Netflix and Amazon Prime Video are coming up with a higher dose of Indian and international content this month for avid watchers.
Mughal influence can be seen in Rahul Mishra’s designs at the India Couture Week. This writer catches up with the designer and talks about his creations.
Spectacularly decorated with an assortment of leaves, the stage looked elegant as it took on the appearance of an eternal heavenly garden where princes and princesses would walk around. With oodles of nature, glamour and splendour, designer Rahul Mishra showcased his collection at the India Couture Week 2018 on the fourth day.
The idea behind the lush greenery on stage was based on Maraasim
(relationships in Urdu) and explored the connection between nature and man-made architecture, traditional and modern, according to Rahul. He said, “My idea is that when you create a man-made structure, is there a way that you can bring an element of nature in it?”
While other designers focus on glamour, art and rhetoric, the style-statement for Rahul was, “the cross-pollination of ideas that resulted in entirely unique and unified aesthetic expressing a genuine delight in the creation of beauty,” since nothing could be created in isolation. The theme also reflected the Mughal aesthetics, which he said was not an invention of any single artist, nor any particular group of artists. “It was a blend of art practices from Persia, European influences and the rich indigenous Indian traditions,” said he.
His designs were an amalgamation of Mughal designs and florals, which extended to menswear as well and he explained, “I tried to simplify the graphic rather than over-do it. Sometimes it is great to follow gender-neutral trends and ideas for your designs.”
From zardozi to aari, Kashmiri embroidery, tile-work, inspired from the tomb of Asif Khan and some from the Taj Mahal, Rahul’s designs defined elegance and reminisced history.
With this collection, he applauded the craftsmanship and the artists that worked on it and said, “Many of the pieces were done at my studio, but around 80 per cent of the craftsmen were in their villages. Some of them even live in the slums of Mumbai and by employing them I feel, they can also improve their and their family’s lot.”
Rahul explains his idea of an ideal bride and his designs that follow a 100 percent sustainable approach, “She is extremely intelligent, very well-travelled, and doesn’t get impacted by the sea of influences around her. She is very strong-headed and inspires me the most. She challenges conventionality and is the one who creates a new look, a new role for herself. She also recycles everything what she creates so beautifully. Her idea is to re-invent, re-create and re-wear alehenga which would otherwise lie in her wardrobe.” For Rahul, fabrics are important for designing, “For me, textiles have always been a starting point and an inspiration. Ultimately, the designer makes the two dimensional fabric look 3D. It is almost like a canvas for me. But as a designer, the beauty is that you have so much variety and beauty in every fabric that the innovation comes out in each. The result is so beautifully unique each time.”
The collection collaborated with Swarovski, to replicate tender features of a dewdrop. The designer experimented while designing and revealed, “A lot of new elements like Swarovski crystals were used. The experiments extended to the shapes where I tried a lot of layering. The blouses had two-three layers and the dupatta was draped differently, sometimes even like a shrug. On top there was an over-layering of the blouse.
“We did play a lot with styles and designs. In this process, the idea was to create a new version in terms of how people can perceive fashion and how they can wear same kind of things differently. Initially, the first pieces are all about showcasing lehengas, which can be worn with a jacket or a shrug, which looks different. Hence, my designs are about exploring possibilities,” he added.
Courtesy: The Pioneer
The director of Dus Kahaniyaan, and a successful actor for years, Rohit Roy has delved into the world of web series with Memories. Here’s how was his experience working with Vikram Bhatt, and his love for direction.
Was it challenging to play a news anchor with superpowers?
It was amazing. Just listening to the narrative of the series got me hooked. My character Siddharth Sareen believes in staying true to his job. He has the power to delve into the memories of a dead person through which he helps solve criminal cases. I wish I had a power like that in real life.
How did you prepare for this?
It was quite exhausting as I had to work psychologically to show the split personalities. On one side, he is aggressive and loud news anchor, whereas on the other, he is calm and composed as he goes into the memories. Switching constantly between the two was a challenge. I had to focuss on minute details which I never do otherwise. Unlike other series, we shot this is different places in Mumbai to give it a realistic look and feel.
How was your experience working with Vikram Bhatt?
