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Wednesday, April 7, 2010
Katrina to become hurricane kat next
Actress Katrina Kaif, who is playing an item girl opposite Akshay Kumar in Farah Khan's upcoming film Tees Maar Khan, has been named as "Hurricane Katrina" by the movie team.
The team had a good laugh at the expense of Katrina during a wind storm that took over while they were shooting in Malshej Ghat, a tourist spot near Mumbai.
During the wind storm the team would scream "Hurricane Katrina" and tease the 24-year-old actress.
"Malshej Ghat has these common wind storms and they are pretty strong since they have the strength to blow things off the set. At such times when the shooting would come to a halt the team would gang up and tease Katrina about it," a unit source said.
"We shared a couple of laughs on the sets during the wind storm," the source added.
Farah, who has previously directed blockbusters like Main Hoon Naa and Om Shanti Om with good friend Shah Rukh Khan, had created a stir by casting Akshay in the lead. The film is being produced by Farah's husband, Shirish Kunder.
Tuesday, April 6, 2010
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Sharukh : I will dance nude- it was a joke
"Doesn't anyone take a joke anymore," asks Bollywood superstar Shah Rukh Khan after his statement of dancing naked if his team Kolkata Knight Riders wins the ongoing Indian Premier League (IPL) was blown out of proportion by media.
"Read in some paper that I can be taken to court for my dancing in the buff statement at IPL. When will people develop a sense of humour," the actor posted on his Twitter page.
"I just joked about dancing like that at IPL... obviously I won't even if my team wins. Who does? Doesn't anyone take a joke anymore... ha ha," he added.
The actor didn't even hesitate from cracking another joke on the controversy.
"...from now on I am also bathing with my clothes on, ha ha," he said.
Shah Rukh's team presently ranks sixth in the eight-team IPL-3.
Monday, April 5, 2010
Shutter Island Film Review
Shutter Island takes place off the coast of Massachusetts in 1954. I’m sorry, that should be off the coast of Massachusetts! In 1954! since every detail and incident in the movie, however minor, is subjected to frantic, almost demented (and not always un enjoyable) amplification.
The wail of strangled cellos accompanies shots of the titular island, a sinister, rain-lashed outcropping that is home to a mental hospital for the criminally insane! The colour scheme is lurid, and the camera movements telegraph anxiety. Nothing is as it seems. Something terrible is afoot.
Sadly, that something turns out to be the movie itself, directed by Martin Scorsese and adapted by Laeta Kalogridis from a peculiar contraption of a thriller by Dennis Lehane.
Like Shutter Island in the opening scenes, the full dimensions of the catastrophe come into view only gradually. At first everything is fine, or at least not quite right in a way that seems agreeably intriguing.
Scorsese uses his considerable formal dexterity – his intimate, comprehensive understanding of how sound and image work together to create meanings and moods – to conjure a tingly atmosphere of uncertainty and dread.
The vessel of these anxieties is Leonardo DiCaprio, who plays Teddy Daniels, a US marshal taking a ferry ride out to the island to investigate the disappearance of a patient.
DiCaprio, having grown perhaps overly fond of his accent from The Departed, brings it along for the ride, and it spreads through the movie like a contagious disease.
Teddy’s partner (pahtnah), Chuck Aule, played by Mark (Mahk) Ruffalo, is supposed to be from the Pacific Northwest but he seems to have left all his R’s back in Seattle. Michelle Williams pops up in smudgy, color-drenched memories and hallucinations as Teddy’s dead wife, Dolores, her intonations as thick and clammy as chowder.
Those dialect-coached Boston inflections predominate in Shutter Island, but are not the only voices heard on the grounds of the asylum, where the patients perambulate like zombies and the orderlies lurk like vengeful specters.
Ben Kingsley is Dr Cawley, the psychiatrist in charge, with silky upper-crust menace in his voice and a diabolical little beard on his chin. Max von Sydow spouts Freudianisms in insinuating Germanic tones that remind Teddy – and of course not only Teddy – of Nazis, an association that helps to induce gratuitous flashbacks of corpses stacked outside death-camp barracks.
Those images emanate from Teddy’s troubled mind, the status of which is one of the movie’s chief mysteries. There are many others besides. Intimations of conspiracy, supernaturalism, Cold War shenanigans and a whole lot more float around in the atmosphere, which is convulsed by operatically bad weather and the energetic furrowing of DiCaprio’s brow.
