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Big B/Sanju/Sunny clash at the box office?
Joginder Tuteja, IndiaGlitz [Friday, February 16, 2007]  



Will there be a clash of the titans in a fortnight from now?

While confirmed dates for the release of most of the films coming in the month of March are still awaited, a tentative look at the upcoming Hindi films indicates an impending clash of Amitabh Bachchan, Sanjay Dutt and Sunny Deol at the box office.

March 02 is the date when films like 'Nishabd', 'Nehlle Pe Dehlla' and 'Big Brother' are expected to arrive. While 'Nishabd' [Big B] has been ready since last year and is now gearing up to hit the marquee, both 'Nehlle Pe Dehlla' [Sanjay Dutt/Saif] and 'Big Brother' [Sunny Deol] have been years in the making but are now trying to make their presence felt with a new vigor.

Ironically the only film which is confirmed so far for March 02 is 'Red' that stars Aftab Shivdasani in the lead. Will he be eventually enjoying a solo run at the theatres?

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T-Series and Reshammiya arrive again with SLBB
Joginder Tuteja, IndiaGlitz [Friday, February 16, 2007]  



Last two years have been great for T-Series and Himesh Reshammiya with majority of their albums doing wonders at the music stands.

Though the music of 'Red' has been doing decent business, it is still not on a similar scale as that of some of the biggest hits that Reshammiya has delivered in the past with T-Series.

All this may change with the arrival of music of 'Shakalaka Boom Boom', the rights of which have been bagged by T-Series. Produced and directed by Suneel Darshan, the film has Himesh Reshammiya as the film's composer.

The title track featuring the lead cast of Bobby Deol, Celina Jaitley, Kangana and Upen Patel has managed to create quite a stir and if it is any indication, T-Series and Reshammiya surely seem to have a winner in hands.

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Rediff News

Abhishek's Bentley on slippery road

February 07, 2007 23:08 IST

The super-expensive Bentley car imported by Samajwadi Party leader Amar Singh apparently as a gift for Bollywood star Abhishek Bachchan on his birthday appears to have run into objections by the Delhi Transport Department.

Amar Singh had imported the car to Delhi to be taken to Mumbai and has sought transit registration from Delhi Transport Department.

The department is examining the details provided in the application.

"The car is being registered in the name of Amar Singh who has shown his residential address as 'Jalsa' in Mumbai (which is Amitabh Bachchan's residence), which is apparently not correct," a Delhi transport official said.

"We are looking into the matter and further action will depend on the findings," said Delhi Transport Minister Haroon Yusuf.

However, sources said if the information provided in the documents are found incorrect, the registration of the car will be cancelled and Samajwadi Amar Singh might face criminal proceedings.

Meanwhile, Abhishek's father Amitabh Bachchan told a TV channel that he has not gifted the Bentley car costing a whopping Rs 1.5 crore to his son who turned 31 on Monday.

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Of cars, modesty and Eklavya

February 08, 2007 13:44 IST
Last Updated: February 08, 2007 14:43 IST


The Big B's performance in Eklavya was so terrific that he got a Rolls Royce for it!

That's right, director Vidhu Vinod Chopra was so impressed by Amitabh Bachchan's performance in his forthcoming movie Eklavya that he gifted him a Rolls Royce Phantom at the actor's office in Juhu on Wednesday in the presence of mediapersons.

The expensive token of appreciation comes just days after Abhishek Bachchan was gifted a Bentley on his birthday. Initial reports said Amitabh had presented his son with the car, but Bachchan denied this. Either way the father and son have gotten quite an impressive garage upgrade.

The actor was in such a happy mood during the filming of Eklavya that he even promised to buy the director a car.

"But I thought of gifting Bachchan a car before he gifts me one. I feel gifting a car is the least I could do for him. He has indeed given a great performance," Chopra said, adding, "He has not bought me a car yet. So this is a polite reminder for him to keep his promise."



"I am not planning to gift him anything!" an amused Amitabh quipped.

Praising the actor for his role in the film, which also stars Sanjay Dutt, Saif Ali Khan, Jackie Shroff, Boman Irani, Jimmy Shergill, Sharmila Tagore, Vidya Balan and Raima Sen, Chopra said he was the real Ekavya (the royal guard). "He is such a committed actor, and for a writer; director there can't be a greater gift than that," the director added.

So impressive was Bachchan that even British actor Ralph Fiennes, who saw Eklavya congratulated the director and even hugged him, Chopra recalled. "He (Fiennes) met Bachchan and just kept hugging him," Chopra said.

Initially titled Yagna, the film revolves around the royalty of Devigarh, and boasts of eye-boggling action, one of which involves 600 camels.

Asked how far the story was connected to the Eklavya from Mahabharata, Chopra said, "This story belongs to today's India. But we have raised the question as to what happened that time (during the time of Mahabharata), and today was right or wrong. It is a contemporary dramatic thriller film; it does not go into the Mahabharata."

"In full honesty, directing the movie was great," Chopra said, praising the other actors too. "Everyone has done a fantastic job, but I can't afford cars for everyone... if I did, I would have to sell my house," the director joked.

Bachchan, as always was modest about his role.



"I am over the moon. Chopra is very fond of saying that this is my best performance, but I don't agree with it," the actor said.

"I wanted to work with him for so long, but he didn't take me. Finally, I have made it. We have been meeting every year -- talking and discussing roles -- but later Chopra goes to another actor. I feel all the films that Chopra did were excellent -- whether it was Parinda or 1942 A Love story. I would have loved to be part of all. He has his own style of directing," he added.

Bachchan has already shot the trailer for Chopra's next movie, Talisman, which will come out along with Eklavya.

The only discordant note in the otherwise pleasant occasion was when the media was kept waiting and shoved from one corner to another every five minutes. Added to this was the barrier created between Bachchan and the media by a rope.

