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Tag: Anand L Rai

  • Eros International profits up in first quarter

    Eros International profits up in first quarter

    BENGALURU: The Sunil Lulla-led Indian film and media company Eros International Media Limited (Eros) reported 25.3 per cent year on year (y-o-y) jump in profit after tax (PAT) for the quarter ended 30 June 2018 (Q1 2018, quarter, period under review) as compared to the corresponding year ago quarter (Q1 2018). Eros reported PAT at Rs 59.95 as compared to PAT of Rs 47.86 crore in Q1 2018. On account of items that will be classified later as a profit or a loss, total comprehensive income more than doubled (up 1.31 times)y-o-y to Rs 100.91 crore in Q1 2019 from Rs 43.56 crore.Calculated simple EBIDTA for the period under review increased 48.6 per cent y-o-y to Rs 93.33 crore (42.8 per cent of operating revenue) from Rs 47.86 crores (24.2 per cent of operating revenue.)

    Eros operating revenue in Q1 2019 declined 16.1 per cent y-o-y to Rs 217.93 crore from Rs 259.62 crore. Total Income declined 18.2 per cent y-o-y to Rs 223.57 crore from Rs 273.36 crore.

    The company says in its earnings presentation that revenues during the quarter were driven by releases of Bhavesh Joshi(Hindi), Meri Nimmo (Digital release), Blackmail (Overseas), Haami (Bengali), Goodnight City (Bengali), Alinagarer

    Golokdhadha (Bengali) and others. Eros released a total of 14 films during the quarter, consisting of 1 medium budget and 13 low budget films  as compared to 5 films in Q1  2018, consisting of 1 High Budget, 1 Medium Budget and 3 Low Budget Films). TV and Others segment included satellite sales of catalogue films to Zee TV and others.

    Eros says that Theatrical Revenues contributed – 30.7 per cent, Overseas Revenues – 12.6 per cent and Television & Others – 56.7 per cent as a percentage of income from operations.

    Company speak

    Eros executive vice chairman and MD Lulla  said: “We have started the year on an excellent note on operational and strategic parameters. Our strategy of a content driven approach reflected in a robust green lighting process enabling us to de-risk our model. Our film content is deeply researched and evaluated for its revenue potential across platforms and markets by our business leaders, due to which we were able to again deliver margin enhancing performance in Q1 2019.

    The new JV kicking in with V. Vijayendra Prasad for Hindi and regional content and Reliance Eros Productions LLP for USD 150 million already in process is bound further boost our content strategy and reflect in our financial performance in the forthcoming quarters. The first quarter was marked by the successful releases of our films which contributed to the overall growth. Our strong slate across languages, active pre-sales and catalogue monetization of our films ‘ library further supported the performance during the quarter. Looking ahead, we have drawn a compelling line-up for the remainder of the year featuring high-potential movies such as Color Yellow Productions Happy Phir Bhaag Jayegi, Anurag Kashyap’s Manmarziyan, the IndiaChina co-productions, Panda by Kabir Khan, trilingual Haathi mere Saathi and multiple other films across languages.

    Lulla further added, “As always, we continue to be a pioneer in industry innovations in catering to the changing tastes and preferences of the audiences. In this quarter, we released Meri Nimmo straight-to-digital on the Eros Now platform. I am happy to share that the film received a tremendous response from the audience and we look forward to launching more such films and originals on the Eros Now platform during the course of this fiscal. Along with it the roll-out of fresh and strong original content, makes us confident that the pace of subscriber addition for Eros Now will further accelerate, going from 50 to 100 cities and almost doubling the subscriber base to 16 million by end of the Fiscal year.”

    Let us look at the other numbers reported by the company

    Total Expenditure (TE) during the period under review declined 32.8 per cent y-o-y to Rs 146.45 crore as compared to Rs 217.81 crore in the corresponding quarter of the previous year.

    Films rights costs including amortisation costs in Q1 2019 declined 29.6 per cent y-o-y to Rs 90.15 crore from Rs 128.12 crore in the corresponding quarter of the previous year. Employee Benefits Expense in Q1 2019 declined 14.5 per cent y-o-y to Rs 13.54 crore as compared to Rs 15.83 crore in Q1 2018. Other expenses (OE) in the Q1 2019 reduced 63.8 per cent y-o-y to Rs 19.15 crore as compared to Rs 52.84 crore in the corresponding quarter of the previous year. Finance costs in Q1 2019 increased 5 per cent y-o-y to in Q1 2019  Rs 19.5 crore from Rs 18.58 crore.

