Filmmaker Ashutosh Gowarikar’s has a penchant for incorporating devotional songs in his films. This stems from the director’s love for classical and semi-classical music. After the soothing O paalan hare from Lagaan and the melodious Pal pal hai bhaari from Swades, Gowarikar has included a bhajan, Man Mohana in last weekend’s release, Jodhaa Akbar. Though the song has been rendered by Bela Shende, there is a twist in the tale.
A R Rahman, the music composer for the film, has revealed that Aishwarya Rai, who plays Jodha Bai in the film, was to make her singing debut with Jodhaa Akbar. Originally Gowariker wanted Rai to sing the song as he believed her voice suited the tune very well. Rahman confirms by saying, “Ashutosh strongly felt that Aishwarya could record the song in her own voice, as a bonus.”
However, Ash was extremely busy and did not find time to rehearse when Rahman was available. Eventually, when Ash was ready, Rahman was busy recording something else. The co-ordination for mutually suitable dates didn’t happen. So Bela Shende went ahead and recorded the song. “Man Mohana is a devotional song picturised on Aishwarya’s character, Jodhaa. The lyrics and the composition are inspired by the bhajans and poetry of Meera, the renowned poetess from Akbar’s era,” adds Rahman.
Ash, unlike many of her colleagues in the film industry, has not yet lent her voice as part of a song in any film.
The story of Jodhaa Akbar, based in the 16th century is not just a biopic of Akbar the Great, but narrates the story of what led him to become the greatest emperor of the Mughal era. Rai plays Jodhaa Bai and Hrithik Roshan in the lead character of Jalaluddin Mohammad Akbar in the movie.
Produced at a cost of more than Rs 40 crore, Jodhaa Akbar is perhaps the first big-budget film of this year. Apart from its cost, many factors have made expectations from the film sky high. Right from the many controversies surrounding it, to the fact that the film would directly be compared, to the earlier epic on the life of Akbar—Mughal-e-Azam—is the most important challenge that the film will face. Adding to the pressure is the fact this is Rai’s first film post her wedding into the Bachchan family and Roshan’s next after Dhoom 2.
Courtesy: ExpressIndia.com
Monday, February 18, 2008
Sunday, February 17, 2008
Robot’s invites and Shankar’s eye for detail!
Ground work for Robot, the proposed gargantuan project of director Shankar and superstar Rajinikanth, produced by Ayngaran International has already been on and with the kick off of the launch invitation photo shoot beginning yesterday, the movie has been officially launched.
Shankar is known for his eye for detail and his invitation for the earlier runaway hit Sivaji has been a head turner of sorts. He is said to be an extremely busy man now overseeing the varied aspects of the design, font and the appearance of the title. Knowing Shankar, one can be certain that he will not disappoint the fans.
Superstar – Shankar – Rahman join hands yet again for this magnum opus that is said to be shot in Tamil and many regional languages and Hindi simultaneously. Bachchan bahu Aishwarya plays Rajinikanth’s lead in Robot dispelling rumors surrounding her acceptance of the offer.
Courtesy: Behindwoods.com
Shankar is known for his eye for detail and his invitation for the earlier runaway hit Sivaji has been a head turner of sorts. He is said to be an extremely busy man now overseeing the varied aspects of the design, font and the appearance of the title. Knowing Shankar, one can be certain that he will not disappoint the fans.
Superstar – Shankar – Rahman join hands yet again for this magnum opus that is said to be shot in Tamil and many regional languages and Hindi simultaneously. Bachchan bahu Aishwarya plays Rajinikanth’s lead in Robot dispelling rumors surrounding her acceptance of the offer.
Courtesy: Behindwoods.com
Aamir denies being offered Robot
The latest buzz in the tinsel town is that Aishwarya Bachchan has turned down Shankar's Robot, featuring the South megastar, Rajinikanth. The reason being given is that Aishwarya, who is doing only selective projects, wanted a remuneration in the range of 5 crore plus, which was denied. However, no reliable source has confirmed or contradicted the same.
As may be recalled, Shankar whose last film with Rajinikanth, Shivaji – The Boss, was a blockbuster (both in South as well as Overseas), had first offered the lead role to Shahrukh Khan. The project did not take off with SRK due to creative differences regarding the script. The next we heard was that Aamir Khan was offered Robot, but refused it and Shankar then went back to his trusted lieutenant, Rajinikanth.
However, Aamir Khan has categorically denied that he was ever offered the 100 crore Robot! The actor perfectionist also advised that people should concentrate on his next release, the Ghajini remake, instead of baseless rumours. That should clear up matters, once and for all. Well, we cannot say about others, but we are surely excited about Aamir Khan's action extravaganza, the Ghajini remake!
Courtesy: Oneindia.in
As may be recalled, Shankar whose last film with Rajinikanth, Shivaji – The Boss, was a blockbuster (both in South as well as Overseas), had first offered the lead role to Shahrukh Khan. The project did not take off with SRK due to creative differences regarding the script. The next we heard was that Aamir Khan was offered Robot, but refused it and Shankar then went back to his trusted lieutenant, Rajinikanth.
However, Aamir Khan has categorically denied that he was ever offered the 100 crore Robot! The actor perfectionist also advised that people should concentrate on his next release, the Ghajini remake, instead of baseless rumours. That should clear up matters, once and for all. Well, we cannot say about others, but we are surely excited about Aamir Khan's action extravaganza, the Ghajini remake!
Courtesy: Oneindia.in
Aamir’s ‘Ghajini’ music rights bagged by T-Series
Aamir Khan’s next production ‘Ghajini’ directed by A.R. Murugadoss and produced by Geetha Arts , is gearing up for completion. The film is the Hindi remake of the Tamil blockbuster ‘Ghajini’ that starred Suriya and Asin as the lead pair.
The music right for the film has been given to T-Series.
The film is a fast-paced action-thriller, and is all set to hit the theatres this October. ‘Ghajini’ will be the biggest project of this year for ‘Aamir Khan’.
After ‘Taare Zameen Par’, that made the 9-year-old Darsheel enter into the race of best actor award, the music rights for this film too has been bagged by T-Series.
T-Series has been a player in the market since 24 years and is now a huge $ 90 million business.
Courtesy: Indiaglitz.com
The music right for the film has been given to T-Series.
The film is a fast-paced action-thriller, and is all set to hit the theatres this October. ‘Ghajini’ will be the biggest project of this year for ‘Aamir Khan’.
After ‘Taare Zameen Par’, that made the 9-year-old Darsheel enter into the race of best actor award, the music rights for this film too has been bagged by T-Series.
T-Series has been a player in the market since 24 years and is now a huge $ 90 million business.
Courtesy: Indiaglitz.com
Ghajini remake leaps ahead of OSO!
Every time a ‘big-budget’ film is about to be released, it passes through a stage where it is compared with its predecessors. The film that is under the limelight today is Aamir Khan’s next movie under production, ‘Ghajini Remake’.
Towards the end of last year Shah Rukh Khan starrer ‘Om Shanthi Om’ broke many records and fetched a record breaking Rs. 73 Crores for its rights. Now Aamir’s ‘Ghajini’ has broken this record of OSO and set a new record of fetching a whooping Rs. 90 crores.
Indian Film Company has sold the domestic theatre rights of ‘Ghajini’ for a ‘huge’ 53 Crores. We have reports suggesting that no other Hindi film has been sold for this mammoth sum. Not only this but the satellite, overseas and the home video rights have fetched another 40 Crores, which makes an over all mammoth 93 Crore!
This massive investment flick, which is not yet titled, is a Hindi remake of the Tamil director A.R. Murugadoss Tamil flick ‘Ghajini’. This is the biggest movie for Aamir Khan this year where he is pairing with Asin, a South Indian beauty, who also was the heroine in the original Tamil version.
Reports close to the producer suggest that they are receiving good offers from various distribution houses. They say that they have surpassed any Indian film's record in terms of pre-release sales.
We wish this team all success!
Courtesy: Indiaglitz.com
Towards the end of last year Shah Rukh Khan starrer ‘Om Shanthi Om’ broke many records and fetched a record breaking Rs. 73 Crores for its rights. Now Aamir’s ‘Ghajini’ has broken this record of OSO and set a new record of fetching a whooping Rs. 90 crores.
Indian Film Company has sold the domestic theatre rights of ‘Ghajini’ for a ‘huge’ 53 Crores. We have reports suggesting that no other Hindi film has been sold for this mammoth sum. Not only this but the satellite, overseas and the home video rights have fetched another 40 Crores, which makes an over all mammoth 93 Crore!
This massive investment flick, which is not yet titled, is a Hindi remake of the Tamil director A.R. Murugadoss Tamil flick ‘Ghajini’. This is the biggest movie for Aamir Khan this year where he is pairing with Asin, a South Indian beauty, who also was the heroine in the original Tamil version.
Reports close to the producer suggest that they are receiving good offers from various distribution houses. They say that they have surpassed any Indian film's record in terms of pre-release sales.
We wish this team all success!
Courtesy: Indiaglitz.com
What is A.R.Murugadoss up to?
