#Film Credited Jim Sarbh

[bhaskarhindinews]

मुझे नहीं लगता कि फिल्म से जुड़े हर हिस्से को श्रेय दिया जाता है : जिम सर्भ

हाईलाइट

मुझे नहीं लगता कि फिल्म से जुड़े हर हिस्से को श्रेय दिया जाता है : जिम सर्भ

अभिनेता जिम सर्भ कहते हैं कि फिल्म बनाने में शामिल होने वाले सभी हिस्सों को ज्यादा श्रेय नहीं दिया जाता है।

अभिनेता ने आईएएनएस से कहा, हर कोई यह सोचता है कि कलाकार पृथ्वी पर सबसे बड़ी चीज है, लेकिन नहीं। यह सब अच्छी फिल्म, अच्छा निर्देशन और जिस तरह से इसे संपादित किया जाता है, उन सारी चीजों के एक साथ मिलकर आने से है।

[newsyatra]

I don’t think every part of the film is credited: Jim Sarbh | मुझे नहीं लगता कि फिल्म से जुड़े हर हिस्से को श्रेय दिया जाता है : जिम सर्भ मुंबई, 26 अक्टूबर (आईएएनएस) अभिनेता जिम सर्भ कहते हैं कि फिल्म बनाने में शामिल होने वाले सभी हिस्सों को ज्यादा श्रेय नहीं दिया जाता है।

[raabta2017hindifullmovie]

Raabta 2017 Hindi Full Movie Download HDRip 720p GDrive

Raabta 2017 Hindi Movie Download 720p HD Mp4 Google Drive, Raabta 2017 Bollywood Movie Watch Online By Sushant Singh Rajput Best Movie

Raabta (2017) Not Rated | 2h 27min | Action, Drama, Fantasy | 9 June 2017 (USA) Director: Dinesh Vijan Writers: Siddharth-Garima (writers), Siddharth Singh (as Siddharth) Stars: Sushant Singh Rajput, Deepika Padukone, Kriti Sanon

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The connection is that Dinesh Vijan directed his directorial debut, which he, Homi Adajania and Bhushan Kumar co-produced. The film stars Sushant Singh Rajput and Kriti Sanon, Rajkumar in a supporting role and Raghuram Rajan as director.

It sounds so silly to even make a film in 2017 to test the formula, but Dinesh Vijan, who is making his directorial debut, comes up with a cheesy and clichéd love story that doubles as a yawn-fest. The film was released in India on October 6, 2017 in a limited edition of 1,000 screens.

Moving to Budapest, a film about a young woman and her love affair with an old man in the Hungarian city of Budapest.

She meets Saira (Kriti Sanon), who owns a bakery, and falls in love with her, but that doesn't stop her from visiting an incredibly pretty woman in her pastry shop. Such inappropriate behavior may suggest a creepy, poisonous guy in real life, but in a Hindi film about love and lust, it's fair to be fair. They make an appointment and she meets him in the café where he is the owner of the bakery - a shop that belongs to her.

The Bollywood love thriller Raabta stars Sushant Singh Rajput as Saira's boyfriend and Kriti Sanon as his girlfriend. To be fair, Mirziya's love story was derided by those who admired her the most, but in a way this is his film. Those who like it will find it endearing and funny, and it's one of his best films so far.

The Bollywood love thriller Raabta with Sushant Singh Rajput and Kriti Sanon Bebe a light-hearted rom-com about a young woman and her boyfriend. Shiv and Saira are brought together by a bond forged several hundred years ago and take each other on a journey of love, friendship, betrayal and betrayal of trust and trust in each other. One only has to wonder how the writers and directors led the financiers to believe that there was a story worth telling, or whether the actors preferred to shoot in the morning and sleep for hours.

Oddly enough, there is not a single heartwarming scene in the script, and frankly there is no film in the genre as emotionally charged as this one. This is the kind of film that film critics have to put up with so that we don't have to, but it's honestly not a film I'm into.

The whole theme of reincarnation is so superficial and simplistic that Karan Arjun feels like Inception by comparison.

Dinesh Vijan is a famous producer who had success with several successful movies. The film he directs begins in a world in which a self-described "player" (Sushant Singh Rajput) moves everything and everyone until he meets Saira, with whom there is an immediate and lasting connection. He has never been so lithe, but he plays Saif Ali Khan's role perfectly, while his Shiv comes across as a bit creepy rather than charming.

This time he has decided to become a director, and his debut film is Raabta, with Saif Ali Khan as Saira's father and Sushant Singh Rajput as Shiv's brother. The first half is plagued by too much time invested in creating the romance between the lead actors, which makes for harrowing jumps after the revelation. The trailer gives us a glimpse of a movie set in two different periods, but in both there seems to be no action or romance.

Although Maddock Films has made films such as Goa Go Go, Finding Nemo and Hindi Bollywood in the past, this is their worst film yet. Raabta, however, is filled with so much heart that Dinesh Vijan regrets all this.

In a press interview Dinesh mentioned that he has been working on his debut script for many years and feels it is fresh. Neerja, whose debut as a Palestinian terrorist is given by Jim Sarbh in a Bollywood film, turns into a dialogue partner - a nibbling villain and a feast for the eyes.

From the opening scenes to the final song and dance accompanying the credits, the film defines itself as one of the most unoriginal Hindi films we have seen this year. All in all, Raabta behaves like a film full of sizzling chemistry, which is ultimately drowned out by its weak script and banal script. It is disappointing that Rajkummar Rao, given his potential, does not contribute much to this film, and he undoubtedly deserves more screen time.

The story follows the story of Saira, a newly arrived banker in Budapest, who meets Shiv (Rajkummar Rao) and immediately falls in love with him. Also magically attracted to Shiv, she decides to jump into a romance that grows with each passing day, even though she is in a relationship.

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[newsmatters]

Jim Sarbh: Don’t think we give credit to all pieces that go into a film Image Source : INSTAGRAM/JIMSARBHFORREAL Jim Sarbh Actor Jim Sarbh says not much credit is given to all the pieces that go into making a film.

[kerception]

From Padmavati to Padmaavat

     Disclaimer: I grew up watching Bhansali’s  Khamoshi, Black and Hum Dil De Chuke Sanam and obviously I love him for his opulence, his grandeur and the visual treat that he offers his audience. There is an excess that should be nauseating, yet it is decadent, that’s what I love about Bhansali.

      Over the years my politics has taken me further away from his interpretations, however my senses still thrive being fed his imagery. I don’t want to get into a whole lot of what has already been said about his new film (or the politics of meaningless protest by the Karni Sena). As a critique of the film, I’d like to offer something that sticks to the merits of the film. I want to focus on Padmaavat (the erstwhile queen Padmavati) as a piece of cinema.

     Bhansali does justice to the two major plot lines of the film, as he sets up the Khilji rule, led by the majestic Raza Murad (playing Jalaluddin Khilji) and Ranveer Singh as Alauddin Khilji). Alauddin is flamboyant, perhaps spoilt and unabashedly ambitious. He stands firm in Jalaluddin’s aura.

     On the other side is the Rajput kingdom of Rawal Ratan Singh (actor Shahid Kapoor), who discovers Padmavati (Deepika Padukone) while hunting in the forest. The early romance is sweet, tender and a bit reminiscent of a 1950s period piece. And Bhansali does it purposely, for he will juxtapose the sweet tender romance of Rawal Ratan and Padmavati to the jealous cravings of Alauddin Khilji.This is all for dramatic effect, as he will reveal over the next 150 minutes.

