Category: Hindi

  • Film tourism convention ‘Locations’ attracts delegates from 10+ countries

    Film tourism convention ‘Locations’ attracts delegates from 10+ countries

    NEW DELHI: The fourth edition of the annual film tourism convention IIFTC Locations Show 2016 will take place in three locations – Chennai, Hyderabad and Mumbai – this month.

    Organized by the Film Federation of India, the IIFTC Locations Show will to take place in Chennai on 23 February at Crowne Plaza Hotel, in Hyderabad on 25 February at Radisson Blu Plaza and in Mumbai at JW Marriott, Juhu on 27 February.

    According to a study conducted by Mercury Integrated Marketing Services, more than 200 Indian film are shot abroad in over 50 countries around the world every year.

    IIFTC Locations Show promises to be a grand affair with participation from various Asian, African and European countries vying to garner a larger slice of this ever increasingly foreign shoots market in India.

    IIFTC Locations Show 2016 will see participation from some exotic countries such as Kenya, Namibia, South Africa (KwaZulu Natal), Fiji, Spain, Germany, Sri Lanka and Thailand among others.

    FFI secretary general Supran Sen said, “Our filmmakers are constantly looking for new and exotic destinations to shoot. At IIFTC Locations Show, FFI will gather the most prodigious Indian film makers and studios under one roof to meet the visiting delegations of tourism and cultural ministries from various countries and states.”

    IIFTC director Harshad Bhagwat added, “Films have been one of the most vital motivations for putting a destination on a travel itinerary. Films provide many positive impacts for the destination in terms of economic and cultural value, brand awareness and positive image building. With IIFTC, we aim to create conducive environment for Locations Scouting for creative industries in India as well as a credible B2B platform for film induced tourism promotion.”

  • ‘Neerja:’ The heroine of the hijack!

    ‘Neerja:’ The heroine of the hijack!

    Neerja, the film, is a biographical account of the PanAm air hostess, Neerja Bhanot. However, the disclaimer at the beginning of the film says it is not exactly so. To make this film would be a tricky challenge since Neerja’s image has become larger than life and her acts of valour have become part of legend.

    Neerja sacrificed her life to save hundreds of other in the course of duty and she has since been decorated posthumously by India’s highest gallantry award, the Ashok Chakra, besides the Philatelic Department issuing a postage stamp in her honour. Neerja was also awarded by the Pakistan government and the US Justice Department. 

    Neerja, played by Sonam Kapoor, was a daughter of the Bhanots, Harish and Rama, desperately wanted despite already having two sons. Her parents always imbibed the virtues of courage in their daughter, pampered equally by the parents as well as brothers. 

    Neerja is married off in an arranged match and moves with her husband to the Gulf. However, the teachings did not help Neerja in this personal battle when her husband started ill-treating and taunting her for not brining dowry and also for her modelling. The marriage failed and she returned to be with her parents in Mumbai. 

    Neerja then applied for a job with the American airliner, PanAm and was selected and later trained at Miami. She now has overcome the setback in her marriage, has a job, modelling assignments as well as a friend, Shekhar Ravjiani, who is keen to marry her. 

    Neerja was on her first flight as a chief purser on a Mumbai-Frankfurt-New York flight. But, the plane makes an unscheduled stop at Karachi. Here, four Libyan terrorists, dressed in Pakistani security uniforms board the plane. Neerja senses trouble immediately and alerts the flying crew of three who escape from an overhead hatch in the cabin. This was so that the terrorists could not compel them to fly wherever they wished. 

    What followed is what made Neerja a legend and earned her the title of ‘The heroine of the hijack.’ As the senior-most crew member on the flight, she takes charge, pacifies the passengers, communicates with the terrorists and goes on doing all she can to save the situation. 

    The terrorists want the Pakistani authorities to find replacement pilots to fly out. As the hours pass, they want to set an example and kill passengers one by one. Their anger is on the Americans and ask Neerja and other hostesses to collect the passports of all the American passengers on board to identify and kill them to pressurise the Pakistanis. But, Neerja orders her subordinates not to collect American passports. Instead hide them under the seats or get rid of them through the rubbish chute.

