Latest Features from BollywoodHungama.com http://www.bollywoodhungama.com Hungama Feed Creator http://www.bollywoodhungama.com/templates/default/images/logo2.jpg http://www.bollywoodhungama.com Feeds provided by BollywoodHungama. Click to visit. http://www.bollywoodhungama.com/features/2008/07/05/4056/index.html A blessed week at the movies. If this week we get Harman Baweja as the full filmy package of an all-rounder, we also get Imran Khan…Fresh - faced original and possessing a natural screen presence that immediately connects him with the audience. Abbas Tyrewala's directorial debut has a certain sparkling spirit, a zest for living life quirk-sized and a certain zing thing about the way the characters look at life and love. It's not only about the way the characters' exuberant yearnings connect with the audience. It's also about the casual free-flowing downloading of events and dialogues in the narrative that give the characters an edge over other urbane youngsters who have come and gone in the past creating a spirit of lingering joie de vivre. The bunch of collegians here take their cues from Farhan Akhtar's Dil Chahta Hai, Rakeysh Mehra's Rang De Basanti and even Karan Johar's Kuch Kuch Hota Hai. Echoes from these iconic youth -films fill out the outer edges of the 'cool' canvas creating for the characters at-hand a sense of wondrous and informal perpetuity as they go from humorous heartbreak to sober self-realization in a plot that accommodates both impulse and pre-meditated thought in a mix that is engaging endearing and fairly original in spite of the derivative echoes. While the supporting cast of friends are both real and tangible, at the core of this romantic musical are Jai (Imran Khan) and Aditi (Genelia) who are "best friends" in the coolest sense of the term. Bantering bum-chums at the surface but sharing a much deeper bond underneath, all their friends can see that the twosome is made for each other. But they can't. It's an exceedingly old formula for a romantic comedy given a fresh new spin by a storyteller who picks on moments from ordinary lives and converts them into a celebration of life and love. Old songs(R.D Burman mainly) and new original music(A.R Rahman) coalesce with the minimum fuss while Jai and Aditi's love story goes through several turns and twists until they arrive at that traditional end-game for romantic films: the grand reunion at the airport seconds before the girl is scheduled to take off for good. The flurry is charming, though a little to self-consciously designed at times. Peep underneath. And you see the narration covering a lot of familiar ground. The freshness lies in the way the characters respond to the familiar material often exceeding the domain created by the script. Every actor pitches in at just the right volume of vivacity. There are stand-out supporting performances by Naseeruddin Shah(playing the hero Jai's dead father in a portrait), Ratna Pathak(superbly skilled as Jai's mom), Paresh Rawal( flawless as a boorish cop) and Arbaaz and Sohail Khan(as a couple of outlandish cowboys they supplant the believably urbane love story with a touch of the surreal). Then there's Manjari Phadnis as the hero's could-be love interest. Living in perpetual denial she thinks her embittered parents (Rajat Kapoor and Kitu Gidwani) actually love each other under the acrimony. The characters never claim to be extraordinary in their desires. It's their ordinary dreams and down-to-earth desires which give the narration a spirited spin. And then there are protagonists. Not just young Imran Khan and Genelia. But their friends. Each one played as though the wall dividing the actor from the characters had disappeared. While Genelia is a natural in most scenes, Imran's unassuming boy-next-door personality lends itself with picture-perfect precision to the mood and tenor of the narration. Here's a young actor who has a long innings ahead. He doesn't think before he acts. It's not about how deep he goes into his character. It's more about how much at home he's occupying the space provided by the script. The same is true of the other actors. Jaane Tu Ya Jaane Na exudes an urbane cool. It's not really trying to be anything. It doesn't have an earth shattering message for the masses. What it has is an honest story about a bunch of credible characters told in a fashion that's casually trendy and warm. Manoj Lobo's cinematography and Shan Mohamed's editing assist the director in making this a film that you'd probably like to watch again just to see if you missed out a vital bit of the characters' lives while they were looking for love. Subhash K. Jha Sat, 05 Jul 2008 08:57:48 EDT http://www.bollywoodhungama.com/features/2008/07/05/4055/index.html They say imitation is the best form of flattery. But one finds no reason as to why would someone like Priyanka Chopra want to flatter Aishwarya Rai Bachchan? Strange as it may sound, but the fact is that at the red carpet premiere of Love Story 2050, Priyanka Chopra walked