ITV

Tag: Ranveer Singh

  • Thumbs up asks people to #TakeCharge

    Thumbs up asks people to #TakeCharge

    MUMBAI: As the new Thums Up Charged makes it way to shelves across India, Coca-Cola India has launched a new campaign called, #TakeCharge featuring ever-energetic actor and Thums Up brand ambassador Ranveer Singh.

    The new campaign builds further on Thums Up’s unique expression of masculinity and belief that heroism is a choice for us to make and an opportunity to take. The campaign conveys that for any challenge that demands heroic action, the hero needs to get charged to rise up to that occasion.

    The TVC opens to an international car race event where the protagonist is seen ready to hit the track in his car which is inscribed with the ThumsUp Charged logo. Focused on victory, with his ThumsUp Charged by his side, he starts manoeuvring his way past the other cars. Just as he’s about to take the lead, the car in front of him loses control and brings our car to a halt. Shaken but determined, the protagonist takes a gulp of his ThumsUp Charged and sets off to finish the race. As he charges ahead and victory is almost in sight, his gearbox jams. Epitomising the ‘Never Give Up Ever’ attitude, he puts his car in reverse and races to victory in a photo-finish.

    ThumsUp Charged is the first-ever variant of Thums Up that was recently launched by Coca-Cola India to celebrate 40 years of Thums Up. The company will be rolling out a series of initiatives including consumer-led engagement campaigns along with exciting marketing campaigns with its brand ambassadors through digital, social, traditional, and outdoor media channels.

    Coca-Cola India and South West Asia Director, Colas marketing Ajay Bathija says, “ThumsUp TVCs are all about seeking thrill, adventure, exhilaration and excitement and Ranveer Singh as a brand ambassador embodies all of that perfectly. The ‘#TakeCharge’ campaign is about taking the controls of life in one’s hands and overcoming adversities by not giving up hope. Our TVC captures this attitude and we are confident that the campaign will resonate well with all Thums Up lovers.”

    Actor Ranveer Singh mentions, “I distinctly remember when I first tasted toofani Thums Up and since then it has become my favourite cola. It’s an honour to be the face of this brand. The ‘Take Charge’ campaign is very close to my heart as I constantly push boundaries and don’t believe in quitting when a challenge is thrown my way. Challenges keep me going in life and make me strive harder to achieve my goals. I thoroughly enjoyed being a part of the campaign; it was an invigorating experience to perform as a car-racer.”

    Leo Burnett creative head Sainath Saraban adds, “ThumsUp Charged has an extra thunder in it just the kind of push that somebody needs to take his or her achievement to the next level. Even though the story is set in a massive car race that makes for grand theatre, it is an intensely personal journey about how a huge victory starts within your own self. When I wrote this film, I wanted to leave the viewer with a message that worked at a product level and was inspirational as well. If there’s one thing we want people to do after being exposed to this communication, it is to take charge.”

    #TakeCharge is a 360-degree campaign that will leverage mass-media on larger-than-life outdoor sites in the core markets of the product. The campaign also leverages key social media platforms of YouTube, Facebook, Twitter and Instagram.

  • Ranveer Singh plays an offbeat mechanic for HP Lubricants

    Ranveer Singh plays an offbeat mechanic for HP Lubricants

    MUMBAI: HP Lubricants has rolled out a tongue-in-cheek and vibrant integrated campaign for its motorcycle engine oil HP Racer. The campaign, featuring popular Bollywood actor Ranveer Singh, emphasises the importance of using the right engine oil for bikes to both, bike owners and mechanics. The new campaign is conceptualised and executed by Leo Burnett India.

    The TVC opens with a young biker riding into a garage and asking the mechanic to refill the engine oil in his bike. To this, the mechanic asks if he wants regular engine oil or HP Racer. The customer reacts indifferently saying he doesn’t care. In comes Ranveer Singh along with other mechanics, rapping the superior benefits of HP Racer.