    The standoff lasts for over 17 hours when the aircraft battery life ends and the lights go off. The terrorists become frantic and, in desperation, start shooting blindly and chuck grenades in the plane. Neerja acts and opens the door as well as the emergency escape chute. Having done that, she could have been the first one to escape. Having helped all the passengers escape, it is when she is trying to help three unaccompanied children escape, that a terrorist shoots her.

    Director Ram Madhvani has done a competent job ably helped by screenplay writer, Saiwyn Quadras, who has done well to merge Neerja’s marital troubles flashbacks with the hijack scenes. Hijack and terrorism scenes may have been seen many times but the human angle here gives the film much credence. The last part where Neerja opens the aircraft door and lowers the chute is the essence of the film and has solid emotional impact. 

    For Sonam, getting into Neerja’s shoes is a tough task but she manages to get into the skin of the character as the film progresses. Shabana Azmi, Shekhar and Yogendra Tiku have brief parts but are convincing. Terrorists are sinister enough to make an impact.

    Neerja has had a varied opening response at the box office but word of mouth is encouraging. It is such a film that needs to work.

    Producers: Atul Kasbekar, Shanti Sivaram Maini
    Director: Ram Madhvani
    Cast: Sonam Kapoor, Shabana Azmi, Shekhar Ravjiani, Yogendra Tiku

    ‘Direct Ishq:’ Also ran

    Benaras has been attracting some filmmakers and writers to weave their stories in this holy city. It is not because of their love for the city or because of any religious leanings. When you want to pit a simple middle class girl against a gun-toting hero juxtaposed with another boy from the same city and similar background having made it big with hard work and honesty, you need a state with a reputation for lawlessness. Therefore it is not surprising that many such films are based in one such Hindi belt locale.

    Direct Ishq is a love triangle in the traditional mode where two guys, a good one and a bad one, fall in love with same girl. The boys in this case are Rajneesh Duggal and Arjun Bijlani, while the girl is Nidhi Subbaiah.

    Nidhi is a pretty and popular girl for the way she conducts herself, full of pep. But she knows her limits and keeps away from any sort of trouble from boys who try to woo her. Rajeev is a local college boy and the leader of the university students’ body. He believes that power comes from being tough. He is always ready to pick a fight and adds to his muscle by being armed with a gun. He is besotted with Nidhi but when it comes to girls, he is tongue tied. He can never make himself gather enough courage to tell her his feelings. 

    Rajneesh enters the scene to complete the triangle. He is another Benaras lad who has got his education in Mumbai and now has his own event management company there. Nidhi is an aspiring singer who wants to make a name for herself and make her family proud. In this event, Rajneesh would be the right person to fulfil her aspirations. While helping her cause, he also falls in love with her.

    The film provides scope for music as well as Benaras kind of action scenes. While nothing is new here, it being a musical also does not count for much as of innumerable songs, just a couple pass muster. Action is routine. 

    Direct Ishq is another also ran.

    Producers: Pradeep K Sharma
    Director: Rajiv S Ruia
    Cast: Rajneesh Duggal, Nidhi Subbaiah, Arjun Bijlani 

     

  • ‘Neerja:’ The heroine of the hijack!

    ‘Neerja:’ The heroine of the hijack!

    Neerja, the film, is a biographical account of the PanAm air hostess, Neerja Bhanot. However, the disclaimer at the beginning of the film says it is not exactly so. To make this film would be a tricky challenge since Neerja’s image has become larger than life and her acts of valour have become part of legend.

    Neerja sacrificed her life to save hundreds of other in the course of duty and she has since been decorated posthumously by India’s highest gallantry award, the Ashok Chakra, besides the Philatelic Department issuing a postage stamp in her honour. Neerja was also awarded by the Pakistan government and the US Justice Department. 