I’ve always wanted to work with Vikram sir. Not many know that I worked with Pravin Bhatt for some ads during the initial days of my career. Since then, I wished to work with Vikram Bhatt. The way he writes and narrates is out of this world. When I got this role, apart from the story, it was him because of which I wanted to do it. And when he narrated it to me, I got fascinated and instantly said yes.
How was your experience as director of Dus Kahaniyaan?
I cannot call it behind the screen. A director is always on the screen, taking shots, crafting the scenes and the movie. He is the one who lives every scene of the film, the actors do what the director tells them to. But for a director, it is his story and he has full control over how it will be shown.
Why choose direction?
Directing comes naturally to me and this brought me to the entertainment world. Acting happened by chance as I was offered a role and I thought to give it a try. It is the creative part of the film which I love. It intrigues me to be able to show people your vision. I never took anything as a challenge.
You’ve done so many different roles, which one came close to you?
The role of Fattu in Shootout At Lokhandwala came close to my heart. It was my first time in a lead role in a film. Besides, it was a really good role. Then Amit Shellar in Kaabil was a very powerful role. It gave me the opportunity to not only share a screen space with my real life brother Ronit Roy, but also play an out and out negative character for the first time.
Any new directorial project?
I will be directing another film which I cannot talk about right now.
Writer: Muskan Jain
Courtesy: The Pioneer
Our philosophy of wealth is unsound and disabling and is the root cause of many ills at the socio-economic and political level, says Rajyogi Brahmakumar Nikunj
In many countries, modern life has improved people’s standards of living. However, people generally do not seem to be very happy with their lives. This can be regarded as a surprise given that the level of prosperity is at a historic high. There is no doubt in the fact that every human being has the right to live and, therefore, the right to feed, to clothe and to house himself as well as his dependents. Besides these three, one has to fulfil some other needs as well with an aim to avoid pain and to have a reasonably comfortable life. The trouble begins at the point when one adopts the economic philosophy, which states that multiplication of money and fulfilment of wants leads to a higher standard of living and eventually, greater level of happiness. Due to this, one tends to accumulate as much as he can by fair and foul play. This economic philosophy is basically erroneous and self-defeating and is the cause of many social, economic, political and moral maladies of our times.
To begin with, happiness is hard to define as different people may have different concepts of happiness, but directly correlating standard of living with happiness is likely oversimplifying their relationship. While good life conditions certainly contribute to happiness, people in poor countries frequently express a surprisingly high level of happiness in opinion polls. For some people fulfilling work and social relationships probably add more to happiness than being able to afford luxury goods. We should also understand one thing that happiness is not the same thing as pleasure. Happiness depends more on the mental state of a person than on the fulfilment of desires and the gratification of senses. A man who is fabulously rich may have all sorts of comforts and yet may remain worried. By no stretch of imagination can such a man be called a happy man. On the other hand, a person not living in luxury, or even in comfort may be found to be happy as well as contented. So, there may be a man whose hands are full but whose soul is empty.
Also, it would be wrong to measure one’s standard of living on a scale of luxury goods. It would also be wrong to dissociate this term from the intellectual, moral and cultural aspects of a person. There may, for instance, be a person with high moral character, who leads a life of voluntary non-possession or minimum possessions. He may be an intellectual of a high order, contented in mind and refined in the cultural sense. Hence, it would be wrong to say that his “standard of living” is not high. We should remember that just as food sustains the body so does the mind find sustenance in happiness.
So, the saying goes: There is no food as good as happiness. And, to be happy, you have to be contented. Just as, for bodily well-being, man seeks food, so should he maintain the state of contentment to ensure happiness of mind. As Alfred Nobel rightly said, “Contentment is the only real wealth.” We should, therefore, not run after securing another kind of wealth. Hence it can safely be concluded that, beyond a limit, the multiplication of wants and their satisfaction does not promote happiness and certainly not in that proportion.
Writer: Chahak Mittal
Courtesy: The Pioneer
Bollywood host and actor Maniesh Paul shares his hourney into the world of singing.