    HPCL executive director of direct sales Rajnish Mehta says, “In a strategic move to improve visibility and brand recall of our ‘Power Brands’, we believe that Ranveer Singh, as the face of the brand, will help strengthen our association further with biking enthusiasts and mechanics. Engine oil is a low-involvement category, and we are confident that this campaign will see consumers voluntarily opting for the technologically superior HP Racer.”

    Leo Burnett South Asia chief creative officer Rajdeepak Das adds, “Ranveer Singh’s infectious energy and natural connect with all audiences lent themselves seamlessly to the film. His portrayal as a mechanic is sure to strike the right chord with our primary audiences – the mechanic community and youth of the country – predominantly bikers. I’m confident that our customers will remember the catchy rap and Ranveer’s jig in the HP Racer film for some time to come, especially since it is so relatable.”

  • YouTube: Ten ads clock 2.3 mn hrs of watch time in Q2 ’17, 180 mn Indians watching monthly

    MUMBAI: YouTube released the Q2’17 India Ads Leaderboard, a list of the top ads and promoted videos that Indian audiences consumed during the second quarter of the year. These ten ads clocked an astounding 2.3 million hours of watch time, with mobile devices accounting for 82% of the watch time. As per App Annie*, every month, 180 million Indians are watching YouTube on the mobile. The YouTube Ads Leaderboards showcase the most creative ads that people choose to watch. The list represents the top 10 ads on YouTube in India that resonated most with audiences over the past month and celebrates the brands that performed best through a combination of popularity and promotion.

    Here are the top 10 most viewed ads of 2017 on YouTube:

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  • Ranveer Singh continues Durex association with denims

    MUNBAI: Bollywood superstar Ranveer Singh reinforced his association with Reckitt Benckiser’s condom brand Durex. The actor has now decided to endorse the rubber maker’s new denim product line – denims. Singh tweeted about the announcement today along with a teaser video from his official handle @RanveerOfficial.

    Durex will soon enter the denim market and is all set to make its way into the jeans which is first of its kind and this new association with the Bajirao Mastani male lead has already set the stage says the brand. In the teaser video released yesterday, Ranveer is seen in a trial room telling his fans saying “Guys Durex is launching Jeans and I am the first one to try it”… Then he goes into the trial room and shouts, “Guys this fits really well…”

    About three years ago the Bollywood actor had featured in a Durex condom ad having sex and then rapping and dancing as a part of the campaign – ‘When You Have Great Sex, You #DoTheRex’. That ad had concentrated on the ‘feel good’ factor that one generally gets after sex. That was probably a first – the first time that a male actor had associated himself with a condom brand.

  • MIB petitioned on pre-censorship of period cinematic content

    NEW DELHI: If a fringe group from Rajasthan has its way, then period cinematic dramas may face pre-censorship, which sooner or later could also lead to government interventions for TV content that still doesn’t face much content regulations and pre-screening vetting.

    Rajasthan’s Karni Sena wants pre- censorship of period films and plans to approach the Ministry of Information and Broadcasting (MIB) in this regard. It had recently protested against Sanjay Leela Bhansali’s period film `Padmavati’ accusing him of presenting “distorted facts”, according to a PTI report.

    “We are asking the I&B ministry about the pre-censorship of historic films. We are also hoping for some support from producer and director associations and in fact they are ready to give their support,” the PTI report quoted Karni Sena chief Lokendra Singh Kalvi as stating.

    Karni Sena had stalled the shooting of the Ranveer Singh-Deepika Padukone starrer by vandalising the set at the Jaigarh Fort in Jaipur in the northern state of Rajasthan and also assaulted director Bhansali. The acts weren’t strongly condemned by either the State or the Central governments and MIB minister M. Venkaiah Naidu had made some vague statements about freedom of expression in seemingly limp support of the film industry.

    “Our demands have been fulfilled by them (the film-makers of `Padmavati’). They have promised that they won’t show any kind of personal rapport between the actors in the movie (Rajput queen Padmavati and the then Muslim ruler in Delhi Allauddin Khilji),” Kalvi told PTI.

    According to the report, Kalvi said his group will also try to hold discussion over pre-screening of all historic films to journalists and historians so there was “no distortion of history.”

