Tag: Krishika Lulla

  • Banjo…Out of sync

    Banjo…Out of sync

    MUMBAI: Banjo is a musical love story of a young man with a mastery over the stringed instrument. The banjo is said to have its origin in Africa. The instrument is seen to be more popular during festivals in India.

    Riteish Deshmukh is shown in the movie to be excelling in playing banjo and leads a group of friends who play music as a hobby as well as to make some extra money besides their regular jobs. He has three partners, each specializing in playing an instrument. Riteish works for a local corporator collecting haftas (extortion) for him.

    The demand for the musical group is seasonal, but there are a number of such banjo groups. The competition is stiff. However, the rivalry between two such groups is severe, which often leads to fist fights. On one such Ganesh festival, Riteish and his band come up with a number which becomes instantly popular with the local folk.

    Sitting far away in New York, Nargis Fakhri hears the number which catches her attention. Nargis is preparing to participate in a music show and has been scouting for talent. She thinks she found the group she has been looking for. She arrives in India and lands up right near his house.

    Banjo playing is not considered a glorious art and, though appointed as a guide to show her around the settlement and help her search, he does not disclose his identity to Nargis. While he helps her, he also falls in love with her.

    Nargis goes on auditioning group after group, only to be disappointed. She is finally ready to give up and decides to go back. Riteish is heartbroken. He wants to drown his sadness in music, and asks his friends to play though they have just returned from a gig and are tired. Nargis catches the sound from afar and realizes who he was. So close yet so far. Nargis is still sent back in disappointment, for, the group members have parted ways. Riteish has been framed in the murder of the corporator and sent to jail. The happy ending is certain but not so soon.

    Banjo moves on predictable lines of an underdog whose dreams are in the process of being realized as well as the usual underdog falling in love with the first girl showing concern. While the story or scripting don’t inspire much, the main drawback is the lack of good music that is mandatory for a musical. While the songs are good for gully dances due to the heavy beats played to Maharashtrian taste, the Bappa song being the mainstay, the only sober number worth humming is Rahemokaram.

    The cinematography is good. Riteish performs well and Nargis tries. The supporting actors make sincere efforts.

    Banjo could have been made for Marathi audience where the industry is thriving presently. Going for pan-India market has not helped as the opening is poor and so are the prospects.

    Producers: Krishika Lulla

    Director: Ravi Jadhav

    Cast: Riteish Deshmukh, Nargis Fakri, Mohan Kapoor.

    Dil Sala Sanki…God save your soul!

    Another film about UP bahubalis and their love story! Dil Sala Sanki is a love triangle based in the city of Jhansi.  

    Jimmy Shergill is playing the local don in Jhansi. He has inherited the reign from his foster father who wished for Jimmy to share it with his adopted son. But, Jimmy would have nothing of that sort. He kills both, the other heir as well as his father. He wishes to rule alone.

    While the rest of the city is scared of Jimmy and his goons, he has a fan in Yogesh Kumar, the son of a local barber, Avtar Gill, who wants to follow in the footsteps of Jimmy. Yogesh goes around beating up people and expects to be feared for his acts.

    Yogesh takes up small assignments like settling disputes. On one such case, he is asked to get vacated a house occupied by goons as the landlord’s new tenant, Shakti Kapoor, a school teacher, has rented it out. True to the tradition of goon stories, Yogesh falls in love with Shakti’s daughter, played by Madalsa Sharma. He starts with the usual routine followed by all filmy lovelorn goons: stalk.

    It is raining and Manalsa is shown as going berserk dancing on a lonely road. Jimmy happens to pass by, sees her, and falls in love too although he has a loving wife at home, played by Harshita Bhatt. Being a bahubali who is not answerable to anybody, he simply kills Harshita.

    Jimmy soon realizes that his protégée, Yogesh, also loves Madlasa. The fight to finish begins.

    Dil Sala Sanki is a routine, humdrum love story lacking imagination or the grammar of filmmaking. The casting is curious as the hero, Yogesh Kumar, has zero acting skills or screen presence. Jimmy has a limited role. Madalsa is okay. Rest of the aspects merit no mention.

    Dil Sala Sanki has no prospects despite its limited exploitation at few screens in single show a day.

