ITV

Category: Hindi

  • No value for money

    No value for money

    While the demonetisation affected film collections to an extent, the dropping temperatures are also affecting box office, especially in the North India, not to speak of poor quality of films made with no concern for content.

    *Befikre did raise some expectations within the exhibitor community as well as the audience. Coming as it does after a prolonged dull period and a lineup of poor films, the combination of Yash Raj Films, Aditya Chopra’s direction after eight year gap and Ranveer Singh’s growing popularity meant value for money, scarce as it may be nowadays.

    The film did not quite meet up with the expectations as it met with mixed reactions the first Friday first show onwards. The film lacked a clear concept as the whole length of the titles were attributed to couples kissing, not sparing even the toddlers from the act. The rest turned out to be a misplaced idea of the life of today’s youth; being in Paris can’t be an excuse for going berserk with youth in a relationship.

    However, what helps the film is its controlled budget and the release period enjoying both, a solo release status as well as an additional holiday today (Eid E Milad). The film had fair number of footfalls on Friday early shows but showed a declining trend thereafter as the first day figure barley managed to cross double figure of Rs 10 crore. Saturday added over a crore compared to Friday figures while the Sunday sustained well as the film closed its opening weekend with Rs 34.35 crore..

    *Kahaani 2, a poor attempt to use the title and the face of Vidya Balan from the successful franchise, Kahaani, backfires as the sequel turns the very character of Vidya topsy-turvy. The rest of the content also lacks coherence.

    With an opening weekend of Rs 15.8 crore, the film adds only a little more in the remaining four days to end its first week with a total of Rs 23.8 crore. The film stands to lose at the box office.

    *Dear Zindagi will be a losing proposal for its India theatrical distributor. The combined following of the rising star Alia Bhatt and the veteran star Shah Rukh Khan fails to work as the theme of the film as well as the pretentious approach don’t go down well with the audience.

    The film adds Rs 14.1 crore in its second week to take its two week total to about Rs 58.3 crore.

  • Befikre…..Where is the script?

    Befikre…..Where is the script?

    MUMBAI: Aditya Chopra directs a film once every few years. His latest, c, his fourth film as a director and in 21 years, comes eight years after his last essay at direction, Rab Ne Banadi Jodi. What looks obvious in this film is Aditya’s determination to stay with times and the now-generation. While attempting this, he seems to assume a lot about the now generation.

    The story has a Paris backdrop and the Indian love story gets the French treatment. The titles of the film are devoted to people kissing, from young to old and even kids locking lips as if wanting to make it to some sort of record book. After that, it pits a typical Delhi boy, Ranveer Singh, against an Indian girl, Vaani Kapoor, who claims to be French in that while her parents are Punjabi Indian, by virtue of her being born and brought up in France, she is French.

    Ranveer’s character is a standup comedian who has been invited to France by a friend to help salvage his pub. Ranveer is expected to draw the Desi crowd to the place with his antics. The whole of Paris seems to drink, sing and dance and, during his off time, Ranveer loves to visit these soirees and ogle at girls. He has heard about free flowing love in France and is keen to score and make the most of the free love.

    After rebuffed by a few, he meets Vaani who seems to be the girl about town, knows everybody around. She is a tourist guide, works at her father’s restaurant during her day off and believes in living it up. She is also off boys just having come out of a relationship. Ranveer, however, charms his way through and wins a date with her.

    The duo go around town and end up in the bed by the nightfall and, come tomorrow, Vaani decides to move in with Ranveer much to her parents’ dismay. Their understanding is tacit: No ‘love shuv,’ emotions or attachment; only companionship and sex. The film starts with the couple fighting and parting ways.

    What follows thereafter is the narration alternating between when they met and their time together and the present moment. There is no story to tell. But, as the script would have it, they both keep bumping into each other. They continue to have fun. The problem here is that, their idea of fun does not coincide with viewers’ idea of fun. The proceedings are loud for no reason till louder still songs popup.