For Delhi boy Maniesh Paul the turning point in his life came when he hosted Jhalak Dikhla Ja, a dance reality TV show in 2012. Paul had been a part of the glamour industry since 2007 when he began as a VJ for Zee Music in Delhi before moving on to Mumbai to seek more opportunities. He then became an RJ before transitioning to host TV shows and act in movies. After the dance show, he won awards for Mickey Virus in 2014.
Paul had his path chartered out from childhood as he wanted to be an actor. Sheer hardwork and a belief in himself got him through the rough patches in life.
The actor-singer is also deeply influenced by Salman Khan, who egged him to record a single. Paul has accompanied the star on multiple month-long tours to perform for global audiences. He recently went on a 30-days tour of the United States and Canada with Khan, Katrina Kaif, Prabhudeva, Sonakshi Sinha and Jacqueline Fernandez. They performed in Hong Kong, Australia, New Zealand and London last year and are already planning for the next.
“It was a great experience performing with Khan. The shows and the turnout are humongous. I wasn’t only hosting, Khan gave me the opportunity to sing. I performed with everyone there,” he added.
He will soon be seen hosting Indian Idol and would also star in some films. A new single is also in the pipeline. The actor calls himself an “accidental singer”, as Khan told him to sing professionally. His debut single, Harjai featured Iulia Vantur, Khan’s alleged girlfriend while the second one, Munde Town de, a Punjabi song was a natural progression since he is a “hardcore Punjabi”.
“I sang in school and college. My hobby became a profession,” he added.
The all-round performer added his two bits against the Kiki challenge. “I saw this video where a girl got crushed under the car. There’s a big stretch of road behind my house where people trying this have met with accidents. I make people aware that this is not the way to enjoy life. Even if 10 people listen to me I will be happy I brought a change,” he said.
For future performers, he has only one advice that hard work and faith in one’s work is very important while finding a footing in the entertainment industry.
Writer: Asmita Sarkar
Courtesy: The Pioneer
Karwan is an Irrfan Khan starrer, directed by Akarsh Khurana. The director believes the road trip in the movie is a representation of the changes the characters undergo.
As a child, director Akarsh Khurana found working backstage in a theatre production fascinating in its gush and accuracy. But the same could not be said of film shoots, which if he was not involved, seemed boring. “But it certainly helped to have an exposure and my father, Akash Khurana, who was an actor-director, played an important role in certain choices that I made. My father’s career gave me easy and early access and I began my writing career pretty young,” says Khurana whose debut film Karwaan will hit theatres tomorrow. Senior Khurana has been a veteran theatre person and one would recall immediately if one has watched Saraansh, Sarfarosh andBarfii.
With a stellar cast which includes Irrfan Khan, Malyalam actor Dulquer Salmaan and Mithila Palkar, the idea of this road movie came from Bejoy Nambiar while the screenplay was written by Khurana and Adheer Bhatt. “Nambiar gave us this idea where somebody receives the wrong dead body for a funeral and has to undertake a journey to rectify the mistake. So we decided to just flesh it out,” says Khurana who has been running a prolific theatre company called Akvarious Productions for 18 years which has had 60 productions in different genres in terms of play. “Our voice is that of urban, contemporary comedies that have a little bit of soul,” he adds.
Khurana points out that while people might talk about road movies like Zindagi Na Milegi Dobara orPiku to say that he is cashing in on the growing popularity of the sub-genre in recent times, he feels it has been around as a mainstream format for years. “Bombay to Goa was one,” he says and goes on to elaborate, “The road trip is a metaphor for the journey that the characters undergo. More than the geographical distance that they cover, it is more about how they reconcile with the problems that they have within themselves and with each other.”
But while writing the movie, he never thought about the actors that he would cast. “We had never imagined that we could pull off casting such established people. When Ronnie Screwvala and KK Gupta came, the former suggested that we should at least make Irrfan hear it. After the narration, when Irrfan agreed to do the film immediately, that was like a dream come true,” he recalls. As for Dulquer, associate producer Shubh Shivdasani recommended his name but Khurana had just seen him in the film Charlie where the eminently likeable character was very different from the one in Karwaan. “So I decided to see some more of his work and realised that he had tremendous range. We met in Chennai for a narration and he thought about taking it up for a week as he had been offered Hindi films earlier too. He weighed his options and said yes. Mithila was cast through a regular process,” he says.
