A film’s success is not based on reviews and the best is allow the reviews and the cinema go their own way,” said Mammootty…reports Asian Lite News
A films’ success is not based on reviews and hence, the best bet is allow the two aspects go their own way, superstar Mammootty said here on Monday.
He was reacting to the present impasse in the film industry over reviewing of Malayalam films.
“A film’s success is not based on reviews and the best is allow the reviews and the cinema go their own way,” said Mammootty.
The superstar was interacting with the media ahead of the release of his upcoming film ‘Kaathal’.
“The film-goers watch a film of their choice without being influenced,” he said, adding that film “review” is different from “roasting”.
His statement comes a few weeks after the Kerala High Court directed the state police chief to have a closer look at the vested interests playing truant especially in the social media when new films are released and the Ernakulam Central Police last month registered the first case on this and charged nine persons.
Those charged include social media giants Face book, You Tube and seven others and the police has begun its probe into this.
The Ernakulam Central Police registered the FIR based on a complaint by film director Ubaini Ebrahim after he found that the social media was flooded with negative reviews of his recently released Malayalam film ‘Rahel Makan Kora’.
Incidentally, the High Court in October acting on a petition filed by Mubeen Rauf, the director of the film ‘Aromalinte Adyathe Pranayam’ said that he believed his film got a negative impact due to the alleged foul play by vloggers and sought action.
Article 21 belongs to the genre of socially committed films, prioritising production quality over meticulous craftsmanship…writes Rafeek Ravuther
Article 21, directed by Lenin Balakrishnan, delves into the poignant theme of upholding the fundamental rights of the marginalized and underprivileged in society. At its core, the film emphasizes the transformative power of education in the lives of those struggling on the streets.
The narrative follows Thamarai, a Tamil immigrant grappling with homelessness, and her two sons, Muthu and Dalapathi. Scrap collection sustains their livelihood, but a chance encounter with a school bag ignites a spark of desire in the younger son to learn. The film chronicles the family’s endeavors, aided by compassionate well-wishers, to secure an education for the children.
Initially, the film provides a detailed glimpse into the family’s daily struggles, hinting at a deeper exploration of their journey. However, the climax pivots towards serving as an awareness campaign, simplifying the story’s complexity and substituting genuine storytelling with an unrealistic optimism. The predictability of certain plot developments also hampers the film’s impact.
Lena delivers a commendable performance as Thamarai, exuding authenticity through her body language and dialogue delivery. The youthful enthusiasm of Leswin and Nandan Rajesh, who portray the children, resonates well with their characters. Yet, occasional artificiality in dialogue delivery detracts from the immersion. Aju Varghese and Joju George contribute effectively, with George’s cameo standing out.
Director Balakrishnan captures the family’s life with intimacy initially, but as the story progresses, the pacing becomes rushed. Notably, the scene depicting the family’s joy at encountering a bathroom showcases the level of detail that could have elevated the entire film. Unfortunately, an overreliance on punch dialogue-driven solutions diminishes the authenticity and depth. Visually and aurally, the movie maintains a superior production quality.
“Article 21” falls into the category of socially committed films that prioritize production quality over thoughtful craftsmanship. It ostensibly champions a noble cause but falters in its execution and narrative finesse.
The heart of the film lies in Article 21-A of the Indian Constitution, mandating free and compulsory education for children aged six to fourteen. Balakrishnan’s debut work seeks to shed light on the lack of effective implementation, without singling out any particular entity for criticism. The film’s journey faced challenges due to the pandemic-induced lockdown during post-production.
Balakrishnan’s intent is clear – to inspire change and raise awareness about Article 21-A’s unfulfilled promise. The film’s genesis stems from a poignant photograph that sparked a reflection on societal disparities. Although the film tackles a pressing issue, it refrains from overt political commentary, instead aiming to foster societal change.
Lena’s remarkable transformation into Thamarai garnered well-deserved praise, while the film benefits from Gopi Sundar’s music and Renganath Ravee’s sound design. The meticulous attention to Lena’s makeup and her immersion into the character’s nuances contribute to the film’s authenticity.
Despite its imperfections, “Article 21” serves as a poignant reminder of the unrealized potential within society’s education system. While not flawless, the film raises pertinent questions and encourages viewers to ponder the meaning of true social change. As director Balakrishnan gears up for his next project, his dedication to meaningful storytelling remains evident, promising potential for future cinematic endeavours.
