Abhishek-Aishwarya For Himesh Reshammiya’s ‘Masoom’ Remake?

MUMBAI: 1983 "Masoom 'is one of the classics of all time Himesh Reshammiya Bollywood and recently bought the rights to remake the original film producers Chanda Devi Dutt and Dutt.

Now he wants the couple husband and wife Abhishek Bachchan and Aishwarya Rai Bachchan, the man and woman in the film, which represent originally played by Naseeruddin Shah and Shabana Azmi.

The new version will "be directed Chittagong. According to a source, both have Abhishek Bachchan and Aishwarya Rai Bachchan agreed, in principle, the protagonist of the film." By Bedobrata pain of last year's critically acclaimed film data can now be met, "said the source.

Reports initially said looking cast pain Bedobrata Nawazuddin Siddiqui, who had acted in 'Chittagong' on 'the role of Naseeruddin Shah. But now it seems that is not filtered out.

The 'Masoom' quirky debut director Shekhar Kapur and the script and the lyrics were written by Gulzar, while the music was composed by RD Burman. The film, a success and a handkerchief on the book by Erich Segal, "man, woman and child will be charged.

All 100 crore films are not great: John Abraham

After the critical and commercial success of "Vicky Donor", actor and producer YES Rising Sun Entertainment Films have teamed up again for "Madras Cafe '.
"This is a serious film. Believe in producing high quality films., I do not know how many would be millions of movie. Sorry that all films of Rs.100 crores are not the best movies," John told reporters at the launch Trailer for 'Madras Cafe'.
A spy thriller is Madras Cafe a story about the political relations between India and Sri Lanka based, and published on 23 August. The other two major films are released next month - 'Chennai Express (8 August-Eid) and "Once Upon a Time in Mumbaai Dobara" (August 15).{} Mosimage"Do not get vacation, a good opportunity, but at the end of the day, content to speak the quality of the film. We have confidence in our film and its publication. Wanted a window open, clear, and we did it, dass It's a movie Turn disorder is a very special project ... we spent six or seven years, "said John.

"We want to make entertaining films with strong content. Want to make quality films," he said.
There were reports that the film has a reference to the assassination of Prime Minister Rajiv Gandhi, and also deals with the activities of the LTTE in Sri Lanka.
"The film has no such representations. The backdrop of the film is India, Sri Lanka and after that the whole story is fictitious. 'S a realistic film.' M happy with Final Cut, "the director Shoojit Sircar said.
The film was originally 'titled, but manufacturers eventually for' as 'Jaffna Madras Cafe' down, as it is for the film's plot. A strategy meeting happened in this place, Shoojit said., The film also stars Nargis Fakhri of how war journalist.
"I am happy, I am to be a part of this film. Was great working with John and Shoojit. To my role as a journalist, a lot of research, I have many things online, seen, and how to report to work, body language, etc. must I fear intense shooting situations, "said Nargis.
John praised Nargis one for his work on the filmd is said that all of them proud.

Read more on: http://indiatoday.intoday.in/story/all-100-crore-films-are-not-great-john-abraham/1/291198.html

Shah Rukh Khan's grand gesture for Ankita Lokhande

If rumors are true, Ankita Lokhande thanks Shah Rukh Khan has a role in Farah Khan's next film Happy New year to support their case. Apparently Sushant Singh Rajput ladylove spotted stars on a show of the recently concluded awards in Macau.

 A source says, "several names, including Katrina Kaif has been making the rounds. SRK spotted with Sushant Ankita in Macau." Apparently felt the actor for the protagonist Ankita Maharashtrian perfect fit. "He spoke with Farah. Ankita Once he returned, he found the director and now has apparently signed on the dotted line," said the source.

About Sixteen.......