    As if as an afterthought, the maker seems to realize that this is no fun and there is a need for some notion of a story. Hence, though they are officially separated while also doing things together, a third angle comes in. Vaani has dated a young banker, Armaan Ralhan, also of Indian origin. After a couple of dates with Armaan, Vaani decides to tie the knot and settle down. As if in a rebuff, Ranveer instantly finds a French girl, Julie Ordon, to marry her.

    Befikre has nothing in the name of a story or script. Events and songs happen at random. Direction is mainly about visuals, though mostly night shoot, the festive spirit is captured well as all of the Paris seems busy indulging. There is little of romance as in traditional way and all the fun on screen fails to reach the viewer. The editor has no scope here. Songs are good and peppy but placed without creating situations for them. Cinematography is very good. Choreography is excellent.

    Ranveer Singh has created a considerable fan following because of his couldn’t care less public image and here he does the same but goes overboard with diminishing effect. The one time the audience reacts to his antics is when exhibits his bare backside. Vaani Kapoor is not quite cut out to be a heroine, less so in a romantic film. With her lanky, odd figure the femininity falls short. Rest in the cast are incidental without scope.

    Befikre could have been a wholesome youth oriented musical fun film with a better script. Instead, it is a banal and loud tomfoolery. The film has garnered a fair opening at select multiplexes in metros which is not expected to carry on.

    Director-Producer: Aditya Chopra.

    Cast: Ranveer Kapoor, Vaani Kapoor.

  • Befikre…..Where is the script?

    Befikre…..Where is the script?

    MUMBAI: Aditya Chopra directs a film once every few years. His latest, c, his fourth film as a director and in 21 years, comes eight years after his last essay at direction, Rab Ne Banadi Jodi. What looks obvious in this film is Aditya’s determination to stay with times and the now-generation. While attempting this, he seems to assume a lot about the now generation.

    The story has a Paris backdrop and the Indian love story gets the French treatment. The titles of the film are devoted to people kissing, from young to old and even kids locking lips as if wanting to make it to some sort of record book. After that, it pits a typical Delhi boy, Ranveer Singh, against an Indian girl, Vaani Kapoor, who claims to be French in that while her parents are Punjabi Indian, by virtue of her being born and brought up in France, she is French.

    Ranveer’s character is a standup comedian who has been invited to France by a friend to help salvage his pub. Ranveer is expected to draw the Desi crowd to the place with his antics. The whole of Paris seems to drink, sing and dance and, during his off time, Ranveer loves to visit these soirees and ogle at girls. He has heard about free flowing love in France and is keen to score and make the most of the free love.

    After rebuffed by a few, he meets Vaani who seems to be the girl about town, knows everybody around. She is a tourist guide, works at her father’s restaurant during her day off and believes in living it up. She is also off boys just having come out of a relationship. Ranveer, however, charms his way through and wins a date with her.

    The duo go around town and end up in the bed by the nightfall and, come tomorrow, Vaani decides to move in with Ranveer much to her parents’ dismay. Their understanding is tacit: No ‘love shuv,’ emotions or attachment; only companionship and sex. The film starts with the couple fighting and parting ways.

    What follows thereafter is the narration alternating between when they met and their time together and the present moment. There is no story to tell. But, as the script would have it, they both keep bumping into each other. They continue to have fun. The problem here is that, their idea of fun does not coincide with viewers’ idea of fun. The proceedings are loud for no reason till louder still songs popup.

    As if as an afterthought, the maker seems to realize that this is no fun and there is a need for some notion of a story. Hence, though they are officially separated while also doing things together, a third angle comes in. Vaani has dated a young banker, Armaan Ralhan, also of Indian origin. After a couple of dates with Armaan, Vaani decides to tie the knot and settle down. As if in a rebuff, Ranveer instantly finds a French girl, Julie Ordon, to marry her.