New Louvre Abu Dhabi Exhibition Showcases the Glamour and Artistry of Indian Cinema .(Photo credit: IANSLIFE)
India currently produces more than 1,500 films annually in around 20 different languages, making it the top producer of movies that are exported to other countries in Asia, the Middle East, and Africa…reports Asian Lite News
Bollywood Superstars: A Short Story of Indian Cinema, will debut on January 24 and last through June 4, 2023. It is an upcoming exhibition at the Louvre Abu Dhabi as part of its vibrant 2022-2023 cultural season. The exhibition, which was planned in collaboration with the Jacques Chirac and Musee du Quai Branly and France Museums, will highlight the diversity of the Indian filmmaking industry as well as the depth and richness of the Indian subcontinent’s art and civilization through its long tradition of image making.
The exhibition highlights the rich history of Indian cinema from its origins in the late 19th century up to the present through more than 80 artworks, including pictures, textiles, graphic arts, costumes, and more than 30 film clips. The pieces of art are drawn from the collections of the Louvre Abu Dhabi, the Jacques Chirac Museum at the Quai Branly, the Army Museum, the Guimet National Museum of East Asian Art, the al-Sabah Collection, the Raja Ravi Varma Heritage Foundation, and the Priya Paul Collection.
With the assistance of Dr. Souraya Noujaim, Director of Scientific, Curatorial, and Collections Management at Louvre Abu Dhabi, the exhibition is co-curated by Julien Rousseau, Curator and Head of the Asian Collections, Musee du Quai Branly – Jacques Chirac, and Helne Kessous, PhD in Social Anthropology and Ethnology, Ecole des Hautes Etudes en eSciences Sociales.
India currently produces more than 1,500 films annually in around 20 different languages, making it the top producer of movies that are exported to other countries in Asia, the Middle East, and Africa. Through Bollywood Superstars, visitors to the museum will learn how Indian pioneers used emerging image technologies like photography and lithography to jumpstart the transition from early motion pictures to large-scale musical productions. Visitors will learn more about Bollywood’s global popularity and have a greater appreciation for the variety of Indian cinema. The thorough exhibits cover every aspect of Indian cinema’s history, from pre-cinema, dancing, and storytelling, to the influence of religion and mythology, and the emergence of Bollywood celebrities.
Manuel Rabate, Director of Louvre Abu Dhabi, commented: “In a museum that invites visitors to discover artworks from all over the world, we are privileged to work again with Musee du quai Branly – Jacques Chirac on this exhibition that explores the image in movement, after our first collaboration in 2019 on an exhibition about the development of photography in its first years of existence. Bollywood Superstars is a feast not only to Indian audiences who are among the most important nationalities that visit Louvre Abu Dhabi, but also to everyone with an appetite for the rich culture of the sub-continent and its roots.”
Emmanuel Kasarherou, President of the Musee du quai Branly – Jacques Chirac, said, “Bollywood Superstars stands out for the quality and originality of its content. It is bound to appeal to visitors at Louvre Abu Dhabi, an vital and influential institution that the Musee du quai Branly – Jacques Chirac is honoured to be associated with.”
Highlights from the exhibition include artworks from Louvre Abu Dhabi’s collection such as a Page from a Harivamsa Series: Krishna and His Courtiers by the Sea at Pandaraka (ca. 1820, Kangra, India); Mail and Plate Armour, Called “Four Mirrors” Armour (ca. 1600 – 1800, Mughal, India); and Krishna Surrounded by Gopis (ca. 1655, Rajasthan, India). Highlight loans from partner museums include a statuette of Krishna as a child playing the flute (second half of the 19th century, Rajasthan, India) from Musee du Quai Branly – Jacques Chirac; a Dagger (late 17th Century, Kuwait) from al-Sabah Collection; Indian Armour (18th Century) from Musee de l’armee; and a Coat (19th century) from Musee national des arts asiatiques-Guimet. Cinema buffs will especially enjoy the screening of several iconic film extracts that have left an indelible mark on the history of Indian cinema.