As he interviews patients and staff members, trying to figure out how a woman named Rachel Solando could have vanished, barefoot, from her cell, Teddy is plagued by headaches, bad dreams and paranoia. Everyone he talks to seems to be harboring a secret, but what can it be?
Is there some kind of espionage-related psychological experimentation going on? Is it connected in some way to grisly medical research undertaken during the Third Reich? Are Dr Cawley’s methods, which he claims are a humane advance over the cruelty and superstition of the past, really a form of madness in their own right? And what about the strange coincidence that Shutter Island apparently houses the firebug who caused Dolores’ death?
All of these riddles send out tendrils of implication that end up strangling the movie, the plot of which does not so much thicken as clog and coagulate.
Scorsese, ever resourceful, draws on the influence of Alfred Hitchcock, the master of carefully orchestrated psychological confusion, and also nods in the direction of Mario Bava, the Italian horror maestro whose gothic fantasias routinely assert the triumph of sensation over sense.
Scorsese’s camera sense effectively fills every scene with creepiness, but sustained, gripping suspense seems beyond his grasp.
And the movie’s central dramatic problem – the unstable boundary between the reality of Shutter Island and Teddy’s perception of it – becomes less interesting as the story lurches along.
You begin to suspect almost immediately that a lot of narrative misdirection is at work here, as MacGuffins and red herrings spawn and swarm.
But just when the puzzle should accelerate, the picture slows down, pushing poor Teddy into a series of encounters with excellent actors (Emily Mortimer, Jackie Earle Haley, Patricia Clarkson) who provide painstaking exposition of matters that the audience already suspects are completely irrelevant.
Scorsese in effect forces you to study the threads on the rug he is preparing, with lugubrious deliberateness, to pull out from under you. As the final revelations approach, the stakes diminish precipitously, and the sense that the whole movie has been a strained and pointless contrivance starts to take hold.
There are, of course, those who will resist this conclusion, in part out of loyalty to Scorsese, a director to whom otherwise hard-headed critics are inclined to extend the benefit of the doubt.
But in this case the equivocation, the uncertainty, seems to come from the filmmaker himself, who seems to have been unable to locate what it is in this movie he cares about, beyond any particular, local formal concern.
He has, in the past, used characters whose grasp of reality was shaky – or who stubbornly lived in realities of their own making – as vehicles for psychological exploration and even social criticism. But both Teddy’s mind and the world of Shutter Island are closed, airless systems, illuminated with flashes of virtuosity but with no particular heat, conviction or purpose.
The wail of strangled cellos accompanies shots of the titular island, a sinister, rain-lashed outcropping that is home to a mental hospital for the criminally insane! The colour scheme is lurid, and the camera movements telegraph anxiety. Nothing is as it seems. Something terrible is afoot.
Sadly, that something turns out to be the movie itself, directed by Martin Scorsese and adapted by Laeta Kalogridis from a peculiar contraption of a thriller by Dennis Lehane.
Like Shutter Island in the opening scenes, the full dimensions of the catastrophe come into view only gradually. At first everything is fine, or at least not quite right in a way that seems agreeably intriguing.
Scorsese uses his considerable formal dexterity – his intimate, comprehensive understanding of how sound and image work together to create meanings and moods – to conjure a tingly atmosphere of uncertainty and dread.
The vessel of these anxieties is Leonardo DiCaprio, who plays Teddy Daniels, a US marshal taking a ferry ride out to the island to investigate the disappearance of a patient.
DiCaprio, having grown perhaps overly fond of his accent from The Departed, brings it along for the ride, and it spreads through the movie like a contagious disease.
Teddy’s partner (pahtnah), Chuck Aule, played by Mark (Mahk) Ruffalo, is supposed to be from the Pacific Northwest but he seems to have left all his R’s back in Seattle. Michelle Williams pops up in smudgy, color-drenched memories and hallucinations as Teddy’s dead wife, Dolores, her intonations as thick and clammy as chowder.
Those dialect-coached Boston inflections predominate in Shutter Island, but are not the only voices heard on the grounds of the asylum, where the patients perambulate like zombies and the orderlies lurk like vengeful specters.