    Neerja, played by Sonam Kapoor, was a daughter of the Bhanots, Harish and Rama, desperately wanted despite already having two sons. Her parents always imbibed the virtues of courage in their daughter, pampered equally by the parents as well as brothers. 

    Neerja is married off in an arranged match and moves with her husband to the Gulf. However, the teachings did not help Neerja in this personal battle when her husband started ill-treating and taunting her for not brining dowry and also for her modelling. The marriage failed and she returned to be with her parents in Mumbai. 

    Neerja then applied for a job with the American airliner, PanAm and was selected and later trained at Miami. She now has overcome the setback in her marriage, has a job, modelling assignments as well as a friend, Shekhar Ravjiani, who is keen to marry her. 

    Neerja was on her first flight as a chief purser on a Mumbai-Frankfurt-New York flight. But, the plane makes an unscheduled stop at Karachi. Here, four Libyan terrorists, dressed in Pakistani security uniforms board the plane. Neerja senses trouble immediately and alerts the flying crew of three who escape from an overhead hatch in the cabin. This was so that the terrorists could not compel them to fly wherever they wished. 

    What followed is what made Neerja a legend and earned her the title of ‘The heroine of the hijack.’ As the senior-most crew member on the flight, she takes charge, pacifies the passengers, communicates with the terrorists and goes on doing all she can to save the situation. 

    The terrorists want the Pakistani authorities to find replacement pilots to fly out. As the hours pass, they want to set an example and kill passengers one by one. Their anger is on the Americans and ask Neerja and other hostesses to collect the passports of all the American passengers on board to identify and kill them to pressurise the Pakistanis. But, Neerja orders her subordinates not to collect American passports. Instead hide them under the seats or get rid of them through the rubbish chute.

    The standoff lasts for over 17 hours when the aircraft battery life ends and the lights go off. The terrorists become frantic and, in desperation, start shooting blindly and chuck grenades in the plane. Neerja acts and opens the door as well as the emergency escape chute. Having done that, she could have been the first one to escape. Having helped all the passengers escape, it is when she is trying to help three unaccompanied children escape, that a terrorist shoots her.

    Director Ram Madhvani has done a competent job ably helped by screenplay writer, Saiwyn Quadras, who has done well to merge Neerja’s marital troubles flashbacks with the hijack scenes. Hijack and terrorism scenes may have been seen many times but the human angle here gives the film much credence. The last part where Neerja opens the aircraft door and lowers the chute is the essence of the film and has solid emotional impact. 

    For Sonam, getting into Neerja’s shoes is a tough task but she manages to get into the skin of the character as the film progresses. Shabana Azmi, Shekhar and Yogendra Tiku have brief parts but are convincing. Terrorists are sinister enough to make an impact.

    Neerja has had a varied opening response at the box office but word of mouth is encouraging. It is such a film that needs to work.

    Producers: Atul Kasbekar, Shanti Sivaram Maini
    Director: Ram Madhvani
    Cast: Sonam Kapoor, Shabana Azmi, Shekhar Ravjiani, Yogendra Tiku

    ‘Direct Ishq:’ Also ran

    Benaras has been attracting some filmmakers and writers to weave their stories in this holy city. It is not because of their love for the city or because of any religious leanings. When you want to pit a simple middle class girl against a gun-toting hero juxtaposed with another boy from the same city and similar background having made it big with hard work and honesty, you need a state with a reputation for lawlessness. Therefore it is not surprising that many such films are based in one such Hindi belt locale.

    Direct Ishq is a love triangle in the traditional mode where two guys, a good one and a bad one, fall in love with same girl. The boys in this case are Rajneesh Duggal and Arjun Bijlani, while the girl is Nidhi Subbaiah.

    Nidhi is a pretty and popular girl for the way she conducts herself, full of pep. But she knows her limits and keeps away from any sort of trouble from boys who try to woo her. Rajeev is a local college boy and the leader of the university students’ body. He believes that power comes from being tough. He is always ready to pick a fight and adds to his muscle by being armed with a gun. He is besotted with Nidhi but when it comes to girls, he is tongue tied. He can never make himself gather enough courage to tell her his feelings. 

