#Find Cinema Halls running Hindi Movies

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Best Romantic Bollywood Movies to Watch

Bollywood movies are known for bringing a sense of escapism through music and dance. But there's a deeper layer that makes these films so special and romantic!

Romantic Bollywood movies often show the power of love in a beautiful and inspiring way. Whether it's an arranged marriage or unrequited love, the best Hindi movies tell stories that make us laugh, cry and say 'Aww'!

Dilwale Dulhania Le Jayenge

Dilwale Dulhania Le Jayenge, directed by debutant Aditya Chopra, became a blockbuster movie. It shattered box office records and has been screened at the Maratha Mandir cinema hall in Mumbai for 25 years, making it one of the longest running movies in the country.

The film is set in London, England, and follows the lives of two Indian immigrants (Shah Rukh Khan and Kajol) who meet through chance. They become a couple and fall in love.

Several later Bollywood films, including Humpty Sharma Ki Dulhania (2014), were inspired by the film. It also helped to start a trend in Yash Raj Films of using foreign locations as part of the story.

Dilwale Dulhania Le Jaayenge is based on the romance between a British-born Punjabi immigrant Chaudhry Baldev Singh (Amrish Puri) and his daughter Simran (Kajol). The romance takes place in Europe, and the film follows the tradition of 1960s romance films set in hill stations, which often saw families opposed to the romantic liaison of their protagonists.

Dil To Pagal Hai

Dil To Pagal Hai was a blockbuster that swept B-Town with its sleek presentation and fresh music. Directed by Yash Chopra, it starred Shah Rukh Khan, Madhuri Dixit and Karisma Kapoor.

The film’s opening sequence was a major milestone in the Hindi cinema. It featured dance choreography that was modern, refreshing and unlike what audiences had seen in Bollywood movies before. This choreography was done by Shiamak Davar who won the President’s National Award for his work in the movie.

In the end, Dil To Pagal Hai became one of the most famous love stories that ever graced the big screen. It also taught a lot about finding your soulmate and destiny.

The film’s climax is memorable and won millions of hearts. It also has a very interesting twist that is not very obvious until it’s revealed.

Kal Ho Naa Ho

A wacky and heartwarming love story set in multicultural America, Kal Ho Naa Ho is one of the most beloved Bollywood romances of all time. It stars international superstar Shah Rukh Khan and has become an iconic cultural landmark -- and for good reason.

Despite the movie's remit being set in New York, the film feels like it could have been shot in India. Writer/director Karan Johar and music director Nikkhil Advani package the film with Gujaratis, Punjabis, Sardars, Christians, a video pirate uttering Mumbaiya lingo, and other elements that make this a truly Indian bollywood flick in an American context.

It’s a romantic melodrama, but it also has moments of heartbreak and angst. Unlike most rom-coms of the early 2000s, it actually demonstrates how it can be possible to live a good life without ever finding true love.

It’s impossible not to fall in love with the movie and its cast, particularly Shah Rukh Khan as Aman Mathur, who narrates the plot and makes everyone's lives better with his contagious joviality. Aman's death at the end of the film is heart-breaking, but also a reminder that ensuring a future for others only enriches your own.

Jab We Met

If you’re looking for a fun and romantic movie to watch, look no further than Jab We Met. Featuring Shahid Kapur and Kareena Kapoor, it’s one of the most popular romantic films in Bollywood.

Directed by Imtiaz Ali, who had previously directed Socha Na Tha, this film is a heart-warming tale of love. It features some great performances from Shahid and Kareena, along with Pritam Chakraborty’s soulful music.

The story follows Aditya (Shahid Kapur), who is dejected and suicidal, as he meets Geet (Kareena Kapoor), a cheerful chatterbox, on a train journey. Their mutual attraction sparks into a genuine romance and they go on to have two daughters together.

Although the movie has its share of cliches, it is still very enjoyable with its light-hearted banter and chatter. The music and cinematography also help it stand out from other Hindi films.

