Tag: Satyadeep Mishra

  • Star India’s Gaurav Banerjee’s take on ‘P.O.W. – Bandi Yuddh Ke’

    Star India’s Gaurav Banerjee’s take on ‘P.O.W. – Bandi Yuddh Ke’

    MUMBAI: It has been labeled as the pioneer of saas bahu sagas. But, the leadership trio — Uday Shankar-Sanjay Gupta-Gaurav Banerjee — at the Twenty First Century Corp-owned Hindi GEC Star Plus — has over the past few years been working at breaking down this myth. The mantra has been create differentiated content with the help of real, relevant Indian stories and series. And, Star Plus’ latest effort, the Nikhil Advani-directed Israeli-show Hatufim Khatufim adaptation, P.O.W.- Yudh Ke Bandhi, is once again a reflection of that philosophy.

    ‘P.O.W. – Bandi Yuddh Ke’ is very Indian though it is adapted from leading Israeli format licensing house Keshet International’s successful 2010 series; it was also made into the runaway global hit ‘Homeland’, courtesy US cable network Showtime.

    The Indian version works as a large-scale high-octane family drama with a thriller backdrop. The story takes us through the journey of the lives of the two couples Harleen–Sartaj, Nazneen-Imaan and the aftermath of the return of the war heroes after 17 years, over 126 episodes.

    Two Indian PoWs Sartaj and Imaan — declared missing in action (MIA) after the Kargil war ends in 1999 — are rescued from the Indo-Pakistan border after escaping from captivity. They work to overcome the trauma of torture and captivity while settling back into their interrupted family lives.

    An ensemble cast of discerning actors like Purab Kohli, Sandhya Mridul, Amrita Puri, Satyadeep Mishra and Manish Chaudhari have teamed up for the project with Nikkhil Advani. While Purab plays a naib subedar in the Indian army, Mishra will be seen as an air force officer. And, the editor from the channel’s side is Saugata Mukherjee.

    Banerjee and his team chose the Israeli version created by Gideon Raff, which focuses on the emotional upheaval that the two soldiers and families face on their being locked away for 17 years and on their return to their homeland. The US adaptation worked more in the space of a thriller, and questioned whether the protagonist is a terrorist or not.

    Nikkhil Advani, whose company Emmay Entertainment is producing ‘P.O.W. – Bandi Yuddh Ke’, has been quoted in the media as saying: “I realised the real prisoners of war are the soldiers’ wives and families. The wives haven’t been able to move on with their lives…they have this sense of guilt that’s holding them back. They think, ‘What if he comes back?’…The story has a lot of emotions. Homeland is a little cold for Indians. Indians inherently love emotion.”

    Indiantelevision.com had an interaction with Star India deputy chief creative officer Gaurav Banerjee yesterday and he had his own take on the show. Said he: “P.O.W is a deeply emotional story. But, we have thriller dimensions as well. I think for us the difference is that this an Asian story but it was set up in Israel. We found a very strong Indian context in it and also the story in itself is very different. It’s s an art — a challenging art — writing a fresh story and adapting a great story in the current context and in an Indian milieu. We have worked hard on the story over two years.”

    Banerjee admitted that a decision on the time slot and exact launch date for the show has yet to be taken. But, sources expect the airdate to be late October, late prime and that it will run from Monday to Saturday.

    ‘P.O.W. – Bandi Yuddh Ke’ has been under development for two years. And, both Advani and the channel consulted army experts to help maintain accuracy in the writing and while shooting. Filming started earlier this year in locales in Punjab and Mumbai. In all, 36 episodes of the show have been canned. “We have used a proper balance of real-life locations, special effects and VFX,” said Banerjee.

    The channel has roped in two brands Tiago and Patanjali Kesh Kanti as co- powered by sponsors. One can expect some amount of brand integration of the two in the show as is the practice on television these days.

    Highlighted Banerjee: “It’s a big Diwali launch for us and you can expect us to be little ambitious about this. Since, it’s a finite series, we started with the trailer. It will be followed by more glimpses of the characters as we go along. The music has played a very good role in grafting the story and that is important as we set up the marketing of the show. Also we want all kinds of media to be a part of it but moreover we believe in the story.”

