Meenakshi as Hrithik's mom?
Rati Agnihotri seems to be inspiring many actresses… After watching her in Kuch Khatti Kuch Meethi, Meenakshi too wants to play a glam mom! She believes that if she or Rati had married at the age of 18, their kids would be as young as Hrithik or Abhishek. "I wouldn't mind playing Hrithik's mother in a film but I wonder if the audience would accept me as a mother and besides, I don't think my nose and Hrithik's nose will match," states Meenakshi. That shouldn't be a problem, lady!
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Movie Review: Chori Chori Chupke Chupke
At long last, the 'historical' film Chori Chori Chupke Chupke is out. Historical because no film in the recent past must have seen so many controversies at one go even before the film could be released. Firstly, the producer, Nazeem Rizvi got arrested because of his links with the underworld. Later on the financier Bharat Shah was put behind bars and both are still cooling their heels there. The reels were seized, then given back and what not happened with the film. But just as everything should come to an end, the ill fate of the film ended and CCCC is ready for public opinion.
Emaar Films International's CHORI CHORI CHUPKE CHUPKE, directed by Abbas-Mustan, is a love triangle.
Cast:
Salman Khan as Raj Malhotra who is from rich industrialist family.
Rani Mukherji as Priya comes from an extremely rich family; she is sweet natured and adjusting.
Preity Zinta as Madhoo is the third angle of this triangle.
Amrish Puri as Kailashnath Malhotra is Raj's grandfather.
Dalip Tahil as Ranjit Malhotra is Raj's father, but behaves more like his friend.
Farida Jalal as Asha Malhotra is Raj's loving mother.
Prem Chopra as Dr. Balraj Chopra, the most trusted friend and adviser of the Malhotra clan, also happens to be their family doctor.
Johny lever as Pappu Bhai is brought up like a son of the family.
The initial portion of CHORI CHORI CHUPKE CHUPKE is a good mix of DOOSRI DULHAN (Victor Banerjee, Sharmila Tagore, Shabana Azmi) and PRETTY WOMAN (Richard Gere, Julia Roberts). And the portions with the family remind you of HUM AAPKE HAIN KAUN.
CCCC is surprisingly refreshing and the three main characters - Salman, Rani and Priya - though not very convincing - are good.
Especially Salman who has shown traits of good acting after a long long time .His fans are going to definitely adore him. He is controlled, classy and mature, unlike the oft-repeated roles that exhibit his physique more than talent. This role has substance and the actor handles it with utmost sensitivity.
Between Rani and Preity, it is difficult to choose who's the better performer. Both have been given equal footage (length-wise) and importance. Both are incredibly competent in the respective roles, although Preity does go overboard in the initial portions. It seems that rani has lost lots of weight and she looks pretty for a change. Preity in some of the scenes is really good and gets away with the audience applause.
Amrish Puri plays the lovable grandpa to the best of his talent. Also Prem Chopra is doing his role very nicely. Johny Lever's comedy bores you with his over acting a lot.
Anu Malik's music is another asset. The songs are well woven in the script and have been picturised beautifully. The pick of the lot are the title track, 'Dekhne Walon Ne', 'Diwana Hai Ye Man', 'Punjabi' and 'Mehandi'. The title song is quite pleasing to the ears. The introductory song of Preity, however, is not upto the mark.
Thomas Xavier's cinematography is eye-catching and the Swizerland locations are a visual treat. Javed Siddiqui's dialogues are excellent. Shyam Goel's screenplay maintains the grip right till the end.
Abbas-Mastan's direction is also good and in a country where the concept of a surrogate mother is unimaginable, he have tackled the theme with care by padding the narrative with loads of emotions and family values.
The film is not your typical Bollywood love story where boy meets girl, falls in love and breaks into a song. It revolves around family and Indians have always been suckers for such films relating. The film touches everyone's emotions.
On the whole, CHORI CHORI CHUPKE CHUPKE has generated a lot of heat before its release. But the film lives up to the towering expectations thanks to the solid drama. Coupled with a hit musical score and an excellent opening, CHORI CHORI CHUPKE CHUPKE should emerge the first hit of 2001. .
