wassupbollywood: January 2011

Monday, January 31, 2011

Unstopable Band Baaja Baarat & No One Killed Jessica

Band Baaja Baarat & No One Killed Jessica are continuing to collect well according to BOI reports.

NOKJ collected 2.65 crore in its third week. BBB was also very good in its seventh week just showed 23% drop from its sixth week as it collected 23 lakhs.

Movie Release Dates: Feb 2011

Feb 4:

1. Ye Saali Zindgi
2. United Six
3. Utt Pataang
4. Hum Dono Rangeen

Feb 11:

1. Patiala House
2. Angel

Feb 18:

1. 7 Khoon Maaf
2. Kaccha Limboo
3. Masti Express

Feb 25:

1. Tanu Weds Manu
2. Satrangee Parachute

7 Khoon Maaf Music Reviews- Hindustan Times

Film: 7 Khoon Maaf
Music Director: Vishal Bharadwaj
Lyricist: Gulzar
Singers: Usha Uthup, Rekha Bharadwaj, Vishal Bharadwaj, KK, Clinton Cerejo, Master Saleem, Suresh Wadkar, Suraj Jagan and Francois Castellino.

Rating: *** 1/2

When Vishal Bharadwaj decides to score music for a movie, fans are confident that he will come up with high quality compositions that will mesmerise everyone. And this is exactly what happens with the album of "7 Khoon Maaf", which offers songs for all tastes.

The album has nine songs.

The soundtrack gets a startling start with the already hit number Darling and it's an addictive number. The Indian version of traditional Russian folk song Kalinka, Darling instantly strikes a chord with the listeners. The Russian flavour is captivating and makes you shake a leg on the foot-tapping tune. The unusual combination of two singers - Usha Uthup and Rekha Bharadwaj - works well for the song. The mischievous lyrics and the energy in the music makes it a winner all the way.

Next is Bekaran, a nazm (Urdu poetry) penned by Gulzar. Bharadwaj had heard the nazm some time back and loved it so much that he decided to incorporate it in the film as a song. Bharadwaj has sung the song and his silken voice adds the required softness. It is so beautiful that it may help in re-discovering the forgotten romantic side in you.

With minimal orchestration and more focus on vocals, the song has the true flavour of a love. If you want to impress your lady love, Bekaran is the song for you.

O mama by KK and Clinton Cerejo offers something different - it's a rock-inspired number, offers a lot of punch and is quite hard-hitting. An interesting attempt where KK shows his expertise yet again. It will surely appeal to youth owing to its sound and appeal.

The song also has an acoustic version, which is definitely softer but the raw factor is intact. This version has a completely different appeal altogether. Even though both the versions are praiseworthy, the acoustic one somehow manages to impress more.

Next is Awaara. Sung by Master Saleem, the song starts with a very simple sound but has a dark and grim feel about it. The sudden ups and downs in the tempo are interesting and the vocals add edge to the song that grows on you.

Suresh Wadkar has been a constant feature in most of Vishal Bharadwaj's albums and this time he sings Tere liye, a soft, pleasing, slow paced love ballad. It is quite hummable, but not as good as other songs in the album. It's neither bad nor brilliant.

Then there is Dil dil hai, an out-and-out rock offering, sung by Suraj Jagan. The song somehow fails to create an impact in spite of power-packed orchestration and rock flavour, which is quite popular nowadays. The song might fit well in the film, but individually it falls flat.

Up next is a devotional number titled Yeshu. Voiced by Rekha, the song is poignant and sounds nicer with an expansive chorus in the background.

There is another version of the song Darling called Doosri darling and it has Usha, Rekha, Clinton and Francois Castellino behind the mike. It starts with Russian lyrics and then Rekha makes an entry and the song slows down completely, only to gain pace again after a few lines.

As expected Bharadwaj has composed a wonderful album that is not a clone of his previous work. It exudes freshness and is worth listening. However, the songs would not have achieved zenith without Gulzar's lovely lyrics. The team has done it again.

Akshay Kumar Finished? Like Ajay Devgan In 2007? Komal Nahta

Turn to any magazine or newspaper reporting on Bollywood, and Akshay Kumar seems to be their favourite punching bag. Switch on any TV channel these days covering Hindi films and chances are they will be talking about how Akshay is ‘almost finished’. Tees Maar Khan seems to have become the last nail in Akshay’s coffin. But is the situation really so bad for the actor whose name till three years ago spelt box-office magic? Not really! Established stars like Akshay Kumar don’t fade out merely because their films fail to perform at the box-office. Their contribution is far too great to be washed away by 10 or 15 flops. And frankly, Akshay has to his credit a successful Housefull in between his several flops like Blue, Khatta Meetha etc. Besides, ‘Tees Maar Khan‘ broke even, it is not a flop which it is being made out to be by the media. Agreed, no one expects an Akshay-Katrina starrer with Farah Khan as director to just recover the investment, but even then, an average grosser cannot be as bad as a flop or a disaster.

Coming back to established stars, flops and failures don’t drive them out of business. Go back in time to the years from 2000 to 2007 and you will recall how Ajay Devgan’s films bombed one after the other. Right from Deewane and Raju Chacha in 2000 to Ram Gopal Varma Ki Aag in 2007, Ajay had delivered 26 flops in eight years. In all, 34 Ajay starrers had released from 2000 to 2007, and 26 of them had bombed. Only eight managed to make money and most of the eight were also mediocre successes. But did Devgan have to sit at home, without work? Surely not. Not only did Ajay bounce back with successes but year 2010 was probably one of the best years in the charismatic actor’s career. Golmaal 3, Once Upon A Time In Mumbaai, Raajneeti and Atithi Tum Kab Jaoge? gave his career such a solid boost that nobody really cared if his Aakrosh, released in the same year, bombed at the ticket windows. And if Ajay could stage such a successful comeback, what makes people think that Akshay can’t? Akshay Kumar may be passing through the worst phase of his career but that in no way means, he is finished or almost finished. His selection of films may have failed, the actor himself hasn’t.

Weekend Business: Dil Toh Baccha Hai Ji

Dil Toh Baccha Hai Ji fared well during the weekend with the collections of 14.50 crore nett. The movie showed a good jump on saturday & sunday with the collections of 4.80 & 5.75 crore. respectively according to BOI.

The film will surely earn good profits due to low investment of 27 crore approx. It has also fetched good 15-16 crore by selling sattelite rights. The distributors will also earn good profits because of reasonable money spent on theatrical rights

Sunday, January 30, 2011

Dil Toh Baccha Hai Ji Saturday Collections

Dil Toh Baccha Hai Ji showed a jump of 24% in collections on Saturday. The film collected about 4.80-4.90 crore on saturday.

