Archive for the ‘Bollywood news’ Category
The Pakistan-born Mumbaikar is one of the hottest item dancers Indian screen has ever seen. Mumaith Khan, who debuted with “Dekh Le”, that peppy item number in ‘Munna Bhai MBBS’, symbolises oomph for movie buffs all over India. A great dancer and a passable actor, Mumaith has been getting many offers to act in the lead these days.
Mumaith completes yet another successful year in tinsel town on September 1, her birthday. Happy B’day, Ms Khan!
A much sober and subdued Himesh is heard in “Mann Ka Radio”, the opening track of the film. In the first listening, all one ends up focusing is on lyrics that go as ‘Mann Ka Radio’. Frankly, it’s hard to digest. However, as one gives the number a few repeat hearing, it’s the music and the singing (in Himesh’s new voice) that takes centre stage. What further impresses is the overall soft mood of the song that does the trick. Once the song reaches it’s ‘antra’ portion, one gets to hear a little of Himesh in his vintage style as well. The ‘remix version’ only elevates the song further as it heads straight for the club.
It’s a Western bhangra fusion feel that “Zindagi Jaise Ek Radio” carries. Based on the folk flavor of Punjab and carrying a similarity feel to it, “Zindagi Jaise Ek Radio” is high on rhythm with the ‘dhol’ beats ensuring that the ‘bhangra’ mood is set right away. Himesh gets into his full throated rendition with this number (which also appears in a ‘remix version’) that does come with a sense of deja vu but one doesn’t mind that due to it’s foot tapping ability.
The real album begins though from this stage on as there are six straight songs that bring that side of Himesh that hasn’t been heard in the present times. It’s the sound of guitar strings which begin “Jaaneman”, a soothing number that is sung in almost an unplugged manner. A brilliant track that announces loud and clear the melodic mood that the album develops from here on, “Jaaneman” has minimal instruments in the background with Himesh holding centre-stage. His voice too sounds all smooth-n-silky which makes “Jaaneman” an ideal number for a candle light dinner. Shreya Ghoshal joins Himesh in this romantic outing and makes sure that “Jaaneman” turns out to be one of the best songs to have arrived this year.
Looking at the lyrics of “Piya Jaise Ladoo Motichur Wale”, one would have imagined this to be a celebration number. However, there is a pleasant surprise in store as it turns out to be a semi-classical track which has Rekha Bhardwaj beginning the proceedings. A love song which again has just Rekha’s voice on the forefront with emphasis on the quality of rendition rather than any musical instruments bringing on the beats, ‘Piya Jaise…’ too demonstrates Himesh’s stranglehold over classical music.
In fact Himesh even curbs himself as a singer and only brings him on the scene a couple of times while allowing Rekha to hold centre-stage. Yet another excellent track which only makes one start expecting a lot more from Radio. In fact “Piya Jaise…” would be the last to warrant a ‘remix version’ but Himesh Reshammiya and Akbar Sami make it happen and present it in a format that would make an entry into the lounges and clubs.
Feeling of some pure and unsaid love continues with “Koi Na Koi Chahe” and by this time one gets to know that all the beats and the musical instruments were reserved for the ‘bhangra’ number in the start – “Zindagi Jaise Ek Radio”. That’s because from that point on, none of the songs had focus on anything other than the vocals, something that shows in “Koi Na Koi Chahe”. A ‘raaga’ based love song, this Himesh Reshammiya and Shreya Ghoshal track goes perfectly well with the mood that has been set in ‘Radio’ so far.
The sound of piano marks the beginning of “Teri Meri Dosti Ka Asmaan” and one knows there and then that Himesh has indeed set his heart in for creating the soundtrack of ‘Radio’. If one liked the music of his last brilliant album ‘Ahista Ahista’ then one is bound to grab ‘Radio’ too with both hands, courtesy a song like this which continues the unadulterated feel of the album. Subrat Sinha too spins some interesting lyrics for this number that has Shreyal Ghoshal getting that little girl act well with Himesh giving her company in a full throated rendition.
It isn’t every day that another male singer makes an appearance in a Himesh Reshammiya album; let aside sharing the stage with him. Well, impossible happens in case of “Damadji Angana Hai Padhare” where Kailash Kher gets this opportunity. A number that has a folk base to it, “Damadji…” has Kailash beginning the proceedings. However, two minutes into the song and Himesh enters the scene while bringing a different pitch and momentum. Yet another number that is attached to the roots and stays Indian throughout, it should make for a good situational outing.
It’s back to a romantic duet with Himesh and Shreya coming together for “Shaam Ho Chali Hai”. After “Janeman”, this is the love song that impresses most and deserves to be promoted to the hilt. With a touch of wait and sadness to it, this one too carries a certain ‘pure’ feel to it and stays unconcerned about any commercial trappings. Carrying the kind of sound (that does remind of “In Dino Dil Mera” – Life In A Metro) that is bound to work well with the youth of today who are looking at hearing something different from the usual club outings that are being presented in many a album in recent past, “Shaam Ho Chali Hai” deserves a repeat hearing.