     The Khiljis engage in expansion, intrigue, power at the cost of all else. While the Rajputs do that too, to a certain extent, but Bhansali chooses not to explore that. He will only go as far and give us a taste of the palace intrigue on the Rajput side, when Rawal Ratan’s Rajguru (political mentor) is introduced to Padmavati. The short discourse between them was the best set of dialogues in the close to three-hour long saga.  But with the Rajguru’s banishment, all intrigue, political frolic and the story comes to a complete halt. It becomes a predictable dramatic one twist to the other from here on. We know that the Rajguru will go and form an alliance with Khilji, who in turn will train his eyes on Rawal Ratan’s kingdom and Padmavati. This will eventually end in the Rajputs and the Khiljis coming face to face. The end.

     Now let’s look at the rest of the film. Visually this is stunning and we wouldn’t expect anything but from Bhansali. Each and every frame is painstakingly crafted. From the palace of the Khiljis, the spaces that the characters inhabit, the fortress/city of Rawal Ratan and Padmavati and everywhere where the camera even glances at, is Mughal-E-Azam all over again. All credit to the cinematographer (Sudeep Chatterjee) and the art directors who help bring Bhansali’s vision to life.

image courtesy: india.com 

     The characters: For all the criticism that Bhansali has received for presenting Alauddin Khilji’s character as barbaric, lustful and treacherously ferocious, I found Khilji’s character the only one who really gets any attention from Bhansali’s pen. He is crafted with range, substance and yes he is vile. As an antagonist, in typical Bollywood/drama/fiction style, he has to be vile and eccentric. Does this make Bhansali anti-Muslim? Did I respond to Khilji and think all Muslims are like that? I equally enjoyed his exchanges with his court poet Khusru. And while I will call Bhansali out on his depiction of Malik Kafur (played by Jim Sarbh: the brilliant star of the film) for playing into the Bollywood stereotype of LGBTQ characters on screen, I do give him and Ranveer Singh credit for exploring ‘bisexuality’ in a mainstream Bollywood film. Malik Kafur’s character falters towards the end, but he comes to the audience in spurts and he is just wonderful. And for whatever it's worth, the Khilji-Kafur interaction was way more interesting than anything Padmavati and Rawal Ratan’s characters had to offer. It was rather hilarious and in a way Bhansali indulging in self-deprecation, when Khilji mocks Rawal Ratan for being oh so saintly and good.

     Padukone as Padmavati should have been the heart of the film, but she isn't. Bhansali played with the idea of turning Padmavati into the astute, politically savvy protagonist that she could have been. But instead he chose to leave her out completely in the first half, so that whole thing came to naught. And by the time she is back, you have been blinded and exhausted by the colors and cravings of Bhansali’s canvas.

     I want to be more generous to Kapoor for playing Rawal Ratan with some stoic restraint, but I can only compliment him for his chiseled torso, unfortunately. I kept hoping that his first wife Nagmati (played by Anupriya Goenka) would come out of the shadows, but again Bhansali decided character development didn’t matter in a magnum opus.

     The practise of Jauhar: Jauhar was a prevalent practise in the Rajput communities for centuries. I saw the depiction as merely a recreation of a practise that existed in medieval India. I asked people in my entourage and no one seemed inspired to commit Jauhar after watching the film, as was being suggested by commentators, social media folk. From where I sat, Bhansali’s depiction of Jauhur (unlike Sati) was similar to say Ridley Scott’s depiction of Maximus as a Gladiator. Archaic and dehumanizing, of course, but not glorified. It’s part of the poem (Padmavat, 1540) that Malik Muhammad Jayasi wrote and the film being inspired from it, saw it make its way as a dramatic, over the top climax.  

    My critique of the film is that Bhansali lost an opportunity to really tell an intriguing, layered, engaging story about a character who is part of contemporary folklore, something that is naturally expected of him. His journey from Padmavati to Padmaavat meant that we were given a visual treat, which besides Ghoomar (a song I absolutely love) was lacklustre musically and absent a whole narrative. I momentarily pondered over the alleged nexus between the Hindu-right and Bhansali for creating a propaganda piece furthering the Hindu-Rajput identity, but then I remembered that the chest thumping of Rajput pride is just part of how Bollywood films approach religion and the Rajput/Hindu confluence. So, I won’t blame Bhansali for being at the root of the problem, he is merely a symptom.

[magzoso-tech]

New Post has been published on https://magzoso.com/tech/house-arrest-review-ali-fazal-shriya-pilgaonkar-fall-in-love-in-lacklustre-homebound-rom-com/

House Arrest Review: Ali Fazal, Shriya Pilgaonkar Fall in Love in Lacklustre Homebound Rom-Com

In the late 1990s, Japanese psychologist Tamaki Saitō coined the term hikikomori to describe young adults who had withdrawn from society and largely confined themselves to their home, essentially turning themselves into modern-day hermits, so to speak. A 2018 study by the Japanese government found that nearly half of the hikikomori surveyed had lived in seclusion for at least seven years, with one third relying on their parents for money. It’s turning into a problem to reckon with for Japanese society, but there’s no easy way out. Getting hikikomori to open up can take months, and helping them through the trauma that forced them into isolation takes even more time, per a non-profit.

If you’re wondering what all that has to do with House Arrest — the new Netflix movie starring Ali Fazal and Shriya Pilgaonkar (Mirzapur) in the lead — that’s because the film relies on the concept of hikikomori for its premise. Well, a bit of it anyway. In truth, it’s just an excuse to cook up a homebound romantic comedy with the two leads. It’s clear that House Arrest doesn’t care to understand and convey the true depth of the problems faced by such shut-ins, because its exploration of said topic virtually ignores nearly every symptom displayed by hikikomori. By the end — if viewers will somehow even get there in the first place — its events are so unbelievable that it might as well call itself that.

The bigger problem for House Arrest, in storytelling terms, is that it’s only interested in the protagonist Karan’s (Fazal) external struggles — not the internal ones. Even in that regard, it’s unwilling or unable to go beyond the surface, as it repeatedly challenges Karan’s confinement to find out what it’ll take for him to leave his home. And in the hands of co-directors Shashanka Ghosh (Veere Di Wedding) and novelist Samit Basu, working off a script by Basu, House Arrest eventually falls back on a rushed cliché. Fazal and Pilgaonkar — their work and on-screen chemistry — are the only reason it’s watchable, but at 104 minutes, it’s over-stretched and heavily padded. It might be better off as a short film, if it had to be made.

House Arrest opens by giving us a look at Karan’s daily routine, which involves a mix of cleaning, cooking, and origami. In conversations with his best friend Jamshed “JD” Daneja (Jim Sarbh, from Neerja), a womaniser who constantly annoys Karan and tries to get him to leave the house, and a journalist Saira (Pilgaonkar), who’s researching hikikomori in India and is introduced to Karan by JD, he reveals he hasn’t left his home in Delhi for 279 days, over nine months. But for someone who claims to have little interest in talking to people or allow them into his home, it’s curious how Karan is constantly glued to his phone and makes little effort to wade off those who barge through the door.