The collections picked upto 10% in single screens. The mumbai circuit was outstanding because of good collections in Pune theateres. Mysore was good & overall india was average according to boi.

The two day total is now nearly 8.75 region. The weekend is likely to end on 13-14 crore nett.

The fate of the movie will depend on weekdays as it is required that movie should not drop on Monday.

Saturday, January 29, 2011

Dil Toh Baccha Hai Ji First Day Buisiness

Dil Toh Baccha Hai Ji collected approx 3.75 crore on first day which is below the par. The morning shows were not so good in the country. It surely showed pickup in noon shows due to strong word of mouth. But the pickup was not enough to lead the movie to a good opening. It is strongly needed that the Saturday & Sunday should have a good pickup. So that the movie should have a good weekend.

Hope the movie should sustain at the cinemas & emerge a Hit.

Friday, January 28, 2011

Dhobi Ghaat First Week

Dhobi Ghaat has made an 13 crore collections on first week which is more than the investment on it. So it has proved to be another profitable venture for Aamir Khan Productions.
Aamir Khan already knew that the movie will not appeal the masses so he produced the movie in low budget of 8 crore approx.
The collections has dropped 85-90% on 8th day. So the lifetime buisiness will not be more than 15 crore nett.

Yamla Pagla Deewana Hit 50 crore mark

Its celebration time for Yamla Pagla Deewana crew that it is proving unstopable.The second week has been very strong of 15 crore nett leading the two week buisiness to approx 50 crore nett which is huge. It has become the first Hit of 2011.
According to BOI Yamla Pagla Deewana would cross 55 crore or even hit 60 crore nett if the next two weeks
give good collections.

Dil Toh Baccha Hai Ji Review - Komal Nahata

Business Rating: 3.5/5

Star cast: Ajay Devgan, Emraan Hashmi, Omi Vaidya, Shahzahn Padamsee, Shruti Haasan, Shraddha Das, Tisca Chopra, Rituparna Sengupta, Mukesh Tiwari.

Plot: Three friends are in search of soul mates. Ajay is seeking a divorce from his wife and, therefore, needs a new companion even if the friend (Shahzahn) happens to be almost half his age. Emraan is a playboy but ultimately, falls in love with Shruti and wants to spend the rest of his life with her. Omi believes in true love and he thinks he has found that when he meets Shraddha. But what do the girls think?

What’s Good: The comedy; the dialogues; the performances of the actors.

What’s Bad: Nothing really!

Verdict: Dil Toh Baccha Hai Ji is an enjoyable slice-of-life film which makes you laugh and smile.

Loo break: A couple when some things get repetitive in the first half.

Watch or Not? Definitely! You will feel entertained.
Wide Frame Pictures and Bhandarkar Entertainment’s Dil Toh Baccha Hai Ji (A) is a romantic comedy about three friends and their search for their respective life partners. Naren Ahuja (Ajay Devgan) is in the process of divorcing his wife (Rituparna Sengupta). He moves out of his house and into the ancestral home which is fairly large. Lonely, he looks out for paying guests and gets two in the form of Abhay Suri (Emraan Hashmi) and Milind Kelkar (Omi Vaidya).
Naren has a very young, new intern in office, June Pinto (Shazahn Padamsee), whose easy-going nature and childish innocence is misinterpreted by him as love overtures. Since he is very fond of her, he soon starts accompanying her to parties and generally spends more time with her in spite of a huge age difference. Abhay is a confirmed Casanova and his full-time job is to woo rich girls who can help him maintain a rich lifestyle. He gets a new catch in Anushka Narang (Tisca Chopra), an erstwhile beauty queen who uses him as a toy boy. She provides him all the luxuries as a bait and Abhay is thrilled but only till he meets Nikki (Shruti Haasan), the step-daughter of Anushka, and herself a social worker. He falls in love with Nikki and also has a fling with her. He is sure, Nikki too loves him. Milind, who works in a matrimonial services company, is a romanticist and an amateur poet. He values love and is in search of a girl whom he could selflessly love all his life and who could love him likewise. He finds Gungun Sarkar (Shraddha Das), a radio jockey, who is desperately trying to get a break as an actress in films. Gungun uses Milind but the latter is so madly in love with her that nothing else matters to him.

Days pass by and the three friends think, they are lucky to have found their soul mates. But what about the three girls? Are they also equally serious about the three guys? Do the three love stories have a fairy-tale ending?

Story and Screenplay

Madhur Bhandarkar, Neeraj Udwani and Anil Pandey have penned the story and screenplay of this slice-of-life film, infusing a lot of humour in the drama. The jokes and comedy are more city-centric but they are very entertaining. The first half is slightly long and doesn’t move too much because of which a bit of boredom creeps in. The second half has quite a lot of drama, which is both, engrossing and entertaining. The emotional under-current in the three love stories may not draw tears from the audience’s eyes but it does create an impact. In other words, the sentimental part of the drama is not a tear-jerker, yet it helps make the film more weighty and prevents it from remaining a frivolous comic fare. The climax, though predictable, is lovely and leaves a big smile on the faces of the viewers.

In fact, the film in its entirety is a feel-good one and keeps the audience smiling and/or laughing. Sanjay Chhel’s dialogues are witty and enjoyable, going perfectly well with the screenplay and the mood of the film.

Star Performances

Ajav Devgan does a marvellous job. He gets into the skin of the character and comes out with flying colours. His awkwardness at falling in love with a girl almost half his age has been portrayed brilliantly by him. His costumes – he wears formal clothes – give him a distinct and endearing look. Emraan Hashmi acts with effortless ease and makes himself lovable in no time. He is splendid. In spite of his bed-hopping habit, the audience mentally roots for him and feels bad when he is let down. Omi Vaidya is very good and wins the audience’s sympathy with his simplicity. Shazahn Padamsee is a revelation. She is cute and her free acting is commendable. Her childish innocence has been beautifully exploited. Shruti Haasan leaves a mark and does well what is required of her. Shraddha Das, whose character has shades of grey, does justice to her role. Tisca Chopra stands her own and gives her cent per cent to the role. She is excellent. Aditya Kapoor is average as her husband. Mukesh Tiwari is comical and evokes laughter when he comes on the screen. Rituparna Sengupta lends able support. Daisy Irani is alright as June Pinto’s grandmother. Howard Rosemeyer, Imran Khan, Javed and Shveta Salve provide the desired support. Manoj Joshi stands out in the solitary scene he has. Kamlesh Ojha, Girish Sachdev and Sachin Parekh (as the three office colleagues of Naren), Shikha Talsania (as Naren’s assistant, Aisha), Pratishi Mishra (as lawyer Sunanda), Oliver Pereira (as lawyer Shirke), Mukesh Tyagi (as owner of the leaking flat), Dhruv Bhandari (as Chris), Parth Malhotra (as June Pinto’s friend), Arun Kadam (as florist), Neha Janpandit (as Gungun’s friend), Priya Marathe (as the girl whom Milind meets at the airport), Chetna Pandey (as the girl whom Abhay meets at the airport) and Neha Pendse (as the lady whom Naren meets at the airport) are all effective. Paresh Rawal’s commentary in the beginning, to introduce the three protagonists, is laced with fun-filled dialogues.