Before the album concludes, Himesh presents himself a solo in the form of “Rafa Dafa Kiya Nahi Nahin Jaaye”. A number about moving on in life, this one is a good attempt by Subrat Sinha as he pens something different from the ‘dard-e-tanhai’ genre that has been beaten to death. A slow moving track that is primarily for situational appeal, it doesn’t harm the overall flow of ‘Radio’ which ultimately turns out to be much more than just a satisfying album.
“I want to do more romance. I’ve actually gotten bored of comedy and action. Yes, I just want to do some romantic films. And that’s what my next thing is going to be,” Akshay told Myleen Klass in an interview for CNN’s “The Screening Room Xtra” programme.
While his fans enjoyed actioners like ‘Khiladi’, ‘Mohra’ and ‘Khiladiyon Ka Khiladi’, Akshay also drew audiences for laugh riots ‘Hera Pheri’, ‘Mujhse Shaadi Karogi’, ‘Welcome’ and ‘Sing Is Kinng’ among others.
“…I’ve done quite a lot of comedy now and I don’t know…sometimes an actor is very sensitive about what he’s doing and where he wants to go ahead and do. I know comedy has worked a lot and it has worked brilliantly for me.
“Earlier, when I used to do action I would never think about comedy and then I started getting into it and I was quite successful. So now I’ve never done a complete romantic film. I did ‘Dhadkan’, which was eight years back. But now I wanna get into it and do at least two or three romantic films now,” said the actor, who entered Bollywood in 1991.
One of the highest earning members of the Hindi film industry, Akshay maintains that there is no sure-shot secret to success, but stressed that hard work and being “a producer’s actor” is essential.
“It’s actually your hard work, your punctuality…Even if you’re not a good actor, to be a producer’s actor is very essential…If you finish your films on time, save a lot of money for the producer. I remember there was a time when I had delivered 14 flops in a row. But I still had movies along with me for a very simple reason, because I was a producer’s actor.”
“I had good films still coming… I had finished all films in a three-month span. Even if they went for loss, they still preferred working with me. And after that, even I thought my career was over. But it still carried on,” Akshay added.
And luck, he said, is of supreme importance for remaining on top.
“I’ve just been lucky… a lot of times I’ve watched my films and I felt it’s not good. And those films worked. Like I tell you another film of mine was “8x10Tasveer”. I love that film… When I saw it, it’s good but it didn’t work at all. So I don’t know exactly what works and what doesn’t work. You just flow. I liked “Chandni Chowk To China”. I did it with Warner Brothers, I was very confident and it didn’t work at all.”
So why didn’t it work?
“I think it was the storyline. Like ‘Kambakkht Ishq’ was another film where that combination got together (Bollywood and Hollywood); so that worked. But this one didn’t. So it’s not the combination, it’s actually the script – and sometimes the script doesn’t work.”
The actor also firmly believes that the blessings of his parents too go a long way in making him the star he is today.
“I would say my success lies at the feet of my parents because that’s been my biggest strength and that’s what we Hindus believe in. Every morning before going to work just touch your parents’ feet and go ahead in life. That’s my personal belief and I followed that in my life. And I told a lot of people and they have also been successful. People may believe it or not, but that’s exactly what I believe in,” Akshay said.
Ghosh occupies the two mutually exclusive yet inseparable world of art and reality with a fluency and effortlessness that takes his characters far beyond the cartel of prototypes.
We see Radhika, trapped in state of marital unhappiness, as not just woman struggling to keep her home and heart together, but also as an individual trying to find her identity against odds that are created mainly in her own mind.
Orson Welles style, the ‘real’ personality of the dead poet emerges in flashbacks that are more cursory than comprehensive. But when has life ever offered complete solutions to the riddle of marriage that has puzzled man and woman for centuries?
Echoes that reach back to the very core of humanity reverberate across this miniature masterpiece on marriage and fidelity. Ghosh’s forte is the unspoken word. The bonds that form between Radhika and her maid and between Radhika and her colleague (Jisshu Sengupta) rely on resonances beyond the rhetoric of interactive art. The director creates room in cramped spaces.
Most of Ghosh’s narrative are vibrant vignettes behind closed doors done up in deep shades of anguish and bitterness. The progression towards a mellower comprehension of the tenderness behind the seeming spousal insensitivity begins after the husband’s death. The irony of loving a spouse after he’s gone is far from lost.
Radhika’s tormented understanding of her dead poet husband’s inner world is laced with luminous moments of revelatory tragedy, leading up to a finale that’s surreal and introspective. The hallucinogenic conclusion where Radhika enters her husband’s poetic world is charming, controlled and yet frightening.
Ghosh’s cinematographer Soumik Haldar shoots the interior of Radhika’s home as a manifestation of her innermost turmoil. She paces the bedroom, speaks to her dead husband, scolds and accuses him, as the family’s silently-observant maid tries to come to terms with the enormity of Radhika’s self-recrimination and loss.
