Tag Archives: Ranbir Kapoor

What do we do for cinema?

It’s fair to say that people with any sort of power are constantly toying with movie releases, fighting for bans, censorship or maybe something else, but what are we doing? Are we on the front foot, defending the movies we love so much? It isn’t about who has directed, who’s in the film, who’s produced the film, who’s the supporting cast or who the DOP is. It’s about one thing: Movies.

When it comes to worshipping..yes, worshipping film stars, we’re definitely ahead of other countries. We make a tremendous amount of movies every single year. (We make over 1,000 films every year if you didn’t know) India probably has the most star driven movie industry(s) in the World. We don’t only have a star system, we have a system that is controlled by stars. It’s not a secret that the largest sections of the audience usually flock to movies based on “Who’s in it” or “Who’s leading” as opposed to “What’s it about?”
From taxi drivers to corporates, everybody has their favourite film stars, moments in film, action scenes,  and the like.

All this just screams: WE LOVE MOVIES.

If you are unaware of the situation, click on the link below.

 

The Cinema Owners and Exhibitors Association of India appears to have forced this perception to become reality. The association, which represents 450-odd single screen establishments in Maharashtra, Gujarat, Karnataka and Goa, announced on Friday that it has directed its members to not screen movies featuring Pakistani, singers or musicians. The immediate casualty of the decision is Ae Dil Hai Mushkil, which stars Ranbir Kapoor, Anushka Sharma, Aishwarya Rai Bachchan and Pakistani star Fawad Khan.

Credit: Scroll.in

http://thereel.scroll.in/819046/box-office-jingoism-the-hindi-film-industry-is-facing-its-ugliest-diwali-in-years

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…But what are we doing, for these movies?  Sometimes it’s not about whether you’re a fan of Karan Johar or Aditya Chopra or Anurag Kashyap or Vishal Bharadwaj. It’s about the fact that they’re all making films. I may not watch Ae Dil Hai Mushkil but I definitely want it to get a fair release. On the debate whether Pakistani artists will feature in Bollywood movies from now on, the answer is already with you. It’s done and dusted. Right?

But how can you punish a film that was casted and shot when things were “okay”? Was Karan Johar supposed to have a vision of the future? “Hey Karan, by the time this film releases, may be relations with Pakistan will be extremely bitter” If you do not believe that he had to have such a vision, how can you blame him for legally casting an actor who’s been granted a visa by our own trusted authorities?
If these stars weren’t granted visas, none of this would have happened.

This brings us to the main question. People are strongly divided on the basis of the camps they stand for. These camps are built out of the “star” they worship. Yes, it actually exists on Twitter, Facebook, etc. Say the Ranvir Singh fans (for some random reason) will be happy with the fate ADHM has had. Or say for some strange reason, the Salman Khan fans will be happy with it’s fate as well. How does this add up? How can we be happy when another movie is suffering? You may hate the movie, you may detest the stars in it, you may not like the director, you may hate the poster, whatever your reason may be, YOU LOVE MOVIES. Why don’t you go all out supporting the film? Don’t watch it if you don’t want. But it has every right to exist and get a fair release.

Being such a large industry, the number of divisions are insanely large as well. There’s no cliche ask of “Stand together”. No body has asked you to hold hands and protest on the streets. The simple logic is, when a film lands up in a situation, its a film, the medium is what you love, it has to have every right to get a release.

Movies are movies. Who’s in it, who’s made it, who’s produced it, all of that comes later.

 

 

 


Yeh Jawaani, Hai Deewani review: Too much of nothing

YJHD is Ayan Mukerji’s second feature about five years after the release of the much loved and widely acclaimed ‘Wake up Sid’. Some would be of the clear opinion that he set himself a target too high to touch with a debut of that quality. Wake up Sid was a unique, touching and perfectly casted story of a college student who finds his way in life, played so memorably by Ranbir Kapoor. Now the question arises, where does that intelligence and deep understanding go with a film like YJHD? Well I think it goes on a life changing roadtrip.B_Id_370091_ranbir-deepkika-holi

To start with the positive, the stars out here come to the rescue of the overused plot which appears to be a jigsaw puzzle with each piece taken from a Bolly favorite or even a cult classic. Kalki does a great job in each an every one of her scenes. Ranbir’s acting has this ease about itself and a sparkling chemistry with Deepika who’s work deserves a great deal of attention as well.