Direction and Music

Madhur Bhandarkar’s direction is very good. He does full justice to the script and keeps the mood of the drama light and fun-filled. Also, he has extracted wonderful work from his artistes. Pritam Chakraborty’s music is engaging but a couple of super-hit songs would’ve added to the box-office results. Abhi kuch dinon se is an appealing song (beautifully rendered by Mohit Chauhan). Tere bin and Kya palak are also good songs. Lyrics (Neelesh Misra, Kumaar, Sanjay Chhel and Sayeed Quadri) are good. Ravi Walia’s cinematography is of a good standard. Sets (Priya Suhas) are fair. Editing (Devendra Murdeshwar) is sharp.

The Last Word

On the whole, Dil Toh Baccha Hai Ji is an enjoyable entertainer. It leaves a smile on the viewer’s face and that is its biggest victory. The youth will love it and a section may even repeat it. Its business is expected to be the best in the big cities and the multiplexes. The producers have already made a profit by selling the various rights, and given the merits, the distributors will also make comfortable profits.

Dil Toh Baccha Hai Ji Started With Positive Reports

Though Dil To Baccha Hai Ji started at just 40 % occupency in theaters and 65 % occupency at big multiplex chains. The single screens are also not so good.It showed a good pickup in noon shows because of the strong word of mouth.The movie is enjoying solo release as well the positive reports will add to it. The exhibitors in the country believe that night shows will again pickup which is highly encouraging for the movie.
This brings the hope of healthy weekend. Hope the movie be another Hit after Yamla Pagla Deewana.

Thursday, January 27, 2011

Will Akshay Bring Smile Back On Fans Face With Patiala House?

Well looking at the 2010 Akshay hasn't given any Hit film leaving Housefull. So he needs a hit very badly. Hopes are from his forthcoming 'Patiala House'.

Looking at the promos the movie seems promising. Akshay's family dramas has really worked if we look at the past. His movies like ' Waqt' has been liked by people a lot. With this movie he seems to be back on track.

The music of the movie is also excellent as it has got many positive reviews. Shankar Ehsan Loy has proved again that they are the best. 'Laung Da lashkara' is being liked by people. The theme song of Gattu 'Kyu Main jagoon' is also touching the hearts. With 'Rola Pe Gaya' it seems "Vaakai kaafi rola par gaya hai movie ka".
One more thing that comes positive for the movie is that it has sold to distributors to at reasonable price which will be easy to recover.

Now the question is Will it take opening as akshay's previous movies and most importantly will it sustain.
There is a lot of time for movie it can become more hotter.

Taran Adarsh Gave 3.5 stars to Dil Toh Baccha Hai Ji

Hindi cinema has never been short of movies which abound in humor. In fact, there’s a barrage of funny films these days. Whether it’s the gentle humor that keeps us smiling constantly [on the lines of Hrishikesh Mukherjee and Basu Chatterjee's films] or the incisive and sharp wit of TERE BIN LADEN, DO DOONI CHAAR and PHAS GAYE RE OBAMA or the boisterous laughathons attempted by David Dhawan, Anees Bazmee and Priyadarshan, we’ve enjoyed our share of laughs. But I genuinely feel that the comedy scene in Bollywood is slowly, but perceptibly changing, veering more towards realism and this is exactly what we get to watch in Madhur Bhandarkar’s new outing DIL TOH BACCHA HAI JI.

Okay, okay, so we associate Madhur with somber/serious cinema, tackling issues that concern us, right from CHANDNI BAR to JAIL. By now famous for his socially relevant, hard-hitting films that take potshots at the upper crust, Madhur changes tracks with this one. DIL TOH BACCHA HAI JI is a light entertainer at heart, but there’s something about the landed gentry in this one as well. It exposes the dual lives they lead.

Without beating around the bush, let me pronounce that I was skeptical about Madhur’s abilities when it came to handling light films. Oh yes, he has a terrific sense of humor in real life. On reel, he’s synonymous with hard-hitting movies, isn’t it? So what prompted this National Award winning film-maker to enter a new terrain – humor? I am sure, it has something to do with discovering newer horizons and taking on unexplored territories. So does the gamble work? Are Madhur’s claims – of following Hrishi-da’s footsteps with this one – mere hollow words or does he deliver?
Much like Madhur’s earlier films, DIL TOH BACCHA HAI JI is about real people, situations and problems. Except that the emotion isn’t sorrow and the theme isn’t dark this time. Irrespective of how his films are received, the one thing Madhur is known for is the unconventional story he wants the viewers to absorb. DIL TOH BACCHA HAI JI isn’t about three couples and how they discover love, it’s about how these three guys who find love, but… let’s leave it at that! Else, the twist in the tale will be in public domain.

The camaraderie between Ajay, Emraan and Omi and the unpredictable storyline post intermission is the driving point of this motion picture. In fact, if the first half is laced with light moments, the second half is where the twists-n-turns crop up and each of those stories get nurtured in the process. But there’s a flipside too and that’s the choice of actors in the finale. Ideally, the makers could’ve done with known faces in the end. It would’ve only been an icing on the cake. Also, there are a few rough edges in the narrative, but not the type that would make a big dent.

Also, I’d like to state, it left me wondering as to what prompted the censors to pass the motion picture with an ‘Adults Only’ certification? I would say that some of the recent films have had far more objectionable and explosive content than this one. Besides, Indian television is full of repugnant and obnoxious material which everyone has free access to. I guess, our censor board needs to be a little more liberal in view of the fact that times have changed and it’s about time their attitudes towards cinema also changes.

Final word? This one is amongst Madhur’s most accomplished works!

DIL TOH BACCHA HAI JI is a slice of life film revolving around Naren [Ajay Devgn], Abhay [Emraan Hashmi] and Milind [Omi Vaidya] and their encounters with love.