- go see the film!
Rating:- **** (Excellent)
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House hails Bismillah, Lata for winning Bharat Ratna
It was the only issue on which the
ruling Democratic Front and opposition Shiv Sena-BJP
concurred with ever since the budget session of the state
legislature began on March 12.
The Assembly last week unanimously passed a resolution
congratulating Melody Queen Lata Mangeshkar and Shehnai
maestro Ustaad Bismillah Khan for winning Bharat Ratna,
the country's highest civilian award.
The resolution was moved by Chief Minister Vilasrao
Deshmukh himself saying the House was felt honoured to
pass the resolution. `Latadidi is the last word in music.
Her music spread happiness whereever it reached,' he
said.
Opposition leader Narayan Rane supporting the resolution
said, as many as five generations of Indians have feasted
on the magical voice of Nightingale of India.
Deshmukh also congratulated Bismillah Khan saying the
latter had elevated Shehnai out of the marriage halls to
international fora.
Former chief minister and NCP member Sudhakarrao Naik,
however, struck a different note when he reminded the
House that the Central Government led by Congress, had
not agreed to his suggestion to confer Bharat Ratna on
Lata back in the early nineties when he was Chief
Minister of the state. `I had spoken to then prime
minister Narsimha Rao as well as defence minister Sharad
Pawar. But they seemed to have certain reservations,' he
said sarcastically.
Congratulating the union government for conferring the
award on Lata, he said the DF government should have
invited her and Bismillah Khan to the legislature.
In the Upper House, the Deputy Chief Minister Chhagan
Bhujbal moved the resolution.
After the resolution was passed,the opposition in the
assembly was back to business. Members of Sena-BJP twice
forced adjournment of the House. First adjournment came
when the opposition demanded arrest of state Congress
chief Govindrao Adik for passing alleged insulting
remarks against backward classes and minorities. The
proceedings were disrupted for the second time by the
Sena-BJP members over the suicide of a labourer in
Swadeshi Mill as the workers were not being paid for
months.
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Bollywood puts Scotland on map - from a British paper
Scottish locations featured in "Bollywood" films will star in a new
map aimed at attracting wealthy Indian tourists.
The fluorescent pink map will be officially launched in April to pay
tribute to the influx of Indian directors choosing to film in the
United Kingdom, many of whom have used only Scottish locations.
Dunure Castle, Edinburgh Zoo, Glen Coe and George Square in Glasgow
are just some of the sites regularly used by Indian directors.
Films such as Kuch Kuch Hota Hai (Something Happened in My Heart) drew
audiences of more than 1 billion, far more than any Hollywood
blockbuster, including Titanic. The £1.5m production, which follows a
student who finds love at Glasgow University, features some of the top
stars of the Bollywood industry.
The lead actors, Shahrukh Khan and Kajol, boast more fans than
Hollywood stars such as Tom Cruise. There are already 100 websites
dedicated to Khan in a country where 15m people go to the cinema every
day.
When asked why he chose Scotland, Yash Johar, the producer, said:
"Because to Indian eyes it's an exotic place and we choose places for
their scenic beauty and sense of history."
In 1999 Britain received 183,000 visitors from India, who spent an
estimated £149m. In the same year Scotland saw 9,000 Indian visitors,
but the British Tourist Authority claims these figures are on the
increase because filmgoers are so keen to see the backgrounds to their
favourite scenes.
Last summer the 90 crew members of Pyaar, Ishq aur Mohabbat - roughly
translated as Love, Love and Love - spent more than £200,000 while
filming at venues such as Stirling Castle, Queen Street station and
the Clyde tunnel.
Next week the filming of a new Indian television series begins in
Slough and in April Indian crews will be heading to Inverness to
record a pop video. A further two Bollywood directors are considering
filming in Scotland this summer, depending on the outcome of the foot
and mouth outbreak.