    Rajneesh enters the scene to complete the triangle. He is another Benaras lad who has got his education in Mumbai and now has his own event management company there. Nidhi is an aspiring singer who wants to make a name for herself and make her family proud. In this event, Rajneesh would be the right person to fulfil her aspirations. While helping her cause, he also falls in love with her.

    The film provides scope for music as well as Benaras kind of action scenes. While nothing is new here, it being a musical also does not count for much as of innumerable songs, just a couple pass muster. Action is routine. 

    Direct Ishq is another also ran.

    Producers: Pradeep K Sharma
    Director: Rajiv S Ruia
    Cast: Rajneesh Duggal, Nidhi Subbaiah, Arjun Bijlani 

     

  • YRF launches in-house VFX studio; Pankaj Khandpur named creative director

    YRF launches in-house VFX studio; Pankaj Khandpur named creative director

    MUMBAI: YRF Studios has launched its independent visual effects (VFX) division called yFX.

    yFX has roped in Pankaj Khandpur as creative director. Khandpur was previously with VFX company Tata Elxsi – Visual Computing Labs as creative director.

    The first film under the yFX division will be Yash Raj Films’ Salman Khan – Anushka Sharma starrer Sultan.

    YRF Studios vice president and Yash Raj Films finance and business affairs Akshaye Widhani said, “The Indian film industry is pushing the envelope with every film and visual effects will play a bigger part than ever before in Indian cinema. Like Hollywood films, Indian films too will become an event by itself, which means more effects and larger than life imagery. This state of the art facility will be housed in YRF Studios making YRF a fully integrated studio in every sense of the word.”

    Khandpur added, “With yFX, the Indian visual effects industry finally comes of age! Visual effects will now be treated on par with all the other critical departments in filmmaking, contributing to the process from day one: from the ideation of the script itself, all the way through to final world-class execution, thanks to our experienced, skilled and passionate team of designers, supervisors and artists.

  • YRF launches in-house VFX studio; Pankaj Khandpur named creative director

    YRF launches in-house VFX studio; Pankaj Khandpur named creative director

    MUMBAI: YRF Studios has launched its independent visual effects (VFX) division called yFX.

    yFX has roped in Pankaj Khandpur as creative director. Khandpur was previously with VFX company Tata Elxsi – Visual Computing Labs as creative director.

    The first film under the yFX division will be Yash Raj Films’ Salman Khan – Anushka Sharma starrer Sultan.

    YRF Studios vice president and Yash Raj Films finance and business affairs Akshaye Widhani said, “The Indian film industry is pushing the envelope with every film and visual effects will play a bigger part than ever before in Indian cinema. Like Hollywood films, Indian films too will become an event by itself, which means more effects and larger than life imagery. This state of the art facility will be housed in YRF Studios making YRF a fully integrated studio in every sense of the word.”

    Khandpur added, “With yFX, the Indian visual effects industry finally comes of age! Visual effects will now be treated on par with all the other critical departments in filmmaking, contributing to the process from day one: from the ideation of the script itself, all the way through to final world-class execution, thanks to our experienced, skilled and passionate team of designers, supervisors and artists.

  • Dia Mirza to star in first Indo-Iranian co-production with Iranian superstar

    Dia Mirza to star in first Indo-Iranian co-production with Iranian superstar

    NEW DELHI: Actor Dia Mirza has begun shooting for a first-of-its-kind Indo-Iranian co-production opposite Iranian superstar Mohammad Reza Golzar. 

    “This movie is going to be a confluence of the two countries as well as Indian and Iranian cultures and that’s what got me really excited,” said Mirza.

    The movie titled Salaam Mumbai explores the tumultuous love story of the two main protagonists.

    “Golzar is considered to be the Shah Rukh Khan of Iranian cinema, and through him I thought it would be interesting to be exposed to a new audience of 80 million Iranians,” she added.