A listless Naren, well in his thirties and going through a divorce [Rituparna Sengupta], falls in love with a vibrant and bubbly June [Shazahn Padamsee], who has just stepped out of her teens. Milind, a poet and an idealistic lover, is enamored by an ambitious and practical Gunjan [Shraddha Das], who is determined to follow her dreams. A charming casanova Abhay starts feeling an alien emotion called love when he feels increasingly drawn towards Nikki [Shruti Haasan], a modern girl who knows her needs and speaks her mind.

With its real characters and relatable situations, the film takes a witty look at love and the extent people will go to evade it or attain it.

DIL TOH BACCHA HAI JI seizes your attention gradually. One of the reasons could be because Madhur narrates three stories concurrently. Ajay, who portrays the life of a harried bank manager going through a ‘mid-life crisis’, is very compelling. Watch him in sequences when he sets his eyes on his new office assistant [Shazahn]. Consider the character of Omi, a true-blue romantic, working as a matchmaker, who has never been able to find a soul mate himself. One comes across such people in real life as well. And, of course, there’s Emraan, who uses affluent and well heeled women as a stepping stone to attain the resources and luxuries of life. His sequences with Tisca Chopra add spice to the proceedings. Ditto for the women in the film. Especially Shraddha and Tisca, who use men to their advantage. Very real characters. In fact, the variety of love and relationships that we get to watch here is so diverse from what we have been subjected to in Hindi movies since time immemorial. As a matter of fact, each of us must have experienced the varied emotions depicted in this film at some juncture in our lives.

While watching DIL TOH BACCHA HAI JI, I recalled a much-acclaimed Basu Chatterjee movie SHAUKEEN, which had three lecherous older men trying to get naughty in their elderly age. Of course, both the films cannot be judged against each other except in view of the fact that both films have three middle-aged men and three elderly gentlemen [in the case of SHAUKEEN] trying to explore the love and lust aspect of their lives. Even the treatment and conversations in DIL TOH BACCHA HAI JI are out of everyday life. It’s more like a discussion happening between any three normal, everyday guys even when they discuss the opposite sex. There is no dialogue-baazi as such, it is just a normal tete-a-tete happening.

Madhur’s attempt of dabbling in the comedy genre may appear dicey for a lot of his detractors, since he’s known to be proficient in the art of creating serious/dark movies. But comedy is serious business and Madhur gets it right on most occasions. Let me add, this is not one of those imperceptive and dull-witted films that make an attempt to tickle your funny bone every five minutes. Madhur has interwoven some serious moments in the narrative, which makes it a slice of life film, but which sticks to the commercial format.

The screenplay writing is absorbing at most times. Having said that, I’d like to add that the writing could’ve been tighter at places. Shraddha’s sudden exit leaves you mystified. Also, the film could’ve done with better names [read, eye candy] in the finale, when the three guys set out for Goa. The climax was already a highpoint and one definitely expected a better culmination. Also, the film could’ve been tightened in the editing suite.

The expectations from its music are on the higher side, especially after the success of Pritam-Ajay-Emraan’s last venture ONCE UPON A TIME IN MUMBAAI. But the problem is that it does not offer much variety, unlike OUATIM. ‘Abhi Kuch Dino Se’ and ‘Tere Bin’ are my picks. Cinematography [Ravi Walia] is up to the mark. Sanjay Chhel’s dialogue are witty and just perfect for this genre.

Ajay proves his adaptability and versatility yet again. Having impressed us adequately in the past, Ajay portrays a character that takes you back to a very popular actor of his times, Amol Palekar. Ajay underplays his part effortlessly. Emraan, popular also for his skirt chaser image on screen, plays an obsessive philanderer here and he’s electrifying. In fact, he spices up the proceedings every time he appears on screen. The role assigned to him is an extension of what he’s attempted in the past, yet he interprets it so differently. Omi Vaidya’s character gets subdued initially, but it must be said that the earnestness with which he portrays his part makes him endearing. He’s remarkable in the sequence when he breaks down while reading the letter.

Shazahn looks like a doll and gets the character right. In fact, she adds so much freshness to the proceedings. Shraddha gives the right shades to her character. She’s most convincing when she takes Omi for a ride initially. Shruti appears late in the film, but she leaves an impact nonetheless. Her scenes with Emraan are amusing. Tisca Chopra is superb, especially in the sequence when Emraan confesses that he’s in love with someone else. Mukesh Tiwari is first-rate in a brief role. Aditya Raj Kapoor is fair. Rituparna Sengupta does well. Harward Rosemeyer leaves a mark in the funeral sequence.

On the whole, DIL TOH BACCHA HAI JI is a feel good, light-hearted rom-com, a slice of life film which the populace and the regular lay person would relate to. Madhur Bhandarkar changes tracks from his trademark women-oriented movies on contemporary issues to a rom-com, which has the unmistakable Bhandarkar signature to it, and emerges triumphant in his new fangled endeavor. The film carries a tagline that reads ‘Love grows… Men don’t', which seems most appropriate after one has watched it. DIL TOH BACCHA HAI JI, with its bona fide characters and pertinent situations, promises to bring a smile to your face and cheer you up. I strongly recommended it!

3.5 \ 5

Yamla Pagla Deewana Takes The Most Benefit Of Republic Day Holiday

Yamla Pagla Deewana had jump in collections on Republic Day thrice the collections on Tuesday. It is noticeable that interest of the movie is not losing much with the time. As some single screens were housefull. The weekdays will be about 6 crore nett leading second week to approx 15 crore which is very good.

Dhobi Ghaat also had jump but not as much as Yamla Pagla Deewana.

Tuesday, January 25, 2011

AR REHMAN nominated in Oscars again

Yes. AR REHMAN has been nominated in Oscars again in two categories for Danny Boyle's film '127 Hours'.
Rehman has been nominated for Best original song 'If I Rise' & Best original score in 127 hours.

Rehman won two Oscars two years back for Danny Boyle's Slumdog Millionare.

Irfan Khan, Tabu, Kajol & Usha Uthup honoured by 'Padma Shri'

Irfan Khan, Tabu, Kajol & famous singer 'Usha Uthup' are decided to be honoured with 'Padma Shri' the fourth highest civilian honour on the occasion of Republic Day.
Irfan Khan has become the prominent international face of India in past few years.He has done a no of Hollywood movies like 'The Namesake', 'Slumdog Millionare', 'A Mighty Heart'. Usha Uthup is also a very famous female singer in India due to his unique voice quality. She has been admired for her lot of songs like 'Hari Om Hari' ,'Dam Maaro Dam' & many more.
Kajol has also made a lot of name by doing a lot of superhit movies like 'Dilwale Dulhania Le Jayenge', Kuch Kuch Hota Hai', 'Baazigar' lot more. Tabu is also no less. She has proved her talent time to time by performing in challenging roles in movies like 'The Namesake', 'Chandni Baar', 'Cheeni Kam'.

