Category: Movies

  • RaagDesh……..Purposeless

    RaagDesh has been backed by RajyaSabha Television which, in itself, is quite curious! What is the Upper House of the Parliament, which is not even elected by direct public voting and the TV channel devoted to the august house, getting into any sort of a commercial activity, obviously, financed by the tax payers’ money? Unless, of course, the credit given to the RajyaSabha TV is for some other reasons.

    In the last many decades, a much selected history of India and her freedom struggle has not been available into public domain. Even when it comes to the educational institutions, the exposure has been kept limited to a select few.

    The files and suspense over the sudden vanishing of the great freedom fighter, Subhash Chandra Bose, a Congress leader, who parted ways with the Congress and who, during the World War II, raised and led the Indian National Army (INA), joined forces with the Japanese army to fight the British occupying Hindustan to free her from their clutches.

    One thought the Government owned TV channel got involved itself in this film project to bring to the people the glory of Bose and his endeavours towards freeing India from the slavery of British. Sadly, in the process, Indians belonging to the British army and the INA ended up killing each other; an Indian killing another Indian! However, there is little or nothing about Bose except passing references and a few visuals.

    The film is about the British Indian army men of the Indian origin who, when they were losing ground to the Japanese at Burma (Myanmar), were compromised by the British and, when they surrendered, they were handed over to the soldiers of the Japanese Imperial army.

    What follows is the story of three British army Indian officers from those handed over to the Japanese who, when freed, joined the INA. The three being Kunal Kapoor, Amit Sadh and MohitMarwah, portraying a Sikh, a Muslim and a Punjabi Hindu thus, according to the makers, representing all of India. The South is represented by MrudulaMurali, who plays the army doctor in INA as LaxmiSehgal.

    The three officers are charged with the murder of some British army men and tried by an army court. The film also reminds one of the prominent Mumbai based Congressman and an eminent lawyer, Bhulabhai Desai (after who the upscale South Mumbai road, earlier known as Warden Road, has been named.) who decides to fight the case of these three soldiers.

    As the trial begins of the three officers, it goes into the flashback of war encounters the three faced. The circumstances of their capture and accusations.

    RaagDesh is a shoddy, pretentious film which even fails to establish the background and the credentials of its three protagonist. Symbolism (soldiers from three communities), unconvincing romance between Marwah and Mrudula, confusing war scenes where you don’t know who is on which side and who is killing who. The court scenes are stagey and grab most footage. And, the British court martial officers or whatever are caricatures. The language in the film is Punjabi and English just because the main protagonist is Punjabi!

    The three men, Kunal Kapoor, MohitMarwah, Amit Sadh as well as MrudulaMurali look sincere to no avail.

    RaagDesh fails to invoke any sort of emotions, let alone patriotism.

    Producers: Gurdeep Singh Sappal.

    Director: Tigmanshu Dhulia.

    Cast: Kunal Kapoor, Amit Sadh, MohitMarwah, MrudulaMurali, Kenny Desai, Zakir Husain, Kanwaljit Singh, Kenny DeoriBasumatary.

  • Indu Sarkar…….Who cares!

    There seems to be some kind of intent among some filmmakers to please the present dispensation at the helm in India. So, we have a film here which concocts a story around 1975/1977 Emergency declared in India by the then prime minister Indira Gandhi to save her government and her position. This is a women-oriented film, following soon in the line-up of recent failures such as Mom, Mattr and the ilk.

    Emergency was a black spot on the world’s largest democracy, India. And, it was a serious issue when the best and bravest of nationalist leaders either went into hiding or were whisked off from their homes at midnight and consigned to jails.

    And, when all and mighty of the opposition were helter skelter, running to save their own skin, filmmaker, Madhur Bhandarkar, finds this underdog played by Kirti Kulhari, a stuttering marriage unhappy woman, to take on the might of the authority of the emergency imposing powers. Her inspiration being the character of Anupam Kher, leading an identifiable Hindu right wing group who arouses her conscious and edges her on to lead a move to free the country!! One wonders, why Kher and his group expect a woman to take on the might of emergency while they stay in the background!

