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Pathaan, Review: Exploits and exploitation
Pathaan, Review: Exploits and exploitation
Encyclopedia Brittanica defines a pathan thus: Pashtun, also spelled Pushtun or Pakhtun, Hindustani Pathan, Persian Afghan, ethnolinguistic group residing primarily in the region that lies between the Hindu Kush in northeastern Afghanistan and the northern stretch of the Indus River in Pakistan. The Pashtun constitute the largest ethnic group of the population of Afghanistan and bore the exclusive name of Afghan before that name came to denote any native of the present land area of Afghanistan. Pathan (1946) was also the name of Prithviraj Kapoor’s most successful stage play, that ran for 558 nights. It dealt with the friendship between a Muslim leader and a Hindu administrator. Generally, those with the surname Khan are presumed to be Pathaans, though there is some doubt that all such persons are tribals. In the Hindustani film industry, there are at least four Khans who are among the top stars, Saif Ali Khan being less of a box office puller than the troika: Aamir Khan, Salman Khan and Shahrukh Khan. Yashraj Films present two of them in one film after a long time: Shahrukh Khan and Salman Khan were seen together in Karan Arjun. They are together in Pathaan, albeit briefly. A surfeit of bullets, blows, acrobatics and skin show, Pathaan gives you more than your worth of ticket money. That much of it makes little sense is beside the point.
Pakistani General Qadir discovers he has cancer and only three years to live. At the same time, in 2019, the Indian Government revokes Article 370, which granted special status for Jammu and Kashmir. Qadir requisitions the service of Jim, a former Research and Analysis Wing (RAW) agent-turned-rogue, now heading a private terror organisation, to force India to accede to the demand of withdrawing from Kashmir. Jim agrees as he also wants to seek revenge against India for not paying ransom to obtain the release of his pregnant wife, during his tenure. His wife was then shot dead by his captors. Jim conveys his threat to target Indian cities, unless India withdraws from Kashmir. He gives them 24 hours. Due to the ongoing threat, Nandini, the head of Joint Operations and Covert Research (JOCR) and RAW joint secretary, Colonel Sunil Luthra, summon Pathaan, an exiled field operative, to bring Jim down and destroy Jim and his gang, who they term Outfit X.
Noticing large transactions from a Pakistani account, JOCR wants to investigate the transferor, believing her to be linked to terrorist activities. It turns out that she is Dr. Rubina Mohsin, a resident of England, currently holidaying in Spain. Pathaan, meets Rubina Mohsin, in Spain, where she saves his life from members of Outfit X. He discovers that she is an ex Inter-Services Intelligence (ISI), Pakistan operative. She confides in him that she has infiltrated into Outfit X a year ago, to get hold of their sinister plans, and that she does not support Jim.
Rubina asks Pathaan how he got this name. He tells her that once he in the was seriously wounded and was nursed to health by Pathaan villagers, who prayed for his health day and night. When he recovered, the villagers gave him the name Pathaan. Pathaan and Rubina join forces and begin to investigate Jim’s plans. They soon learn about his intention to spread a deadly lab-generated virus, dubbed Raktbeej, across India. Raktbeej is hidden in a strong room in Russia, with fool-proof security. The duo head to Moscow, to remove the threat, apprehend Jim and stop Outfit X. And when things get too hot for Pathaan, there arrives another RAW operative called Tiger to help him out.
There are some interesting twists in Siddharth Anand’s story, but, in essence, it remains the tale of secret agents either disowned by their organisations or disaffected with them. There also seems to be a strong influence of the James Bond and Mission Impossible franchises. The chases and combats, both remind you of the two international series. In some such films, there is a mole in the organisation. Anand abjures that track, for a refreshing change. What he does have is a lady boss (M from Bond?) who is dedication-to-the-country personified. Otherwise, it is mainly the threesome: the protagonist, the antagonist and the woman. The woman is equally divided between the two, in terms of loyalty. Various countries and cities form the locales, from sunny beaches to desert nations to snow-capped mountains. There is not much reasoning behind setting episodes of the story there, except giving the audience a visual treat. Pathaan’s back story, and him acquiring the name, have good emotional appeal but little logic. Nothing is revealed about what was he doing there and why did the villagers give this foreigner extra special treatment. Rubina sinks to the bottom when she lands in water during a chase across snowy terrain. She should have tried to swim. She would have known how to swim. Just like Pathaan, who dives and pulls her out. After he has pulled her out and taken her to his base, far away, somebody offers her a towel. Isn’t it too late for that? Doesn’t she need much more than a towel?
Veteran Shridhar Raghavan is the screenplay writer. The Russian episode could be his contribution. While the plane shots and the shots of Pathaan and Rubina atop the building in Moscow are very cleverly conceived, the manner in which Rubina obtains Grigori’s palm print makes you wonder how gullible the man is. Holding the key to probably the world’s most expensive vault, he ought to have been extremely wary of strange women who come over and put his palm on her thigh in a bar. The problem with having only one worthwhile opponent means that there would have to be repeated fights between these two, and in all of those fights, the villain should have the edge. Unless he is allowed to escape, he will be overpowered and arrested, and the film would end there. It is good humour when Pathaan tells Rubina that the pilots who will be flying their planes are basically singers, drinking beer and entertaining the street crowd. She is shocked, and the audience have a good laugh. Why Jim needs to kidnap Indian scientists to further his evil plans is not clear. He has access to so many countries and an unending supply of money.
What kind of security does the JOCR have, when it can be hacked into by Jim at will, disabling all systems? Pathaan is usually armed only with a revolver. Doesn’t JOCR have any other weapons to offer him? Outfit X is given the latest, sophisticated weapons, which are let loose on Pathaan and Rubina about a dozen times. Thousands of bullets are fired, in total, within range. None of them hit Pathan, while only one grazes past Rubina’s stomach. In the effort to apprehend Rubina, JOCR sends a man to follow her. When she gives him the slip and puts a gun to his temple, Pathaan come-up from behind and pulls a gun on her. What was the need of the whole exercise? Pathaan could have pulled a gun on her himself, and that would be that. When protracted mayhem is unleashed in country after country, in the air, on the ground, in a train or on snow, not once do we see any law agency of that country taking interest in the proceedings, except, once, when Pathaan is arrested.
Abbas Tyrewala’s dialogues serve the need of the film. A few catch phrases are in order, considering the appeal of the movie. Claptrap lines, like ‘Party Pathaan key gharpey rakhogey to mehmaan-navaazee key like Pathaan to aayega’, give more reasons for the fans to whistle and make catcalls. But there is nothing by way of imaginative writing to take home.