A.R.Murugadoss has been missing in action from Kodambakkam for a long time. When we finally managed to get hold of him for a quick chat, we asked him to update us on his progress with the much-awaited Hindi remake of Ghajini with Aamir Khan. This is what the director had to say: "Aamir Khan had taken some time off after TZP. He is completely worn out by work, the man works for close to 20 hours a day without any hesitation – so committed and passionate is he towards work. It’s a once in a lifetime experience working with him. He intends to finish off some work towards TZP DVD and then join us. We will start shooting from the first week of March. Watch out for his bald look!"
Next up, we asked him about his association with Rahman: "After the impact of Aamir’s commitment to work, you encounter Rahman’s incredible commitment to work: A.R.Rahman is work himself. He does nothing but music. He lives, breathes, and talks music. But both these people are very socially aware and have a strong opinion on everything happening around them. It’s been fabulous doing music with A.R.Rahman"
On his future projects: "Let me finish this one first. It has taken all my energy. I rarely get a chance to think about something else. But I do have some ideas and I have been talking to few people. Nothing concrete until this movie is complete"
"By the way, the name of the movie is still not finalized", adds Murugadoss, who is well on his way to becoming a star director in the circuit.
Courtesy: Tamilstar.com
Next up, we asked him about his association with Rahman: "After the impact of Aamir’s commitment to work, you encounter Rahman’s incredible commitment to work: A.R.Rahman is work himself. He does nothing but music. He lives, breathes, and talks music. But both these people are very socially aware and have a strong opinion on everything happening around them. It’s been fabulous doing music with A.R.Rahman"
On his future projects: "Let me finish this one first. It has taken all my energy. I rarely get a chance to think about something else. But I do have some ideas and I have been talking to few people. Nothing concrete until this movie is complete"
"By the way, the name of the movie is still not finalized", adds Murugadoss, who is well on his way to becoming a star director in the circuit.
Courtesy: Tamilstar.com
Majority of multiplexes in Indian states defying 'Akbar'
Jodha Akbar makers' troubles don't end with the assault from Rajasthan Rajputs. Majority of Indian multiplex chains like Inox theaters, Adlabs Cinemas, Fame chain, Fun Cinemas, Cinemax, Movietime etc also are shunning the producers and distributor UTV over the film. The movie is slated for release tomorrow however, it won't be much of a launch for the Mughal saga in India which had been hoping to shatter box office records.
The Hrithik Roshan - Aishwarya Rai starrer won't find home at any of the above mentioned multiplexes and single screens owned by these companies. So a total of around 300 prints expected by 'Akbar' will be of no avail.
The film, as it has been well known by now, is under fire from the Hindu formations around the country, with Rajputs taking the lead and calling for a combined nationwide counterstrike from all the states, for what they are calling is gross distortion of theirs and the Hindus' real struggle during the 500 year old era of the Muslims rule over large parts of India. Among the points of distortion they've put forth is the reality of the head queen, a muslim Mariam Zamani who's being depicted as a Hindu Jodha Bai by the Bollywood film.
Courtesy: Ibosnetwork.com
The Hrithik Roshan - Aishwarya Rai starrer won't find home at any of the above mentioned multiplexes and single screens owned by these companies. So a total of around 300 prints expected by 'Akbar' will be of no avail.
The film, as it has been well known by now, is under fire from the Hindu formations around the country, with Rajputs taking the lead and calling for a combined nationwide counterstrike from all the states, for what they are calling is gross distortion of theirs and the Hindus' real struggle during the 500 year old era of the Muslims rule over large parts of India. Among the points of distortion they've put forth is the reality of the head queen, a muslim Mariam Zamani who's being depicted as a Hindu Jodha Bai by the Bollywood film.
Courtesy: Ibosnetwork.com
Box Office: Jodha Akbar opens well below expectations in India
If controversies are expected to boost a film's initial, that hasn't happened in regards to the advance booking of Jodha Akbar.
Though the film is expected to open better overseas, the Friday advance opening of 'biggest film of the year' in India is well below expectations. Chennai is at 85% which is good but not recordbreaking. Delhi is hovering around 65%. Bombay is trailing at 60% and Calcutta follows even tad below. Indore is around the 60% mark. Centers across Rajasthan are of course 0% because they aren't even letting the movie open there. The figures are mostly off single screen theaters as most multiplex chains nationally have bypassed the film till now.
The single screens were expected to be entirely sold out and yet they are only opening at just about above average/average. So for a film being mounted on a historic scale and budget, starring Hrithik Roshan and Aishwarya Rai, and billed on par with Mughaleazam by critics in reviews, the box office initial has come as a shocker.
Nationally, the film is not releasing in hundreds of theaters due to various issues with the theater chains, and that has not augured well for it either with almost 50% of its prints unable to earn. It will definitely impact opening week collections now, as will the fact of state of Rajasthan blocking the film out entirely. Right now the previously defiant filmmakers are desperately hoping the ban on Jodhaa Akbar doesn't cross over into other states of India.
Courtesy: Ibosnetwork.com
Though the film is expected to open better overseas, the Friday advance opening of 'biggest film of the year' in India is well below expectations. Chennai is at 85% which is good but not recordbreaking. Delhi is hovering around 65%. Bombay is trailing at 60% and Calcutta follows even tad below. Indore is around the 60% mark. Centers across Rajasthan are of course 0% because they aren't even letting the movie open there. The figures are mostly off single screen theaters as most multiplex chains nationally have bypassed the film till now.
The single screens were expected to be entirely sold out and yet they are only opening at just about above average/average. So for a film being mounted on a historic scale and budget, starring Hrithik Roshan and Aishwarya Rai, and billed on par with Mughaleazam by critics in reviews, the box office initial has come as a shocker.
Nationally, the film is not releasing in hundreds of theaters due to various issues with the theater chains, and that has not augured well for it either with almost 50% of its prints unable to earn. It will definitely impact opening week collections now, as will the fact of state of Rajasthan blocking the film out entirely. Right now the previously defiant filmmakers are desperately hoping the ban on Jodhaa Akbar doesn't cross over into other states of India.
Courtesy: Ibosnetwork.com
Kareena romances a bald Aamir in "Ghajni"
The actor will shoot for the Hindi remake of Ghajini next month The post-release promotions of Taare Zameen Par have ensured that Aamir Khan has had no time for his next release, the Hindi remake of Ghajini. The star will now start shooting for it in the first week of March and will go bald for it soon.
An industry source says, "Aamir is staying true to his reputation
of being a perfectionist. Aamir is currently very busy giving final touches to TZP's DVD. He is adding in a whole host of different extras, which include commentaries and the detailed making of the film. This is what the actor is also busy shooting for and that's why he hasn't been able to give time to his next release."
"Aamir was to shoot for the film by the end of January but had asked the producers of the film some time off for TZP. They kept waiting for over two months; and now, Aamir has finally given them dates."
Director A R Murugadoss said, "We are shooting from next month and yes, Aamir is going bald. We have his dates from the first week of March for a good 40 days. The movie has about 60 more days of shooting left and we plan for a December release. The movie is still untitled."
Courtesy: Indiatarget.com
An industry source says, "Aamir is staying true to his reputation
of being a perfectionist. Aamir is currently very busy giving final touches to TZP's DVD. He is adding in a whole host of different extras, which include commentaries and the detailed making of the film. This is what the actor is also busy shooting for and that's why he hasn't been able to give time to his next release."
"Aamir was to shoot for the film by the end of January but had asked the producers of the film some time off for TZP. They kept waiting for over two months; and now, Aamir has finally given them dates."
Director A R Murugadoss said, "We are shooting from next month and yes, Aamir is going bald. We have his dates from the first week of March for a good 40 days. The movie has about 60 more days of shooting left and we plan for a December release. The movie is still untitled."
Courtesy: Indiatarget.com
Aamir's Ghajini sells for a record Rs 90 cr
Bollywood is on a roll. And the Khans are climbing over each other to make it to the top slot. 2007 clearly belonged to Shah Rukh Khan. Between Chak De India , for which he won accolades and which went on to become a huge box-office hit, and his home production Om Shanti Om that was sold for Rs 73 crore (all inclusive) SRK plundered, emerging the largest-grossing Khan last year.
2008 is barely into its second month. And another Khan, Aamir has just this minute made history. The remake of Ghajini , a thriller that has Aamir, Jiah Khan and Asin in the lead has, according to market sources, been picked up for a record Rs 90 crore (all inclusive).
Says a Bollywood trade analyst, " Ghajini has fetched more than Rs 90 crore in the sale of its distribution rights. Reportedly, Indian Film Company, one of the major film distribution houses, has picked up the domestic theatrical rights for more than Rs 50 crore. The film has garnered an additional Rs 40 crore in the sales of overseas, satellite, home video and music." Bollywood is ecstatic that the sale of the worldwide rights of films has seen a jump of nearly Rs 17 crore in just three months. Om Shanti Om was released on November 9, 2007. And Ghajini is likely to come after Diwali of 2008.
Confirming the news about the biggest-ever Bollywood film deal, producer Allu Arvind says, "We had been getting offers from various distribution houses for the film. Yes, the cumulative figure of the rights’ sale is above anything that a film has received so far. But we have selected our distribution partners not just for the price they have offered, but also for the value they bring as distributors and marketers."