in a look that was so very similar to that of Ash's on day one of Cannes 2008. If one has to play the popular game of 'Spot the 10 differences' between the two photographs, then, the first difference would obviously be the face but spotting the rest 9 differences seem as tough as combing a bald man! The irony is that Priyanka is one chic who has never drawn flak for her dressing sense, but something somewhere went wrong here. High Heel Confidential & Bollywood Hungama News Network Sat, 05 Jul 2008 08:26:00 EDT http://www.bollywoodhungama.com/features/2008/07/05/4054/index.html Tuxedo by Gucci, White Shirt by Gas, Tie by Dior, Shoes by Hugo Boss, jacket by Versace and belt is 'his' own! The above mentioned names surely invoke and evoke an embellishing sense of Royalty! And that these will do justice only to the man who is fit to be the King! King he is…in his own right! He is the name that Bollywood is eagerly watching out for in the days to come! He is Harman Baweja, the man who is all over the place, courtesy, his debut film Love Story 2050. He is also on the cover of the fashion and lifestyle magazine 'andpersand'. In this issue, Harman talks about practically everything under not just the sun, but also the moon and the stars! He speaks in length about his formative years, his Destiny, his journey into Bollywood, his directors, relationships, family, God and also about his 'good friend' Priyanka Chopra! Girls can really eat your hearts out as Harman has gone semi bare in this issue! Overall, Harman is on his way to become 'Har Mann ka Raaja'. All the very best dude! Bollywood Hungama News Network Sat, 05 Jul 2008 07:17:40 EDT http://www.bollywoodhungama.com/features/2008/07/05/4053/index.html A star is most certainly born here. No two ways about it. After watching Harman Baweja sing, dance, emote, entertain, engage and adlib in this Adlabs presentation for a full three hours, one wonders if there is anything that this Baweja boy from Bollywood can't do! Yeah, maybe there's something Harman can't do. He can't make us forget for even a minute that he knows every component of the camera although he has never acted before. The confidence level stops just short of being cocky and overdone. Yup, this dude is never short of a positive and productive attitude. It's as clear as Priyanka Chopra's sun-kissed smile that producer-director Harry Baweja has made Love Story 2050 as a showcase for his son's aptitudes. To that extent, the film works wonderfully creating repeated opportunities for the debutant to shine in gossamer glory. The script sprawling into two time phases and three hours of playing time is a simple love story of two very good-looking people coming together in the svelte sweltering simmering climes of Sidney, moving apart and then going into a futuristic mode without alienating themselves from the romantic genre that this uniquely-designed film inhabits. Harry Baweja happily avoids the pitfalls of pedestrianism even when the boy-meets-girl plot gets into a trite and repeatedly- tested mode. The protagonists share a precious fragile and tender chemistry. A butterfly perches itself on the girl's trembling hands and manoeuvres her heart into places where there's no tell-tale signs. The titli becomes a likeable leitmotif in the plot. The courtship and romance is done in shades and words that leave us smiling. The initial scenes are actually far more interesting than they actually appear. The boy tells her to do something that she has never done before. How about shop-lifting? He suggests. She suggests he recite some poetry for her. Javed Akhtar does the rest. By the time Harman and Priyanka sing their first two duets (Anu Malik at his soft and tender best), we're convinced of their sincerity to each other. This couple cares deeply for each other. It's in their eyes. No kisses and cuddles needed. Only cuddly robots. For the first time in a Hindi film two robots serving as the protagonists' companions are given prominent places in the plot. And trust Baweja, they aren't just props. But entities with a mind and personality of their own. The entire courtship game stretching into two time-zones is played out with an endearing innocence, and a focus and finesse that re-define the boy-girl formula in a language that's sassy and trendy without ever lumbering into the lurid. Towards the second-half when Harman flies into a futuristic Mumbai to retrieve lost love, the flying cars, the humane robots and the psychedelic dance numbers tend to overpower the basic romantic structure of the plot. Harry Baweja could have avoided the extravagant excesses in the sky. How long can you watch flying cars and talking robots? After a while you restlessly begin to search for that romantic core, which blessedly is never too far away from the narrative's range of interests. The second-half when a zany scientist (Boman Irani in a weird wig and silly smirk) transports the lovers and the audience into a futuristic world, has been done with an élan and flamboyance