As director, Siddharth Anand divides almost equal time between Pathaan, Jim and Rubina. He gets indulgent, with bringing in Tiger from the YashRaj Films’ franchise, and calls him Tiger, reminding us of films like Ek Tha Tiger (the first film in the Yashraj SpyVerse) and Tiger Zinda Hai. There is a scene in the end with Pathaan and Tiger which is so tongue-in-cheek that the cheeks hurt. Incidentally, ShahRukh will appear as Pathaan in Tiger 3, repaying the debt. Come to think of it, Pathaan’s plot is not very different from the Tiger movies. As far as the pairing with Deepika Padukone is concerned, it does look odd that we have a 57 year-old sharing screen space with a 37 year-old. Well, it could have been worse with a 27 year-old. Perhaps that is why, their romantic angle is kept to a bare minimum.
Anand brings them into kissing positions at least twice, but wisely, decides against it. Their on-screen chemistry is not great either. It is amazing how much pounding Pathaan takes, and always bounces back. General Qadir seems like a helpless nitwit in front of Jim, which does his position and stature no justice. Isn't he financing the entire operation? Siddharth Anand makes sure that the audience get enough and more of six packs (ShahRukh and John), skin show (Deepika), fights after fights between Pathaan on one side and Jim and his Outfit X on the other, motorcycle chase on snow, helicopter chases, aeroplane acrobatics, fights in and on a running train, etc., every trick in the trade. It is exploitation of all available resources. But he has a weakness for aerial engagements, which dominate. Once the fans/crowds are hooked, who is complaining?
ShahRukh Khan, once a romantic hero, has adapted his style to become an action vehicle with finesse. This one is for his fans, for the gallery. He stands-up and delivers. And there are emotive moments too, which he sails through comfortably. There is an honesty about him, a strong desire to perform. Given the framework of the film, there was little else that he could have done as Pathaan. A devoted audience is most likely to lap up his exploits. As Rubina, Deepika is bold and brazen. But what she amazes you with is her action scenes. Her lean physique stands her in good stead. John Abraham, who plays Jim, is a natural choice for the role. An action star, he could have been cast as an operative on either side of the two countries’ divide. John gets to mouth long paragraphs of dialogue, and, to his credit, he pulls it off. As Nandini, Dimple Kapadia shows us the stuff she is made of. All those years have shaped her into a high-class actress. Ashutosh Rana as Sunil Luthra is rightly cast as a sceptic. As General Qadir, Manish Wadhwa is passable. Prakash Belawadi, as Dr. Sahni, acts quite naturally. Lending support are Aakash Bhatija, Viraf Patel, Shaji Choudhary, Diganta Hazarika, Rajat Kaul, Prem Jhangiani, Rakesh Khatri and Ekta Kaul.
Cinematography Satchith Paulose is mainly designed to facilitate the VFX or follow the flying actors. Edited by Aarif Sheikh has been ruthless, as we can see. Yet, the film is a good 146 minutes long. Music by Sanchit Balhara and Ankit Balhara creates the right ambience, with the creation of Pathaan’s theme and Jim’s theme. There is a song inspired by a yesteryear hit, ‘Hamen to loot liya milkey husnvaalon ney’. Strangely, it is sung in Spain.
A mass entertainer, the kind of film that is usually called ‘paisa vasool’ (money’s worth), it is true to its genre. Patrons of thoughtful, immersive cinema need to keep a safe distance from Pathaan. For the fans of ShahRukh Khan, Deepika Padukone and Salman Khan, it is a must watch. This Pathaan is made of steel. Watch him traverse the path of heroics, with aplomb.
Rating: ***
Trailer: https://www.youtube.com/watch?v=vqu4z34wENw
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New Year’s Special: Distributor Anil Thadani in an exclusive interview with Siraj Syed, Part III
New Year’s Special: Distributor Anil Thadani in an exclusive interview with Siraj Syed, Part III
Siraj: How do you choose multiplexes or single screen cinemas for particular films?
Anil: Basically, you have to understand your own product. The kind of film you are releasing. And then you pick and choose where you think…which is the pocket that deserves a film like…a particular film. And that is how you release. It is your gut feeling about your product… what you are doing, because, it could be…for instance, if you are doing a Prabhaas film which is a Baahubali 2 and you are doing a Prabhaas film which is a Radhe Shyam. The genres are different, everything is different, so you treat them accordingly. I mean I cannot treat a Radhe Shyam like a Baahubali and a Baahubali 2 like a Radhe Shyam. It depends on the genre and how much you want to penetrate. I restricted Phone Booth to 950 outlets, whereas a Double XL was restricted to only 300 outlets.
Siraj: Do the same rules apply to single screen cinemas?
Anil: You pick and choose…where is it located. Double XL was suited more to south Bombay audiences, so I would release it there. I would not take it to the interiors. So, it depends on the film, basically.
Siraj: There is an estimate that the number of single screen cinemas in the country is less than 6,000. Is that correct?
Anil: I don’t have the stats, but I am sure it must be correct.
Siraj: And they are decreasing day-by-day. Is that a cause for concern?
Anil: Of course it is. Lesser the outlets, lesser the business. Unfortunately, it is becoming more and more difficult for them to survive. For the kind of land cost they own, the return is not much, so they are right in giving away the cinemas.
Siraj: I have raised this issue many times, even with ministers, that the kind of incentives that were given to multiplexes should have been given to single screen cinemas also…
Anil: I believe there is a law that the cinema owners cannot sell off their cinemas, which is unfair. They should have the right to sell off their property, just as a person who owns his residence or office has the right to do what he wants with it.
Siraj: One single multiplex owner owns more than 900 screens and has entered into an MoU with the next big player. That leaves no real competition in the multiplex players field at all. Is this going to the trend and no small players will be able to survive?
Anil: Let’s look at the producer-distributor scenario. If there are 10 distributors and 100 producers in the market, they all co-exist. It is up to the small chain-holders to decide whether they want to merge with the big chains or not. It depends on them.
Siraj: You don’t even need to deal with the small chains, just deal with the big two…
Anil: Of course you need to deal with them. So many of them generate good revenue. Today, if you have a Sterling in South Bombay, it collects very well. Even though there are two INOX multiplexes not far from there—INOX Nariman Point and INOX Metro---Sterling collects good money. There are a lot of cinemas like that.
Siraj: India produces about 2,000 films per year, but studies show that only 700-800 are actually released. They either wait for satellite and OTT rights or never see the light of day. What are your thoughts on this situation and what can be done to help them get distributed?
Anil: Every film does not deserve to get released. If there is no face value, no production cost…I am just making a film because I want to produce a film or be associated with this industry…I mean how do you expect? It has to be attractive for the audience to come in and see the film. If I am making a film which cannot attract audiences, how can I release the film? It is a wasted effort. So many films should not even be made. If the sensibility does not match with the sensibility of the audience, it is in any case a wasted effort. So you need a certain backing, you need a certain cast, you need a certain set-up for it to come out. But if these things are lacking, how do you release those films?