    Befikre has nothing in the name of a story or script. Events and songs happen at random. Direction is mainly about visuals, though mostly night shoot, the festive spirit is captured well as all of the Paris seems busy indulging. There is little of romance as in traditional way and all the fun on screen fails to reach the viewer. The editor has no scope here. Songs are good and peppy but placed without creating situations for them. Cinematography is very good. Choreography is excellent.

    Ranveer Singh has created a considerable fan following because of his couldn’t care less public image and here he does the same but goes overboard with diminishing effect. The one time the audience reacts to his antics is when exhibits his bare backside. Vaani Kapoor is not quite cut out to be a heroine, less so in a romantic film. With her lanky, odd figure the femininity falls short. Rest in the cast are incidental without scope.

    Befikre could have been a wholesome youth oriented musical fun film with a better script. Instead, it is a banal and loud tomfoolery. The film has garnered a fair opening at select multiplexes in metros which is not expected to carry on.

    Director-Producer: Aditya Chopra.

    Cast: Ranveer Kapoor, Vaani Kapoor.

  • A silver lining among damp squibs

    A silver lining among damp squibs

    Kahaani 2, a sequel to Kahaani (2012), turned out to be only an attempt to cash in on the earlier film. The film has nothing to do with the previous film and, even the character of the protagonist, Vidya Balan, is quite contrary to the original where she was a gutsy fighter on a mission while here she is a helpless woman.

    The film has failed to create the required anxiety which resulted in average opening day of about four crore. There was some improvement on Saturday and on Sunday this being a solo release. But, come Monday, the collections dropped. The film collected Rs 15.8 crore for its opening weekend.

    Dear Zindagi, a film about a fickle minded young girl and a mature psychiatrist, tried a subject with little identification with the Hindi-speaking audience. Probably an attempt to find a slot for Shah Rukh Khan to play mature and varied roles in keeping with his age.

    An unbearable length with no support from music or any other relief, the film showed some promise during its opening weekend but the collections tapered down over rest of the week.

    The film ended its first week with figures of about Rs 44.2 crore.

    Moh Maya Money is poor, going almost unnoticed. The film collected a poor Rs 25 lakh in its first week.

    Saansein: The Last Breath collected Rs 20 lakh in its first week.

    Force 2, despite being the only action film in some time, could not reap benefits of weak oppositions. The film managed to add just Rs 4.5 crore in its second week taking its two week total to Rs 30.4 crore.

    Ae Dil Hai Mushkil adds Rs 30 lakh in its fifth week to take its five week total to Rs 102.75 crore.

    Shivaay adds Rs 40 lakh in its fifth week to take its five week total to Rs 86.1 crore.

  • A silver lining among damp squibs

    A silver lining among damp squibs

    Kahaani 2, a sequel to Kahaani (2012), turned out to be only an attempt to cash in on the earlier film. The film has nothing to do with the previous film and, even the character of the protagonist, Vidya Balan, is quite contrary to the original where she was a gutsy fighter on a mission while here she is a helpless woman.

    The film has failed to create the required anxiety which resulted in average opening day of about four crore. There was some improvement on Saturday and on Sunday this being a solo release. But, come Monday, the collections dropped. The film collected Rs 15.8 crore for its opening weekend.

    Dear Zindagi, a film about a fickle minded young girl and a mature psychiatrist, tried a subject with little identification with the Hindi-speaking audience. Probably an attempt to find a slot for Shah Rukh Khan to play mature and varied roles in keeping with his age.

    An unbearable length with no support from music or any other relief, the film showed some promise during its opening weekend but the collections tapered down over rest of the week.

    The film ended its first week with figures of about Rs 44.2 crore.

    Moh Maya Money is poor, going almost unnoticed. The film collected a poor Rs 25 lakh in its first week.

    Saansein: The Last Breath collected Rs 20 lakh in its first week.

    Force 2, despite being the only action film in some time, could not reap benefits of weak oppositions. The film managed to add just Rs 4.5 crore in its second week taking its two week total to Rs 30.4 crore.

    Ae Dil Hai Mushkil adds Rs 30 lakh in its fifth week to take its five week total to Rs 102.75 crore.