    There are references and scenes dedicated to the excesses of the emergency era like slums demolitions and forced nasbandi (sterilisation) on young and old alike (Though this was limited to the Hindi belt, mainly to Delhi and UP, and bore no all India effect.) besides strong armed tactics and violence by those ruling. Kirti finds her cause in life when she learns that her husband, played by Tota Roy Chowdhury, being a government servant, is responsible for acts of slum demolitions etc.

    Indu Sarkar, the title, has the connotations that Indira (Gandhi), referred to as Indu by those close to her including Moraraji Desai, was the Sarkar, the ultimate authority. But, that hardly adds to the film’s USP.

    The Emergency, like many other events such as the Sikh massacre, are a thing of the past and of use only for the sling matches by the opposing political parties. Indians forget and forgive fast.

    This is 2017 and this film bears no relevance today and is a futile exercise and waste of resources. Films like Nasbandi (IS Johar) and Kissaa Kursee Kaa (Amrit Nahta), released soon after the Emergency, were disasters.

    Producers: Bharat Shah, Madhur Bhandarkar.

    Director: Madhur Bhandarkar.

    Cast: Neil Nitin Mukesh, Supriya Vinod, Anupam Kher, Tota Roy Chowdhury.

  • Mubarakan……Fun while it lasts

    Mubarakan is designed to be a crazy comedy on the lines of Bazmee’s own, Welcome, Sajid Khan’s Housefull, Nikhil Advani’s Patiala House and other such movies where knotty situations are created leading to one tangle after another, leading to a lot of funny situations and laughter as a result.

    The prime ingredient is a horde of artistes, preferably a talented lot if it has to work better. However, depending on the script and screenplay, not to forget peppy dialogue of which some work, some don’t.

    Being a situational comedy, more the characters on the screen, better the pace. With fewer characters, it would become tedious. The story about identical twin brothers separated at birth because of circumstances, helps add spice. And, of course, a film has to justify folks dancing in colourful costumes at a family wedding. That is being so Indian.

    This muddle revolves around a Sikh family divided between Chandigarh in India and London in the UK.
    It falls upon the bachelor played by Anil Kapoor to bring up his twin nephews, the character of Arjun Kapoor in a dual role, when his brother played by Sanjay Kapoor and his wife die in a car crash. Not in a position to take up the responsibility, he sends off one of the twins to his older brother, played by Pawan Malhotra, and the other to his sister, played by Ratna Pathak Shah.

    Charan, one of the twins, brought up by Pawan grows up to be a shy, introvert and traditional Sikh, sporting his pagdi while the one brought up in London by Ratna is bold, has shorn his hair and, is outgoing. However, both brought up by their adoptive parents, are in awe of them and give them full respect.

    Arjun from London has followed the character of Ileana D’Cruz to Chandigarh whom he has been courting for two years. He keeps promising her that he will talk to his parents soon but, an accident meeting between her and Ratna, turns into Ileana calling Ratna names and ridiculing her. That puts paid to Arjun’s plans to take Ileana’s to meets his strong headed mother, Ratna.

    The shy Arjun with pagdi loves the character of Neha Sharma, a lawyer by profession. He is scared to take her home to meet his father, Pawan, for he is shy by nature as it were and the fact that she is not from the Sikh community deters him from doing so.

    Pawan decides to fix up his nephew, Karan’s wedding with the character of Athiya Shetty, daughter of a London tycoon played by Rahul Dev. But, being in love with Ileana, he wriggles out of the proposal, instead, suggesting the family choose Athiya for Charan. But, Charan wants to marry Neha.

    None of the two is opening up about their true intentions and, instead, approach their maternal uncle, Anil Kapoor, to help get them out of the situation. Anil has decided to remain a bachelor, drowning his sorrows in alcohol after a failed romance. In helping his nephews, he finds a cause.

