Hindi

Rangoon… What a debacle!

Published

9 years ago

February 24, 2017

MUMBAI: Every filmmaker wants his own ‘all time classic’ and it is best not to confuse such a filmmaker with a realistic, practical maker with business sense. This lot is usually pretentious and indulgent kind. He wants his own Gone With The Wind, a Doctor Zhivago, Mary Poppins, Sholay, Hum Aapke Hain Koun..! or even Dangal. When too many films from the past influence your script and you try to take a bit from each one, the result is Rangoon.

Rangoon is supposed to be a period musical love triangle. But, even before reaching the love triangle part, the film meanders too much with stuff that has no relevance — like the capturing of a Japanese soldier by Shahid Kapoor, which is treated like fun and games.

This period drama is based during World War II. The Burma campaign as it was called, was a serious business as the Japanese army had taken over Rangoon and had Assam in mind next. Here the Japanese army personnel in groups of three or so are shown hanging around as if on a picnic! The British side of the army consists mainly of Indians and a few Sikhs to make it easy for the viewer to identify them.

What the British generals and army personnel do in the film could have been made into a full-blown comedy on the lines of Mel Brooks’ movie, History Of The World II.

Shahid Kapoor, playing an army man fighting on the Burma front, has been captured by the Japanese. He is granted release thanks to intervention by the Indian National Army of Subhash Chandra Bose. But, he is also sermonised by the INA to enroll and serve the interest of the country rather than the British. He agrees and when he goes back to the British general, he is a mole for INA.

During this serious war where the untrained British army is always on the defensive and losing ground, the general in charge, Richard McCabe, thinks his army men need some entertainment. So what if Japanese planes are bombing his troops? In the film, the Japanese are either economical or considerate for they only drop a single bomb instead of the carpet bombing as is the norm during a war.

Kangana Ranaut’s character is invited to entertain the army men on the Burma front. Her character is reportedly modelled on Fearless Nadia, the Australian born queen of Hindi action movies in the 1940s. Kangana, the paramour of her producer, Saif Ali Khan, plays a similar role to Fearless Nadia’s man in real life. Saif and Kangana are madly in love with each other so much so he is ready to divorce his wife. Was this part needed at all?

Kangana proceeds to Imphal to entertain the army. A free and fearless kind that she is, she is not ready to be protected by anybody but Shahid has been appointed as her bodyguard. A situation is created so that Saif, who was to accompany her, can’t do that anymore because his father has suffered a heart attack. (But when Saif reaches his father, Gerson Da Cunha, the father is reading a Gujarati newspaper which has a banner headline about Germany’s partition……..and this is only 1943!)

Kangana arrives at the army base which consists of a few junior artistes dressed in olive fatigues. It does not matter that the Indian and British army both wore mostly khaki in those days. The general, McCabe, is depicted as a sadistic buffoon and comes across as more entertaining than the invited guests. He likes to quote Ghalib, recites Indian classical ragas and makes all kinds of faces.

At this point, the writer and director seem to have forgotten that Kangana is renowned for her onscreen stunts and action and not dancing. Once on the border, all she does is sing and dance at the drop of a hat!

If Kangana can turn a dancer from being a stunt queen, she can also shed her deep-rooted love for Saif and start making out with Shahid on day two without much ado. That done, she also falls in love with Shahid in due course while also being in love with Saif. It is all very complicated.

Time to bring in a shade of patriotism, now. There is a Maharaja, Amrit Pal, who owns a sword which, he claims, if donated to INA, can raise enough money to throw the British out of India and pave the way for the INA to march to Delhi to realise their motto of ‘DilliChalo’. Somehow, the sword has landed at the Burma front and Shahid is supposed to deliver it to the INA on the other side of the bridge. Now, how many films have had their climax over or across a bridge? And what happened to the love triangle?

Rangoon is such a tacky film, neither the writer nor the director seem to know what it is about as they jump to a new track every so often after shelving an old one inconclusively. No research seems to have been done on the subject. The script is full of inconsistencies and irrelevant subplots. No character is properly defined. The result is 247 minutes of patience trying tedium.

The script is episodic without sticking to a theme. Editing is nonexistent. Direction is poor with experimental stage approach. Music is bad and, yet, as many as a dozen tracks are forced in. The lyrics are incomprehensible.

Why do makers of period films go on to make good-looking actors look ugly? Saif, with his sticky wig and wrinkled face looks aged. He has lost the palm of his right hand and wears an ugly detachable appendage which, again, is of no consequences except indulgence. Shahid is scarred, muddy or has his face blackened most of the time. Kangana looks painted and dons a silly wig. All three fail to impress in this film. The film has a few well penned dialogues. Art direction is not convincing. Stunts are oft seen.

Period films are a bad idea and some recent examples: Pankaj Kapur’s Mausam (2011), Kunal Kohli’s Teri Meri Kahaani (2012) and Anurag Kashyap’s Bombay Velvet (2015).

Rangoon is a very poorly conceived and executed film. A classic happens but, when you plan one, you come up with a Rangoon, a debacle!

Producers: Sajid Nadiadwala, Vishal Bhardwaj, Viacom 18.

Director: Vishal Bhardwaj.

Cast: Saif Ali Khan, Shahid Kapoor, Kangana Ranaut, Richard McCabe, Alex Avery, Gerson da Cunha.

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Boney Kapoor acquires remake rights of Tamil political satire Thalaivar Thambi Thalaimaiyil

Strong word-of-mouth turns Pongal satire into remake pick

Published

21 hours ago

February 9, 2026

indiantelevision.com Team

MUMBAI: A Pongal release, a village satire and a theatre visit in Coimbatore have turned into Boney Kapoor’s latest acquisition. The producer has secured the remake rights to the Tamil political satire Thalaivar Thambi Thalaimaiyil (TTT), a film that has been enjoying a strong theatrical run powered by word-of-mouth and praise for its sharp, rooted writing.