Khurana’s first foray in the film world was with Krrish where he wrote the script and was also the assistant director. “I come from a theatre background and I have been directing for long on stage. I have directed a series on TV for Anurag Basu and also a web series for Alt Balaji called Hijack. So I have been directing for a while. It was just natural progression. The script of Karwaan was very close to my heart and I wanted to do it myself,” he says.
Given the fact that it is a road movie, shooting was bound to take place outdoors which inevitably led to a lot of crowds. “We shot in Kerala where Dulquer is really popular. Thousands would turn up but generally the crowd was well-behaved and controlled. I explained to them that we were working in sync sound and if they were quiet, they would get a chance to see Dulquer later. It was actually a smooth shoot,” he says.
Talking about the competition between old and the newer media, Khurana says that what is happening is that the platforms and number of options are increasing. This, he feels, leads to an explosion of ideas and adaptability. “People have to look upon these as a challenge and also as an opportunity. There is an audience for everything as you can customise content for them. Now people are choosing what they want to see. For the directors, too, there is a lot more freedom in choosing to do what you believe in without worrying about funding and commerce all the time. The concept of smart budgets has arisen only because of a multiplicity of fora.”
Despite the opportunities that the web holds out, Khurana feels that TV still has the maximum reach and depth and should not be written off just yet. “The further you move away from the cities, the reach of TV goes on increasing. There is still time before TV becomes completely outdated. What it needs is to up its game, production values and content that is available to us. The onus is more on creators to create something that grabs the eyeball,” he says.
During downtime, Khurana can be caught inside a cinema hall watching a film or at home reading a book. He also likes travelling. Having finished the hectic schedule of a film shoot, he is looking forward to a bit of a break. “I have been working on projects back to back. I will now take a vacation and figure out what to do. There are talks of a web series and a film but all are in the nascent stage. There is nothing concrete. I certainly want to go back to directing on the stage,” he says, signing off.
Writer: Saimi Sattar
Courtesy: The Pioneer
Subject of parenting is a theme in Rakeysh Omprakash Mehra’s Fanney Khan. This writer has a chat with the director, producer, and the cast of the movie.
Dreamers come in all shapes, sizes and ages. When Rakeysh Omprakash Mehra wanted to adapt the Dutch movie, Everybody’s Famous, into Hindi because of its universal appeal, he too had a dream. It took a couple of years to convince the makers to sell the rights which they finally did. It took another half a decade to write and produce it.
“I fell in love with the story and chased the writer and director for three years and persuaded them that their work will be done justice to. Then came the discussion about who will write the movie that took another five-six years,” Mehra said of Fanney Khan. “The story is about dreams and aspirations and I decided to put a musician in the centre of a changing world. There were many artists who did not get an opportunity to showcase their talent in the 80s and 90s. Things improved from 2000 onwards as the industry expanded. But I wondered what happened to those who couldn’t fulfill their dreams to earn their survival? Usually our dreams are transferred to our children, that is what the story is about,” said director Atul Manjrekar.
Mehra, who was also present on a stormy day in Delhi to promote his latest venture as a producer, said that cinema that goes beyond entertainment has always attracted him. “Films are written by people, they are then conceived and the captain of the ship directs it. There are music directors, writers, cameraperson and everyone puts their emotions into the film that is finally watched by people. Cinema is not a need. If I remove cinema from your life, there will be a vacuum. What it does is to fulfill the emotional need to connect,” said he.
The movie, which stars Anil Kapoor, Aishwarya Rai Bachchan, Rajkummar Rao, Pihu Sand and Divya Dutta, will also deal with issues like body shaming.