Siraj: Your take on this is that these films are lacking in the above departments, therefore…
Anil: Or the subject matter.
Siraj: What about borderline cases, where you feel that it is not a sure shot, but has some merits? Do you take a risk?
Anil: I have released many such films. If I see them and I like them…I know I am swimming against the tide, but I like to take it forward. I have released so many such films.
Siraj: Any examples?
Anil: Earlier, dubbed films that I distributed were risky films, because they were not in Hindi, and only dubbed in Hindi. Then there was a Masaan. I wanted to get associated with it. Then there was Waiting, with Naseeruddin Shah and Kalki Koechlin. I just wanted to do it. Two other examples are Fukrey and Dirty Picture. Nobody thought Dirty Picture would do the kind of business it did.
(Incidentally, Anil Thadani has just released a feature length documentary on a tiger, called Tiger 24).
(This is the third and concluding part)
(This interview was possible thanks to the charming, ever-helpful, Raveena Tandon, Mrs. Anil Thadani)
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Zindagi Shatranj Hai, Review: Partly chess, partly mess
Zindagi Shatranj Hai, Review: Partly chess, partly mess
With a title like Zindagi Shatranj Hai (Life is a game of chess), you are ready to watch some smart moves, and the film does offer a few such moves. But it also offers several false moves that negate the positive ones. Designed as a mystery-suspense-thriller, it has a plot within a plot within a plot. Besides that, there is pretty little in terms of good cinematic content. There are many loose ends that are left untied and several threads are left unravelled. The best part of the film is its length, at 85 minutes, which helps manage the main plot points, without many side-tracks. But even at that short duration, several scenes are redundant and some of them go nowhere.
Vishal and Kavita Malhotra live in a large house with a servant named Vasu. Vasu is a shirker, and the couple often scold him. He wants leave to go to his village, but it is not granted. The couple even refuse to give him a day’s leave. Vishal, a big businessman, leaves for the USA, and Kavita joins him in the car, to see him off. After she returns, she is shocked to find a man in her bed. A stranger to her, this man claims to be Vishal. Vasu confirms that he is indeed Vishal, and he came back because his flight got cancelled. Nothing she says or does has any effect on the stranger, who insists that he is Vishal. Kavita calls the police.
The police ask the stranger for proof, and he produces all kinds of proof: PAN Card, Aadhaar Card and Voting Card. Kavita is dumbfounded that all the pictures of her husband have been replaced by those of the stranger, including those on her wedding album and her mobile phone. The police dismiss the case as one of amnesia attack, under which Kavita is hallucinating. For his part, the stranger makes himself comfortable, and at home. Kavita cannot believe that their long-term servant, Vasu, is in league with the intruder, and accepts and addresses him as his master, following his orders. How does she get this imposter out of her home? Who is he? Why is he doing this?
Story, screenplay and dialogue writer M. Salim seems to believe that the plot within a plot within a plot is enough, and the audience will not worry about loose ends. In other words, the story is key while the screenplay is not so important. On the contrary, the screenplay is probably more important. How are you saying it is more important than what you are saying, when it comes to cinema! So many questions are left unanswered. Why did nobody check whether the USA flight was cancelled? If so, did Vishal not call Kavita or come home? Did he board the next flight? Why does Kavita not take the imposter to Vishal’s office and settle the matter? Why does she not call her woman friend, who is referred to twice during conversations, and confront the imposter? Who were the black, masked men who appeared in Kavita’s bedroom, her car and by the roadside? How did they know she will run exactly in that direction?
Why does the imposter put on an act while pretending to get knocked out by a spiked drink, when nobody was watching? Dr. Shah is an eminent surgeon, yet he is the psychiatric consultant to the Malhotras, not probable at all. The police seem to have only two cases at hand: that of an ATM thief and that of Kavita Malhotra. Whenever she calls, and she calls them often, 4-5 of them respond, which is quite unnecessary. A woman sub-Inspector gives Kavita her card. Later, she dials a number that is allotted to Inspector Raj. Where did she get his number? Inspector Raj pretends to hug the imposter and sniff him as part of detection technique, to know what perfume he is wearing, perhaps to compare it with the perfume Vishal used to wear. Is he an expert at sniffing perfumes and identifying their brands, as is implied? It would be amazing if he was.
Ably handling his lead actors, director Dushyant Pratap Singh shows little control over his supporting cast. They often get out of character and are given inane, perfunctory dialogue. Even a senior performer like Hemant Pandey, who plays Vasu, appears silly in some scenes. In any case, his role is too big for this kind of film. Another issue is ending of one scene and the beginning of another. This aspect leaves much to be desired. Placing red herrings along the narrative works only if they are justified in the end. What we learn in the end does not justify the means, and the victimised person could have got justice without going through the whole rigmarole. At one point, one character points a gun at another, in a public place, and intends to kill him. How does the killer hope to escape unnoticed and not get caught? Kavita asks Mishra to meet her at a Club, quite unnecessarily, very obviously, to create a song situation.
Hiten Tejwani is confident as the imposter. Shawar Ali as Saurav has only one scene, and looks his part. Pankaj Berry as Dr. Shah is introduced in a villain style and is wasted in the role of Dr. Shah. Zahid Shaikh as Vishal Malhotra is on the plus size side and has three scenes, which he delivers well. Ashutosh Kaushik as Inspector Raj is not totally convincing. Ekta Jain as sub-Inspector Leena is almost a caricature. Rajkumar Kanojiya as Hawaldar Kadam is made to play it like a funster. Hemant Pandey as Vasu has a meaty role, and is in his element most of the time. Sometimes it appears that he is trying to improvise some lines to bring the scene to a close, and that jars. Also in the cast are Kavita Tripathy, Ashutosh Kaushik, Bruna Abdullah and Arjuman Mughal.
Cinematography by Suhas Rao has its due share of tilts, pans and tilt-pans. Most scenes are indoor, and lit-up accordingly. Editors Sunil Yadav and Arun Yadav are unable to find too many good cutting points, partly due to the scenes ending on an incomplete note. There is no rapid cutting, as might be expected in a mystery-thriller, except when Kavita sees those masked men. Daler Mehdi makes an appearance in the opening item song, titled ‘Gadbad’, while there is another item number towards the end, titled ‘Badnaam’, in a club. Tunes for these songs have been composed by Anjjan Bhattacharya and Indrani Bhattarcharya. Singers are Daler Mehdi, Dushyant Pratap Singh and Neha Singh, while the lyrics are by Kumaar and Ajay Bawa. All have done a good job. ‘Gadbad’ is repeated in the end credit titles. Background score by Chandrashekhar is average. Choreography by Chhotu Lohar is of the standard item song type, but vulgarity is absent. The censors have granted the film a U/A certificate, and that is fair enough.