    TV and film industry observers opined that if the government capitulated to such pre-censorship of demands regarding films, it would be just a matter of time when similar demands would be made of historical and period serials aired on TV channels, the number of which are increasing on GECs.

    Incidentally, the film `Padmavati’ is based on `Padmavat’, a celebrated fictional ballad written in the Awadhi dialect of Hindi by 16th-century Indian Sufi poet Malik Muhammad Jayasi. The plot revolved around the beautiful queen Padmavati, originally hailing from Sri Lanka, who married a Rajput prince and came to the then India that was made up of a plethora of independent and princely states and had to commit suicide by jumping into a pyre to save her honour from the Muslim ruler of Delhi Khilji who got besotted by her reported beauty and annihilated her husband’s kingdom.

    As some critics have said, fiction is being turned into history in the 21st century India and artistic creativity was being stifled.

  • Vivo: Two is better than One!

    Vivo: Two is better than One!

    MUMBAI: Whenever an innovative and technologically advanced smartphone brand like VIVO launches a product, be sure to expect a unique top of the line experience. On the heels of launching the hugely successful VIVO V5 smartphone with a beautiful romantic film with Ranveer Singh, VIVO is back again with the VIVO V5 Plus. The 20 MP Dual Front Camera VIVO V5 Plus has the coolest camera features to capture the #perfectselfie moment.

    The 20 MP VIVO V5 Plus smartphone has been launched with a romantic sequel conceptualized by Lowe Lintas Delhi and produced by LinProductions. Ranveer Singh’s love story picks up from where it left off in the VIVO V5 film. In the sequel, Ranveer travels across the world to meet his lover in her city and has a beautiful surprise in store for her. The VIVO V5 Plus camera phone and its features are seamlessly strung together to showcase the most unique selfie phone to be launched ever!

    Launching the new TVC Vivo India CMO Vivek Zhang said, “Our new TVC for V5 Plus is a romantic sequel of the V5 TVC and is set in romantic backdrops around the world. In yet another memorable act, Ranveer Singh, our brand ambassador, is seen creating amazing bokeh effects with the all new V5plus powered by a first ever 20MP powerful front dual camera lens. The new TVC captures the true essence of our latest offering V5 plus in a refreshing manner, which is designed to offer crystal clear clarity and additional depth of field. We are certain that audience will love the new TVC and also expect encouraging response to V5 Plus.

    Lowe Lintas Regional President – North & East Janmenjoy Mohanty adds, “The phone itself has such a unique product promise with the 20 MP dual front camera along with high tech features like background bokeh, shot re-focus and of course the moonlight glow, to click the #perfectselfie. We wanted to make the audiences emotionally connect with the product and portray the features against the romantic love story of Ranveer Singh travelling across the world to his lover’s city and give her a big surprise. Ranveer clicks #perfectselfies through the film to communicate to his lover and then finally to give her the surprise of a lifetime.”

  • Vivo: Two is better than One!

    Vivo: Two is better than One!

    MUMBAI: Whenever an innovative and technologically advanced smartphone brand like VIVO launches a product, be sure to expect a unique top of the line experience. On the heels of launching the hugely successful VIVO V5 smartphone with a beautiful romantic film with Ranveer Singh, VIVO is back again with the VIVO V5 Plus. The 20 MP Dual Front Camera VIVO V5 Plus has the coolest camera features to capture the #perfectselfie moment.

    The 20 MP VIVO V5 Plus smartphone has been launched with a romantic sequel conceptualized by Lowe Lintas Delhi and produced by LinProductions. Ranveer Singh’s love story picks up from where it left off in the VIVO V5 film. In the sequel, Ranveer travels across the world to meet his lover in her city and has a beautiful surprise in store for her. The VIVO V5 Plus camera phone and its features are seamlessly strung together to showcase the most unique selfie phone to be launched ever!

