ITV

Tag: Fitoor

  • Sequels & the need to cash in on previous successes

    The film industry is going through its worst period in a long time. Nothing seems to be working as film after films flop losing almost total investments. This, when private investors are staging a comeback to invest in film distribution business as the big houses have curtailed their activities.

    While the producers of recent films have been suffering, the main sufferers are the single screens as well as the multiplex chains who, besides servicing their investments, also need to tend to their fixed costs like, staff, power, maintenance and other such costs.

    This is a Catch 22 situation. While the independent producers, who are keeping the supply going, they have to do it in limited budgets. The multiplex chains won’t give them decent playtime or reduced admission rates and the paying audience won’t be lured otherwise.

    The stalemate continues.

    The recent trend seems to be of making wome- oriented films. That is fine. They do work at times as was the case with, Kahaani, Dirty Picture, Neerja, Chalk & Duster, Ki And Ka, Fitoor, Sarabjit, Begum Jaan, Maatr, Noor and so on. But, just a few worked.

    If Kahaani worked, why did Kahaani 2 did not? It did not because it came across as a product of greed. A need to cash in on the success of its predecessors. The makers did not even care that their ‘Dare It All’ protagonist of Kahaani was turned in to a helpless, hapless woman in Kahaani 2.

    Both new releases of the week, Noor and Maatr, were women centric films. Both faced disastrous outcome at the box office.

    Noor was much hyped as the Pakistani journalist writer Saba Imtiaz’s account of her life as a journalist in Karachi, among the most violent cities in the world. It was published as a book, Karachi, You Are Killing Me! The account had no story, looked like a dramatised and fictionalised writing. Nothing in the book seemed fit to incorporate it in the life of a Mumbai journalist.

    Maatr was a vehicle for one time sought-after star, Raveena Tandon, as a senior actor to return in her veteran avatar as a mother. She played a mother on revenge mission for her raped and killed young daughter. The film failed to get an opening of any kind.

    *Raveena’s comeback, Maatr, sadly, could not find enough footfalls to run a show. Turned into a ‘No audience No show’ affair as the collections remained in lakhs. The film’s promotion was poor too. The three day collections remained short of one crore at about Rs 70 lakh.

    *Sonakshi Sinha, essaying the role of a struggling journalist, lacked head or tail. Is a loser on all counts as the film barely manages to put together Rs 4.1 crore crore for the first weekend.

    *Begum Jaan, an outdated story told poorly, fails badly to incite the audience. After a poor opening weekend of Rs 10.6 crore, the film ends it first week with a total of Rs 15.1 crore.

    *Badrinath KI Dulhania has taken its six week total to Rs 114.7 crore.

    *Laali KI Shaadi Mein Laaddoo Deewana, Blue Mountain, Mirza Juuliet and Mukti Bhawan are also ran.

  • &pictures HD premiere ‘Fitoor’ on 18 June

    &pictures HD premiere ‘Fitoor’ on 18 June

    MUMBAI: &picturesHD constantly strives to offer its audience a distinct and unmatched movie viewing experience. Its unique offering&HD Exclusive showcases carefully handpicked movies for its viewers to provide them with maximum quality entertainment. Continuing with its efforts to bring the cinematic experience to the comfort of households and keeping ZEE’s (Zee Entertainment Enterprises Ltd.) promise of #HDfirst, &picturesHD comes up with the World HD Premiere of ‘Fitoor’ onSaturday, 18th June at 8 PM.

    Set in the tranquil locales of Kashmir, Fitoor is a story of love, longing and obsession that transcends time and age. An adaptation of Charles Dickens’ Great Expectations, Fitoor is directed by the endowed filmmaker Abhishek Kapoor and starsAditya Roy Kapur, Katrina Kaif, and Tabu in lead roles with an ensemble cast including Rahul Bhatt, Aditi Rao Hydari and evenAjay Devgn in pivotal roles.

    Speaking about the movie, director Abhishek Kapoor commented, “Fitoor is a different film trying to capture a different world. It’s a very fantastical story which needed a certain look, specific kind of sets, and a certain kind of lighting. Kai Po Che was mostly shot on real locations, but here, when you make locations and sets from scratch, it’s an entirely different thing. As a director, I don’t want to repeat myself. The challenge is to be versatile.”