    Shivaay adds Rs 40 lakh in its fifth week to take its five week total to Rs 86.1 crore.

  • Kahaani 2: Durga Rani Singh……Predictable story

    Kahaani 2: Durga Rani Singh……Predictable story

    Sequel is a misnomer for films using a similar or the same title as an older film including, surprisingly, not always successful ones. The use of an old title and, if possible, the protagonist from the earlier film seem to suffice. In Kahaani 2: Durga Rani Singh, the common factor as in Kahaani (2012) is the lead actor, Vidya Balan, and the film’s West Bengal backdrop. Rest has no connect with the earlier.

    Kahaani 2 deals with the much-debated issue of child abuse.

    Vidya Balan’s character has a paraplegic daughter, Tunisha Sharma, in her early teens who she has promised to protect till she is alive. Both lead a quiet life in a distant village in West Bengal. Her time is divided between her job and looking after her daughter. Her only wish is to take her daughter to the US for treatment so she can start walking again as she did earlier.

    Tunisha also has a past that gives her nightmares. Tunisha has been a victim of child abuse when she was six (played by Naisha Khanna).

    Arjun Rampal, the newly transferred cop from Kolkata, enters the scene. As Arjun delves into Vidya’s diary it emerges that Naisha is an orphan in care of her uncle and granny. And, there is something about her family that is making her uncomfortable. Vidya takes it upon herself to rescue the girl.

    Rampal has a reason to keep the case away from police record and his seniors.

    Kahaani 2 is thoroughly a script of convenience. It is predictable and leaves a few things unexplained at the end. Since it uses the title Kahaani, the comparison is inevitable and, to say the least, this one falls way short of the original.

    It is a VidyaBalan film but she is not seen doing any daring-dos here as would be expected Naisha Khanna is impressive. Tunisha does not have much to do and passes muster. Rampal is good. Jugal Hansraj and Tota Roy Chowdhary are okay in support.

    The film keeps the viewer engrossed through its first half, but it tends to get repetitive in the later half. What works to some extent is the film’s ‘please all’ climax. With a solo release and coming as it does following a trail of poor films recently, Kahaani2: Durga Rani Singh was expected to take a decent opening which has not happened. In absence of initial curiosity, the film stands poor chances at the box office.

    Producers: Kushal Kantilal Gada, Dhaval Jayantilal Gada, Aksshay Jayantilal Gada and Sujoy Ghosh.

    Director: Sujoy Ghosh.

    Cast: Vidya Balan, Arjun Rampal, Tunisha Sharma, Naisha Khanna, Tota Roy Chowdhary, Jugal Hansraj.

  • Kahaani 2: Durga Rani Singh……Predictable story

    Kahaani 2: Durga Rani Singh……Predictable story

    Sequel is a misnomer for films using a similar or the same title as an older film including, surprisingly, not always successful ones. The use of an old title and, if possible, the protagonist from the earlier film seem to suffice. In Kahaani 2: Durga Rani Singh, the common factor as in Kahaani (2012) is the lead actor, Vidya Balan, and the film’s West Bengal backdrop. Rest has no connect with the earlier.

    Kahaani 2 deals with the much-debated issue of child abuse.

    Vidya Balan’s character has a paraplegic daughter, Tunisha Sharma, in her early teens who she has promised to protect till she is alive. Both lead a quiet life in a distant village in West Bengal. Her time is divided between her job and looking after her daughter. Her only wish is to take her daughter to the US for treatment so she can start walking again as she did earlier.

    Tunisha also has a past that gives her nightmares. Tunisha has been a victim of child abuse when she was six (played by Naisha Khanna).

    Arjun Rampal, the newly transferred cop from Kolkata, enters the scene. As Arjun delves into Vidya’s diary it emerges that Naisha is an orphan in care of her uncle and granny. And, there is something about her family that is making her uncomfortable. Vidya takes it upon herself to rescue the girl.

    Rampal has a reason to keep the case away from police record and his seniors.