VisitScotland predicts that the map and the films will bring more
Indian tourists to Scotland to soak up the scenery. A spokesman said:
"This is a very strong developing market. The Bollywood film industry
is enormously powerful."
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'Low-budget films are new mantra'
The Millennium Age cinema is here. First, it was the low
budget Kasoor produced by Mahesh Bhat, now it is Rahul
produced by dream merchant Subhash Ghai.
In the Capital to present Mukta Arts Limited's first
venture Rahul directed by Prakash Jha, the showman said,
"Cinema is constantly churning and changing and low
budget cinema is a result of that." the future, he said,
holds only two types of cinema - one big budget magnum
opus with an overpowering aura and the other "content
rich" films where "the subject decides the budget". He
added that Mukta Arts Limited will produce three films a
year and also act as a launch vehicle for talented
artists.
Talking about his film, Prakash Jha, noted for his strong
social message films like Damul and Mrityudand said that
he enjoyed shooting Rahul. "When two filmmakers make a
film, there are several difficulties, but we were both
mature enough to avoid any such problem," he said.
Talking about the tough 45-day schedule, he said the new
starcast was enthusiastic. For the main character Rahul,
Prakash Jha interviewed 1,200 children from all over the
country and picked 20 to attend a workshop. Then came the
final five, from which Yash Pathak caught his
imagination. "I was looking for innocence which I found
in Yash. Also, what impressed me was his confidence. Isne
Gulshan Grover jaise experienced actor ke saath aankh
mein aankh mila kar acting ki," Mr Jha said.
Anu Malik, music director of Rahul, said the film is the
first step towards a different Anu Malik. "My favourite
tracks are Ched na where I have used classical raga and
Tu mujhko kaise bhul jaata hai," he said.
With such a treasure house of talent in Rahul, how can we
miss it.
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Yash Chopra to teach Akshay acting!
Yash Chopra will make his acting debut after 42 years as a director. Apparently Chopra will play the role of a filmmaker in Dharmesh Darshan's next film, tentatively called Haan Maine Pyaar Kiya. In the movie, Yash will be instructing Akshay Kumar who plays the role of a superstar, how to go about a scene in the film. Is this an indication that Bollywood is short of actors, or is Yash just looking for a change from directing?
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Naghma and Saurav’s Romantic Rendezvous
Film stars have a somewhat fatal attraction for circketers.Possibly because they live intensely public lives, where no part of their personalities -not even the perfumes they use or the undergarments they wear - is private. Both constantly live on the edge, with an inherent fear of tumbling down from their hallowed positions. Both are beautiful and glamorous people, wooed and adored by millions. A life like this can turn make you believe that you are infallible, and above rules that govern the ordinary humanity.
So when two beautiful people meet, sparks tend to fly. At times, unknowingly. There have been rumours about liaisons between stars and cricketers in the past. Right now, it is Saurav Ganguly’s cosy, secure home that is being threatened by the shadow of an actress.
And the actress isn’t someone young and nubile, but a much older, aging one, Naghma. Dona, Saurav’s wife has been hearing rumours about her husband’s ‘too friendly’’ relationship with South siren Naghma. Leading newspapers of Calcutta have carried reports about their sojourns, complete with dirty details about where they meet and the places they have been seen together. The reports state that the relationship has been on since the last three months, and the lovebirds have even met on the sets in Hyderabad and Mumbai, where Naghma is shooting. The latest is about them being seen at the ancient Shiva temple at Sri Kalahasthi in Andhra Pradesh. Quite romantic, huh?
Saurav, naturally, has denied the rumours, even telling his close friends that “his house is in order”. An incredulous Dona refuses to believe these reports. “Who is Naghma? I haven’t heard of her. I don’t think she is anyone’s favourite actress, least of all my husband’s. Frankly, I don’t even remember her face,” she says, a little scathingly.