Zindagi Shatranj Hai moves it pawns initially in the right directions, but in the end, it is partly chess, partly mess.
Rating: **
Trailer: https://youtu.be/bRjIMiU_yhs
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T24: Tiger in a man’s world
T24: Tiger in a man’s world
Not often do we see a feature length documentary on a tiger get a theatrical release. But here is one that makes it, thanks to the initiative of brave distributor Anil Thadani’s AA Films. The title refers to the number given to a tiger named Ustaad, who inhabited the Ranthambore Tiger Reserve.
Charmed by his majestic looks and gait, short-film-maker Warren Pereira (Lovely Coffee, Salt and Silicone, Moving Higher) decided to capture his movements and life on camera. Not an easy task, Tiger 24-The Making of a Man-Eater took about a decade to see completion. But the results are spectacular. We see Ustaad and his companion/mate Noor and their cubs at close quarters, discover that, over the years, Ustaad has eaten four men who ventured into his territory, and that he has now been shifted to a zoo, where his territory is a fraction of what it was in Ranthambore.
Born in Bombay but based in Los Angeles, California, 47-year-old Warren Pereira got his High School Degree from Appleby College in Biology, in 1994. This was followed by a B.S. in Biology at Lewis and Clark College, 1999, and his last degree was from the Art Institutes, obtained in 2009. He has made eight short films before Tiger 24, under the banner of W Films, which he set-up in 2006. Tiger 24 is his first feature length documentary. Warren Pereira is a creatively driven, award-winning, film-maker whose work has garnered the industry's top accolades, including the Cannes Gold Lion, and has been showcased at top international film festivals.
Clients under Warren Pereira's production company, W Films, include The Royal Bank of Scotland, Time Warner Cable, Hpnotiq, Unicare, Wall Street Journal, and agencies such as DDB and CAA. Additionally, Pereira founded The Tiger Fund LLC, which produces content relating to Tiger conservation, including films for the government of India.
May 22, 2022, marked seven years since Ustaad was removed from the wild. He was relocated to a zoo. Ustaad remains in the zoo to this day, in a non-display enclosure. Filming him in the wild was a privilege for Warren, who spent almost a decade on the project. There was a debate over his shifting. The fact of the matter was that settlers just outside the wall of the Tiger Reserve used to, and still do, enter the tiger’s territory, to defaecate or to collect wood for lighting fires. Ustaad attacked four such men, who paid for this transgression with their lives. After the fourth such incident, there was a lobby for branding him a man-eater and shifting him to a zoo, to prevent more such incidents, while another lobby of activists was against shifting him, claiming that a zoo would be too small for Ustaad, who was used to living and moving about in a large expanse of land, and that the deaths were caused by the victims’ own indiscretions. To his credit, Pereira has presented both points of view with fairness, quoting persons who are vehemently on opposing sides, but we can see that his heart lies with the “non-shifting” lobby. The matter went up to the Supreme Court.
Nevertheless, Ustaad was shifted to a zoo, and his place was taken by another tiger, number T29. The move raised several questions, mainly about bio-diversity. After seeing the film, environmentalist Bittu Sehgal opines that forests are our only source of drinking water and tigers are found only in forests. Wherever you find tigers, you find a source of water supply. So, forests should not be encroached upon and tigers should be allowed to stay there. It is indeed unfortunate that Ustaad had to be shifted from a place which has been described on the Rajasthan Government’s official website as, “Ranthambore Tiger Reserve is the ultimate place to witness the magical, beautiful Bengal Tiger, freely wandering in its natural habitat.” The Tiger Reserve is part of the Ranthambore National Park, Sawai Madhopur, Rajasthan, India. In a nutshell, the film describes the plight of a tiger in a man’s world.
Written, produced and directed by Warren Pereira, Tiger 24 has music by Kreng. A compelling watch for all lovers of nature and wildlife, and environmentalists, Tiger 24-The Making of a Man-Eater also has lessons to be learnt for the common man. More than anything else, the film is an ode to Ustaad, who is the hero of the film, in all its majestic and pristine glory. At 90 minutes, is a worthwhile watch.
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The complicated history of longevity noodles, a popular Lunar New Year dish
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Wednesday, 18 January 2023
Trailer and music launched for first Marathi underwater supernatural thriller, Gadad Andhar
Trailer and music launched for first Marathi underwater supernatural thriller, Gadad Andhar
Shot 110 feet below sea level, in the sea near the Maldives coast, Gadad Andhar, meaning intense darkness, breaks new ground in the Marathi film universe. The trailer of the film was released on 17 January 2023, at Famous Preview Theatre, Mahalaxmi, Mumbai, in the presence of the cast and crew, and media. A song, ‘Dariya dariya’ (dariya means sea), was also shown. It is a background number expounding on the theme of the film. The line producers of the film, Malhotra brothers, had to travel far and wide with the director to find a suitable location and the kind of ship that would meet the needs of the script. Finally, they found one, off the coast of Maldives.
Captain Avadesh Singh and Varsha Singh have produced the film, under the banner of Elula Future Vision Pvt. Ltd. Avadhesh is Hindi speaking while Varsha is a Maharashtrian. She comes from an IT background and had developed an app called Elula, and that is what finally led to the selection of this subject. A seafarer for 15 years, maritime Captain Avadhesh said that the subject was close to his heart, since it dealt with underwater exploits and a sunken ship. Varsha, who had accompanied her husband on many of his sailing trips, also feels that the sea is a part of her life. She was born and grew-up in the Konkan area of coastal Maharashtra, in Raigad. Raigad is one of the districts in Konkan Division of Maharashtra and the Arabian Sea coast forms the western boundary of the district. Director Pradnyesh Kadam has worked as assistant to many Hindi film directors, including Sanjay Leela Bhansali. Most of the cast had to learn scuba-diving for the film, although a couple of them had some experience in the field.
Along with the song 'Dariya, dariya....', this film also has a lullaby and a theme song written by Abhishek Khankar and composed by singer-composer Rohit Shyam Raut, in his own voice. These songs, released on Zee Music Marathi, are sung by Juilee Joglekar Raut (who is Mrs. Raut) along with Divya Kumar. Each song has its own importance in the screenplay and these songs carry the story forward. In fact, the trailer is based on the song, ‘Dariya daria’.
Gadad Andhar is co-written by director Pradnyesh Kadam, Laukeek and Chetan Mule. Jay Dudhane, who has reached millions of homes through the reality shows, Bigg Boss and MTV Splitsvilla X3, is playing the lead role in the film. He was a towering presence at the event, with his muscular, toned physique. Jay had just played a cricket match and led his team to victory before coming to the trailer launch. He shared with the audience that shooting underwater meant that they had only eight minutes to shoot every time they went under, because oxygen ran out after eight minutes. Actress Neha Mahajan is his companion in his sea exploits down under. She went to Karnataka and stayed there for a month, learning breath control from a guru, to help her manage her underwater forays.