The exhibition’s curators, Julien Rousseau and Helene Kessous, said, “This exhibition is a tribute to Bollywood and can be enjoyed by both Indian cinema fans and the wider public. We hope that it portrays the full richness of Asian traditions and tells the stories that led to the birth of this cinema. The exhibition celebrates Bollywood superstars who are adored by their fans in India in a way that is rarely seen elsewhere in the world.”
New Louvre Abu Dhabi Exhibition Showcases the Glamour and Artistry of Indian Cinema .(Photo credit: IANSLIFE)
Dr Souraya Noujaim, Director of Scientific, Curatorial and Collections Management at Louvre Abu Dhabi said, “This exhibition provides a unique insight into an art genre that has a vast history and powerful present. The exhibition visitors will discover the depth of the Indian filmmaking industry since its beginning in the 19th century and gain a unique perspective into the richness of forms that pervaded its creation. The cross-influences, boosted by technology progress, underline the continued presence of the great mythological and literary narratives in Indian culture, and the vitality of its regional cultures. We are delighted to bring this exhibition to life to showcase the diversity of the Indian cinema.”
Bollywood Superstars is supported by PureHealth, as Louvre Abu Dhabi’s exhibition season partner. Details of the rich cultural and educational programme accompanying Bollywood Superstars: A Short Story of Indian Cinema will be announced at a later date. For more information about the exhibition and to book tickets, please visit louvreabudhabi.ae or call Louvre Abu Dhabi at +971 600 56 55 66. Entrance to the exhibition is free with the museum’s general admission tickets. Admission to the museum is free for children under the age of 18.
France will also be represented by a heavyweight delegation, which will include producer Olivier Delbosc, writer-director Pierre Core, and actors Louis Do-de Lencquesaing and Aurelien Recoing…reports Asian Lite News
A retrospective on the late great French-Swiss director and New Wave pioneer Jean-Luc Godard as well as special screenings of three award-winning films are among the many elements of France’s participation at the 53rd International Film Festival of India (IFFI) in Goa, beginning on November 20.
France is the festival’s Country of Focus, in reciprocity of India being named the Country of Honour at the Marche du Cinema of the Cannes Film Festival earlier this year on the occasion of the 75th anniversary of the country’s Independence.
There will be special screenings of IFFI favourite Claire Denis’s ‘Both Sides of the Blade’, starring Juliette Binoche and Vincent Lindon; Albert Serra’s ‘Pacifiction’ with Benoit Magimel; and Mia Hansen Love’s ‘One Fine Morning’, which features former Bond girl Lea Seydoux in a lead role.
France will also be represented by a heavyweight delegation, which will include producer Olivier Delbosc, writer-director Pierre Core, and actors Louis Do-de Lencquesaing and Aurelien Recoing.
Delbosc is one of France’s most successful producers, having given a string of hits from Francois Ozon’s ‘Swimming Pool’ (2003) to Denis’s ‘Stars at Noon’ this year. Core directed the French breakout hit ‘Belle and Sebastien: Next Generation’ this year. De Lencquesaing was in last year’s all-star hit ‘Lost Illusions’ (based on Honore de Balzac’s novel) and Recoing was most recently in ‘Belle and Sebastian’.
Ahead of the event, the Ambassador of France to India, Emmanuel Lenain, said: “Cinema is a powerful tool to bring the French and the Indian peoples closer together. France and India are two nations with a long and rich cinema history and with thriving movie industries. I hope that the Indian audience will enjoy our presentations.”
The line-up of French cinema that will be screened at IFFI Goa comprises nine films representing the diversity of contemporary French cinema, from the Tibet-based adventure ‘The Velvet Queen’ by Marie Amiguet to ‘The Green Perfume’, a comedy adventure by Nicolas Pariser; from ‘The Vanished President’, a debut comedy by Jean-Marc Peyrefitte, to ‘Other People’s Children’, a drama directed by Rebecca Zlotowski.
“We want to showcase the richness and diversity of our cinema,” said Michel Plazanet, Deputy Director, International and European Affairs, of the Centre National du Cinema et de L’image Animee from Paris.
Plazanet was briefing a group of journalists in New Delhi on Wednesday.
The ‘Wazir’ actress says she is looking forward to watch the Malayalam film ‘Niraye Thathakalulla Maram’…writes Durga Chakravarty
Aditi Rao Hydari cannot control her excitement as she is all set to make her red carpet debut at the 75th annual Cannes Film Festival.
