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Tag: Neha Dhupia

  • Ekkees Topon Ki Salaami…20 guns too many

    Ekkees Topon Ki Salaami…20 guns too many

    Selling honesty as a theme is a tough proposal. It is considered boring and not as readily acceptable as corruption is. Ekkees Topon Ki Salaami juxtaposes one honest man who never wavered despite temptations and desperations, against a totally sold-out system including the local CM. How that honest man, in whom even his sons don’t have faith, finally gets his way is an interesting idea.

     

    Anupam Kher works for the Mumbai municipal department’s malaria control wing, setting out every day with his fogging machine diligently to do his job. His two sons, Divyendu Sharma and Manu Rishi, are totally wayward. Sharma, the dominant of the two, does hatchet jobs for the local CM and is the star of the local political branch (shakha).

     

    Divyendu holds a degree of influence over the CM, Rajesh Sharma. When he gets hurt at a pro-CM rally, the CM foots his five-star hospital bill. Divyendu’s hotline in the CM’s house is his girlfriend, Aditi Sharma. She is the trustworthy aide of the CM.

     

    There is a scandal breaking out against the CM; he is reported to have gifted a Rs 12 crore worth bungalow on sea-facing, government land to his concubine, Neha Dhupia. The news is all over and Neha has no scruples using it to gain mileage for herself. While she is busy telling the media the inside story, the CM is ashamed that he is in news for a meagre Rs 12 crore scam when anything below Rs 1000 crore is considered petty cash!

     

    Meanwhile, it is D day for Kher. He is due for retirement and goes to the office beaming for a golden handshake, a certificate and a box of sweets. Instead, what he gets is a humiliating discharge sans retirement benefits. His fault, the day before, the last day of his duty, was that he did not surrender his fog machine officially. He is accused of stealing it and selling it to cheat the municipality.

     

    Kher is humiliated and devastated, and on his deathbed as a result of the shame, but his son’s only care to scavenge on whatever little his dead bones have to offer. They want his pension and they want to inherit the municipality-allotted room. They want him to sign a letter asking for a pardon for stealing the fogging machine so his benefits are restored. Kher would sign that pardon letter on one condition; his sons should send him off with a 21-canon salute.

     

    Divyendu has sworn to fulfil his father’s last wish not knowing how!

     

    However, he sees a ray of hope. The CM’s sexual excitement with Neha has given him his third, final fatal heart attack. He is declared dead. Having died in office, he will get a state funeral along with a 21 canon salute.

     

    By this time, the sons have realised that if anybody deserved a 21 canon salute, it is Kher and not the CM. Since there is no way Kher can get that honour, things will have to be managed to make Kher take the CM’s place.

     

    This was a good idea, but, it consumes a lengthy second half and goes into too much detailing and emotional overload. By the time it happens the viewer is not emotionally connected, just relieved.

     

    The film has spoilt its bright idea by taking too long over it. The director has an eye for detail but no control over content and needed a better editor. Dialogue is funny at times and bland at others. Divyendu is impressive. Manu Rishi is a natural. Aditi is very good. Rajesh Sharma is good as always, a seasoned actor that he is. Neha is effective in a brief role. Kher plays the signature role he started off with in Saaranash. Uttara Baokar and Sudhir Pandey are fine.

     

    Ekkees Topon Ki Salaami would have been watchable had the approach had been on a lighter note towards its goal.

     

    Producers: Anurradha Prasad and Abhinav Shukla.

     

    Director: Ravindra Gautam.

     

    Cast: Divyendu Sharma, Neha Dhupia, Anupam Kher, Manu Rishi, Aditi Sharma, Rajesh Sharma, Uttara Baokar, Sudhit Pandey, Aashif Sheikh.

     

    Spark Is missing

     

    They just don’t work, these films about UP-Bihar local feudal gang lords-cum-politicians. After all, UP has one such gang lord in each village. It is the same old story: The more gun-wielding goons you have on your muster, the bigger your don-ness. Focusing on just one such gang makes things extra monotonous so Spark has some ex-loyalists from the same gang rising to form their own. Nothing you have not seen before; nothing that you have approved either.

     

    It starts like a 1970s film as some shotgun brandishing guys barge in to a haveli and shoot down two women and a man. However, because of an alert victim, a small child is hidden in a closet. He survives and makes this story into an unending saga.