    To start with, when the family reaches Rahul’s palatial house, Anil suggests Arjun (Charan) act as a drug addict which would be easy to pass off since his home state, Punjab, has been in news for drug abuse; he even quotes Udta Punjab (a recent film on the Punjab drug menace).

    Then on starts a chain of events which create funny situations in the film which at most times keep viewers giggling.

    Comedy writing has not been the forte of Hindi filmmaking clan. But, in the case of Mubarakan, the team of writers has done a good job, which was expected considering the director, Bazmee, who himself began his career as a writer, would know what he wanted. Dialogue adds to the fun.

    Despite this, some scenes stretch and the climax, though enjoyable, follows on the predictable lines. Bazmee, the director, handles his artistes well, making their causes look convincing and not letting the performances look like buffoonery.

    The cinematography is good with ample help from the choice of locations. Choreography adds colour to the proceedings. Editing could have been a little crisper. Though dominated by Punjabi songs, the music works in the film’s favour with foot tapping numbers. The title song is already popular with the reworked version of Hasan Jehangir’s 1987 number, Hawa hawa… and the romantic song, Hathon mei haath…..being appealing.

    This despite being a no holds barred comedy attempt, the actors are reigned in well. Anil Kapoor verges on going overboard but that is what his character demands. Arjun Kapoor does a very good job in two totally different characters. Ileana D’Cruz is aptly peppy. Athiya has a limited role in first half and is restrained in the latter parts when she gets more exposure; her dancing is graceful. Neha Sharma impresses. Rahul Dev and Karan Kundra live up to their roles of arrogant but traditional Sikhs. However, the ones who give the comic film credence are Ratna Shah Pathak and Pawan Malhotra.
    Mubarakan is a family entertainer and though the opening is average (the film’s promos were uninspiring), the film has the prospects to pick up over the weekend.

    Producers: Ashwin Varde, Murad Khetani.

    Director: Anees Bazmee.

    Cast: Anil Kapoor, Arjun Kapoor (double role), Ileana D’Cruz, Athiya Shetty, Neha Sharma, Rahul Dev, Karan Kundra,, Ratna Pathak Shah, Pavan Malhotra.

  • Emergency-based ‘Indu Sarkar’ released, three cases dismissed

    NEW DELHI: ‘Indu Sarkar’, a film which dramatises the period of the National Emergency between 1975 and 1977, was released today after the dismissal of three different cases against the film.

    The Supreme Court yesterday dismissed the plea of a woman, who claims to be the biological daughter of late Sanjay Gandhi, seeking a stay on the release of the film.

    A three-judge bench headed by Justice Dipak Misra said the film is an “artistic expression” within the parameters of law, and there was no justification to stall its release.

    The film had earlier faced problems when the Central Board for Film Certification had demanded 14 cuts in the political drama. Abiding by the revising committee of the CBFC’s suggestions, director Madhur Bhandarkar made revisions to the film, about which Bhandarkar informed the apex court.

    Counsel for the petitioner had submitted that the movie was “full of concocted facts and is totally derogatory.”

    The Bombay High Court had rejected a similar plea by the woman on 24 July on the grounds that the petitioner was unable to make her case seeking stay on the release of the movie. The court had further observed that none of the acknowledged descendant of Sanjay Gandhi had raised an objection to the movie.

    The Delhi High Court also dismissed yesterday the plea by a lawyer to revoke the CBFC’s clearance. Merely stating that one is a strong believer of Gandhis does not give a right to seek a stay on the release of the film, it said. The petition claimed the movie depicted late Indira Gandhi and her late son Sanjay in a bad light and was a “propaganda film.”

  • PVR Q1 profit increases 3% to Rs. 443 mn

    MUMBAI: PVR Limited announced its audited standalone and consolidated financial results for the quarter and year ended 30 June, 2017.

    The consolidated revenues for quarter ended June, 2017 was Rs 6.53 billion as compared to Rs 5.79 billion during the corresponding period of last year, up by 13%.

    Consolidated EBITDA for the quarter was Rs. 1.29 billion as against Rs 1.23 billion in the same period last year, up by 4%. Consolidated PAT for the quarter was Rs. 443 million as against Rs 432 million in the same period last year, up by 3%.