Apart from this, actors like Shubhangi Tamble, Akash Kumbhar, Chetan Mule, Aarti Shinde, Shree and child artiste Astha have also played various characters. Little Astha won many hearts when she spoke about her experience in the film and thanked all those who helped her deliver the required performance. A few of the actors are making their film debut with Gadad Andhar. Pravin Wankhede is the executive producer of this movie and the songs have been arranged by Adinath Patkar.
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Sunday, 15 January 2023
Farzi: ‘Fake’ encounter with the team of Amazon Prime Video’s new show and trailer launch
Farzi: ‘Fake’ encounter with the team of Amazon Prime Video’s new show and trailer launch
Creators of the mega-hit web series, The Family Man, Raj and DK are back in action with the crime thriller Farzi, which marks the digital debut of Shahid Kapoor and ‘Makkal Selvan’ Vijay Sethupathi (full name: Vijaya Gurunatha Sethupathi). The series also stars Kay Kay Menon, Raashii Khanna, Amol Palekar, Regina Cassandra, Bhuvan Arora and Kubra Sait, in pivotal roles, and will stream in India and across 240 countries and territories, on Amazon Prime Video, starting February 10. Farzi means fake/not real/counterfeit/ pretensive in Hindi, and the trailer that was unveiled before the audience at the Grand Hyatt, Santa Cruz (East), Mumbai, on Friday, the 13th of January, was truly Farzi. Done in good humour, it was just a curtain-raiser to the true trailer, shown soon afterwards, which was like any real trailer, capturing some key moments in the series. Along with Raj & DK, Farzi is written by Sita R. Menon and Suman Kumar.
The trailer gives us a glimpse into the life of a small-time con artist Sunny (Shahid), who finds himself drawn into the dark while creating a perfect con. However, a fiery and unconventional task force officer (Vijay) has made it his mission to rid the nation of the threat he poses. Spanning eight episodes, Farzi is a fast-paced, edgy, one-of-a-kind crime thriller, with the director duo’s trademark humour, stitched around a clever underdog street artist’s pursuit to con the system that favours the rich.
Shahid made a ‘wowing’ entry at the event, on a motorcycle, with the door panels opening to reveal the star. However, he was not keen on doing a round of the stage, as some media-persons requested him to. He ‘grumbled’, “First, they gave me this huge bike to drive-up, mind you, only to drive up, now you want me to take it for a swirl…I’d rather pose for you sitting on it. Here you are.” And he kept sitting on the bike till the flashes stopped flashing. For a change, the idea to work with Raj and D.K. came from Shahid, and not the other way round, as is usually the case with directors and actors. They were pursuing him about a film, but he suggested they make a series with him. This was eight years ago, when web series were unheard of, and the tale need several hours of narration, not possible in a film. As a result, the writer-director duo waited for the right time to get back to Shahid. Farzi is a result of this eight year-long association.
Speaking about the series, Shahid Kapoor said, “This Amazon Original series has a special corner in my heart. For the record, this is my digital debut, but working with Raj & DK, felt like home. And working with such brilliant co-actors like Vijay Sethupathi, Nanu (Amolji), Kay Menon, and Raashii had its own charm. Playing artist aka Sunny wasn't simple, the character is quite complex, his situations and his greed for a better life make him take some decisions, which he has not necessarily thought through. I am quite sure, that the audience will love the show, they will enjoy the humour, the grit and the overall story, it will keep them at the edge of their seats. And of course, Prime Video will be taking this series to a worldwide audience, what could be better than the fact that people around the world get to watch this amazing content."
"It has been an absolute pleasure working with the dynamic duo Raj and D.K. and alongside Shahid Kapoor, who is both a talented actor and a wonderful person. It was incredible to work with such a brilliant team and create something as mind blowing as Farzi. I can't think of a better digital debut, and I'm excited for the series' global release." said Vijay Sethupathi. Vijay revealed that he had picked-up some Hindi while working in Dubai as an accountant, but he is still not well-versed in the language.
The real team behind Farzi (Photo credit: Umed Jadeja)
Amol Palekar, an accomplished painter and a true artist, said that it was absolutely wonderful working with the young team. “Although my role is almost a Guest Appearance, I am very excited about the series.” Almost in protest, there were voices that asked him to feel that he was the Guest of Honour and that the Guest Appearance was a Best Appearance. Somebody asked Rashii what made her accept the role, and she quickly responded with “Why not? I was cast by a casting agency and when I learnt about the team, I had no hesitation in saying yes.” Bhuvan Arora, who plays Shahid’s partner in crime, revealed, “On the first day itself, I fell at Shahid’s feet and told him, ‘Please think of me as Ishaan, your younger brother. I have so much to learn from you.” Kay Menon, Regina Cassandra and Kubra Sait could not be present.
Raj and D.K. were delighted to partner with Amazon Prime Video for the fourth time. Talking about their names, the two of them averred, in good humour, that “most the cast still do not know which one of us is Raj and which is D.K.” One easy way of identifying them is by their heights. Raj is noticeably taller. Their full names are Raj Nidimoru and Krishna Dasarakothapalli.
Apparently, the film addresses the theme of counterfeit currency notes. The more appropriate word for such notes is ‘Jaali’, not Farzi. There was a film made in 1960, starring Dev Anand, called Jaali Note. Then there is the old joke about the man who was arrested for printing fake currency. At the trial, he was asked what would he like to say in his defence. He replied, “I have committed no crime. There was a competition between me and the government, to see who prints better notes, and I lost.”
Rohini, who is a regular at Amazon Prime events, conducted the proceedings with characteristic ease and due preparation.
Amazon Prime offers an incredible value with unlimited streaming of the latest and exclusive movies, TV shows, stand-up comedy, Amazon Originals, ad-free music listening through Amazon Prime Music, free fast delivery on India’s largest selection of products, early access to top deals, unlimited reading with Prime Reading, and mobile gaming content with Prime Gaming, all available for an annual membership of Rs. 1499. Consumers can also buy Prime Video Mobile Edition at INR 599 per year - the single-user, mobile-only annual plan provides access to Prime Video’s entire catalogue of high-quality entertainment and LIVE sports.