Veer-Zaara

Veer Pratap Singh, a rescue pilot, saves Zaara Hayat Khan, a Pakistani girl, following an accident. The two become lovers.

Veer is imprisoned on false charges and a young Pakistani lawyer, Saamiya Siddiqui (Rani Mukerji), fights for his release. She wins Veer's case, and the couple reunites in India.

The film is an unforgettable story of love and peace that transcends cultural, religious and national barriers, as well as feminism and secularism. The message is timeless, even 16 years after its release.

In a world where love knows no boundaries, it can conquer the most extreme of controversies. Veer and Zaara’s star-crossed romance is a testament to this principle, as the movie pleads for understanding and peace between India and Pakistan.

Veer-Zaara is a romantic film starring Shah Rukh Khan and Preity Zinta that celebrates the power of love. It also features songs and dancing that tweens will love as well as a few moments of serious courtroom drama.

Aashiqui 2

Aashiqui 2 tells the story of a former singing sensation Rahul Jaykar (Aditya Roy Kapur) and his protege, aspiring singer Arohi Shirke (Shraddha Kapoor). The film was directed by Mohit Suri.

Aditya and Shraddha create a perfect chemistry in this drama. Their performance made audiences fall in love with their characters and also made the film a huge hit at the box office.

Director Mohit Suri updates the story of Abhimaan and adds a new angst-ridden layer. The film is a romantic musical that follows the classic love story of a famous artiste and his protégé.

It is an old-world romance that has high-drama and well-crafted heart-breaking moments. It is a feel good movie with some great songs like Tum Hi Ho (Arijit Singh), Sunn Raha Hai and Bhula Dena.

Aditya and Shraddha deliver their best performances in this romantic melodrama. They have near perfect chemistry together and their acting is spot on in mushy scenes. However, their performances are not flawless as they have weak moments too.

Love Aaj Kal

Love Aaj Kal is a spiritual sequel to director Imtiaz Ali’s 2009 hit, which looked at the changing definition of love over time. It stars Sara Ali Khan and Kartik Aaryan as two lovers in 1990 and 2020, who go through an intense struggle to find a balance between their professional lives and romantic relationships.

Love is a complex thing to get right. It is why movies like Love Aaj Kal, which attempt to explore the complexity of the human relationship, are always welcome in cinema.

The first trailer of Love Aaj Kal is now out and it looks absolutely delicious. It’s a fun and spicy romance with comedy sprinkled over it like coriander.

While the film’s script is slow and at times overdramatic, the performances are decent and Sara Ali Khan and Kartik Aaryan do a great job of bringing out their characters’ emotional states. Saif Ali Khan is also excellent as Jai, his character is very similar to his role in Kal Ho Na Ho and Dil Chahta Hai.

Shiddat

Shiddat is a story about a man who falls in love but finds it difficult to express his feelings. The object of his affections is betrothed to someone else and asks him to prove his love.

The film stars Radhika Madan and Sunny Kaushal in the lead roles. The trailer of the movie was recently released on social media, giving a glimpse of their characters and the tumultuous romance that unfolds between them.

This film is directed by Kunal Deshmukh and produced by Dinesh Vijan's Maddock Films. The film was shot in Punjab, Paris and London and is slated to release on Disney+ Hotstar on October 1.

In the beginning of the film, we get introduced to Jaggi (Sunny Kaushal), a short, emaciated lad who has come illegally to the UK. He crashes into the wedding reception of Gautam (Mohit Raina) and Ira (Diana Penty).

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[reogenindia]

Shanti Theatre | -27953370

Shanti Theatre | -27953370

Shanti Theatre | Nizamabad – 503002, Kamareddy, Old Bus Stand | Contact No:- -27953370

[liveindiatimes]

Post-lockdown plans: silver screen to brighten up soon? - bollywood

https://liveindiatimes.com/post-lockdown-plans-silver-screen-to-brighten-up-soon-bollywood/

India is yet to be pulled out of its shutdown slumber. But on May 30, the Ministry of Home Affairs (MHA) issued new guidelines for phased reopening of areas outside the containment zones. But reopening of cinemas halls – that have been shut since mid-March when the lockdown 1.0 came into force – falls in phase 3 and the decision vis-à-vis restarting theatres will be taken after assessing the situation.

