Hindi

Heroine: Bhandarkar has nothing new to offer

Published

13 years ago

September 21, 2012

MUMBAI: Every time a heroine oriented film is due for release, which is not very often, I am asked to give my views on why heroine films don’t work. I used to give detailed explanations hoping that what I said was understood. I think Madhur Bhandarkar‘s latest film, Heroine, has made my job easier. Next time I am asked this question. I can just say, “Go watch Heroine and you will know why. Heroine is usually what our heroine films are all about, which is certainly not a Lara Croft movie; this is not even a The Dirty Picture or a Kahaani! Usually, those plotting a heroine oriented film end up making their heroine‘s character weak and exploited and this is not what people want to see.”

Bhandarkar has a mould ready in which he can cast his fashion model, a corporate woman or a heroine. The profession changes but the shape, size and sound remain the same. The events, the ups and downs, the drama are rewritten around his new protagonist but the essence remains the same. Bhandarkar is supposed to be one of the progressive filmmakers but what he has been making since Chandni Bar is like what Jacqueline Susanne and Jackie Collins wrote and was filmed as long ago as 1970s!

In Heroine, Kareena Kapoor is a whimsical girl with a troubled childhood. She has run away from her home in Delhi, come to Mumbai and has become a top film star; the film does not dwell on how. Her character in the film tells the story of what is supposed to be happening in our film industry, especially star relations, emotions, exploitations, betrayals, insecurities, media and PR stunts, almost all exaggerated.

Kapoor is celebrating the success of one of her films and expects super star Arjun Rampal, who she is passionate about, to attend which he does not. Their romance is kept back successfully from the media in a scenario where, otherwise, each star bitches about the other and leaks scandals to media. Kapoor has self destructive tendencies coupled with her insecurities about her top slot. And her lover, Rampal, makes her pop pills, drink continuously and smoke like a chimney. Her suffering is generally self-inflicted. Her pressure on Rampal to marry her finally leads to him dumping her. In search of love, she falls for the successful cricketer, played by Randeep Hooda. If she was in a hurry to tie the knot with Rampal, here Hooda is in hurry which, she feels, will be detrimental to her career. The romance breaks. Kapoor‘s career is all but over when she engages the services of a noted PR person, Divya Dutta, who knows all the tricks, usually dirty, of keeping her client in limelight.

Kapoor is back on covers and in the endorsement market but a big film offer eludes her. Always exploited, Kapoor decides to play dirty to get that one offer. But she dodges advances by Sanjay Suri and he in turn reduces her role to a cameo.

Desperate, Kapoor says yes to two offers, one to do a shoestring budget film and the other to attend a wedding in Delhi for a fee. Rampal is on same flight on his way to attend the same wedding. The lovers unite and decide to do a film together. But, again, Kapoor‘s insecurities get the better of her and as a result she loses both, the film as well as Rampal. But before that she has played her last card: releasing her sex video with Rampal on the net to promote the shoestring budget film she did. If such tricks worked in real life, every willing-to-strip newbie would be a star on debut. However, here it works for Kapoor and people flock to theatres to watch her small budget film as if the sex video was its trailer!

The basic plot of this film remains same as his earlier film. The problem in case of Heroine is that there is no story as such to hold a viewer‘s interest. The film tries to cram in all that is supposed to be evil about the film industry with all its stereotypes, including a bitching friend, a gay dress designer, a bisexual guy on hand when in need, a loyal secretary as well as a cunning one, party scenes, bought media loyalties, forgotten stars and so on. It is all used to deliver 147 minutes of tedium. So whose story is this, a heroine or the film industry?

The casting is poor in that those vying for or competing with Kapoor for the top spot look like side actors. Kapoor and Rampal are the best the film has to offer. Stars draw people to the cinema; making an economical film with small timers does not mean low admission rates. Heroine does not have much to offer and the viewer is saddled with faces he does not care to watch. Bhandarkar disappoints both in writing as well as direction. Except at three or four places, dialogue is routine. Musically, the film has one item number in Halkat jawani, which is well choreographed, along with two hummable numbers, Tujhpe fida and Khwahishein. Photography is good.

This was the film for Kapoor to show her acting skills but that does not happen because of her ill-defined character. The character lacks consistency due to which one fails to identify or empathise with her. Rampal is okay but looks spent in this film. Shahana Goswami impresses in a brief role. Others who do well are Ranvir Shorey, Datta, Helen, Govind Namdeo and Hooda.

A comparison with The Dirty Picture becomes inevitable after watching Heroine and one concludes that Heroine has nothing of what made The Dirty Picture a hit.

Heroine has had huge amount of promotion which has not helped it get a decent opening and the bad reports will only make it suffer further at the box office.

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Hindi

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

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

Published

6 days 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

1 week 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.