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Rediff News

Amar Singh: I did not gift Bentley to Abhishek

February 08, 2007 18:37 IST



Amar Singh, general secretary of the Samajwadi Party, has threatened to file a suit against Delhi Chief Minister Sheila Dik# and Transport Minister Haroon Yusuf for spreading rumours that he purchased a Bentley car worth Rs 2.5 crore as a birthday gift to Abhishek Bachchan.

He also threatened to file suits against television channels if they did not refrain from giving out false information.

Singh fumed throughout the press conference, which he had called at short notice, to explain his stance.

Haroon Yusuf had charged Singh of giving a false address while purchasing the car -- Singh had provided Amitabh Bachchan's address.

"I made the payment by cheque and have quoted the PAN number while making the payment. The car was purchased five days ago and flown to Delhi from London. I paid Rs 30 lakh to the Maharashtra government. If this does not figure in my income tax, then you can complain. You could complain if Amitabh Bachchan says that he does not live at the address I gave. Yuu have to decide who has more credibility: Amitabh or Haroon," he said.



He disclosed that his advocates are already looking at the legal options to file cases against Yusuf and television channels. He added that unless the government makes purchasing of the car a criminal offence, he would keep buying vehicles.

He was particularly severe on the media as he felt that majority of his problems emanated from the media stories about him and his proximity to the Bachchan family.

"Sometimes, you run a story that the car was a gift from father to son. Then, you say it was gifted by me. It is my car. My son Abhishek and bahu Ashwariya Rai can use the vehicle when I am not using it or when I'm not in Mumbai. Then you run stories about Ash being married to a peepal tree to take care of Mangal. Let me tell you Amitabh Bachchan does not believe in these things. Please leave us alone," he pleaded.

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Rediff News

Traffic Signal banned in Himachal Pradesh

February 10, 2007 11:00 IST

The government of Himachal Pradesh has banned Madhur Bhandarkar's film Traffic Signal for using the word kinnar in a derogatory sense.

A spokesman of the Himachal government told rediff.com on phone from Shimla that unless that word is removed from the film, it would not be allowed to be screened in cinema halls of the state.

The controversy over the use of word kinnar arose because Bhandarkar refers to eunuchs, while Kinnar in Himachal Pradesh is a term used for tribal people who live in sub-zero temperatures in Kinnaur district of the state during winters.

"Kinnaur has a beautiful culture and the people of the district are upset about being equated with eunuchs by using the word kinnar. Bhandarkar has delibrately brought disrepute to the Kinnauris. He must tender an apology and delete the word forthwith," the spokeman said.

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Source: Rediff News

Amu set for release in North America

February 15, 2007 14:38 IST


Konkona Sen Sharma in Amu

Amu, the explosive, nerve touching and yet endearing film by Los Angeles-based filmmaker Shonali Bose is finally scheduled for release across North America with a five theatre release in Toronto on February 16.

Written and directed by Bose, this critically acclaimed film, which was released in India more than two years ago, has caught the attention of not only the media but also such popular filmmakers like Mira Nair and Deepa Mehta.

A film festival favourite for two years, Amu has been garnering good reviews, winning top national awards and enjoying a good run in multiplexes in metros. It has also been shown in many American and Canadian campuses, apart from prestigious film festivals in Berlin and Toronto.

Amu is the journey of Kajori Roy, a 21-year-old Indian American woman who has lived in the US since the age of three. After graduating from UCLA Kajori goes to India to visit her relatives. There she meets Kabir, a college student from an upper class family who is disdainful of Kajori's wide-eyed wonder at discovering the 'real India'.

Kajori is struck with a sense of d�j� vu when she visits the slums, crowded markets and roadside cafes of Delhi. Soon after she starts having nightmares. Kabir gets drawn into the mystery of why this is happening particularly when he discovers that she is adopted.

Konkona Sen Sharma in Amu

Meanwhile Kajori's adoptive mother, Keya, a single parent and civil rights activist in LA, arrives unannounced in Delhi. She is shocked to discover that Kajori has been visiting the slums. The daughter mistakes her mother's response to over protectiveness. But Keya's fears are based in another reality.

Together, Kajori and Kabir get to the bottom of her adoptive parents' deception and lies regarding her birth and their involvement in a tragedy that took part 20 years ago in the capital (the massacre of Sikhs in New Delhi following the assassination of Indira Gandhi in 1984).

In a searing climax, the young people are forced to confront the reality of the past and how it affects the present.

Now with the film all set for release in North America, the buzz about the film has started to gain momentum.

One of the first reviews of the film which appeared in the influential trade publication, Hollywood Reporter termed the film as, 'a first rate detective story which boldly rips away a tapestry of lies and cover ups.'

Konkona Sen Sharma in Amu

Mira Nair called the it 'a must see film which surprises you at every turn.'

And Mehta, not a stranger to controversies 'absolutely' loves the film. 'A thoughtful and important film with a universal theme,' she added.

'A bold and heartrending film, extremely well made and deeply moving. It's an important film as it is very relevant to our times,' Aamir Khan had said of the film.

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Source: Rediff News

Rajnikant in an animation film
February 16, 2007 15:22 IST

Rajnikant's fans have yet another reason to rejoice.

The superstar will do an animation film to be co-produced by Ocher studios, led by his wife Latha Rajnikant, with Anil Dhirubhai Ambani Group's Adlabs. Word is that Rajni's youngest daughter Soundarya will direct the film.

"Over 50 percent of the Indian population is below the age of 20. Besides that, animation is a universal favourite for all audiences," says Pooja Shetty, director Adlabs Films Ltd. "There is a dearth of quality animation content originating from India and Adlabs is making a keen foray into the sector with this project."

Animation in Indian films was almost unheard of until two years ago, when Hanuman's success made all the difference.

