Hindi

I Me Aur Main: A contemporary love triangle

Published

13 years ago

March 1, 2013

MUMBAI: I Me Aur Main (English for I Me & Myself) is a traditional theme of a love triangle made to look contemporary. A man is always known to be selfish and full of him and this film just names him so while going on to amplify his traits.

John Abraham is a totally one way street who is brought up to believe that he is the best, the world is his slave and that every woman would crave for him. Abraham has been bedding Chitrangada Singh for three years but is not ready to accept the relationship on a permanent basis. He dodges all her attempts to talk about marriage or for her to meet his parents. His selfishness reflects in the fact that since he consumes no milk and even has his coffee black, he refuses to pay the milkman when Singh‘s hands are full with other work.

Abraham has been a bully since childhood and his mother, Zarina Wahab, has only made it worse. He likes to shadow box in front of the mirror with his self-boosting chant, ‘I am the best, I am the best‘. His girlfriend of three years, Singh, has been docile and too much in love with him to pose any kind of challenge until one fine day he reneges on his promise to take her to Pune to meet his parents. She throws him out bag and baggage.

Abraham, ego hurt, shifts into a rented apartment unaware that he has left Singh pregnant. His next door neighbour is Prachi Desai, an independent and lively girl who is least impressed by this ‘I am the best‘ neighbour of hers. She soon starts cutting him down to size. To add to his discomfort, he has a new boss, Raima Sen, hired by his music company with more pay which only indicates Abraham has been found lacking in his work. She makes him look smaller at every opportunity she gets so that he knows who the boss is around there. Abraham soon takes a fancy to Desai. He is not alone in that. His mother, Wahab, who has come to stay with him, has also grown fond of her. Abraham has a sister who sees through her brother‘s vanity. Being a friend of Singh and being responsible for introducing both, she tries in vain to tell Abraham about Singh‘s pregnancy with his child.

Around this time, Abraham begins to realise things don‘t always work his way. Desai rebuffs his advances to get physical. At office, his boss sacks him because he wants to launch a new girl singer she does not think worth the effort. Abraham decides to launch her on his own at the goading of Desai and even before the launch event can start he is told about Singh‘s labour pains. And, in a stroke of scriptwriter‘s pen, he realises in one scene what he did not during previous 100 minutes of the film: that he needs to own up to fatherhood and to be by Singh‘s side.

Being a contemporary love triangle, Singh has outgrown Abraham and her love for him no longer exists. She is an independent woman with a good career and decides to play single mother. Abraham can now continue romancing Desai.

The script is half-baked and the direction gets little chance to shine. Considering the subject, music is not up to mark and even Naa jaane kahan se aayeehai, a remixed version of the Laxmikant-Pyarelal hit number from Chaalbaaz (1989) has been mucked up. John Abraham is okay. Singh is good while Desai shines. Mini Mathur, Raima Sen, Sameer Soni and Zarina Wahab support well.

I Me Aur Mein lacks appeal for youth, its target audience.

The Attacks Of 26/11: RGV‘s take on the Mumbai Attacks fails to please

There is a dearth of ideas because there is no lure for good writers in the film industry. While some opt to remake foreign film, others remake South Indian films, and many have decided to remake old hits and even flops which they think they can better. Ram Gopal Varma decided to base a film on the 26 November 2008, attacks on Mumbai by Pakistani terrorists who killed innocent people with a hail of bullets and grenades. This is either an adventurous or a foolhardy idea, no in-between. Varma covers the initial shootings at the Taj, the Leopold Café and the CST Station.

The film is based on the book, Kasab: The Face Of 26/11 by Rommel Rodrigues. The very idea of making this film defies logic since there is nothing that the film can show that TV news channels did not show live over a period of three days while the attacks lasted.

The chain of events in the film starts from the cross-terrorists taking over the fishing craft Kuber, slaying its crewmembers and entering Mumbai through Colaba koliwada. It hurriedly documents the attacks on The Leopold Café, Taj, Cama Hospital and CST station (replaced here by Mumbai Central main line hall, probably, due to denial of permissions to shoot at CST). For some reason, it completely skips the attack on the The Trident and Nariman House. Thereafter, it proceeds to show the attempt to escape by Kasab and a partner and the capture of Kasab by the police.

That done, the film then resorts to showing what transpired between Kasab and the then joint commissioner of police, played by Nana Patekar; the sermons on Islam meted out by Patekar to Kasab who takes to sobbing. This is not the image of Kasab people have in mind. He is shown to be a wayward youth misguided by his handlers in the name of religion and jihad.

This account could well be hearsay as none of it is on public domain and of no solace to the viewers who saw the three day ordeal of Mumbaites during the attacks or to the families of victims.

The story is not worth making into a film and Varma only makes it worse with his shoddy handling. He even includes a scene or two from Jalianwala Baug massacre from the film Gandhi and adds an instrumental version of Gandhiji‘s favourite bhajan, Raghupati Raghav Raja Ram… at the end! The photography is poor. Nana Patekar‘s inquest by a committee is boring with none of the members showing a sign of expression. Sanjeev Jaiswal as Kasab is bad.

The making of The Attacks Of 26/11is not an adventure, it is pure foolhardiness.

Related Topics:CST station Desai I Me Aur Main love triangle

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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

1 week 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

3 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.