The Indian actress shares that it is the place where one can surround themselves with the best of cinema and also “bump into people who you have watched growing up.”
Talking about the advantage for an actor to go to a festival like Cannes, a very happy Aditi shared: “I think bumping into meeting people who you have watched growing up or even now… Films and filmmakers. It is all about cinema. For me, cinema is like magic to me and I always thought it was beyond my reach. So, I actually feel lucky and blessed to be a part of the Indian film industry.”
This time the Indian pavilion at the Cannes Film Market will present six films at the festival – ‘Rocketry: The Nambi Effect’ (Hindi, English, Tamil), ‘Godavari’ (Marathi), ‘Alpha Beta Gamma’ (Hindi), ‘Boomba Ridea (Mishing), ‘Dhuin’ (Maithili) and ‘Niraye Thathakalulla Maram’ (Malayalam).
The ‘Wazir’ actress says she is looking forward to watch the Malayalam film ‘Niraye Thathakalulla Maram’.
“This year in fact, it is special because 75 years of India on 75 years of Cannes and commemorating it by honouring India and Indian film industry and there will be a lot of people there… But Malayalam part of the competition I am looking forward to watching it… It’s a place where you surround yourself with cinema and best of cinema and people for whom cinema is a passion.
“There it will be cinema time infinity… I think it is great opportunity like that to meet people and watch cinema from the world. I think festival brings the world closer… I feel the world is somewhere coming closer, there is more inclusivity.”
Aditi was supposed to attend the prestigious ceremony two years ago courtesy a make-up brand but everything was put on hold due to the global outbreak of Covid.
“I am nervous because I am not nervous yet… But I am very, very excited and I hope that I can keep that excitement and enjoy the whole process and I hope this time which is so magical and exciting. I was supposed to go the year that lockdown happened. So, now I am going and this is my first time,” she said.
Apart from watching movies and strutting the red carpet, Aditi hopes to go around cafes and try French food.
“I am actually (looking forward to French food). I love French food. I hope I have time to sit in a cafe and feel French but I don’t know if my schedule will allow me but yeah I am looking forward to that experience.”
“And that’s why I am going on saying you know what you imagine as a kid growing up… I want to experience like that. So, I want to have fun, I want to enjoy it and I want to feel lucky I am there. I don’t want these four days to go under pressure.”
She is also looking forward to being around “films”.
“And I think that’s what makes its so special and of course there is the fashion element as well which all of us stalk non stop but I think primarily films being magical and beyond reach and Cannes is everything that represent that. It is literally the home of cinema.”
“It’s aspirational almost to be there and be a part of the whole festival and I think that magic is something that I am looking forward to. I want to be in front of that blue water on a windy day and experience that French Riviera in all its effortless beauty.”
That’s not it!
Aditi knows that she will be under the scanner. However, she does not let the pressure of that dim her excitement.
“People are going to be very strict and judgemental and they will be watching through a microscope and I understand it. I have a responsibility nd I am going to be watched very closely but at the same time I am telling myself that everybody have to do their job and I have to do mine which is to fulfil my responsibility but also to have fun for myself. That is something I want to do for myself.”
As language differences again swirl up or are instigated, it is worth taking a relook at how Bollywood dealt with regional divisions/differences over its long years…reports Asian Lite News
In a country like India which has an array of customs, a spectrum of cultures, and a gamut of languages, there is one realm where all this diversity freely interacts and influences each other, and may offer a model of assimilation that the wider polity and society can aspire too.
This is Bollywood, whose contribution to the idea of India, based on unity in diversity, has not received due emphasis, possibly since it is primarily seen a medium of entertainment. This ‘idea’ is, by no means, perfect – sometimes descending to stereotypes in some of its depictions, but still has seen more widespread – and voluntary – integration and creation of a composite sense of nationhood than any other endeavour.
Be it actors and the others that make up a success of a film – the music composer, the playback singers, the choreographers and the fight directors, as well as themes, Bollywood has rarely seen a regional divide – north-south, or east-west, for that matter. It has, however, long been oblivious of the northeast – but that is a failing of a large swathe of Indian popular culture too.