Ben Kingsley is Dr Cawley, the psychiatrist in charge, with silky upper-crust menace in his voice and a diabolical little beard on his chin. Max von Sydow spouts Freudianisms in insinuating Germanic tones that remind Teddy – and of course not only Teddy – of Nazis, an association that helps to induce gratuitous flashbacks of corpses stacked outside death-camp barracks.
Those images emanate from Teddy’s troubled mind, the status of which is one of the movie’s chief mysteries. There are many others besides. Intimations of conspiracy, supernaturalism, Cold War shenanigans and a whole lot more float around in the atmosphere, which is convulsed by operatically bad weather and the energetic furrowing of DiCaprio’s brow.
As he interviews patients and staff members, trying to figure out how a woman named Rachel Solando could have vanished, barefoot, from her cell, Teddy is plagued by headaches, bad dreams and paranoia. Everyone he talks to seems to be harboring a secret, but what can it be?
Is there some kind of espionage-related psychological experimentation going on? Is it connected in some way to grisly medical research undertaken during the Third Reich? Are Dr Cawley’s methods, which he claims are a humane advance over the cruelty and superstition of the past, really a form of madness in their own right? And what about the strange coincidence that Shutter Island apparently houses the firebug who caused Dolores’ death?
All of these riddles send out tendrils of implication that end up strangling the movie, the plot of which does not so much thicken as clog and coagulate.
Scorsese, ever resourceful, draws on the influence of Alfred Hitchcock, the master of carefully orchestrated psychological confusion, and also nods in the direction of Mario Bava, the Italian horror maestro whose gothic fantasias routinely assert the triumph of sensation over sense.
Scorsese’s camera sense effectively fills every scene with creepiness, but sustained, gripping suspense seems beyond his grasp.
And the movie’s central dramatic problem – the unstable boundary between the reality of Shutter Island and Teddy’s perception of it – becomes less interesting as the story lurches along.
You begin to suspect almost immediately that a lot of narrative misdirection is at work here, as MacGuffins and red herrings spawn and swarm.
But just when the puzzle should accelerate, the picture slows down, pushing poor Teddy into a series of encounters with excellent actors (Emily Mortimer, Jackie Earle Haley, Patricia Clarkson) who provide painstaking exposition of matters that the audience already suspects are completely irrelevant.
Scorsese in effect forces you to study the threads on the rug he is preparing, with lugubrious deliberateness, to pull out from under you. As the final revelations approach, the stakes diminish precipitously, and the sense that the whole movie has been a strained and pointless contrivance starts to take hold.
There are, of course, those who will resist this conclusion, in part out of loyalty to Scorsese, a director to whom otherwise hard-headed critics are inclined to extend the benefit of the doubt.
But in this case the equivocation, the uncertainty, seems to come from the filmmaker himself, who seems to have been unable to locate what it is in this movie he cares about, beyond any particular, local formal concern.
He has, in the past, used characters whose grasp of reality was shaky – or who stubbornly lived in realities of their own making – as vehicles for psychological exploration and even social criticism. But both Teddy’s mind and the world of Shutter Island are closed, airless systems, illuminated with flashes of virtuosity but with no particular heat, conviction or purpose.
Sunday, April 4, 2010
Jiah Khan-Akshay is lucky charm
From heroins like Karisma Kapoor, Raveena Tandon and Shilpa Shetty in the 90's to current beauties Priyanka Chopra and Katrina Kaif, actor Akshay Kumar has proved to be a lucky mascot for many actresses, delivering a number of hits with them.
No wonder, newbie Jiah Khan is hopeful about the prospects of a blooming career post her pairing with Akshay in Housefull.
"Well yes, it's a fact that Akshay Kumar has been a lucky mascot for a lot of actresses over last so many years. However, personally I do believe that everything is not in my hand. I am very spiritual and religious person and so far have believed that God has aided in my journey. It is he (God) who would decide how my journey is going to be in the film industry," Jiah told PTI.
"Of course Housefull is a great prospect for me as well. Akshay is such a huge star and I am one of his leading ladies in the film. Still, the thought of my career seeing a great push after the release of the film is a little scary," said Jiah, who is currently in London.