  • Eros International profit margins up in FY 2018

    Eros International profit margins up in FY 2018

    BENGALURU: The Sunil Lulla-led Indian film and media company Eros International Media Ltd (Eros) saw EBITDA for the quarter ended 31 March 2018 (FY 2018, year, fiscal under review) of Rs 328.21 crore and a margin of 34.2 per cent of operating revenue, about 985 basis points more than the margin of 24.3 per cent for the previous year. PAT margin in FY 2018 also increased 606 basis points to 22.89 per cent of total revenue from 16.83 per cent in the previous fiscal. EBIT margin was 36.42 per cent of total income in FY 2018 as compared to 26.07 per cent of total income in the previous fiscal.

    Eros says that in FY 2018 it redefined its portfolio mix – margin expansion by investing in content driven films with high ROI potential and where the content risk was largely covered, in turn making Eros lesser dependent on box office numbers. The company’s revenues declined sharply in the year under review as compared to the previous year. Eros net sales/income from operations declined 31.4 per cent to Rs 960.16 crore in fiscal 2018 from Rs 1,399.70 crore in the previous year. Total income reduced 30.1 per cent in FY 2018 to Rs 1,010.01 crore from Rs 1,445.28 crore in FY 2017.

    Though EBITDA and EBIT margins were higher, overall, both these profit matrices declined in terms of rupees. EBITDA in FY 2018 at Rs 328.31 crore was 3.7 per cent lower than Rs 340.75 crore in FY 2017. EBIT in FY 2018 at Rs 367.88 crore was 2.4 per cent lower than the Rs 376.75 crore in the previous fiscal. PAT in the year under review at Rs 231.22 crore was five per cent lower than Rs 243.29 crore in FY 2017.

    Eros reported 35.7 per cent decline in total expenditure in FY 2018 at Rs 722.66 crore from Rs 1,123.05 crore in FY 2017. Films rights costs including amortisation costs declined to almost half (down 49.1 per cent) in FY 2018 at Rs 399.27 crore from Rs 784.84 crore in the previous fiscal. Employee benefits expense in FY 2018 declined 16.4 per cent to Rs 58.94 crore from Rs 70.53 crore in FY 2017.

    Finance costs increased 47.7 per cent in FY 2018 to Rs 80.53 crore from Rs 54.22 crore in the previous year. Other expenses reduced 12.8 per cent in FY 2018 to Rs 175.05 crore from Rs 200.64 crore in FY 2017.

    In its investor presentation, Eros says that revenue breakup as percentage of revenue from operations for FY 2018 was theatrical revenue 42.8 per cent; television and others 46.3 per cent; and overseas 10.9 percent. For FY 2017, the company had indicated break up as theatrical 42.5 per cent; television and others 31.1 per cent; overseas 26.4 per cent. Hence, contribution of revenue from television and others in FY 2018 was much higher than in the previous year. Theatrical revenue was about the same in both the years, and revenue from overseas declined sharply in FY 2018 as compared to FY 2017.

    The company released 25 films – one high budget, four medium budget and 19 low budget films in FY 2018. Of these films, 14 were Hindi, one was Tamil/Telugu and nine were in regional language films.

    In FY 2017, Eros had released 44 films – five high budget films, 10 medium budget films and 29 low budget films. 11 films were Hindi, 18 in Tamil/Telugu and 15 were regional films.

    Eros says that it remains focused on its film pipeline, with 40 to 50 films across languages slated to release during financial year 2019.

    Eros Now

    The company says that its subscriber base for its OTT platform Eros Now has grown to 100 million (10 crore, 1,000 lakh) in FY 2018 from 60 million (6 crore, 600 lakh) at the end of the previous year. Paying subscriber base for the platform has grown to 7.1 million (0.71 crore, 71 lakh) in FY 2018 from 2.1 millon (0.21 crore, 21 lakh) at the end of the previous year.