     

    Rajneesh Duggal, like all other heroes, is a popular member of his college excelling at everything from dramatics to debates. During rehearsal, with the college lacking female talent, the college invites Shubhashree Ganguly. Both get acquainted but Duggal’s time in India has ended.

     

    Duggal gets into an altercation with the nephew of the biggest bahubali of the region, Ashutosh Rana, who, like in all such films and like all such bahubali types, literally runs the local governments, granting of contracts and so on. Duggal is bashed up by Rana. Ranjeet has brought up the orphan Duggal and loves him like his son. He decides to dispatch Duggal off to Germany to keep him away from trouble.

     

    As things would have it, Duggal spots Shubsharee in Germany; it is time to resume the romance because there won’t be time for that once the film moves into action mode.

     

    Back home, the villains have realised that the family they set out to kill 20 years back has one survivor, Duggal. However, they don’t know who he is, what he looks like and where is he. Only Ranjeet can reveal that.

     

    Govind Namdeo, an ex-henchman of Rana has branched out with his own ambition to be the next leader. He knows he can use Duggal against Rana by revealing to him that he is the one who ordered his family killed 20 years back.

     

    What follows are a lot of revelations you don’t really care to know, followed by too many back-stabbings. Finally it is time for the showdown where the hero deals with hundreds of gun-toting and sword-swishing goons, leaving him and Rana to fight it out alone.

     

    A very poor concept which is out of sync with any era, with direction to match. Duggal is okay while Shubshashree has a pleasant demeanour. Ranjeet supports well. Rana, Namdeo, Manoj Joshi are the loud villains performing more through decibels than acting. The musical score offers a few pleasant numbers. Some parts have been shot in Germany but it is no help.

     

    Spark is a poor film.

     

    Producer: Naresh Gupta.

     

    Director: V K Singh.

     

    Cast: Rajnees Duggal, Shubhashree Ganguly, Ashutosh Rana, Govind Namdeo, Manoj Joshi, Rati Agnihotri, Ranjeet.

  • Winners of the L’Oréal Paris Femina Women Awards 2014

    Winners of the L’Oréal Paris Femina Women Awards 2014

    MUMBAI: L’Oréal Paris, the world’s No. 1 beauty brand and Femina, India’s largest women’s magazine once again came together to celebrate India’s women achievers at the third edition of the L’Oréal Paris Femina Women Awards 2014 at The Leela, Mumbai. The awards celebrated ‘Women of Worth’ in India, honouring women who work selflessly for their communities across 14 categories including Social Impact, Community Causes, Science & Innovation and Education amongst others.

    Honouring women with extraordinary accomplishments and exceptional commitment to their careers and communities, the L’Oréal Paris Femina Women Awards brought to the fore the strength and contribution of Indian women to society.  The nominees were shortlisted after an extensive research process while identifying each one’s key contribution in their respective fields.

    Manashi Guha, GeneralManager, L’Oréal Paris said, “It gives us immense pleasure to see the L’Oréal Paris Femina Women Awards grow as a platform that recognizes strong women so committed to the society around them. L’Oréal Paris firmly believes in women empowerment and applauds any woman who bravely takes on a challenge and converts it into an opportunity. I would like to congratulate these Women of Worth for their exemplary work and thank them for inspiring women everywhere to empower themselves and lead an extraordinary life.”

    Sharing his views on organizing these awards, Tarun Rai, CEO, World Wide Media said, “Over 50 years Femina has celebrated and inspired the modern Indian woman through its pages. It was only fitting that we institute and award for women achievers across a variety of fields. In its third edition the L’Oreal Paris Femina Women Awards will celebrate the achievements of 62 nominees. 15 of them will walk away with the stunning ‘Tangram’ trophy.”

    The evening saw distinguished women from various walks of life being felicitated for work done in diverse fields. Sonam A. Kapoor, Aishwarya Rai Bachchan and Katrina Kaifalong withAkshay Kumar, Huma Qureshi, NehaDhupia andAnupamKher, Dr. Swati Piramal, Sabyasachi, ZarinaScrewalafrom the esteemed jury members presented the awards. Other guests present at the awards included DiaMirza, Kunal Kapoor, Mini Mathur, SonaliKulkani,  PriaKatariaPuri, PoojaBedi, KalkiKochelin, Neel Bhoopalam, Nimrat Kaur.