As language differences again swirl up or are instigated, it is worth taking a relook at how Bollywood dealt with regional divisions/differences over its long years.
In one respect, it has been successful – ethnic Pathans can play debauched/dissolute Bengali landed gentry, Punjabis can convincingly represent Goans or even Chinese with panache, a Tamil Muslim can step into the anklets of a north India nautanki dancer with aplomb, a Gujarati can essay the role of a mid-19th century Lakhnavi Nawab with elan, a Bengali evoke mannerisms of a Tamil coconut vendor, an actor from Sikkim can playing a Pathan, or even an Arab – there are no shortage of such examples.
In case you can’t identify these, they are, in the same order, Dilip Kumar and Rehman in “Devdas” and “Sahib Bibi aur Ghulam”, respectively, Premnath in “Bobby” and Madan Puri in “Aanken”, respectively, Waheeda Rehman in “Teesri Kasam”, Sanjeev Kumar in “Shatranj Ke Khiladi”, Mithun Chakraborty in “Agneepath” (the 1990 version), and Danny Denzongpa in “Sanam Bewafa” and “Abdullah”.
While at one level, the above examples of Bollywood stalwarts’ “chameleon” abilities may be just as a measure of the actors’ histrionic abilities, for actors, all over the world, have played diverse roles – an Arab Christian has played a Russian poet, a Nazi German officer and even ‘Che’ Guevara, or a Scottish one a Soviet submarine captain (Omar Sharif and Sean Connery, respectively), it assumes significance in India, where differences can assume entirely new dimensions of polarity.
Being a film industry operating largely in Hindustani and geared majorly towards its speakers but located in a western Indian but cosmopolitan port city, which draws in a large influx of migrants from all over the country, Bollywood obviously can draw in talent from a wider expanse that what its normative catchment area.
And Southern India has been quick on the mark here – especially as far as Bollywood leading ladies are concerned.
While Hema Malini and Rekha are the oft-quoted examples, before Sreedevi, Meenakshi Seshadri and Jaya Prada and Vidya Balan, in recent times, it was Padmini Ramachandran, or Padmini, as she was known, who filled the void left by the exit from Nargis from Raj Kapoor’s life and banner, in “Jis Desh Mein Ganga Behti Hai” (1961) and then in “Mera Naam Joker” (1970). In “Sangam” (1964), which came between these, Vyjanthimala did the honours.
And then there was Waheeda Rehman, who hailed from a Tamil Muslim family, not from Hyderabad as commonly thought, and then Tabassum Hashmi or ‘Tabu’, who is from Hyderabad.
However, south Indian male actors – Kamal Haasan, Rajinikanth, Nagarjuna, Chiranjeevi, mainly, did appear in many Bollywood hits, but never matched their female counterparts. M.B. Shetty, or Shetty, had a more long career as a stunt director off screen and well-recognised bad man on screen.
Music composers/playback singers are too well known – K.J. Yesudas, A.R. Rehman, Shankar Mahadevan, Hariharan, Chithra, S.P. Balasubrahmanyam, but one who’s background is that not that known was Shankar, of the Shankar-Jaikishan duo. Though of north Indian descent, he grew up in Hyderabad and was fluent in Telugu.
There is an anecdote when the duo was composing the music for one song of one of Raj Kapoor’s most famous films, Shankar kept repeating a Telugu phrase while fine-tuning the melody and lyricist Hasrat Jaipuri hit on it to frame the ‘mukhda’ – we know the song as “Ramaiyya Vastavaiya” from “Shree 420” (1955).
And then, the inspirations. The phenomenon of hit Tamil, Kannada, Telugu, Malayalam films being remade in Hindi is not that recent as the current generation thinks.
Ever wonder where such landmarks of Bollywood where the inspiration for Jeteendra’s spy caper “Farz” (1967) or mythological thriller “Pataal Bhairavi”, Rajesh Khanna’s political satire “Aaj Kaa M.L.A Ram Avtar” (1984), Sanjeev Kumar’s “Khilona” (1970) or Dilip Kumar’s “Ram aur Shyam” came from – all were successful Telugu films earlier.
