Bollywood and culture in an emerging India
At one point in director Mrighdeep Singh Lamba’s movie “Teen Thay Bhai”, one of the protagonists wakes up in a police van, looks around blearily and asks his brothers, “Where are these police constipators taking us?”
Of course, he meant constables. At that point, you will know or at least I did, that this film is beyond redemption.
Shreyas Talpade plays the offender, Fancy Gill, a small-time Punjabi actor who, along with his two elder brothers is forced to spend a couple of days in a deserted mountain home every year, as part of a condition in their grandfather’s will. Of course, the trio cannot stand each other and fight and claw their way through those two days, even tying up each other with rope and stuffing their faces down chimneys.
Om Puri and Deepak Dobriyal play the other two brothers — Chixi and Happy — and the film is essentially nothing but a long-drawn-out, unfunny and ridiculous film that gets more and more ridiculous as the script wears out and the director resorts to gags and toilet humour to save the day.
I’m going to keep this one short because there’s really not much I can say about Anees Bazmee’s “Thank You” that I haven’t already said about films of this genre – in other words, the “leave your brains at home” films that we seem to churn out with alarming regularity.
This one seems to be a re-hash of Bazmee’s earlier “No Entry”, which at least had a couple of nice songs and some funny moments. This one has nothing but offensive dialogue, bad jokes and even worse acting.
The movie is about four friends, three of whom barely manage to pass in school and are not admitted into any college.
To fudge it to their parents, they create a fake university — Fakirchand and Lakirchand Trust University — and hence the title acronym – F.A.L.T.U
Everybody loves a good murder – and unfortunately, Bollywood doesn’t do too many of them. Abhinay Deo’s “Game” tries to fill that void, with a murder mystery about a tycoon who is shot dead on his private island.
Anupam Kher plays the dead man, Kabir Malhotra, one of the world’s richest men who mysteriously invites four strangers to his private island in Greece, because he believes they have something to do with the death of his abandoned daughter Maya (Sarah Jane Dias).
Director Anand Rai’s “Tanu Weds Manu” is a romantic comedy about a meek doctor who falls in love with a feisty, rebellious Kanpur girl, as a result of which he finds himself in the middle of what can only be described as a sticky situation, and staring down the barrel of a gun.
R. Madhavan plays Manoj Sharma aka Manu, who in spite of having lived alone in London for more than a decade, wants an arranged marriage with a girl from the Indian heartland and falls in love with the first girl he sees, at one glance, while she is asleep.
The Union Budget is on everyone’s mind and affects Bollywood too. Here’s what people from the Indian film industry have to say –
Vipul Shah, Director
Vipul Shah, Director– “There have been a few burning issues that have plagued the industry for the last few years. Entertainment tax is pegged as high as 45 percent in Mumbai. There is always the impression amongst the general public and perhaps even the government that filmmakers rake in huge profits. The reality, however, is far removed. Films have an 80:20 success ratio — this itself is self explanatory of the plight of most producers.
It’s been a little more than a year since the last Shah Rukh Khan movie released but this year the star has two big releases — “Ra One” and “Don 2″.
The basic premise of Vishal Bhardwaj’s enticingly titled “7 Khoon Maaf” is enough to generate excitement about the film. A woman marrying several times and killing off each of her husbands is the kind of story you don’t get to see too often in Bollywood, and if anyone can do justice to that kind of a dark theme, it has to be Bhardwaj. There wasn’t much that could go wrong with this one.
That’s exactly what I thought when I entered the theatre, more than seven months ago, to watch a movie called “Raavan“. And we all know what happened with that one. I might be accused of being a little harsh here but this film might be Vishal Bhardwaj’s “Raavan”.
One thing I will say for Nikhil Advani’s “Patiala House”. It touches upon a subject that a lot of Indians will identify with — parents who think they know what’s best for their children and children straining against the leash to break out.
Vikramaditya Motwane’s “Udaan” explored that theme beautifully, and director Advani tries to combine it with another thing Indians can identify with — cricket. Unfortunately, he populates the story with so many things that the main story is lost amid Punjabi wedding sequences, slapstick comedy and an insipid romance.
Watching Sudhir Mishra’s “Yeh Saali Zindagi”, you get the distinct feeling that somewhere there’s the germ of a great movie in here. The problem is that Mishra burdens the film with so many subplots and assorted characters that it’s difficult to rummage among them and come up with the main plot of the film.
The film, which revolves around three characters and the events leading up to one day of action, stars Irrfan Khan as Arun, a fixer who works for a money-lender, and must save Priti (Chitrangada Singh), the woman he loves, from the clutches of a kidnapping gang. But things are not as simple as they seem at first glance.