that leave us enthralled for a while. Vijay Arora's camera-work is extraordinarily rich in colours and style. The same goes for Priyanka Chopra's sartorial grace. Her two roles are brilliantly defined by the clothes. Fortunately, Priyanka goes deeper than just surface grace in search of her characters' core. The repressed poetic persona in the first-half and the brassy red-haired rock star in the second- half are two different entities. But make no mistake. Love Story 2050 belongs to debutant Harman Baweja, from first frame to last. And all his co-stars know it. They all sort of move back to let the Baweja boy take centre stage. Harman demonstrates an endearing all-purpose showmanship. He dances like a dream. And gets gooey-eyed and sentimental in the love scenes, as though Romeo had just fallen off the balcony while serenading Juliet, bruising more than just his heart. This newcomer is to the camera-born. Wisely the narrative restricts itself to the 'love' part of the love story creating pockets of asexual passion (not even a peck between the real-life couple!) without making cuteness into a fetish and a fad. A whole lot of visible and intangible effort has gone into building this colour-consumed atmospheric world of sights sounds and melodies that represent the harmony of the spheres in optical splendor. Finally though, the effort doesn't overpower the heart content and intent of the plot. This is actually a far better film than its genre and lavish budget would suggest. Avoiding the vulgarity of overstatement and focusing on the Baweja-Chopra axis to the point of making other characters appear largely redundant; Love Story 2050 offers a world where dreams and fantasies have a properly-designated place. We aren't in it just for the pleasure-ride. Subhash K. Jha Sat, 05 Jul 2008 04:28:11 EDT http://www.bollywoodhungama.com/features/2008/07/04/4052/index.html “A daughter may outgrow your lap, but she will never outgrow your heart” These words aptly describe the relationship that Sanjay Dutt shares with his daughter, Trishala. And the world-famous magazine, 'People' has just managed to get this inimitable Father-Daughter pair to grace the cover of their inaugural issue in India. The magazine covers an exclusive insight into the lives of Sanjay Dutt, Trishala and Manyata. But what really makes an exciting read is Trishala making peace with Daddy Dutt. Since it deals with the matters of the heart, the wordings are very carefully chosen and are interwoven with emotions. Besides this, one can also look forward to many interviews of Bollywood celebs speaking their mind out in the issue. Bollywood Hungama News Network Fri, 04 Jul 2008 11:01:52 EDT http://www.bollywoodhungama.com/features/2008/07/04/4051/index.html There was a time when Aamir Khan was termed as a recluse of the Indian Film Industry. Today, television audiences are used to seeing Aamir resplendently suited booted, gliding over a red carpet at glittering Bollywood soirees. Audiences, critics, and the jury of many prestigious award functions alike are awed by Aamir Khan's conviction, dedication, and emotional power as an actor, producer, and a director. And with his third production, Jaane Tu…Ya Jaane Na, releasing tomorrow world wide, the mutli-talented Khan yet again sets out to prove that he is the master of all in this very short but an exclusive chat with Bollywood Hungama's Devansh Patel just hours before the star studded premiere of his film in Mumbai. Looks like your Taare's are shining bright ever since you touched Lagaan. I wish you could pass on some of that touch to me. What do your astrologers say? (Laughs) I don't know. We've tried to make a good film. I think that I'm quite happy with the way it's turned out and waiting to see how the audience reacts to it. This is your first production with you not a part of the cast. Did Ghajini take a lot of your time or Taare Zameen Par? TZP. I was directing Taare Zameen Par when Jaane Tu was being shot. So when I took over as the director of Taare, I realized that I'd not be able to fully shoulder my responsibilities as a producer on Jaane Tu… nor did I think of acting in it because it was entirely up to the casting director and the director whom they think is the right choice. So I requested Mansoor to take care of the production and he was there looking after the cast and the crew during the shoot stages. Of course, I was there if there were any problems. But as soon as Taare finished, I was there to look after the post production and the marketing plan for Jaane Tu. You seem to be like Imran's shadow. Everywhere Imran goes, you follow. Then what was the reason for your absence in London? (Laughs). I would not like to be described as Imran's shadow. Being the producer of the film, I have been a part of promoting Jaane Tu… and that's what I am doing. So if I accompany Imran, Abbas, or Genelia, I can't be tagged as their shadow. Infact, I'm the shadow of Jaane Tu. But yes, If I was free, I'd have definitely come to London but