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Farooq Shiekh throws a touching and heart warming performance at you which could be the most memorable and real-ly touching scenes of the film. Aditya Roy Kapoor is fantastic throughout the film. In short, every lead character does their job ever so well, and sometimes, you may feel, they bring more to the film than the Plot. At times, it seems, Ayan clearly attempts to move off from the Bollywood cliche. But how can you escape that, totally, with a script like this? But anyway, sticking to the positives, the resolution worked out well. But it was the process where our road trip hit the most speed breaks, pot holes and the like. Usual for a Dharma Production, the frames have a feeling of ‘overdone’ yet a large perception of the word ‘grand’ that never fail to create pleasure-to-watch visuals. Some of the dialogues get you laughing, mostly by Aditya and Ranbir but Kalki pulls off some good ones too.yah-jawaani-hai-deewani-movie-pic

In the first half, it felt like the Director was dying to squeeze in a song, despite the overload later, before we even know more than three or four things about a lead character, Ranbir. If you walked in a little late, you might feel that you missed around a few minutes shy of half an hour but no, the first song arrives sooner than what you are prepared for. There is no point of thinking about the necessity of the song, but in some sense, it tried to depict the character. Yes, a journalist. I am sure you guessed by watching the song and the dance which coincided with another three songs adding up to be the ONLY visual information the TV watchers had about the film, sometime before the release. There was nothing about the film or what actually the film is about. All we saw, the songs.  Its not a question about when a song is necessary to be slotted in, not in India, but when a song is out there for you so so soon, necessity will eventually become a question. Moving on, The intended humor (apart from the dialogues) very rarely works. It often appears childish, forced and immensely predictable. Especially one sequence, when the four are in Manali, you get the feeling of ‘how many times have we seen this’ so hard that you might just be able to force a small bit of laughter with utmost difficulty. Some scenes brought me too strugglingly back to Zindagi Na Milegi Dobara, Swades, Jab We Met, Hum Tum, DDLJ, and Kuch Kuch Hota Hain. Not that there was any sense of imitation, but it just emotionally transported me there. How could I forget the ‘railway’ scene where the Bollywood Hero gets into the train and lets his hand out to the Heroine who catches his hand and gets on despite the train beginning to move fast. But it doesn’t happen at the end of the film. Ayan makes Deepika rethink her decision about getting on the train and going for the trip the second the train starts moving. Which is actually pretty much fine but this sequence was used so often in Hindi cinema that everyone knows it by heart and now it felt like Ayan also made it a part of his staple diet. What differs? The year. We are in 2013. Anyway, other than the stars, if anything else rescued the film was the second half, which was better. There was more of activity and less of aimless talking, there were matters being sorted out, comedy worked better while also plunging in that needed amount of seriousness, shyly pestering the characters to arc and also, the cliche’s begin to flee in a gradual manner. But as I said, with a script like this, it is extremely difficult to flee away completely from the cliches. But out here, in half two, there is a better effort. If you are expecting a Zindagi Na Milegi Dobara which was the most recent , brilliantly crafted, fantastically written and superbly directed by Zoya Akhtar (Most recent out of all the names above) then YJHD is just a bad excuse for an attempt to create something ‘of the sort’ despite of having many coinciding sensibilities and similarities in scenes which couldn’t help but make you think about the equivalents from ZNMD which leave no space for survival for the ones from this film. Speaking of the best examples of ‘Coming of age’ cinema, ZNMD finds itself in the top 3 with ease in recent Bollywood years.  yeh-jawaani-hai-deewani-badtameez-dil-4820131818181

Overall, there is nothing extraordinary about the newness inside the overused ideas and plot to make it. But the cast, each and every member can somehow earn themselves your one time watch. But if you are looking for something different, this is not the film for you. If the film tries to fit itself under the ‘coming of age’ romantic/comedy/friendship movie section, then it should be ‘coming of age’ in every department. Not when you feel Ranbir has a cool DSLR, Handicam, Laptop and other stuff suggesting this title but yet the scenes, treatment and the feel of it takes you back to the 90s and to those scenes that any audience member from the theatre can stand up and say ‘Hey I know what happens now. Because I have seen this already’. If you have your expectations touching the sky like I had after watching Wake up Sid , it is hard to say that this would not disappoint you and your expectations. Ayan Mukerji brought so much to Wake up Sid. There was so much of an aim there, a lot of intelligence was needed to craft a character like that to wind you around in a story so gently. It was something so different at that time. But where does it all go now? It all goes for a life changing road trip with Yeh Jawaani Hai Deewani. We do hope Ayan comes back with what one can just hope he does.

I give the film, 2 out of 5 stars.