But Dona, for now, has moved back with her parents in Calcutta. Saurav is back home, especially since last week was his marriage anniversary, and is trying to pacify his wife and his in-laws, who are upset by the rumours.Being one of Calcutta’s middle class families, such rumours aren’t taken lightly by the family. Nor are they dismissed as a baggage that all stars - and cricketers in India are no less than stars - have to carry around. Naghma, despite our efforts to get through to her, stays elusive.
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Inspired by... (from The Deccan Herald)
Wanted: Brains with originality and backbone intact. This
could well be the inspired war-cry, hysterical plea,
passionate appeal or heart-felt clarion call of all
lovers of Bollywood fare. Slick, ritzy, mainstream stuff
superimposed on an original storyline, plot or script -
is that really asking too much?
''Original script? What dat?'' yoodle the baffled
Bollywood bozos.
To the howling mobs who reverentially drool over the
glitzy stars and shimmering fantasies that the masala-
merchants dutifully dish out, Friday after Friday after
Friday, this child-like enquiry relating to the meaning
of originality should neither come as a surprise or
shock. For years Bollywood Film-makers and music-
Directors have been shamelessly lifting - ooops, sorry,
''inspired'' by - Hollywood and American fare. In recent
times, however, this magnificent obsession appears to
have gone on an unprecedented over-drive, reflecting a
pathetic bankruptcy of creative talent. In this
''inspirational'' mode are included, unfortunately, some
of the most promising, bright, savvy and cool Film-makers
who one believed - wrongly - were determined to blaze new
trails and span new horizons. Ready? Let's go.....
There were no if's or but's in Vikram Bhatt's Fareb, the
film that marked his very own Unlawful Entry into
movieland, followed by his homage to On The Waterfront
with Ghulam. His latest Kasoor, a stylishly crafted, on-
the-edge thriller - on cue - borrows heavily from Jagged
Edge. The other candidate from the Bhatt camp guilty of
the same disease is Tanuja Chandra. Both her films,
Dushman (Eye for Eye) and Sanghursh (Silence of the
Lambs) pall on that score. Mansoor Khan's Akele Hum Akele
Tum had Kramer V/s Kramer written all over it, while his
last release Josh bore strong resemblance of the cult
musical classic of the sixties, West Side Story. Dharmesh
Darshan's Mann was a pathetic zerox of the evergreen
romantic An Affair To Remember while Rahul Rawail's
current starrer Kuch Meethi Kuch Khatti owes allegiance
to the sixties Hayley Mills' gem, Parent Trap.
While Bollywood in recent months has been suddenly struck
by a fatal attraction for Fatal Attraction, Ram Gopal
Varma's erstwhile assistant Rajat Mukherjee is first to
zoom off the block with his Fardeen-Urmila version Pyar
Tu Ne Kya Kiya. A few years ago the industry had flipped
in similar fashion and went sleepless for weeks engaged
in producing three adaptations of Sleeping With The
Enemy. The first two Darar and Yarana were so boring,
they had the audiences snoring - when not booing, that
is. Agnisakshi mercifully struck target.
TV Channels - Star, HBO, TNC, AXN - for their turn too
have struck a lethal body blow to the credibility of the
Bollywood honchos. How? By clearly seeing through all the
fakes and pretenders masquerading in the garb of original
idea-smiths. Classic examples of recent times are Tera
Jadoo Chal Gaya (Picture Perfect), Har Dil Jo Pyar Karega
(Wedding Singer), Kahin Pyar Na Ho Jaye (While You were
Sleeping), Dhai Akshar Prem Ke (A walk In the Clouds),
Pyar to Hona Hi Tha (French Kiss), Sirf Tum (You've got
mail). Even macho Sunny Deol's Champion was an energetic
salute to Mercury Rising. Coming to think of it, didn't
Adi Chopra's magnum opus Mohabattein remind you of Dead
Poet's Society - and is it true that Something About Mary
really did something to Rajiv Rai because, pronto, he is
said to have transcreated it to Ishq, Pyar, Mohabbat!