    Producer: SK Pictures P Ltd.

    Director: Sushi Kailash.

    Cast: Yogesh Kumar, Madalsa Sharma, Jimmy Shergill, Shakti Kapoor, Avtar Gill.

  • Banjo…Out of sync

    Banjo…Out of sync

    MUMBAI: Banjo is a musical love story of a young man with a mastery over the stringed instrument. The banjo is said to have its origin in Africa. The instrument is seen to be more popular during festivals in India.

    Riteish Deshmukh is shown in the movie to be excelling in playing banjo and leads a group of friends who play music as a hobby as well as to make some extra money besides their regular jobs. He has three partners, each specializing in playing an instrument. Riteish works for a local corporator collecting haftas (extortion) for him.

    The demand for the musical group is seasonal, but there are a number of such banjo groups. The competition is stiff. However, the rivalry between two such groups is severe, which often leads to fist fights. On one such Ganesh festival, Riteish and his band come up with a number which becomes instantly popular with the local folk.

    Sitting far away in New York, Nargis Fakhri hears the number which catches her attention. Nargis is preparing to participate in a music show and has been scouting for talent. She thinks she found the group she has been looking for. She arrives in India and lands up right near his house.

    Banjo playing is not considered a glorious art and, though appointed as a guide to show her around the settlement and help her search, he does not disclose his identity to Nargis. While he helps her, he also falls in love with her.

    Nargis goes on auditioning group after group, only to be disappointed. She is finally ready to give up and decides to go back. Riteish is heartbroken. He wants to drown his sadness in music, and asks his friends to play though they have just returned from a gig and are tired. Nargis catches the sound from afar and realizes who he was. So close yet so far. Nargis is still sent back in disappointment, for, the group members have parted ways. Riteish has been framed in the murder of the corporator and sent to jail. The happy ending is certain but not so soon.

    Banjo moves on predictable lines of an underdog whose dreams are in the process of being realized as well as the usual underdog falling in love with the first girl showing concern. While the story or scripting don’t inspire much, the main drawback is the lack of good music that is mandatory for a musical. While the songs are good for gully dances due to the heavy beats played to Maharashtrian taste, the Bappa song being the mainstay, the only sober number worth humming is Rahemokaram.

    The cinematography is good. Riteish performs well and Nargis tries. The supporting actors make sincere efforts.

    Banjo could have been made for Marathi audience where the industry is thriving presently. Going for pan-India market has not helped as the opening is poor and so are the prospects.

    Producers: Krishika Lulla

    Director: Ravi Jadhav

    Cast: Riteish Deshmukh, Nargis Fakri, Mohan Kapoor.

    Dil Sala Sanki…God save your soul!

    Another film about UP bahubalis and their love story! Dil Sala Sanki is a love triangle based in the city of Jhansi.  

    Jimmy Shergill is playing the local don in Jhansi. He has inherited the reign from his foster father who wished for Jimmy to share it with his adopted son. But, Jimmy would have nothing of that sort. He kills both, the other heir as well as his father. He wishes to rule alone.

    While the rest of the city is scared of Jimmy and his goons, he has a fan in Yogesh Kumar, the son of a local barber, Avtar Gill, who wants to follow in the footsteps of Jimmy. Yogesh goes around beating up people and expects to be feared for his acts.

    Yogesh takes up small assignments like settling disputes. On one such case, he is asked to get vacated a house occupied by goons as the landlord’s new tenant, Shakti Kapoor, a school teacher, has rented it out. True to the tradition of goon stories, Yogesh falls in love with Shakti’s daughter, played by Madalsa Sharma. He starts with the usual routine followed by all filmy lovelorn goons: stalk.

    It is raining and Manalsa is shown as going berserk dancing on a lonely road. Jimmy happens to pass by, sees her, and falls in love too although he has a loving wife at home, played by Harshita Bhatt. Being a bahubali who is not answerable to anybody, he simply kills Harshita.

    Jimmy soon realizes that his protégée, Yogesh, also loves Madlasa. The fight to finish begins.

    Dil Sala Sanki is a routine, humdrum love story lacking imagination or the grammar of filmmaking. The casting is curious as the hero, Yogesh Kumar, has zero acting skills or screen presence. Jimmy has a limited role. Madalsa is okay. Rest of the aspects merit no mention.