    Company speak

    Eros executive chairman and managing director Lulla said, “This year has been an inflection point for Eros where we have truly turned the corner and grown in to India’s first fully vertically integrated independent studio. The pioneering spirit is prevalent in our leadership DNA as we further consolidate a fragmented market place as well as making Indian filmed entertainment truly global. As the dynamics of the country change with connectivity at the core of distribution we are uniquely positioned to leverage these trends with content being the key driving force. Our strategy of a content driven approach reflected in a robust green lighting process enables us to de-risk our model with an increasingly successful slate, with Newton India’s entry to the Oscars, hit comedy Shubh Mangal Savdhan and sports based drama Mukkabaaz.

    “Additionally the democratisation of theatrical consumption of content has skewed our strategy to be increasingly focused on catering to the regional demographic which is reflected in our slate mix Aamhi Doghi (Marathi), Rong Beronger Kori (Bengali), Oru Kidayin Karunai Manu (Tamil), Aake (Kannada), Viswa  Vikhyatharaya Payyanmar (Malayalam) amongst others.

    “Looking ahead to this coming year we are excited about our future slate with a trilingual remake of our classic library film Haathi Mere Saathi directed by Prabhu Salomon, starring Rana Daggubati as well as Bhavesh Joshi.  Leveraging our group’s strong talent relationships built over the past 40 years is also key to our growth trajectory. The relationship we share with Colour Yellow Productions and Anand L Rai has enabled us not to only to have a strong theatrical release pipeline with Manmarziyan and sequel to blockbuster film Happy Bhag Jayegi, Happy Phir Bhag Jayegi starring Sonakshi Sinha, but also to break the norms across the entertainment ecosystem. We successfully premiered India’s first straight to digital film, Eros Now original, Meri Nimmo on our platform. As we make strides foraying into original content, we are confident our film and originals slate will contribute further to accelerating Eros Now’s paying subs growth which this year itself is over 270 per cent.

    “With content slate and scale being a key driver, we have also entered into the strategic content partnership with Reliance Industries to jointly produce and consolidate content across India. The $150 million joint venture adds significant scale to Eros’ pre existing slate while mitigating investment risks as we benefit by leveraging our robust distribution network. We look forward to collaboratively growing this joint venture and further strengthening our fundamentals; content creation, distribution and a robust balance sheet allowing us to experience momentous improvements in our margins.

    “We have ended the fiscal with a very strong quarter with an EBIT growth of 61.5 percent and a PAT growth of 80.4 per cent. For the full year FY2018, the company has witnessed the EBIT margin increase at 10.3 per cent and an increase of 4.9 per cent PAT margin. We look forward to fiscal 2019 by further proving our strategies and paving the road ahead for a truly global Indian entertainment experience.”

  • Eros Now to premiere direct-to-digital film ‘Meri Nimmo’

    Eros Now to premiere direct-to-digital film ‘Meri Nimmo’

    MUMBAI: Over-the-top (OTT) platform Eros Now has announced its first direct-to-digital film Meri Nimmo in association with Colour Yellow Productions and Aanand L Rai. The film will have its worldwide premiere on 27 April 2018 on the platform. This association is the first of the many that Eros Now and Colour Yellow Digital are planning in 2018-19.

    “This launch is a mega step in the evolution of the film business in India. We are thrilled to extend our relationship with Aanandji, with whom we share a wonderful synergy, to the digital space as well. The launch of our first direct-to-digital film Meri Nimmo furthers our promise of offering very engaging original content ensuring a superior consumer experience. With this movie, we embark on a journey of providing filmmakers and viewers across the globe with fantastic programming that might not get a theatrical release and delivers better viewership and engagement on digital,” Eros International group chief content officer Ridhima Lulla said.

    Meri Nimmo was selected for 2016’s NFDC Film Bazaar and will enjoy a straight-to-digital release on Eros Now. The film revolves around an eight-year-old boy who thinks he is in love with a 24-year-old girl and what follows when the object of his affection decides to get married. The story depicts the young boy’s roller coaster ride of emotions set against the backdrop of his beloved Nimmo’s impending nuptials.

    “The trailer went live on Monday. We released the music of this on Tuesday and on Friday the film is releasing. It’s not like a six to eight week marketing campaign. It’s very different from the existing construct of how a film is mounted and released,” Eros Digital COO Ali Hussein said.

    On the marketing front, the company will promote the film offline too going beyond the confines of digital. The teasers are already being shared on the socials of Eros Now. Based on the audience reaction, the company may release the film in theatres as well.