    Kahaani 2 is thoroughly a script of convenience. It is predictable and leaves a few things unexplained at the end. Since it uses the title Kahaani, the comparison is inevitable and, to say the least, this one falls way short of the original.

    It is a VidyaBalan film but she is not seen doing any daring-dos here as would be expected Naisha Khanna is impressive. Tunisha does not have much to do and passes muster. Rampal is good. Jugal Hansraj and Tota Roy Chowdhary are okay in support.

    The film keeps the viewer engrossed through its first half, but it tends to get repetitive in the later half. What works to some extent is the film’s ‘please all’ climax. With a solo release and coming as it does following a trail of poor films recently, Kahaani2: Durga Rani Singh was expected to take a decent opening which has not happened. In absence of initial curiosity, the film stands poor chances at the box office.

    Producers: Kushal Kantilal Gada, Dhaval Jayantilal Gada, Aksshay Jayantilal Gada and Sujoy Ghosh.

    Director: Sujoy Ghosh.

    Cast: Vidya Balan, Arjun Rampal, Tunisha Sharma, Naisha Khanna, Tota Roy Chowdhary, Jugal Hansraj.

  • Zee Classic to air Dharmendra movies from 5-9 December

    Zee Classic to air Dharmendra movies from 5-9 December

    MUMBAI: The he-man’s fans are in for a sweet surprise next week.

    It was in 1958, a dashing young man from Punjab queued up in Mumbai for a talent hunt. Amidst the host of aspiring faces, his effortless flamboyance was unmatchable. Producer Arjun Hingorani spotted the talent and thus began the journey of the evergreen, Dharmendra.

    Zee Classic, with its brand promise of Woh Zamana Kare Deewana, celebrates the legend’s 81st birthday with a week-long festival titled ‘Dashing Dharmendra’, from 5 to 9 December, Monday to Friday, at 10am.

    The festival kicks off with superhit action drama ‘Ram Balram’ on 5 December also starring Amitabh Bachchan. Directed by Vijay Anand, this film has Dharmendra playing a smuggler stirring up the world of black market which brings him to a collision with his long lost brother, a cop. Next in line follows ‘Katilon Ke Katil’ on 6 December starring Dharmendra with Rishi Kapoor. Based on a mother’s equation with her two sons, this film was directed and produced by Arjun Hingorani who was fixated with casting Dharmendra in all his ventures.

    The line-up continues with ‘Raaj Tilak’ on 7 December. An ensemble cast including Sunil Dutt, Raj Kumar, Pran, Hema Malini and Kamaal Hassan, Dharmendra played a royal heir fighting for his throne in this epic period drama. ‘Sultanat’, starring father-son duo Dharmendra and Sunny Deol airs next on 8 December. Their first outing together, Dharmendra is pitted against his own son here, both plotting to kill each other for revenge. Concluding the festival on 9 December airs ‘Zalzala’, an action drama. Here, Dharmendra plays a commoner in search of a hidden treasure also hunted by a host of villains.

    Once referred to as the most good looking man on showbiz, Dharmendra has portrayed every conceivable role in every imaginable genre in his career spanning over five decades. Such was the inimitable charm of this gentleman. An ardent fan of his, actress Jaya Bachchan once said “Dharmendra was God to me and he still is.” Zee Classic wishes him a wonderful Birthday and a long life ahead.

    Date

    Day

    Time

    Movie

    5th   December 

    Monday

    10:00 AM

    RAM BALRAM

    6th   December 

    Tuesday

    10:00 AM

    KATILON KE KATIL

    7th   December 

    Wednesday

    10:00 AM

    RAAJ TILAK

    8th   December 

    Thursday

    10:00 AM

    SULTANAT

    9th   December 

    Friday

    10:00 AM

    ZALZALA
  • Zee Classic to air Dharmendra movies from 5-9 December

    Zee Classic to air Dharmendra movies from 5-9 December

    MUMBAI: The he-man’s fans are in for a sweet surprise next week.