    In the mystic corners of a valley, Noor (Aditya Roy Kapur) grows up in the shelter of Begum (Tabu) and is completely smitten by her daughter Firdaus (Katrina Kaif). On realizing this, Begum sends Firdaus off to London and urges Noor to be successful in order to win Firdaus. 15 years later, their paths cross and Noor, a successful artist now, is still mesmerized by Firdaus. But, she is now destined to marry Bilal (Rahul Bhatt) at the whims of Begum.

    Will their love overcome societal limits as obsession, like they say will always finds its way.

  • &pictures HD premiere ‘Fitoor’ on 18 June

    &pictures HD premiere ‘Fitoor’ on 18 June

    MUMBAI: &picturesHD constantly strives to offer its audience a distinct and unmatched movie viewing experience. Its unique offering&HD Exclusive showcases carefully handpicked movies for its viewers to provide them with maximum quality entertainment. Continuing with its efforts to bring the cinematic experience to the comfort of households and keeping ZEE’s (Zee Entertainment Enterprises Ltd.) promise of #HDfirst, &picturesHD comes up with the World HD Premiere of ‘Fitoor’ onSaturday, 18th June at 8 PM.

    Set in the tranquil locales of Kashmir, Fitoor is a story of love, longing and obsession that transcends time and age. An adaptation of Charles Dickens’ Great Expectations, Fitoor is directed by the endowed filmmaker Abhishek Kapoor and starsAditya Roy Kapur, Katrina Kaif, and Tabu in lead roles with an ensemble cast including Rahul Bhatt, Aditi Rao Hydari and evenAjay Devgn in pivotal roles.

    Speaking about the movie, director Abhishek Kapoor commented, “Fitoor is a different film trying to capture a different world. It’s a very fantastical story which needed a certain look, specific kind of sets, and a certain kind of lighting. Kai Po Che was mostly shot on real locations, but here, when you make locations and sets from scratch, it’s an entirely different thing. As a director, I don’t want to repeat myself. The challenge is to be versatile.”

    In the mystic corners of a valley, Noor (Aditya Roy Kapur) grows up in the shelter of Begum (Tabu) and is completely smitten by her daughter Firdaus (Katrina Kaif). On realizing this, Begum sends Firdaus off to London and urges Noor to be successful in order to win Firdaus. 15 years later, their paths cross and Noor, a successful artist now, is still mesmerized by Firdaus. But, she is now destined to marry Bilal (Rahul Bhatt) at the whims of Begum.

    Will their love overcome societal limits as obsession, like they say will always finds its way.

  • Poor films help ‘Neerja’ fly at box office with Rs 34.2 crore

    Poor films help ‘Neerja’ fly at box office with Rs 34.2 crore

    MUMBAI: This has proved to be a disastrous week. A numerous non-descript films released, which found some sort of play time at multiplexes but did not manage to find an audience. 

    The much hyped Aligarh from Hansal Mehta comes a cropper. A real life incident of an Aligarh Muslim University professor caught in a sting with his pants down with another male, offered nothing new to the viewers to attract them to the cinema halls. Film experience is certainly not about showing skeletons in the cupboard of a man. The film had very poor response on day one, day two as well as day three to show collections of Rs 1.2 crore for its opening weekend.

    The other noticeable release of the week, Tere Bin Laden: Dead Or Alive, emerged as a poor attempt at 1960s American humour. The film lacked on all counts including, mainly, on gags. Direction was poor. What is it with Laden character spewing native Punjabi twang and English dialogue having English sub-titles?  The film has managed to collect Rs 1.95 crore for its first weekend.

    Other releases like Bollywood Diaries, Love Shagun, Rhythm, Jab Tum Kaho and Dhara 302, passed as unnoticed as they came.

    Loveshudha, a second attempt to launch Girish Taurani, fails miserably. The film opens with no audience, no show and somehow manages to end its first week with a figure of Rs 2.2 crore.