"Yes, in the past there have been a few things that have gone wrong for me but then I have always believed that this is how God wanted it. If Housefull brings me good work then that would indeed be great. But then I would rather wait for that to happen before making any tall claims," she added.
For the 22-year-old actress, last three years have been quite eventful in Bollywood. After making a beginning with none-other-than Amitabh Bachchan in Ram Gopal Varma's Nishabd (2007), she went on to work along with superstar Aamir Khan in Ghajini (2008).
She apparently shot for a significant portion of the Ken Ghosh directed film Chance Pe Dance opposite Shahid Kapoor, but was later replaced by Genelia D'souza.
Now Jiah arrives in an out and out masala affair like Housefull which is set to hit the theatres on April 30.
"When I look back at the years gone by, I feel I have been truly blessed. I mean to have Big B, Aamir and Akshay as your co-stars in the first three films itself is something that most actors can only dream of.
Akshay has been such a fantastic human being. Whether he is an action hero or a comedian or a serious character or a romantic guy; he is just so superb. I have learnt so much from him as well as Aamir and Amitabh Bachchan during all these years," Jiah said.
It wasn't an easy kick start for her though before she started shooting for Housefull. Since the Sajid Nadiadwala production is her first multi starrer, Jiah was a bundle of nerves working with the cast that includes Deepika Padukone, Lara Dutta, Riteish Deshmukh along with Arjun Rampal, Boman Irani, Chunky Pandey and Randhir Kapoor apart from Akshay.
"That's true, I was really so nervous. I mean Akshay is such a huge star, Riteish has a standing of himself in the industry while Deepika, Lara and others have made a good impact in the industry as well. I have admired them all and I was wondering if I would be able to gel well with them," Jiah said.
"However, all credit to them that they never allowed me to feel aloof or cut off. They were all so mature and professional and loved me to be around them," she added.
Since Housefull has been shot across the globe, it was one big all-expenses paid holiday for the actress.
"Really, I never felt that I was stepping out for work. It was just amazing; more so because I could see so many beautiful locations. Being with the crew was like being a part of the family," Jiah said.
Saturday, April 3, 2010
Friday's role in Cinema's release
FRIDAY, the day in which most of the Tamil movies operate their child to be born in the silver screen. This has become a custom with some actual funda behind it. When a movie hits the silver screen on Friday, which is the last working day in India, the production unit rely on the fact that people tend to approach cinema malls during Friday weekend followed by two weekly holidays. Hence, the production unit tosses the movie on Friday to get good profit immediately in the first three days of the release so that it can act as a psychological advantage to showcase the box office report in the news and media sites. Well this year was quite a boon as it started with FRIDAY, 01-01-2010. But unfortunately not many producers were ready to compete with last year biggies, AVATAR which continued to dominate the box office for nearly 8-10 weeks running at packed houses. All we had was just 3 income tax releases on the opening day of the year, namely, Pugaipadam, Thunichal and Nil Kavani Kadhali. No one even knows that these duds were released on the auspicious day of the year but as usual they did their part not to run more than a week doing justice to their producers.
Now comes the Pongal clash with no movies from the leading stars Ajith and Vijay. It was a peaceful Pongal but we had the Magnum Opus Aayirathil Oruvan, the much-awaited release at last hit the silver screen on Pongal, the Tamil New Year. The movie had mixed reviews from the day it was released and it had also created rich interest amongst the audiences of quality cinema who went a step higher in decoding the nuances in the movie. But in the end, Selva has to re operate his child as the audience failed to understand most of the second half and also chopped a few unnecessary scenes. But the movie made a good show in the business and it was clear winner in the Pongal battle with other movies Kutty, Dhanush starrer failing to do enough business and Porkkalam, which was nothing other than waste of money. The other dark horse in the pongal battle was the Capital Cine Work's Naanayam, which earned decent reviews, but the movie failed to run well because of poor marketing.
