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Tag: Binod Pradhan

  • Zee Cine Awards unveils technical category winners

    Zee Cine Awards unveils technical category winners

    MUMBAI: The Zee Cine Awards now in their seventh year has announced the winners for the technical category
     
    The technical category winners comprises of the best of talented effort that went in the making of blockbuster Hindi movies of 2003 like Koi Mil Gaya, Bhoot, Baghbaan and Munna Bhai MBBS.

    A company release informs that the jury comprised of members of the Indian Cinema fraternity like scriptwriter Sanjay Daima, film maker Rahul Rawail. Speaking on the citations Zee Cinema business head and Zee Network special projects director Yogesh Radhakrishnan said, “It is a pleasure to declare the winners in the technical category for Zee Cine Awards 2004. These winners have been adjudged by a panel of esteemed juries who have identified them on the basis of the talent showcased in their capacity. These winners will be felicitated in Dubai at the grandiest event ever held in the history of Indian Cinema.”

    The awards in Dubai will take place on 26 February 2004 before an audience of over 8,000 people from across the globe. This will be the first time an Indian cinema awards event has ever been staged outside India.

    The technical winners are as follows:

    Category    Winner    Movie
    Special Effects    Digital Art Media    Koi.. Mil Gaya
    Choreography    Ganesh Hegde    Song: Its Magic from the same movie
    Dialogue    Abbas Tyrewala    Munnabhai MBBS
    Cinematography    Binod Pradhan    Munnabhai MBBS
    Re-Recording    Kuldeep Sood    Baghban
    Audiography    Dwarak Warrier    Bhoot
    Editing    Shimit Amin    Bhoot
    Action    Allan Amin    Qayamat
    Background Score    Vicky Goswami    Tere Naam
    Costume Designer    Muneesh Sappel    Pinjar
    Story    Amrita Pritam    Pinjar
    Art Direction    Muneesh Sappel    Pinjar
    Screenplay    Tigmanshu Dhulia    Haasil

  • ‘Kumkum’ claims top spot in afternoon band

    ‘Kumkum’ claims top spot in afternoon band

    MUMBAI: BAG Films’ afternoon soap Kumkum – ek pyaarasa bandhan has beaten the veterans of the soap genre with its unprecedented success in the mid-day slot.
     

    Following a timing change (from 3.30 pm to 1 pm) in November 2002, the soap’s ratings have catapulted to over six, claims the production house. “In only three months Kumkum crossed the 5 TRP barrier and couple of weeks later, two out of four episodes have 6+ TRP, while the remaining two hover around 5.9. This has been the trend for the last three weeks and this week i.e. on 28th March the TRPs are 7+ and 6+,” says the shows creative consultant Sharad Raj. The total market TRP for Kumkum in the week just ended stood at 4.19.

    Kumkum has overshadowed heavyweight afternoon shows like UTV’s Bhabhi and Shagun to claim four spots in the top 50 shows in C&S households in the week ended 22 March. While Kumkum debuts at number 23, Bhabhi, the closest rival in the afternnon band, comes in at number 33. Both grapple with the emotional bonding and the consequent conflicts that arise out of “bhabhi – devar” (brother in law – sister in law) relationships.

    Raj says Kumkum has the potential to be a 300 plus episode, given the interesting twists and turns the plot is going through. Sumit, the devar, who is now KumKum’s husband, was engaged to his girlfriend Renuka, who will go on to become a vamp of the serial and make life miserable for Sumit and Kumkum. Apart from this, the Wadhwa family who was already planning Kumkum’s marriage to her college friend, Vishal will also not rest in peace.

    As a strategy, Raj says the team of writers is shuffled regularly to bring freshness to the show. Launched on 15 July 2002, Kumkum is unique in that the satellite telecast rights of the serial will revert to the production house a year after it completes its run on Star Plus.

    Raj points out that sceptics initially ran down the look of the show (designed by Omung Kumar with light design by Binod Pradhan) saying that a long and wide corridor would be wasted on television. Kumkum , on the other hand, proved that depth could be effectively used on the small screen as well.