    Weak oppositions helped much appreciated Neerja hold well as it ended its first week with a total of Rs 34.2 crore. The film’s good run continued as the new releases also happened to be poor and Neerja enjoyed a healthy second weekend. 

    Sanam Re adds Rs 1.5 crore in its second week to take its two week total to Rs 28.1 crore.

    Fitoor adds Rs 75 lakh in its second week thus taking its two week tally to Rs 17.9 crore.

    Ghayal Once Again collects Rs 75 lakh in its third week taking its three week total to Rs 35.7 crore. 

    Airlift adds Rs 1.1 crore in its fifth week to take its five week total to Rs 125.7 crore.

  • Poor films help ‘Neerja’ fly at box office with Rs 34.2 crore

    Poor films help ‘Neerja’ fly at box office with Rs 34.2 crore

    MUMBAI: This has proved to be a disastrous week. A numerous non-descript films released, which found some sort of play time at multiplexes but did not manage to find an audience. 

    The much hyped Aligarh from Hansal Mehta comes a cropper. A real life incident of an Aligarh Muslim University professor caught in a sting with his pants down with another male, offered nothing new to the viewers to attract them to the cinema halls. Film experience is certainly not about showing skeletons in the cupboard of a man. The film had very poor response on day one, day two as well as day three to show collections of Rs 1.2 crore for its opening weekend.

    The other noticeable release of the week, Tere Bin Laden: Dead Or Alive, emerged as a poor attempt at 1960s American humour. The film lacked on all counts including, mainly, on gags. Direction was poor. What is it with Laden character spewing native Punjabi twang and English dialogue having English sub-titles?  The film has managed to collect Rs 1.95 crore for its first weekend.

    Other releases like Bollywood Diaries, Love Shagun, Rhythm, Jab Tum Kaho and Dhara 302, passed as unnoticed as they came.

    Loveshudha, a second attempt to launch Girish Taurani, fails miserably. The film opens with no audience, no show and somehow manages to end its first week with a figure of Rs 2.2 crore.

    Weak oppositions helped much appreciated Neerja hold well as it ended its first week with a total of Rs 34.2 crore. The film’s good run continued as the new releases also happened to be poor and Neerja enjoyed a healthy second weekend. 

    Sanam Re adds Rs 1.5 crore in its second week to take its two week total to Rs 28.1 crore.

    Fitoor adds Rs 75 lakh in its second week thus taking its two week tally to Rs 17.9 crore.

    Ghayal Once Again collects Rs 75 lakh in its third week taking its three week total to Rs 35.7 crore. 

    Airlift adds Rs 1.1 crore in its fifth week to take its five week total to Rs 125.7 crore.

  • Box Office: ‘Neerja’ flies with Rs 21 crore in opening weekend

    Box Office: ‘Neerja’ flies with Rs 21 crore in opening weekend

    MUMBAI: Neerja started slow on its opening Friday but the film’s appreciation helped it catch momentum on the very first day during the later shows. Akin to Airlift, despite being a dry film, it managed to invoke patriotic and humane sentiments among viewers.

    The film grew as the day progressed and grew by about 80 per cent on day two. And more than double its Friday figures on Sunday. That is a sort of miracle for a heroine oriented film, especially since the heroine in this case, Sonam Kapoor, enjoys limited draw. So, though almost 30 years old incident, people have identified with the story as they did with Airlift. The film has ended its first weekend with a total of Rs 21.2 crore.

    Loveshuda is poor, registering a little over Rs 2 crore for the weekend.

    The other two films, Instant Ishq and Ishq Forever, are very poor.

    Sanam Re has managed to rake in Rs 24.6 crore in its first week, which does not seem enough for the distributor to recover, who needs much more to recoup.

    Fitoor collects Rs 17.15 crore for its first week, which is way short of recovery.

    Ghayal Once Again is beyond salvaging point. The film adds a meagre Rs 1.85 crore in its second week to take its two week total to Rs 34.95 crore.

    Sanam Teri Kasam collects Rs 45 lakh in its second week to take its two week tally to Rs 7.7 crore.

