Category: Movies

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
Eros seeks to protect stakeholder interest, files case against US short-sellers

MUMBAI: Eros International Plc has filed a lawsuit in New York County Supreme Court against Mangrove Partners, Manuel P. Asensio, GeoInvesting, LLC, and numerous other individuals and entities.

Eros International Plc, which has an extensive library comprising over 3,000 Hindi, Tamil, and other regional language films, acquires, co-produces and distributes Indian films across all available formats such as cinema, television and digital new media.

The lawsuit alleges the defendants and other co-conspirators disseminated material false, misleading, and defamatory information about Eros and are engaging in other misconduct that has harmed the company. The lawsuit also names various “John Doe” defendants who will be identified and joined as the case unfolds, an Eros press release stated.

The complaint alleges that Mangrove Partners and many, if not all, of its co-conspirators held substantial short positions in Eros stock and profited when its share price declined in response to their multi-year disinformation campaign. Eros seeks damages and injunctive relief for defamation, trade libel, civil conspiracy, and tortious interference, including but not limited to interference with its customers, producers, distributors, investors, and lenders.

The filing of this lawsuit marks another important step in Eros’ vigorous defense of itself and the company’s stakeholders. On 25 September, 2017, Eros also reported that the United States District Court for the Southern District of New York dismissed a putative securities class action, with prejudice, that was originally filed in November 2015 and arose from a series of baseless accusations that the Eros complaint alleges were disseminated by short sellers.

The company previously announced that it retained Michael J. Bowe, a partner of Kasowitz Benson Torres LLP, to investigate and pursue all available legal remedies against those responsible for these blatant attempts at market manipulation. The counsel is continuing its investigation, the release added.

October 4, 2017
Judwaa 2 hopes to entertain

*Judwaa 2 came after a long gap that was filled by mediocre and non-entertaining films. There were no films in the last few months which could draw out the families from home to watch a film.

Two weeks before Diwali was not the right time to release a film but, to counter that, there was also a long holiday weekend with Dussehra on Saturday and Gandhi Jayanti holiday on Monday.

The film rode on the brand equity of the 1997 original, Judwaa, starring Salman Khan in dual role. Salman even helped promote Judwaa 2 through its promos. The film took a decent opening last Friday with Rs 155 million as Saturday improved by bounds as expected, and so did Sunday as the film put together Rs 579 million for its opening weekend.

Gandhi Jayanti holiday may have have proved to be a major boost to the film’s collections.

*Sanjay Dutt’s comeback film, Bhoomi, has flopped. The film could add little to its opening weekend, and had just made about Rs 95 million for its first week.

*Haseena Parkar proved to be another disaster. One wonders at the choice of such subjects to make films! Films and Rani Laxmi don’t work but someone somewhere thought a film on Haseena Parker will work? The film managed to collect Rs 63 million in its first week.

*Newton proved to be surprise packet as its choice as the Indian entry for the Foreign Language Oscar coincided with its Friday release. Two other films to release on the same Friday, Bhoomi and Haseena Parker, being way below par, Newton got a boost as the people’s first choice. The film, which was poor on day one, picked up to end its first week with collections of Rs 112 million.

*Lucknow Central managed to add just about Rs 75 lakh in its week two to take its two week total to Rs 110 million.

*Simran added Rs 13 million in its week two to take its two week total to Rs 158 million.

October 3, 2017
Judwaa 2….Rides on long weekend

Ideas are in short-supply. Shortcuts are the norm. And, as a producer of repute, if you are getting a package deal to make some quick money, why not?

Producer Sajid Nadiadwala digs into his own archives and comes up with a remake of his own film ‘Judwaa.’ Since remakes are an accepted norm, David Dhawan, the director of the original Judwaa, comes as a package deal with his son, Varun, in the lead.

Judwaa, Sajid and David’s 1997 film was a comic laugh riot. Salman Khan was in his element playing a dual role and David was known to be an economical director who, trained at FTII as an editor, was known to pre-edit his films.

Judwaa 2 continues the age-old formula where twins are separated at birth for whatever reason. The character of Sachin Khedekar and his wife, Prachi Shah, have twin boys, Varun Dhawan in dual role. One of them is kidnapped. The upbringing of the two is poles apart.

Prem grows up in London in the lap of luxury in a protected life. Raja is raised by a fisherwoman in Mumbai. Raja grows up to become an extrovert and confident one, Prem is a softy who takes to music.

How the two brothers eventually come together and the pieces fall into their respective slots and the villains tackled is the obvious plot.

Romantic angles have to be drawn. Prem has been paired with the character Taapsee Pannu while Raja meets his match, played by Jacqueline Fernandez, on a flight.

The best part of the film, which makes it tick, is that these are reflexive twins in that whatever one does, other follows or, whatever one undergoes, the other sufferers it too. So, even while both are away from each other unaware of their existence, this provides for some fun.

Since this is the remake of the 1997 Judwaa starring Salman Khan, the comparisons are inevitable, especially since the film is still fresh in mind of the moviegoer. While lacking in originality, Judwaa 2 also can’t find new or contemporary gags.

Varun Dhawan tries his best and comes across convincingly as the ‘tapori’ while, as the simpleton, he finds the going tough. Fernandez and Pannu have nothing much to do except during songs and to add glamour.

As for direction, Dhawan adheres mostly to the original, also his own work. The length here, 150 minutes, looks stretched, especially in the second half and needs some trimming. Music benefits with the use of two songs from the original Judwaa, composed by Anu Malik.