Earlier, Yash Raj films had successfully launched cartoon strips in Hum Tum, which became a hit. But they did not follow it up, though there are rumours of them doing an animation film, to be directed by Jugal Hansraj.

Adlabs has also tied up with kids' apparels Gini & Jony to produce an animated feature film, based on the characters of Gini and Jony.

"We are optimistic about the future of Indian Animation content and believe the characters of Gini and Jony are well established in the minds of Indian children," said Manmohan Shetty, chairman of Adlabs Films Ltd. He added, "We continue our focus on the Indian animation industry and will announce more projects."

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Source: Rediff News

Eklavya is a must-watch
February 14, 2007 13:25 IST


Amitabh Bachchan in Eklavya

Looks like filmmaker Vidhu Vinod Chopra has managed to keep the vow he made to himself in 1981 with Eklavya. The filmmaker had vowed to veer away from the traditional song and dance in Hindi films. Eklavya has only one, well-shot song sequence.

This dark and brooding film about a former royal family with secrets looks like it was made for film festivals. If the success of Omkara, which wrestled with the themes of betrayal, jealousy, destructive ambition and revenge, is any indication, then Eklavya too should do solid business abroad.

The film could also be another international hit for Saif Ali Khan, who does the near impossible by holding his own against a deeply anguished, conflicted and revengeful Amitabh Bachchan.

The film starts with Bachchan sonorously recalling the story of Eklavya, from the Mahabharata. Throughout the film, the legend is invoked obliquely as well as directly by the characters reeling off Sanskrit sayings on what is dharma.

Set in the early years of Indian Independence, the movie involves a casteist, jealous and ungrateful ruler Rana Jayawardhan, played by an over-the-top Boman Irani, who will not let his wife (Sharmila Tagore) die in peace because she is uttering the name of Eklavya (Bachchan).

Rana's brother Jyotiwardhan (Jackie Shroff) and nephew Udaywardhan (Jimmy Shergill) are impatient to grab his palace and wealth. But when the estranged son (Saif Ali Khan) returns to the palace after his mother's death, the complications increase.

The ruler's mentally challenged daughter Nandini's (Raima Sen) recollection of a crime is the turning point of the film. Looking after the mentally fragile child-woman is Rajeswari, the daughter (Vidya Balan) of a chauffer (Parikshat Sahni).

The scheming father and son set in motion a chain of events that brings a lower caste police officer (Sunjay Dutt) into the story, whereby allowing the film to take up a populist stand against evil minded rulers who mete out terrible treatment to the lower caste denizens in their princely realms.

As the scheming continues, there are murders, attempted murders, rebellion by the villagers whose lands are confiscated by the greedy ruler, and fleeting romance.

The film, which owes as much to Shakespeare (it is no surprising that the dying queen asks for her favourite Shakespearean sonnet to be read to her) as to the Mahabharata, loses its momentum and focus in the last 15 minutes.

Much of the eye-catching action by lensman Natarajan Subramanian takes place in the palace. Chopra has staged quite a few well-edited and hair-raising scenes, especially when a blindfolded Bachchan is testing his archery skills.

While all the male actors apart from Bachchan and Saif get good amount of attention, Raima Sen's character becomes infrequent as the intermission approaches. One is left wondering why the director banished her off-screen when more calamitous events unfold. Vidya Balan looks lovely and poised, though her character is limited.

Eklavya in a nutshell: Despite the loopholes in the script, a few unbaked characters and a made-for-masses ending, the film emerges strong and ranks definitely watchable.

[ Last edited by  ldg at 17-2-2007 02:56 AM ]

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Source: Rediff News

In the garden of Eklavya and Evil


A still from Eklavya

February 16, 2007 20:23 IST

Convention, be damned.

Vidhu Vinod Chopra's latest film bellows with defiance and power, visibly the story of a filmmaker flexing his muscles to meet his own, insane standards -- while caring not for the world at large. Sure, the film is brilliant, brave, superbly edited and marvellously shot. Not to mention showcasing fantastic performances.

Then again, it's also abstruse and theatrical, heavy-winded and ponderous. If the task is merely to strike a balance between commercial and aesthetic, the film stumbles entirely. But -- and here's the most crucial bit -- it doesn't look like Chopra's aiming for the balance.

Like Eklavya -- both the spirited lad of the Mahabharata and the titular character in this film, played by Amitabh Bachchan -- Chopra's focus is on dharma. His film talks about the subjective nature of right and wrong; does evil indeed lie in the eyes of the beholder? It's a loaded issue, and this period drama -- this really doesn't fit into the 'thriller' genre -- explores complex ramifications aided by strenuous dialogue. Bachchan talks us through the opening credits, his baritone narration deep and grandfatherly, explaining the Mahabharata legend.

Then, present day Rajasthan. Rani Suhasinidevi (Sharmila Tagore) lies on her death bed as Rana Jayavardan (Boman Irani) tenderly recites Shakespeare's 18th sonnet to her. He is the king of a feudal township, a kingdom snatched by democratic India, and while he still lives in grandiose once-upon-a-time illusions and treats the farmers like serfs, there is little he has to smile about, with a fatally ill wife and mentally challenged daughter Nandini (Raima Sen). And soon is his copper complexion further dimm'd, as she refuses to take his name with her final breaths.



It is a grudge he seems to hold against his son, Harshvardhan (Saif Ali Khan). The princeling arrives by helicopter, embraces old-guard Eklavya, who stands loyally beside him as he faces his father. 'She took your name,' complains the King bitterly, 'only your name.' The son stands in silence, faultlessly reprimanded minutes before his mother's funeral. In those crucial minutes, however, he meets adoring sister Nandini and childhood sweetheart Rajjo (Vidya Balan), and reads a letter from his mother. You know, the kind of letter that changes his life.