    With power packed performances by IshaSharvani, Aditi Mittal &SwanandKirkirethe ceremony brought alive the essence of womanhood in India and made the evening an occasion to remember.

    Rounding off a successful third year of the awards Tanya Chaitanya, Editor, Femina said, “L’Oreal Paris Femina Women Awards 2014 are an out-and-out celebration of the deserving yet the unsung. Women who work tirelessly towards causes close to their heart, chasing excellence in all that they do, women who believe in taking the community along, women who make a huge difference to their surroundings. It is Femina’s honour to have such women achievers step up and take a bow before the world in a befitting all-out extravaganza that the L’Oreal Paris Femina Women Awards 2014 is. Thank you, ladies!”

    Winners of the third edition of L’Oréal Paris Femina Women Awards 2014

    L’Oréal Paris Femina Women Awardswere setup in 2012 by two formidable women-centric brands L’Oreal Paris and Femina to honour and provide a platform for women achievers who have done exceptional work in their respective fields. L’Oréal Paris, known for its powerful slogan ‘Because You’re Worth is not just the World’s No.1 beauty brand, but also a brand that embodies self-confidence and empowerment. Femina is synonymous with celebrating women and their achievements and has done pioneering work in putting these achievers in the spotlight for over five decades. Held on an annual basis, the awards will continue to honour and celebrate women achievers for their significant accomplishments towards the evolution of society.

  • Rush: No need to rush to the theatres for it

    Rush: No need to rush to the theatres for it

    MUMBAI: Films on media are a genre that provides some scope since electronic media has mushroomed and the competition is killing. Rush is one such film. However, the story the makers of Rush have chosen is not new.

    Emraan Hashmi is a TV news reporter who is ambitious and wants to make it big but with honesty. That is his self created hurdle and one that costs him his job. He plans to down a couple of drinks before he even starts contemplating his next move. His love life is always in trouble and now this. But, the word spreads fast and even before he can gulp his drink, his phone rings with an offer he can‘t decline.

    Hashmi is not given much time to reflect and has to meet up Neha Dhupia immediately. Dhupia represents a TV channel owned by Aditya Pancholi; she is the facilitator and fixer for Pancholi and her offer includes all that Hashmi has dreamt of: a BMW, a multimillion pay packet and a luxurious apartment besides the attraction of heading the crime news channel Pancholi owns. Hashmi‘s job is to be the first to flash all crime news before other channels even reach the scene and for that he is assured the channel has a computer programme that can intercept phone calls of the police control rooms in 44 cities across India! Hashmi thinks this to be unethical but in addition to the lucrative offer, a little sweet talk from Pancholi convinces him to go ahead.

    Hashmi has a lover but to create scope for a couple of songs, a little flirting, some real some imaginary, has been planted in the script without dwelling on who is seducing who! Guess what, a picture of Hashmi and Dhupia coo-chi cooing makes it to a newspaper front page too! Since when did newspapers start printing about romance of news reporters? Well, that was just to add some drama between Hashmi and his woman, Sagarika Ghatge.

    It is now time to unfold the secret behind the channel‘s lead in reporting crimes before others and the reason behind Hashmi‘s big package. The reason is not simple as Pancholi had explained: a programme that intercepts police calls. It is something very sinister or so it was supposed to be, had the plot been developed properly and dramatically. Hashmi discovers that the channel and its mafia affiliates are the ones who ‘create‘ these news; they commit the crimes and the channels is already present to cover them.

    The idea is rather farfetched in an era when all the channels don‘t really succeed or survive because of TRPs; sucking up to politicians or other such lot is enough. And, who cares for petty crime news anymore? To add to the woes, the narration is straight sans excitement and the climax is lame. The film has some good songs. Performances are generally lacklustre. Hashmi is okay. Pancholi does not bother with expressions. Dhupia has little of substance to do. Ghatge has nothing to do.

    Rush is utterly forgettable.

  • ‘Maximum’ stress on ones senses

    ‘Maximum’ stress on ones senses

    MUMBAI: In his earlier film Saher, director Kabeer Kaushik took Hindi filmmaking to Lucknow and made a reasonably plausible film. Why the film did not work should have dawned on him though. In Maximum, he imports Lucknow to Mumbai and comes up with a film which has no beginning and an end which makes no sense, with two senior policemen shooting each other in the finale!