And Sandeep Bhargava of Indian Film Company adds, "We have acquired the domestic distribution rights of the remake of Ghajini."
Bhargava refuses to talk money but he says, "Its one of the biggest films of the year and we are proud to be associated with it. The acquisitions of Welcome and Jab We Met have paid up for us and this year we have the Ghajini remake along with Singh is King . The revenue structure in the business is undergoing a change and the ability to maximise the returns is proving to be vital. We hope to add to our revenues through these anticipated films."
Even as film corporations make movie acquisitions at unheard of prices, there is a conservative section of Bollywood producers who warn the exorbitant price structures may just upset the apple cart.
"It has become impossible for an independent producer to make movies," says the source.
"Post Welcome , someone like Nana Patekar is demanding Rs 7 crore and Sanjay Dutt has signed a couple of deals for Rs 18 crore per film. If a star charges these prices, naturally world wide rights of cinema will soon cross the Rs 100 crore mark."
Courtesy: Indiatimes.com
2008 is barely into its second month. And another Khan, Aamir has just this minute made history. The remake of Ghajini , a thriller that has Aamir, Jiah Khan and Asin in the lead has, according to market sources, been picked up for a record Rs 90 crore (all inclusive).
Says a Bollywood trade analyst, " Ghajini has fetched more than Rs 90 crore in the sale of its distribution rights. Reportedly, Indian Film Company, one of the major film distribution houses, has picked up the domestic theatrical rights for more than Rs 50 crore. The film has garnered an additional Rs 40 crore in the sales of overseas, satellite, home video and music." Bollywood is ecstatic that the sale of the worldwide rights of films has seen a jump of nearly Rs 17 crore in just three months. Om Shanti Om was released on November 9, 2007. And Ghajini is likely to come after Diwali of 2008.
Confirming the news about the biggest-ever Bollywood film deal, producer Allu Arvind says, "We had been getting offers from various distribution houses for the film. Yes, the cumulative figure of the rights’ sale is above anything that a film has received so far. But we have selected our distribution partners not just for the price they have offered, but also for the value they bring as distributors and marketers."
And Sandeep Bhargava of Indian Film Company adds, "We have acquired the domestic distribution rights of the remake of Ghajini."
Bhargava refuses to talk money but he says, "Its one of the biggest films of the year and we are proud to be associated with it. The acquisitions of Welcome and Jab We Met have paid up for us and this year we have the Ghajini remake along with Singh is King . The revenue structure in the business is undergoing a change and the ability to maximise the returns is proving to be vital. We hope to add to our revenues through these anticipated films."
Even as film corporations make movie acquisitions at unheard of prices, there is a conservative section of Bollywood producers who warn the exorbitant price structures may just upset the apple cart.
"It has become impossible for an independent producer to make movies," says the source.
"Post Welcome , someone like Nana Patekar is demanding Rs 7 crore and Sanjay Dutt has signed a couple of deals for Rs 18 crore per film. If a star charges these prices, naturally world wide rights of cinema will soon cross the Rs 100 crore mark."
Courtesy: Indiatimes.com
'Akbar' pleads for security from getting taken down
As Jodha Akbar (Hrithik Roshan - Aishwarya Rai) is about to release, tensions are high for the film's viewers' safety in the state of Rajasthan and possibly elsewhere.
So UTV and Ronnie Screwvala have now filed an appeal to the court of Jaipur through a judge Mohammad Rafiq, to help Jodha Akbar succeed its way in Rajasthan.
The issue however is beyond the judge and about security to be provided by the BJP Rajasthan government. And it is a dicey one in Rajasthan where elections are due soon, as the BJP government can not afford to alienate its Rajasthan constituency by being seen as providing cover to Jodha Akbar.
Several Hindu organizations, claiming the film to be grossly distortive and politically motivated, have threatened to take to the streets if Jodha Akbar was brought to Rajasthan.
However in many parts, theaters are alleged to have refused Jodhaa Akbar on their own, and the rest that are screening it are doing so under threat of Hindu Rajput attacks.
Courtesy: Ibosnetwork.com
So UTV and Ronnie Screwvala have now filed an appeal to the court of Jaipur through a judge Mohammad Rafiq, to help Jodha Akbar succeed its way in Rajasthan.
The issue however is beyond the judge and about security to be provided by the BJP Rajasthan government. And it is a dicey one in Rajasthan where elections are due soon, as the BJP government can not afford to alienate its Rajasthan constituency by being seen as providing cover to Jodha Akbar.
Several Hindu organizations, claiming the film to be grossly distortive and politically motivated, have threatened to take to the streets if Jodha Akbar was brought to Rajasthan.
However in many parts, theaters are alleged to have refused Jodhaa Akbar on their own, and the rest that are screening it are doing so under threat of Hindu Rajput attacks.
Courtesy: Ibosnetwork.com
Jodhaa Akbar not released in Rajasthan
Two long years in the making, with controversy hounding it, Jodha Akbar finally hit screens on Friday, and as per early reports it seems to be well worth the wait.
Gowarikar's magnum opus has not released in Rajasthan, after protests by some Rajput groups.
Cinema hall owners in Rajasthan were still unsure till Thursday about screening the movie amid aggressive protests.
Activists of the Karni Sena wrote letters in blood against the film's release and submitted it to theatre owners while Bollywood distributers were trying to pursuade them to call off their stir at the last minute.
Karni Sena patron Lokendra Kalvi said they would not stop the film but the Vasundhara Raje government would be held ''resposible'' if any untoward incidents occurred.
''The Rajputs cannot tolerate any distortion of historical facts, especially relations between the Mughal emporor Akbar and Jodhabai,'' he told reporters.
Anil Thadani, husband of actress Raveena Tandon who is also a well-known distributer for Mumbai territory, was holding talks with the Karni Sena.
Meanwhile, the Home Department has decided not to ban the Gowarikar's film and directed that law and order be maintained around all theatres of the state, Jaipur District Collector Khil Arora said.
The Rajasthan High Court had on Wednesday dismissed a petition seeking restraining orders against leaders of Rajput Sabha and Karni Sena but asked the government to ensure law and order
Courtesy: Ndtv.com
Gowarikar's magnum opus has not released in Rajasthan, after protests by some Rajput groups.
Cinema hall owners in Rajasthan were still unsure till Thursday about screening the movie amid aggressive protests.
Activists of the Karni Sena wrote letters in blood against the film's release and submitted it to theatre owners while Bollywood distributers were trying to pursuade them to call off their stir at the last minute.
Karni Sena patron Lokendra Kalvi said they would not stop the film but the Vasundhara Raje government would be held ''resposible'' if any untoward incidents occurred.
''The Rajputs cannot tolerate any distortion of historical facts, especially relations between the Mughal emporor Akbar and Jodhabai,'' he told reporters.
Anil Thadani, husband of actress Raveena Tandon who is also a well-known distributer for Mumbai territory, was holding talks with the Karni Sena.
Meanwhile, the Home Department has decided not to ban the Gowarikar's film and directed that law and order be maintained around all theatres of the state, Jaipur District Collector Khil Arora said.
The Rajasthan High Court had on Wednesday dismissed a petition seeking restraining orders against leaders of Rajput Sabha and Karni Sena but asked the government to ensure law and order
Courtesy: Ndtv.com
Jodhaa Akbar is okay, but overlong
In Ashutosh Gowariker's Jodhaa Akbar, there is a particularly outstanding song sequence that must be praised. The titular couple's wedding banns have just taken place, and a group of singers sit cross-legged to offer the lord tribute. Each of them sounding suspiciously like AR Rahman, the minstrels break into the touching Khwaja Mere Khwaja and take the track to an almost trance-like happiness, the two backup singers even looking nearly identical.
Hrithik Roshan , playing the Emperor of Hindustan, watches this with first bemusement and then, curiousity. Wordlessly, he leaves his throne and joins the dervishes as they whirl, gracefully entering into the trance with feckless fervour. It is a strong, well-performed scene, telling a tale and insightfully revealing a character by a mere gesture, a showing of mood.
If only... if only the entire film was made with such restraint.
Don't get me wrong, Jodhaa Akbar is not a bad film at all. It's just not great and -- despite the daunting three and a half hour length -- it could well have been. Heck, Spartacus was longer and Mughal-E-Azam only a trifle shorter, and both 1960 releases hit immortality. Historicals, it can almost be said, deserve an extra hour of running time.
That doesn't mean, however, that we thus go overboard the tragic way Ashutosh does. He is a fine director, no question, and while there is no scene in this film that makes you cringe, there is much waste. This film works when treated as a simple, compelling romance between an unlikely wedded couple, but outside of it, Gowariker falls prey to all the big-budget trappings.
'These are my sets, see how they glisten,' the director seems to croon as he shows off big rooms and elaborate costumes. Again, there is no fundamental problem with this, provided the action within has some substance, or at least style. But the royal intrigue is predictable, the characters obvious and underwritten.