Shashi Kapoor, Waheeda Rehman & Great music composer 'Khayyam' will be honoured by 'Padma Bhushan'

Akshay & Katrina Final For 'Seeta Aur Geeta' Remake

'Khiladi' Akshay Kumar & 'Sizzeling' Katrina Kaif are coming together again for the remake of blockbuster 'Seeta Aur Geeta'. So what if there last venture 'Tees Maar Khan' was not liked much but still it proved to be profitable for the producers due to huge opening.
The original film had 'Hema Malini' in double role. The male leads were 'Dharmendra' & 'Sanjeev Kumar'.
Akshay will play the role of 'Dharmendra' & Katrina will be the female lead. The other star is yet to be finalized.

Dhobi Ghaat Fall On Monday

Dhobi Ghaat showed drop of about 55% on boxofficeindia from the collections on Friday. Some big Multiplexes in metros had small drops than rest of places in india. The film collected in the region of 1.25 crore nett leading the 4 day buisiness to 10 crore nett.
It should pickup on wednesday due to holiday (Republic day) but due to the huge drop the pickup would be low.
The first week will end in 13 crore nett region.

Great Classical Singer Pandit Bhimsen Joshi passes away

The Great classical singer Pandit Bhimsen Joshi has passed away. He was suffering from prolonged illness & died 11 days after his 89th birthday. He first performed in 1941 at the age of 19. His music was loved by all.
In 1943 he came to Mumbai. He started his career as a Radio artist. He was recognized due to his performence in 'Miley Sur Hamara Tumhara' music video.
He was awarded by 'Padma Shree', 'Padma Bhushan', 'Padma Vibhushan' & 'Bharat Ratna'.

May his soul rest in peace...

Monday, January 24, 2011

Dhobi Ghaat First Weekend

Dhobi Ghat grossed around 8.75 crore nett over its first weekend. The collections were:-
Friday : 2.85 crore
Saturday :3.20 crore
Sunday : 2.70 crore .

The film picked up on Saturday at multiplexes of metroes but collections on Sunday dropped at most multiplexes around the country. The collectins of Sunday was less than on friday by approx 15 lakhs.

Mumbai circuit grossed around 3.25 crore nett while Delhi/UP grossed 1.85 crore nett. The film does have benefit of Republic Day holiday on Wednesday so should be able to do around 13-13.50 crore nett business for the week.

Sunday, January 23, 2011

Yamla Pagla Deewana Magic Continues In Second Weekend

Yamla Pagla Deewana had a solid second weekend of 8.50 crore nett. Now the business of the film is 43 crore nett plus in ten days.

The release of Dhobi Ghat has no impact on Yamla Pagla Deewana. It was still first choice in all circuits except Mumbai, Bengal and South. The North is still going very strong and Sunday was excellent across the board.

Yamla Pagla Deewana is the first hit of 2011 and may do a distributor share of around 30 crore. In East Punjab the film is a blockbuster while in Delhi/UP its a Super Hit where the lifetime share could be 5 and 9 crore respectively.

Yamla Pagla Deewana First Week Territorial Breakdown

Yamla Pagla Deewana grossed 34.75 crore nett approx in its first week. The distributor share was a huge 21 crore approx.

Mumbai/Thane - 3.84 crore

Gujarat - 3.70 crore

Saurashtra - 1.05 lakhs

Maharashtra - 1.20 crore

N Karnataka/Goa - 35 lakhs

Mumbai Circuit - 10.14 crore

Delhi City - 4.35 crore

Delhi/UP - 9.51 crore

East Punjab - 5.62 crore

West Bengal - 83 lakhs

Bihar - 93 lakhs

CP Berar - 1.80 crore

CI - 1.53 crore

Rajasthan - 2.02 crore

Nizam/Andhra - 1.02 crore

Mysore - 70 lakhs

Others - 55 lakhs

TOTAL - 34.65 crore

Source: BOI

6th October Finalized For Short Term Shaadi

Date has been finalized for Kareena Kapoor and Imran Khan starrer 'Short Term Shaadi'. It will be releasing on 6th October 2011 on the occassion of Dusshera.

The film is produced by KJo's Dharma Productions and UTV and is directed by Shakun Batra.

Dhobi Ghaat Picked Up On Saturday

Dhobi Ghat was good on Saturday as it picked up at places like Mumbai, Pune, Delhi NCR, Kolkata and Bangalore. The non metro areas were down 15-20%.

The nett business on Saturday was in the 3-3.25 crore region which leads the two day total of film to 6 crore nett approx. The film's best circuit Mysore was affected by a bandh and theatres only opened after 6 pm and therefore the film lost around 15-20 lakhs nett business.

The film should have a good Sunday in the metroes and it could add another 3.50 crore nett for a 9.50 crore nett weekend.

Saturday, January 22, 2011

Akshay Must Say 'Thankyou' To 'Indra Kumar'

Frantic activity bordering on hysteria was precipitated earlier this week when Mallika Sherawat performed an item song with Akshay Kumar. Anees had to borrow her dates from Indra Kumar who was shooting some intricate group shots with Sanjay Dutt (who plays Mallika's husband), Kangna Ranaut, Riteish Deshmukh and Arshad Warsi for Double Dhamaal.

Says a source, "Indra Kumar's first impulse was to say no. He had the combined dates of all the busy stars and they were shooting in a huge bungalow in Karjat that was supposed to represent Macau. There was no way he could let Mallika go. But Anees and Akshay were adamant. They left the good natured Indu with no choice."

Apparently, Indra Kumar had to fudge Mallika's shots in the group scenes pretending about her presence when in fact she was at a different venue shaking her booty with Akshay Kumar to the song 'Razia Goondon Mein Phans Gayi'. The song was apparently called 'Sheila Gundon Mein Phans Gayi'. But Akshay Kumar who had lately done a spectacular 'Sheila' number with Katrina Kaif in Tees Maar Khan put his dancing foot down. So Razia it was.

Director Indra Kumar of Double Dhamaal denies he had to use a body double when Mallika was 'lent' to Anees Bazmee.

Says the mild-manners movie-maker, "No, we didn't use a body double. But I had to adjust her shots in the group scenes so that she could be away for five days. See, when there are a group of actors shooting together the director doesn't really need all of them all the time. All the actors are unnecessarily kept waiting on the sets because the director doesn't work out his shot divisions in detail. I've been around long enough to know exactly when I need which actor during group scenes. I've shot with Aamir, Ajay, Kajol and Juhi in Ishq 'together' when the actors were not on the sets all at once. Anees is an old friend. One has to make such adjustments for colleagues."