Dil Hai Ki Manta Nahin (it happened one night), Karz (The
Reincarnation of Peter Proud), Manoranjan (Irma La
Douce), Satte Pe Satta (Seven brides for seven brothers),
Quamayat (Cape Fear), Andar Bahar (48 Hours), Khoon Khoon
(Dirty Harry), Dharmatma (Godfather) - the oldies too
didn't fare too badly in the plagiarism department. The
''Tomorrow'' gang gracing this booming movement include
Farhan Akhtar's Dil Chahta Hai (St Elmos Fire & Reality
Bites), David Dhawan's latest take targeting Analyse
This, Sanjay Gupta's new project inspired from Reservoir
Dogs, Feroz Nadiadwala's soon to start with strong echoes
from Whole Nine Yards, Subhash Ghai's on-the-floor
Yaadein, from Fiddler On The Roof, Aks from Fallen....
more undoubtedly will join this celebrated list. For the
records, five versions of Manoj Night Shyamalan's The
Sixth Sense - in several language versions - are
reportedly being planned while the 1988 classic Cinema
Paradiso is being re-made by Vikas Desai as Jannat
Talkies! Is nothing safe, pure or sacrosanct anymore?
''Hey c'mon, wake up, relax - its only entertainment, not
some high art to be hymned and celebrated with incense
and prayers in some revered place of worship!'' That was
the iconoclastic Mahesh Bhatt doing his number on the
subject. The self-appointed spokesperson of Bollywood who
has transformed self-promotion into both an art and
science worthy of doctorate status, continues with trade
mark passion. ''Get one thing straight. Movies are not
about creativity, originality, truth or vision. They are
about entertaining audiences across the board. Films
don't run -- or not run - because of the plagiarism
factor. My Dil Hai Ke Manta Nahin owed definite
allegiance to It Happened One Night, so? It was hugely
popular with the mass viewers, wasn't it? Today big bucks
are involved in film-making and creating entertaining,
absorbing capsules that can hold the attention of zero
patience threshold of the new-age audience can be a
nightmare. Brand loyalty is dead. Market forces and
return on investment rule the roost. In this bizarre and
chaotic scheme of things, where survival is the key, who
gives a damn about authenticity, creativity and the
source of your movie plot? Success is everything.''
Funny, did you say, coming from the maker of Arth,
Saransh and Janam? Ah well! People change.....
The fact of the matter is that while imitation remains
the finest form of flattery, it demonstrates the most
pathetic paucity of imagination, ideas and creativity
ever.
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Om Puri: 'English films are fine, but East is East for me'
An interview with Pritish Nandy:
After struggling for years in Bollywood, Om Puri has now emerged,
after East Is East, a hugely popular actor in Britain.
This has brought him a large number of international offers.
But the critically acclaimed actor remains completely unfazed by his
success and still keeps aside five months every year for making films
in India:
Did you ever expect to be such a huge success overseas?
You can never predict a huge success. Moderate success, yes you can.
You know which film will work, which will not. But you can never
predict the big hit. That is the outcome of many factors coming
together.
What did you expect from, say, East Is East?
The film cost 3 million pounds. I expected it to earn a tidy profit.
But, to be frank, I never thought it would gross 45 million pounds in
Britain alone.
If you take the total global earnings, the figure is much more than
that. It was an amazing success. Initially, they released only 70
prints. By the third week there were 270 prints showing in Britain
alone!
What do you think are the chances of a film like Nagesh Kukunoor's
Bollywood Calling becoming a global hit? It is as offbeat as East Is
East.
It is certainly possible. But, as I said, one can ever predict the
size of a hit. I feel this will be a successful film and, properly
promoted, it could even be a big hit.
But to start with, it must catch the urban audience. It is essentially
meant for them. Once they like it, the film should attempt to grab the
rest in India and overseas. Maybe it could be also dubbed in Hindi for
the small towns.
But it will definitely do well in Calcutta, Bangalore, Bombay, Delhi
and Madras. That much I am sure.
What do you think drove East Is East?
The fact that the story was told through humour. The kids were lively
and there was a lot of energy in the film. Eventually, it also touched
you emotionally.