As part of its external intrusions, House Arrest pushes an annoying neighbour in Pinky (Barkha Singh, from MTV Girls on Top), the sparkly daughter of a Dubai don, on Karan as well. (Pinky, and JD for the most part, fall into immediately-recognisable character tropes.) With the help of her extremely tall and well-built bodyguard, Pinky drops off a large pink suitcase with a man (Badrul Islam, from Daayen Ya Baayen) covered in bubble wrap stuffed inside at Karan’s place, because her cousins are coming over. This whole subplot, involving Pinky, her bodyguard, and the man-in-the-suitcase, is entirely frivolous. It has nothing to say on a big-picture level. It’s included to create a comedy of errors, and be the pivot that ends Karan’s homestay.

If a film insists on being plot-based rather than character-based — which it shouldn’t — as does House Arrest, the least it can do is make sure its events are interesting and meaningful. But the new Netflix film is merely filled with happenings for the sake of filling its unnecessary runtime. And making it more incredulous, it all somehow happens on the same day — the events of House Arrest last a single day in real-time — which would be enough to drive anyone mad, let alone a hikikomori. That compressed timespan not only renders Karan and Saira’s love story unrealistic, but in turn, it makes House Arrest’s ending just as unconvincing.

Badrul Islam as the unnamed man in the suitcase in House Arrest Photo Credit: Netflix

And in overly stuffing itself, House Arrest seems to betray itself on a philosophical level of sorts. Its lead characters espouse the wonders of being alone, and the film is wants to be about people who have withdrawn from society. But clearly, the makers themselves couldn’t commit to it. Theoretically, it would be a lot more interesting to imagine a story with just Karan in it, as would have been the case on most of those other 278 days. That would also make it a more internal story. As it is though, the lacklustre House Arrest follows the recent trend of irresponsible to indefensible Indian originals in Bard of Blood and Drive. It’s hard to fathom why Netflix is willing to hurt its brand so, though it’s making a terrific case for Indians to stop subscribing, if this is how their money is going to be put to use.

House Arrest is out November 15 on Netflix worldwide.

[artwalktv]

SYNOPSIS Fran is thinking about dying, but a man in the office might want to date her. CREDITS Directed by: Stefanie Abel Horowitz Starring: Katy Wright-Mead, Jim Sarbh Screenplay by: Stefanie Abel Horowitz & Katy Wright-Mead and Kevin Armento Based on the play killers by: Kevin Armento Director of Photography: Matthew Pothier Edited by: Stephanie Kaznocha Producers: Stefanie Abel Horowitz, Katy Wright-Mead Executive Producers: Patrick James Lunch, Ryan Gielen Co-/Line Producer: Jessica Lauren Richmond Music Composed by: Savanna Wheeler Sound Design: Michael Capuano Colorist: Arianna Shining Star Pane Visual Effects: Jane Parisi Visual Effects: Navid Sanati Assistant Director: Craig Newman Gaffer: Adam Belanger Assistant Camera: Ant Wheeler Production Sound: David Beede Grip: Benjamin Moniz Script Supervisor: Emma Yarbrough DIT: Caitlin Reeves Hair & Makeup: Agustina Sosa Production Design: Pete Hansen Wardrobe: Annie Gamber Production Coordinator: Cody Dugan Production Assistant: Jarrod Lynch Anderson Locations Manager: Andrew Simon Intuitive Cook: Isaac Fosl-Van Wyke Made Possible With: Entertainment To Affect Change Production Support Provided By: Believe Limited + More Media FESTIVALS + AWARDS Sundance Film Festival (World Premiere) Palm Springs ShortFest (Future Filmmaker Award) Aspen Shortsfest (Special Jury Mention) Rhode Island International Film Festival (Best Screenplay, Youth Film Jury Award: Best Short) Atlanta Film Festival Nashville Film Festival HollyShorts Film Festival Show Me Shorts Film Festival London Short Film Festival MFI North Fork Film Festival (Best Actress) Rincon International Film Festival (Best Actress) Calgary International Film Festival St Louis International Film Festival Walla Walla Movie Crush (Best Short Screenplay, Best Short Nominee, Best Performance Nominee) Fantasia International Film Festival BendFilm Festival (Special Jury Award) Dumbo Film Festival (Best Short) North Bend Film Festival (Best Short, Best Actress, Cinema Vista Audience Award) Detroit Shetown Women's Film Festival (Honorable Mention: Best Actress) Method Fest Chicago Film Critics Association Nevertheless Film Festival Provincetown Film Festival Durban International Film Festival Concorto Film Festival Minneapolis St Paul International Film Festival Monmouth Film Festival Pluk de Nacht Open Air Film Festival Still Voices Film Festival DC Shorts Film Festival Victory International Film Festival Athens International Film Festival Albuquerque Film & Music Experience Crested Butte Film Festival Hell's Half Mile Film & Music Festival Beyond Fest Tacoma Film Festival Drunken Film Festival 15 Shorts Festival Denver Film Festival 24fps Pittsburgh Shorts & Script Competition New Hampshire Film Festival AIFA Boulder Short Film Festival St Cloud Film Festival CinemaForum Film Festival

[karoltabis]

SYNOPSIS Fran is thinking about dying, but a man in the office might want to date her. CREDITS Directed by: Stefanie Abel Horowitz Starring: Katy Wright-Mead, Jim Sarbh Screenplay by: Stefanie Abel Horowitz & Katy Wright-Mead and Kevin Armento Based on the play killers by: Kevin Armento Director of Photography: Matthew Pothier Edited by: Stephanie Kaznocha Producers: Stefanie Abel Horowitz, Katy Wright-Mead Executive Producers: Patrick James Lunch, Ryan Gielen Co-/Line Producer: Jessica Lauren Richmond Music Composed by: Savanna Wheeler Sound Design: Michael Capuano Colorist: Arianna Shining Star Pane Visual Effects: Jane Parisi Visual Effects: Navid Sanati Assistant Director: Craig Newman Gaffer: Adam Belanger Assistant Camera: Ant Wheeler Production Sound: David Beede Grip: Benjamin Moniz Script Supervisor: Emma Yarbrough DIT: Caitlin Reeves Hair & Makeup: Agustina Sosa Production Design: Pete Hansen Wardrobe: Annie Gamber Production Coordinator: Cody Dugan Production Assistant: Jarrod Lynch Anderson Locations Manager: Andrew Simon Intuitive Cook: Isaac Fosl-Van Wyke Made Possible With: Entertainment To Affect Change Production Support Provided By: Believe Limited + More Media FESTIVALS + AWARDS Sundance Film Festival (World Premiere) Palm Springs ShortFest (Future Filmmaker Award) Aspen Shortsfest (Special Jury Mention) Rhode Island International Film Festival (Best Screenplay, Youth Film Jury Award: Best Short) Atlanta Film Festival Nashville Film Festival HollyShorts Film Festival Show Me Shorts Film Festival London Short Film Festival MFI North Fork Film Festival (Best Actress) Rincon International Film Festival (Best Actress) Calgary International Film Festival St Louis International Film Festival Walla Walla Movie Crush (Best Short Screenplay, Best Short Nominee, Best Performance Nominee) Fantasia International Film Festival BendFilm Festival (Special Jury Award) Dumbo Film Festival (Best Short) North Bend Film Festival (Best Short, Best Actress, Cinema Vista Audience Award) Detroit Shetown Women's Film Festival (Honorable Mention: Best Actress) Method Fest Chicago Film Critics Association Nevertheless Film Festival Provincetown Film Festival Durban International Film Festival Concorto Film Festival Minneapolis St Paul International Film Festival Monmouth Film Festival Pluk de Nacht Open Air Film Festival Still Voices Film Festival DC Shorts Film Festival Victory International Film Festival Athens International Film Festival Albuquerque Film & Music Experience Crested Butte Film Festival Hell's Half Mile Film & Music Festival Beyond Fest Tacoma Film Festival Drunken Film Festival 15 Shorts Festival Denver Film Festival 24fps Pittsburgh Shorts & Script Competition New Hampshire Film Festival AIFA Boulder Short Film Festival St Cloud Film Festival CinemaForum Film Festival