Anees admits the Mallika item song was an after-thought and therefore created big date problems. "We had a situation for the song but until recently we had no song. When Pritam came up with Razia we immediately thought of Mallika Sherawat. I've worked with her in Welcome. And we had a good working relationship. In fact she was supposed to do an item song for Welcome which Malaika Arora finally did."

Anees admits he 'stole' Mallika away. "We needed her for five days and Indra Kumar who is a dear friend was sporting enough to lend Mallika to us."

Apparently, the shooting of the item song in Thank You was tantrum-free except that there were no working-lunches.

Working lunches don't work for Mallika Sherawat. She walked out of a shooting of a reality show this week because she had to eat while working.

Fumes a channel source, "Salman Khan works non-stop for 10-12 hours while shooting for Bigg Boss. Known to arrive on his film sets after lunch for the morning shifts, he comes for Bigg Boss on the dot. But Madame Mallika just couldn't take the long hours on television. She staged a walk-out because she had to eat while working with the rest of the crew. We had to fudge some of her shots after she left."

The dates issue which Mallika's publicists mention for her ouster from 'Chak Dhoom Dhoom' cropped up when this week Anees Bazmee decided to shoot an item song with Mallika Sherawat.

Mallika got proper lunch breaks. Television alas doesn't respond too well to tantrums.

John Abraham To Star In "Mere Brother Ki Dulhan"

Mere Brother Ki Dulhan is one of the highly anticipated movies of this year, thanks to the never before seen pairing of Imran Khan and Katrina Kaif. Besides it also stars Ali Zafar who made an impressive debut with Tere Bin Laden last year. However, turns out that there’s more in store for the audiences as makers might just have packed in a big surprise.

Well, if the market buzz and Bollywood Hungama‘s sources are to be believed, then there’s another big star who features in this film and he is none other than the hunky John Abraham. The sources also added that John plays a cameo in the film.

If the buzz about John’s presence turns out to be true, then, this will surely be a combo (Imran-Kats-John) to watch out for. The official confirmation from the producers is awaited.

Rohit Shetty's Singam Remake Going To Hit Theaters On 22nd July

Rohit Shetty is now all ready to set the B.O. on fire once again this year with his next film, which is the remake of the Tamil film Singam. And needless to say, like all of Rohit’s previous films, this film also stars Ajay Devgn, in the lead.

The shooting of the film, which will start in March, will be produced by Reliance Big Pictures, which had also co-produced the Tamil version. Readers may recollect that the ‘original’ Singam (Tamil) starred Surya in the lead role.

Looks like Rohit Shetty’s the name to watch out for this year too!

First Day Dhobi Ghaat

Dhobi Ghat managed a decent first day of around 2.75-3 crore nett thanks to good business in the evening across all metroes. Mumbai, Mysore and Delhi NCR performed best. The all India breakdown is as follows.

Mumbai - 1.10 crore

Delhi/UP - 60 lakhs

East Punjab - 25 lakhs

West Bengal - 15 lakhs

CP Berar - 11 lakhs

CI - 8 lakhs

Rajasthan - 10 lakhs

Nizam - 15 lakhs

Mysore - 21 lakhs

Others - 10 lakhs

TOTAL - 2.85 crore

Friday, January 21, 2011

Patiala House sold. DELHI/UP & CP BERAR in queue

Patiala House has been sold in most circuits of India. The only two which are left are Delhi/UP and CP Berar. The Mumbai circuit has gone for nearly 8 crore which is a fair price.

The business of Akshay Kumar's films in Mumbai circuit for 2010 was as follows

Housefull - 14 crore

Khatta Meetha - 8 crore

Action Replay - 5.75 crore

Tees Maar Khan - 11.50 crore

When all the circuits are sold the film will fetch around 21-22 crore from the Indian theatrical market which is nearly as much as the 24-25 crore budget. The film will make huge money for its producers as satellite, music, overseas and Home Video will add another 20-25 crore. The distributors have also been given the film at fair prices so they should recover their investments.

The profits are huge as Akshay Kumar has a share in profits instead of remuneration but the real test will be its theatrical run be it India or Overseas.

Aamir Khan Will host BIG BOSS 5

Bollywood actor Aamir Khan may be seen hosting the fifth season of celebrity reality show 'Bigg Boss' this year.
Aamir hasn't done a reality show yet and so Bigg Boss 5 will definitely become a good platform for his debut as a television host.

Delhi Belly - Teaser Promo (ENGLISH) HQ

SRK-KAREENA signed for remake of Angoor. Director : ROHIT SHETTY

Post the humongous success of Golmaal 3, Rohit Shetty has surely become one of the most sought after directors in Bollywood. While Rohit’s next two films are the remake of Singam(starring Ajay Devgn) and Bol Bachchan (starring Ajay Devgn & Abhishek Bachchan), the buzz is that Rohit is even planning a film with none other than Shah Rukh Khan.

Shah Rukh was mighty impressed with Rohit’s work in Golmaal 3 and has shown interest in working with the talented director. While details about their project are still unknown, the strong buzz is that Rohit would be remaking the cult-classic Angoor with Shah Rukh Khan

Dhobi Ghaat PickedUp In Evening, Yamla Pagla Deewana good First Week, No One Killed Jessica:- SEMI HIT

Dhobi Ghat started slowly but was better in the evening shows at multiplexes in the metroes. Where the morning was 20%, evening was 40% and where the morning was 35% evening was 70%. Collections outside metroes were lower. Overall the film could have a decent weekend due to pick up on Friday but reports are mixed. The film should do best in Mumbai, Pune and Bangalore.

Yamla Pagla Deewana did very well in its first week with around 35 crore nett. The film was very good in East Punjab and Delhi/UP while Gujarat, Saurashtra, CP Berar, CI and Rajasthan yielded good results. The second weekend should also be good.

No One Killed Jessica had a decent second weekend of around 6.25 crore nett taking its two week business to 25.75 crore nett. SEMI HIT

Good Start to 2011

2011 is one of the biggest years ever with the amount of big releases lined up and it is got off to a fantastic start with both the major releases so far this year (Yamla Pagla Deewana and No One Killed Jessica) doing very well.

There has never been a year that has yielded two successive winners in the first two weeks of January. It is normally one of the worst months of the year where even big budget extravaganzas struggle.

Both Yamla Pagla Deewana and No One Killed Jessica carried good pre-release reports and both managed to live up to the reports. In some circuits the films are huge hits, No One Killed Jessica is a super hit in Mysore while Yamla Pag Deewana will emerge an blockbuster in East Punjab and Super Hit in Delhi/UP.