“Women are subjected to a gaze. From the moment she wakes up to the moment she sleeps and even in her dreams, she’s subjected to it especially if she doesn’t look a certain way. If she’s not fair, if she’s too thin or too dark, everything is an issue. We always go to ‘see’ a girl for marriage and not a boy. The conversation is centred around testimonials about her as if she’s standing on trial. Our cinema, literature and society too have propagated this stereotype. The beautiful way in which Atul has told the story is for you to interpret and experience yourself. It doesn’t point fingers against anyone but is a reflection of the society,” added Mehra. “The film at its core is about the relationship between a father and his daughter while body shaming adds a layer to it. How someone perceives the message is up to them. I just wanted people to be aware. There is an idea of perfect body for men and women. People care about height, weight, skin colour and people are competing to look better than each other and that pressure is consuming all of us,” added Manjrekar.
Both have worked together so far but for this film, Mehra handed over the reins to Manjrekar. Asked whether he was free to make the film the way he wanted to, he answered in the affirmative. Mehra added that since he has been both a producer and director and understands the freedom one craves for in making a film, it would be a joke to not give the same to Manjrekar.
“Being a director, I understand the working of a director. It was obvious that I would apply all that when I become a producer,” Mehra said. One of the questions that Manjrekar asked while making the film was where did the junior artists, who sometimes imitated big stars and did street shows, go? That answer will be articulated by actor Anil Kapoor, who is the protagonist, unsuccessful in life but nurtures his daughter for the big stakes. The versatile Kapoor was attracted by the solidity and depth of the story. “I began my career with telling good stories. Starting from Woh Saat Din, I have chosen different scripts. When movies were being made 35 years ago, the hero was either playing a guitar, riding the bike or dancing. But I still broke convention. Even now I don’t think about who is the hero or supporting role or if the story is pivoted around a girl or boy,” he added. “Earlier, people made fun of me but that has stopped after years of proving myself. For instance, before shooting 1942, a Love Story, I called the media to tell them that I was going to publicly cut my hair for the role but nobody turned up. I wanted to do this with the set in the backdrop 20 years ago. Today, even a minute detail is reported in the media.” The point being gimmickry, which is prized today, just didn’t matter in the end.
Kapoor has been in the industry for more than 35 years and talked about how technology has aided in production. “For Mr India, everything was done on the set. I used to sit on a chair for three hours just to get a shot of a chair having an impression of someone sitting there. Special effects can be generated on computers now,” said he.
He also believes that the latest generation of actors is very hard-working. “They work 1,000 times harder now. During my time, there were times that actors would take on multiple projects and not give enough time to one but now actors work on one movie in two years and go deep into the character,” he added. The veteran also said that every actor has a struggle phase. But he has been lucky that way since producers have chosen him for the right story. “During the initial phase, I didn’t ask what the role was. I was getting an opportunity and that was enough. If I asked questions about the role or money there was the danger of losing the role. (Laughs) Then you reach a stage when you can make decisions for yourself. There are times you make wrong decisions or you’re in a position to demand a pay packet. I have been through all those phases,” Kapoor said.
Rao concurred that he too was lucky as he was able to choose the kind of work after his first film. “As an outsider, you don’t have an option to choose your films but right after the first one, the filmmakers that I worked with and the films that I went on to do were in my hands,” he said. “I learnt a lot from Anil Kapoor. His discipline and commitment to his work is amazing. When I am his age, I hope I am as energetic,” he added.
Sand, who’s making her debut and will be one of the central characters, said that she always wanted to be an actor. “We did a lot of readings with Atul sir, Anil sir and Divya ma’am (who plays her mother in the movie). Nothing was forced because of how beautiful the script was. I play a pure person who thinks that she knows a lot and her inner journey overshadows her messy clothes or her plus size.”
Dutta, who will be seen as an ordinary housewife struggling to keep everyone happy within the limited income of her husband, said, “It’s a story which is relatable to every family. Every parent wants their kid’s dreams to come true even if they might differ in the way they see life. Somewhere there is a common ground. Your own is your own,” said Dutta.
She also clarified that while feature films do make people aware about issues, this film was definitely not propagandist. Issues are not picked up in isolation, instead the film talks about them from the point of good story-telling.
Writer: Asmita Sarkar
Courtesy: The Pioneer
Actress MONALISA BISWAS, after her 125 Bhojpuri films, is all geared up for her debut as seductive villainess on Star Plus upcoming TV show Nazar.
