, Vikram Malhotra, Janani Ravichandran

Director: Raja Krishna Menon.

Cast: Saif Ali Khan, Padmapriya Janakiraman, Svar Kamble, Milind Soman.

October 6, 2017
Baahubali 2 to premiere on Sony Max on 8 Oct

MUMBAI: Sony MAX, a Hindi movies channel from Sony Pictures Networks, is bringing the epic saga from the Kingdom of Mahishmati, Baahubali 2: The conclusion. Directed by the showman of southern India movies, S.S. Rajamouli, this extravagant heroic tale of Baahubali will be premiering on Sony MAX on 8 October at 1pm.

Boasting of awe-inspiring finesse, this larger than life story of Baahubali’s unfinished tale will reveal the biggest question of why Kattappa killed Baahubali. Creating a new landmark for Indian cinema, this magnum opus gives viewers a glimpse into the fairytale world while Kattappa narrates the story of Mahishmati.

Starring Prabhas, Rana Daggubati and Anushka Shetty in pivotal roles, this revenge drama is a visual treat for viewers while it takes them through a flashback into life of Baahubali.

S.S. Rajamouli says: “Sony MAX had done a brilliant job in the way they promoted & marketed Baahubali in 2015 and we were hoping that they get the telecast rights this time too. We are more than delighted to know that India’s No.1 Hindi movie channel is going to be our television partners once again. They treated our film like their own baby and we couldn’t have asked for a better partner to showcase our movie across millions of households.”

Actor Prabhas says: “TV has a greater connect with the masses and I really feel that the impact of a film gets extremely enhanced as it reaches out to millions through television. It definitely guarantees a better reach and a lot of people out there tune in to Sony MAX to watch movies. I’m extremely happy about the world television premiere of ‘Baahubali 2’ on Sony MAX and I am excited that more people will get to watch the movie.”

Actor Rana Daggubati says: “It takes a lot to do a film like Baahubali. A large part of this is actually allocated to the camaraderie that the entire team shared. All of us stuck to a vision Rajamouli had given us. We really belonged to a world, we just believed in Rajamouli’s vision. We knew this was the biggest visual spectacle coming out.”

October 6, 2017