Multiplex Association of India (MAI) had requested the central government to allow reopening of theatres from June 30. Last month, MAI had also submitted safety and precautions plan for cinemas to the government. As per trade experts, theatres have “already incurred back-breaking losses” and that probably for the first time in the history theatres have recorded zero ticket sales for as long as 60 days.

Akshay Kumar will next be seen in Sooryavanshi

“It goes without saying that the theatrical business is in shambles but what’s more important right now is people’s safety and survival. It was expected that the government won’t allow theatres to reopen,” says trade analyst Taran Adarsh. Producer Ramesh Taurani concurs, adding: “I’m not surprised with the government’s move. Theatres will be reopened when establishments such as spas and salons also get green signal. We’ve no option but to live with the losses. Each and every one of us is losing money.”

  As per an estimate, the movie business has lost nearly ₹100 crore every week that theatres have remained shut. So, in total, the losses are close to ₹1,000 crore since lockdown started. Exhibitor-distributor Akshaye Rathi says: “Since theatre business runs on small margins, there could be collateral damages also. Going by the sheer number of employments we generate – directly or indirectly – we hope the government will bail the sector out with incentives and subsidies etc.”

In the meantime, filmmakers have also started to sell their films directly to OTT platforms. Already, films such as Ghoomketu, Gulabo Sitabo and Shakuntala Devi have gone to OTT platforms. But Rathi is not losing sleep. “Theatres will be back in business – with complete focus on people’s safety – sooner than what everyone’s expecting,” he says. 

Taurani feels he hopes that theatres “open properly at one go. “Nowadays, since Hindi films release simultaneously across the world, it’s imperative that theatres open globally as well,” he says. Rathi puts things in perspective, saying: “Most global [theatre] chains are anyway scheduled to open before India. So, we are confident that the entire theatrical system will be back to a seamless manner within a month of its opening,” he says.

Varun Dhawan and Sara Ali Khan’s next release will be Coolie No. 1

Now showing: big masala fare!

Besides a “huge number of people”, what cinema hall owners hope to see at the reopening of theatres is “some engaging, super-entertaining films.” All of them unanimously agree that theatres “would look at reopening with a bang” at the box office. “If people don’t find a film attractive or good enough, they won’t turn up, regardless of any pandemic. So, we expect big, tent-pole movies such as Sooryavanshi, ’83, Mumbai Saga or a Coolie No. 1 to open big and pull in people to theatres,” says Rathi.

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[rina-rambles]

The Hills Are Alive With The Sound Of Bollywood

When most Westerners who like musicals hear Switzerland mentioned, their first thought tends to be of the Julie Andrews classic, The Sound Of Music. Although technically that film is set in Austria and so features the German part of the Alpine range, the distinction is incidental to the beauty of the landscape. 

As an Indian born and raised in Switzerland, my first thought is of the long and beautiful relationship Switzerland has had with the Bollywood film industry. Sure my family celebrates Diwali every year and like most Indians living overseas, I adore my mother’s home-cooked Indian food above all else. But it wasn’t until I discovered Bollywood films at the age of eleven or so that I truly connected with the film industry which fused my Swiss home and Indian roots. The connection between the flair of Bollywood and staid but scenic Switzerland was largely down to one man, the late, great film-maker Yash Chopra. Father of film-maker Aditya Chopra and actor Uday Chopra, he was also one of the most successful and legendary Bollywood film-makers, with an iconic career spanning from 1959 to his death at age 80 in 2012.