But while Harsh might enjoy his hair buffeted by the winds as he smiles hearing Rajjo's flashback-evoking rendition of his mother's ballad -- the film's only song, and we hear half -- the palace must deal with the outside world. With ground reality, the sort best portrayed by once-untouchable Pannalal Chohar (Sanjay Dutt), a tough cop called in to investigate a murder threat to the king, but only heading to the palace because of an enduring respect for the legendary royal guard. If only he'll show him that trick again...

Which is possibly what audiences ask. Will Vinod show us that trick again? A magical masterpiece no one can resist? Will he show us Parinda again? Well, with this film he does, though not quite as you would expect. The pigeon-love -- exhibited in every film he produces -- seems stronger than ever this time, and it could possibly be appropriate for Vidhu to now time his off-screen appearances with a furious flurry of feathers as fanfare. Anyway, deployed as well as ever, we love the darned white birds again.

Cinematographer Natarajan Subramaniam dazzles with every frame, truly spectacular lighting and flawless editing making the film a banquet for the eyes -- there's something to suit every visual palette. And then there are the performances.

As the title suggests, this is an out-and-out Amitabh Bachchan film. The script paints the actor into a helluva tight corner, pushing him to act the daylights out of the role, or fail. And act he bloody well does, creating a memorable and unbelievably compelling character. Eklavya is conflicted and determined, forceful yet fragile, and -- using his eyes to masterful effect -- Amitabh hands in a stunning performance. This is one of his most mature roles, and it is work like this that must excite the legendary leading man. We're thrilled, for sure.

Equally commendable is Sanjay Dutt, evoking inevitable chortles in a tense, extremely emotional father-son drama. The Deputy Superintendent of Police is an Obelix-ian character of both anger and affection, and despite his tough as nails no-nonsense attitude, it is his childish innocence that makes him irresistible. Dutt, looking unlike anything he has before, is spot-on.

Saif's role is one of tremendous restraint, and he plays it to perfection. There are very few moments given to the actor to display great histrionics, his character more given to brooding silently. Yet this is a flawless performance, and the best kind of acting -- making it seem effortless. Boman is reliably excellent, and continues to go from subtler strength to strength; he has an enviable mastery of visible nuances, pulling them off without ever seeming gimmicky. One wishes Jackie Shroff had a bit more meat, while Jimmy Shergill, cast against type, does solidly, and is well-rewarded -- pitted against Amitabh in the film's finest scene.



Of the women, Raima again shows her skill as an exceptional actress, effervescent in a crucial character. Her Nandini might be impaired of mind but wields a crayon with considerable skill, a superb parallel to the nearly-blind Eklavya's undying marksmanship, based on sound. In one of the film's most regrettable flaws, her character is unjustifiably edited out of screentime as the film hurtles towards the climax. Balan has very little to do in the film, while Tagore is essential to give the film the air of nostalgia it desires.

Eklavya is a powerful drama, yet one is more than likely to get caught up in the terrific treatment -- and miss the larger point of the film. The lyrical camera and flowing imagery are made more fluid by a vivid, strong background score, often lending the film touches of magic-realism. When Rana Jayavardan longingly touches the mirror that reflects a captivating Sharmila Tagore portrait (of Nayak vintage), one half-expects it to ripple wetly as his finger strikes it.

Vidhu, of course, is a master filmmaker, audaciously plunging the theatre into darkness for over three minutes. This is insanely awesome stuff, the kind of thing Hindi cinema will reel from. Audiences might even yell at confused projectionists, but who cares. Bring on the applause.

Yet it is this that somehow overpowers the theme, technique taking precedence over story. The script is powerful, yet occasionally self-indulgent. Unapologetically it turns to hardcore Hindi and Sanskrit, as to the Bard, and the film may thus alienate itself from most audiences. It impresses undeniably, but the question is, are you in love with it?

The answer is tough. I would suggest watch it again to decide. I know I must.

For a flawed masterpiece is still a masterpiece.

[ Last edited by  ldg at 17-2-2007 02:57 AM ]

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Source: Rediff News

Hot Koffee with Hrithik, Priyanka

  

February 16, 2007 12:08 IST

He is a true superhero in every way while she's the new super hot actress of Bollywood.

Hrithik Roshan and Priyanka Chopra are this week's guests on Karan Johar's television chat show Koffee With Karan, and they spoke about everything from their hits, their voracious appetites and the controversies surrounding the infamous kiss in Dhoom 2 (with Hrithik and Aishwarya Rai) and Priyanka's dubious friendship with Kareena Kapoor.

Some interesting excerpts from the show:

Karan: What's the sexiest compliment you have received?

Hrithik: Well, let me just say that there were these whole bunch of SMSs that I got, in which it was pretty clear that a lot of the girls said that they were very happy... a long way before the film (Dhoom 2) had climaxed.

Karan: (interrupts) I know of a lot of women who went to see the film with their husbands or boyfriends and there were very shattered husbands at the end of the film... and you managed to do that.

Hrithik: It should be something that should motivate them

Karan: Would you call them detractors, the ones who turned around and said that Hrithik Roshan works only with his father? What would you call them?

Hrithik: Angels. If it weren't for them, I don't think it would have added that little zing in my drive. So, fab. Thank you.

Karan: How's it been? This year you have had two big hits (Krrish and Don). It's been a fantastic commercial year for you. Are you thrilled, happy, waiting to do more exciting work?

Priyanka: Yes. I am really looking forward to do some good work. It has been a fantastic year and more than anything my dad come back home this year. He was really unwell last year and that added just to the whole year.

Hrithik: You know, if anything ever happened to Krrish, you can easily go ahead and make a super 'Krisshi'.

Karan: Because she is really a super girl.