[ozkamal]

SYNOPSIS Fran is thinking about dying, but a man in the office might want to date her. CREDITS Directed by: Stefanie Abel Horowitz Starring: Katy Wright-Mead, Jim Sarbh Screenplay by: Stefanie Abel Horowitz & Katy Wright-Mead and Kevin Armento Based on the play killers by: Kevin Armento Director of Photography: Matthew Pothier Edited by: Stephanie Kaznocha Producers: Stefanie Abel Horowitz, Katy Wright-Mead Executive Producers: Patrick James Lunch, Ryan Gielen Co-/Line Producer: Jessica Lauren Richmond Music Composed by: Savanna Wheeler Sound Design: Michael Capuano Colorist: Arianna Shining Star Pane Visual Effects: Jane Parisi Visual Effects: Navid Sanati Assistant Director: Craig Newman Gaffer: Adam Belanger Assistant Camera: Ant Wheeler Production Sound: David Beede Grip: Benjamin Moniz Script Supervisor: Emma Yarbrough DIT: Caitlin Reeves Hair & Makeup: Agustina Sosa Production Design: Pete Hansen Wardrobe: Annie Gamber Production Coordinator: Cody Dugan Production Assistant: Jarrod Lynch Anderson Locations Manager: Andrew Simon Intuitive Cook: Isaac Fosl-Van Wyke Made Possible With: Entertainment To Affect Change Production Support Provided By: Believe Limited + More Media FESTIVALS + AWARDS Sundance Film Festival (World Premiere) Palm Springs ShortFest (Future Filmmaker Award) Aspen Shortsfest (Special Jury Mention) Rhode Island International Film Festival (Best Screenplay, Youth Film Jury Award: Best Short) Atlanta Film Festival Nashville Film Festival HollyShorts Film Festival Show Me Shorts Film Festival London Short Film Festival MFI North Fork Film Festival (Best Actress) Rincon International Film Festival (Best Actress) Calgary International Film Festival St Louis International Film Festival Walla Walla Movie Crush (Best Short Screenplay, Best Short Nominee, Best Performance Nominee) Fantasia International Film Festival BendFilm Festival (Special Jury Award) Dumbo Film Festival (Best Short) North Bend Film Festival (Best Short, Best Actress, Cinema Vista Audience Award) Detroit Shetown Women's Film Festival (Honorable Mention: Best Actress) Method Fest Chicago Film Critics Association Nevertheless Film Festival Provincetown Film Festival Durban International Film Festival Concorto Film Festival Minneapolis St Paul International Film Festival Monmouth Film Festival Pluk de Nacht Open Air Film Festival Still Voices Film Festival DC Shorts Film Festival Victory International Film Festival Athens International Film Festival Albuquerque Film & Music Experience Crested Butte Film Festival Hell's Half Mile Film & Music Festival Beyond Fest Tacoma Film Festival Drunken Film Festival 15 Shorts Festival Denver Film Festival 24fps Pittsburgh Shorts & Script Competition New Hampshire Film Festival AIFA Boulder Short Film Festival St Cloud Film Festival CinemaForum Film Festival

[lazyupdates]

2018 has been a rather eventful year for Bollywood so far. One thing that we learnt in this year is that Indian audiences are looking for good content in movies. Gone are the days when having an A-list star in your film was good enough to attract people in numbers. Times have changed and Bollywood is adapting to the change as well. Movies like Raazi and PadMan might not have performed at the box office the same way had they released a few years back. So, with first half of 2018 gone by, we list some of Bollywood’s best offerings so far.

Padmaavat Director: Sanjay Leela Bhansali Release Date: 25 January, 2018

Padmaavat was directed by Sanjay Leela Bhansali. The film is loosely based on the poem Padmaavat which was written by Malik Muhammad Jayasi. The movie stars Deepika Padukone, Ranveer Singh and Shahid Kapoor in leading roles. Aditi Rao Hydari, Jim Sarbh, Raza Murad, and Anupriya Goenka featured in supporting roles. With a budget of approximately INR 190 crore, Padmaavat is regarded as one of the most expensive films to be made in India. Initially, Padmaavat was scheduled for a release on 1 December 2017. However, due to Karni Sena protests the release got delayed and the makers had to face an uphill battle for its release. The Karni Sena requested the government for a nation-wide ban on the film and even went far as putting a bounty on Deepika Padukone. Eventually, when the film did release there was no stopping it from setting the box-office on fire. Padmaavat was a story about Rani Padmavati, who felt sacrificing her life was better than surrendering to the enemy. In the movie, Sultan Allauddin Khilji (Ranveer Singh) tries everything he can to get Rani Padmavati who was married to Maharawal Ratan Singh (Shahid Kapoor) at the time. Khilji was an extremely powerful ruler who would stop at nothing to get what he wanted. Bhansali made use of technology to recreate the era. Real-life sets were used as well and the result was a never-seen-before opulence. The film made clever use of IMAX technology and 3D, which gave it depth and added to its grandness. Ranveer’s portrayal of Allauddin Khilji was something Bollywood had never witnessed before. The character of Khilji was so dark and intense that even playing the character on screen took a toll on Ranveer Singh. When asked about the same Ranveer said.”It was a huge risk. I was very apprehensive about taking the risk but Bhansali was very persistent in his pursuit of me and he is the one who convinced me that I would be able to pull it off. I went with his conviction. I can never say no to Bhansali, given the amount he has contributed to my career and to me as an artiste.”

Padmaavat broke many box-office records and made it to the 300 crepe club too.

Pad Man Release Date: 9 February, 2018 Director: R Balki

Through PadMan, Akshay was trying to convey the story of Arunachalam Muruganantham, who invented a low-cost sanitary pad making machine and helped spread awareness about menstrual hygiene in rural India. Akshay Kumar’s main purpose in doing the movie is to break the taboo around this biological fact, more so in the rural areas of India. The makers of Pad Man made it with a vision of spreading awareness not the commercial aspect. In India, it is not a surprise that movies are watched by everyone and everywhere. So, Akshay tried to utilise this median to give out the message he wanted. Apart from this, the makers felt that this will even give an impetus to politicians to take matters like these more seriously. Akshay also stated in an interview with a leading daily, that his biggest victory of Pad Man was the fact that people are able to talk about sanitary pads openly. The film release date was scheduled for 13 April 2018, however it was later changed to 26 January 2018. But, on 19 January it was announced that Pad Man has postponed its release to 9 February 2018 to avoid a clash with Sanjay Leela Bhansali’s Padmaavat. The main reason for the delay in the release of Pad Man was known when Akshay Kumar revealed that Sanjay Leela Bhansali had requested him to postpone the release of his film in order to avoid a clash. In an interaction with the media, AKshay Kumar said, “He (Sanjay Leela Bhansali) has gone through a lot. It is essential for them to release the film at this time, their stakes are higher than mine,”. The film received an amazing response from the audience and went on to do business worth INR 120 crores globally.

