When Raj Kumar signed on for his first Bollywood acting role, the director asked him to lose weight. Kumar was fresh out of film school and determined to make it big, so he started running. And he’s been running for an hour each day since, come rain or shine, even on the notoriously congested roads of Mumbai.
Since his 2010 debut in Dibakar Banerjee’s Love, Sex aur Dhokha, Kumar has worked with some of India’s best known filmmakers but it was his turn as the quiet and industrious sports goods entrepreneur in Kai Po Che this year that got him noticed.
(We have updated this post with a statement from Allen’s publicist)
Woody Allen’s latest movie “Blue Jasmine” will not debut in India this weekend after the filmmaker objected to anti-tobacco ads that the Indian government requires cinemas to play before and during movies that feature scenes with characters smoking.
Allen refused to make “customisations” in the film to accommodate the ads, which led to distributor PVR Pictures cancelling the release, said two sources familiar with the matter. Both sources declined to comment because they were not authorized to talk about it with journalists.
(Any opinions expressed here are those of the author and not of Thomson Reuters)
Ranbir Kapoor is often hailed as the next big thing in Bollywood — a young star who knows what he is doing, chooses his scripts with care and delivers top-notch performances nearly all the time. If that is the case, Kapoor must have had a very bad day at work to say yes to “Besharam” (Shameless).
Abhinav Kashyap’s second film as director is crude, packed with toilet humour, and has no semblance of a plot. “Besharam” is a case study in lazy filmmaking, one that lowers the bar on good taste just to make money at the Bollywood box office. It insults the viewer’s intelligence and is an example of the Hindi film industry’s reluctance to let go of hackneyed storylines that were all the rage two decades ago.
(This post has been updated)
Ritesh Batra, director of the “The Lunchbox,” apologized to the Film Federation of India after accusing the group of corruption because it did not pick his movie as India’s contender for Best Foreign Language Film at the 2013 Academy Awards.
Batra said his intention was to participate in the “vigorous debate” that arose over the selection process for the country’s Oscars entry. His letter to the group came after the federation, which chooses India’s entry for the Academy Awards each year, demanded an “unconditional apology”.
Star India wants to attract English-speaking audiences with a television channel that syndicates the latest seasons of American TV shows such as the counterterrorism thriller Homeland and the comedy Modern Family.
Several channels broadcast U.S. shows in India, but Star World Premiere HD is the first to broadcast episodes a day or two after they air in the United States.
“The Good Road”, a Gujarati-language film, has been chosen as India’s entry to the 2014 Oscars, stealing attention from a critically acclaimed love story that was screened at the Cannes film festival this year.
Gyan Correa’s debut film about two children lost in the Kutch desert won a national award for best Gujarati-language film this year, but was a dark horse among the 22 movies in the running to be India’s official entry to the Oscars in the best foreign film category.
When filmmaker Pawan Kumar wrote an anguished blog post about not having enough money to make a movie, he didn’t expect hundreds of strangers to lend him their savings, no questions asked.
(Any opinions expressed here are those of the author and not of Thomson Reuters) Even if Ritesh Batra’s “The Lunchbox” had been a film with a weak script, wayward direction and too long to hold your attention, there would be still be a reason to watch the film — Irrfan Khan.
Rajkumar Santoshi‘s “Phata Poster Nikhla Hero” unapologetically harks back to Bollywood of the 80s. The characters include the upright mother, the loyal son and the air-headed but charming leading lady. Don’t forget the goofy humour, and the good vs evil fight.
As the protagonist Vishwas Rao (Shahid Kapur) tells a character at the end of the film: I have done everything by now – romanced the heroine, danced with the item girl, fought the villain, and helped the police. Santoshi certainly ticked all the boxes, and if he only knew where to stop, he might have ended up with a better-than-average film.