    Ali said that the OTT platform would focus on long-term episodic content, original movies and short films. The platform wants to remain true to what it is rather than going into areas where it is yet to build expert.

    “Developing content for digital consumption on Eros Now was a natural progression after our association together on films for the big screen. The digital world excites as well as challenges me and at Colour Yellow Digital, we can’t wait to paint this blank canvas and present Indian content targeted towards audiences for this medium. Meri Nimmo is one such film that’s very Indian at heart and I’m sure it will strike the right chord with its beautiful storytelling and stand-out performances,” filmmaker and producer Rai said.

    Also read:

    Eros Now joins hands with RCB for IPL debut

    Eros Digital ropes in former Google exec Ali Hussein as COO

  • Happy Bhag Jayegi, Unindian: blending of different cultures dominate cinemas this week

    Happy Bhag Jayegi, Unindian: blending of different cultures dominate cinemas this week

    MUMBAI: There are quite a few films around stories of India-Pakistan cross connections and some seem to benefit both Hindi as well as Pakistani industries as the trans-border themes find more acceptance because of commonality in cultures and could help create a common market.

    Happy Bhag Jayegi takes the two countries one story film even closer in cultures. The story in this film moves within 50 kilometers on two sides Punjab: Amritsar in India and Lahore in Pakistan. As expected, the film has an extensive use of Punjabi dialogue.

    In age-old tradition, Happy aka Diana Penty’s marriage is fixed to an aspiring local politician Jimmy Shergill by her father Kanwaljit Singh. But, Diana is deeply and truly in love with Ali Fazal, a wannabe musician. The wedding ceremony is about to take place when, as planned, Happy jumps in to an open truck parked under her window to make her escape to meet Ali.

    Not wanting to be found, Diana hides herself in a huge carton. But, there has been a mistake. Diana has jumped into a wrong truck and this truck is headed to Lahore in Pakistan via Wagah check post to deliver some stuff there. The carton lands at its destination at the house of Abhay Deol, son of the Punjab province ex-governor Javaid Sheikh.

    Abhay is engaged to his childhood friend Momal Sheikh. This is when Diana makes her presence felt, jumping out of the carton. This spells trouble for Abhay as Momal suspects some hanky-panky between Diana and Abhay. It takes a while for Abhay to clear all doubts as both, Momal and Abhay decide to help Diana unite with Ali.

    Abhay decides to make a trip to India to find Ali and bring him to Pakistan to bring the two lovers together. In India, he has to contend with Jimmy and his goons who are holding Ali in captivity. While Abhay is away in India, Jimmy’s contacts in Pakistan have kidnapped Diana who is now under their custody.

    Javaid sees in Abhay a worthy heir to his political ambitions. His catch phrase in anything to do with Pakistan is: Will change the history of Pakistan. And he feels Abhay can do it too. As a political ploy, Abhay convinces Javaid that they should arrange a community marriage of 100 needy suitors which would help them gain political mileage. Actually, his plan is to also get Ali and Diana tie the knot in the crowd of 100 couples, now that he has brought Ali from India and also got Diana freed.

    The marriage jamboree is about to begin when Jimmy who followed Abhay to Pakistan plans to take Ali’s place in the wedding ceremony. Kanwaljit has also reached the venue and a free for all follows making for a funny climax.

    Happy Bhag Jayegi is a fairly funny movie with no real negative shades as villains also have comic shades. The film is well scripted as its first half passes smoothly. It sags in the second half, making up to some extent in the climax. There is a problem as the film uses too much of Punjabi – in typical local twang. Direction is able. India Pakistan locales are mixed well. Thankfully, the film has few songs and all are peppy blending well with the theme. Cinematography is good.

    Performances are generally good. Abhay Deol is restrained. Jimmy Shergill is impressive as ever, this time in a comic role. Diana Penty impresses in the role of a typical tomboyish Punjabi girl. Ali Fazal carries his deadpan expression through as needed for his character. Momal Sheikh is fair. Special mention must be made of Piyush Mishra who excels.

    The film, as expected, has had a poor opening and some improvement over the weekend will be limited mainly to Delhi-Punjab areas due to use of Punjabi flavour and language in the film.

    Producers: Anand L Rai, Krishika Lulla.
    Director: Mudassar Aziz.
    Cast: Abhay Deol, Diana Penty, Ali Fazal, Jimmy Shergill, Javaid Sheikh, Momal Sheikh, Kanwaljit Singh, Piyush Mishra.