After a while, you forget that the film is about an Asian family. You
start looking at it as a film about the relationship between parents
and children. The problems are identical everywhere. Parents want
something. The kids want something else. The film is about that.
I saw the film with audiences in Cannes, Boston, Toronto, San
Francisco, Seattle, Vancouver, Delhi. In Delhi, there was no space for
me to enter the hall and go the stage. People were sitting on the
floor. They had to have two more screenings in the festival.
Why didn't its commercial release work here?
It worked but not as well as it could have. It was not adequately
publicised. No one knew when it came, when it went. But it did fairly
well in the cities.
You do think you have now found yourself a fairly committed
international following?
Frankly, Pritish, I did not even realise when it happened. It was only
in retrospect that I figured out what had happened. My first film with
a foreign unit was Jewel In The Crown. After that came Gandhi. Then
came Deepa Mehta's very first film, shot in Toronto: Sam And Me. Then
there was City Of Joy with Patrick Swayze.
That brought you a lot of critical acclaim?
Yes. But the film did not do too well. It was not even released in
India.
But I got fabulous reviews in the American press. That is when
everyone said, "You must get yourself an agent."
Priscilla, the casting director, introduced me to Jeremy Conway. He is
very highly respected and also works for Anthony Hopkins. He had seen
some of my Indian films in festivals but he was honest. He said to me
upfront that he could not guarantee a great deal of work for an Asian
actor who looked like I did.
I told him, "Jeremy, don't worry about that! My main shop is in
Bombay. So I am not going to keep calling you for work and
embarrassing you."
He laughed at that and we started working together. And, surprisingly,
things started happening. He got me Wolf, the Jack Nicholson film.
Then came Ghost In The Darkness, with Val Kilmer and Michael Douglas.
Then I did two Canadian films, one of which was Such A Long Journey.
When did you become such a hit with British audiences?
Only recently. The three British films almost happened in a row:
Brothers In Trouble; My Son, The Fanatic and, of course, East Is East.
They really made my presence felt.
I was first approached for East Is East, the play. But I had no dates
then. I had just entered commercial cinema and was trying to make some
money for my old age. So I couldn't afford to stay away for six
months. Luckily, they came back to me for the film.
Any new films after East Is East?
Four actually. One is The Zoo Keeper and was shot in Czechoslovakia.
It is about ethnic cleansing and is set in a zoo, where I play a vet.
It is a big canvas, small budget film. Very powerful.
Another powerful film is The Parole Officer, which is made by the
guys who did Notting Hill and Four Weddings And A Funeral. The film
was shot in the north of England. It is a comic thriller in which I
play a computer genius.
Then there's a film made in Wales called Happy Now, where I play a
tramp of Russian origin with a Welsh accent. It is an exceptionally
well made thriller.
Finally, there is The Mystic Masseur in Trinidad, based on V S
Naipaul's famous novel which Ismail Merchant is directing. It has got
huge international attention, as you know.
All these films should do well. I am lucky they came my way. Many more
films have been coming but I said no. I do not want to commit all my
time out there.
I must spend at least five months a year here, to do the kind of films
I have been doing. I want to work with Shyam (Benegal), Govind
(Nihalani), Kundan Shah. I want to work in Bengali films.
They all tend to shoot at a stretch. So I must have those six weeks
that I can give them at short notice. English films are fine, but East
Is East for me.
But do you get adequate artistic challenge working out here?
Yes, I do.
But the art film is dead? That was the kind of film in which you
showed your prowess.
It is not dead. It has actually integrated with the mainstream. The
mainstream always produced good cinema within the commercial format.
You had Bimal Roy, Guru Dutt, the early Raj Kapoor who worked so well
with the traditional song and dance format and yet produced great
films.
Today, you have Vidhu Vinod Chopra, Kundan Shah, Mahesh Manjrekar,
Rajkumar Santoshi, Sanjay Leela Bhansali, Nagesh Kukunoor. I enjoy
working with them. I will not give it up for anything in the world.
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