    Banerjee is hopeful that Indian viewers will celebrate P.O.W with Star Plus. He stated: “Star Plus is known for great stories. One of the big things for us is to be the platform where viewers gets the best stories, concepts and content. Sixteen years ago, we started with ‘Kaun Banega Crorepati’, which was the first format we adapted from the US and, last year, we did the show ‘Sumit Sambhal Lega’ which was also an adaptation of the big Hollywood iconic show Everybody Loves Raymond. We always want to be the platform for India’s best stories. Therefore, our goal is to bring original stories and also some great stories from the world to the larger Indian audience.”

    Says a media observer: “What could work in Star Plus’ favour is the timing of ‘P.O.W –Yudh Ke Bandhe.’ Indo-Pak relations are at near boiling point following the massacre of Indian soldiers in Uri by Pakistan-backed terrorists, and the incidents and debate thereafter has captured the minds and hearts of Indians. Emotions are running high as most in India want a resolution of the decades-long conflict between the two nations. The story could well strike an emotional cord with Indians who want to see some action from India’s side.”

    Banerjee laughed off the insinuation that show was fortuitous in its timing. “You would like us to believe that,” he said.

    But, in his heart of hearts, he probably knows that the airdate for ‘P.O.W. – Bandi Yuddh Ke’ could not have been timed better, and Star Plus may well have cottoned on to a winner.

  • Star India’s Gaurav Banerjee’s take on ‘P.O.W. – Bandi Yuddh Ke’

    Star India’s Gaurav Banerjee’s take on ‘P.O.W. – Bandi Yuddh Ke’

    MUMBAI: It has been labeled as the pioneer of saas bahu sagas. But, the leadership trio — Uday Shankar-Sanjay Gupta-Gaurav Banerjee — at the Twenty First Century Corp-owned Hindi GEC Star Plus — has over the past few years been working at breaking down this myth. The mantra has been create differentiated content with the help of real, relevant Indian stories and series. And, Star Plus’ latest effort, the Nikhil Advani-directed Israeli-show Hatufim Khatufim adaptation, P.O.W.- Yudh Ke Bandhi, is once again a reflection of that philosophy.

    ‘P.O.W. – Bandi Yuddh Ke’ is very Indian though it is adapted from leading Israeli format licensing house Keshet International’s successful 2010 series; it was also made into the runaway global hit ‘Homeland’, courtesy US cable network Showtime.

    The Indian version works as a large-scale high-octane family drama with a thriller backdrop. The story takes us through the journey of the lives of the two couples Harleen–Sartaj, Nazneen-Imaan and the aftermath of the return of the war heroes after 17 years, over 126 episodes.

    Two Indian PoWs Sartaj and Imaan — declared missing in action (MIA) after the Kargil war ends in 1999 — are rescued from the Indo-Pakistan border after escaping from captivity. They work to overcome the trauma of torture and captivity while settling back into their interrupted family lives.

    An ensemble cast of discerning actors like Purab Kohli, Sandhya Mridul, Amrita Puri, Satyadeep Mishra and Manish Chaudhari have teamed up for the project with Nikkhil Advani. While Purab plays a naib subedar in the Indian army, Mishra will be seen as an air force officer. And, the editor from the channel’s side is Saugata Mukherjee.

    Banerjee and his team chose the Israeli version created by Gideon Raff, which focuses on the emotional upheaval that the two soldiers and families face on their being locked away for 17 years and on their return to their homeland. The US adaptation worked more in the space of a thriller, and questioned whether the protagonist is a terrorist or not.

    Nikkhil Advani, whose company Emmay Entertainment is producing ‘P.O.W. – Bandi Yuddh Ke’, has been quoted in the media as saying: “I realised the real prisoners of war are the soldiers’ wives and families. The wives haven’t been able to move on with their lives…they have this sense of guilt that’s holding them back. They think, ‘What if he comes back?’…The story has a lot of emotions. Homeland is a little cold for Indians. Indians inherently love emotion.”