    UnIndian

    UnIndian is a crossover romance drama and this time, the action moves from our traditional base of such romances – UK or US – to down under in Australia. With a self-made but divorcee woman and traditional parents, a cultural clash becomes the mainstay of this film. While usually such films are loaded with loud Punjabi characters; this one is not.

    Tannishtha Chatterjee is a divorcee living in Australia. She has a daughter and parents, Supriya Pathak and Akash Khurana, who retain their Indian values and traditions. Supriya and Akash, like all well-meaning Indian parents, want their daughter to find a doctor or some such of an Indian background, well settled in life to begin her life anew.

    Bret Lee is an Australian who teaches English as it is used in Australia at the university. The plan is for the settlers from all over to learn the language making it easier for them to blend in society. The tables turn on Lee when he sees and instantly falls in love with Tannishtha. Now he needs to learn things that are Indian.

    Lee has help at hand in Arka Das, his Indian roommate who is a TV anchor of a food show. Arka knows only as much about India as Lee does but guides him all the same. This helps create some funny situations and laughter.

    The love story deals with some side issues while also promoting some tourism for Australia as the love story braves the cultural divide.

    UnIndian is a mildly funny film about meeting of two cultures through the easiest route: a love story. The script is plain with some loose ends but there is just about as much you can do in such a story where distractions cannot be crammed in as in action or song and dance. Direction is fair and the second half of the film goes a bit awry while dealing with unnecessary mush Indian style. Dialogue is simple and witty. Cinematography is competent.

    Tannishtha Chatterjee is natural and sails through the film easily. Bret Lee is better than expected. Arka Das is very good. Supriya Pathak is natural. Akash Khurana and the rest are okay in support.

    UnIndian will find very limited patronage at a few metro multiplexes.

    Producer: Krian Pictures.
    Direction: Anupam Sharma.
    Cast: Brett Lee, Tannishtha Chatterjee, Supriya Pathak, Akash Khurana, Arka Das, Gulshan Grover, Pallavi Sharda.

  • Happy Bhag Jayegi, Unindian: blending of different cultures dominate cinemas this week

    Happy Bhag Jayegi, Unindian: blending of different cultures dominate cinemas this week

    MUMBAI: There are quite a few films around stories of India-Pakistan cross connections and some seem to benefit both Hindi as well as Pakistani industries as the trans-border themes find more acceptance because of commonality in cultures and could help create a common market.

    Happy Bhag Jayegi takes the two countries one story film even closer in cultures. The story in this film moves within 50 kilometers on two sides Punjab: Amritsar in India and Lahore in Pakistan. As expected, the film has an extensive use of Punjabi dialogue.

    In age-old tradition, Happy aka Diana Penty’s marriage is fixed to an aspiring local politician Jimmy Shergill by her father Kanwaljit Singh. But, Diana is deeply and truly in love with Ali Fazal, a wannabe musician. The wedding ceremony is about to take place when, as planned, Happy jumps in to an open truck parked under her window to make her escape to meet Ali.

    Not wanting to be found, Diana hides herself in a huge carton. But, there has been a mistake. Diana has jumped into a wrong truck and this truck is headed to Lahore in Pakistan via Wagah check post to deliver some stuff there. The carton lands at its destination at the house of Abhay Deol, son of the Punjab province ex-governor Javaid Sheikh.

    Abhay is engaged to his childhood friend Momal Sheikh. This is when Diana makes her presence felt, jumping out of the carton. This spells trouble for Abhay as Momal suspects some hanky-panky between Diana and Abhay. It takes a while for Abhay to clear all doubts as both, Momal and Abhay decide to help Diana unite with Ali.

    Abhay decides to make a trip to India to find Ali and bring him to Pakistan to bring the two lovers together. In India, he has to contend with Jimmy and his goons who are holding Ali in captivity. While Abhay is away in India, Jimmy’s contacts in Pakistan have kidnapped Diana who is now under their custody.

    Javaid sees in Abhay a worthy heir to his political ambitions. His catch phrase in anything to do with Pakistan is: Will change the history of Pakistan. And he feels Abhay can do it too. As a political ploy, Abhay convinces Javaid that they should arrange a community marriage of 100 needy suitors which would help them gain political mileage. Actually, his plan is to also get Ali and Diana tie the knot in the crowd of 100 couples, now that he has brought Ali from India and also got Diana freed.