Hrithik: She is crazy, she is a shocker

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'It was strange when Saif decided to act'


Saif and Soha Ali Khan

February 15, 2007

On the eve of Saif Ali Khan's new release Eklavya, kid sister Soha Ali Khan spills the beans on her older brother and the naughty things he did as a child, his influence on her career and her struggle to win her parents' approval.

Over to Soha:

Saif, as a brother

Bhai is significantly older than me. There is almost a 10-year age difference between us. I don't remember living in the same house as him while growing up. When I was born, he was in a boarding school in England. When he came back, it was my turn to go to England to study. My sister Saba's memories of him are probably fresher.

He was very naughty with Saba -- he would tie her up and leave her in the bathroom, switch the off the lights and really torture her. He would never misbehave with me probably because I was younger. In fact, I was the naughty one -- I remember him getting into a lot of trouble because of me.

But he always got away with everything because he is incredibly charming. He is very open minded, wears his heart on his sleeve and one tends to forgive him most of the time because of his kindness.

I wish I spent more time with him while growing up. I got to know him better after moving to Mumbai and living with him for a year. Now, after three years, we have become closer than we have ever been before. That's the best part about moving to Mumbai.

Watching Saif grow as an actor



It was very strange for us when he decided to get into acting.

He had just returned from England and had been much anglicised -- long red hair, heavy English accent... When he suddenly decided to join acting, it was very strange.

It was not easy for him in the beginning, though he enjoyed what he was doing. He always had an inimitable quality about him. He doesn't copy anybody's style and has such a great sense of comic timing.

He's very dedicated too. He worked on things like diction, his body and voice. He has become more focused in recent times in terms of choosing the right films and roles, and taking his career very seriously. He has put in a lot of hard work and gone through lots of ups and downs. He deserves the place he is in today.

My favourite Saif films

I liked the character he played in Mein Khiladi Tu Anari. I also liked the funny songs he did like O le Ole from Aashiq Awara.

Then there was Dil Chahta Hai, which was a turning point for him. I also enjoyed his character in Ek Hasina Thi. I think he has got an incredible range and can do anything from comedies to thrillers.

Moving in with Bhai

I had my career mapped out for me and it did not include films. I was never consciously exposed to Indian cinema. I was studying in an international school in Delhi grooming myself to go abroad, learning French and doing all the regular things. Then I went to England for four years. After that, I was supposed to stay there and work with an international company.

But I moved to Mumbai and worked in Citibank. The first time I stayed with my brother, I interacted with people from the film world and saw a glimpse of his life -- the glamour aspect all well as the hard work that goes into it. I saw the enjoyment he got from cinema despite all the long hours, travel and the insecurity of it all. That was when I started watching a lot of Indian films.

I have always loved acting. I have done lot of theatre and love the idea of playing characters, which at that time did not seem a realistic option.

I was keen to make my father happy and I knew this wasn't something he would be happy with so I never considered it before. But once I was here, it was very seductive and difficult to say no.

It's a different world and a different kind of job that has all its challenges. It has incredible joy. It's been three years and I haven't looked back since.

His influence on my career as an actor



He was the first person I told about my decision to take up acting. I was living with him and my then sister-in-law (Amrita Singh) at that time. I told bhabhi next. I was unsure how to tell my parents. I was getting some offers and I really wanted to give them a try.   

He (Saif) was very supportive but terrified at the same time because he knew our parents would blame him for influencing me. He told me that he would support me but that I had to be the one to inform our parents. I didn't.

Instead of telling them, I just quit my job. Then I signed my first film. I am very bad at that. I hate confrontations. I avoid issues. I bury my head in the sand and pretend they will go away. So I thought that I would tell them when things begin to happen. Looking back, I would advise everyone not to do that to their parents.

On her parents, Sharmila Tagore and Mansoor Ali Khan Pataudi

When they learnt about my decision to get into acting, they were not happy. They are very sensible and liberal parents but they told me acting was a mistake and preferred that I do something else.

They told me that I have been trained for different skills and that I don't know anything about acting. They warned me of the struggle ahead.

But I told them that I know what I was getting into. Though I don't have a plan, I just know that if the script really appeals to me, I would do it. I believed that in time, they would see my commitment.

After my first few releases in the last year, they accepted my decision. Though my mother adores the profession, she does not think it is right for me.

My brother advises me on what kind of films to do, which directors to work with and which scripts have potential.

On Rosa, Saif's girlfriend

I have met her on many occasions. She is lovely, soft spoken and very generous. She always makes an effort to be with the whole family. I don't really intrude in people's lives. I love my family for who they are. I don't get too involved in their relationships. If both are happy together then who am I to say anything?

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Source: Rediff News

'I love playing mean'


Boman Irani in Eklavya

February 15, 2007

Patient, amusing and even wicked. That is how Boman Irani comes across to you. After shooting for nine hours, Boman looks tired and sleepy. Yet, he chooses to drive his car himself, carefully maneuvering amid heavy traffic, while people peep into the car, wondering whether it is really Boman sitting inside.

"Sometimes, I feel like an animal caged in the zoo," he says, as we start our interview.

Boman plays a king in Vidhu Vinod Chopra's Eklavya, a character he has never played before. The film, also starring Amitabh Bachchan, Saif Ali Khan, Sanjay Dutt, Jackie Shroff, Jimmy Shergill, Vidya Balan and Raima Sen, will release on February 16.

Excerpts from a conversation:

How did your association with Vidhu Vinod Chopra start?

Vidhu saw an experimental digital film Let's Talk (before it released) and called me over to his home to congratulate. That's when he offered me a role in his future venture. He told me that he wanted to sign me up then itself because later he would not get dates.

Honestly, I had never thought I would be doing Hindi films.