In contrast to the well-handled moments between Jodhaa and Akbar, the rest of the film seems contrived and weighed down -- both by a pressing need to live up to scale as well as the director's undeniable soap-opera sensibilities. (The latter is exhibited best in the close-ups and the abruptly cacophonic background score.) Hence the romance works, but the history, well, seems to be getting laboriously in the way.
I'm not even going to touch on fact and fiction. The best historicals have little to do with the truth, and let's just give a filmmaker benefit of doubt and the license to have his own interpretation of a period with varied chronicles. But palace intrigue and dramatic conspiracy can be cinematic and entertaining without having to be simplistic and even banal. There is no air of urgency, and no surprise as the antagonists -- from rivals to elephants -- obediently fall over, on cue.
Hrithik Roshan and Aishwarya Rai in Jodhaa AkbarAnd the falling is, unfortunately, sloppy. The director can handle romance and emotional conversations well, as we are well aware, and war is just not his forte. Soldiers charge at each other visibly trying to hold back, and while I'm sure hundreds or thousands of extras are impossible to control, the battle sequences are amateurish to an embarrassing extreme. They might have worked if shown in fits and spurts, swords thrust strongly in rapidly edited montages set to a peaking score, but here we are shown long and tiresome battle sequences -- scenes where we see extras twirling weapons and jabbing the air pointlessly. Tsk.
Still, the romance. The film has a good and solid heart, and the story, of a conquering, defiant young king -- this one really was meant to be princeling for a while longer -- taking a bride for strategic reasons and then falling helplessly in love with her unbridled spirit, is a winner. The movie is a treat in the inventive scenes where Jodhaa (Aishwarya Rai Bachchan) stands up to Akbar, the Rajput princess in no way ready to yield without a fight. Literally.
Their chemistry is palpable, and the two undoubtedly pretty protagonists do well to keep the heat alive through their every on-screen interaction. Jodhaa makes Akbar wait an exasperatingly long time, and Gowariker makes this gradual evolution of their relationship work, their love building only alongside their increasing respect for one another.
Roshan proves to be a very good Akbar. There are times when his inflection seems too modern, but the actor gives the performance his all, slipping into the skin of the character and staying there. He has the right air of cocksure arrogance and bearing, also managing to convey the Emperor's sharpness. Gowariker tosses him a topless sword-practice scene graphic enough to be labeled gratuitous, and not just does the actor take it in his stride impressively well, but even makes it charming in the way he smirks for his queen. Hrithik is an increasingly remarkable blend of tremendous screen presence and acting conviction, and seems to be getting better with each film.
Aishwarya, pretty as ever, is not given much dialogue, a directing masterstroke. The actress looks stunning -- and is photographed very well indeed -- and while her sentimental scenes and tear-filled speeches are often flinch-worthy (inspiring sympathy for the Emperor persistently trying to woo her), she does rather well when she's feisty and combative. Her parries, accompanied by near Seles-ic grunts, are practiced hard and look more real than the king's, as if she'd gleefully cut through chainmail vests if she could. Her eyes are a mega asset here, and the director uses them perfectly, taking them from subdued pain to injured pride, all the way to roaring warrior-girl killer eyes, flashing in glorious isolation while the rest of her startling face is covered.
Punam Sinha in Jodhaa AkbarTo nobody's surprise, Gowariker populates his film with a great supporting cast. Nikitin Dheer, Pramod Moutho and Visshwa Badola deserve to be singled out, as does the one and only Raza Murad -- if only for that magnificent voice. Sonu Sood, as the queen's brother, is given a powerful role, but he plays it with such old-school grandeur that it almost seems spoofy. Punam Sinha and Manava Naik do very strongly, while Ila Arun hams it up bigtime.
All in all, it's an okay film. There is a very nice love story somewhere under all the blockbustery bluster, and its characters work brilliantly together. The rest of the film is naive and simplistic, but Gowariker's enough of a craftsman to get his detailing right, his performances restrained and make sure even the melodrama has panache. There is skill here, but it is killed by a devastating lack of economy.
To paraphrase screenwriting guru Syd Field, a scene should be entered as late as possible and exited as early. Gowariker does the complete opposite, lingering on inexplicably as he eavesdrops on his characters in attempts to brood to build mood.
While his intent is great, this movie -- coming after his last film, the well-intentioned but drastically overlong Swades -- shows that perhaps Gowariker -- a fine handler of actors and emotions -- isn't best suited toward cinema as an art form. A killer six or 12 episode big-budget television miniseries perhaps? Like a Tamas, maybe? I have a feeling he'd be super there.
Courtesy: Rediff.com
Hrithik Roshan , playing the Emperor of Hindustan, watches this with first bemusement and then, curiousity. Wordlessly, he leaves his throne and joins the dervishes as they whirl, gracefully entering into the trance with feckless fervour. It is a strong, well-performed scene, telling a tale and insightfully revealing a character by a mere gesture, a showing of mood.
If only... if only the entire film was made with such restraint.
Don't get me wrong, Jodhaa Akbar is not a bad film at all. It's just not great and -- despite the daunting three and a half hour length -- it could well have been. Heck, Spartacus was longer and Mughal-E-Azam only a trifle shorter, and both 1960 releases hit immortality. Historicals, it can almost be said, deserve an extra hour of running time.
That doesn't mean, however, that we thus go overboard the tragic way Ashutosh does. He is a fine director, no question, and while there is no scene in this film that makes you cringe, there is much waste. This film works when treated as a simple, compelling romance between an unlikely wedded couple, but outside of it, Gowariker falls prey to all the big-budget trappings.
'These are my sets, see how they glisten,' the director seems to croon as he shows off big rooms and elaborate costumes. Again, there is no fundamental problem with this, provided the action within has some substance, or at least style. But the royal intrigue is predictable, the characters obvious and underwritten.
In contrast to the well-handled moments between Jodhaa and Akbar, the rest of the film seems contrived and weighed down -- both by a pressing need to live up to scale as well as the director's undeniable soap-opera sensibilities. (The latter is exhibited best in the close-ups and the abruptly cacophonic background score.) Hence the romance works, but the history, well, seems to be getting laboriously in the way.
I'm not even going to touch on fact and fiction. The best historicals have little to do with the truth, and let's just give a filmmaker benefit of doubt and the license to have his own interpretation of a period with varied chronicles. But palace intrigue and dramatic conspiracy can be cinematic and entertaining without having to be simplistic and even banal. There is no air of urgency, and no surprise as the antagonists -- from rivals to elephants -- obediently fall over, on cue.
Hrithik Roshan and Aishwarya Rai in Jodhaa AkbarAnd the falling is, unfortunately, sloppy. The director can handle romance and emotional conversations well, as we are well aware, and war is just not his forte. Soldiers charge at each other visibly trying to hold back, and while I'm sure hundreds or thousands of extras are impossible to control, the battle sequences are amateurish to an embarrassing extreme. They might have worked if shown in fits and spurts, swords thrust strongly in rapidly edited montages set to a peaking score, but here we are shown long and tiresome battle sequences -- scenes where we see extras twirling weapons and jabbing the air pointlessly. Tsk.
Still, the romance. The film has a good and solid heart, and the story, of a conquering, defiant young king -- this one really was meant to be princeling for a while longer -- taking a bride for strategic reasons and then falling helplessly in love with her unbridled spirit, is a winner. The movie is a treat in the inventive scenes where Jodhaa (Aishwarya Rai Bachchan) stands up to Akbar, the Rajput princess in no way ready to yield without a fight. Literally.
Their chemistry is palpable, and the two undoubtedly pretty protagonists do well to keep the heat alive through their every on-screen interaction. Jodhaa makes Akbar wait an exasperatingly long time, and Gowariker makes this gradual evolution of their relationship work, their love building only alongside their increasing respect for one another.
Roshan proves to be a very good Akbar. There are times when his inflection seems too modern, but the actor gives the performance his all, slipping into the skin of the character and staying there. He has the right air of cocksure arrogance and bearing, also managing to convey the Emperor's sharpness. Gowariker tosses him a topless sword-practice scene graphic enough to be labeled gratuitous, and not just does the actor take it in his stride impressively well, but even makes it charming in the way he smirks for his queen. Hrithik is an increasingly remarkable blend of tremendous screen presence and acting conviction, and seems to be getting better with each film.
Aishwarya, pretty as ever, is not given much dialogue, a directing masterstroke. The actress looks stunning -- and is photographed very well indeed -- and while her sentimental scenes and tear-filled speeches are often flinch-worthy (inspiring sympathy for the Emperor persistently trying to woo her), she does rather well when she's feisty and combative. Her parries, accompanied by near Seles-ic grunts, are practiced hard and look more real than the king's, as if she'd gleefully cut through chainmail vests if she could. Her eyes are a mega asset here, and the director uses them perfectly, taking them from subdued pain to injured pride, all the way to roaring warrior-girl killer eyes, flashing in glorious isolation while the rest of her startling face is covered.
Punam Sinha in Jodhaa AkbarTo nobody's surprise, Gowariker populates his film with a great supporting cast. Nikitin Dheer, Pramod Moutho and Visshwa Badola deserve to be singled out, as does the one and only Raza Murad -- if only for that magnificent voice. Sonu Sood, as the queen's brother, is given a powerful role, but he plays it with such old-school grandeur that it almost seems spoofy. Punam Sinha and Manava Naik do very strongly, while Ila Arun hams it up bigtime.