    Indiantelevision.com had an interaction with Star India deputy chief creative officer Gaurav Banerjee yesterday and he had his own take on the show. Said he: “P.O.W is a deeply emotional story. But, we have thriller dimensions as well. I think for us the difference is that this an Asian story but it was set up in Israel. We found a very strong Indian context in it and also the story in itself is very different. It’s s an art — a challenging art — writing a fresh story and adapting a great story in the current context and in an Indian milieu. We have worked hard on the story over two years.”

    Banerjee admitted that a decision on the time slot and exact launch date for the show has yet to be taken. But, sources expect the airdate to be late October, late prime and that it will run from Monday to Saturday.

    ‘P.O.W. – Bandi Yuddh Ke’ has been under development for two years. And, both Advani and the channel consulted army experts to help maintain accuracy in the writing and while shooting. Filming started earlier this year in locales in Punjab and Mumbai. In all, 36 episodes of the show have been canned. “We have used a proper balance of real-life locations, special effects and VFX,” said Banerjee.

    The channel has roped in two brands Tiago and Patanjali Kesh Kanti as co- powered by sponsors. One can expect some amount of brand integration of the two in the show as is the practice on television these days.

    Highlighted Banerjee: “It’s a big Diwali launch for us and you can expect us to be little ambitious about this. Since, it’s a finite series, we started with the trailer. It will be followed by more glimpses of the characters as we go along. The music has played a very good role in grafting the story and that is important as we set up the marketing of the show. Also we want all kinds of media to be a part of it but moreover we believe in the story.”

    Banerjee is hopeful that Indian viewers will celebrate P.O.W with Star Plus. He stated: “Star Plus is known for great stories. One of the big things for us is to be the platform where viewers gets the best stories, concepts and content. Sixteen years ago, we started with ‘Kaun Banega Crorepati’, which was the first format we adapted from the US and, last year, we did the show ‘Sumit Sambhal Lega’ which was also an adaptation of the big Hollywood iconic show Everybody Loves Raymond. We always want to be the platform for India’s best stories. Therefore, our goal is to bring original stories and also some great stories from the world to the larger Indian audience.”

    Says a media observer: “What could work in Star Plus’ favour is the timing of ‘P.O.W –Yudh Ke Bandhe.’ Indo-Pak relations are at near boiling point following the massacre of Indian soldiers in Uri by Pakistan-backed terrorists, and the incidents and debate thereafter has captured the minds and hearts of Indians. Emotions are running high as most in India want a resolution of the decades-long conflict between the two nations. The story could well strike an emotional cord with Indians who want to see some action from India’s side.”

    Banerjee laughed off the insinuation that show was fortuitous in its timing. “You would like us to believe that,” he said.

    But, in his heart of hearts, he probably knows that the airdate for ‘P.O.W. – Bandi Yuddh Ke’ could not have been timed better, and Star Plus may well have cottoned on to a winner.

  • ‘Bombay Velvet’: A disaster

    ‘Bombay Velvet’: A disaster

    MUMBAI: A film’s first test is in its title. Teasers, promos and the rest come much later. A bad or irrelevant title displays utter lack of imagination besides having no connect with the film. Bombay Velvet is based on a historian, Gyan Parakash’s book, Mumbai Fables.

    Bombay/Mumbai is comparatively a new city turned metro during mid-20th century and Karachi enjoyed the status Mumbai grabbed later. It started after the seven islands were linked as one land mass. 

    In this case, Mumbai has a history and its passing heroes, villains and other legends but no fables to speak of. The book’s title being a misnomer, the film makes its story a fantasy a la Dick Tracy sans Tracy, the cop, of the comic strip, who is missing here while his main villain, Flattop Jones, a hired gun is made the hero. Otherwise, you may call it a prohibition era American film transplanted as a 1960s Hindi film with Mumbai background. 

    Ranbir Kapoor arrives in Mumbai with a woman he thinks is his mother but is not so sure. All heroes need a sidekick, soon he cultivates one too. By scene two, both are grownups and
    have graduated to petty crimes. As has been seen in many such films, while the hero is impulsive and violent, the sidekick is more balanced and logical. 

    Ranbir has no scruples and he can clobber a man to death as easily as he can pick a pocket. His only ambition is to become a big shot; when he grows big, he wants to be bigger. If you have not found anything novel or interesting so far, there is no hope of it coming your way hereafter.