    Interestingly, the deal came through when Mirza met Shah Rukh Khan’s doctor Dr Ali Irani, who in turn introduced her to the Iranian producer.

    “This is a movie about two medical students from different parts of the world finding love, and one that will capture the rich cinematic legacies of the two countries,” she added.

    Salaam Mumbai is directed by Iranian director Ghorban Mohammadpour and has Javad Norouzbeigi as one of the producers. Previously, Norouzbeigi has also partnered with Majid Majidi on The Sea of Sparrows.

    “As the world shrinks and artists from different countries collaborate to work together, it’s a great opportunity for us to learn and take our art to newer platforms and audiences,” added Mirza.

  • Dia Mirza to star in first Indo-Iranian co-production with Iranian superstar

    Dia Mirza to star in first Indo-Iranian co-production with Iranian superstar

    NEW DELHI: Actor Dia Mirza has begun shooting for a first-of-its-kind Indo-Iranian co-production opposite Iranian superstar Mohammad Reza Golzar. 

    “This movie is going to be a confluence of the two countries as well as Indian and Iranian cultures and that’s what got me really excited,” said Mirza.

    The movie titled Salaam Mumbai explores the tumultuous love story of the two main protagonists.

    “Golzar is considered to be the Shah Rukh Khan of Iranian cinema, and through him I thought it would be interesting to be exposed to a new audience of 80 million Iranians,” she added.

    Interestingly, the deal came through when Mirza met Shah Rukh Khan’s doctor Dr Ali Irani, who in turn introduced her to the Iranian producer.

    “This is a movie about two medical students from different parts of the world finding love, and one that will capture the rich cinematic legacies of the two countries,” she added.

    Salaam Mumbai is directed by Iranian director Ghorban Mohammadpour and has Javad Norouzbeigi as one of the producers. Previously, Norouzbeigi has also partnered with Majid Majidi on The Sea of Sparrows.

    “As the world shrinks and artists from different countries collaborate to work together, it’s a great opportunity for us to learn and take our art to newer platforms and audiences,” added Mirza.

  • Box Office: ‘Sanam Re’ collections triumph over ‘Fitoor’ in opening weekend

    Box Office: ‘Sanam Re’ collections triumph over ‘Fitoor’ in opening weekend

    MUMBAI: It has been a dull week and the exhibition trade is at the receiving end despite two films to distribute screens to. T-Series Sanam Re  pipped the Aditya Roy Kapur – Katrina Kaif starrer Fitoor at the box office in the opening weekend. 

    Sanam Re, a film with no story or script to back it and counting only on its musical score and hearty promotion (after all, it is a T-Series production), does not stir up excitement in the Valentine’s Day weekend as was expected. With the low figure on Friday, the film remained almost static on Saturday. However, boasting of popular music, the film did cash in on Sunday, 14 February, to show a decent improvement. The film ended its opening weekend with figures of Rs 16.3 crore.

    Fitoor, where the trade and exhibitors, especially multiplexes, had some expectations because of a decent past record of the director, Abhishek Kapoor, proved to be a pretentious and messed up script borrowed from Charles Dickens’ classic, Great Expectations. A lot of things have been grossly mixed up and confuse the viewer. The casting was a huge mismatch with only Tabu making a mark in a role, which was not really complementary to her reputation. The film improved only slightly on Saturday and Sunday but not enough to matter. It ended its first weekend with a figure of Rs 13.2 crore.

    Ghayal Once Again has not been able to make much of a mark. Old fashioned theme with treatment to match and a bad casting hurt the film hugely. With its opening weekend of Rs 21.2 crore, the film just about managed to stay afloat through rest of the week to collect Rs 33.1 crore in its first week. 

    Sanam Teri Kasam, a hackneyed love story about cancer playing the villain in the romance of a young couple, being a done to death theme, fails to garner audience interest. With its opening weekend of Rs 3.8 crore, it does not add much to the kitty in the remaining four days and ends the opening week with Rs 7.25 crore. 

    BHK Bhalla@Halla.com remains a nonstarter.