Sonu Ki Titu Ki Sweety Release Date: 23 February, 2018 DIrector: Luv Ranjan

Sonu Ki Titu Ki Sweety was a comedy drama which was directed by Luv Ranjan. The movie starred Kartik Aaryan, Nushrat Barucha and Sunny Singh in leading roles. The combination of Kartik and Luv has already delivered hits like Pyaar Ka Punchnama and Pyaar Ka Punchnama 2. Although the movie received mixed reviews from the critics, it was a hit with the audience. The movie revolves around two friends, Sonu (Kartik Aaryan) and Titu (Sunny Singh). The two are shown to be the best of friends, but things change when Sweety (Nushrat Barucha) comes into their lives. Sonu is fed up with dating girls and believes that getting married will solve his problems of dealing with heartbreak. His family arranges a meeting for him with Sweety and they instantly hit off. Sweety is shown to be the “perfect bride”. But, Sonu finds this too good to be true and starts getting doubts about her. Eventually, Sonu finds out from Sweety herself that she is a schemer and plans to do the same with Titu. Despite several attempts of breaking the marriage, Sonu couldn’t succeed. At the night of the wedding, Sonu gives Titu an ultimatum saying that “It is either her or me.” Titu valued his friendship more than anything else in the world so he sacrificed his love for Sonu as well. Eventually, he finds out that Sonu was not just speculating but there was actual truth in what he was saying. Sonu Ki Titu Ki Sweety became the sleeper hit of the year. The collaboration of Luv Ranjan and Kartik Aaryan has already worked wonders at the box office with the Pyar Ka Punchnama series but with Sonu Ki Titu Ki Sweety the took it a notch higher.

Raid Release Date: 16 March 2018 Director : Raj Kumar Gupta

Raid was a crime thriller directed by Rajkumar Gupta and written by Ritesh Shah. The movie featured Ajay Devgn, Illeana D’cruz and Saurabh Shukla. The film was inspired by real life IT raids that were conducted by officers of the Indian Revenue Service during the 1980s. The film was a story about IRS Officer Amey Patnaik (Ajay Devgn), who is the Deputy Commissioner of the Income Tax Department. He once receives an anonymous tip about black money being hoarded by MLA Rameshwar Singh. The movie is about Amey’s chase of the cash, while ensuring his officers and his family are safe. Ajay Devgn’s performance in the film received a lot of praise from the critics and the audience. Ajay played his character of the IRS officer with dedication which made it look very authentic. Saurabh Shukla’s performance as Rameshwar Singh too won hearts of many people. His quirky lines mad his character the most interesting part of the film. The film entered the 100 Crowe club too.

Raazi Date: 11 May 2018 Director : Meghna Gulzar

Alia Bhatt has perhaps mastered the art of balancing commercial cinema with socially relevant cinema. In fact, she started her career in this way as well. After making her debut with Student of The Year, which was a commercial film, she went ahead and did a film like Highway. We have seen her in films like 2 States and Badrinath Ki Dulhania but to offset these commercial entertainers she also is seen in films like Udta Punjab and Dear Zindagi. Alia Bhatt’s last release Raazi was a film based on the book Calling Sehmat by Harinder Sikka. A novel which was inspired by the almost-unbelievable real-life story of the woman who Sikka named Sehmat, to protect her identity. Harinder Sikka had gone to cover the Kargil war and write about the many intelligence failures of the Indian army. However, during his stint there, an army officer pointed out that there had been people who were risking everything to provide the army with top secret information. Turns out, Sehmat was that army officer’s mother, a Kashmiri Muslim, who married a Pakistani officer to spy and provide classified information to Indian intelligence during the 1971 Indo-Pak war. Harinder was so fascinated by the courage and patriotism of this woman that he tracked her down. He met her in Malerkotla in Punab, where she was living at the time and got her to open up about her life’s story. Credit must go to the director Meghna Gulzar for the way she portrayed Sehmat’s story. Raazi as a film didn’t take any sides. It didn’t portray Pakistan in a bad light nor India in a good one. It showed that humanity and ruthlessness exist on both sides. This is a significant departure from the patriotic films of yesteryear – we are habituated to seeing a good vs evil theme, and having Pakistanis depicted as soulless warmongers. However, it did give us a good glimpse of how many people are sacrificing their lives for our country, something for which they don’t ever get credit for. You’ll feel proud of such unsung heroes of your country after this one! Raazi also went on to be Alia Bhatt’s biggest hit as the litfitime collections of the film amounted to Rs 123.47 crores approx.

Parmanu Release Date : 25 May 2018 Director : Abhishek Sharma

Parmanu was a recreation of the events that occurred back in 1998 when India tricked the American intelligence while carrying out the successful nuclear testing in Pokhran. John’s character Ashwath is the architect of the plan. He initially formulated the plan in 1995 but was refused when he wanted to bring it in action by his superiors. The government approach him three years later in 1998 and how he executes it with the help of his chosen team forms the crux of the film. That very event changed the world’s perspective towards our nation and it was indeed a proud moment for us all. Parmanu is a tightly scripted film which will give you ample of thrills and drama to keep you on the edge of your seat throughout the film. There are no commercial compromises, and the director has mixed all the elements perfectly to give you a touching patriotic story which proves that unsung heroes can be remembered and honoured on any day. A special mention must go to John Abraham who risked producing a movie on a topic which many would consider tricly. Apart from being a courageous producer of this film, he carried it well on his shoulders as the main lead. He was ably supported by talented actors like Boman Irani, Vikas Kumar and Yogendra Tiku. Diana Penty and Anuja Sathe did justice to their limited characters. The film managed to collect a total of Rs. 65.36 crore during its run at the box office.

Veere Di Wedding Release Date: 1 June 2018 Director: Shashanka Gosh

Veere Di Wedding starred Kareena Kapoor Khan, Sonam Kapoor Ahuja, Swara Bhaskar and Shikha Talsania in leading roles. The movie is designed to push the idea that girls too have fun just like boys. And the performance by the four leads in the film sure do make you believe that. With Veere Di Wedding, Kareena Kapoor Khan made her return to Bollywood after almost two years with her last release being Ki and Ka in 2016 in which she was seen opposite Arjun Kapoor. Kareena plays the role of Kalindi Puri, a commitment phobic girl who is enjoying her relationship with Rishabh Malhotra (Sumeet Vyas) until he proposes. Despite hesitating earlier, Kalindi decides to take the plunge. What follows is a series of hilarious situations that we see in a typical Punjabi wedding. Director Shashanka Gosh ticks all the boxes and does a great job in developing great chemistry amongst the leading ladies which form the crux of the film. The film strongly gives out the message that each one of comes with their own set of flaws and that is okay to not be perfect. The film was more of a wake up call for the society to come on term with today’s times. Girls do drink, smoke and swear and that it is absolutely fine if they do so. Sonam spoke about the same in an interview with a leading daily. She said, “I don’t think this question would be posed to men that you are drinking, smoking and abusing or sexually active, does this make you less of a man? Just because people saw four girls who are in a certain urban setting being realistic to what young urban working women, what their lifestyle is… a lot of us who come from this background, we do curse, we do drink.. And we are sexually active. We are not sitting waiting till we get married. Just because we are showing that on screen why is that becoming an issue? When we allow our male characters to be as close to reality as possible, why can’t we let our women have that?” Veere Di Wedding proved that a film with female characters as leads too can mint money at the box office as the film went on to earn a total of INR 81.13 crores.