    Dil Sala Sanki has no prospects despite its limited exploitation at few screens in single show a day.

    Producer: SK Pictures P Ltd.

    Director: Sushi Kailash.

    Cast: Yogesh Kumar, Madalsa Sharma, Jimmy Shergill, Shakti Kapoor, Avtar Gill.

  • 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.

  • Eros to co-produce Marathi film with Ravi Jadhav

    Eros to co-produce Marathi film with Ravi Jadhav

    MUMBAI: Eros International has joined hands with Ravi Jadhav Films to co-produce a Marathi movie titled &.

     

    An emotional family drama, & is being directed by Prakash Kunte, who has earlier directed Coffee Ani Barach Kahi.

     

    The new film is a touching tale of a family caught in the whirlpool of emotions; a dilemma to choose between the mind and the heart.

     

    Eros International producer Krishika Lulla says, “We are happy to be associating with one of the finest film makers from the Marathi film industry, Ravi Jadhav for the upcoming movie &. We at Eros, believe that Marathi entertainment is witnessing a continual growth and the audiences are now open to new and fresh concepts and by joining hands with leading film makers like Ravi Jadhav and Prakash Kunte, we only want to strengthen this thought further.”

     

    Jadhav added, “& is a heartwarming tale of the complicated human relationships between a mother and daughter and a son and the father. The title, aptly named so defines the connection between the myriad of emotions of individuals and how that affects their life further on. It is an absolute pleasure to be associated with Eros International, who have shown belief in my vision and my content.”

     

    The movie features Mrinal Kulkarni, Siddharth Menon, Shivani Rangole and Indraneil Sengupta, who now makes his foray into Marathi entertainment. The film is set to go on floors on 5 November, 2015 in Mumbai.

  • ‘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 

  • Eros International looks to back content driven cinema

    Eros International looks to back content driven cinema

    NEW DELHI: Eros International’s Krishika Lulla, who is the producer of Tanu Weds Manu Returns, has always had an eye for content driven cinema. Lulla is bullish on supporting strong scripts irrespective of the cast.

     

    At a press meet to promote Tanu Weds Manu Returns, Lulla said that Eros International has always backed projects with genres ranging from rom-com to a slice of life, romance drama, and dark thriller.

     

    Lulla is hopeful that the movie will entertain audiences across the country.

     

    The film, which releases on 22 May, stars Kangana Ranaut and R. Madhavan in the main lead. Directed by Aanand L Rai, the film also stars Jimmy Shergill.

     

    Lulla added, “Content is king and as a producer I strongly believe the audience is ready for a variety of cinema that caters to different sensibilities. Keeping that in mind, I’m confident Tanu Weds Manu Returns will do everything it has set out to and is a genuine film with a heart and a soul that will stay with audiences much after its release.”

  • Eros International collaborates with Aanand L Rai on Tanu Weds Manu Returns.

    Eros International collaborates with Aanand L Rai on Tanu Weds Manu Returns.

    MUMBAI: After the stupendous success of Raanjhanaa ,starring Sonam Kapoor & Dhanush, that went on to enter the highly coveted 100 crore club, Eros International is now collaborating with director Aanand L Rai on Tanu Weds Manu Returns, the sequel of the blockbuster starring Kangana Ranaut and R.Madhavan.

     

    Kangana Ranaut who will soon reprise her role as Tanu in Aanand L Rai’s Tanu Weds Manu Returns has a pivotal role in the film, that of a Haryanvi athlete.

     

    Says director Aanand L Rai, “It is wonderful to be collaborating with Eros yet again on Tanu Weds Manu Returns .They have always ensured that no stone is left unturned to give a film everything it needs right from the time it goes on floors to the release.”.

     

    Says producer Krishika Lulla, “after the delightful  Raanjhanaa, we at Eros are happy to partner with director Aanand L Rai on yet another entertainer Tanu Weds Manu 2 .We are confident that the sequel will be just as memorable and entertaining”.

     

    Complex, funnier and more twisted, Aanand L Rai’s Tanu Weds Manu Returns starring Kangana Ranaut and R.Madhavan is scheduled to release next year.