unfortunately, I was shooting for Ghajini at that time. I would not like to be described as Imran's shadow. I'm the shadow of Jaane Tu. Not convinced with Amol Gupte's direction, you took over as a director for Taare. That was past. But we also know that you gave 5 scenes to Abbas to shoot for Jaane Tu… before you could say Yes to him. Have you now started screen testing directors? Infact, after my experience on Taare, I told Abbas to shoot five scenes to see how he fares as a director. Jaane Tu at that time had not begun their filming. So I requested Abbas because he had never directed a film before. I am pretty sure that I would like to see any new director taking up my project to shoot four or five scenes, whether it's Abbas or anybody else. But if there was an established director, I would not have done that. What if you did not like all the five scenes or liked two or three of them? Was the back up ready? Or were you prepared to jump into the directors seat? If any of the five scenes were not directed well by Abbas, I would not have gone ahead with the project even though I loved the script. And that is true. But Abbas proved me wrong. I remember you and Raj Zutshi used to stick the posters of Qayamat Se Qayamat Tak on the auto-rickshaws outside Mithibai College in Mumbai by stopping them. That was marketing in 1988. How much do you think marketing has evolved or will do in the near future? I think it has changed dramatically from then to now. In 1988, there was only one channel, Doordarshan, and the main line newspapers and magazines did not do much reporting on entertainment nor was there any news on the front pages about films. The media had not completely evolved then. But entertainment in particular has now become a huge part of reporting and news. So while the times have changed, the level of challenges remain the same. In the late 1980's we didn't have enough means to promote the film so we tried to do it the best we could. Today you have a lot of means but you could do it completely wrong. So even if you have the tools in today's time but you don't use them well, it can go against you. You can market the film really badly or people can sense from your marketing that they don't want to see your film. If any of the five scenes were not directed well by Abbas, I would not have gone ahead with the project even though I loved the script. But Abbas proved me wrong. All your films from Lagaan days to Rang De Basanti to Taare Zameen Par and now Jaane Tu have seen fresh young faces. Is that something you'd like to see with all your films or you being a part of it? No, it's not a conscious effort. I think it really depends on what kind of script you're doing and it's requirement. You're forgetting that Rani was there in Mangal Pandey. She was an established star. So was Amisha Patel. And I did Fanaa with Kajol. So it's not as if I'm not working with established actors. It really depends from project to project. While the film was being made and after it's completion, did it take you back to your QSQT days? (Laughs). Not really. I think Jaane Tu is quite a different film in it's own way even though it's a romantic film and it stars new actors, Qayamat Se Qayamat Tak was a film which was much more dramatic in its flavor and its content. Yes, seeing Mansoor behind the camera after a sabbatical did make us interact the QSQT days. There are many successful music directors like Pritam and Vishal Shekhar too who are on the top of their game, then why go with A.R. Rahman just because he has been a part of your earlier films? You don't think A.R. Rahman is on top of his game. (Laughs out loud). I am very happy with the kind of music he has given to Jaane Tu and I'm so glad that he is a part of the film. But I have worked with other people as well. Taare Zameen Par had Shankar Ehsaan Loy and you know the music was so different and soothing to your ears. It was a new experience for them too. But as I said earlier, it depends on project to project and there might be times when I would like to work with A.R. Rahman and he is busy with other projects. I've not worked with Pritam but his work is nice and has given extremely successful music off late. So if any opportunity arises, I'd definitely like to work with Pritam. Seeing Mansoor behind the camera after a sabbatical did make us interact the QSQT days. On the posters and media pack, we have seen Imran wearing the same yellow striped tie you wore in your film Jo Jeeta Wohi Sikandar. What else has he nicked from your wardrobe? (Laughs) Well, he keeps grabbing my jackets, t-shirts and other stuff. But yes, you pointed out right. That was the same tie I wore in my film, Jo Jeeta Wohi Sikandar. Any message you'd like to convey to your audience who are not your fans now. They are fans of Aditi. (Laughs) As I said, we've made a film that we believed in and have really put in our best. I hope the audience too enjoys seeing it as much as we enjoyed making it. Devansh Patel Fri, 04 Jul 2008 07:14:32 EDT