    Saala Khadoos gets a piece of the pie due to poor opposition to add Rs 1.9 crore in its second week thus taking its two week tally to Rs 10.1 crore.

    Mastizaade collects Rs 1.05 crore in its second week to take its two week total to Rs 18.7 crore.

    Airlift continues to hold its sway at the box office with excellent figures in its third week. The film added a handsome Rs 10.8 crore for its third week taking its three week tally to a healthy Rs 122.1 crore. 

    Kyaa Kool Hain Hum comes to the end of its run with figures of Rs 20 lakh in its third week to take its three week total to Rs 27 crore.

  • Box Office: ‘Sanam Re’ collections triumph over ‘Fitoor’ in opening weekend

    Box Office: ‘Sanam Re’ collections triumph over ‘Fitoor’ in opening weekend

    MUMBAI: It has been a dull week and the exhibition trade is at the receiving end despite two films to distribute screens to. T-Series Sanam Re  pipped the Aditya Roy Kapur – Katrina Kaif starrer Fitoor at the box office in the opening weekend. 

    Sanam Re, a film with no story or script to back it and counting only on its musical score and hearty promotion (after all, it is a T-Series production), does not stir up excitement in the Valentine’s Day weekend as was expected. With the low figure on Friday, the film remained almost static on Saturday. However, boasting of popular music, the film did cash in on Sunday, 14 February, to show a decent improvement. The film ended its opening weekend with figures of Rs 16.3 crore.

    Fitoor, where the trade and exhibitors, especially multiplexes, had some expectations because of a decent past record of the director, Abhishek Kapoor, proved to be a pretentious and messed up script borrowed from Charles Dickens’ classic, Great Expectations. A lot of things have been grossly mixed up and confuse the viewer. The casting was a huge mismatch with only Tabu making a mark in a role, which was not really complementary to her reputation. The film improved only slightly on Saturday and Sunday but not enough to matter. It ended its first weekend with a figure of Rs 13.2 crore.

    Ghayal Once Again has not been able to make much of a mark. Old fashioned theme with treatment to match and a bad casting hurt the film hugely. With its opening weekend of Rs 21.2 crore, the film just about managed to stay afloat through rest of the week to collect Rs 33.1 crore in its first week. 

    Sanam Teri Kasam, a hackneyed love story about cancer playing the villain in the romance of a young couple, being a done to death theme, fails to garner audience interest. With its opening weekend of Rs 3.8 crore, it does not add much to the kitty in the remaining four days and ends the opening week with Rs 7.25 crore. 

    BHK Bhalla@Halla.com remains a nonstarter.

    Saala Khadoos gets a piece of the pie due to poor opposition to add Rs 1.9 crore in its second week thus taking its two week tally to Rs 10.1 crore.

    Mastizaade collects Rs 1.05 crore in its second week to take its two week total to Rs 18.7 crore.

    Airlift continues to hold its sway at the box office with excellent figures in its third week. The film added a handsome Rs 10.8 crore for its third week taking its three week tally to a healthy Rs 122.1 crore. 

    Kyaa Kool Hain Hum comes to the end of its run with figures of Rs 20 lakh in its third week to take its three week total to Rs 27 crore.

  • ‘Fitoor:’ Confusing and dry

    ‘Fitoor:’ Confusing and dry

    Fitoor is projected as ‘Based on the 19th century writer, Charles Dickens’ Great Expectations.’

    A story of an orphan, his phases in life and his manipulation by various people unknown to him. Being a 19th century saga, it is about star-crossed lover and all the formulae like rich poor romance, evil forces, invisible benefactors that exists in our movies even now. The makers choose the scenic Kashmir for the Kent marshlands to tell their story.

    Aditya Roy Kapur is an orphan under the care of his sister and brother-in-law living in Kashmir when the trouble is at its peak in the valley. He helps his brother-in-law who is an iron smith but has a knack for art as in drawing as well as sculpting. Then the film goes back into Dickens’ 19th century. Aditya is summoned by the Begum, Tabu. The film takes the liberty of introducing a Begum to Kashmir, the land of Maharajas. Tabu holds sway over the township and has a backstory to tell. 