We re-shot Let's Talk with Vidhu's inputs. When I worked in his subsequent productions, we shared a lot of ideas. We had long conversations about films, stories, scenes and moments. Vidhu values opinion. He listens. So my association with him has been quite extensive. With him, you don't just meet and give dates for the films. It's more than that. If he gets an idea at 1 am, he would tell Rajkumar Hirani (director, Munnabhai MBBS and Lage Raho Munnabhai) to wake me up and we would talk for hours over the phone.

I share this working relationship with Raju (Hirani), Ram Madhvani (director, Lets Talk) and a lot of directors. When I get an idea, I call up the director and ask him if we can do a particular shot a certain way. I like it when there is a meeting of minds because it's not about getting into the studio and be told that this is the scene for the day. I feel we deprive ourselves of the fun and at the same time, it's boring to intellectualise everything. I prefer to enjoy the entire process.

How was the first day of your shoot under the VCP banner?



I wanted to run away! I thought I was horrible. I wanted to quit Munnabhai MBBS. But my director Rajkumar Hirani assured guidance and told me not to give up. That egged me on to do better work.

He realises that an actor does not want to do something bad; I'd rather live with the memory of being known as a good theatre actor than doing a Hindi film where I am messing it up.

In three years, you have done a variety of roles. Which characters did you enjoy playing the most?

I think every role makes you a better actor -- whether it's a good or bad role, it helps you learn. I think one needs to keep their egos aside, and accept when you do a bad job. Every role that I have done has some meaning in my life.

Like my film, Everyone Says I'm Fine with Rahul Bose, in which I had three silent but impactful scenes. Rahul showcased me as a menacing character. His thoughts were evil. We did not require dialogues.

I am also very proud of my character in Ram Gopal Varma's Darna Mana Hai. I did the cigarette smoking story with Saif Ali Khan.

In Being Cyrus, you were playing a Parsi. Was it different from the other characters you have played before?

I would like to believe that all characters I play are different.

People say I am Parsi so it was easy for me to play Farookh. I hope I am not like that horrible guy in the film! He was so uncouth, vicious and murderous.

You have been playing a mean guy in many movies.

Oh! I love playing mean. (winks)

In Lage Raho Munnabhai, I played a hard-nosed businessman. He was not mean. I have seen people bargain like that. I loved Lucky Singh's character; he is one of my favourites. When it comes to showing aggression, he does that with a smile. His obsession of getting his pictures with celebrities framed on the walls is quite sweet and funny.

Lucky Singh, in many ways, was similar to your character in Khosla Ka Ghosla.



Yes. But I would like to believe they were dissimilar in portrayal. When you see these movies back-to-back, you will know what I mean. Though their intent and profession is the same (both are builders), they are distinctly different.

Your character in Don also turned out to be negative in the end.

Yes. I shot for Honeymoon Travels Pvt Ltd and Don simultaneously. But in Honeymoon Travels Pvt Ltd, I play a sweet, lovable guy.

So does your negative streak extend to Eklavya?

(Smiles wickedly) My character King Rana Jaywardhan comes across as a dark, complex person. He may have not done nice things but you can't blame him for it. Some people do villainous things because they are inherently evil. Rana Jaywardhan does it because of his weaknesses, his history, his dark secrets and his problems. It was a difficult character to establish and I am honoured to given the responsibility to play him.           

Vidhu kept feeding me with information about the character. He gave me images, sketches and pictures for reference. He also played music that was supposed to transfer you to some other space. Vidhu would do all that to help you get into the character.

Amitabh is one of your favourite actors. But in the film, ironically, you play the king and he plays a guard. Was it difficult for you?

It's a difficult situation. I have always been an Amitabh fan. And here, I am even shouting at him in some scenes!

You have to disassociate yourself from being Boman, the fan to being Boman, the actor. The moment you work like a fan, you will not do your job well.

It's inspiring to watch Amitji, his approach to work, his intensity as an actor. His energy is sometimes scary. To see that man jumping in the middle of camels' legs, getting kicked on the head but firmly staying there, while continuing the scene, firing the gun is an amazing experience in itself.

You worked with Raima Sen in Eklavya and Honeymoon...

But she is playing two different roles in both. In Eklavya, she plays my mentally challenged child, a role that is very difficult.

I did not interact much with Raima during the shoot as we did on flight to Devigarh together.

One hears that a bullet was shot at you in one of the scenes. What did you go through while doing that scene?

I'd like to ask you that: What if I shot a live bullet at you...

It was a live bullet?

What are you talking about? I have taken blank ones on my chest, yaar. Big deal! Of course, it was a live bullet this time. It went a couple of inches past my ear.

I was wondering what's happening to me. I was wearing a leather jacket in heat of the (Rajasthan) desert. There were so many camels moving around, throwing dust. The guy who was going to shoot me was sitting below my leg in that cramped space pointing a gun towards me.

Were you convinced to do it or did you volunteer?

They made it a low key affair. Jackie Shroff was telling me not to get scared. What do you say when people say things like that to you; Amitji is standing by, Vidhu is waiting for the shot to happen and I am behaving like a sissy.

So I just did it. But trust me, you don't like the idea of a live bullet whizzing past your ear. I wouldn't do something like that again.

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Source: Rediff News

American Idol gets desi twist


Sanjaya Malakar

February 16, 2007 20:58 IST

Sanjaya Malakar, 17, became the first Indian-American to make it to the semi-finals of American Idol, a nationwide talent hunt in the US for the best singing voice.

He is the youngest among the 12 male contestants -- the next being 8 years older. The finals of the highly-rated Fox television show are slated for May. The 24 contestants -- 12 men and 12 women -- are the cream of the thousands who auditioned across the nation for the contest known to get the top artistes highly lucrative contracts.

Sanjaya, who says overcoming shyness was the toughest obstacle in his life, has been singing right from childhood. "Once I stopped crying," as he puts it. From Lacey, Washington, Sanjaya had entered the contest along with his sister Shyamali, 19, who is now out of the race for the top spot.

