Showing posts with label Bollywood. Show all posts
Showing posts with label Bollywood. Show all posts

Wednesday, June 5, 2013

Grace and Ingrid Love Stories Perfect Romantic Subjects for Bollywood Expat Producer

Deadline Hollywood reports on a new film project announced by Uday Chopra, of India's Yash Raj Films, the Mumbai-based Bollywood powerhouse created by his late producer-director father, Yash Chopra, in 1970. Uday will follow the upcoming "Grace of Monaco," which stars Nicole Kidman, with a bio-pic about Ingrid Bergman's wartime romance with combat photographer Robert Capa.

A director since 1959, Yash Chopra, who passed away last year, pioneered a lush. romantic style that came to exemplify Bollywood glamour. He helped launch the careers of megastars Amitabh Bachchan (in "Trishul" and Deewaar") and Shah Rukh Khan (in "Dard"). He is regarded by critics such as England's Rachel Dwyer as a key evolutionary influence on the modern shape of Bollywood, both for his film style and his corporatized business practices,

In fact, biographical films about the loves of Hollywood royalty should by a perfect fit for the brightly colored glamor of the Yaj Raj house style, a species of film that no one in Hollywood knows how to make anymore.

Uday Chopra began his acting career at Yash Raj with a supporting role in his director-brother Aditya Chopra’s “Mohabbatein” (2000), co-starring with Bachchan and Khan. Now a charter member of the younger generation of Bollywood leading men, along with Hrithek Roshan and Amitabh's son Abishek Bachchan, Chopra's signature vehicles include the “Dhoom” action franchise ("Dhoom 3" is due in December) and romantic comedies such as the recent "Pyaar Impossible!" (2012).

Chopra learned the ropes of the American studio system as a graduate of the UCLA Professional Program in Producing.

The musical number below, from Uday's hit rom-com "Mere Yaar Ki Shaadi Hai" ("My Friend is Getting Married," 2002), is an expert pastiche of the location-shot song numbers in the romantic blockbusters of his dad, such as "Chandni" (1989), with Rishi Kapoor and Sridevi.

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FLASHBACK 2008: Sierra Madre Public Library Bollywood Starter Kit™

This is being posted to provide additional information for people who attended my presentation on Bollywood movies at the Sierra Madre Public Library on January 17. It was great to hear that several of you are interested in exploring further this "movie industry that is also a genre." To that end I've collected a few links and recommendations that I think might be helpful.

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Tuesday, June 4, 2013

Jiah Khan 1988-2013

Sad news about the apparent suicide of a promising Bollywood ingenue, a London resident born in New York who studied at the Lee Strasberg Theatre and Film Institute. She came and went as a medical student working on anterograde amnesia in the Aamir Khan Memento re-make Ghajini (2008). But at that point her career may already have taken a lethal hit from the notorious nature of her 2007 debut movie, which I reviewed for the LA Weekly.

NISHABD Writer-director Ram Gopal Varma’s scandalously anticipated new film was preceded by shrewd tactical whispers to the effect that it was a Bollywood remake of Lolita, with the 64-year-old masculine icon Amitabh Bachchan (think Eastwood or Newman) becoming enamored of a slinky 18-year-old. But Nishabd (The Silence) turns out to be an undeniably stylish, if also dizzyingly uneven, mixed bag, deeply affecting one minute and ludicrous the next; the fetishistic slow-motion shots of ingénue Jiah Khan cooling herself with a garden hose would not be out of place on a Playboy DVD. The sleek Khan is certainly a von Sternberg–worthy object of obsession, but Varma is locked into presenting her as an emblem of free-spirited modern youth, which for him seems to be synonymous with callow and rude and almost pathologically self-absorbed. For Jiah, Bachchan’s solid and self-contained Vijay is a prize she’s fixed on with a whim of iron, and if Varma had pushed her manipulations a bit further, the movie would be more interesting. In fact, our interest picks up considerably after the halfway point, when the movie teeters on turning into a thriller with the arrival of Jiah’s bouncy young college boyfriend, who hides out on the premises to surprise her unbeknownst to anyone but Vijay. No Hitchcock movie ever had a better setup for a stalk-and-kill finale, but Varma is after a bigger, more slippery fish — the “fear of aging and death” that draws the old man to the young girl. Varma’s honesty and seriousness are impressive, if not his showmanship. (Naz 8) (David Chute)

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Monday, June 3, 2013

Archive: "LA Weekly" review of Aamir Khan's jackhammer thriller "Ghajini"

Bollywood star Aamir Khan as one of TIME magazine's "100 Most Influential People in the World 2013"

GHAJINI (2010)

Aamir Khan, a teen idol of the early ‘90s turned dashing romantic leading man, has for several years been Bollywood’s most exportable overachiever: producer-star of the Oscar-nominated "Lagaan," director-star of this year’s Indian Oscar submission "Taare Zameen Par." In his latest offering, "Ghajini," Khan goes aggressively down-market, indulging a midlife urge to kick ass and snap necks in slow motion, like some of the South Indian action behemoths who have recently been kicking Hindi cinema’s ass at the national box office. The result is an experience almost too stimulating for the non-Indian nervous system, a blockbuster layer cake of full-strength escapist entertainment. In a series of gaudy, tuneful flashbacks, Khan is the sleek CEO of a cell-phone company, a prince of industry passing as a commoner so that a radiant young actress will fall in love with his soul and not his money. In the much darker present-day sequences, he’s a revenge-obsessed victim of anterograde amnesia, complete with shaved, scarred cranium, bulging muscles crawling with tattoos, and a pocketful of annotated Polaroids.

The movie does, indeed, owe a large debt to "Memento," albeit once removed: This version of "Ghajini" is an exceedingly detailed redo of a 2005 Tamil/Telegu carbon of Christopher Nolan’s film. Although there are some variations, especially in the second half, long stretches of the two Ghajinis are virtually identical. The new cast includes several prominent holdovers, including leading lady Asin Thottumkal, bad guy Pradeep Rawat, and muscle-bound cop Riyaz Khan, with Aamir seemingly pasted in over original star Surya, who won a regional Best Actor award for the role. If Khan was hoping some of the commercial mojo of South Indian action icons such as Superstar Rajnikanth ("Sivaji the Boss") might rub off, he could scarcely have picked a better collaborator for the project than A.R. Murugadoss, the writer-director of both versions of Ghajini, auteur of the legendary headbanger "Stalin: Man for the Society" (2005), a master of the pile-driving Southern style. (Key YouTube clip: “megastalin intro.”) The reinvigorated performer strides into battle in Ghajini haloed with bullet-time clouds of glittering water droplets, wrapping his opponents around tree trunks and perforating them with iron pipes, already half-transformed into Superstar Aamirkhanth. (Culver Plaza; Fallbrook 7; Laguna Hills Mall; Naz 8 Artesia; Naz 8 Riverside) (David Chute)

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