    The marriage jamboree is about to begin when Jimmy who followed Abhay to Pakistan plans to take Ali’s place in the wedding ceremony. Kanwaljit has also reached the venue and a free for all follows making for a funny climax.

    Happy Bhag Jayegi is a fairly funny movie with no real negative shades as villains also have comic shades. The film is well scripted as its first half passes smoothly. It sags in the second half, making up to some extent in the climax. There is a problem as the film uses too much of Punjabi – in typical local twang. Direction is able. India Pakistan locales are mixed well. Thankfully, the film has few songs and all are peppy blending well with the theme. Cinematography is good.

    Performances are generally good. Abhay Deol is restrained. Jimmy Shergill is impressive as ever, this time in a comic role. Diana Penty impresses in the role of a typical tomboyish Punjabi girl. Ali Fazal carries his deadpan expression through as needed for his character. Momal Sheikh is fair. Special mention must be made of Piyush Mishra who excels.

    The film, as expected, has had a poor opening and some improvement over the weekend will be limited mainly to Delhi-Punjab areas due to use of Punjabi flavour and language in the film.

    Producers: Anand L Rai, Krishika Lulla.
    Director: Mudassar Aziz.
    Cast: Abhay Deol, Diana Penty, Ali Fazal, Jimmy Shergill, Javaid Sheikh, Momal Sheikh, Kanwaljit Singh, Piyush Mishra.

    UnIndian

    UnIndian is a crossover romance drama and this time, the action moves from our traditional base of such romances – UK or US – to down under in Australia. With a self-made but divorcee woman and traditional parents, a cultural clash becomes the mainstay of this film. While usually such films are loaded with loud Punjabi characters; this one is not.

    Tannishtha Chatterjee is a divorcee living in Australia. She has a daughter and parents, Supriya Pathak and Akash Khurana, who retain their Indian values and traditions. Supriya and Akash, like all well-meaning Indian parents, want their daughter to find a doctor or some such of an Indian background, well settled in life to begin her life anew.

    Bret Lee is an Australian who teaches English as it is used in Australia at the university. The plan is for the settlers from all over to learn the language making it easier for them to blend in society. The tables turn on Lee when he sees and instantly falls in love with Tannishtha. Now he needs to learn things that are Indian.

    Lee has help at hand in Arka Das, his Indian roommate who is a TV anchor of a food show. Arka knows only as much about India as Lee does but guides him all the same. This helps create some funny situations and laughter.

    The love story deals with some side issues while also promoting some tourism for Australia as the love story braves the cultural divide.

    UnIndian is a mildly funny film about meeting of two cultures through the easiest route: a love story. The script is plain with some loose ends but there is just about as much you can do in such a story where distractions cannot be crammed in as in action or song and dance. Direction is fair and the second half of the film goes a bit awry while dealing with unnecessary mush Indian style. Dialogue is simple and witty. Cinematography is competent.

    Tannishtha Chatterjee is natural and sails through the film easily. Bret Lee is better than expected. Arka Das is very good. Supriya Pathak is natural. Akash Khurana and the rest are okay in support.

    UnIndian will find very limited patronage at a few metro multiplexes.

    Producer: Krian Pictures.
    Direction: Anupam Sharma.
    Cast: Brett Lee, Tannishtha Chatterjee, Supriya Pathak, Akash Khurana, Arka Das, Gulshan Grover, Pallavi Sharda.

  • Happy Weekend on Romedy Now with ‘Happy Bhaag Jayegi’

    Happy Weekend on Romedy Now with ‘Happy Bhaag Jayegi’

    MUMBAI: Romedy Now, the only hybrid channel of its kind in the English Entertainment space, has partnered to promote their Happy Weekend property, with the upcoming Bollywood release, Happy Bhaag Jayegi. The property that airs every Saturday and Sunday, from 9am to 9pm, will be promoted by the stars of the movie – Abhay Deol and Diana Penty; who have recently shot for the promo.

    The promo, which has been airing on the channel, shows great chemistry between Abhay Deol and Diana Penty, as they talk about a list of things that make them happy. This leading pair will promote the theme of being happy, which merges beautifully with the property of Romedy Now.