Moving to the end of the month, we had close to 5 movies with screens swarming to get the biggies. We had the much-publicized Tamizh Padam, a spoof of popular movies. The movie and the marketing strategy has created enough hype to attract the audience with it's pre release interviews and the famous 'Mirchi' Shiva, doing the lead role, which is a in deed quite a controversy role as he had to spoof the most popular heroes of south. But quite surprisingly the team has managed to keep up their expectations and I would say they lived to their expectations. They spoofed in each and every form from the trailers, songs, names and even the newspaper advertisements. Along with Tamil Padam, we had another Production debutant, Soundarya Rajnikanth came with Venkat Prabhu's Holiday 'Goa'. Venkat Prabhu carried the hopes from Chennai 28 and Saroja but this time, it was more close to a spoof and dry humour. The movie didn't do good business in the box office as it lacked in the fundamental story. Not all movies with Prem Ji can fetch you good profit in the box office is what Venkat Prabhu learned from this movie. The movie which created controversy in the internet media, which was leaked in the internet even before the movie hit the silver screen, Jaggubhai, from KSR and Sarath combo with the comedy legend Goundamani getting back to acting also released along with these two movies. When you don't have content, no matter you create as much hype as you can, Tamil audience has been matured enough to place the movie in the garbage when it does not have any content to satisfy their money that they spent. Jaggubhai clears grabs a place in the wastebasket. Now a days, it has become a principle of telecasting trailors imitating Sun Pictures with a few taglines and punch dialogues from the movie. It was 'Vaaaa Daaaaa' with Vettainkaran where Sun Pictures kept shouting in all their channels to promote their production. We had an english version of 'Vaaa Daaaa' with Dhairiyam, P Kumaran starrer shouting 'Come Onnnnnnnnnnn'.
Who can answer the following question? Name the list of theatres in which Dhairiyam was released? Hint: No of days the movie ran is equal to the list of theatres the movie was released.
Perfect month February first witnessed Ajith's Aasal. With no major hopes because of the production company and with not much pre release hype, the movie literally bombarded at the box office. The fans and the neutral audience did not have any relieving factor that they can cherish for except for the factor 'Ajithkumar' and his so-called screen presence. Another humorous part of the movie was the promotion that they made or rather the promotion from an actor to a co-director Ajith kumar. Sluggish dry humour, senseless songs, irrelevant fights, not-at-all-necessary screenplay has made the movie to find the next place in the waste basket. With this, I hope the end of Charan can soon come. A quarter without Sun Pictures? Defintely not, this time they had an interesting impossible combo of Vishal playing a play boy character in TVP - Theeratha Vilayaatu Pillai. Once again, Sun Pictures proved and stand strong in claiming that 'We will promote only movies with rubbish masala'. Can someone please show them quality movies please?
Failed to release on the Valentine's Day, Vinnai Thaandi Varuvaaya was released towards the end of February. With Gautam's magic the movie stood tall and won several critics and also made good money at the box office. The movie, for the first time had Simbhu with a neat acting and has showcased Trisha as a good and hot heroine. The X factor of the movie is that it made the audience to feel their presence in the movie as it was taken in such a manner that it would have happened in every man's life. Not to forget the Oscar Winner's return to Tamil Cinema after a long gap. The songs are still ruling the box office and each and everyone's hello tune.
The month of March, where every producer scared to release their baby because of the violent IPL season 3 also had a few releases. We had Jai starrer 'Aval Peyar Tamizharasi'. The movie was pretty decent and also did arguable money in the business because of the killer IPL that literally made every human being to sit and watch the match. We also had other few duds like Thambikku Endha Ooru, Veerasekaran, Kumarin Pennin Ullathile and Yaadhu Maagi which won the straight seat in the waste basket. With Chennai Super Kings, literally failing in most of the matches, hope started to shift its focus towards cinema again. At the right time was released Vasantha Balan's Angadi Theru. The movie gave a brilliant portrayal of the Angadi Street and it earned excelled reviews from all corners of the world. With the quarter almost getting over, we wish to see more Angadi Therus and more 1000 in 1 movie to come.
Now comes the Pongal clash with no movies from the leading stars Ajith and Vijay. It was a peaceful Pongal but we had the Magnum Opus Aayirathil Oruvan, the much-awaited release at last hit the silver screen on Pongal, the Tamil New Year. The movie had mixed reviews from the day it was released and it had also created rich interest amongst the audiences of quality cinema who went a step higher in decoding the nuances in the movie. But in the end, Selva has to re operate his child as the audience failed to understand most of the second half and also chopped a few unnecessary scenes. But the movie made a good show in the business and it was clear winner in the Pongal battle with other movies Kutty, Dhanush starrer failing to do enough business and Porkkalam, which was nothing other than waste of money. The other dark horse in the pongal battle was the Capital Cine Work's Naanayam, which earned decent reviews, but the movie failed to run well because of poor marketing.