    The box office revenues for the quarter were up by 11% from Rs 3080 million to Rs 3430 million. F&B revenues were up by 12% from Rs 1.48 billion to Rs 1.65 billion led by strong growth of spend per head. Advertising revenues showed a stellar growth of 31% & increased to Rs 674 million as compared to Rs 515 million.

    During the first quarter PVR added a total of 8 screens (5 screen in Chennai & 3 screen in Kota) and currently operates a network of 587 screens spread over 128 properties in 51 cities across the country. The company intends to add approx. 65-70 screens in FY 17-18.
     
    Commenting on the results and performance, PVR Ltd CMD Ajay Bijli said, “For 20 years, we have worked ardently to take India to the movies with new and innovative offerings like Gold Class, Director’s Cut, Plush recliners, IMAX, 4DX, Playhouse, PXL, Dolby Atmos, VR Lounge, Vkaao to add more layers of excitement and joy to the cinematic experience of our customers. It has been the propeller of our growth engine over the years & it shall continue for years to come. We are the leading multiplex player in India and will soon surpass the 600 screens mark.”

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  • Viacom18 partners with FHF in its film restoration and archiving for third year

    MUMBAI:  Viacom18 announced its support to the Film Heritage Foundation (FHF) for the annual Film Preservation & Restoration Workshop India being held from 7 to 14 October 2017 in Chennai.

    The partnership was flagged off for the third consecutive year at an event held today in the city and was attended by Viacom 18 group CEO Sudhanshu Vats, legendary actor and producer Kamal Haasan, renowned film-maker Mani Ratnam and celebrated film-maker, archivist and founder director of Film Heritage Foundation Shivendra Singh Dungarpur.

    The Film Preservation & Restoration Workshop India 2017 aims to train an indigenous pool of film archivists and restorers as well as to create awareness about the urgent need to save India’s cinematic heritage. With previous editions being held in Mumbai and Pune, this year the workshop hopes to not create awareness among  the South Indian film industry to this urgent issue but to build on the movement that has been created all over India as well as in neighboring countries.

    “At the heart of it, civilization is a chronicle of stories across generations. As India’s foremost storytellers we connect deeply with this ethos and our support to Film Heritage Foundation is a confluence of this shared belief. India’s culture and heritage is captured creatively and reflected through our films and therefore, these become historical artefacts representative of the times they were created in. It is pertinent that this content is preserved for reference as well as archived for perusal by future generations”, Vats said.

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    Dungarpur added, “Film Heritage Foundation is committed to preserve the film heritage of India across various genres and languages. Bringing the workshop to Chennai this year, our aim is to create awareness about the urgent need to preserve India’s film heritage including the rich regional film heritage of the South Indian film industry. The programme this year is further strengthened with support of Viacom18 and enriched by partnering with the International Federation of Film Archives (FIAF), the Film Foundation’s World Cinema Project, L’Immagine Ritrovata, the Academy of Motion Picture Arts & Sciences, Prasad Corp., La Cinémathèque Française, Imperial War Museums, Fondazione Cineteca di Bologna, the Finnish Film Archive and the Czech National Film Archive and Criterion Collection.”

    Open to applicants from India, Sri Lanka, Nepal, Bhutan and Bangladesh, the Film Preservation & Restoration Workshop India 2017 will extensively focus on repairing damaged and decayed celluloid film, restore and preserve film posters, lobby cards, song booklets and photographs, techniques of digital preservation and restoration etc.

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    There are several scholarships available for deserving candidates along with job opportunities at FHF on successful completion of the course.

    Speaking about the workshop, Haasan said, “I am very happy and proud to know that the Film Heritage Foundation has decided to come to Chennai to run a workshop on film archiving. I have seen them do it once in Pune. There were about 50 students and I was really moved. The film industry should come forward to conserve, save and keep our film heritage intact. And this very important workshop is going to teach future archivists how to go about preserving film.It is a very important workshop for those interested in cinema itself, cinema not only of today but of yesterday.”