Trailer link: https://youtu.be/rcQ_xZdzPBc
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Kuttey, Review: Gulp Friction
Kuttey, Review: Gulp Friction
Quentin Tarantino can rightfully claim a patent to the format used in Kuttey: prologue, epilogue and a non-chronological structure, with the present merging with the past and the past merging with the present. The co-writer and director of Kuttey (Dogs), Aasmaan Bhardwaj was born one year after Pulp Fiction (1994) was released, bagged top honours at home and abroad, and attained cult status soon afterwards. Twenty-seven years after he was born, Aasmaan has made his first feature, and it is an ode, a tribute, to writer-director Quentin Tarantino, whose second film was Pulp Fiction. His first, Reservoir Dogs, too was remade in Hindustani, as Kaante (2002). In fact, it is so similar in treatment to Pulp Fiction that QT might have ghost-directed the film, in his spare time, just for kicks. Kuttey, however, fails to reach the QT benchmark. But once you accept it as an inspired effort, and overlook that aspect, you might get entertained and appreciate Aasmaan’s effort for almost pulling it off. It is off-beat and refreshingly different from some of the fare seen in recent times.
In the prologue, a Naxalite (indigenous people attacking the rich and the police, across many states of India, and demanding autonomy and economic freedom) leader Lakshmi is being tortured in a police station and about to be subjected to rape by a local bigwig. A Police Inspector, known as Paajee, tries to stop his superior from subjecting Lakshmi to more torture and rape. His superior officer beats Paajee black and blue for coming in his way. Just then, Lakshmi’s fellow Naxalites raid the police station and behead the would be rapist. Lakshmi is freed. Before she leaves with her fellow Naxalites, she hands over a grenade to Paajee, asking him to use it when necessary.
Gopal Mishra is having sex in a cheap joint when underworld don Narayan Khobre arrives with his henchmen and confronts him, at gun-point, accusing him of working for an enemy and transgressing on his territory. Khobre wants Gopal to kill his own ‘boss’, another underworld don, and then work for him instead. Left with no choice, Gopal agrees. Khobre also negotiates the same deal with Paaji. Paaji and Gopal both go to the hotel where the ‘boss’ is having a good time at the swimming pool, and entertaining two guests from an African country, apparently his drug suppliers. Before they can shoot him, they both fall into the pool. Gopal loses his gun, while Paajee manages to retain his. Gopal, who cannot swim, is rescued by one of the Africans. Both emerge from the pool and proceed with their mission. In the shoot-out that follows, the boss is shot multiple times, yet manages to escape, while a lot of other persons get killed. The African who rescued Gopal survives, and Gopal lets him go, in return for the favour of saving him from drowning. Gopal and Paajee get their hands on a truck full of drugs. Paajee warns Gopal not to take the risk, but Gopal insists that they decamp with the booty, worth several crores of rupees. Paajee is proved right when they are intercepted at a police checkpoint, the drugs discovered, and the two are presented before a superior police officer. It is revealed then that Gopal is also a police inspector. At first, they pretend that the drug heist was an undercover operation, but when their argument cuts no ice, they accept the charge, and are suspended, pending investigation and trial.
Two developments are going to change their lives forever. First, they learn that an officer called Pammi Sandhu is the woman who takes care of all the dealings of the police commissioner, and secondly, an ex-policeman is now working for a private security company and in charge of transporting crores of rupees every day to various ATMs in the suburbs of Mumbai. They want to bribe Pammi to get off the hook on the drug smuggling charge, but she wants one crore each, to do the needful. That kind of money can only be obtained if they undertake a heist of the cash van, as proposed by Pammi. She makes them an offer they cannot refuse: Rs. 2 crore will go to her, as her fee for exonerating them, and the balance will be their share.
Jointly written by Aasmaan Bhardwaj and his father, veteran film-maker Vishal Bhardwaj, it is a clever script, as dark as some of Vishal’s own work, and maybe even darker. Weaving in the Naxalite angle was indeed a clever idea. But the handing over of the grenade did not make sense, more so because its use comes years later. An Inspector has access to several armaments, and does not need a grenade, and even if he possesses one, will he carry it with him always, not knowing when he might need it? In this context, Lakshmi’s handing over of a grenade seems pointless. When we see it next is the time when Paajee is apparently trying to commit suicide and blow up his own home. That, too, is unconvincing. The second time when it comes to into play is a nice twist, but it seems that the earlier scenes were written with the climax in mind. It is very difficult to believe that Narayan Khobre’s daughter is having a roaring affair with one of his henchmen, Danny, and he has no clue about it. In fact, when she wants to go out, ostensibly, to attend a friend’s wedding preparations and look at some designer clothes, he sends Danny with her, as her driver-escort.
No sane crook will discuss a multi-crore heist loudly in a restaurant, with his prospective partners in crime, within earshot of many of the other hotel guests, as Gopal does. And there is no back-ground on who these people are and why do they swear such loyalty to a man who follows only greed, and sign-up for the heist at the drop of a hat. (Arjun Kapoor described himself as a “greedy dog”, in a TV show, when asked which dog he would identify with in the film’s poster, that shows men with various types of dog faces. On second look, all the characters in the film are greedy dogs, except Lakshmi). Then again, why title the film Kuttey? The most favourite words uttered by actors in films of the 60s, 70 and 80s, when confronted by hideous villains, would be, “Kuttey, kaminey”, Kaminey meaning scoundrel, or lowly person. Why would writers incorporate such a disparaging context for calling somebody a dog would be best known to them. One reason could be that the censorship norms of yore did not allow any swearing, so such words, like Kuttey, Kaminey, were the nearest you could get. Also, there is a 2009 film by the name Kaniney. Did that prevail upon the Bhardwajs while deciding the title, and they settled for Kuttey? The first trait of a dog that comes to mind is faithfulness. That trait is absent in almost all the characters of the film. Other important traits would be protection and obedience. Here too, we have to search hard to find characters that answer to these qualities. But I forget, QT’s first film was called Reservoir Dogs. Since a Pulp Fiction variant, say Gulp Friction, would be unintelligible to Indian audiences and would only work if the film was a satire, the next best is picked from Reservoir Dogs and only ‘reservoir’ would be completely out of context, so Dogs it is, aka Kuttey.
And boy, do these dogs swear! Everybody does, and with fluency. I waited to see if Tabu, playing Pammi Sandhu, would fall in line. And she did, with élan! Now it is a fact that many policemen in Mumbai swear as a habit, and use the most colourful, vitriolic language. Maybe that applies to policemen across the country. And the censors, in 2023, have let pass these abusive punctuations. They have also allowed a scene of simulated sex, featuring an unknown actress astride Arjun Kapoor. What next? Try and count the number of bullets fired and the type of guns used, not to mention a grenade. In one scene, a party of ruthless killers goes berserk and fires hundreds of bullets at another party, hiding inside a dilapidated structure, with the fusillade hitting only the broken walls. The inmates are all hiding behind or under walls, and not one of them is hit. The leader of the assault party then calls out, “If there is anyone still alive, come out now and drop your weapons.” Almost all, if not all, of them troop out, unscathed. What was the logic of the senseless barrage? In one scene, Pammi says that she lives in official police quarters that are so small that she touches the walls whenever she stretches her body, and that fact is prompting her to plan the heist. Pammi must be a highly placed police officer to have such close access to the commissioner, and highly placed police officers would not be given such small houses. Secondly, she must have brokered so many big ticket deals that she would have been able to purchase a bigger house. This sure did not look like her first foray into making illicit money.