CONNECTIONTauba! Tauba! What? Girl of sixteen, India random sex? Kya budatmeezi! It can not be! Hello? Wake up! It happened. Watch out parents! It is a film very, very scary running at a friendly, neighborhood theaters nearby.
It has the kind of monster really do not want to mess with. And they have a name - teens. The promos I am very interested because I found super fabulous dialogues. In particular, the lines between a group of girls innocent faces, one of which is explained with confidence and knowledge, "boys only want one thing." My friend replied dryly: "But the girls also want the same." Is that true? Yes, yes, yes. And let's stop pretend that our young daughters are virgins and pure as the driven snow. It is hard to accept, but quite true.
There is another line in the promo, in which the girl says a guy beginners devastating: "I do not like it because it has a small .... and I do not speak on your cell phone." Gulp. We can handle it. Or do you? The interesting thing about independent films is that the manufacturer can afford to take risks and push the envelope. Our audience are also accepting this - ahem - Movies "small" (the newcomers) with an opening, which should serve as a wake up call for big Bollywood. 'Sixteen' ground forces rather complicated and jargon spoken today teenage brutally blunt. If you send shockwaves to go down several spines of the parents, I think it's time for the parents for a reality check. Let's face it - desi increasingly urban adolescent women actually sex. Deal with it.
"You older people are so hypocritical," scoffs one of the girls in the film, while addressing an older person. So true. Parents around the world fall into the same trap Conference stupid teenagers about the evils of premarital sex, smoking, drinking, partying, not studying enough, wearing too much makeup, dressed in clothes that are too short, too tight. .. oh, a whole series of other things that teenagers routinely ignored. Try to talk sense raging hormones. At any age (Berloscuni. .. Murdoch .... Raghavji). Teens believe they have a special license to ignore bhashans adults. Accept that and you open your mouth, people. When you open it, you must.
Offers "Sixteen" with a taboo subject - .. Teen Sex Teen Sexuality frightened society for centuries they have spread the virtue of virginity law Countless films and television series have mothers pushing their grim faces playful beautiful daughters who cling represented. Hymen ("It's the best gift you can give your man in the Suhaag raat"). Suddenly, deep faith, has thrown that out the window. We look forward to a conventional film, which challenges the status quo rather ("no sex, please, can we young people") and shows sixteen yearolds retaking control of their bodies to speak. This is a bold and radical statement immediately sheepishly other films dealing with contemporary adult sexuality.
Although the film tanks, it will be interesting to monitor the same reaction. A new dialogue has begun .... it is up to us to pull it in the right spirit. Yes, there is confusion, pain and suffering involved. But a film that addresses this in an initial definitely paves the way for further exploration of a thorny issue. It's time to take the blinders off and pay attention to the background of this particular dilemma. Most parents avoid dealing with issues related to sex, period. Moreover, when it comes to teenage daughters. It is easier to play ostrich. And even easier to preach in terms nobles ("Beta .... in our times we used to play physical games like kho-kho and badminton. Did not have time or energy for" other "activities"). The word "other" was pronounced soto voce, just in case his involvement in the daughter deafby-election was lost.
Other activity "prohibited.? Are Now Parents who invest in chastity belt for their daughters? Lock it at home? Or foolishly spy on them," Sixteen "blatantly presented this?" Worse, they will hire burly bodyguards to ensure that girls do not "do it" without serious consequences?
The term "Sweet Sixteen" is just that - .. Sweet is designed for a delicious old rebellion, recklessness and ... yes ... To have sex sixteen year old girl who has always been and will continue. Are parents and moralists to grow and help to reach young people who need the right decisions for themselves, without fear of terrible reprisals. How about a movie titled 'Sixty? "To educate the elderly?

Pran's death: Bollywood mourns 'godfather of Indian villains' death

Late Friday night death Legendary actor Pran Bollywood celebrities nostalgic links. Explore a few remembered his legendary villain roles, while some of his popular songs and dialogues remembered, and switch is mouth, what a "heart of gold" of the "gentleman" had shared.
Pran Pran Krishan Sikand Its Real Name Of War 93 He DIED in the Lilavati Hospital at 08.30 clock, said his son.
After the news of his death a celebrities of Bollywood flood - old and new, Took to Twitter, um your actor best memories of which made his fans a lovable effects as a hero, villain and share in one filmography character actor than 400 film About A career of six decades.
Here's was to say celebrities die Had:
Amitabh Bachchan: Pran sahab flies! A gentleman, die most cooperative colleagues, a senior from Immense difference, a true pillar of the magnificent professional.Another disciplined film industry falls. Our illustrious buildings to rubble and ashes than to brave veteran leaves.
Karan Johar: Really The End Of A glorious and magnificent era. Gentleman Superstar He was a blessed heaven and is today.
Kabir Bedi: Farewell Pran sahab, godfather of Indian villains, illuminated characters die in your legendary annals of Indian cinema. Deepest respect. RIP
Anupam Kher: The final curtain will make a popular actor of Indian cinema. An actor and a gentleman. Pran sahab, We miss you and your warmth.
Sridevi: Today We Have A Legend, A jewel LOST actor and an icon. Will we miss you. RIP Pran sahab.
Riteish Deshmukh: SHER KHAN WILL live forever. RIP Pran sahab. Thank you for talking to all U.S. should give years. Will miss you sir.
Smriti Irani Z: It Is your talent, your career defining actor ALS is not the day of the "Stopped" or "scoundrel" - That's that for Set of Pran sahab. RIP.
Preity Zinta: RIP Pran sahab! Personally knew Him not, but He cohort, was a perfect gentleman with a heart of gold!
Arjun Rampal: RIP Pran sahab, it perpetuates so many characters Had the chance to play one of them. You live forever in my heart ....