Talent hunters closely watch the show which brings together young singers from diverse fields and backgrounds. Sanjaya said his father was a classical Indian musician and that "they were raised around music."

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Source: Rediff News

Want Big B as President of India?

February 15, 2007

Politics is full of uncertainty, they say.

But when we were informed that Amitabh Bachchan may run for the Presidency, after incumbent A P J Abdul Kalam vacates Rashtrapati Bhavan in July, our jaws dropped.

So far, there has been no confirmation from any political party.

But reports say the Samajwadi Party intends to propose his name, and former Andhra Pradesh chief minister N Chandrababu Naidu's Telugu Desam Party will support the move.The superstar has in the past ruled out any involvement in politics, and so far, he has not reacted to the reports about his running for President.

But what do you think? Would you like to have Amitabh Bachchan as the next President of India?

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Source: Rediff News

'Eklavya took me 5 years to write'



There's an enigmatic rush to his movements, a bustle anachronistic to his soft voice, a casual urgency seemingly at odds with his aggressively fierce media face. Then again, he really doesn't have time to settle down and be himself; Vidhu Vinod Chopra has a film to sell.
In the room next door, he's battling multiplex owners three days before the Friday of release. In this one, he shares a quick in-joke and a quick round of guffaws with comrade director Rajkumar Hirani, who politely leaves Chopra to talk about Eklavya, his film he's just seen for the first time, completely mastered and ready for audience consumption.

It's been a while since the groundbreaking, new-wave Parinda director was seen at the helm. His last turn, Mission Kashmir, came in 2000, and since then, the director has been one of India's most successful producers, introducing directors like Hirani (Munnabhai MBBS, Lage Raho Munna Bhai) and Pradeep Sarkar (Parineeta).

Blockbusters all, reason enough for Chopra to feel he wasn't ever really on hiatus. "Eklavya took me five years to write. And in this time I also wrote and co-wrote over the last seven years, the Munna Bhai films and Parineeta, so I think the writer in me was constantly working. And the director, for obvious reasons, took a backseat."

Renowned for being one of Bollywood's most obsessive auteurs, Chopra's always written his own films. In terms of process, it must be hard to write for other directors.

"It's very different. The first thing is that I must have a lot of affection, love and regard for the director, otherwise I can't. I can only write for Raju Hirani because..." Vinod trails off, smiling, shaking his head. "You saw him. Look at this man. He's today probably the most successful director in India; more successful than me as a director. Look at his humility, look at his affection. He's cutting my promos, for God's sake! What kind of relationship is this?"

He speaks fondly of his friends -- Hirani, director Ram Madhwani (Lets Talk) -- and says, at the time he was writing Parineeta, that he was fond of Sarkar as well. He opens a window and calls to the watchman to send someone up with tea and water.

With a sweeping gesture, Chopra motions to the walls outside his Mumbai office, saying he doesn't see such teamwork anywhere else. "That's why I've put up these tall walls. God protect us from the outside world."

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Source: Rediff News

'For God's sake, don't forget where you come from'



In a notoriously fickle industry, where does this tremendous stress on personal relationships come from? "I'm a small town guy," Chopra smiles, as if that is explanation enough.
Hailing from Kashmir, and growing up in Srinagar, Vinod only learnt English when he was 16. "And I haven't let go of my roots," he declares powerfully, before launching into an amusing tirade of his nephew Ashvin, who now calls himself Ash and speaks with an indecipherable accent.

"The guy was born in Lucknow, yaar. I was there when this kid was born. Where are his roots? What's gone wrong? I'm telling you, one thing I haven't forgotten is where I come from and my roots, and that's critical. And I'm telling you this because rediff is read by a lot of Indians living abroad, I would want to tell them, for God's sake, don't forget where you come from. And I am not anti-West. I'm doing a film in Hollywood. But I don't sit there and answer to Vy-Nod. I say Vi-Nod, and correct them. It takes them some time. But bolte hain phir Vinod (they do finally say Vinod). I'm not going to call myself Vy-nod Choppra."

Speaking of Hollywood for a second, there was all this conversation about a film with Dustin Hoffman. "Yes, that film is still on the cards. It's called The Fifth Move, though it might now be renamed 64 Squares. It's an English film, and in terms of casting, all I can say right now is that I'm trying to get Mr (Amitabh) Bachchan involved on that project as well."

So there we go, another repeat collaborator. How difficult is it finding people to gel with? "Very difficult. I have no friends. As you know, I don't go to parties. I don't like many people," he pauses dramatically, "and most people don't like me. I don't gel with people at all. But then people I do gel with, they stay with me over long periods of time, 20 or 30 years, nobody leaves. They're lasting relationships. So I'm sure I don't have to meet a psychiatrist," Vinod laughs.

Thus we see the same group of actors recurring in various films, large actors squeezing into bit-roles if need be. But the Vidhu Vinod Chopra All-Stars report to the sets, pretty much every time. "It's because, as I said, if I have perfection than I stick with it. I don't shift around too much. And with actors, it's the same thing. I don't find many actors who would like to work with me because of the work with me because of the way I work. I'm not that easy to work with."

Hmm? "See, most actors who are stars, are used to a certain kind of functioning in the Hindi film industry. Coming late, etc. For me, when I work with a star, the first thing is that...," Vinod trails off again, looking at a wall-sized poster of his film. "See, if you see the poster of Eklavya, it's very unusual for two things: the face of Jimmy Shergill is as big as the face of Saif Ali Khan. I'm sure nobody notices, but it's not just there. And this doesn't happen (elsewhere). And that's how I look at actors. To me they are equal, they are both fine actors."