Sanju Director : Rajkumar Hirani Release Date : 29 June 2018

We have been watching him on the big screen since decades now, so watching Sanjay Dutt’s chequered story unfold on screen has naturally got all of us excited and how. Ranbir Kapoor has undergone an amazing body transformation which makes him look and feel like Sanjay Dutt. It’s just not the looks, Ranbir has also managed to imbibe all the mannerisms of Sanjay Dutt. The little things like the tone of his voice and his body language are replicated extremely well by Ranbir on-screen.

The film has a host of other talented actors like Sonam Kapoor, Anushka Sharma, Manisha Koirala, Dia Mirza, Paresh Rawal, Vicky Kaushal and Jim Sarbh in the sway as well. The performances by Paresh Rawal and Vicky Kaushal too have received a lot of praise along with Ranbir, since they are playing key characters in the movie as well.

It seems like director Rajkumar Hirani has cracked the formula of what works at the box office and his track record more than justifies that. Sanju has already broken several record’s in a very short time at the box office. The film got the biggest opening for a Bollywood movie in 2018, a title which was held by Salman Khan’s Race 3. The collections of Sanju on 1st July 2018 were the highest for any Hindi film until now. Sanju (INR 46.71 crores) beat the record set by Baahubali 2 (Hindi) (INR 46.50 crores). It has not even been a week since the release of Sanju and the collections already are inching towards the INR 150 crore mark as on the fourth day they stand at INR 145.41 crores.

[hastakshepamal]

Anushka Sharma Looks Amazing on Sanju Poster

Anushka Sharma Looks Amazing on Sanju Poster

Anushka Sharma Looks Amazing on Sanju Poster

By NewsHelpline – 30th May 2018

Keeping up with poster releases, Filmmaker Rajkumar Hirani unveils the first look poster of stunning actress Anushka Sharma from upcoming Biopic Sanju on social media.

Sanju’s director Rajkumar Hirani has revealed the first look of Anushka Sharma’s character, but hasn’t told about what role she is going to play in the…

[shakeel786blog]

Here’s how AR Rahman is associated with Rajkumar Hirani’s Ranbir Kapoor starrer Sanju

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Just a day ago, the trailer of the film Sanju was released, with director Rajkumar Hirani offering insights into what to expect from the Ranbir Kapoor starrer. From which topics the Sanjay Dutt biopic touches upon to who plays which role in the tumultuous life story, the makers of the film were in a tell all mood. However, one thing the makers of Sanju did not divulge was the fact that music maestro AR Rahman is also associated with the film.

In fact, we came across this fact while viewing the trailer of Sanju where towards the end AR Rahman is credited as a ‘Guest Composer’. Though an official confirmation of the same isn’t available, just the fact that the musical genius’ name has been included in the credits is enough confirmation. Unfortunately, more details on what or rather which track exactly Rahman will be composing or has composed for the film is still unclear, we must admit that with this new revelation the film, Sanju has become that much more intriguing.

As for the film itself, Sanju is based on the life of Sanjay Dutt and focuses on his battle with drugs and the gun incident while using other stories from the actor’s life in the background is slated to release in June 29. The film has an ensemble cast of Ranbir Kapoor, Paresh Rawal, Manisha Koirala, Boman Irani, Jim Sarbh, Dia Mirza, Vicky Kaushal, Anushka Sharma and Sonam Kapoor among others.

Also Read: Ranbir Kapoor REVEALS his favourite look from Sanjay Dutt biopic

Tags : Anushka Sharma, AR Rahman, Boman Irani, Dia Mirza, Jim Sarbh, Manisha Koirala, News, Paresh Rawal, Rajkumar Hirani, Ranbir Kapoor, Sanjay Dutt, Sanjay Dutt Biopic, Sanju, Sonam Kapoor, Sonam Kapoor Ahuja, Vicky Kaushal

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[shashankjaswalatmovies-blog]

Padmaavat Movie Review

Before reading the review there are few things i want to mention

I hardly watch bollywood movies and i especially don’t watch them in theaters (unless someone is paying for tickets) 

This was the first time i was watching a Sanjay Leela Bhansali film in theater

Don’t be a grammer Nazi kyuki humko achaa angreji nahi aata hai

& This is the first time i’m writing a film review 

Now

I’ve seen some of SLB sir’s movies before and i find them just ok, some of his movies are great though like Black and Devdas & also his movies have great production design, good music & cinematography but one thing i couldn’t bear in his movies are those hyper passionate cringy, cheezy lovers dialogues like

“Dushman se pyar nibhana har kisi ke bas ki baat nahi hai”

“Pyar ka karobaar toh bahut baar kiya hai ... magar pyar sirf ek baar”

“Ek baat hoti thi tab tum bahut yaad aati thi ... (kab) ... jab jab main saans leta tha tab tab”

They might be appealing to some people but they are a turn off for me.

Also i find SLB sir’s movies kind of unnecessarily lengthy with long song sequences & long slow motion shots

So for me a good SLB movie should have less cringy dialogue and it shouldn’t feel lengthy and here are the things that i found good and bad about Padmaavat

+VEs

1. Performances - Mashahallah!

SLB movies mostly have amazing performances and this one was no different. Ranveer Singh as Alauddin Khilji stole the show, this must’ve been quite challenging role for him and he was amazing, in fact one of the best thing about the movie. Shahid as Maharawal Ratan Singh and Deepika as Padmaavati were good but, i hope they won’t get lost in others limelight, Jim Sarbh as Malik Kafur (good supporting actor) and one actor  (couldn’t find his real name) who played Guru Raghav Chetan were really good.

2. Dialogues - Kaafi Less Cringy

This doesn’t mean that there weren’t any cheesy dialogues but as compared to the quotes i shared above i felt this time the tone was turned down a notch instead some dialogues were even meaningful and added some weight to the situations

3. Not that Lengthy

Except for the song ‘Ghoomar’ and the starting credits i hardly felt any scene unnecessarily lengthy, maybe it was my curiosity to find something questionable (hope you guys are aware of the news) i don’t know but i was really invested into the movie. Although there are some issues with the story telling which i’ve discussed later below

4. Last Action Sequence - 

There a finale fight sequence in the end (not huge), about which i won’t reveal much, was really well shot and probably one of the best fight scene i’ve seen in a bollywood movie in a long time

-VEs

1. Storytelling - Haryana Roadways

Movie starts with no intro and directly into scenes after scenes. Characters are given hardly anytime & Padmaatvati and Ratan Singh’s love story is given quite less time instead the run time is more focused on Khilji’s character. Movie is Padmaavat and in the second and third act for sometime we hardly see much of Deepika. Also the tone of movie is little uneven, in second and third act songs just come unnecessarily and comic scenes comes all of a sudden

2. CGI & 3D work - Ouch!

Maybe it was because i watched it in IMAX 3D but i noticed a lot of poor CGI and 3D work. In some scenes it felt like there’s a just pixelated picture in background and there was this one scene in the very end where 3D just failed. I know they announced the IMAX 3D and 3D release very few weeks before the release also with all the fuzz going around but why release in 3D at all a 2D release would’ve been fine.

Also i don’t know why for some reason every female character’s face in movie got a CGI fix which really looked noticable and felt like a snapchat face filter 

3. Maybe a Lost Potential 

I’ve heard some of the snippets of the original Padmaavati story and there were some really interesting bits in it. They could have added so much interesting stuff from it in movie but movie mostly focused on rivalry between Ratan Singh & Alauddin Khilji but its still redeeming cause SLB sir and his crew were attacked by sena people during the making so maybe to not draw too much attention they must’ve taken this decision who knows

CONCLUSION

Well if you are a 

Ranveer Fan - You’re Going to Love It

Deepika, Shahid Fan - You’re Going To Like It

Bhansali Fan - Maybe Not

For those who are not anyone’s fan, It’s somewhere between an OK and a Good movie. Its an improvement from some perspective but not a big improvement and not a loss of hope for quality Indian Cinema

In the end how should i put this..... 