LOOTERA

                                                                 LOOTERA

Cast: Ranveer Singh, Sonakshi Sinha, Barun Chanda, Vikrant Massey, Arif Zakaria, Adil Hussain, Divya Dutta

Director: Vikramaditya Motwane

The Indian Express rating: ** 1/2

I should have watched Lootera backwards, because it finishes with an almost unbearable loveliness. The ache in the heart comes as a welcome relief, but a little too late. The journey towards the end is shot through with beauty, one painterly frame after another evoking admiration, but it did not touch me. And that is where Vikramaditya Motwane's film becomes a disappointing second act, after his magnificent debut Udaan.

Lootera, set in the early '50s, tells the story of Varun (Singh) and Pakhi (Sinha) in a manner most Indian filmmakers have forgotten. Motwane knows how to pace his tale to match an old-wordly tempo: it is a unhurried build-up of time and place that takes you to the village of Manikpur in West Bengal in 1953, poised at the grand lifestyle of the zamindars about to go bust, and slides you into the opulent bubble that the local zamindar ( Chanda) and his daughter Pakhi live in.

The arrival of the young, personable Varun and his companion (Massey) to set up an archeological dig around the haveli brings the first fissures. You can see why the motherless Pakhi, who has found solace only in her father's doting arms till now, will gravitate towards Varun. But I did not feel any reciprocal heat from Varun. He has his reasons for keeping his distance, because he is not who he claims he is. But when there is youth and passion, all reason flees. She shows her longing clearly. From him, you want more, not unreadable sidelong glances, and a stealing away when no one is looking. The main hook that should have kept you with them, is missing.

The first half, which should have been the dance of desire between these two people, is impacted by this inexplicable remoteness. Varun's back story, with a no-good uncle (Zakaria), is clunkily done, and there are entire stretches where you are disconnected. The story, post half time, catches traction, and for me becomes the film. Almost. Time has elapsed. From a huge haveli with countless rooms, Pakhi has now moved to a small family guesthouse in Dalhousie, having lost her father, and other treasures that cocooned her during her growing up years. As she struggles with heartbreak, and a terminal illness (the kind that brings blood to a handkerchief, such an old-timey disease), Varun comes back to her life, and that takes both to the brink.

Post interval, you can see better the influence of the great O'Henry short story (The Last Leaf), on which it is based. It is a more intimate canvas, and you finally see two lovers striving towards each other, breaths mingling. The bit parts, played by a cop (Hussain) who is after the fleet-footed Varun, and the housekeeper (Dutta) of the guesthouse, remain bit parts. The cop is responsible for an implausible plot point, which seems to be put in there to allow Singh to loosen up and show his feelings, both to the girl he had left behind, and to us. As the film quickens, so do we: Motwane is in form here, as he gives us doomed lovers spiraling out of control, leading to a memorable climax.

But I wish Singh had been freed up more. His slate is bland. Much of the first half of the film is too, being revved up by its background music. The good parts of the film can be divvied up between cinematograher Mahendra Shetty's wizardry with the camera, the terrific, spot-on Barun Chanda, and Sonakshi Sinha. She plays Pakhi with surety, even when her eyes are too heavily ringed denoting sickness, channeling her emotions without holding back, allowing herself to get ugly while weeping. She is the real looteri; her Looterashould have had more heft. So should have the film. It has left me with some indelible scenes which are sheer poetry, but this is one of those films that I wanted to like much more than I did.

POLICEGIRI

POLICEGIRI

 

Cast: Sanjay Dutt, Prakash Raj, Prachi Desai

Director: K S Ravikumar

The Indian Express rating: *

Ten years ago, superhit Tamil film Saamy presented a Robin Hood type cop making whoopee in a small town. That cop was played by Vikram with great raffish style, and was the inspiration for Salman Khan's act in Dabangg. The dark glasses thrust down the back of the shirt was an idea that Dabangg stole, among several others. I watched Saamy and can testify that it was a hoot.

Policegiri is a remake of Saamy, and it is most certainly not a hoot. It is a terrible film, with none of the Tamil original's sense of fun, trying to boost a star who looks well past his sell-by date. Sanjay Dutt plays Rudra, a 'combo' of goonda and good guy, whose one line self-descriptor is 'buy one get one free'. His love interest is Prachi Desai who doesn't just look half his age; she looks much less than half his age. And he is up against bad guy Nagori Subramaniyam (Raj), who rampages about, killing people and buying corrupt cops.