    Eminent experts from across the globe such as FIAF’s Head of Training and Outreach David Walsh, Camille Blot-Wellens from FIAF, Tina Kelly from Imperial War Museum, Dawn Jaros from the Academy of Motion Picture, Arts & Sciences, Emilie Cauquy from La Cinémathèque française, and Marianna De Sanctis from L’Immagine Ritrovata, Bologna, amongst others will comprise the faculty of the workshop.

  • SPNI and Mojo production launches Maacher Jhol’s trailer

    SPNI and Mojo production launches Maacher Jhol’s trailer

    MUMBAI: Sony Pictures Networks India’s (SPN) latest offering, co-produced by Mojo Productions Pvt. Ltd, bengali film Maacher Jhol’s trailer was launched today on the big screen in the presence of the cast and crew.

    Written and directed by award-winning filmmaker Pratim D. Gupta, is a heartwarming journey of an internationally renowned Masterchef struggling to cook the quintessential Bengali dish, Maacher Jhol (fish curry).

    The official trailer, launched at the popular Kolkata cinema hall Priya, gave the audience a sneak peak of the film that has been shot in Kolkata and Paris and has music by Anupam Roy of Piku fame. Award-winning actor Ritwick Chakraborty plays Masterchef Dev D while the legendary Mamata Shankar plays his mother, and Paoli Dam his wife Sreela. “Maacher Jhol” is all set for a 18th August release in Bengal followed by a national release in the later weeks.

    Sony Pictures Networks India executive vice president Tushar Shah said, “Maacher Jhol beautifully captures the emotional bond between mother and son and how they make beautiful memories with food. It also brings out the flavors and aromas of Masterchef Dev’s relationship with various people who made an indelible impact on his life. We are confident that this heartwarming drama will change the way people watch Bengali cinema forever.”

    Mojo Productions Pvt. Ltd Joy B. Ganguly also added, “We have reached an inflection point in regional cinema, and Bengali films are in the forefront. Our second co-production for Sony Pictures Networks India has been a great experience. Pratim’s vision for “Maacher Jhol” will be a clutter breaker in the Indian film industry, the trailer is just one example.”

    Talking about the film, writer and director Pratim D. Gupta said: “Maacher Jhol has turned out to be a visceral experience to be seen, heard, felt and, most importantly, tasted. It celebrates a very Bengali sentiment but is universal in its resonance. Partnering with Sony Pictures Networks India and Joy has been a very fulfilling and enriching experience, given their unalloyed passion for cinema.”

  • A week full of damp squibs, despite huge expectations

    Some whiz kid got the idea that to make an Indian version of the popular comic book series Adventures of Tin Tin,blending it with a generous dose of Hollywood musicals and the rest will follow. But this just an idea, a one-liner. Not a script. However, a star fell for it for as he had nothing to lose. One can understand that, but how does a studio fall prey to the idea and commits anything between Rs 300 to Rs 1.50 billion?

    If last week the result was Jagga Jasoos costing around Rs one billion in the making, this week there was Munna Michael which was a straight but unimaginative ‘inspiration’ taken from the films of 1980s, described as disco films. When they were not branded as Disco films, Jumping Jack Jeetendra ruled and later when Mithun Chakraborty took over the mantle of the dancing star, it was the disco era and, he was the disco star!

    While the films in that era boasted of massive twists and turns and emotional appeal, Munna Michael is poorly scripted with nothing except dances and action. Casting Nawazuddin Siddiqui in a film cannot be considered an asset just because he is building a fan base despite not fitting into the scheme of things by any stretch of imagination!

    Not surprisingly, Munna Michael proves to be a loser. It opened such a poor response that immediately on its release, the theatre managements decide to reduce the film’s screening slots. The film collected 64 million on day one, lost some ground on Saturday while improving by around Rs 100 million on Sunday. The film collected Rs 205 million for its opening weekend.