All in all, it's an okay film. There is a very nice love story somewhere under all the blockbustery bluster, and its characters work brilliantly together. The rest of the film is naive and simplistic, but Gowariker's enough of a craftsman to get his detailing right, his performances restrained and make sure even the melodrama has panache. There is skill here, but it is killed by a devastating lack of economy.
To paraphrase screenwriting guru Syd Field, a scene should be entered as late as possible and exited as early. Gowariker does the complete opposite, lingering on inexplicably as he eavesdrops on his characters in attempts to brood to build mood.
While his intent is great, this movie -- coming after his last film, the well-intentioned but drastically overlong Swades -- shows that perhaps Gowariker -- a fine handler of actors and emotions -- isn't best suited toward cinema as an art form. A killer six or 12 episode big-budget television miniseries perhaps? Like a Tamas, maybe? I have a feeling he'd be super there.
Courtesy: Rediff.com
Friday, February 15, 2008
Ash dispels rumours,says: I will star in Robot
Ashwariya Rai’s commitment to Robot came in for some heavy discussion yesterday. Nearly all sections of the media had recently carried reports of Ash being offered the female lead role in Robot for an astounding sum, making her the top paid actress in the entire country. But only yesterday reports were floating around of Ash pulling out of the movie, citing her pregnancy as a reason. Robot, a 24 month project, was too long a time for her to be away from home, seemed to be the implication.
Dispelling these reports strongly, Ash today said that she is committed to Robot; that she admires Shankar for always being a step ahead of any other filmmaker when it came to making cutting edge techno savvy movies. Excited about working with Rajinikanth, she had nothing but praise for him. Rajini is an institution personified, she added, and she would never miss out on an opportunity to work with him.
And here’s further proof of Ash’s commitment to the film industry: The actress, along with her husband Abhishek Bachchan, will star in one more Mani Ratnam film. And no! This is not a Tamil film but Hindi.
Courtesy: Behindwoods.com
Dispelling these reports strongly, Ash today said that she is committed to Robot; that she admires Shankar for always being a step ahead of any other filmmaker when it came to making cutting edge techno savvy movies. Excited about working with Rajinikanth, she had nothing but praise for him. Rajini is an institution personified, she added, and she would never miss out on an opportunity to work with him.
And here’s further proof of Ash’s commitment to the film industry: The actress, along with her husband Abhishek Bachchan, will star in one more Mani Ratnam film. And no! This is not a Tamil film but Hindi.
Courtesy: Behindwoods.com
Thursday, February 14, 2008
'Filmmaking is not for the faint-hearted'
With Jodhaa Akbar ready to roll out across over 1,200 theatres worldwide -- at least 125 of them in North America -- distributor and co-producer UTV expects another breakthrough hit. For UTV Chairman Ronnie Screwvala, there cannot be any real business without calculated risks.
Ronnie Screwvala
Screwvala is emerging as the first India-based film producer to co-produce films in Hollywood with film companies associated with Sony and Fox Searchlight.
In India, he is steadily emerging as a producer with rare vision, courage and success. 'He is 'the frontrunner in the race to become Bollywood's Jack Warner -- the man who transformed parochial American cinema into its modern global form,' declared Newsweek recently.
In June, Screwvala's biggest Hollywood venture yet, the sci-fi film The Happening, directed by M Night Shyamalan, will roll out to more than 2500 theatres in North America.
What is special about Jodhaa Akbar?
It is a visually stunning and superbly directed film about a little known aspect of Indian history. People know of Akbar, his rebellious son and Anarkali. People also know that Jodhaa was a Rajput wife of Akbar. But how many of us have known this great love story and the mystical bond between the two?
Aishwarya and Hrithik in Jodhaa AkbarSome people may say this is a period film, this is history and it may not be exciting...
The story of the film takes place in the 16th century but the film feels like a contemporary movie. It is a love story for our times. It was left to Ashutosh Gowariker to make a film of such huge magnitude and intensity that future generations may speak of Jodhaa and Akbar in the same breath they would talk about Akbar's rebellious son Salim and Anarkali, the dancing girl.
What is the buzz for the movie like?
I feel there is tremendous excitement for this film and for good reasons. Those who have seen the previews know they have glimpsed something unseen in Indian films. The word is out that the scale on which this film has been made is unprecedented. It is also Hrithik Roshan's first film in a year, and the audiences are expecting an excellent on screen chemistry between Aishwarya Rai Bachchan (Jodhaa) and Hrithik (Akbar). And people expect Ashu to have made a film even more engrossing and timely than his best work to date, Lagaan [Images].
But the film also runs more than three hours...
It has so much of intrigue and drama, apart from romance, that there would not be any dull moment in it. What is Ashu excellent is at telling a beautiful story while the spectacle unfolds and the screen is filled with great visuals and that is the biggest strength of the film.
Why will the film resonate with audiences today?
One of the reasons, we expect the film to reach wide audiences is due to the important fact that it is more of a love story than a historical film. It is not what you think as a traditional period or historical film. History serves as a backdrop to tell a marvelous story that looks not only at an unusual alliance between Jodhaa and Akbar but also at the religious, cultural and political issues of the times.
What would be some of the issues it addresses?
The film also deals with the issue of arranged marriage. Arranged marriages are quite common across India even today but how many of them are successful like that of Jodhaa and Akbar? The film could ignite new discussions about arranged marriages and love marriages. We expect people to come out of the screenings, talking a lot about the old times and their own lives.
There will be a lot of curiosity how the film opens.
I feel it is not going to be a two or three week phenomenon. It could become a long running hit.
What kind of repeat value does the film have?
We expect people to enjoy the spectacle and romance the first time they see the film. But we also expect many to return to the theatres a few days later to get more of the story, character developments and various underlying themes of the film.
Such things happen in the case of literary mystery books. People rush through the book for the suspense and then return to enjoy its language.
Certainly. Among the many films we have released some have had strong repeat audiences. Rang De Basanti [Images] was one. And I expect a similar reaction to Jodhaa Akbar, too.
Who would be the audience for Jodhaa Akbar abroad?
It will be playing primarily in the Diaspora market. But I would not be surprised if the word about the film gets out, and there would be some crossover audiences. It has the scale and appeal of a mainstream Hollywood film.
You have produced films like Jodhaa Akbar, The Namesake [Images], Life In A... Metro and Rang De Basanti that many others would have shunned or considered risky.
These are calculated risks. Once we are convinced -- and a lot depends on the script and the commitment of the director -- we greenlight the project within a few days. When Anurag Basu came to us with the proposal for Life In A ...Metro, we liked the concept immediately. I was fascinated that a band would be featured in the film and it would be used to propel the story. The gut feeling worked out to be true.
What would you tell younger filmmakers who are planning to produce or direct a film?
Always remember this: Filmmaking is not for the faint-hearted
You also sign a director to one or more films...
If I am convinced that the director I have signed -- whether a newcomer or a veteran -- is passionate about the project and is capable of streamlined production, it makes sense to have a bond that goes beyond one film. And that is why when Anurag Basu came to us with the idea of making Metro, I said, let us make more films with him.
Rakeysh Omprakash Mehra following Rang De Basanti is working on Dilli 6 and we are distributing the new film, too. We have made two films with Ashutosh Gowariker, Swades [Images] and Jodhaa Akbar. We released Aamir Khan's [Images] Taare Zameen Par [Images]. We are also releasing his next film as a producer though he is not in it; he did not direct it either.
Some directors including Basu and Mehra had made films which weren't successful before they approached UTV.
That tells something about the UTV philosophy. We don't really look at the past. Everything depends on the filmmaker's concept, script and commitment.
When someone like Mira Nair approaches with you with a project like The Namesake, which is based on a well-known book, do you make time to read the book?
I read the book, and, of course, I read the script. I have been telling those who had the fear that Mira may not do justice to the novel to see the film and read the book again or read it for the first time. I am sure you will end up appreciating the film better.
If you were to say in a few sentences what the driving philosophy behind UTV movies is...
We have made films that are beyond the song and dance routine. There are, of course, songs and dances in our films but they are truly situational and propel the story. We don't care for films which have songs for the sake of having them. We are looking at the bigger picture. And we are interested in being world players. Apart from the film projects we have signed with the production company of Will Smith [Images] and Chris Rock, we are also co-producing Night Shyamalan's film, The Happening.
You have often talked about transparency in business.
This is very important to me, and a small measure of this is reflected in the box-office grosses we put out, especially in North America and the United Kingdom, week after week. Just as Hollywood studios release the box-office information each weekend, we too do so, whether a film is a success or not.
Only a few movie companies in India seem to have your business concept when it comes to transparency.
There are good reasons for that kind of a business. Many films were -- and still are -- produced by family concerns. They looked at it as a cash flow business. We never really realise whether a film had made money or not because of lack of transparency. But at UTV we look at the films as a profit and loss business. We want accountability at every stage of the production and distribution.