The hitmen falling in the swimming pool, and the subsequent shootout, including the escape of the wounded don, are both clever and funny, though one would hardly expect Arjun Kapoor and Kumud Mishra to indulge in comedy. Long-drawn and rain-washed, the climax throws up some real surprises, twists and revelations, which help the film really come into its own, like the countdown scene. Another major twist follows, in the epilogue.
Gopal Tiwari is not given to emotions or nuances. He is a greedy, corrupt cop, who will sell his partner down the river, if necessary. Arjun Kapoor fits the bill in physique, and being dead-pan works to his advantage here. Kuttey is one of his better films. Arjun started as an assistant director and took to acting in 2012. His recent films have been a mixed bag: Sandeep Aur Pinky Faraar, Sardar Ka Grandson, Bhoot Police and Ek Villain Returns. Tabu is always a delight to watch. Now 52, she plays a character close to her age, and thankfully, is not made to dance. She remains in character, as a policewoman, a role that is not new to her, wielding power and at home among so many policemen. Overall, he is wasted in a minor role. Konkona Sen Sharma is a treat to watch. Everything, from her eyes to her dress to her gait to her dialogue delivery is Lakshmi.
Naseeruddin Shah as Narayan Khobre is wasted in a minor role. In his introductory scene, there is no reason why wheel-chair-bound Khobre should go to deal with a small fry like Gopal himself, given he has hundreds of henchmen who could do the same quite efficiently. Yet, he delivers – nothing less, nothing more. Kumud Mishra, as Paaji, with his trade-mark smirk, is not at his best, and this is not the kind of role that would bring out his best. Ashish Vidyarthi is brought in for just one scene, and he makes the most of it, as Harry, the ex-policeman who now provides security to vans transporting cash to ATMs. There is an air of sincerity in the performance of Shardul Bhardwaj as Danny. Of the two doomed lovers, he seems to be more grounded than Lovely, more aware of the reality that neither can deny, but one which Lovely, against all odds, wants to escape from. Director Anurag Kashyap appears as the local leader, who, at first, fancies raping Lakshmi, but is revolted when he takes a closer look at her. Soon afterwards, he ends up being decapitated. And if it wasn’t AK, the man is a duplicate.
Cinematography by Farhad Ahmed Dehlvi makes good use of natural elements, especially the rain. Speeding cars, roads and vehicle run-ins are well captured too. Film editing by A. Sreekar Prasad, a real veteran, is good, but we have seen him do better. Some shots seem to be cut abruptly, with no cutting point. Length is fine, at 109 minutes, considering very little of the eight tracks are picturised as standalone songs.
Aasmaan should doff his hat at Quentin Tarantino, 59, whose last film was Once Upon a Time in Hollywood (2019). Aasmaan tried to get into the same league, and if he failed, it was not for want of trying.
Rating: ** ½
Trailer: https://www.youtube.com/watch?v=76BhvV8ihRM
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Sachin-The Ultimate Winner, Review: No option of a third umpire
Sachin-The Ultimate Winner, Review: No option of a third umpire
Sometimes a film is made amateurishly, for home consumption. ‘Home’ here could mean captive audiences, like a chain of schools, some of whose students feature in the film. Sachin-The Ultimate Winner is one such film. It is probably close to what is called a zero-budget movie, has tacky values, a predictable plot, passable performances, and music that leaves much to be desired. It seems stuck in a time warp, and heavily influenced by the tear-jerker movies of the late 50s and early 60s.
A gifted cricketer, Sachin studies in Saint Soldiers High School and is able to demolish opponents in cricket matches by winning performances, both with the bat and the ball. His prowess is a thorn in the side of the DAV School and its captain, Naved, himself no mean cricketer. A group of four from DAV school, led by Naved, learn that students of Saint Soldiers School, including Sachin, are going on a village service camp. They decide to attack him there. When he goes to a hilly peak alone, they follow him and jostle him. In the scuffle, Sachin falls off the cliff and sustains severe head injuries.
Rushed to a hospital, his head injury is treated, and he recovers consciousness after a couple of days. But to the horror of everybody who loves him, he seems to have lost the ability to move his legs. An MRI scan is performed, and it is discovered that there is a clot in his brain, and he will have to be operated upon by a neurosurgeon. The cost of the operation is estimated at Rs. 20 lakh. This is shocking news for his mother, for his benefactor, Nihal Singh, a dairy farmer who loves him like a son, and for his cricket coach. The principal of his school feels that even if he pleads with them, the school’s Managing Board will not sanction such a huge expenditure. Nihal Singh collects all the money he can, and offers it for the treatment, but much more is needed.
Multi-tasker Dweep Raj Kochhar has made this film with the collaboration production designer of Ved Thapar. Kochhar has written (story), produced and directed the film. Screenplay and dialogues are by Dweep Raj Kochhar, Dhruv Raj and Yuvraj Kochhar. Dweep is also the Executive producer, written the lyrics lent his voice to songs too. So, it is pretty much a one-man show. Or, if we take into account the contributions of Ved Thapar, a two-man show. This is the first film of Dweep that I saw, though I have seen Ved Thapar at work, from close quarters, in TV series of the late 1980s. Of the departments listed above, lyrics are not bad, though the rhyme sounds contrived at times, and the dialogue is functional, though at times it is messy, due to wrong timing or repetition.
A title like Sachin-The Ultimate Winner gives away the climax before you have started watching the film, and reduces a viewer’s curiosity. In any case, the school team, not Sachin, is the winner. In a film about a young cricketing prodigy, what name do you give your hero? What could be better than Sachin? So, Sachin it is. But why was he named Sachin? Surely the parents did not know that he was going to become a cricketer? Was his father a cricketer and a fan of Sachin Tendulkar, and that is why he named his son Sachin? We are not told. They do not give him a surname. Most other characters too do not have surnames. In fact, the coach does not even have a first name. Idolising Sachin Tendulkar, what do you expect the boy to do? Stick posters of Sachin Tendulkar on the wall and pray to him as the God of cricket! Bingo! And he is not merely a cricketing whiz-kid, he also saves the life of a flower vendor’s son when he is about to become the victim of a road accident. There’s more. He comes to the rescue of Nihal Singh’s slow learner son when he is ragged and bullied, and takes a drastic step. Nothing is mentioned about Sachin’s academic standing (99 out of 100 sportsmen are academic failures), yet he is referred to as the best student of the school. The coach states that Sachin will need physio-therapy to recover. Yet, there is not a single shot of Sachin undergoing physio-therapy. So why refer to it?