Well i actually used one of my expiring voucher to book ticket and i had option to either book for “The Darkest Hour” or “Padmaavat” and after watching there was this teeny little part of me that was saying i should’ve used it to watch “The Darkest Hour” 😜

[moviemorning003-blog]

The Complete Detail Of A Death in the Gunj (2016) Name A Death in the Gunj (2016) Storyline A Death in the Gunj is a coming of age story that centres around Shutu, our protagonist, and his conflicted ideas of masculinity. He finds himself navigating the blurred lines of what is accepted in society and questions his own space within the world. The everyday callousness of the adults around him contributes to his intense feelings of isolation despite being surrounded by his family. The emotional violence that we as a society inflict upon others unwittingly is what cumulatively leads to a kind of destruction that is irrevocable. Detail Of A Death in the Gunj (2016) Director Konkona Sen Sharma Writer

Disha Rindani (additional screenplay)

Konkona Sen Sharma

Produced by

Ashish Bhatnagar -- producer

Raagii Bhatnagar -- producer

Abhishek Chaubey -- producer

Smriti Jain -- executive producer

Madhulika Jalali -- line producer

Stars & Cast

Chandram Bhagat -- Maniya's Friend

Gulshan Devaiah -- Nandu

Kalki Koechlin -- Mimi

Shimanti Kumari -- Manjari's Friend

Canteen Majid -- Mr. Curney

Vikrant Massey -- Shutu

Utam Mishra -- Post Office Clerk

Ashok Pathak -- Maniya

Promila Pradhan -- Purnima

Om Puri -- O.P. Bakshi, Uncle

Jim Sarbh -- Brian

Aparna Sen -- Shutu's mother (voice)

Arya Sharma -- Tani

Music by Sagar Desai Genres Drama | Thriller Country India Language Hindi | English Release Date

India -- 2 June 2017

Canada -- 9 September 2016     (Toronto International Film Festival)

Filming Locations N/A Certificate N/A Box Office Of A Death in the Gunj (2016) Budget N/A Opening Weekend N/A Gross N/A Technical Specs of A Death in the Gunj (2016) Runtime 110 min Sound Mix N/A Company Credits of A Death in the Gunj (2016) Production Company

MacGuffin Pictures

Moh Maya Films (presents)

Studioz IDrream

This Movie Detail Written By  www.moviemorning.com

[rkbahuja]

Rajkummar Rao’s transformation into a 300-year-old character in Raabta is almost unrecognizable. The credit of which goes to Zuby Johal and her team from Dirty Hands Studio. The ace prosthetic artist has in the past worked on films like Gangs of Wasseypur 1 & 2, Finding Fanny, Raaz 3, Trapped and more. Films are however fillers for Johal who has her hands full with hypperrealistic mannequins created for a number of museums across the country.

In a freewheeling and highly informative chat, Zuby Johal gives us an insight into the world of prosthetic makeup – from the materials used, to the time invested, the challenges faced by the artists to the changing mentality of the industry and more.

Zuby Johal and Rajiv Subba

How did your foray into prosthetic makeup happen? How did it all begin?

My partner Rajiv (Subba) and I graduated from NID, Ahmedabad. During our placements, an alumnus, Amardeep Behl who has a company named Design Habit came to us and showed us the work of Ron Mueck, the Father of Hyperrealism. He does fabulous work with silicone. Amardeep asked us if we could achieve something similar for the Sadhu Vaswani museum in Pune. He wanted that someone who comes in to the museum be transported to the time when Sadhu Vaswani was alive. Rajiv is a sculpture, and we work with various materials and know how to make moulds etc. But we had not worked with silicone at the time. However, the technique to a certain extent remains the same.  We were open to trying it out and believed that we could achieve at least 90% of it.

So we called for the material from USA as it is not available here in India. Luckily, the museum got delayed by a year, and we got that time for some trial and error to understand things. We have not studied prosthetics from any school as such; it was more of researching on YouTube, watching videos, reading about it and experimentation. Ultimately, we made 19 mannequins for the museum. Since we had achieved this, Rajiv and I started discussing as to where all could we use our experience. We felt that movies could be a good area.

During that time, a colleague of ours was working with Anurag Kashyap. So we went to meet Anurag who is undoubtedly one of the most fabulous people in the industry. I would say that he’s our mentor. Because the moment we walked in, we had carried just one sample head with us, and he immediately gave us the scripts of both Gangs of Wasseypur 1 & 2! He asked us to read the script and tell him the prosthetics we could create.

And we did do a lot of work on both the films but the Censor Board cut out a lot. We had some cut fingers, some accident scenes, Richa Chadha’s pregnant belly, Ramadhir Singh’s cut head and so on. Gangs of Wasseypur was our first film, but it didn’t release for about two years after we had done it! And it was getting very difficult to sustain because you need a lot of people to work on something like this. There’s someone for hair grafting, someone for mould work, sculpting, it’s a long procedure! So I called Anurag and asked him what do we do since the movie hadn’t released. He suggested that we approach a few production houses and show them the work we did for Gangs of Wasseypur; he was very understanding. Then we approached Mahesh Bhatt and Mukesh Bhatt, got Raaz 3 followed by Finding Fanny, Badlapur and so on.

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Hyperrealistic silicone cut head of Ramadhir Singh played by Tigmanshu Dhulia in Gangs of Wasseypur

Hyperrealistic silicone prosthetic pregnant stomach developed for Richa Chadha for Gangs of Wasseypur

Created for Gangs of Wasseypur

Movies are like fillers for us. We’re doing a lot of other work too. We make hypperrealistic mannequins for museums. We’ve done the Sadhu Vaswani museum in Pune, Shaurya Smarak in Bhopal, D.S. Group Museum in Noida, we’ve recently also done a museum in Amritsar based on Maharaja Ranjit Singh’s life.

We also have another company that works only on glass installations. So, we consider ourselves more of industrial designers. And we’ve always wanted to educate people in India, to teach people here instead of outsourcing the work from abroad. Initially, when I started in around 2008, people were only using latex. We’re the pioneers who actually got silicone here and started working with it.

Now, people have started accepting that Indian people can also do well though it’s still very challenging. We have also collaborated with a team in LA who had approached us. Our partner Logan has done films like Fan, Kapoor and Sons etc. and he heard my name in a lot of places, so he connected with us to collaborate. The one thing I told him was that I could collaborate only if he would come down and teach our people here. They come with a lot experience and have a lineage since they have been working with silicone for a long time. That experience helps. They are also manufacturing their own materials, so the materials are easily accessible and reasonable for them while we have to pay a bomb for custom duty.

My main objective of getting into Bollywood was to open up the arena of prosthetics, which is so beautiful, for more people

Do you’ll work only with silicone or other materials as well?

Silicone comes in various grades. For prosthetics, you need to transform the person entirely, take for example Rajkummar Rao in Raabta, so you need breathable silicone. The silicone used for mannequins is different, while the one used on people is different. If you need to simply age a person, wrinkle him a little, that’s a different material. So it depends on the design brief from the client. Silicone is available in semi flexible, very flexible and other variants. One needs to understand what is happening to the person or prop in the movie and then decide the kind of material to be used.