You started your Hollywood career with a relatively low budget film, co-producing a Chris Rock comedy, I Think I Love My Wife (reportedly costing $12 million).
We are moving towards bigger budget films, too. We are clear on where we want to go. Our ambition is to be a global Indian entertainment company. And I don't see any reason why we can't make big-budget Hollywood films.
Do you think the kind of deals you are forging in Hollywood would have been possible two decades ago? You would have been expected to spend many months living in London [Images] or Hollywood then...
This is the age of globalisation. I come to Hollywood several times in a year. But given the rapid communication modes today, a lot of business can be done with Hollywood while one is in Bombay.
Courtesy: Rediff.com
Ronnie Screwvala
Screwvala is emerging as the first India-based film producer to co-produce films in Hollywood with film companies associated with Sony and Fox Searchlight.
In India, he is steadily emerging as a producer with rare vision, courage and success. 'He is 'the frontrunner in the race to become Bollywood's Jack Warner -- the man who transformed parochial American cinema into its modern global form,' declared Newsweek recently.
In June, Screwvala's biggest Hollywood venture yet, the sci-fi film The Happening, directed by M Night Shyamalan, will roll out to more than 2500 theatres in North America.
What is special about Jodhaa Akbar?
It is a visually stunning and superbly directed film about a little known aspect of Indian history. People know of Akbar, his rebellious son and Anarkali. People also know that Jodhaa was a Rajput wife of Akbar. But how many of us have known this great love story and the mystical bond between the two?
Aishwarya and Hrithik in Jodhaa AkbarSome people may say this is a period film, this is history and it may not be exciting...
The story of the film takes place in the 16th century but the film feels like a contemporary movie. It is a love story for our times. It was left to Ashutosh Gowariker to make a film of such huge magnitude and intensity that future generations may speak of Jodhaa and Akbar in the same breath they would talk about Akbar's rebellious son Salim and Anarkali, the dancing girl.
What is the buzz for the movie like?
I feel there is tremendous excitement for this film and for good reasons. Those who have seen the previews know they have glimpsed something unseen in Indian films. The word is out that the scale on which this film has been made is unprecedented. It is also Hrithik Roshan's first film in a year, and the audiences are expecting an excellent on screen chemistry between Aishwarya Rai Bachchan (Jodhaa) and Hrithik (Akbar). And people expect Ashu to have made a film even more engrossing and timely than his best work to date, Lagaan [Images].
But the film also runs more than three hours...
It has so much of intrigue and drama, apart from romance, that there would not be any dull moment in it. What is Ashu excellent is at telling a beautiful story while the spectacle unfolds and the screen is filled with great visuals and that is the biggest strength of the film.
Why will the film resonate with audiences today?
One of the reasons, we expect the film to reach wide audiences is due to the important fact that it is more of a love story than a historical film. It is not what you think as a traditional period or historical film. History serves as a backdrop to tell a marvelous story that looks not only at an unusual alliance between Jodhaa and Akbar but also at the religious, cultural and political issues of the times.
What would be some of the issues it addresses?
The film also deals with the issue of arranged marriage. Arranged marriages are quite common across India even today but how many of them are successful like that of Jodhaa and Akbar? The film could ignite new discussions about arranged marriages and love marriages. We expect people to come out of the screenings, talking a lot about the old times and their own lives.
There will be a lot of curiosity how the film opens.
I feel it is not going to be a two or three week phenomenon. It could become a long running hit.
What kind of repeat value does the film have?
We expect people to enjoy the spectacle and romance the first time they see the film. But we also expect many to return to the theatres a few days later to get more of the story, character developments and various underlying themes of the film.
Such things happen in the case of literary mystery books. People rush through the book for the suspense and then return to enjoy its language.
Certainly. Among the many films we have released some have had strong repeat audiences. Rang De Basanti [Images] was one. And I expect a similar reaction to Jodhaa Akbar, too.
Who would be the audience for Jodhaa Akbar abroad?
It will be playing primarily in the Diaspora market. But I would not be surprised if the word about the film gets out, and there would be some crossover audiences. It has the scale and appeal of a mainstream Hollywood film.
You have produced films like Jodhaa Akbar, The Namesake [Images], Life In A... Metro and Rang De Basanti that many others would have shunned or considered risky.
These are calculated risks. Once we are convinced -- and a lot depends on the script and the commitment of the director -- we greenlight the project within a few days. When Anurag Basu came to us with the proposal for Life In A ...Metro, we liked the concept immediately. I was fascinated that a band would be featured in the film and it would be used to propel the story. The gut feeling worked out to be true.
What would you tell younger filmmakers who are planning to produce or direct a film?
Always remember this: Filmmaking is not for the faint-hearted
You also sign a director to one or more films...
If I am convinced that the director I have signed -- whether a newcomer or a veteran -- is passionate about the project and is capable of streamlined production, it makes sense to have a bond that goes beyond one film. And that is why when Anurag Basu came to us with the idea of making Metro, I said, let us make more films with him.
Rakeysh Omprakash Mehra following Rang De Basanti is working on Dilli 6 and we are distributing the new film, too. We have made two films with Ashutosh Gowariker, Swades [Images] and Jodhaa Akbar. We released Aamir Khan's [Images] Taare Zameen Par [Images]. We are also releasing his next film as a producer though he is not in it; he did not direct it either.
Some directors including Basu and Mehra had made films which weren't successful before they approached UTV.
That tells something about the UTV philosophy. We don't really look at the past. Everything depends on the filmmaker's concept, script and commitment.
When someone like Mira Nair approaches with you with a project like The Namesake, which is based on a well-known book, do you make time to read the book?
I read the book, and, of course, I read the script. I have been telling those who had the fear that Mira may not do justice to the novel to see the film and read the book again or read it for the first time. I am sure you will end up appreciating the film better.
If you were to say in a few sentences what the driving philosophy behind UTV movies is...
We have made films that are beyond the song and dance routine. There are, of course, songs and dances in our films but they are truly situational and propel the story. We don't care for films which have songs for the sake of having them. We are looking at the bigger picture. And we are interested in being world players. Apart from the film projects we have signed with the production company of Will Smith [Images] and Chris Rock, we are also co-producing Night Shyamalan's film, The Happening.
You have often talked about transparency in business.
This is very important to me, and a small measure of this is reflected in the box-office grosses we put out, especially in North America and the United Kingdom, week after week. Just as Hollywood studios release the box-office information each weekend, we too do so, whether a film is a success or not.
Only a few movie companies in India seem to have your business concept when it comes to transparency.
There are good reasons for that kind of a business. Many films were -- and still are -- produced by family concerns. They looked at it as a cash flow business. We never really realise whether a film had made money or not because of lack of transparency. But at UTV we look at the films as a profit and loss business. We want accountability at every stage of the production and distribution.
You started your Hollywood career with a relatively low budget film, co-producing a Chris Rock comedy, I Think I Love My Wife (reportedly costing $12 million).
We are moving towards bigger budget films, too. We are clear on where we want to go. Our ambition is to be a global Indian entertainment company. And I don't see any reason why we can't make big-budget Hollywood films.
Do you think the kind of deals you are forging in Hollywood would have been possible two decades ago? You would have been expected to spend many months living in London [Images] or Hollywood then...
This is the age of globalisation. I come to Hollywood several times in a year. But given the rapid communication modes today, a lot of business can be done with Hollywood while one is in Bombay.
Courtesy: Rediff.com
Aishwarya Rai out of 'Robot'
It was officially announced that Aishwarya was to play Rajinikanth’s lead lady in Shankar’s 'Robot', but it is official now that the former Miss World is no more part of the project!
For super star fans who were all tipsy over the announcement that their hero would be paired with the woman rated as one of the world’s most beautiful women, this turn of events would indeed come as a sad news. So what could be the reason behind the twist in the tale? Well, there are two versions.
The first is that Aishwaya Rai Bachchan is pregnant! Could it be that this lovely star has turned down the offer because she is expecting her first child and has hence decided against a project which is scheduled to start only later this year? Until the Bachchans decide to release the pregnancy news, if any, we’ll have to wait.
The second version is that Ash was offered a sum less than she desired, so she declined the role in a huff! Yes, it was earlier said that she had been offered a whopping Rs 6 crore for her role and that she had been okay with it. Now the talk is that the actual offer was much less and not astronomical enough for Ash's taste.
No matter which version is true, the definite part about the news is that Ash is indeed out of 'Robot'. So who is Shankar trying to rope in now? Deepika Padukone!
Will Deepika be willing to pick up where Ash left off? Well, that’s another story.
Courtesy: Msn.com
For super star fans who were all tipsy over the announcement that their hero would be paired with the woman rated as one of the world’s most beautiful women, this turn of events would indeed come as a sad news. So what could be the reason behind the twist in the tale? Well, there are two versions.
The first is that Aishwaya Rai Bachchan is pregnant! Could it be that this lovely star has turned down the offer because she is expecting her first child and has hence decided against a project which is scheduled to start only later this year? Until the Bachchans decide to release the pregnancy news, if any, we’ll have to wait.