Moving to the end of the month, we had close to 5 movies with screens swarming to get the biggies. We had the much-publicized Tamizh Padam, a spoof of popular movies. The movie and the marketing strategy has created enough hype to attract the audience with it's pre release interviews and the famous 'Mirchi' Shiva, doing the lead role, which is a in deed quite a controversy role as he had to spoof the most popular heroes of south. But quite surprisingly the team has managed to keep up their expectations and I would say they lived to their expectations. They spoofed in each and every form from the trailers, songs, names and even the newspaper advertisements. Along with Tamil Padam, we had another Production debutant, Soundarya Rajnikanth came with Venkat Prabhu's Holiday 'Goa'. Venkat Prabhu carried the hopes from Chennai 28 and Saroja but this time, it was more close to a spoof and dry humour. The movie didn't do good business in the box office as it lacked in the fundamental story. Not all movies with Prem Ji can fetch you good profit in the box office is what Venkat Prabhu learned from this movie. The movie which created controversy in the internet media, which was leaked in the internet even before the movie hit the silver screen, Jaggubhai, from KSR and Sarath combo with the comedy legend Goundamani getting back to acting also released along with these two movies. When you don't have content, no matter you create as much hype as you can, Tamil audience has been matured enough to place the movie in the garbage when it does not have any content to satisfy their money that they spent. Jaggubhai clears grabs a place in the wastebasket. Now a days, it has become a principle of telecasting trailors imitating Sun Pictures with a few taglines and punch dialogues from the movie. It was 'Vaaaa Daaaaa' with Vettainkaran where Sun Pictures kept shouting in all their channels to promote their production. We had an english version of 'Vaaa Daaaa' with Dhairiyam, P Kumaran starrer shouting 'Come Onnnnnnnnnnn'.
Who can answer the following question? Name the list of theatres in which Dhairiyam was released? Hint: No of days the movie ran is equal to the list of theatres the movie was released.
Perfect month February first witnessed Ajith's Aasal. With no major hopes because of the production company and with not much pre release hype, the movie literally bombarded at the box office. The fans and the neutral audience did not have any relieving factor that they can cherish for except for the factor 'Ajithkumar' and his so-called screen presence. Another humorous part of the movie was the promotion that they made or rather the promotion from an actor to a co-director Ajith kumar. Sluggish dry humour, senseless songs, irrelevant fights, not-at-all-necessary screenplay has made the movie to find the next place in the waste basket. With this, I hope the end of Charan can soon come. A quarter without Sun Pictures? Defintely not, this time they had an interesting impossible combo of Vishal playing a play boy character in TVP - Theeratha Vilayaatu Pillai. Once again, Sun Pictures proved and stand strong in claiming that 'We will promote only movies with rubbish masala'. Can someone please show them quality movies please?
Failed to release on the Valentine's Day, Vinnai Thaandi Varuvaaya was released towards the end of February. With Gautam's magic the movie stood tall and won several critics and also made good money at the box office. The movie, for the first time had Simbhu with a neat acting and has showcased Trisha as a good and hot heroine. The X factor of the movie is that it made the audience to feel their presence in the movie as it was taken in such a manner that it would have happened in every man's life. Not to forget the Oscar Winner's return to Tamil Cinema after a long gap. The songs are still ruling the box office and each and everyone's hello tune.
The month of March, where every producer scared to release their baby because of the violent IPL season 3 also had a few releases. We had Jai starrer 'Aval Peyar Tamizharasi'. The movie was pretty decent and also did arguable money in the business because of the killer IPL that literally made every human being to sit and watch the match. We also had other few duds like Thambikku Endha Ooru, Veerasekaran, Kumarin Pennin Ullathile and Yaadhu Maagi which won the straight seat in the waste basket. With Chennai Super Kings, literally failing in most of the matches, hope started to shift its focus towards cinema again. At the right time was released Vasantha Balan's Angadi Theru. The movie gave a brilliant portrayal of the Angadi Street and it earned excelled reviews from all corners of the world. With the quarter almost getting over, we wish to see more Angadi Therus and more 1000 in 1 movie to come.
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