    Saala Khadoos collects Rs 30 lakh in its third week taking its three week total to Rs 10.4 crore.

  • Box Office: ‘Neerja’ flies with Rs 21 crore in opening weekend

    Box Office: ‘Neerja’ flies with Rs 21 crore in opening weekend

    MUMBAI: Neerja started slow on its opening Friday but the film’s appreciation helped it catch momentum on the very first day during the later shows. Akin to Airlift, despite being a dry film, it managed to invoke patriotic and humane sentiments among viewers.

    The film grew as the day progressed and grew by about 80 per cent on day two. And more than double its Friday figures on Sunday. That is a sort of miracle for a heroine oriented film, especially since the heroine in this case, Sonam Kapoor, enjoys limited draw. So, though almost 30 years old incident, people have identified with the story as they did with Airlift. The film has ended its first weekend with a total of Rs 21.2 crore.

    Loveshuda is poor, registering a little over Rs 2 crore for the weekend.

    The other two films, Instant Ishq and Ishq Forever, are very poor.

    Sanam Re has managed to rake in Rs 24.6 crore in its first week, which does not seem enough for the distributor to recover, who needs much more to recoup.

    Fitoor collects Rs 17.15 crore for its first week, which is way short of recovery.

    Ghayal Once Again is beyond salvaging point. The film adds a meagre Rs 1.85 crore in its second week to take its two week total to Rs 34.95 crore.

    Sanam Teri Kasam collects Rs 45 lakh in its second week to take its two week tally to Rs 7.7 crore.

    Saala Khadoos collects Rs 30 lakh in its third week taking its three week total to Rs 10.4 crore.

  • ‘Fitoor:’ Confusing and dry

    ‘Fitoor:’ Confusing and dry

    Fitoor is projected as ‘Based on the 19th century writer, Charles Dickens’ Great Expectations.’

    A story of an orphan, his phases in life and his manipulation by various people unknown to him. Being a 19th century saga, it is about star-crossed lover and all the formulae like rich poor romance, evil forces, invisible benefactors that exists in our movies even now. The makers choose the scenic Kashmir for the Kent marshlands to tell their story.

    Aditya Roy Kapur is an orphan under the care of his sister and brother-in-law living in Kashmir when the trouble is at its peak in the valley. He helps his brother-in-law who is an iron smith but has a knack for art as in drawing as well as sculpting. Then the film goes back into Dickens’ 19th century. Aditya is summoned by the Begum, Tabu. The film takes the liberty of introducing a Begum to Kashmir, the land of Maharajas. Tabu holds sway over the township and has a backstory to tell. 

    Tabu lives in a palatial house with her cute young daughter, Tunisha Sharma (to grow up as Katrina Kaif) who is enamoured by young boy Aditya. Her love for him happens after bossing over him for a time. Earlier, while only young Aditya was in love with her, now it is mutual. On the birthday of Tunisha, Aditya’s sister is felled by a bomb. When he reaches her home next day, she has already been dispatched to London for further studies by Tabu.

    Tabu has an agenda. She also sends Aditya to London to study art in which he shows talent. Otherwise, in a slow moving saga, the story moves fast here. Aditya becomes a celebrity in London and also comes across Katrina (grown up Tunisha). He is very much in love with her, she is partly in love with him because, she has, by now, found a suitor in Rahul Bhat, a Pakistani guy who studied with her in London.

    The script’s resistance ends here because it goes haywire here onwards. What follows is what you would have seen in hundreds of Indian movies from the industry’s inception till last week. Katrina is set to marry her Pakistani suitor, Rahul. Because, even if she loves Aditya, Rahul, a politician in Pakistan would mean status. As it happens in such love stories, Aditya goes berserk. 

    Actually, it is about Tabu, who was betrayed and playing with the lives of Aditya and Katrina for her personal reasons. 

    Actually, the whole narrative is so confusing and messed up, it is injustice to Dickens. Often during a film, you don’t fathom all things till they are unfolded at the end; trick with Fitoor is that you don’t understand what the film and issues were about even when you leave the cinema hall and reach home!