    There are no preambles, no once upon a time. As the film Maximum opens, you have this trigger happy policeman, Sonu Sood, shooting at all and sundry with glee. But all cops are normal at home, so we get to meet his family. He has a doting wife (Neha Dhupia), a daughter who can‘t manage her shoelaces and a father (Rajendra Gupta) who adds pathos and human angle to the story by suddenly collapsing of a heart attack.

    Whatever one can understand of the story in the film is that Sonu Sood is a be-all and end-all of cops. He is an encounter specialist of the post-2003 police force of Mumbai and everybody, from fellow cops to politicians to underworld goons to starlets, is scared of him because he has a license to kill and no explanations are sought. He has but one adversary in Naseeruddin Shah, another senior encounter specialist, who wants to be in the place Sonu Sood enjoys. Both have a lobby supporting them, either within the police force or among politicians and builders. Finally, both end up shooting each other at, of all the places, Valsad railway station in Gujarat. The maker has a fascination with trains or probably that is how he defines the pace of life in Mumbai for a scene or sound of local trains is ubiquitous in the film.

    The film is a reunion of Lucknow alumnus in Mumbai in that Sonu Sood is from Lucknow; his dad, Rajendra Gupta, is a professor from Lucknow who has dropped in on Sonu Sood to die on him; politician Vinay Pathak is from Lucknow (and conveniently an ex-student of Rajendra Gupta) and then there is a news channel reporter, also from Lucknow, who is, according to the film, the only and the star reporter on Mumbai‘s TV scene.

    But, then there is a Lucknow reunion wrecker in Naseeruddin Shah. His antecedents are not deemed necessary to be established. He just pops up to spoil Sonu Sood‘s party. It seems that there is a rivalry between Sood and Shah over the body count of the encounter killings both have executed. Both cops, however, have one thing in common; they owe loyalty to opposing politicians, shooting unidentified extras in the day, mingling with big builders in the evening and dancing and making merry with nautch girls in bars at night. That, in general, is the sketch of Mumbai encounter cops for you.

    There is no definite villain in the film. It is about the game of one-upmanship between two cops, two politicians and two builders and that too is given without dwelling on details. As the two cops play their games, Sood has the backing of Vinay Pathak and the news reporter, Aman Sadh, while Naseeruddin Shah has the backing of the all powerful home minister, Mohan Agashe. Someone had to give and it is Pathak who betrays Sood leading to final bloodbath culminating in both policemen killing each other in their fight for supremacy.

    Maximum has no coherent script and comes across more as a live telecast of two warring cops. The story telling skill has been done away with. If the film is trying to tell two facets of a policeman when Sood is a caring husband, son and father at home, it is not relevant or of interest in any way. There is no scope for music but an item number has been forced in and wasted. Sonu Sood performs well but it is pointless as you don‘t know whether he is a hero or an antihero. Naseeruddin Shah has been miscast.

    Vinay Pathak is convincing as a sweet-talking politician. Rajendra Gupta and Neha Dhupia, brought into contribute domesticity to the story, fail to do that as their parts are superficial. Neither dialogue not editing are appealing. The film, even at 106 minutes, is maximum stress on ones senses.

    As for the box office prospects, Maximum has none.

  • Percept to release Rush on 26 October

    Percept to release Rush on 26 October

    MUMBAI: Percept Picture ‘s Emraan Hashmi-starrer Rush is being readied for release on Bakri Eid on 26 October.

    Percept Pictures MD Shailendra Singh said, “Percept has delivered variety of cinema to the Indian audiences in the past. We are excited to present an out-n-out Emraan Hashmi thriller this Bakr Id with outstanding music from Pritam and T. Series as our music partner.”

    The film will have Hashmi play a morally correct investigative journalist with a top news channel who plunges into a vortex of violence in a deadly game of cat and mouse engineered by those he has trusted.

    Directed by Shamin Desai, the film also stars Emraan Hashmi, Neha Dhupia , Sagarika Ghatge and Aditya Pancholi in a negative role.

    Rush will be Emraan‘s next after Raaz 3.

  • Anshul Sharma helming sequel of Phas Gaye Re Obama

    Anshul Sharma helming sequel of Phas Gaye Re Obama

    MUMBAI: The second part (yet untitled) of Ashok Pandey‘s critically-acclaimed film Phas Gaye Re Obama is being helmed by Anshul Sharma. He replaces Subhash Kapoor who directed the original.

