Showing posts with label Movies. Show all posts
Showing posts with label Movies. Show all posts
Tuesday, February 22, 2011
Monday, February 21, 2011
Salman Khan play a lead role in Shirish’s 3D film Joker?
Joker began shooting in February in Chandigarh with Akshay Kumar and Sonakshi Sinha in the lead roles. Now, at Salman’s insistence Shirish has to pen a role for him in the film and that is no easy job, considering Salman’s stature as an actor. Reveals Kunder to a leading daily, "I would love to include Salman in Joker. But it has to be a role that would do justice to him."
Salman Khan has appeared in cameos for Farah Khan and Srish Kunder in ‘Om Shanti Om’ and ‘Tees Maar Khan’, and he has recently signed to play the lead in Kunder’s film Kick. However, Sallu is so in love with 3D technology that Joker is unlike any other.
Promising to take the audience to a world they’ve never seen or experienced before, Kunder is convinced that the 3D movie will bring the masses back into the theatres.
Salman simply does not want to be left out of this 3D extravaganza.
Sunday, February 20, 2011
Saturday, February 19, 2011
7 Khoon Maaf Review
7 Khoon Maaf Review: Jesus! I feel bored to death. There’s no bell tower nearby to rush to and vent my indignation nor any spouse to bump off. And though I don’t exactly feel like being punished for someone else’s sins, I am overwhelmingly disappointed to see that Vishal Bhardwaj -- the bellwether of the herd of new-age Hindi film-makers, the auteur who so convincingly brought the Bard of Avon to the badlands of UP -- has now strayed into mediocrity with so artless and heartless a film as 7 Khoon Maaf, his seventh directorial work certainly not deserving of a pardon.
Based on a short story by Ruskin Bond, the movie tells the tale of a woman named Susanna (Priyanka Chopra) who’s decidedly unfortunate in love and matrimony. In her fatal quest for love, she marries six times and every one of her hubbies turns out to be a rank scumbag: be it a lame chauvinist Major (Neil Nitin Mukesh), a junkie rockstar (John Abraham), a sadomasochistic poet (Irrfan Khan), a Russian double agent (Aleksandr Dyanchenko), a Viagra popping lech (Anu Kapoor), or a money-grubbing, mushroom-loving quack (Naseeruddin Shah). Jesus knows who Susanna’s seventh casualty is for Bhardwaj leaves an open strand in the end and gives the bored viewers a teeny quiz to hair-split. That’s the only intriguing part where you snap out of the slumber but soon see the end credits roll.
Granted that a story so episodic as this could not have been told but linearly. But why, pray, is the jumble of Susanna’s matrimonial misadventures reduced to the incessant yo-yoing between her elation at finding the ‘right’ man and her subsequent dejection at the discovery that he’s actually a scumbag. So while the hubbies are kicked to the famished man-eating panthers, or are drug-overdosed, or snake-bitten, or buried alive, or shot point blank, not once does a yawning viewer see a scrap of ingenuity so expected of a Bhardwaj film.
Of course, the bleakly-lit frames and Susanna’s own darkening complexion serve as metaphors to the dark side of her personality, and Bhardwaj does throw in time-references in the tale -- from the falling of the Berlin wall to the Mumbai terror attacks -- but come on, a viewer expects more than such customary symbolism. Even the film’s music gives the impression that its composer (Bhardwaj) was battling a creative block.
A little heart can be taken from the fact that the actors don’t disappoint. Priyanka sinks her teeth into the complex character of Susanna and delivers a performance that makes you forget the film’s flaws for a while. Ditto for Neil, Anu Irrfan and Naseer. Vivaan Shah, who is Susanna’s protégé and the story’s narrator, makes a confident debut.
After hitting the peak with Blood Brothers (a short film I consider Bhardwaj’s best work to date), Vishal has been on a downslide, first marked by the utterly ordinary Kaminey and now cemented by 7 Khoon Maaf. Is the genius of the maverick careening into mediocrity? Was the dream of a bold new Hindi cinema just a chimera?
One thing is for sure. There’s much worthwhile to do with your time than to watch the gloomy tale of an unscrupulous hubby-slaying woman whom you see whirling like a dervish with no less than the Redeemer in the end.
Granted that a story so episodic as this could not have been told but linearly. But why, pray, is the jumble of Susanna’s matrimonial misadventures reduced to the incessant yo-yoing between her elation at finding the ‘right’ man and her subsequent dejection at the discovery that he’s actually a scumbag. So while the hubbies are kicked to the famished man-eating panthers, or are drug-overdosed, or snake-bitten, or buried alive, or shot point blank, not once does a yawning viewer see a scrap of ingenuity so expected of a Bhardwaj film.