    Fitoor is poorly put together script, which unfolds like a mismatched jigsaw puzzle. A simple old fashioned Dickens’ story remixed for MBA aspirants. Direction is aimless. Good editor would have cut down this film to about 45 minutes. Musically, there is one number to like. The only highlight is the cinematography of the film, which is excellent. 

    Talking of performances, only Tabu stands out besides the young kids playing Katrina and Aditya. Aditya seemed to show some improvement but carried the same expressions throughout. Katrina has lost her charm and fails to appeal. 

    Fitoor, a love story, despite its opportune Valentine weekend will not be able to cash in.

    Producers: Abhishek Roy Kapoor, Siddharth Roy Kapur
    Director: Abhishek Roy Kapoor
    Cast: Aditya Roy Kapur, Katrina Kaif, Tabu, Aditi Rao Hydari, Rahul Bhat, Akshay Oberoi, Lara Dutta.

    ‘Sanam Re:’ Juke box!

    With few writers around, filmmakers seem to be going back into past for film themes. Sanam Reresorts to an old-fashioned love triangle, sort of about cursed lovers never meant to come together. 

    Pulkit Samrat is a small town lad who has landed in Mumbai to make it good. His grandpa, Rishi Kapoor, used to be a photographer, afflicted by Alzheimer’s, he is incapable of running his shop anymore and wants the property to be appropriated by his wards. Pulkit is summoned back home for the purpose.

    Back home, Pulkit is full of the memories of his childhood love, Yami Gautam, who he has not seen since he left for Mumbai.

    In this script of convenience, Pulkit has to visit Canada on an urgent assignment. There, he cultivates Urvashi Rautela purely for personal reasons. But, as it happens in such love triangles, Yami surfaces just then. 

    Actually, there is no story in this love story. But, being a T-Series home production, the film has some very popular numbers and the film seems just like an excuse to package them.

    Performances are generally routine as the roles offer no depth. Rishi Kapoor is the star talent in this film but has little to offer. The location being scenic, the film looks good visually. Direction is purely functional. The film could have done with some trimming. Musical score is an asset which can help the film to an extent through its Valentine’s Day opening weekend.

    Producers: Bhushan Kumar, Krishan Kumar
    Director: Divya Khosla Kumar
    Cast: Pulkit Samrat, Yami Gautam, Urvashi Rautela, Rishi Kapoor

  • ‘Fitoor:’ Confusing and dry

    ‘Fitoor:’ Confusing and dry

    Fitoor is projected as ‘Based on the 19th century writer, Charles Dickens’ Great Expectations.’

    A story of an orphan, his phases in life and his manipulation by various people unknown to him. Being a 19th century saga, it is about star-crossed lover and all the formulae like rich poor romance, evil forces, invisible benefactors that exists in our movies even now. The makers choose the scenic Kashmir for the Kent marshlands to tell their story.

    Aditya Roy Kapur is an orphan under the care of his sister and brother-in-law living in Kashmir when the trouble is at its peak in the valley. He helps his brother-in-law who is an iron smith but has a knack for art as in drawing as well as sculpting. Then the film goes back into Dickens’ 19th century. Aditya is summoned by the Begum, Tabu. The film takes the liberty of introducing a Begum to Kashmir, the land of Maharajas. Tabu holds sway over the township and has a backstory to tell. 

    Tabu lives in a palatial house with her cute young daughter, Tunisha Sharma (to grow up as Katrina Kaif) who is enamoured by young boy Aditya. Her love for him happens after bossing over him for a time. Earlier, while only young Aditya was in love with her, now it is mutual. On the birthday of Tunisha, Aditya’s sister is felled by a bomb. When he reaches her home next day, she has already been dispatched to London for further studies by Tabu.

    Tabu has an agenda. She also sends Aditya to London to study art in which he shows talent. Otherwise, in a slow moving saga, the story moves fast here. Aditya becomes a celebrity in London and also comes across Katrina (grown up Tunisha). He is very much in love with her, she is partly in love with him because, she has, by now, found a suitor in Rahul Bhat, a Pakistani guy who studied with her in London.