Peepli [Live] out of Oscar's Final Nine

Looks like Aamir Khan’s magic couldn’t do the trick this year. His film, Peepli Live, India’s official entry to the Oscars in the Best Foreign Language Film category, has failed to make it to the final nine. The film, directed by Anusha Rizvi was a satirical take on the media and farmer suicides in India. ‘Peepli Live’ was selected from 27 movies including Raajneeti and Udaan to represent India at the 83rd Academy Awards.
The nine films that are still in the Oscars race are – Alejandro Gonzalez Inarritu’s Mexican filmBiutiful, Algeria’s Hors la Loi (Outside The Law) by director Rachid Bouchareb, Canada’sIncendies by Denis Villeneuve, Denmark’s In A Better World by Susanne Bier, Greece’sDogtooth by Yorgos Lanthimos, Japan’s Confessions by Tetsuya Nakashima, South Africa Life, Above All by Oliver Schmitz, Spain’s Tambien La Lluvia by Iciar Bollain and Sweden’s Simple Simon by Andreas Ohman.

The list will be culled down to five entrees for January 25 Oscar nominations.The Academy Awards will take place on 27 February, 2011, at the Kodak Theatre.

Peepli [Live] nominated Best Film for Asian Film Awards

5th ASIAN FILM AWARDS NOMINATION LIST

Best Film Nominees:

1 AFTERSHOCK (China)
2 CONFESSIONS (Japan)
3 LET THE BULLETS FLY (China)
4 PEEPLI LIVE (India)
5 POETRY (South Korea)
6 UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (Thailand)

(Hong Kong, 20 January, 2011) The Hong Kong International Film Festival Society (HKIFFS) announced today the nominees in the 14 categories of the 5th Asian Film Awards (AFA) Presentation Ceremony, which will take place at the Hong Kong Convention and Exhibition Centre on 21 March, 2011. The 5th AFA is one of the Opening Gala events of Entertainment Expo Hong Kong and will coincide with two other flagship events of the HKIFFS: the 35th Hong Kong International Film Festival (HKIFF), and the 9th Hong Kong – Asia Film Financing Forum (HAF).

The HKIFFS Chairman, Mr. Wilfred WONG SBS JP also announced the theme of this year’s AFA – “Let’s Meet Here”. According to Mr. WONG, “’Let’s Meet Here’ signifies how the magic of cinema and filmmaking unites different nationalities, peoples and cultures universally. And we will unite on 21 March 2011 to celebrate the achievements of the past year in Asian film. So let’s meet here – at the Asian Film Awards.”

Organised by the HKIFFS with support from the Film Development Fund and the Hong Kong Trade Development Council, the AFA celebrates excellence in Asian cinema produced in 2010.

Outstanding films and filmmakers across Asia will compete in 14 categories: Best Film, Best Director, Best Actor, Best Actress, Best Newcomer, Best Supporting Actor, Best Supporting Actress, Best Screenwriter, Best Cinematography, Best Production Designer, Best Composer, Best Editor, Best Visual Effects, Best Costume Designer.

More on: http://www.asianfilmawards.asia/2011/press-room/the-5th-afa-nomination-list-announcement/

Best Director
Nominee

Film Title
1 FENG Xiaogang – AFTERSHOCK (China)
2 JIANG Wen – LET THE BULLETS FLY (China)
3 LEE Chang-dong – POETRY (South Korea)
4 MIIKE Takashi -13 ASSASSINS (Japan)
5 NA Hong-jin – THE YELLOW SEA (South Korea)
6 NAKASHIMA Tetsuya – CONFESSIONS (Japan)

Rest nominations listed in:

http://www.asianfilmawards.asia/2011/wp-content/uploads/2011/01/5th-AFA-Nomination-List.pdf

Dhobi Ghaat Starts At Low Note

Dhobi Ghat had a slow start this morning in its first two shows at multiplexes but this was expected as it does not have the commercial elements in the film where the youth comes in on the first morning.

The opening was in the 25-30% region. There were some high end multiplexes which were around 35-40% but on the other hand there were other multiplexes with just 15% collections. The film has been released in an Hindi version and an Hindi/English version.

The Hindi/English version has been released at high end multiplexes of metroes while the Hindi version elsewhere.

Dhobi Ghat is a safe film as its costs should be recovered from non theatrical rights like Satellite and Video but its theatrical fate will depend on what happens from Friday evening onwards. These type of films normally depend on what happens from the Friday 6pm shows onwards and sometimes jump is very rapid in the evening.

Hostel Movie Review- Taran Adarsh

When you step out of school, you look forward to the life in college and of course, 'freedom'. You are stepping into adulthood, learning to cope with life and enjoying the thought that you will be able to take your own decisions. With great difficulty you procure admission in a college and hope to nurture your dreams. But is it all that fun? Not really!

I was horrified when I read a news-report sometime back about a student being forced to bathe in his own urine by his seniors. I was aghast. I was disgusted. I was appalled. I genuinely felt that some socially responsible film-maker should make a hard-hitting film on ragging and create awareness on the evils of this form of abuse, which has caused several deaths in the last so many years. HOSTEL, directed by Manish Gupta, addresses the issue, although it's not the first. MUNNABHAI M.B.B.S. and 3 IDIOTS also had a scene or two depicting the maltreatment. But the films should not be compared because this one is a full-fledged film on this subject.
The story of HOSTEL is inspired by true-life events, I am told. But the question is, does it serve as a wakeup call in the true sense? Does HOSTEL successfully bring to the fore the gravity of torture people experience in the name of ragging? Unfortunately, it doesn't. Sure, it's well thought of and well intentioned, but not well penned and well executed. The film starts off brilliantly, but loses focus midway.
Ideally, a film depicting an evil should stay close to reality. It should depict the atrocities committed in the name of ragging without deviating to alternative tracks [in this film, the romantic track is a big bore]. A film tackling this theme should open your eyes to what a victim goes through. After all, the motive of films like HOSTEL is to act as an eye opener, to evoke feelings like anger and disgust, but it doesn't evoke those feelings, frankly.

Ragging is a sadistic practice that has become a ritual wherein students are beaten up, stripped, paraded naked, starved, tortured, molested and even raped by their seniors. Since victims of ragging find it humiliating to report sexual abuse to their parents or others, most ragging-related crimes go unreported. Sadly, these very students -- who suffer silently at the hands of their seniors -- in turn vent their frustrations by ragging their juniors in the following years. Thus, this cruel practice continues year after year and has claimed [and is still claiming] the lives and careers of innumerable students.