    Lipstick Under My Burkha, a pretentious film based on the lives of women in Bhopal had the maker raise an issue, highlights the lives of four miserable women with their dreams and aspirations, mainly related to sex and freedom but ending without a remedial conclusion or even a suggestion to this end.

    Thanks to the controversy generated at the Film Censors, the film found few viewers mainly in select Delhi and Mumbai multiplexes. The film managed to collect Rs 11.5 million on day one and showed a marginal rise on Saturday and peaking on Sunday to collect Rs 55 million for its opening weekend. The real test for the film will be through the rest of the week.

    Jagga Jasoos, having been rejected, managed the first week’s collections of about Rs 431 million. The second week holds no promise as the film managed to add Rs 12 million on its eighth day compared to Rs 79 million on its first day

    The highly-touted Sridevi starrer Mom collected Rs 71 million in its second week to take its two-week total to Rs 296 million.

    Guest in London added Rs 1.5 million in its second week to take its two-week total to Rs 68.5 million.

  • Entries open for NFDC Film Bazaar at IFFI 2017

    NEW DELHI: The National Film Development Corporation (NFDC), which hosts the Film Bazaar during the International Film Festival of India in November in Panaji, has invited entries for the 11th edition of NFDC Film Bazaar Co-Production Market

    The co-production market is for feature film projects with South Asian themes. The regular deadline for the entries is 7 August 2017 but it has been extended to 21 August 2017. The Bazaar will be held from 20 November 2017, the day the festival opens, and close on 24 November 2017.  

    Projects selected for the market will have the opportunity to forge international co-productions, find financial and artistic support, and network with Indian and international film professionals.

    Apart from the co-production market, the Bazaar also has regular market screenings, pitching meets and workshops on different aspects of film trade and film-making.

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  • Radio City launches initiative to felicitate regional film fraternity

    Radio City launches initiative to felicitate regional film fraternity

    MUMBAI: Radio City 91.1FM, a leading radio network, in yet another pioneering move, announced Radio City Cine Awards, its first ever award initiative to felicitate regional film fraternity in India. There are 10 different categories like favourite actor, favourite actress, favourite director, favourite lyrics, favourite music composer, favourite singer – male, favourite singer – female, favourite comedian, favourite cinematographer and favourite movie.

    Radio City Cine Awards 2017 aims to empower listeners to recognize and celebrate the efforts of artists and technicians. Radio City Cine Awards 2017 Tamil, which is a one of its kind, listener choice award on radio that will give a transparent access to the listeners to cast their vote and support for their favourite Tamil stars of the Kollywood industry.

    Listeners can share votes on WhatsApp from Chennai: 7845 911 911, Coimbatore: 7200 911 911, Madurai: 7845 919 919 and cast their vote directly on the website.

    Radio City Cine Awards is a first initiative by a radio station that would strengthen the connect between the listeners and their favourite stars. In its first leg, Radio City Cine Awards 2017 Tamil is all set to applaud the artists and technicians from the Tamil Film industry. The unique selection process will determine nominees and crown winners based on public voting which will be available via traditional mediums on-air, SMS, and new-age mediums Facebook, Twitter, WhatsApp.

    Radio City 91.1FM CEO Abraham Thomas said: “Radio City Cine Awards is one such initiative that helps to strengthen our city connect between listeners and their favourite celebrity. Very few award platforms aim to empower the consumer and recognize talent based on public opinion. Post the success of Radio City Cine Awards 2017 Tamil; we will soon launch this initiative for our Kannada, Telugu, Marathi Gujarati, Bhojpuri and other audience.”

    He further added, “We are certain that the listeners will eagerly look forward to the grand finale and witness their favourite celebrities being awarded. Radio City extends its best wishes to all the artists and technicians who have made 2016-17 an entertaining year for Tamilians across the country.”

    Voting for nomination starts from 24 July and public voting to choose their favorite stars starts from 31 July across platforms like SMS, new-age mediums Facebook, Twitter, WhatsApp. This will culminate into a grand award night on air where the winners will be announced and felicitated.