Entries and exits of characters are ill-timed. Some shots seem to have been okayed in spite of their being NG (not good) takes. There’s a flashback within a flashback, not recommended by film-making norms, as it tends to confuse the audience.
Mukul Cheeru gets to play Sachin, and has pretty little to do, besides playing cricket. That apart, it is a dream role, considering the film starts rooting for Sachin with a refrain ‘Sachin, Sachin, Sachin’ right from the moment the main credits start rolling. Dr. Ved Thapar as Sachin’s coach has an easy-flowing gait and great pronunciation. He is the only actor with a list of film and TV appearances. But this film fails to cash in on his strengths as an actor. Camera angles, lenses and the microphone do not capture his words and actions effectively. A homœpathic doctor of long-standing, and a social worker, he divides his time and earnings among his interests. I am convinced that this film must rank among his social service causes more than commercial considerations. Shivani Sharma (Sweeny) as Sachin’s mother goes through all the suffering that a mother might experience if her son were to be in the state that Sachin finds himself in. She is shown to have a daughter, younger than Sachin, while her husband is no more. The movie does not miss out on the obligatory sentimentalism of the family standing in front the father’s photograph and addressing the departed, as if he was alive.
Dhruv Raj, who collaborated on the screenplay and dialogue, is cast as DAV School’s Coach, given to sleaze, and hitting below the belt, or rather, hitting on the head. And do not miss the twirl of the moustache. He goes about his part as stereo-typical as they come. Dweep Raj Kochhar as Nihaal Singh plays the Punjabi card to his advantage, but goes over-the-top in the bargain. Nevertheless, his is a likable character. Naved Sharma acts as the DAV team’s captain, named Naved. He looks too old for the part, but betrays a mean streak quite effectively. Muskan Panwar plays Sachin’s sister.
Music by: Yuvraj Kochhar and Harish Mangoli includes a number sung by veteran Sadhana Sargam. The opening track hammers ‘Sachin’ repeatedly. Then there is the multi faith, oblihgatory prayer for the recovery of Sachin.
One must not speak ill of the dead, so nothing shall be said about the cinematography by late Gagarin Mishra. Editing is credited to a studio, not an individual: Eye Focus Studios. It is undistinguished.
Other credits include:
Costumes: Bablu
Background Score – Suprateek Hui
Action: Yuvraj Kochhar
Choreographer: Raka
A lot of credits, logos, banners and banner signature songs precede the main opening titles, which come on only three-and-a-half minutes into the film, and the first shot is seen six minutes on. In a 100-minute film, this is a luxury. Moreover, about half the film is devoted to two cricket matches between opposing school cricket teams. That does not leave too much space for a real narrative.
Sachin-The Ultimate Winner is obviously not aiming at the box office, and is an exercise undertaken by a group of people who were very happy making the film, and will be happy to show it to select audiences, especially schools. That it is getting a theatrical release is a bonus, which is a fait accompli in itself, from which they should not expect worthwhile returns.
Whether Sachin’s hit clears the boundary or a fielder catches it inches inside the line, the verdict will soon be out today. And this being a school match, there will be no option of a third umpire.
Rating: * ½
Trailer: https://www.youtube.com/watch?v=1QKb8VCUPGU
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Spy thriller G2 launched in Mumbai, with Telugu superstar Adivi Sesh
Spy thriller G2 launched in Mumbai, with Telugu superstar Adivi Sesh
In a significant move, a Telugu unit has launched a film in Mumbai, on January 9, 2022, at the PVR Multiplex, Citi Mall, Andheri. It is a spy thriller, starring Adivi Sesh, in continuation of the first instalment of the highly successful G series, Goodhachari (2018, co-written by Sesh), produced by T.G. Vishwa Prasad and Abhishek Agarwal and directed by Vinay Kumar Sirigineedi, who were all present on the occasion. No more details were announced, but a teaser lasting less than a minute was screened, exuding a slick, European, snow-laden Alps terrain and a bullet in ultra-slow motion. This, too, must be a first.
Adivi, who speaks fluent Hindi, revealed that the G series idea was inspired by Goodhachari 116, a film made in the 60s, in the spy genre, starring Telugu giant actor Krishna. Goodhachari, in old Telugu, means spy. 116 was his identity code number. The film was remade in Hindi as Farz (1969), starring Jeetendra, and was a super-hit. A sequel was made in 1973, starring Dharmendra, called Keemat. Adivi is a great fan of Krishna, and found that Krishna had an office in the very building in which he stays. He went and touched Krishna’s feet, and asked him to make a guest appearance in Goodhachari, but Krishna declined, citing his poor health and old age. Ghattamaneni Siva Rama Krishna Murthy was Krishna’s real name. He passed away on 15 November 2022, aged 79. Popular Telugu actor Mahesh Babu, referred to as the Prince of Tollywood, is his son.
Asked whether a Hindi film actress will play the lead opposite him, Adivi smiled and averred, “Hindi actresses acting in Telugu films is quite the norm, so what purpose will be served by making such an announcement here? In fact, the media back home, in Telangana, will target me for coming all the way to Mumbai to announce the name of a Hindi actress as my lead.” Adivi is a staunch proponent of the belief that all Indian films are Indian, and that there is no north-south divide.
This writer asked Vinay whether being an editor is a big asset for a film director, and whether it was his editing skill that got him this assignment, just as the editors of ionic James Bond films were promoted to the ranks of directors, like John Glen and Peter Hunt. Vinay was a bit embarrassed and confessed, “You know, I was an assistant director. Adivi felt that I had a sense of editing, so he made me an editor. Yes, definitely, being an editor-director gives you that advantage. You know exactly what you want and do not waste time canning unnecessary footage.” Asked to name a film he felt was very well edited, he thought for a while and then named Top Gun. When asked his age, he remained mum. I said, “You look quite young, like 27.” Vinay was amused, “If I look like 27, that’s very good.”
Riding a wave of six Telugu (one was a bilingual, called Major, written by Adivi) hits in a row, Adivi Sesh hopes to continue the run with G2. The team behind G2 is the same that gave us Major and Karthikeya 2. While ‘Goodachari’ was a massive hit down south, G2 (Goodachari 2) will be made for a Pan-India audience. The sequel will be shot internationally, on an elaborate scale, including 3 countries in Europe, one in the Middle East, and on home-turf, in Delhi, Hyderabad and Puducherry. The film will pick up where it left off, in the Alps, with a slew of new characters joining the existing star cast.
Pre-vision video-link: https://youtu.be/snx398zoixA
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Metium (flute) of Zeme tribe

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Admission open for the academic year 2019-2020 at Rani Gaidinliu Memorial Junior College at Boro-Haflong, Dima Hasao, Assam. Free ...
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source https://www.msn.com/en-in/entertainment/other/nadeem-opens-up-on-the-wish-that-remains-unfulfilled-as-one-half-of-the-musical-duo-s...