Of course, the bleakly-lit frames and Susanna’s own darkening complexion serve as metaphors to the dark side of her personality, and Bhardwaj does throw in time-references in the tale -- from the falling of the Berlin wall to the Mumbai terror attacks -- but come on, a viewer expects more than such customary symbolism. Even the film’s music gives the impression that its composer (Bhardwaj) was battling a creative block.
A little heart can be taken from the fact that the actors don’t disappoint. Priyanka sinks her teeth into the complex character of Susanna and delivers a performance that makes you forget the film’s flaws for a while. Ditto for Neil, Anu Irrfan and Naseer. Vivaan Shah, who is Susanna’s protégé and the story’s narrator, makes a confident debut.
After hitting the peak with Blood Brothers (a short film I consider Bhardwaj’s best work to date), Vishal has been on a downslide, first marked by the utterly ordinary Kaminey and now cemented by 7 Khoon Maaf. Is the genius of the maverick careening into mediocrity? Was the dream of a bold new Hindi cinema just a chimera?
One thing is for sure. There’s much worthwhile to do with your time than to watch the gloomy tale of an unscrupulous hubby-slaying woman whom you see whirling like a dervish with no less than the Redeemer in the end.
Amy Jackson to play in Bollywood films
Earlier it was said that Trisha will do the role, she has also played the lead in the original. But Amy floored director Gautham Menon of Rehna Hai Tere Dil Mein fame with her beauty and charm and bagged the role. Not many know Amy has already worked in a Tamil period-film, Madrasapattinam, which won her plaudits for her role of Amy Wilkinson, an 18-year-old daughter of the British governor, who falls in love with an Indian man.
As Gautham tells a tabloid, “We signed her on after seeing her Tamil film. We did a workshop with her to help with her Hindi diction. She has learnt all her dialogues.” Amy was always keen on making career in acting and the she has no problem in learning Hindi or Tamil.
'7 Khoon Maaf', a winning vision by Vishal Bhardwaj- Priyanka Chopra
How do you make sense of a woman who's an incorrigible potentially-loathsome serial spouse-killer who when challenged about her weird passion for changing husbands by divine decree rather than the law of the land, turns around and says, 'This heart of mine, it's to blame.' Wicked laughter follows. And dammit, we are amused!
How does one make head or 'tale' of such a woman? Well, the first thing a director with a canny sense and sensibility does is sign Priyanka Chopra to play the wretchedly unfulfilled, genetically incomplete woman, a living, throbbing warning against the institution of marriage!
Priyanka, not for the first time, proves she is leagues ahead of all competition. She approaches this strange and sensual creature of the night from the outside and then quietly makes inroads into the woman's heart and soul. We can actually see the character's snarled inner-world on Priyanka's face! We don't even know when and how she does it. Priyanka is that kind of a player.
Vishal Bharadwaj has earlier made films about gangs and gangsterism. Every time the dark brooding atmospheric surface seemed to suggest a life of sinister suppressions. Those unspoken, intangible thoughts and visions that often guide a human being to his or her doom are outlined in '7 Khoon Maaf' with supreme poetic elegance.
This is Bhardwaj's most fluidly-narrated film to date. Of course, having Gulzar on board helps. He pens Urdu poetry for Irrfan Khan and rock poetry for John Abraham. For Priyanka poetry is not needed. She creates a kind of indecipherable poetic statement for her deeply dysfunctional character who kills 6 husbands and moves to the 7th at the end of the film with the profound satirical grief of a woman who has discovered that this world has no true love to offer her.
True love...ah! Now that's an idea. At heart Vishal's dark elegiac film is about the search for true love. The relationship that Sussanna (Priyanka) forms with a young boy(Vivaan Shah) as she goes from one husband to another remains at the core of the film. In a macabre subversion of the almost-pure love that Susanna shares with Vivaan's character, at one point in the narration she tries to seduce the boy who's almost like a son. It's a dark ugly moment, almost repugnant in its incestuous resonances but in keeping with the character's insatiable appetite for destruction.
Vishal Bhardwaj brings to the storyboard a deep sense of tragic grandeur even as Susanna slips from self-gratification to delusional spirituality.
Priyanka Chopra has already proved herself way ahead of her contemporaries in her earlier works notably 'Fashion' and 'What's Your Raashee'. In '7 Khoon Maaf' she moves to another level, displaying a range of emotions and age-changes (minus prosthetics) that one last saw in Shabana Azmi's performances.
Priyanka's sequences with Irrfan Khan (playing a gentle poet who transforms into a sexual pervert in bed) are stuff poetic nightmares are made of. We can clearly see the cinematographer (Ranjan Palit) is not in love with the actress, but the character. His camera searches for intransigent images in Susanna's life, even as Priyanka's quest for the character's core takes her into areas of self-expression that are far beyond the reach of cinema acting as we know it.