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Source: Rediff News

'Sanjay Dutt has chopped his hair off'



"And I'm not taking away from Sanjay Dutt who's a big star, or Jackie (Shroff) who might be a lesser star today or Boman (Irani). To me, I am respecting them as actors. For me, the actor comes first. And the star, I don't care." Then arrives the caveat: "Though I must also say, in the same breath, that if I am making an expensive film like Eklavya, it helps to have stars. Because it helps that film to sell, people want to go and see that film. So it is great to have stars, who are actors."
While the need to cast familiar performers based on affection and respect is understandable, miscasting seems inevitable. "No. See, my film comes first. I never would miscast, to the best of my ability. But, I don't know..." he pauses, frowning, visibly contemplating the issue. "I don't think I would do that. I don't think," he continues, stressing the 'think's, "I would take an actor who doesn't fit the role just because I like him. In that situation, I will test that actor. I'll keep that actor and only cast him when he fits that role."

"Like in Eklavya, Jackie has grown a beard for his role. Sanjay Dutt has chopped his hair off. So if the actor is committed, and he's a good actor, he can transform himself."

"Saif started his growth with Parineeta. I didn't want to cast him in Parineeta, thought he was a very average actor. He fought with me, he got into that film and I was so impressed. He was not supposed to be in Eklavya. I never thought he could handle the role of Harshvardhan, never! Not in my wildest imagination. I was thinking someone more like Hrithik (Roshan) could handle it. But then when Saif did Parineeta, I said, 'Oh my god."

For the record, Eklavya was ready in May last year, long before Omkara -- Saif's bravura performance thus far -- was ready. And Chopra honestly believes he's at his best this time around. "I think Saif is really a wonderful actor in terms of playing his role correctly. He is one actor who doesn't go overboard, who doesn't underplay. He does it right. His pitch is perfect, which is very rare, I think."

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Source: Rediff News

'I wrote Parinda with Bachchan in mind, instead of Jackie Shroff'



"Cinema has taken away my eyes," Vinod says with a deep, weary sigh -- all the more striking coming from behind his everpresent mirror-sunglasses.

His once voracious appetite for all kinds of cinema has now whittled down almost completely. Never one for the Bollywood regulars, his last viewed films were Black and Lagaan. There isn't must international cinema he enjoys either, as is evident from his keen dissection of The Departed. "And not because I wouldn't want to -- I would want to, if there's something worth seeing, I will see it. But it's very rare now."

There are actors, and there are actors, and then there's Amitabh Bachchan. The new film is a dream come true simply because Chopra's finally gotten to direct him."It's been 30 years now. He loved my student film Murder At Monkey Hill, and simply asked me, 'So when do we work together?' I couldn't believe my luck. I had just been nominated for an Oscar (his 1978 film, An Encounter With Faces, nominated as Best Documentary, Short Subject) and India's biggest actor wanted to work with me!" he punches the air in grinning exultation. "I'd arrived, man!"

"But things never quite worked out. He went on to do different kinds of films, and films I wrote with him in mind never mapped out like planned. I wrote Parinda with Bachchan in mind, instead of Jackie Shroff. And then Mission Kashmir was written with Bachchan and Shah Rukh Khan in mind, but when it didn't happen, Sanjay Dutt came in and agreed to play Hrithik's dad! He's got awesome commitment. He's shaved his head off for Eklavya, and if you compare that to Munna Bhai's longish hair, it's a drastic change in look. Sanjay looks phenomenal in this film."

While writing, Vinod prefers to keep an actor in mind. This must necessitate great readjustment when the casting call changes, at the last minute. "Yes, but that happens all the time. In Eklavya, I wasn't convinced about Boman. I wanted Naseeruddin Shah to play the king," he reveals.

Never one for diplomacy, the man Naseer's character (Vinod Chopra) in the iconic Jaane Bhi Do Yaaro was named after, continues. "Naseer has problems working with Bachchan and other actors. And the king's part has an interesting twist, which is why Boman worked so well for it. I wanted Aishwarya Rai to play the Nandini character, which finally went to Raima Sen. I thought she'd be interesting in the role of a mentally fragile girl. But then she wanted the lead role instead. That's the trouble with stars, right?" he grins.

"Even Jimmy's (Shergill) role was initially earmarked for Arshad Warsi -- largely because I had been seeing so much of him during the Munna Bhai films -- but then the character needed to be a good looking, young aristocrat, so Jimmy had to rise to the challenge."

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Source: Rediff News

'I want Eklavya to give audiences the meaning of right and wrong'



So how was the 30-year dream? Did working with Amitabh meet expectations, of both parties? "No."

"It was much, much worse. For both of us, the first three days was a nightmare. I didn't know what would happen to Eklavya. He was coming in late, things were chaotic, we yelled at each other," he looks frustrated for a moment as he lapses internally to that time. "I think after those three days he realised that I was like a kid, and that my tantrums needed to be indulged. After that, it was much better than we could have dreamed."

"I think, while making Eklavya, I have discovered an actor of such exceptional talent in Mr Bachchan. Very rarely is he pushed to actually deliver roles that demand so much of him. And here he's incredible. You have to see Eklavya and you will realise the nuances of his character."

And there isn't much else he's saying about Eklavya. Like in Lage Raho Munna Bhai, where he slyly hid Mahatma Gandhi from us all, this one doesn't have any pre-release overkill. There are even people who think it is the chapter of the same name, from the Mahabharata. "Let them. That's the best part, let them be completely surprised. I am not concerned what they enter the theatre with, but let them leave with my message. The message of dharma."

"Like Lage Raho gave them Gandhigiri, I want Eklavya to give them the meaning of right and wrong."

An extremely tall order? Sure.

But as I look at my reflection in his sunglasses, I realise this man -- who gave the Mumbai underworld a glossary of terms with his Parinda and who miraculously composed the background score for Eklavya months before starting the shoot -- with the disarming smile, may just pull it off.