My personal connection with Yash Chopra movies is limited to his later films.  I loved the Shahrukh Khan, Madhuri Dixit and Karisma Kapoor-starrer Dil To Pagal Hai in 1997 and the old-fashioned but epic love story starring SRK and Preity Zinta, Veer-Zaara, in 2004. Incidentally, the song from Veer-Zaara which was filmed in Switzerland was ultimately cut from the film due to length. 

Nonetheless, Switzerland has had an even longer and profound relationship with Mr. Chopra than the films I personally have seen. According to a 2014 report on newlyswissed.com, Chopra first came to Switzerland on honeymoon with his wife Pamela in 1970. The article documented the long history of Yash Chopra’s movies using Switzerland as the backdrop for countless romantic song and dances. It’s strangely fitting that a honeymoon trip began his long love affair with Switzerland, because some of the most romantic sequences in countless films have stemmed from that initial exposure. It has been reported that even the very last film Yash Chopra directed before his death, Jab Tak Hai Jaan, was meant to have sequences filmed in Switzerland but that plan was scrapped when he passed away before the film’s release.

Since 2012, the popularity of Bollywood filming all over Switzerland carved a new niche in even the German market. Entire shelves in German malls can now be found devoted to completely dubbed Bollywood films, hilarious to watch in German when one knows what the original language sounds like. The best translation fail I’ve ever seen in my life was in Karan Johar’s Kabhi Alvida Naa Kehna. In the film, Shahrukh Khan’s character was named Dev: The delivery itself was visibly over the top and dramatic when spoken in German rather than the original Hindi, but what made it even funnier were the subtitles. Every time “Dev” spoke or was referred to by another character, the subtitles would call him “Entwickler” which is German for “developer.” Whoever dubbed the film somehow got the idea that the name Dev was short for developer or development and every time I think about that, it cracks me up.

While the landscape portrayed in the films themselves gives Indians a glimpse into the beauty of Switzerland, it goes both ways. Yash Chopra’s fondness of Swiss locations boosted tourism to such an extent that he has been honoured by the locals of Interlaken and more in multiple ways.

The government of Interlaken awarded Chopra the honorary title of Ambassador of Interlaken in 2011

Jungfrau Railways named a train after him – an honour shared only with founder of the railways, Adolf Guyer

The five-star Victoria Jungfrau Grand Hotel & Spa in Interlaken named a suite after Chopra, where visitors can spend a night for CHF2,250 ($2,347)

In May 2016, Yash Chopra’s widow Pamela and daughter-in-law Rani Mukerji unveiled a 350kg bronze statue of the late film-maker

Lake Lauenen, located near Gstaad, is now more commonly known as Chopra Lake, for being one of his pet filming locations

I’m personally not the biggest fan of snow and ice, but even I can fully appreciate how magical the Swiss Alps must seem to the average Indian tourist. Yash Chopra tapped into the appeal of Switzerland’s lush meadows and quaint villages to give people who use Bollywood as a way to dream big something to aspire to. It was the 1995 directorial debut of his son Aditya Chopra, Dilwale Dulhania Le Jayenge, that was a game-changer for the since-then deep bond between Bollywood films and Switzerland. Fondly known simply as DDLJ, the Shahrukh Khan and Kajol-starring romance told the story of Raj and Simran, two Indians who fall in love on a train journey across Europe with the typical filmy hiccups during the course of their trip. 

For over two decades, a cinema hall in Mumbai regularly showed the film as it was such a nation-wide smash hit. For most people, the escape from reality that Raj and Simran’s journey offered made it the classic it is today. I suppose that’s why for over fifty years, Switzerland has represented the dream sequences and foreign location settings that usually made no sense in the scheme of any given film. It was always about giving viewers an idyllic and dreamy setting for the hero and heroine to proclaim their love in, whether relevant to the plot or not. Since I grew up in Switzerland, I sometimes feel like perhaps the novelty of how scenic it is has worn off. My appreciation for the crisp, fresh air and beautiful environment usually peaks in times of contrast; right after returning from an extended trip to India, for example.