The film is a work suffused with longing for a world that has slipped out of the protagonist’s fingers while she was counting the money in her purse. It’s the illuminating story of a woman’s voyage into the dimmed light of a yesterday that she thought was wretched.
But it was just life.
Finally, the impact of the marital tale depends completely on the central performance. As the working wife who feels her husband has let down their marriage, Bipasha pulls out all stops to deliver her career’s best performance. Her moments of anguish before and after her husband’s deaths are expressed in tones of cathartic conviction that we never knew existed within Bipasha.
In the scene where she shouts against her imaginary husband on his favourite chair, Bipasha furnishes the proceedings with the anguished portrayal of bereavement that perhaps only a Shabana Azmi can equal.
This despite the fact that Bipasha’s voice has been dubbed by a woman who doesn’t really have a say in the character’s portrayal.
But then in an ironic way, isn’t that what the character is all about? The disembodied voice is a reminder of Radhika’s dissociation from her own identity.
Somewhere in finding the centre to her marriage, Radhika lost it. And loss, as we all know, is one helluva upper for art.
Savour the delicacy of Ghosh’s poetic work. And never mind the spoken language. In a true work of art, the sound is the least important component. Listen carefully. You can hear the muffled sound of a broken heart in this film.
“Films have a small impact on society – it can be negative or positive. But the impact is very little. But at the same time I feel movies can make sensible people more sensible and that sense of compassion will make you a better human being,” said Rahul.
“I’m into activism because I just feel like it. I strongly feel it from my heart. In my opinion, if you feel like doing some change for your society, do it from your heart, not from your brain. For me, issues like gender equality, communal harmony, climate change and child rights are of utmost priority. In my case, activism comes very naturally,” he said.
Do you think that an actor should be political?
“I think everybody should be political. Politics plays a major role in our lives. What you wear, where you go, whom you meet… all these are determined by certain politics.”
Talking about the current situation of Bengali cinema, he said: “There are good commercial and art films from Bengal now. Filmmakers like Rituparna Ghosh, Gautam Ghosh, Aparna Sen and Buddhadev Dasgupta are coming with good films. Bengali art films like ‘Kalpurush’ and ‘Anuranan’ are getting critical acclaim.”
The actor says he is open to act in any language movie.
“That is just a matter of good script. If good scripts, directors and film crew are there I am ready to act in any language films, whether it is Tamil or Italian.”
“Mallika can’t steal my limelight – never – let her do whatever she does. That’s her game. That is not my game. I entertain people. I am myself, do my work in a way that I enjoy and connect with my audience so that they remember my work for at least two years,” Irrfan told us. He was here Saturday for the launch of the seventh season of MTV’s adventure reality show ‘Roadies’.
Speaking more about ‘Hisss’, the actor said: “It’s a different kind of action adventure film – a very nice take on a story everyone has seen – ‘Naagin’. But through that story, the writer and director have incorporated the elements of how we as human beings call ourselves advanced and evolved, but actually we have made ourselves blind to nature.
“We have become just a consumer of nature and are only concerned about extracting things for our use, and in the process we are creating a huge crisis. On the surface, it’s just an action sort of a film with lots of nudity and sex and Mallika plays a snakewoman.”
Irrfan, who played the inspector in Danny Boyle’s multiple Oscar winning movie ‘Slumdog Millionaire’, said it would be unfair to reveal his part as it will spoil the essence of the film.
Other films that he is looking forward to include Sanjay Gupta’s ‘Acid Factory’ and ‘Paan Singh Tomar’ – both of which have streaks of action and adventure.
Why this sudden inclination towards the genre?
“I have loved adventure, especially physical sports. When I went to South Africa to shoot for ‘Acid Factory’, I sky-dived 18,000 feet. It gives you an adrenaline rush. As for the choice of genre, it’s not sudden. People have always taken me as a serious actor but I was dying to tell them I am not. As an actor, I need to do all – comedy, tragedy, action and adventure. I want variety,” the actor told us.
Irrfan is also excited about his stint on ‘MTV Roadies 7’, Indian television’s longest running reality show. He will make special appearances to throw open seven twists based on the seven sins – lust, gluttony, greed, sloth, wrath, envy and pride – during the show.
“I agreed on this show for two reasons – because I love action and adventure and because I love travelling. Now I won’t be doing action, but I will be compelling the contestants to do a lot of it. I like the show as it’s a test of mental and physical endurance. It gives you a chance to challenge yourself,” he said.
Media reports had said that Salman called off the trip after Shah Rukh was detained and questioned by immigration officials at Newark airport for over two hours Aug 14.
“This is completely false. Not going to New York was a decision taken by the producers and Salman didn’t even know about it. He is unnecessarily being dragged into all this. We refused to go to the US because the proposal offered to us for the event there was not acceptable to us. That’s it,” Kapoor told us.
“News reports said that Salman was to be in New York Sep 3. That is also completely untrue,” he added.
‘Wanted’, a film by noted choreographer-turned-director Prabhu Deva, stars Salman and Ayesha Takia. The action flick is slated for release Sep 18.