    The film is about all the wrong people coming on one screen (though Mumbai was never that way nor it is now). Mumbai was a city where even its dons were respected till
    the early 1990s. 

     

    There are big players in the city and they realize the talent of Ranbir, the most impressed being Karan Johar. Karan is a fixer, who turns deals and is in cahoots with Siddharth Basu though you never learn what Basu is: a lawyer, a politician or another fixer? He is impressed just because Ranbir tries to enter a bank and tries to steal his money by barely poking his two fingers pretending he has a gun! Karan is a big shot, wielding great power and one wonders why he’s at a bank to withdraw money when his personal staff can do it for him.

    Karan, however, is mighty impressed and offers Ranbir contracts to kill people. You don’t know where this film is going until the reality hits that it is going nowhere! Ranbir is a pawn in the hands of Karan but not for long. He wants his share of the pie to be well-defined now that he is in the inner circle of the clique. 

    Ranbir has to frame an honest politician who can’t be bought with money. He is a hurdle in Karan and his clique’s plans. It is unclear why they don’t shoot him dead like they do all others. On such occasions, Karan uses his wife as a bait to lure the person. The politician is so honest, he accepts only Scotch and women in his bed. This film has some legendary character sketches. 

    Meanwhile, there is also a chapter on Portuguese Goa. Anushka Sharma, a choir singer child impresses Remo Fernandes. You are not told who he is or what he amounts to but he convinces her mother to send her with him. Next you know, he is torturing and sexually abusing her. Again, by scene two, she is a grown up. This time when Remo enters her room to deliver her daily lashes, she beats the hell out of him and escapes to land in Mumbai to come acros who else but Ranbir. 

    These absurdities go on and on for over 150 minutes until the film comes to a predictable yet welcome end. Phew! 

    As for a script, none exists. The film proceeds on whims. Everybody is double-crossing or backstabbing the other for no apparent reason. No character is etched out in detail. They come and it is left to you to figure out but soon you don’t care. 

    The script is poor and has no consistency. It was such an amateur idea to start the film in sepia and duo tone when you are going to show rest of the film in colour. (Manoj Kumar did that to great effect in Purab Aur Paschim when he shot his film in black and white until a flight from London enters Indian airspace and then turns in to colour film). In those days, gang wars were fought with Rampuri knives, swords and soda water bottles, nobody used guns, let alone Tommy guns. 

    Direction? There is none in this film. The director is obsessed with his period film idea so much so that he carries his vintage cars into 1960 when Fiat and Ambassador ran the roads. The edifices created for the era were non-existent (this reviewer having grown through that era). 1960s belonged to Beatles and other popular pop groups but the film sticks to jazz.
     
    Mumbai night clubs were famous for their late night cabarets, not Goan jazz singers, which found its patrons mainly in five star ball rooms not in a seedy night joint like Bombay Velvet. The director is totally at sea when it comes to knowing Mumbai of those days. Editing is poor. Music is out of sync. 

    And, what is it with getups? Ranbir Kapoor, a fairly decent looking guy has been made to wear an MGR kind of wig and, resultantly, he looks like a comic character. Anushka Sharma is made to look like 1950s and 60s Hollywood B grader. Karan can’t act; the only time he evokes a reaction is when he wants to know what Ranbir saw in Anushka that he did not in Karan! But then, that was the era of closet gay. 

     

    Kay Kay Menon, the only decent actor in the supporting cast, plays a Crime Branch cop in the era when Mumbai Crime Branch was compared to Scotland Yard. But, he is nowhere around when Ranbir litters the South Mumbai streets with corpses. And, CID in felt hats and ties and blazers? This man, Kashyap, is joking. There are a few other side players who hardly matter since the director does not even bother to introduce them.
     
    Bombay Velvet is a disaster. 

    Producers: Vikas Bahl, Vikramaditya Motwane, Fox Star Studios.

     

    Direcor: Anurag Kashyap.

     

    Cast: Ranbir Kapoor, Anushka Sharma, Kay Kay Menon, Karan Johar, Manish Choudhary, Siddharth Basu, Remo Fernandes, Satyadeep Mishra, Vivaan Shah, Ravina Tandon (cameo).