The second version is that Ash was offered a sum less than she desired, so she declined the role in a huff! Yes, it was earlier said that she had been offered a whopping Rs 6 crore for her role and that she had been okay with it. Now the talk is that the actual offer was much less and not astronomical enough for Ash's taste.
No matter which version is true, the definite part about the news is that Ash is indeed out of 'Robot'. So who is Shankar trying to rope in now? Deepika Padukone!
Will Deepika be willing to pick up where Ash left off? Well, that’s another story.
Courtesy: Msn.com
AR Rahman's favourite tracks from Jodhaa Akbar
“I like everything,” AR Rahman stated when I asked him to identify his favourite track from this week’s release, Jodhaa Akbar. India’s biggest and best music composer provides the music for the Aishwarya Rai-Hrithik Roshan historical romance. The shy musical genius was unable to name a specific number as his favourite when I insisted. After a thoughtful pause, Rahman replied again: “I like everything.”
The ‘Mozart from Madras’ was in London this week to launch the original cast recording CD of his latest international project, the West End musical, The Lord of the Rings. This is his second London West End project after the successful Andrew Lloyd Webber production, Bombay Dreams. How does Rahman feel about his global success? “It’s nice to be recognised from brand Bollywood to international composer.”
Matthew Warchus, director of the Rings musical, is clearly pleased with the Elizabeth composer. He told me at the reception that he would “happily work with Rahman on anything” as he has “an extraordinary musical voice.” Varttina, the co-composer of the music, was less knowledgeable when I asked him if he liked any of Rahman’s Tamil music. “That question is too specific for me,” the Finn admitted.
Fans new to Rahmans’ work should seek out the classic Hindi soundtracks of Roja, Bombay, and Dil Se and, of course, the melodic Jodhaa Akbar, now!
It’s not a historical
The wait is over! The aforementioned Jodhaa Akbar, the year’s most anticipated film, is here. The period romance tells the love story between the Moghul emperor Akbar and his Rajasthani Hindu princess bride, Jodhaa. Oscar nominated director Ashutosh ‘Lagaan’ Gowarikar is keen to deny that his latest film is a historical film. “Let it be clear that it is not a historical film. It is a good story told in an interesting manner. I’d say eighty percent is my imagination.” Is Gowarikar being defensive because recent Bollywood historicals like The Rising and Taj Mahal crashed at the box-office?
Courtesy: Timesonline.co.uk
The ‘Mozart from Madras’ was in London this week to launch the original cast recording CD of his latest international project, the West End musical, The Lord of the Rings. This is his second London West End project after the successful Andrew Lloyd Webber production, Bombay Dreams. How does Rahman feel about his global success? “It’s nice to be recognised from brand Bollywood to international composer.”
Matthew Warchus, director of the Rings musical, is clearly pleased with the Elizabeth composer. He told me at the reception that he would “happily work with Rahman on anything” as he has “an extraordinary musical voice.” Varttina, the co-composer of the music, was less knowledgeable when I asked him if he liked any of Rahman’s Tamil music. “That question is too specific for me,” the Finn admitted.
Fans new to Rahmans’ work should seek out the classic Hindi soundtracks of Roja, Bombay, and Dil Se and, of course, the melodic Jodhaa Akbar, now!
It’s not a historical
The wait is over! The aforementioned Jodhaa Akbar, the year’s most anticipated film, is here. The period romance tells the love story between the Moghul emperor Akbar and his Rajasthani Hindu princess bride, Jodhaa. Oscar nominated director Ashutosh ‘Lagaan’ Gowarikar is keen to deny that his latest film is a historical film. “Let it be clear that it is not a historical film. It is a good story told in an interesting manner. I’d say eighty percent is my imagination.” Is Gowarikar being defensive because recent Bollywood historicals like The Rising and Taj Mahal crashed at the box-office?
Courtesy: Timesonline.co.uk
Ash out of ‘Robot’?
The dream project of director Shankar featuring Rajinikanth has met with a stumbling block its heroine Aishwarya Rai said to be keen in having a baby before she turns 35 (on November 1, 2008). It is strongly rumoured that the Bachchan bahu, who was offered a whooping amount of Rs. 6 crore to act in 'Robot', has conveyed the 'Robot' team about her “inability” to act in the film.
The news, if confirmed would be a major setback for the team, which was gearing up for the shooting to be commenced by June this year. Shankar and co are now in a fix as they face the tough task of finding a replacement to the most sought after girl in Indian film industry.
It is not the first time the pairing of Rajini and Ash is jinxed. She has been in the reckoning for Rajini’s movie since the time of 'Padayappa'. It may be recalled that Simran too withdrew from 'Chandramukhi' stating the same reason, i.e., to have a child.
As things stand now, 'Robot' unit is in the hunt for a new actress, who could fit the role.
Courtesy: Indiaglitz.com
The news, if confirmed would be a major setback for the team, which was gearing up for the shooting to be commenced by June this year. Shankar and co are now in a fix as they face the tough task of finding a replacement to the most sought after girl in Indian film industry.
It is not the first time the pairing of Rajini and Ash is jinxed. She has been in the reckoning for Rajini’s movie since the time of 'Padayappa'. It may be recalled that Simran too withdrew from 'Chandramukhi' stating the same reason, i.e., to have a child.
As things stand now, 'Robot' unit is in the hunt for a new actress, who could fit the role.
Courtesy: Indiaglitz.com
Jodhaa Akbar is a spectacular watch
Set against the bloody and turbulent period of the 16th century when Akbar is consolidating his empire through unorthodox alliances that includes a marriage to a spirited Rajput princess, Jodhaa Akbar is a leisurely and overdrawn film, which is nevertheless magical for good part.
In a way it is like reading an epic Russian novel. There are too many characters and too much happening. But if you can read through the first 50 pages, you get hooked.
In the case of this magnificently mounted and often thrilling film, with a career defining performance by Hrithik Roshan [Images], the first 20 minutes look like a boring and at times, confusing history lesson which would have become burdensome but for the sonorous narration by Amitabh Bachchan [Images].
But once princess Jodhaa (Aishwarya Rai [Images] Bachchan) is persuaded by her father (Khulbhusan Kharbandha) to forego an arranged marriage to a Rajput prince and marry the young Muslim ruler (Hrithik), the film begins to blossom, and hold your attention.
The film is about three hours and 30 minutes but once it hooks you, the length does not matter.
Never mind how the film, which reportedly cost $10 million, will fare at the box office, there is no denying that it is arguably one of the most spectacular films India has made. Two of its musical numbers, Khwaja Mere Khwaja and Azeem-O-Shaan Shahenshah, are among the film's highlights. The former, a beautifully choreographed Sufi number, which is enthralling and accompanied with gentle trans-inducing movement, takes place at a crucial moment in the film. So does the second number, performed with vigorous dancing, which fills the screen soon after Akbar has consolidated his hold. Add to these songs, the splendidly staged action scenes, especially the sword fight between Akbar and Jodhaa, and a number of battle scenes, and you then have a spectacular epic.
There are times you feel the changes Akbar goes through could have been better narrated but one applauds writer Haider Ali and director Ashutosh Gowariker for not making Akbar a one-dimensional cartoon figure. In one of the most important sequences in the film, for instance, you see Akbar giving into his baser instincts, as he orders a cruel death to a palace traitor.
A still from Jodhaa AkbarIt is not that the royal intrigues and violent confrontations go away after the Jodhaa and Akbar wedding. But the relationship between Jodhaa and Akbar, which is often fraught with misunderstandings and continually challenged by the Muslim clergy and the powers behind the throne like the foster mother Mahan Anga (a hypnotic Ila Arun), becomes the film's main occupation.
The main business then is how slowly the political alliance that created the marriage between Jodhaa and Akbar is turned into a loving and respectful relationship, and how the young emperor deals with the orthodox Muslim establishment, and proclaims religious pluralism. And how in the process he ensures his Hindu wife is given the due respect.
Some historians and viewers may question the plot lines developed in the film. Some may wonder why the film does not show any indication how, in his later years, Akbar would not allow his son to marry a court dancer.
But it is suffice to say that the Akbar we see in the film is quite an intriguing, colourful and tough ruler. And Hrithik brings his muscular presence and charismatic personality to make the role his own. Watch him negotiating with Jodhaa their troubled marriage, and the tense scene in which he saves the life of a friend and tames a wild elephant. Also, watch him in one of the most moving scenes in the film when he reveals to Jodhaa a crucial aspect of his education. Watch also his expressions when he discovers the betrayal by one of the most trusted persons of the royal household and how he lets his mother (an impressive Punam Sinha) come back fully into his life.
Aishwarya Rai Bachchan has never looked this gorgeous. Some of her dramatic scenes are weakly performed but she whips up excellent chemistry with Hrithik.
The film could have gained considerably if the secondary parts have been played with power. As Jodhaa's brother Sujamal -- who is estranged from the family -- Sonu Sood is rather weak. And as such his rebellion and subsequent change of heart do not carry the required emotional weight. The women fare better in the secondary characters.
Working with A R Rahman following Swades [Images] and Lagaan [Images], Gowariker makes an excellent use of the five intricate tunes. The first song, Manmohana, which unfolds at a delicate moment disappears after a minute, and is deftly brought back at an important juncture many minutes later.