Judwaa 2 is a light entertainer which is what the moviegoer prefers. The film gets a long weekend as Saturday is a Dussehra holiday followed by Sunday, and Gandhi Jayanti holiday on Monday.

Producer: Sajid Nadiadwala.

Director: David Dhawan.

Cast: Varun Dhawan, Jacqueline Fernandez, Taapsee Pannu, Anupam Kher, Pavan Malhotra, Rajpal Yadav, Sachin Khedekar and Prachi Shah.

September 30, 2017
Viacom18 showcases strong women characters content: Ajit Andhare, buys Mithali biopic rights

MUMBAI: With a phenomenal record of being the highest run scorer in one-day internationals averaging above 51, the captain of the Indian women’s cricket team, Mithali Raj, has had a remarkable journey on field. An inspiration to billions of young girls in the country, her life is now all set to be documented on the silver screen. The rights of the film have been acquired by Viacom18 Motion Pictures, the studio that backed content driven films like Queen, Manjhi, Drishyam, Mary Kom, Bhaag Milkha Bhaag and the recent hit, Toilet Ek Prem Katha. Viacom18 Motion Pictures COO Ajit Andhare says, “Viacom18 Motion Pictures has always been the pioneer in showcasing content with portrayal of strong women characters right from Queen to Kahani to Mary Kom. We are proud to be collaborating with the young and inspirational Mithali Dorai Raj, a name single-handedly responsible in bringing about a shift in the way women’s cricket team was perceived in our country.” Raj is the highest run-scorer in women’s international cricket and the only woman cricketer to surpass the 6,000 run mark in ODIs. She is also the first player to score seven consecutive 50s in ODIs. Raj is the first Indian to have lead the national team to an ICC ODI World Cup final twice – 2005 and 2017. An Arjuna awardee, Mithali was also awarded the Padma Shri in 2015, India’s fourth highest civilian award for her contribution towards the sport of cricket. Raj says, “I am extremely happy on this association with Viacom18 Motion Pictures. Hoping that this movie inspires more people especially young girls to take up sports as a career.” The association between Viacom18 Motion Pictures and Mithali Raj has been facilitated by Medallin Sports director Varun Chopra, who says: “Mithali remains to be an inspiration for multitudes for many years now and her story on the silver screen will keep motivating generations.”

September 27, 2017
Indifference of movie-goers

*Bhoomi was chosen to be the re-launch vehicle of Sanjay Dutt on his return from serving a jail sentence. The subject could not have been a romance considering his age and the receding hairline. And, Munnabhai scripts are not something you picked off the shelf!

Omung Kumar earned fame with his direction of Mary Kom and, one must say, that very little of it he merited for his contribution to the film, most of it was media gifted which is to say, he has been overrated.

Omung’s next was Sarbjit, which he also produced, which was a rank bad film. It seemed have been made with the intent of encashing Aishwarya Rai’s face forgetting most of the time about Sarbjit.

But, for the sake of Sunjay Dutt, the idea of Bhoomi, a father daughter story worked.

Considering all things, the director, Omung Kumar, made partly right decision, to cast Dutt according to his age, as the father of a girl of marriageable age. But, the rest of the decision was disastrous. That was to fall back on old-fashioned 1980s films churned out from South where the ‘izzat’ of wife, sister, bhabhi was compromised by the villains. The true hero was then expected to save his family honour.

It made simple thrill seeking audience happy. Movie going has come a long way since.

Bhoomi has turned out to be bad film with the opening response showing indifference of movie goer. The opening day was poor at about Rs 20 million with the Saturday and Sunday remaining stagnant as the film closed its opening weekend with Rs 66 million.

*Worse choice for a maker was to opt for Haseena Parker. This shows a total lack of imagination let alone creativity. When creativity is nil, one looks for such short cuts just to stay afloat in the industry. After all, a film is made for the all India audience! And, how would they identify with a South Mumbai small lane woman who cashed in on the name of her brother, Dawood Ibrahim? Not many earlier and not now after the film.

Shraddha Kapoor mouthing Urdu dialogue with a stuffed mouth comes across as a comedy! The film opened with poor collections of Rs 11 million, failing to improve much over the weekend and collecting Rs 41 million.

Newton, an odd film about an honest officer wanting to conduct free and fair elections in a Naxal affected area, as expected, has an indifferent opening, but the release of the film coincided with the film’s selection as India’s choice for entry at the Oscars. And, that boosts the footfall for the film over the weekend with big leaps. The film, which opened at Rs 9 billion on Friday, had a huge jump in collections on Saturday of Rs 25 million and Rs 32 million on Sunday giving it a decent weekend of Rs 66 million.

*Lucknow Central, a poor idea poorly executed, fails miserably. With a poor opening weekend of Rs 72.5 million, the film could manage to add just three crore for the next four days to end its first week with a total of Rs 103 million.

*Simran, counting on yet another one-woman show from Kangana Ranaut, like Queen, had just about everything going wrong for it. From the script, to the characterisation of Kangana, to direction, just about everything.

The film let the Kangana fans down as it ended its first week with a tally of Rs 145 million. It is another thing that had the film succeeded, it would have given some standing and credibility to the director Hansal Mahta, too.

*Patel Ki Punjabi Shaadi has collected Rs 13 million for its one week. (The film’s weekend collection was Rs 7 million, and not 700 million.)

*Poster Boys collects Rs 15 million for week two taking its two week total to Rs 122.5 million.

*Daddy added Rs 11 million in its week two to take its two week total to Rs 75 million.

September 25, 2017