    Tabu lives in a palatial house with her cute young daughter, Tunisha Sharma (to grow up as Katrina Kaif) who is enamoured by young boy Aditya. Her love for him happens after bossing over him for a time. Earlier, while only young Aditya was in love with her, now it is mutual. On the birthday of Tunisha, Aditya’s sister is felled by a bomb. When he reaches her home next day, she has already been dispatched to London for further studies by Tabu.

    Tabu has an agenda. She also sends Aditya to London to study art in which he shows talent. Otherwise, in a slow moving saga, the story moves fast here. Aditya becomes a celebrity in London and also comes across Katrina (grown up Tunisha). He is very much in love with her, she is partly in love with him because, she has, by now, found a suitor in Rahul Bhat, a Pakistani guy who studied with her in London.

    The script’s resistance ends here because it goes haywire here onwards. What follows is what you would have seen in hundreds of Indian movies from the industry’s inception till last week. Katrina is set to marry her Pakistani suitor, Rahul. Because, even if she loves Aditya, Rahul, a politician in Pakistan would mean status. As it happens in such love stories, Aditya goes berserk. 

    Actually, it is about Tabu, who was betrayed and playing with the lives of Aditya and Katrina for her personal reasons. 

    Actually, the whole narrative is so confusing and messed up, it is injustice to Dickens. Often during a film, you don’t fathom all things till they are unfolded at the end; trick with Fitoor is that you don’t understand what the film and issues were about even when you leave the cinema hall and reach home!

    Fitoor is poorly put together script, which unfolds like a mismatched jigsaw puzzle. A simple old fashioned Dickens’ story remixed for MBA aspirants. Direction is aimless. Good editor would have cut down this film to about 45 minutes. Musically, there is one number to like. The only highlight is the cinematography of the film, which is excellent. 

    Talking of performances, only Tabu stands out besides the young kids playing Katrina and Aditya. Aditya seemed to show some improvement but carried the same expressions throughout. Katrina has lost her charm and fails to appeal. 

    Fitoor, a love story, despite its opportune Valentine weekend will not be able to cash in.

    Producers: Abhishek Roy Kapoor, Siddharth Roy Kapur
    Director: Abhishek Roy Kapoor
    Cast: Aditya Roy Kapur, Katrina Kaif, Tabu, Aditi Rao Hydari, Rahul Bhat, Akshay Oberoi, Lara Dutta.

    ‘Sanam Re:’ Juke box!

    With few writers around, filmmakers seem to be going back into past for film themes. Sanam Reresorts to an old-fashioned love triangle, sort of about cursed lovers never meant to come together. 

    Pulkit Samrat is a small town lad who has landed in Mumbai to make it good. His grandpa, Rishi Kapoor, used to be a photographer, afflicted by Alzheimer’s, he is incapable of running his shop anymore and wants the property to be appropriated by his wards. Pulkit is summoned back home for the purpose.

    Back home, Pulkit is full of the memories of his childhood love, Yami Gautam, who he has not seen since he left for Mumbai.

    In this script of convenience, Pulkit has to visit Canada on an urgent assignment. There, he cultivates Urvashi Rautela purely for personal reasons. But, as it happens in such love triangles, Yami surfaces just then. 

    Actually, there is no story in this love story. But, being a T-Series home production, the film has some very popular numbers and the film seems just like an excuse to package them.

    Performances are generally routine as the roles offer no depth. Rishi Kapoor is the star talent in this film but has little to offer. The location being scenic, the film looks good visually. Direction is purely functional. The film could have done with some trimming. Musical score is an asset which can help the film to an extent through its Valentine’s Day opening weekend.

    Producers: Bhushan Kumar, Krishan Kumar
    Director: Divya Khosla Kumar
    Cast: Pulkit Samrat, Yami Gautam, Urvashi Rautela, Rishi Kapoor