Sometimes even the worst films can redeem themselves with a moment of lucidity. Just as you are struggling to make sense of Gautham Menon’s “Ekk Deewana Tha“, the heroine — in a fit of emotion — tells the hero “there is nothing here, no chemistry or anything at all. Nothing”. And just like that, she hits the nail on the head.
This almost three-hour romance is the cinematic equivalent of listening to someone scratching their nails on a blackboard. You want to pull your hair out and tell them to stop it already. Unfortunately, Menon seems to be in no mood to listen. Just when you think it’s all over, it goes on for a little bit more.
MUMBAI (Reuters) – Aditi Rao Hydari is not new to Bollywood.
Cinema lovers may remember her as the meek, sari-clad aunt from Rakeysh Omprakash Mehra’s “Delhi-6″.
But three years after the 2009 film, she has broken the myth that character actors cannot play leads, by landing herself a starring role in “London, Paris, New York” opposite Ali Zafar.
Through the first half, Shakun Batra’s romantic comedy “Ek Main Aur Ekk Tu” follows an entirely predictable path — boy and girl meet, get drunk, get married and realise they don’t want to stay married. Circumstances dictate they must spend time together while waiting for their marriage to get annulled. At the interval, one of them even has the “I’m in love” epiphany.
Of course, you don’t mind the predictable storyline because there is zippy dialogue, some great writing and the performances are in tune with all of the above. So far, so good. But we all know the second half is where it gets tricky, and not too many film-makers know how to end well. Well, clear all doubts now. Batra is not one of them.
Finally, a bollywood rom-com that’s smart, funny and actually gets it. #ekmainaurektu
MUMBAI (Reuters) – Sujoy Ghosh’s new film “Kahaani” has an unusual storyline. A pregnant Vidya Balan scours the city of Kolkata looking for her husband — a man no one seems to have heard of.
For a male-dominated industry that relies on its leading men, director Ghosh says he had no qualms about making a thriller with a woman protagonist and no heroes.
MUMBAI (Reuters) – Once a pipe dream for most filmmakers, a billion-rupee haul at the box-office is slowly becoming the norm for Bollywood films, thanks to the rising number of screens and a focus on smaller towns.
Four films — “Ready”, “Singham”, “Bodyguard” and “Ra.One” — crossed the billion-rupee (100 crore rupees) benchmark in 2011 while Karan Malhotra’s “Agneepath” achieved the milestone this week.