    Confirming the news, producer Ashoke Pandey said, “Without giving away the plot at this early juncture, I would like to say that the story revolves around issues we face in day-to-day life, quite similar to what you have seen before. While Phas Gaye Re Obama was a satire on how the ripple effect of a recession hit America was felt in rural India too, the sequel too will be a satire on similar lines.”

    Sharma, who had earlier worked as an associate director to Kapoor Pandey, said: “Yes, Anshul Sharma is directing the film. We had to come to this decision because Subhash is busy with something else right now and our timings didn‘t match.”

    The original had Rajat Kapoor, Neha Dhupia, Sanjay Mishra, Manu Rishi and Amole Gupte in the lead roles. The sequel has retained almost all the entire cast from the original except for Dhupia and Kapoor.

    The film, 50 per cent complete, is expected to hit the theatres in summer 2012.

  • MediaCom drives Ambi Pur through a refreshing activation

    MediaCom drives Ambi Pur through a refreshing activation

    MUMBAI: Media agency MediaCom India has executed activation for the car freshener brand Ambi Pur. The idea was to explode the low involvement air-freshener category, by driving category relevance through disruption. The company also roped in Bollywood actor Neha Dhupia to be a part of the activation.

    P&G home care brand manager Vidya Murthy said, “Riding on the fantasy of males to go on a drive with a diva was the key hook of the idea that MediaCom came up with. Multimedia amplification through RJs, ground event, print media is what drove scale for the activation.”

    MediaCom business director, P&G planning Gaurav Virkar said, “In the category that talked only about air freshening, being ‘guest ready‘ by eliminating bad odours in the car was the platform that the brand found its ground on. The idea was to sensitise male consumers to be guest ready at all times with Ambi Pur in their cars.”

    The campaign was carried out in November and December 2011. Radio and PR were employed as the media to spread the word about the initiative, and MediaCom associated with Fever FM for the ‘Freshness Drive‘.

    The target customer for the brand is on-the-go male who spends a lot of time travelling in the car in clogged city roads. He is so busy with his professional or personal life that he finds little time to consider the ambience of his car as being a critical factor in car care. This audience is hooked on to radio while driving to office on weekdays, and hence, radio was identified to be one of the top priority medium for this activation.

    For the execution, the first phase was to connect with the audience by creating the need for an air freshener in cars via stories on freshness by RJ mentions and spots. A poll was also conducted to select the celebrity that listeners would love to go on a drive with. In the second phase, the results on the most preferred celebrity were declared. Ambi Pur gift hampers were also given away.

    To drive the message of being ‘car guest ready‘, Dhupia went out on the Delhi roads, asking for a lift from cars that were passing by. She decided to stay inside a car or get out on the basis of the freshness quotient of the car. Her journey was documented as live feed on Fever FM.

  • Pappu Can’t Dance Saala loses steam after a decent start

    Pappu Can’t Dance Saala loses steam after a decent start

    MUMBAI: Pappu Can‘t Dance Saala, as the title suggests, would be a comedy revolving around Vinay Pathak.









    Producer: Sameer Nair, Saurabh Shukla.
    Director: Saurabh Shukla.
    Cast: Vinay Pathak, Neha Dhupia, Rajat kapoor, Sanjay Mishra, Sai Gundewar, Naseeruddin Shah (Special app.).


    The thing with Vinay Pathak is that while he may fit into the character of a middle class simpleton, he just can‘t go beyond that due to which he ends up doing the same kind of roles with same input.


    Pappu Can‘t Dance Saala is about how a simple man from Varanasi, Vinay Pathak and a street smart girl, Neha Dhupia, a film chorus dancer end up in the same house. They were neighbours in a government housing building, but following a raid by the vigilance department, Neha Dhupia is evicted from her flat. Suspecting Vinay Pathak of having complained to authorities, she muscles her way into his house, also taking over his bedroom.


    The fun begins with the duo‘s petty squabbling and fights; the problem is the fun does not last long enough. As the film progresses, things become repetitive and the interest sags. Script is contrived as per convenience and none of the two main characters possess the ability to carry the film on their own shoulders. There are notmany characters either to share the screen time.


    The script loses steam after a decent start and so does direction, which loses hold on the film. While the dialogues are good at places, the other aspects like music, cinematography are passable.


    Vinay Pathak and Neha Dhupia do well within their limited range. Naseeruddin Shah is good in a special appearance. Rajat Kapoor, Brijendra Kala, Veena Mallik, Sanjay Mishra etc give fair support.


