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from India Insight:

South Indian masala remakes no longer a sureshot Bollywood hit

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Once considered a permanent fixture on the yearly slate of most production houses, the masala film, a hodgepodge of romance, action and comedy that revolves around a flawless hero, is slowly losing its sheen among Bollywood audiences.

Box-office figures for such films during the last six months suggest that they have missed expectations. This includes the returns on Salman Khan’s latest release “Jai Ho”, a film that has earned the star -- credited with the return of these films -- his lowest opening in cinemas yet.

Mostly remakes of campy south Indian films that rely on loud dialogue, garish dance sequences and a healthy dose of morality delivered amid much violent action, the genre faded during the 1990’s and the early years of the last decade.

Khan helped return the genre to Bollywood with 2009’s “Wanted” (a remake of the Telugu-language film "Pokiri"). He followed it up with “Dabangg” the following year, then “Bodyguard" and “Ek Tha Tiger”, both of which went on to break records at the box office despite being panned by critics.

from India Masala:

Chashme Baddoor: The remake from hell

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(Any opinions expressed here are those of the author and not of Reuters)

Himmatwala

seemed to be the clear contender for the worst film of the year so far. Who'd have imagined it would have such strong competition so soon? David Dhawan seems determined not to let Sajid Khan get away with the honour of the worst botch-up of a remake.

So he takes what was a genuinely funny and memorable film and "remakes" it into a crass, unfunny and offensive film that serves just one purpose -- it speaks volumes about the sharp decline in our sense of humour in the last three decades.

from India Masala:

Himmatwala: Do not step into this time warp

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(Any opinions expressed here are those of the author and not of Reuters)

At the end of a long monologue in “Himmatwala”, where Ajay Devgn rattles off the same sentence in five different languages, he turns to the camera and asks “mazaa nahi aaya na?” (That wasn’t fun, was it?) It’s almost as if director Sajid Khan knew what a bad film he was making, but went ahead and made it anyway.

What they say about the past being viewed through rose-tinted glasses must be true, because if this is what our films were 30 years ago, we should all be glad we've moved on. But not Khan. He wants to take us back to corny dialogue, garish sets and the lack of absolutely any logic in the story whatsoever.

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