Talk about superstitions and you’ll find a thousand in your own home. From placing a nimbu-mirchi (lemon-chili) at the doorstep to putting a devil’s face at the rooftop, we adopt all kinds of totems in the name of keeping our houses safe from what could be, a dark energy, an evil soul or a notorious witch. A fear which has spawned horror stories and literary genres. Bathed in folklore and myths, India has an unending list of witches and conjurers.
Considering that Netflix and Amazon Prime are rolling out content for a largely urban audience, Star Plus is venturing out in the Tier III and hinterland space with a new show called Nazar, a supernatural fantasy drama starring Bhojpuri actress Monalisa Biswas. The show questions, “What if daayans are found not just in sleepy towns but in city homes, in bustling streets or crowded shopping centres? How can you be sure that the person sitting next to you isn’t a daayan?”
Monalisa, of the Bigg Boss season 10 and Nach Baliye season 8 fame, is all set to play the lead role in the show as a temptress named Mohana, a powerful and hair-raising villain on TV. The actress had not dreamt of being a part of showbiz while she was working in Kolkata. But she acted on people’s suggestion that she should give acting a shot. Said she, “I never thought of becoming an actress while growing up. But when I decided to give it a shot, I went for profiling and posed for photo shoots to get a portfolio. Eventually, I landed in Mumbai where I got selected for Bhojpuri films.”
However, her outing in Bhojpuri films has been absolutely different. She has always played the positive lead. So this switch is something that she has been looking forward to. She said, “I was waiting for a negative role since a long time. Though I didn’t get to choose this role, I jumped at the opportunity when I got a call. I agreed to play the part without even listening to what the character would turn out to be. Then when the role and script were finally announced, it made me happier and excited. I was lucky to find such a role.”
She explained how she finds the character of Mohana intriguing and unique: “She possesses many supernatural powers, in her choti (hair lock). The most unique feature is that no one can say that she is a witch since she projects herself as a good soul like any human being.”
Monalisa is not enacting the role only because she finds the concept fascinating but because she has grown up listening to such stories. She said, “Just as positive energy and God exist so does negative energy. I have grown up listening to such myths and superstitions. Once on the set of a film, there was a haunted place where I sensed some dark energy. I’ve believed in these things since the incident took place. I feel that there is definitely something.”
However, a question arises here. What about the people who are not aware or educated enough to differentiate between myths and realities, souls, spirits and humans? Will not a show like this promote such fabrications and illusions in the name of entertainment? For this, Monalisa has a straightforward and direct approach and says that shows like these are only for the entertainment rather than being realistic. Putting forth her caveat, she said, “We aren’t promoting superstition. I am not saying that people who don’t believe in such concepts should start agreeing with it. It’s up to the audience whether or not they wish to follow it. Whenever a horror show or a film is made, it should be looked at from an entertainment point of view rather than trying to find a meaning or parallels in real life.”
Another interesting societal reference is that terms like daayan, chudail and others are synonymous with women. There have been many other shows on TV like Nazar which have portrayed only women as subjects which can scare. Why so? “(Laughs) That isn’t true. For example, Naagin revolves around a female protagonist. A male can’t enact its character. There are more female characters because women watch daily soaps on television. I feel that this is different since such a character has never been showcased before,” claimed Monalisa.
Netflix has been robbing away the TRPs of Hindi TV shows but Monalisa believes that TV is still relevant. “Many people are opting for online channels to watch shows and movies because they can watch these whenever and wherever. Despite that TV shows are also gaining TRPs and popularity as a huge section of the audience isn’t net savvy,” she added.
The actress feels that a change is important in everyone’s lives and watching stereotyped characters on TV bores them. A wily witch might just do the trick. Monalisa is betting on this chance encounter therefore.
Writer: Chahak Mittal
Courtesy: The Pioneer
Deepika Padukone will soon be joining the world’s biggest superstars, including Shah Rukh Khan and Amitabh Bachchan, at Madame Tussauds, London and Delhi.
The first figure will launch in London in early 2019, while the figure for Delhi will follow a few months later. A team of expert artists of Madame Tussauds met the actress in London for the sitting for her figures, where they took over 200 specific measurements as well as photographs to create authentic likeness. A “delighted” Deepika said, “The sitting with the team of experts was a special experience and I look forward to the incredible figures.”