When a project comes to you, what is the process that you’ll follow to get the prosthetics in place?

The first thing that I do is to read the script. I need to know what is happening to the person who is getting the prosthetics, or if it’s a prop, what is it being used for. We read the script and discuss everything in detail with the client. Then it goes to the production that closes the budget.

For Raabta, they wanted Rajkummar (Rao) to look 300 years old. They gave us the script, which is when one understands the actor’s role in the movie and you accordingly give your inputs as the prosthetic artist; what you think the look should be. You then hear the director’s vision and come to a mutual consensus. Sometimes, the director might have something in his mind, and you might have something better. So we work back and forth.

We also need to know where the actor is shooting geographically, the time needed to get the character ready, the lighting is very important, does the character interact with water, how many times does the prosthetic need to be removed, etc. Everything is discussed and then the brief is formulated.

One needs to understand what is happening to the person or prop in the movie and then decide the kind of material to be used

Raabta has two parts to it – contemporary and ancient. What did your research for the characters entail? Did you have any references?

We were asked to transform Rajkummar into a very old guy, so we watched a lot of movies like 300, old period films etc. We gathered some references and spoke to Dino (Dinesh Vijan, Director) to understand what he had in mind.

Dino initially wanted Rajkummar to have long dreadlocks. But at the last minute, when we went to Mauritius and were getting Rajkummar ready, we realized that the dreadlocks weren’t working because the face wasn’t visible. Immediately, we took a call to remove the dreadlocks. So one needs to keep improvising even on set.

Also, while developing the prosthetics you need to be very accurate. For instance, we need to know the exact skin tone expected for the character. Dino was very clear that he wanted the skin tone to match Rajkummar’s real skin tone.

We then started researching what happens to the person when he gets really old. A person’s skull remains the same, but the skin begins to sag. Now, one knows how a 100-year-old person looks, but no one knows how a 300-year-old person will look! So, you take a few assumptions and use Photoshop to understand where the prosthetics can be placed and accordingly create the look. That helps in creating the image that you have in your head, which should ultimately match with what the director has in mind.

The biggest problem for any prosthetic artist in India is the supporting material

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Making of the live mould of Rajkummar Rao

Rajkummar Rao plays a 300-year-old man in Raabta

With Rajkummar Rao, Jim Sarbh and team

As a prosthetic artist, what are the challenges you encounter?

The biggest problem for any prosthetic artist in India is the supporting material. For instance, if I were to order silicone now, I’d have to wait for a month for it to deliver, even on express delivery. Silicone has a flammable aspect to it because of which you need a lot of paperwork to get it to India. We also pay heavy custom duties.

So, as Indians, though we’re very good with skills and our work, the materials are not available to us. You can’t even invest and stock the materials because they have a short life. That’s a big complication.

Otherwise, we’re getting more work, people are understanding the material and opening up to more realism coming into the script and are listening to prosthetic artists now, as compared to 2008-09 when people were just understanding what prosthetics were all about.

Also, people need to understand that prosthetic artists are not makeup artists. I do makeup only on my prosthetics; I’ll make the wig etc. But I do not work on normal makeup or take up normal characters. In India, we need to have the division that prosthetic artists do not come under makeup artists. It is a different segment. There should be a separate department for prosthetics, even for awards, there needs to be a separate category for prosthetics altogether.

Lastly, people should be more open to prosthetics. They should be ready to pay the amount that is needed for good prosthetics. If you need good quality, you need to give good money and time! Time is the biggest challenge for us. There are people who come to me and ask if I can give them a body in one week. How is that even possible? The prosthetics are not machine made or it’s not like wood or a stone sculpture. Silicone needs time to dry, you need to model it, make a mould, cast it, take it out, then you paint it, graft it, graft the beard, etc. It takes a lot of time. For me, it’s important that I do minimum movies but I give in my best.

Another challenge is that make up artists are very old school, they feel that we (prosthetic artists) are taking their jobs. So they have a tendency to hide things, whereas I believe in sharing knowledge and teaching people. That’s why I make it a point to regularly go to FTII and teach kids because they are going to enter the industry and they should know what prosthetics is all about. My main objective of getting into Bollywood was to open up the arena of prosthetics, which is so beautiful, for more people.

Zuby Johal on the mesmerising world of prosthetic makeup and hyperrealism Rajkummar Rao’s transformation into a 300-year-old character in Raabta is almost unrecognizable. The credit of which goes to…

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Raabta movie review: Sushant Singh Rajput and Kriti Sanon’s crackling chemistry is the only highlight of this film

Raabta was long awaited because of Sushant Singh Rajput and Kriti Sanon‘s chemistry. Their real-life romance was reflected in the trailer of the film and that had got everyone damn excited. Also, the return of the reincarnation theme after so many years sweetened the wait too but the film fails on all other accounts:

What’s it about:

Reincarnation stories are tricky but there’s a certain air of mystery about them that has a huge appeal. I mean who doesn’t want to time travel and experience an alternate paradigm of sensory overload. The subject has seduced filmmakers over the years in different generations. Now Dinesh Vijan attempts the genre with Sushant Singh Rajput and Kriti Sanon in the lead. The plot is simple, Shiv and Saira meet, stare at each other, even have an instant liplock to realise they have a Raabta, what sort they are unable to figure out. Jim plays the odd man out who spirals this love story out of control making them revisit their lives, centuries ago, when they were warring tribes speaking strange dialects. They died only to meet again. Well, the story sort of ends here, but the setup and premise is long, tiring and tests your patience. 

What’s hot:

Raabta is a good looking film. Meaning, besides the eye candy that is Sushant and Kriti, Dinesh has definitely spent a lot of money in capturing the lush locales of Bulgaria and the special effects and makeup especially of Rajkummar Rao in the role of an Oracle is terrific. Dinesh creates a light and breezy first half where the banter between Sushant and Kriti feels easy and organic. Casting these two in the film was a brilliant idea because the chemistry between them is sizzling. Sushant especially has gone to all lengths to make get a toned body for his role as the tribal warrior. The hard work pays off handsomely as he’s the best part of the film. There is immense likeability in him and he goes full throttle with his charm. Kriti manages to leave a mark with her scenes in the second half. The best moments are the one liners Shiv and Saira throw at each other and the tomfoolery that follows. Rajkummar Rao deserves a medal for enduring hours of torture to get into the difficult prosthetic make up for a blink and miss role.

What’s not:

Raabta needed to have more edge and I mean not in terms of visuals but with its narrative. There isn’t much happening once we move to the flashback scenes and the parallel world. It is tough to understand and comprehend the strange tribal dialect and accent that Sushant uses to communicate with his audience. The costumes are fine, but there is a lack of cohesiveness. There is always something missing in a lot of scenes like you wish there was more of Rajkummar and maybe he had a cool backstory. Or Jim Sarbh who is a miscast didn’t have to struggle with his dialogues and we don’t even know if it was intentional. His character is the weakest link in an already frail plot. Deepika Padukone’s sexy yet boring song cameo goes unnoticed. It comes too late in the film, while the best track of the film a club song shot on an almost shirtless Sushant comes at the end credits. Raabta tests your patience in a time when attention deficiency is a major issue with an audience that won’t settle for less.

What to do:

Sushant and Kriti’ s terrific chemistry deserved so much better. I hope filmmakers take notice and cast these two in a film that exploits their full potential. Raabta is an opportunity wasted.

Rating: 2.0 out of 5

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