Meanwhile, Bollywood aficionados have Malayalam cinema to thank for “Aap Ki Kasam” (1974), “Julie” (1975), and “Masoom” (1983), Kannada for Dilip Kumar’s “Gopi” (1970), Amitabh Bachchan’s sole triple role outing “Mahaan” (1983), and the risque “Anubhav” (1986), and Tamil for Ashok Kumar-Kishore Kumar starrer “Bhai-Bhai”(1956), “Miss Mary” (1957) – one of Meena Kumari’s rare comic outings, Dilip Kumar’s “Aadmi” (1968), and even “Shakti” (1982), among many others.
Real life inspires reel life, but this is one case where India would be better served with reel life inspiring real life.
Then, the cinemas reopened at 50 per cent capacity to start with and are now allowed to operate at full capacity. To their relief, the cinema chains had a lineup of films due for release…reports Vinod Mirani
The first quarter of the year held a great promise for the film industry to level up with the pre-Covid-19 times and return to the good old normal days when a pandemic did not run your life or, rather, restrict it. For various reasons, though, the film industry has not been able to realise that promise.
Ever since the exhibition trade re-opened post-pandemic, initially with restrictions of limited capacity, there was a sigh of relief. The exhibitors were back in business after almost two years of uncertainties. Since then, however, the films made for the Hindi audience are not working as expected. And it is not because they are remakes of South films. Because, South films dubbed in Hindi are doing better than they ever did.
I have mentioned this on an earlier occasion, the South dubbed films used to be released in the Hindi belt as gap fillers when the times were not conducive for the box office prospects of a mainstream film. But the cinemas had to run. Things seem to have changed and, in fact, South films dubbed in Hindi have salvaged the first quarter of the year to some extent.
Somewhere during the lockdown, the viewer has come to terms with certain things, starting with content being most important. OTT platforms filled the gap and continued to provide entertainment when the cinemas were shut. On streaming platforms, there were quite a few big successes and most of them did not boast of big stars.
In fact, OTT serials that succeeded featured either newcomers, or actors who were not getting assignments in films any longer, or those who played character roles in films. Somehow, even on OTT platforms, some of the films with big stars failed to find favour with the viewer!
Then, the cinemas reopened at 50 per cent capacity to start with and are now allowed to operate at full capacity. To their relief, the cinema chains had a lineup of films due for release.
We saw no major release in January. February saw the release of ‘Badhaai Do’ and ‘Gangubai Kathiawadi’. The former just about managed to touch double-digit collections (in crores) and ‘Gangubai Kathiawadi’ just could not justify the hype around it. The claimed collection figure for it is about Rs 118 crore, but the trade puts it at about Rs 80 crore!
Amitabh Bachchan’s ‘Jhund’ again remained a non-starter, barely managing to cross the double-digit marK with about Rs 12 crore. Much was expected of ‘Bachchhan Paandey’, being a remake of the Tamil film ‘Jigarthanda’ (which, in turn, had been inspired by a South Korean film) and an Akshay Kumar-starrer at that! The film failed to get a decent opening and had to be withdrawn from many cinemas or the number of shows allotted to it curtailed.
It could not cross even the Rs 50 crore mark, thereby qualifying to be rated as a disaster. Ironically, the Tamil original had won two National Awards, one for Bobby Simha (Best Supporting Actor) and another for Vivek Harshan (Best Editing) in March 2015.
The first quarter belonged to just one film, ‘The Kashmir Files’. A small film with senior character actors playing the protagonists, it has stirred up the biggest political debate in the country and its after-effects are being felt nationwide. And, it did not let the box office down either. As the days went by since its release on limited screens, the film added not only more screens and therefore footfalls, but also touched Rs 240+ crore in Indian theatrical releases by Week 3.
Hindi filmmakers tend to remake South films, some even buy rights to movies that are many years old. Why do they fail? Take the recent example of ‘Bachchhan Paandey’, a major disaster. The reason is that you do not have decent writers in the Hindi film industry, and you also don’t seem to have rewrite people who can capture the essence of the original!
During the lockdown, OTT streaming content remained the subject of discussions on social media. Sadly, not much has changed since the resumption of new releases. The only release that has dominated social media is ‘The Kashmir Files.
Now, this is a film that does not entertain like a formula commercial production. Some even called it a documentary! Its success is something to be analysed. Fine. But what accounts for the poor performance of films such as ‘Bachchhan Paandey’, ‘Jhund’ and Badhaai Do’?