‘I am Anushka Sharma, and I turned a vegetarian almost three years ago. Going vegetarian was one of the best decisions I ever made. I feel that now I have more energy, I feel healthier and I am so happy that no animals had to suffer for my meals anymore.’
Actor-filmmaker Kamal Haasan has taken baby steps into politics. He says if people are there to support him, no journey, irrespective of its destination, is “odious or painful.” He had also announced that there would be no more films for him as he finally is taking a plunge into politics for the people of Tamil Nadu. Before he bids adieu to films, his fans can catch his forthcoming film Vishwaroop 2 on August 10.
Cruise’s injury helped Fallout
Actor Tom Cruise’s ankle injury benefitted Mission Impossible: Fallout as it allowed the team to explore more about the film and make changes, says director Christopher McQuarrie. In August 2017, the production for the movie ground to a halt when Cruise got injured while jumping off the roof of a building and colliding with the wall of another building. “At first, I thought he was acting. Tom really likes to present Ethan Hunt’s stronger abilities. So, I thought he was fine but then I realised that he is not,” McQuarrie recalled the stunt. “A lot was written while Tom was recovering… In the end, it all helped the film,” he added. The film releases in India on July 27 in English, Hindi, Tamil and Telugu.
Writer: Team Viva
Courtesy: The Pioneer
Megastar Amitabh Bachchan, who is in Bulgaria to shoot “Brahmastra”, spared a thought about the care and concern he gets wherever he goes. But he finds it disturbing that he feels he gives back less than he gets.
Actor Amitabh Bachchan, who is in Bulgaria to shoot Brahmastra, shared a blog post saying,
“I feel guilty at times at what is on offer from the (film) unit at times… Their care and concern, their efforts to make everything so comfortable and pleasant, all with such alacrity and love. I do know, and am intelligent enough to know my present standing and what I deserve. But when it exceeds that, I feel a discomfort,” he said.
I am glad it (Jonaki) has been selected for the Indian Film Festival of Melbourne. For me, it wasn’t a Bengali film but a silent dreamscape film. I think about the content and quality of films, rather than their regional location. I enjoyed working with Aditya Sengupta.
Actress Richa chadda is all set to play the role of a popular South Indian actress Shakeela Khan, who is known for her adult films. She became a rage after her film Playgirls, where she acted opposite actress Silk Smitha. Richa, who is known for her experimental roles, was the ultimate choice for the filmmakers to play the titular role. She recently met Shakeela in Bengaluru for the first time for a greet and meet session. The film releases in 2019.
Oscar-winning star Denzel Washington says that the secret to his 35 years of married life is that he keeps his mouth shut and follows instructions.
He has learnt a few things about what makes his lasting love with wife Pauletta work.
“I do what I’m told. I keep my mouth shut,” said he. The Equalizer 2 star also revealed that when he and his wife celebrated their 35th wedding anniversary in June, they did so in a low-key way.
“We just chilled, had some dinner. It was kind of quiet,” he said.
Writer: Team Viva
Courtesy: The Pioneer
‘Manikarnika:The Queen of Jhansi’ and ‘Super 30’ are both set to release on January 25, 2019.
Actors Kangana Ranaut and Hrithik Roshan, who has been at loggerheads for years, will clash again — this time at the box office. The actress’ Manikarnika: The Queen Of Jhansi has been locked for release on January 25, 2019, when Hrithik’s Super 30 will also release.
The two actors were involved in a row which began after Kangana hinted at Hrithik being her “ex-boyfriend”. What followed was an exchange of legal complaints and mud-slinging.
Now their films are set to clash on the Republic Day 2019 weekend.
Zee Studios and producer Kamal Jain on Saturday announced the release date of their magnum opus Manikarnika – The Queen of Jhansi, in which Kangana will bring alive the “extraordinary tale of strength and valour that inspired Indians across generations”. The film is directed by Krish.