    The script’s resistance ends here because it goes haywire here onwards. What follows is what you would have seen in hundreds of Indian movies from the industry’s inception till last week. Katrina is set to marry her Pakistani suitor, Rahul. Because, even if she loves Aditya, Rahul, a politician in Pakistan would mean status. As it happens in such love stories, Aditya goes berserk. 

    Actually, it is about Tabu, who was betrayed and playing with the lives of Aditya and Katrina for her personal reasons. 

    Actually, the whole narrative is so confusing and messed up, it is injustice to Dickens. Often during a film, you don’t fathom all things till they are unfolded at the end; trick with Fitoor is that you don’t understand what the film and issues were about even when you leave the cinema hall and reach home!

    Fitoor is poorly put together script, which unfolds like a mismatched jigsaw puzzle. A simple old fashioned Dickens’ story remixed for MBA aspirants. Direction is aimless. Good editor would have cut down this film to about 45 minutes. Musically, there is one number to like. The only highlight is the cinematography of the film, which is excellent. 

    Talking of performances, only Tabu stands out besides the young kids playing Katrina and Aditya. Aditya seemed to show some improvement but carried the same expressions throughout. Katrina has lost her charm and fails to appeal. 

    Fitoor, a love story, despite its opportune Valentine weekend will not be able to cash in.

    Producers: Abhishek Roy Kapoor, Siddharth Roy Kapur
    Director: Abhishek Roy Kapoor
    Cast: Aditya Roy Kapur, Katrina Kaif, Tabu, Aditi Rao Hydari, Rahul Bhat, Akshay Oberoi, Lara Dutta.

    ‘Sanam Re:’ Juke box!

    With few writers around, filmmakers seem to be going back into past for film themes. Sanam Reresorts to an old-fashioned love triangle, sort of about cursed lovers never meant to come together. 

    Pulkit Samrat is a small town lad who has landed in Mumbai to make it good. His grandpa, Rishi Kapoor, used to be a photographer, afflicted by Alzheimer’s, he is incapable of running his shop anymore and wants the property to be appropriated by his wards. Pulkit is summoned back home for the purpose.

    Back home, Pulkit is full of the memories of his childhood love, Yami Gautam, who he has not seen since he left for Mumbai.

    In this script of convenience, Pulkit has to visit Canada on an urgent assignment. There, he cultivates Urvashi Rautela purely for personal reasons. But, as it happens in such love triangles, Yami surfaces just then. 

    Actually, there is no story in this love story. But, being a T-Series home production, the film has some very popular numbers and the film seems just like an excuse to package them.

    Performances are generally routine as the roles offer no depth. Rishi Kapoor is the star talent in this film but has little to offer. The location being scenic, the film looks good visually. Direction is purely functional. The film could have done with some trimming. Musical score is an asset which can help the film to an extent through its Valentine’s Day opening weekend.

    Producers: Bhushan Kumar, Krishan Kumar
    Director: Divya Khosla Kumar
    Cast: Pulkit Samrat, Yami Gautam, Urvashi Rautela, Rishi Kapoor

  • Tabu replaces Rekha in UTV’s ‘Fitoor’ directed by Abhishek Kapoor

    Tabu replaces Rekha in UTV’s ‘Fitoor’ directed by Abhishek Kapoor

    MUMBAI: Director Abhishek Kapoor has put an end to all speculation and confirmed that actress Tabu has replaced Rekha in his upcoming movie titled Fitoor, which is being produced under the UTV Motion Pictures banner.

     

    Kapoor said, “Tabu’s wonderful performances in Indian and international shores are too many to be named. She is an actress who fearlessly goes against the tide and isn’t afraid to break stereotypes. I am honoured to have her in my film.”

     

    UTV Motion Pictures senior vice president Amrita Pandey added, “Tabu has been a part of the UTV family since The Namesake, and most recently in Haider. In both movies, her performance has been the emotional fulcrum of the narrative, and we are very happy to have a chance to work with her again in Fitoor.”

     

    The movie, which also stars Katrina Kaif, Aditya Roy Kapoor and Aditi Rao Hydari, is based on Charles Dickens’ novel Great Expectations.