Of course, if these few films have managed to stay at the cinemas for just a few days and have figures like Rs 8 crore or Rs 12 crore to show, it is also because of the enhanced admission rates charged by the cinema managements since the reopening. A person who would love to watch a film at a cinema is put off. It seems like everybody is out to recoup the lockdown losses from the general public, be it a barber shop, or a restaurant, or a cinema theatre. They all are punishing the public for the loss of business.
So, what has happened in the first three months of 2022 is that the box office take-home so far has been just about Rs 350 crore, against Rs 850 crore to Rs 900 crore before the pandemic. A third of the normal business.
‘Content is king’ is a phrase most relevant to films and other entertainment media. Reminds me of the 1970s and 80s, when writers not only helped sell a film, but also competed with each other to deliver better content! There was a long list of film writers in business. Against this, we know of no writer in the Hindi film industry whose name matters, let alone helps sell a
film.
So far, in the last few years, the magic of none of the top stars has worked. Aamir Khan comes up with a film on rare occasions. Salman Khan and Shah Rukh Khan have been delivering duds on a regular basis. And, now, a fairly dependable Akshay Kumar is also facing rejection. To be practical, we can’t expect a film such as ‘The Kashmir Files’ every quarter to salvage the situation and let the cinemas function.
Talking of cinemas, one thought they were in a real jeopardy during the lockdown of more than 18 months. Quite contrary to the fears, the cinema exhibition trade seems to have come alive, if not at the box office, at least behind the scenes.
The latest news making the media rounds is that the PVR Group has taken over control of the INOX Group cinemas. A couple of weeks earlier, there was also talk of a PVR-Cinepolis merger. When these handshakes are formalised, will the film trade be confronted by the virtual monopoly of a single group of cinemas? Not that it is much different now, for the programmers of all these chains together decide on a film’s release strategy.
What filmmakers should worry about is how they will continue to remake South hits in Hindi if their dubbed versions are doing so well and the audience is already exposed to these films! There are about 25 South hits that are being made in Hindi as of now. Better find your own writers. Now, the latest dubbed South release, ‘RRR’ has done excellent business in the Hindi belt, collecting Rs 130 crore in the opening week.
Then there is this talk about why dubbed films do well with the Hindi audience while the originals are failing! A star was reported to be lamenting this situation. A distributor suggests, in jest of course, that our Hindi stars should do all their films in the South and release their dubbed versions in the Hindi market!
Talking about the same, Nushrratt said, “As I’m not actually going to become pregnant for now in reality, I had them make that body suit for me to feel what a woman bearing child actually goes through…reports Asian Lite News.
‘Chhorii’, the upcoming horror film starring Nushrratt Bharuccha has piqued the audience with its teaser.
Nushrratt, who plays a pregnant woman in the film, started her prep well in advance for the film. For her part, the actress started wearing the ‘pregnant’ body suit three weeks prior to the shoot.
Talking about the same, Nushrratt said, “As I’m not actually going to become pregnant for now in reality, I had them make that body suit for me to feel what a woman bearing child actually goes through. I was wearing it 20-25 days before the film’s shoot started, and literally did all of my chores including eating, sleeping, going to the bathroom, roaming around and everything else to understand the restrictions that it comes with.”
She adds, “I had to put myself in it to be able to self-learn everything that’s related to pregnancy, and then bring them on set with a more realistic facet that the masses can connect to. Though, it wasn’t a prop for me but a part of me, I became so used to it that when the shooting began, I felt more comfortable while resting in between the rehearsals in the body suit.”
Sharing her thoughts on the aspects of cinematic evolution, the actress states, “Since we’ve moved to very realistic cinema, we don’t need to spoonfeed things to the audience. It needs to be so subtle and subliminal that the audience at a subconscious level are convinced to assume you’re pregnant without you actually telling them through conventional actions.”
“It’s been a little tough to adjust with the body suit while sleeping or going to the bathroom or while doing mid-squats, but above all every woman has a different pregnancy and sometimes it’s difficult to carry it along with you,” she concludes.