Hrithik’s Super 30, meanwhile, will see him take on the role of real life mathematics wizard Anand Kumar, who teaches 30 meritorious and talented candidates each year from economically backward sections for the entrance examination for the Indian Institute of Technology. The actor has been upbeat about playing a man from Bihar, and flaunts a simpleton’s look for the movie.
It is backed by Reliance Entertainment and Phantom Films and directed by Vikas Bahl.
Writer: Team Viva
Courtesy: The Pioneer
The popular show, Downton Abbey, has finally agreed on multiple requests of making it into a film. The film is confirmed to shoot soon.
A big-screen transfer for Downton Abbey has been rumoured for almost as long as the show has been on television. But on Friday the movie was confirmed, with creator Julian Fellowes scripting, The Book Thief’s Brian Percival to direct and Universal Studios to distribute. Production will start later this summer, with a release next year likely. Plot details remain under wraps, but it is expected the action will pick up directly from the last season’s finale, which was set in 1926.
“When the television series drew to a close it was our dream to bring the millions of global fans a movie,” said producer Gareth Neame, “and now, after getting many stars aligned, we are shortly to go into production. Julian’s script charms, thrills and entertains, and in Brian Percival’s hands we aim to deliver everything that one would hope for as Downton comes to the big screen.”
The show, which ran for six seasons on ITV in the UK and PBS in the US, won three Golden Globes and 15 Emmys from 69 nominations, which made it the most nominated non-US television show in the history of the awards. Its enormous following worldwide is credited with kickstarting a revival in period drama on both the big and small screen, and propelling stars including Hugh Bonneville, Dan Stevens and Michelle Dockery to international fame. The series was originally conceived as a spin-off prequel to Fellowes’ Oscar-winning 2001 film about a murder in a stately home, which also featured Maggie Smith as a waspish matriarch.
Documentary honours Robin Williams
When Marina Zenovich was an aspiring actor living in New York, taking on small roles to pay the bills, she was cast as an extra in The Fisher King, appearing in the scene where Parry, the madcap eccentric played by Robin Williams, imagines a spontaneous flashmob breaking out among enchanted commuters in Grand Central Station.
It’s “one of the most glorious cinematic moments”, Zenovich says, but she’d forgotten taking part in it until her new documentary, Robin Williams: Come Inside My Mind, screened at the Karlovy Vary film festival this month. When asked if she ever had a chance to meet her subject, whose life she’d been poring over for four years, she recalled having waltzed in his close proximity.
Fashioned from archival footage, old audio tapes, interviews with Williams’ contemporaries, and clips of the comic’s stand-up, Come Inside My Mind is the first documentary to comprehensively examine Williams’ life and art since his suicide in 2014. It includes virtually no narration, save for Williams’ own, which can have an eerie, almost ghostlike effect (if only ghosts were as charming and exuberant as Robin Williams). “Every person is driven by some deep, deep, deep, deep secret,” he says in voiceover about half-way through the film.
It’s a question Williams scarcely addressed, preferring to bear his soul by way of performance. “Steve Martin says in the film, when Robin was on stage, whether it was theater or stand-up, he was in charge,” says Zenovich. “But in his life he was trying to hold himself together.”
Drake starts pop’s erotic comedown
Towards the end of his double album Scorpion, Drake confirms the sting in his tale; something that has defined him as the pop star of his age. Midway through the song Final Fantasy, in which he has imagined the luckless ways in which a hookup might turn out for him, he opines: “I hope that the apocalypse is the only thing that doesn’t come.” This is not an adroit turn for the artist. He has always equated sex with the chaos of the world, a notion that talks directly to fans. His sex is frequently tinged with the dolorous. The combination of ecstatic euphoria and introspective melancholy — the good, the bad and the ugly of sex — may yet turn out to be the defining cultural trope of our times. Let’s call it “sad and sexy”, to misquote the title of Lykke Li’s recently released fourth album. While baby boomers and Gen X-ers wrestle with the sexual catastrophes of yore (such as Yewtree and #MeToo), millennials are finding that, in popular culture, the joy of sex has been supplanted by the retelling of its nihilistic woes. In 2018, “sexy” does not necessarily equate to being turned on; it connects to more complicated behaviour and emotional states.
Writer and Courtesy: The Pioneer