    Pappu Can‘t Dance Saala would find some of its viewers on TV and video but hardly any at the cinema halls.


     


     


     


    Jo Hum Chahein is forgettable









    Producer: Aman Gill.
    Director: Pawan Gill.
    Cast: Sunny Gill, Simran Mundi, Ally Khan.


    Jo Hum Chahein is a family enterprise of three brothers, Aman Gill (producer), Pawan Gill (director) and Sunny Gill (lead actor), who is being launched with this film.


    It is a coming of age story of a young management graduate, Sunny Gill, who reek of overconfidence and always wants to be number one in all the challenges he faces.


    In same vein, he wants to top the performance list in his stock broking firm in Mumbai where he has been accepted as an apprentice and also in the same spirit of challenge he pursues a girl, Simran Mundi to add to his list of conquests.


    Simran, however, is not an easy catch since she has her idea of love well-defined. As it would happen, her reluctance to succumb to his passes only makes him fall in love with her.


    At the same time, in his quest to be at the top of list in his office, he falls prey to his senior colleague‘s ploy, ending up as toy boy for a wealthy widow. What follows is a usual love story, falling in love, the mandatory misunderstanding, the man straying in greed and the eventual positive ending.


    I am not calling it a happy ending because by the time the film ends, you are anything but happy; spent and mentally fatigued is more like it! (Comparing the theme as modern day Shri 420 would be sacrilege.)


    The film rests mainly on just two characters, the lead pair, both new and not at all prepared to carry this film with no twists and turns.


    The script is routine with little drama. Direction is average and the first half has overdose of songs even as the musical score is not much of help. Dialogue lacks punch. Performance wise Sunny Gill is okay with limited range while Simran Mundi is expressionless. Ally Khan did well.


    Jo Hum Chahein is forgettable.

  • Neha Dhupia is brand ambassador of Gitanjali’s new range Gdivas

    Neha Dhupia is brand ambassador of Gitanjali’s new range Gdivas

    MUMBAI: Jewellery manufacturer Gitanjali Group has launched a new brand, Gdivas and has roped in Bollywood actor Neha Dhupia as the brand ambassador for the same.

    The new Gdivas range, starting from Rs 3150, is specially designed for the “confident and stylish women of today” the company said.

    “Gdivas is a new brand under Gitanjali which caters to the young woman with adulation everyday for every occasion. These are light weight and elegant pieces that can complete your any day attire,” said Gitanjali Brands CEO Niyat Parekh. “Dhupia very well represents the young, independent and social woman who is the perfect face for Gdivas.”
     
    Dhupia added, “It‘s wonderful to be associated with a fashion forward brand like Gdivas, offering young professional women like me, jewellery which we can flaunt for every occasion, an extensive yet affordable collection to choose from, which adds flair to any outfit and above all, all occasions, truly making one feel like a diva.”

    The company is also launching a new TVC with Dhupia, which revolves around a day in a young modern woman‘s life- a woman who just like most young urban women, is aware of how she needs to look and carry herself, is in search for the perfect outfit with the right accessories, including jewellery which is trendy, chic and lightweight and yet complements her every mood and occasion. Gdivas spells out that it‘s time to be jeweled with adulation everyday with stunning pieces complimenting an everyday look for the diva in you.

    Gitanjali Group also houses brands like Nakshatra, D‘damas, Gili, Asmi, Sangini, and Giantti.

  • The Bollywood Project to release in festival circuit in 2012

    The Bollywood Project to release in festival circuit in 2012

    MUMBAI: After four years in the making, Adam Dow and Ruchika Muchhala’s 70-minute documentary The Bollywood Project is set to release on the festival circuit.


    The documentary has been made to explore the other side of the glamorous disguise of the Hindi film industry.


    The film uncovers the stories of four characters working behind the scenes in Mumbai. Their stories are of grit and perseverance as they dream big and change their identities to become a part of Bollywood, posing a powerful indictment of modern Indian society embodied in the world of Bollywood.


    The documentary follows Australian actor Harry Key along with an item dancer, a make-up artist and a union leader.


    Interestingly, each of the characters undergoes an identity transformation as they juggle between the fantasy and reality of dreaming big and becoming a part of Bollywood.


    Neha Dhupia and Malaika Arora Khan make special appearances in the film.