‘Chhorii’ directed by Vishal Furia, follows the life of Sakshi as she moves from the city to a secluded village, where she experiences all things paranormal. The film produced by T-Series, Crypt TV, and Abundantia Entertainmentslated will stream on Prime Video from November 26.
Theatres will, however, be allowed to function with 50 per cent seating capacity and all employees, and those coming to watch the movies should be vaccinated with the two doses…reports Asian Lite News.
The Kerala government on Saturday during a Covid analysis meeting chaired by Chief Minister Pinarayi Vijayan decided to announce more relaxations including opening the cinema halls from October 25.
It was also decided during the meeting that from next Monday, all colleges will open for final year students while the regular classes for all students will start from October 18.
In revised COVID guidelines, Kerala Govt allows regular classes in colleges/training institutes for fully vaccinated students from Oct 18, only fully vaccinated staff to be allowed; cinema theatres to reopen from Oct 25 with 50% capacity pic.twitter.com/aWoLqBURHf
Those who will come to attended the classes should be vaccinated with both the doses.
Theatres will, however, be allowed to function with 50 per cent seating capacity and all employees, and those coming to watch the movies should be vaccinated with the two doses.
With regards to marriages, it has been decided to increase the number of guests from 20 to 50, and grama sabhas also can be convened, but will have to follow the Covid protocols.
On Saturday, 13,217 people tested Covid positive after 96,835 samples were tested in the past 24 hours and the test positivity rate was 13.64 per cent, said a statement.
The day saw 14,437 people turn negative, while there were 1,41,155 active cases with 11 per cent of the patients admitted in hospitals.
There were also 121 Covid deaths taking the total death tally to 25,303.
On the vaccination front, 92.6 per cent (2.47 crore) of the population above 18 years have received one dose, of which 41.5 per cent have got both the doses.
VOX Cinemas announces partnership with Akira Back, world-renowned Michelin star chef…reports Asian Lite News
VOX Cinemas, the dedicated cinema arm of Majid Al Futtaim, the leading shopping mall, communities, retail, and leisure pioneer across the Middle East and Africa, is proud to announce a partnership with Akira Back, world-renowned Michelin star chef. The highly-anticipated culinary collaboration, which launches in the United Arab Emirates in September, will see the global restauranteur curate a special menu for THEATRE, VOX Cinemas’ luxury cinema concept, so moviegoers can enjoy an unparalleled dining experience.
Perfect Storm
Guests at THEATRE can expect a modern Japanese menu that features a dynamic combination of Akira Back’s signature dishes as well as culinary creations exclusive to VOX Cinemas. Famed for his sense of adventure and creativity, Akira Back has enjoyed an illustrious career bringing his culinary expertise and artistry across the globe, with a portfolio of critically acclaimed restaurants and lounges in destinations like Beverly Hills, San Diego, Seychelles North Island, Toronto, Singapore, Seoul, Dubai and more.
VOX Cinemas’ THEATRE combines film with fine food and provides guests with the option of dining in an exclusive private lounge area or having their food delivered straight to their seat through the in-theatre waiter service. Redefining the luxury cinema experience, THEATRE boasts reclining leather seats, plush blankets, and pillows, and cutting-edge audiovisual technology in a stylish and intimate setting.
Ignace Lahoud, Chief Executive Officer of Majid Al Futtaim Leisure, Entertainment & Cinemas said, “Cinemagoers in the region are becoming increasingly discerning and we are extremely excited about collaborating with Chef Akira Back to introduce a new era in fine dining and film in response to rising expectations. At VOX Cinemas, we offer more than just movies and, are continuously diversifying our offering so guests can enjoy an all-encompassing cinematic experience. We believe that F&B plays a major part in enhancing the moviegoing experience and, with Chef Akira Back at the helm, THEATRE is sure to set a new benchmark in cinema dining.”
Creamy Spinach Salad 2
Chef Akira Back added, “THEATRE has revolutionised the luxury cinema experience and, I’m extremely proud to join forces with VOX Cinemas given our shared commitment to innovation. Together we believe that F&B is a complementary component of going to the movies and we have designed a menu that is sure to appeal to the most discerning guests and movie lovers.”
Akira Back’s menu will be available at VOX Cinemas across the United Arab Emirates in September before being rolled-out across Bahrain, Qatar, and Kuwait later in the year. The official launch dates will be announced closer to the time.