A. Sreekar Prasad edits the life of Susanna with a surety that, alas,the character never comes close to achieving in her dealings with the opposite sex. Sreekar creates a symphonic seamless movement from one husband to another, sometimes joining segments in Susanna's life with visuals that would otherwise seem incompatible.
The husbands are all played by actors who have no qualms in stripping away their vanity to become the kind of suave but duplicitous untrustworthy spouses who cheat and betray for the sake of the opposite emotion to love. Irrfan Khan as a wolf in poet's clothing, Naseeruddin Shah as the affable old Bengali dietician (his Bengali accent is more dead-on than any true-blue Bengalis) and John Abraham as a stereotypical rock musician gone to poppy-seed, are pitch-perfect in their creating a drama of the callous for Priyanka's character.
But it's Neil Nitin Mukesh as her first legless army-man husband whose display of clenched menace jolts you.
As a storyteller Vishal Bhardwaj has never been more in command of his language. He punctuates Susanna's story with bouts of unexpected humour and poetry. Providentially the murders are committed in ways that appear more humorous than savage. And that's both a good and a bad thing.
The narrative shows a rare understanding of the gender dynamics and the sexual tensions between men and women. Priyanka Chopra's interaction with the unctuous and closet-horny police officer Anu Kapoor delectably illustrates the fable of the Temptress & The Besotted. And by the way Viagara never seemed funnier.
Priyanka Chopra goes from husband-to-husband with a mocking sigh of resigned surrender. She is not a victim. But neither is she the hero of the bizarre web of destruction and delusion that her character weaves around her.
Online watch 'Dum Maaro Dum' Trailer with Sex, drugs and death
Online watch 'Dum Maaro Dum' Trailer with Sex, drugs and death:
Watch here the first trailer of Deepika Padukone's 'Dum Maaro Dum'
Online watch 'Dum Maaro Dum' Trailer with Sex, drugs and death
Online watch 'Dum Maaro Dum' Trailer with Sex, drugs and death
Friday, February 18, 2011
Photos - Pariyanka Chopra's '7 Khoon Maaf Special Screening'
‘Ferrari Ki Sawaari’ for Kareena Kapoor or Katrina Kaif?
Now Chopra has got his favourite 3 Idiots director Rajkumar Hirani for the re-work in Ferrari Ki Sawari. Earlier the script had no scope for an actress. But Hirani came up with the idea of a heroine. So, who she will be?
As per reports, director Rajesh Mapuskar thinks that Katrina fits the bill, but Hirani and Chopra are considering Bebo for the role as she has already worked with them in 3 Idiots. Now, guess who is the hero of the film who will get to romance either Kat or Bebo? It’s Sharman Joshi.
Kat or Bebo will play Sharman’s wife in Ferrari Ki Sawari.
Aamir Khan’s next two Movies: What to expect?
First of all both the films are thrillers. Reema Kagti’s film is said to be a murder thriller, an intense, gripping drama with Aamir as a cop. Kareena Kapoor is the leading lady. Aamir has already grown a beard for the film and will not be seen in a police uniform but will don casual clothes like he did in his film Sarfarosh where he played an IPS officer trying to fight the terrorists. Kagti’s film will finish by the mid of this year.
After he completes Reema’s film, Aamir will start working on Dhoom 3. He will play a villain in the film and is not ready to divulge any details about his character. All he has to say is that he wants to shock his audience, and by that we can assume he means us to expect the unexpected. As the Dhoom franchise is known for high octane action scenes, Aamir will prepare himself for the grueling stunts. Remember he has done that for Ghajini too. Last we heard that he will even sing a song in Dhoom 3 to be composed by Pritam. The music director has been told to finish all his other films first and then concentrate just on Dhoom 3. Yes, the movie is also going to be a musical extravaganza.
Aamir unleashed!
Thursday, February 17, 2011
Priyanka Chopra a middle-aged lady in 7 Khoon Maaf?
In the movie, Priyanka’s character ages from 20 to 65 as she marries seven husbands in the course of her life. Priyanka says in an interview with a news agency that playing the middle-aged woman was most tough.
“It was a challenge that Vishal sir gave me. The transformation is very subtle. I observed the women around me and how they carried themselves in a certain age. There is no drastic change in my character. But the interim period of 40s and 50s when she is not young and not so old was the most difficult but Vishal helped me with that,” Priyanka is quoted to have said.
The 28-year-old said what was particularly difficult was to understand the psyche of a middle-aged lady.
“Ageing was not bad, but for me understanding the psyche of my character was very difficult. I had to portray her in a way that everyone empathises with her despite the fact that she kills seven people without remorse,” she said.
The movie has Priyanka paired with seven actors: Neil Nitin Mukesh, John Abraham, Irrfan Khan, Russian actor Aleksandr Dyachenko, Annu Kapoor, Nasseruddin Shah, and his son Vivaan Shah.
The film, directed by Vishal Bhardwaj, releases on Friday.
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