The Union Budget is on everyone’s mind and affects Bollywood too. Here’s what people from the Indian film industry have to say –
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.
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.
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.
There are many things wrong with Madhur Bhandarkar’s “Dil Toh Baccha Hai Ji”, but the worst part is that nobody seems to have even bothered to rise above mediocrity in this excuse of a film.
from Photographers' Blog:
Onions have been a very important part of Indian history. Governments have fallen here over the price of onions. So last week when our commodities correspondent Rajendra Jadhav suggested a story on the skyrocketing prices of vegetables, onions seemed the natural peg. The idea was to do something simple around the price of a vegetable as it changes from the field to the dinner table. Our destination was the wholesale onion market in Nashik, Maharashtra, one of the highest producers of onions in the country. Nothing had prepared us for what we were about to encounter.
There’s a charming scene in Kiran Rao’s “Dhobi Ghat”, where Yasmin (Kriti Malhotra) is filming her maid-servant and her daughter for a video tape she’s making for her family back home. While the maid is suitably coy about being on film, she’s also equally anxious to finish off with the niceties, and do what she’s there to do — work, earn her living and move on to the next house.
There is some charm in watching Sunny Deol on screen — whether it’s an emotional hug with his father or a fight scene where he holds up the entire floor of a building with one hand.
Raj Kumar Gupta’s “No One Killed Jessica” is based on the very gripping saga of the Jessica Lall murder case, one that captured the collective conscience of India at a point in time, and galvanised a dormant middle-class into taking action.