    Commenting on partnering with Romedy Now, Deol said, “Romedy is comedy and a whole lot more, just like Happy is a film about love, laughter and living your life to the fullest. The film has one clear message and that is, that one should do what makes them happy. The channel too promotes love, laughter and living a happy life through its shows and movies. We couldn’t have got a better platform to promote Happy Bhaag Jayegi.”

    Penty added, “Romedy Now plays movies/series that are light hearted, fun and at the same time, kindle the spirit of true love and romance. Our film is also an entertaining romantic comedy; actually a runcom and I feel that we couldn’t have got a better opportunity to connect with our audience.”

    Happy Bhaag Jayegi is a story of a girl who sprinted across to Pakistan; only to fall in love with the boy of a rival country. The film stars Ali Fazal also alongside Deol and Penty and is produced by director, Anand L. Rai of the Ranjhana fame.

    The movie is slated to release on August 19, 2016. ‘

  • Happy Weekend on Romedy Now with ‘Happy Bhaag Jayegi’

    Happy Weekend on Romedy Now with ‘Happy Bhaag Jayegi’

    MUMBAI: Romedy Now, the only hybrid channel of its kind in the English Entertainment space, has partnered to promote their Happy Weekend property, with the upcoming Bollywood release, Happy Bhaag Jayegi. The property that airs every Saturday and Sunday, from 9am to 9pm, will be promoted by the stars of the movie – Abhay Deol and Diana Penty; who have recently shot for the promo.

    The promo, which has been airing on the channel, shows great chemistry between Abhay Deol and Diana Penty, as they talk about a list of things that make them happy. This leading pair will promote the theme of being happy, which merges beautifully with the property of Romedy Now.

    Commenting on partnering with Romedy Now, Deol said, “Romedy is comedy and a whole lot more, just like Happy is a film about love, laughter and living your life to the fullest. The film has one clear message and that is, that one should do what makes them happy. The channel too promotes love, laughter and living a happy life through its shows and movies. We couldn’t have got a better platform to promote Happy Bhaag Jayegi.”

    Penty added, “Romedy Now plays movies/series that are light hearted, fun and at the same time, kindle the spirit of true love and romance. Our film is also an entertaining romantic comedy; actually a runcom and I feel that we couldn’t have got a better opportunity to connect with our audience.”

    Happy Bhaag Jayegi is a story of a girl who sprinted across to Pakistan; only to fall in love with the boy of a rival country. The film stars Ali Fazal also alongside Deol and Penty and is produced by director, Anand L. Rai of the Ranjhana fame.

    The movie is slated to release on August 19, 2016. ‘

  • ‘Tanu Weds Manu Returns’: Fair entertainer

    ‘Tanu Weds Manu Returns’: Fair entertainer

    MUMBAI: Most sequels are not even sequels; they are just another story taking advantage of the same title used by an earlier successful film. To that extent, Tanu Weds Manu Returns justifies its name, being a proper sequel to Tanu Weds Manu (2011).

     

    In the first film, Kangana Ranaut and R Madhavan were married after a long drama. Tanu (Ranaut) had two suitors, Madhavan and Jimmy Shergill, both of whom brought a baraat to her house. Shergill was the violent kind and even ready to shoot down Madhavan but later had a change of heart looking at Kangana’s preference.

     

    Of course, the writer and director have bent many rules, taken a lot of liberties wanting to live up to the original — but they have come up with a fairly entertaining fare.

     

    The first film ended on a happy note with Tanu marrying Manu. The sequel starts with realities of married life. It is four years since they married and the marriage has gone sour. The couple is in London. Madhavan, who is now a doctor(!), keeps busy while Kangana tries her hand at various activities including to run a cr?che but to no avail. Compared to her tomboyish life in her native Kanpur, she feels clamped and bored.

     

    The film opens with the couple landing up at a madhouse. And one thought visiting marriage counselors solved marital problems! Since they are at an asylum, a panel of experts sits with them as both exchange accusation. Finally, Madhavan becomes violent and the expert doctor admits him in the asylum.

     

    Kangana is on her way back to Kanpur, relieved she has got rid of Madhavan and can now be free again to get back to her old bold lifestyle. But, with a pang of guilt, she calls up Madhavan’s cousin, Deepak Dobriyal, to get Madhavan back from the asylum. Madhavan decides to return to India instead of staying back in London and carrying on with his practice. But he is morose. He still loves Kangana and expects that she will change her mind and come back to him.