Rahman triumphs as a composer whose score, now sonorous, now very light, adds to the film's many moods.
Cinematographer Kiran Deohans not only captures well the vivid battle scenes but also the close ups that convey the growing relationship between Akbar and Jodhaa. Some of the film's most arresting visual scenes come at the end of the Sufi song when Akbar is bathed in celestial light.
Whether it is Rahman, Deohans, the choreographers or the stunt coordinator Ravi Dewan, Gowariker has shown once again what a great team builder he is. The next time he should try doing something very radical for him: make a two hour long, seamless but a pulsating film that has all the passion and intrigue of his previous films.
Rediff Rating:
Courtesy: Rediff.com
In a way it is like reading an epic Russian novel. There are too many characters and too much happening. But if you can read through the first 50 pages, you get hooked.
In the case of this magnificently mounted and often thrilling film, with a career defining performance by Hrithik Roshan [Images], the first 20 minutes look like a boring and at times, confusing history lesson which would have become burdensome but for the sonorous narration by Amitabh Bachchan [Images].
But once princess Jodhaa (Aishwarya Rai [Images] Bachchan) is persuaded by her father (Khulbhusan Kharbandha) to forego an arranged marriage to a Rajput prince and marry the young Muslim ruler (Hrithik), the film begins to blossom, and hold your attention.
The film is about three hours and 30 minutes but once it hooks you, the length does not matter.
Never mind how the film, which reportedly cost $10 million, will fare at the box office, there is no denying that it is arguably one of the most spectacular films India has made. Two of its musical numbers, Khwaja Mere Khwaja and Azeem-O-Shaan Shahenshah, are among the film's highlights. The former, a beautifully choreographed Sufi number, which is enthralling and accompanied with gentle trans-inducing movement, takes place at a crucial moment in the film. So does the second number, performed with vigorous dancing, which fills the screen soon after Akbar has consolidated his hold. Add to these songs, the splendidly staged action scenes, especially the sword fight between Akbar and Jodhaa, and a number of battle scenes, and you then have a spectacular epic.
There are times you feel the changes Akbar goes through could have been better narrated but one applauds writer Haider Ali and director Ashutosh Gowariker for not making Akbar a one-dimensional cartoon figure. In one of the most important sequences in the film, for instance, you see Akbar giving into his baser instincts, as he orders a cruel death to a palace traitor.
A still from Jodhaa AkbarIt is not that the royal intrigues and violent confrontations go away after the Jodhaa and Akbar wedding. But the relationship between Jodhaa and Akbar, which is often fraught with misunderstandings and continually challenged by the Muslim clergy and the powers behind the throne like the foster mother Mahan Anga (a hypnotic Ila Arun), becomes the film's main occupation.
The main business then is how slowly the political alliance that created the marriage between Jodhaa and Akbar is turned into a loving and respectful relationship, and how the young emperor deals with the orthodox Muslim establishment, and proclaims religious pluralism. And how in the process he ensures his Hindu wife is given the due respect.
Some historians and viewers may question the plot lines developed in the film. Some may wonder why the film does not show any indication how, in his later years, Akbar would not allow his son to marry a court dancer.
But it is suffice to say that the Akbar we see in the film is quite an intriguing, colourful and tough ruler. And Hrithik brings his muscular presence and charismatic personality to make the role his own. Watch him negotiating with Jodhaa their troubled marriage, and the tense scene in which he saves the life of a friend and tames a wild elephant. Also, watch him in one of the most moving scenes in the film when he reveals to Jodhaa a crucial aspect of his education. Watch also his expressions when he discovers the betrayal by one of the most trusted persons of the royal household and how he lets his mother (an impressive Punam Sinha) come back fully into his life.
Aishwarya Rai Bachchan has never looked this gorgeous. Some of her dramatic scenes are weakly performed but she whips up excellent chemistry with Hrithik.
The film could have gained considerably if the secondary parts have been played with power. As Jodhaa's brother Sujamal -- who is estranged from the family -- Sonu Sood is rather weak. And as such his rebellion and subsequent change of heart do not carry the required emotional weight. The women fare better in the secondary characters.
Working with A R Rahman following Swades [Images] and Lagaan [Images], Gowariker makes an excellent use of the five intricate tunes. The first song, Manmohana, which unfolds at a delicate moment disappears after a minute, and is deftly brought back at an important juncture many minutes later.
Rahman triumphs as a composer whose score, now sonorous, now very light, adds to the film's many moods.
Cinematographer Kiran Deohans not only captures well the vivid battle scenes but also the close ups that convey the growing relationship between Akbar and Jodhaa. Some of the film's most arresting visual scenes come at the end of the Sufi song when Akbar is bathed in celestial light.
Whether it is Rahman, Deohans, the choreographers or the stunt coordinator Ravi Dewan, Gowariker has shown once again what a great team builder he is. The next time he should try doing something very radical for him: make a two hour long, seamless but a pulsating film that has all the passion and intrigue of his previous films.
Rediff Rating:
Courtesy: Rediff.com
Jet Airways Partners The Launch Of The Lord Of The Rings Musical Album
Jet Airways, India’s premier airline supported the Launch of Lord of the Rings Cast (Musical) album on Monday, February 11, 2008 at the Theatre Royal in Drury Lane, London, U.K.
The album features the 70 strong cast and orchestra, has lyrics by Shaun McKenna & Matthew Warchus and music by A.R. Rahman, Värttinä and Christopher Nightingale.
This unique partnership between the production team of The Lord of the Rings and Jet Airways means that travellers flying to India on Jet Airways flights will be able to enjoy music from the show and watch an interview with India’s most renowned composer A.R. Rahman. In addition, all passengers travelling to the UK on Jet Airways are entitled to a free single price category upgrade on presentation of their boarding card*. Other benefits include free show programmes and discounted merchandise for the airline’s platinum loyalty cardholders.
As India’s premier airline that embraces the spirit of new India, Jet Airways found a synergy between themselves and the high quality production – The Lord of the Rings - which takes theatregoers on a musical, mysterious and adventurous journey.
Said Raja Ségran, Regional Vice-President UK, Europe and Americas, “We are delighted to be partnering with The Lord of the Rings for the launch of their cast album. Since opening in June 2007 the show has won countless plaudits throughout the West End for its quality, innovation and for giving people a great experience – all the attributes that as an airline Jet Airways embodies.”
The album features Malcolm Storry as ‘Gandalf’, James Loye as ‘Frodo Baggins’, Laura Michelle Kelly as ‘Galadriel’, Michael Therriault ‘Gollum’, Peter Howe ‘Sam’, Jérôme Pradon ‘Aragorn’, Brian Protheroe ‘Saruman’, Richard Henders ‘Merry’, Owen Sharpe ‘Pippin’, Michael Rouse ‘Logolas’, Sévan Stephan ‘Gimli’, Steven Miller ‘Boromir’ and Rosalie Craig ‘Arwen’, with
Andrew Jarvis as ‘Elrond’, Terence Frisch ‘Bilbo’, Tim Morgan ‘The Steward of the Lands of the Men’ and Kirstie Malpass ‘Rosie’.
Courtesy: Prurgent.com
The album features the 70 strong cast and orchestra, has lyrics by Shaun McKenna & Matthew Warchus and music by A.R. Rahman, Värttinä and Christopher Nightingale.
This unique partnership between the production team of The Lord of the Rings and Jet Airways means that travellers flying to India on Jet Airways flights will be able to enjoy music from the show and watch an interview with India’s most renowned composer A.R. Rahman. In addition, all passengers travelling to the UK on Jet Airways are entitled to a free single price category upgrade on presentation of their boarding card*. Other benefits include free show programmes and discounted merchandise for the airline’s platinum loyalty cardholders.
As India’s premier airline that embraces the spirit of new India, Jet Airways found a synergy between themselves and the high quality production – The Lord of the Rings - which takes theatregoers on a musical, mysterious and adventurous journey.
Said Raja Ségran, Regional Vice-President UK, Europe and Americas, “We are delighted to be partnering with The Lord of the Rings for the launch of their cast album. Since opening in June 2007 the show has won countless plaudits throughout the West End for its quality, innovation and for giving people a great experience – all the attributes that as an airline Jet Airways embodies.”
The album features Malcolm Storry as ‘Gandalf’, James Loye as ‘Frodo Baggins’, Laura Michelle Kelly as ‘Galadriel’, Michael Therriault ‘Gollum’, Peter Howe ‘Sam’, Jérôme Pradon ‘Aragorn’, Brian Protheroe ‘Saruman’, Richard Henders ‘Merry’, Owen Sharpe ‘Pippin’, Michael Rouse ‘Logolas’, Sévan Stephan ‘Gimli’, Steven Miller ‘Boromir’ and Rosalie Craig ‘Arwen’, with
Andrew Jarvis as ‘Elrond’, Terence Frisch ‘Bilbo’, Tim Morgan ‘The Steward of the Lands of the Men’ and Kirstie Malpass ‘Rosie’.
Courtesy: Prurgent.com
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