    Launching the new TVC Vivo India CMO Vivek Zhang said, “Our new TVC for V5 Plus is a romantic sequel of the V5 TVC and is set in romantic backdrops around the world. In yet another memorable act, Ranveer Singh, our brand ambassador, is seen creating amazing bokeh effects with the all new V5plus powered by a first ever 20MP powerful front dual camera lens. The new TVC captures the true essence of our latest offering V5 plus in a refreshing manner, which is designed to offer crystal clear clarity and additional depth of field. We are certain that audience will love the new TVC and also expect encouraging response to V5 Plus.

    Lowe Lintas Regional President – North & East Janmenjoy Mohanty adds, “The phone itself has such a unique product promise with the 20 MP dual front camera along with high tech features like background bokeh, shot re-focus and of course the moonlight glow, to click the #perfectselfie. We wanted to make the audiences emotionally connect with the product and portray the features against the romantic love story of Ranveer Singh travelling across the world to his lover’s city and give her a big surprise. Ranveer clicks #perfectselfies through the film to communicate to his lover and then finally to give her the surprise of a lifetime.”

  • No value for money

    No value for money

    While the demonetisation affected film collections to an extent, the dropping temperatures are also affecting box office, especially in the North India, not to speak of poor quality of films made with no concern for content.

    *Befikre did raise some expectations within the exhibitor community as well as the audience. Coming as it does after a prolonged dull period and a lineup of poor films, the combination of Yash Raj Films, Aditya Chopra’s direction after eight year gap and Ranveer Singh’s growing popularity meant value for money, scarce as it may be nowadays.

    The film did not quite meet up with the expectations as it met with mixed reactions the first Friday first show onwards. The film lacked a clear concept as the whole length of the titles were attributed to couples kissing, not sparing even the toddlers from the act. The rest turned out to be a misplaced idea of the life of today’s youth; being in Paris can’t be an excuse for going berserk with youth in a relationship.

    However, what helps the film is its controlled budget and the release period enjoying both, a solo release status as well as an additional holiday today (Eid E Milad). The film had fair number of footfalls on Friday early shows but showed a declining trend thereafter as the first day figure barley managed to cross double figure of Rs 10 crore. Saturday added over a crore compared to Friday figures while the Sunday sustained well as the film closed its opening weekend with Rs 34.35 crore..

    *Kahaani 2, a poor attempt to use the title and the face of Vidya Balan from the successful franchise, Kahaani, backfires as the sequel turns the very character of Vidya topsy-turvy. The rest of the content also lacks coherence.

    With an opening weekend of Rs 15.8 crore, the film adds only a little more in the remaining four days to end its first week with a total of Rs 23.8 crore. The film stands to lose at the box office.

    *Dear Zindagi will be a losing proposal for its India theatrical distributor. The combined following of the rising star Alia Bhatt and the veteran star Shah Rukh Khan fails to work as the theme of the film as well as the pretentious approach don’t go down well with the audience.

    The film adds Rs 14.1 crore in its second week to take its two week total to about Rs 58.3 crore.

  • No value for money

    No value for money

    While the demonetisation affected film collections to an extent, the dropping temperatures are also affecting box office, especially in the North India, not to speak of poor quality of films made with no concern for content.

    *Befikre did raise some expectations within the exhibitor community as well as the audience. Coming as it does after a prolonged dull period and a lineup of poor films, the combination of Yash Raj Films, Aditya Chopra’s direction after eight year gap and Ranveer Singh’s growing popularity meant value for money, scarce as it may be nowadays.

    The film did not quite meet up with the expectations as it met with mixed reactions the first Friday first show onwards. The film lacked a clear concept as the whole length of the titles were attributed to couples kissing, not sparing even the toddlers from the act. The rest turned out to be a misplaced idea of the life of today’s youth; being in Paris can’t be an excuse for going berserk with youth in a relationship.

    However, what helps the film is its controlled budget and the release period enjoying both, a solo release status as well as an additional holiday today (Eid E Milad). The film had fair number of footfalls on Friday early shows but showed a declining trend thereafter as the first day figure barley managed to cross double figure of Rs 10 crore. Saturday added over a crore compared to Friday figures while the Sunday sustained well as the film closed its opening weekend with Rs 34.35 crore..