There is not one thing about this film that is worthy of being watched. Not poor Desai who wears the most horrendous make-up (her cheeks alternate with hot pink and orange) and trying to look suitably lovelorn. Not Prakash Raj, who is doing what he has been doing in all of these hyper-violent Madras Cut films, clunking innocents on the head and doing loud dialoguebaazi, and here, trying to match steps with a visibly ageing Dutt.

And certainly not Sanjay Dutt, who in real life is serving his prison term, and whose producers are harbouring mistaken notions that audiences are dying to watch him. His dissolute face and forced delivery makes him a trial to watch. Dear Munnabhai, could you please desist ? At least for the time being?

RAANJHNAA

                                                                  RAANJHNAA

      Director: Aanand L Rai

Cast: Dhanush, Sonam Kapoor, Abhay Deol, Mohammed Zeeshan Ayyub, Swara Bhaskar, Kumud Mishra

The Indian Express Rating: ** 1/2

"Say you love me, or I will slit my wrists", Kundan threatens Zoya, and we know instantly that he means business. He is not saying this for a lark. Nor for a nudge-and-wink. He is saying this as if he means it. We know instantly that Raanjhanaa is a no-holds-barred love story, not your half-hearted romcom that passes for a romance these days in Bollywood. The riveting first half of the film lives up to its old- fashioned title, with a young lover whose chief driver is passion, the innocent young girl who is the object of his adoration, and the problems that keep them apart. Post interval, it comes unstuck, and squanders its gains. If Raanjhanaa had kept its tone intact, it would have been a great love story.

Kundan (Dhanush), the son of a Banaras panda, is madly, deeply in love with Zoya (Kapoor). He does the running. She keeps him at bay. Just as she is about to relent, the Hindu-Muslim never-the-twain-shall-meet angle comes in, and the two part ways. I should have said 'torn asunder', actually, because that is how it is shown, him desperately chasing the train that is bearing her away, both sobbing their hearts out. When she does return, several years later, her Banarasi swain is waiting, unprepared that the girl whom he loves may love someone else (Deol).

Aanand L Rai who gave us an acute, well-observed small town sensibility in his first film Tanu Weds Manu, brings the same skill sets to Raanjhanaa. It's been a while since I've seen Varanasi in the movies as a place where regular people live, not a Discovery channel shoot that peddles exotica. Rai knows the town, its people, and the lingo. Even Dhanush, whose south Indian accent is given a credible reason to exist in the film, says Banarasi launda with a flourish. The actor who really nails it, no surprise here, is Mohammed Zeeshan Ayyub, who plays the hero's best friend.

                                            In the second half, the film moves to Delhi, goes off to Punjab, and comes back to Delhi via Varanasi. The confusion seems to impact the characters who are left floundering. Zoya's love interest Akram is a politically active JNU lad who dreams of a better Bharat. We get a real, non-touristy Delhi and an engagement with current events ( shades of the Arvind Kejriwal-led 'people's party', the farmers' agitation in Bhatta Parsaul, the students agitation at India Gate after the December rape) that is usually missing from contemporary Bollywood. But the problem with all of this (keep an eye out for a terrific sequence which is a dig at the 'committed left-leaning JNU students' understanding of 'poverty' and 'class') is that it does not fit. The plot feels as if it is being made to function in a different film, and Raanjhanaa, by this point, is contrived and all over the place.

The playfulness and intensity that Dhanush, making his Bollywood debut, exhibits consistently is what keeps the film ticking. His complete surrender to the role leads to the kind of unselfconsciousness that is so absent in Bollywood newbies who try playing lovers: if you want to show me your perfect abs, how will you let yourself screw up your face while crying for your mehbooba? And that is what makes Dhanush, who is familiar to north Indian audience only through the chartbuster Kolaveri Di, so believable. I've seen him in one Tamil film, the National-award winning Aadukalam, and there again it was visible, his becoming the part. Great casting choice, which brings back young love to Bollywood, even if it leaves me wondering: can this kind of passionate love story only be set in small towns where stalking a girl (and slitting your wrists) is still considered an acceptable plot device, as the only way of showing your feelings?

Just as much Dhanush and Mohammed Zeeshan Ayyub feel as if they belong to the milieu, as well as Kumud Mishra (who plays Zoya's father), the others do not. Sonam Kapoor looks the part, but very often does not sound it (stumbling over such words as Bhatta Parsaul, which she has clearly pronounced for the first time, among others). She is getting better in the light-hearted bits, but her limitations as an actor are evident when she has to get serious. Swara Bhaskar, who was so good in Tanu Weds Manu, gets an over-talky but underwritten part here, and Abhay Deol sticks out, not belonging to his role at all.

Raanjhanaa is a film which is all of a piece in its engaging first half, and a good Bollywood launchpad for Dhanush. Makes me want to see what he will do in his second pass.