     

    But, soon, Madhavan finds someone who can fill his void; Kangana 2, a Tanu lookalike in Kusum, a Haryanvi Kangana in dual role. Kangana 2 is an athlete who not only represents the University but the state too. Initially, he just thinks that she is Tanu and starts chasing her till he is almost beaten and lynched by a mob when Kangana 2 shouts foul. He saves himself in the nick of time showing her the picture of his wife and how both look alike.

     

    Soon a romance starts budding between the two. While Madhavan cultivates Kangana 2, Kangana 1 is busy catching up with her old flame, Shergill, and also uses a tricky paying guest law student in her house, Mohammed Zeeshan Ayyub. Ayyub starts his friendship with Kangana 1 by addressing her as a sister but soon gets emotional about her. He even sends divorce papers to Madhavan on behalf of Kangana 1 without her knowledge. In due time, the divorce comes through.

     

    After crossing a lot of hurdles, Madhavan gets the approval of Kangana 2 and her family to agree to their marriage. That is when jealousy sets in and Kangana 1 reacts. After that, she sets out to win over Madhavan again.

     

    The comedy ends here and melodrama begins. While Kangana 1 tries to belittle everyone, when it comes to running down Kangana 2, she gets it back because the latter is much more qualified and endowed despite being from a village background. Their first encounter cuts Kangana 1 to size. The melodrama ends opting to re-establish the “so called” Indian values as love is rediscovered.

     

    Despite liberties taken, the script makes sure its entertainment quotient does not drop much. However, the end drama seems a little stretched. The director tries to stick to the basic idea of living up to being a worthy successor to the original; making Indian wedding films gives you a lot of stock content which is common to all films. The film manages to do so by about 75 per cent for after all, originals are always the best while in a sequel the surprise element is lost. Thankfully, the film does not go overboard by including songs and offers a couple of peppy numbers. The film is a few seconds over 120 minutes but can still do with a bit of trimming, especially towards the end. Photography is okay. Background score is effective at points.

     

    As for performances, it is a Kangana vehicle all along and offers her a rare opportunity to pit her against herself in two varied characters. While Kangana 1 is good as usual, Kangana 2 steals a definite march over her: she adapts to being a native Haryanvi villager totally in command of her situations. Madhavan, despite having limited scope, manages to hold his own. Shergill’s character of a perceived threat remains just that. He is a paper tiger with a soft heart. Dobriyal impresses. Swara Bhaskar, Eijaz Khan and Dipti Mishra are okay. Ayyub is good and so is Rajesh Sharma, as usual. The supporting cast contains of celebrated character artistes like Rajendra Gupta, K K Raina, Navni Parihar and Rajesh Sharma who all justify their roles.

     

    Tanu Weds Manu Returns is a fair entertainer. However, the opening response being weak, it faces further hurdles of IPL match today and the finals on Sunday, which will affect it. Also, the film caters mainly to the multiplex audience, factors, which may limit its prospects.

     

    Producers: Krishika Lulla, Anand L Rai

     

    Director: Anand L Rai

     

    Cast: R Madhavan, Kangana Ranaut, Jimmy Shergill, Ejaz Khan, Swara Bhaskar, Deepak Dobriyal, Mohammed Zeeshan Ayyub, Rajendra Gupta, Navni Parihar, K K Raina, Dipti Mishra, Rajesh Sharma, Akash Dahiya 

  • Raanjhanaa director shake hands with Dhanush for his next film

    Raanjhanaa director shake hands with Dhanush for his next film

    Director Anand L Rai, whose Raanjhanaa generated good response at the box office, is coming up with another romantic film and is currently working on the script.

     

    The making of script is currently under process, and if sources are to be believed by Diwali, Rai will be in a position to talk about the project.

     

    Raanjhanaa was a story of a Hindu Banarasi boy falling in love with a Muslim girl and giving away his life for her.

     

    Rai who thinks that people have lost faith in love, strongly feels that one way of keeping the romance alive is through films. He feels sad (to) see this as love is an integral part of life

     

    ‘Kolaveri Di’-fame south star Dhanush, who made his Bollywood debut with Raanjhanaa, will be working together with Rai again for a film, tentatively from the same genre.

     

    To top it all, his one more project is the sequel to 2011 romcom Tanu Weds Manu. However, Rai did not elaborate on this piece.