    *Kahaani 2, a poor attempt to use the title and the face of Vidya Balan from the successful franchise, Kahaani, backfires as the sequel turns the very character of Vidya topsy-turvy. The rest of the content also lacks coherence.

    With an opening weekend of Rs 15.8 crore, the film adds only a little more in the remaining four days to end its first week with a total of Rs 23.8 crore. The film stands to lose at the box office.

    *Dear Zindagi will be a losing proposal for its India theatrical distributor. The combined following of the rising star Alia Bhatt and the veteran star Shah Rukh Khan fails to work as the theme of the film as well as the pretentious approach don’t go down well with the audience.

    The film adds Rs 14.1 crore in its second week to take its two week total to about Rs 58.3 crore.

  • Befikre…..Where is the script?

    Befikre…..Where is the script?

    MUMBAI: Aditya Chopra directs a film once every few years. His latest, c, his fourth film as a director and in 21 years, comes eight years after his last essay at direction, Rab Ne Banadi Jodi. What looks obvious in this film is Aditya’s determination to stay with times and the now-generation. While attempting this, he seems to assume a lot about the now generation.

    The story has a Paris backdrop and the Indian love story gets the French treatment. The titles of the film are devoted to people kissing, from young to old and even kids locking lips as if wanting to make it to some sort of record book. After that, it pits a typical Delhi boy, Ranveer Singh, against an Indian girl, Vaani Kapoor, who claims to be French in that while her parents are Punjabi Indian, by virtue of her being born and brought up in France, she is French.

    Ranveer’s character is a standup comedian who has been invited to France by a friend to help salvage his pub. Ranveer is expected to draw the Desi crowd to the place with his antics. The whole of Paris seems to drink, sing and dance and, during his off time, Ranveer loves to visit these soirees and ogle at girls. He has heard about free flowing love in France and is keen to score and make the most of the free love.

    After rebuffed by a few, he meets Vaani who seems to be the girl about town, knows everybody around. She is a tourist guide, works at her father’s restaurant during her day off and believes in living it up. She is also off boys just having come out of a relationship. Ranveer, however, charms his way through and wins a date with her.

    The duo go around town and end up in the bed by the nightfall and, come tomorrow, Vaani decides to move in with Ranveer much to her parents’ dismay. Their understanding is tacit: No ‘love shuv,’ emotions or attachment; only companionship and sex. The film starts with the couple fighting and parting ways.

    What follows thereafter is the narration alternating between when they met and their time together and the present moment. There is no story to tell. But, as the script would have it, they both keep bumping into each other. They continue to have fun. The problem here is that, their idea of fun does not coincide with viewers’ idea of fun. The proceedings are loud for no reason till louder still songs popup.

    As if as an afterthought, the maker seems to realize that this is no fun and there is a need for some notion of a story. Hence, though they are officially separated while also doing things together, a third angle comes in. Vaani has dated a young banker, Armaan Ralhan, also of Indian origin. After a couple of dates with Armaan, Vaani decides to tie the knot and settle down. As if in a rebuff, Ranveer instantly finds a French girl, Julie Ordon, to marry her.

    Befikre has nothing in the name of a story or script. Events and songs happen at random. Direction is mainly about visuals, though mostly night shoot, the festive spirit is captured well as all of the Paris seems busy indulging. There is little of romance as in traditional way and all the fun on screen fails to reach the viewer. The editor has no scope here. Songs are good and peppy but placed without creating situations for them. Cinematography is very good. Choreography is excellent.

    Ranveer Singh has created a considerable fan following because of his couldn’t care less public image and here he does the same but goes overboard with diminishing effect. The one time the audience reacts to his antics is when exhibits his bare backside. Vaani Kapoor is not quite cut out to be a heroine, less so in a romantic film. With her lanky, odd figure the femininity falls short. Rest in the cast are incidental without scope.

    Befikre could have been a wholesome youth oriented musical fun film with a better script. Instead, it is a banal and loud tomfoolery. The film has garnered a fair opening at select multiplexes in metros which is not expected to carry on.

    Director-Producer: Aditya Chopra.

    Cast: Ranveer Kapoor, Vaani Kapoor.