HOSTEL comes to the point at the very start. The sequence at the outset - of Mukesh Tiwari physically abusing the young students - is hair-raising. A few minutes later, he repeats the act with the protagonist, Vatsal Sheth. To give the credit where it's due, the sequences are disturbing and you only hope that the goings-on succeed in maintaining your interest.

HOSTEL crumbles the moment the love story begins. Plus, an interesting twist in the film - of Vatsal confronting a gangster - looks plain ridiculous. At this point, Mukesh Tiwari, who should've turned more ferocious, goes on back foot when it comes to dealing with Vatsal. Why? The post-interval portions, again, don't measure up to the expectations. The finale is too clichéd and formulaic.

Director Manish Gupta, who went into an investigative mode in THE STONEMAN MURDERS, which was an engrossing fare, lacks the promise he showed in that film. And he's to be held responsible for it, since he's penned the script of this one. He should've stuck to realism, instead of trying to balance between real and hackneyed and corny sequences. Also, this one should've been a song less film, but the few songs throw a spanner in the narrative. Cinematography is functional.

One of the reasons why HOSTEL doesn't work is because the casting is not right. Barring Mukesh Tiwari, who looks convincing and does well and Nagesh Bhosle [warden], who is equally effective, the actors don't look their parts. Vatsal Sheth relies on a set of expressions all through the film, while Tulip Joshi is wasted. The students don't look like students, frankly. They actually appear more like street thugs or rowdies and less like students of engineering to me.

On the whole, HOSTEL is a solid idea gone awry.

1.5 / 5

Dhobi Ghat Review-Taran Adarsh

Irrespective of its genre, an Aamir Khan production is looked forward to with super-enthusiasm. Films like LAGAAN, TAARE ZAMEEN PAR, JAANE TU YA JAANE NA and PEEPLI [LIVE] have redefined cinema and in their own small way prompted film-makers to think beyond the stereotype. That automatically raises the bar for AKP's new endeavor DHOBI GHAT.

Mumbai - this vivacious, lively and spirited city has inspired many a film-maker, novelist, writer, playwright, poet in the past. Kiran Rao's DHOBI GHAT takes a look at four different characters in this dynamic city. Interestingly, instead of opting for the usual candy floss entertainer in her directorial debut, Kiran chooses to make a film that's very real and also that comes across as personal memoirs that have found a place on celluloid. It's more of a video diary on the inhabitants of this bustling metropolis. More importantly, this is a story about four different people - all from diverse walks of life - and how their lives crisscross in this voyage and how they cope with yearning, solitude, affection, friendship and loss.
To me, Mumbai comes across as the fifth character in this film. The constant clamor of traffic, the sea of people, the energetic street life and the heavy and torrential rains dominate the goings-on from start to end. In fact, Mumbai comes across as a silent spectator here, watching each of those four characters mutely. Much like a septuagenarian [Aamir Khan's neighbor] in the film.
What catches one's attention is the fact that DHOBI GHAT tells four different stories in those 95 minutes in the most pragmatic manner. The characters are real and so are their stories, their emotions, their relationships, their smiles, their tears, their dreams, their desires, their fears and their tragedies. It comes across as factual and authentic as your eyes would observe and witness in real life. Sure, we got a flash of the assorted people of this city in SLUMDOG MILLIONAIRE, but DHOBI GHAT doesn't follow the conventional route. It is far more subtle and restrained.
DHOBI GHAT [Mumbai Diaries] is the story of four people from very different backgrounds, whose worlds intersect and leave them forever altered. As they find themselves drawn into compelling relationships, the city finds its way into the crevices of their lives, separating them even as it brings them closer...

Fragments of their experience -- seen through a naive video diary, black and white photographic images and painting -- form a portrait of Mumbai and its people bound together as they journey through longing, loneliness, loss and love.

Like I pointed out earlier, Kiran Rao encompasses emotions, dreams and aspirations most convincingly. In fact, every sequence of DHOBI GHAT tells a story, every image matters and that, in my opinion, makes this first attempt by Kiran nothing short of an achievement. Filmed in guerrilla style, with hand-held cameras and moving shots, DHOBI GHAT captures the real flavor of this populous city. Generally, film-makers try to stick to the right frames and procure permissions for the most eye-catching location, but not here. From opulent and classy apartments to the slums, DHOBI GHAT is an authentic piece of work.

DHOBI GHAT catapults Kiran Rao alongside the likes of accomplished storytellers like Mira Nair and Deepa Mehta with her intensely intelligent script. Besides throwing light on the daily routine of these characters, DHOBI GHAT juggles a recent past and the present time skillfully. Also, this one's a love story inherently; not a triangle, but a square. In fact, each of the characters is vividly sketched and each of them long or aspire for that someone special. Thanks to a watertight screenplay and eye for detail, Kiran's characters feel, look and sound genuine.
Cinematographer Tushar Kanti Ray shoots the film as if one were watching the story unspool live in front of one's own eyes. Academy Award winning Argentine composer Gustavo Santaolalla's [BROKEBACK MOUTAIN, BABEL] background score is captivating, also non-Indian, yet fits the varied moods, from melancholy to elation, admirably. The sole area where the film fumbles is its pacing at places. The results would've been even more impactful if the film was tightened a bit on the editing table.

The film marks the debut of Monica Dogra and Kriti Malhotra, who are exceptional and deliver natural performances. As for Prateik, the ease with which he speaks the slum lingo or converses with his pal or the gentle tone while speaking to the woman he loves [the urbane and classy Shai] proves what a dependable actor he is. The most memorable sequence for me is the concluding one when Prateik chases Shai's car. There's no doubt that he's a complete scene-stealer and a star in the making. His unconventional looks and captivating personality only adds to this performance.

Very much like his performance in TAARE ZAMEEN PAR, Aamir Khan very willingly lets his co-actors eclipse him. Sure, he's super as a cloistered artist, but this film is not about Aamir Khan, the superstar. It's primarily about four stories, with Aamir merely enacting one of the four pivotal characters. In fact, he underplays his part magnificently and munificently allows his fellow cast to be conspicuous in their respective parts. In actuality, not many actors in moviedom would dare to even think that way!
Kittu Gidwani is alright. The actor enacting the role of Prateik's friend does a fine job.

On the whole, DHOBI GHAT is an imposing and vibrant cinematic portrait, appending itself to the new wave of independent Indian cinema which I am extremely pleased to applaud. It is art house cinema with European sensibilities, embellished with a well thought out story that's devoid of cliches. This ingenious motion picture caters more to the intelligentsia and connoisseurs of world cinema and will therefore garner more patronage and benefaction from the metropolitan audience in India chiefly and global spectators predominantly.

4 / 5

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