MUMBAI (Reuters) – When Bollywood film-maker Kunal Deshmukh set out to make “Jannat 2″, a raunchy tale about arms dealing with plenty of swearing and bare skin, he ended up shooting two versions – one for cinema audiences, and the other for television.
Deshmukh was not being extravagant. Like many Indian movie producers and TV broadcasters, he walked a tightrope of catering to the tastes of a rapidly modernising but largely conservative country, whose censors have scant tolerance for adult content.
MUMBAI, May 30 (Reuters) – When Bollywood film-maker Kunal
Deshmukh set out to make “Jannat 2″ (Heaven 2), a raunchy tale
about arms dealing with plenty of swearing and bare skin, he
ended up shooting two versions – one for cinema audiences, and
the other for television.
Deshmukh was not being extravagant. Like many Indian movie
producers and TV broadcasters, he walked a tightrope of catering
to the tastes of a rapidly modernising but largely conservative
country, whose censors have scant tolerance for adult content.
No other tale is as familiar to me as the Mahabharat. Whether it was stories heard in my childhood, animated books that were gifted, or watching B. R. Chopra’s television series over Sunday breakfast, this epic is ingrained in the psyche.
Which is why, when a movie about Arjun comes along, one looks forward to the opportunity to relive some of those stories. Directed by Arnab Chaudhuri, “Arjun – The Warrior Prince” tells the story of the Mahabharat from the point of view of Arjun, the third of the Pandava brothers.
MUMBAI (Reuters) – He’s been called the “best film school” in India and film-maker Anurag Kashyap is living up to his name.
His co-production “Udaan” made it to the Cannes film festival in 2010. This year, three films Kashyap is associated with — his own two-part revenge saga “Gangs of Wasseypur” and “Peddlers” (directed by Vasan Bala) — are being screened at Cannes.
In my head, I always imagine Ram Gopal Varma, sitting in his office, legs up on the table, going through a checklist on the last day of a film shoot. Hyperactive camera angle – check. Lots of fake blood – check. Added some element of “Satya”, “Company” or “Sarkar” to the film – check. Leading ladies showing off cleavage – check.
How else do you explain a film like “Department”? That someone (Varma) thought they could make a film with such tacky production values, a convoluted and weak script, and some scenes that could be straight out of a soft-porn flick, and still convince a major studio to fund it and market it as a A-grade movie, is baffling.
MUMBAI (Reuters) – Bollywood actor Shah Rukh Khan and cricket officials in Mumbai were engaged in a war of words on Thursday hours after the actor’s altercation with security guards and officials at the city’s Wankhede stadium following an Indian Premier League (IPL) cricket match.
Officials of the Mumbai Cricket Association (MCA) filed a police complaint against Khan, accusing him of manhandling and abusing security personnel at the stadium.
You cannot escape Bollywood and the drama that comes with it, not even in the hallowed environs of the Rajya Sabha.
On Monday, as actress Rekha, the newest member of the upper house of India’s parliament took oath, the focus — at least that of the cameras, was on another, older member. Rekha’s short swearing-in ceremony was interspersed with several shots of a very grim-looking Jaya Bachchan.
MUMBAI (Reuters) – The raven-tressed heroine stares adoringly at the handsome Mughal prince, who gazes lovingly back at her – from where they are painted on a Mumbai wall.
The mural of the classic Bollywood film “Anarkali” is the brainchild of a pair of movie buffs, who hope to give Mumbai a distinct Bollywood identity through a series of murals, aiming for the iconic appeal of the “Hollywood” sign in California.
At first glance, Habib Faisal’s “Ishaqzaade” has a lot going for it — there’s some great casting, good direction and performances. The milieu is different — arid, rugged, rural India and this is about feisty, gutsy lovers who are smart enough not to view the world through rose-tinted glasses.
At the halfway mark, Faisal sets up the film so tantalisingly, you can only wonder what surprises he plans on throwing at you. But the second half is somewhat of a let-down. The story goes haywire, characters act out of character, and the whole film sort of ends in a whimper, when it should have ended with a bang — which is how it starts.