Set in a rural milieu, the story follows a panchayat leader thrown into disarray when a wedding and a funeral land on the same day. What unfolds is a swirl of satire and humour that skewers local politics, power games, bruised egos and family tensions, all anchored in the textures of everyday village life.

Kapoor first encountered the film earlier this year while in Coimbatore for the Celebrity Cricket League. With time to spare, he caught a screening at a local theatre. That viewing proved decisive. According to sources, the narrative style, performances and the film’s balance of political commentary and comedy caught his attention.

Interest quickly turned into intent. Kapoor reached out to the producers soon after to explore a remake. Talks gathered pace over the following weeks and came to a head last Friday at the film’s success party in Chennai, where Kapoor joined the celebrations and continued negotiations with the makers.

By the end of the evening, the deal was sealed, with Kapoor formally acquiring the remake rights.

For an industry constantly mining regional cinema for the next crossover story, the move is telling. A small-town satire with local flavour has found a national backer. And if Kapoor’s instincts hold, a tale born in one village may soon echo far beyond it.

Hindi

Fans take centre stage as Zee Cine awards turns the spotlight around

Published

2 days ago

February 7, 2026

indiantelevision.com Team

MUMBAI: When the applause gets louder than the dialogue, you know the fans have taken over. That was the unmistakable mood as Zee formally announced the Zee Cine Awards 2026, flipping the script to celebrate not just cinema’s stars, but the people who cheer them on the loudest.

The 24th edition of the awards marks a fresh chapter in Zee’s long-standing relationship with Hindi cinema, anchored in its fan-first philosophy, Fantertainment. This year’s theme, ‘Yeh Pal Hai Fans Ka’, reinforces a simple idea: cinema’s most powerful moments are shaped as much by audiences as by actors on screen. Presented by Maruti Suzuki, the awards aim to turn fandom into the main event.

The announcement, held in Mumbai, was anything but a routine press conference. Bollywood stars Akshay Kumar, Tamannaah Bhatia, Jacqueline Fernandez, Sonam Bajwa, Aparshakti Khurana, composer Mithoon and singer Palak Muchhal joined fans to kick off the celebrations, turning the launch into a high-voltage, participative spectacle.

Staying true to the theme, fans didn’t just watch the announcement, they drove it. Akshay Kumar took the lead, pulling fellow stars on stage and energising the room, before the unveiling of a live LED Fan Meter. Powered purely by audience cheers, the rising meter culminated in the reveal of the Zee Cine Awards 2026 ground event date, announced in unison with fans, blurring the line between performer and spectator.

The momentum continued as Tamannaah Bhatia, Jacqueline Fernandez, Sonam Bajwa and Aparshakti Khurana recreated iconic hook steps, joined by Mithoon and Palak Muchhal for music-led interactions. Games, spontaneous performances and playful banter kept the focus firmly on shared moments, underscoring the evolving bond between cinema and its audience.

Beyond the launch, the awards will roll out as a multi-platform journey across television, digital, print and fan-led experiences. The aim is sustained engagement from the first announcement to awards night cementing fandom as a cultural force rather than a footnote.

Commenting on the milestone edition Zee head of advertisement revenue, broadcast & digital Laxmi Shetty said the 24th Zee Cine Awards continue to draw strength from the network’s omni-channel ecosystem, reflecting how audiences consume content today across TV, digital and social platforms. She noted that long-standing brand associations, including Maruti Suzuki’s three-year partnership and support from brands such as Hell Energy, underline the platform’s scale, trust and cultural relevance.

As Zee Cine Awards 2026 gathers pace, one thing is clear: this year, the loudest cheers won’t just echo in the auditorium, they’ll shape the show itself.

Hindi

Prime Video to stream Don’t Be Shy, produced by Alia Bhatt

Published

2 weeks ago

January 30, 2026

indiantelevision.com Team

MUMBAI: Prime Video has found its next feel-good original, and it comes with a healthy dose of heart, humour and youthful chaos. The streaming platform has announced Don’t Be Shy, a coming-of-age romantic comedy produced by Alia Bhatt and Shaheen Bhatt under their banner, Eternal Sunshine Productions.

Written and directed by Sreeti Mukerji, the film follows Shyamili ‘Shy’ Das, a 20-year-old who believes her life is neatly mapped out until it suddenly is not. What follows is a relatable tumble through friendship, love and the awkward art of growing up, when plans unravel and certainty gives way to self-discovery.

The project is co-produced by Grishma Shah and Vikesh Bhutani, with music composed by Ram Sampath, adding to the film’s promise of warmth and energy. Prime Video describes the story as light-hearted yet emotionally grounded, with a strong female-led narrative at its core.

Prime Video India director and head of originals Nikhil Madhok, said the platform was delighted to collaborate with Eternal Sunshine on a story that blends sincerity with humour. He noted that the film’s fresh writing, earnest characters and infectious music make it an easy, engaging watch for audiences well beyond its young adult setting.

For Alia Bhatt, Don’t Be Shy reflects the kind of storytelling Eternal Sunshine set out to champion. She said the film stood out for its honesty, its coming-of-age perspective and Mukerji’s passion, which she felt was deeply woven into the narrative. Bhatt also praised Prime Video for supporting distinctive voices and bold creative choices.

With its breezy tone and familiar emotional beats, Don’t Be Shy aims to charm viewers whether they are rom-com regulars or simply in the mood for a warm, unpretentious story about life refusing to stick to the plan.