    It was in 1958, a dashing young man from Punjab queued up in Mumbai for a talent hunt. Amidst the host of aspiring faces, his effortless flamboyance was unmatchable. Producer Arjun Hingorani spotted the talent and thus began the journey of the evergreen, Dharmendra.

    Zee Classic, with its brand promise of Woh Zamana Kare Deewana, celebrates the legend’s 81st birthday with a week-long festival titled ‘Dashing Dharmendra’, from 5 to 9 December, Monday to Friday, at 10am.

    The festival kicks off with superhit action drama ‘Ram Balram’ on 5 December also starring Amitabh Bachchan. Directed by Vijay Anand, this film has Dharmendra playing a smuggler stirring up the world of black market which brings him to a collision with his long lost brother, a cop. Next in line follows ‘Katilon Ke Katil’ on 6 December starring Dharmendra with Rishi Kapoor. Based on a mother’s equation with her two sons, this film was directed and produced by Arjun Hingorani who was fixated with casting Dharmendra in all his ventures.

    The line-up continues with ‘Raaj Tilak’ on 7 December. An ensemble cast including Sunil Dutt, Raj Kumar, Pran, Hema Malini and Kamaal Hassan, Dharmendra played a royal heir fighting for his throne in this epic period drama. ‘Sultanat’, starring father-son duo Dharmendra and Sunny Deol airs next on 8 December. Their first outing together, Dharmendra is pitted against his own son here, both plotting to kill each other for revenge. Concluding the festival on 9 December airs ‘Zalzala’, an action drama. Here, Dharmendra plays a commoner in search of a hidden treasure also hunted by a host of villains.

    Once referred to as the most good looking man on showbiz, Dharmendra has portrayed every conceivable role in every imaginable genre in his career spanning over five decades. Such was the inimitable charm of this gentleman. An ardent fan of his, actress Jaya Bachchan once said “Dharmendra was God to me and he still is.” Zee Classic wishes him a wonderful Birthday and a long life ahead.

    Date

    Day

    Time

    Movie

    5th   December 

    Monday

    10:00 AM

    RAM BALRAM

    6th   December 

    Tuesday

    10:00 AM

    KATILON KE KATIL

    7th   December 

    Wednesday

    10:00 AM

    RAAJ TILAK

    8th   December 

    Thursday

    10:00 AM

    SULTANAT

    9th   December 

    Friday

    10:00 AM

    ZALZALA
  • &pictures to premiere ‘Transformers: Age of Extinction’ on 2 December

    &pictures to premiere ‘Transformers: Age of Extinction’ on 2 December

    MUMBAI: Enviable structures, remarkable visual effects and electrifying action sequences- The iconic Transformers series has never failed to flabbergast the viewers. To flavor up your weekend, &pictures, Naye India Ka Blockbuster Movie Channel is all set to premiere the blockbuster film Transformers: Age of Extinction on Friday, 2 December at 8 pm. The film is the fourth installment and one of the highest grossing film of the popular live-action franchise.

    Directed by Michael Bay, the film is a sequel to the 2011 hit ‘Transformers: Dark of the Moon’ and starts five years after the Battle of Chicago. Transformers, who apparently have been granted refuge, are hunted down by Harold Attinger (Kelsey Grammer), an undercover officer. He believes that the entire Transformers’ clan should be eliminated from Earth and is helped by Lockdown. In order to escape them, Optimus Prime (Autobots leader) and his gang turn to a mechanic (Mark Wahlberg), his daughter (Nicola Peltz), and her back street racing boyfriend (Jack Reynor) for help. What follows next is an exciting and breath-taking journey of the Autobots fighting the Decepticons to save the planet.

    Backed by ace graphics and swanky cars, ‘Transformers: Age of Extinction’ boasts of new characters and fascinating action sequences. A technical marvel, the film creates intrigue in the minds of viewers stating it to be the end for Autobots. Is it truly their final encounter? Catch the exciting battle between the Autobots and the Decepticons on Friday, 2 December at 8pm.