Exotic backdrops have always been a big part of what gives Bollywood films that quality of escapism from the hardships of daily life. Yash Chopra came to be known as the king of romance for the way he wove stories around the beauty of the Swiss mountains and meadows. It’s safe to say that the gift of romantic story-telling must run in families because DDLJ united Shahrukh Khan and Kajol for the second time of many in their careers. Where Aditya Chopra turned Raj and Simran into a love story for every Indian to aspire to, my favourite thing to look out for in DDLJ is the cameo appearance of his cousin, Karan Johar. If I’m honest it was not Raj and Simran that truly ignited my personal passion for Bollywood films but Rahul and Anjali, twice over in Kuch Kuch Hota Hai and then again in Kabhi Khushi Kabhi Gham. Whether one is Team Chopra or Johar, Dharma Productions or Yashraj Films, Bollywood movies are an undeniably acquired taste. I will always be grateful to have an entire film industry tying my two worlds, the Swiss and the Indian, together.

The most mind-blowing thing to witness has been the response that Europe has had to Bollywood in the last few years. Switzerland has always been the backdrop that Bollywood fanatics dream about when they picture being romanced by SRK (at least I know I have). Now it’s not uncommon to find the remains of Indian snacks in the snowy peaks of the Alps, left behind by the constant flow of Indian tourists exploring the places Yash Chopra’s films exposed them to. Times are changing, in both Hollywood and Bollywood the racy style has become less shocking and more common than it was a few decades ago. But Yash Chopra put tenderness and truly epic love stories out into the world for future generations to enjoy forever and gave hopeless romantics like me something to dream about.

[tusharbuch]

World of Single Screen Cinama

(recollections of a walk to single screen cinemas of Grant Road on 14th October,2018.Courtesy: Sahapedia)

Restoration of Eros- A trigger for this narrative

Almost at the fag end of 2018, a news item in a Mumbai tabloid caught my eye- concerned authorities had put their seal of approval to convert part of a landmark at Churchgate-the Eros Cinema- into a 300 seat cinema. Rest of the space would be a department store. However, the art-deco elements in the theatre’s lobby and the atrium will be retained and rejuvenated. The project would help preserve a 1938-constructed cinema, which had shut business in 2017 due to inability to sell adequate tickets of its 1380 seats capacity. Not all single screens have been that lucky to survive the changing trends in cinema going fan preferences; especially after advent of multi-screen cinemas.

The location on Google maps

A walk earlier in October hosted by Sahapedia had helped be develop a perspective on the single screen cinemas, as we took a guided walk in a Grant Road neighbourhood where some single screen cinemas still manage to survive! Let me share this perspective with you:

Cinematograph, an invention to exhibit moving black-and-white images, was a major invention by Lumière Brothers in late 19th Century. This was a considerable advancement over Edison’s peep show and soon due to curiosity in experiencing the new medium, cinematographs, which were very short in length found a market in Mumbai. Cinematographs usually exhibited short films in pop-up theatres and attracted audiences. By the time the World War I ended in 1914, an era of silent films had begun. Initially, even though most films were shot in B&W, cinema had begun attracting audiences. However, movies were exhibited in Theatres or Opera Houses. Migrant labourers, sailors, mill workers among others were the cinema goers- often accompanied by women picked up from the Red Light area which had mushroomed in Grant Road with the acquiescence; if not the patronage of the East India Company to meet the ‘needs’ of sailors who undertook long voyages ferrying cargo of goods traded by the Company.

Play Houses to Cinema

So while the ‘sahibs’ and the ‘brown sahibs’ went to the plays and operas at theatres in South Bombay, some movies- including some prints of earliest ‘talkies’ produced in Hollywood were screened in these theatres- or ‘pila’ houses – as they were pronounced by the locals (Alfred Cinema was one such theatre) . Sensing a growing market among the enamored audiences who seemed to have found a great source of entertainment where entire stories were narrated; in contrast to the shorter expositions in Lumière Brothers’ cinematographs  which were very short,  some businessmen and traders, mainly Mohammedans approached the Collector , Bombay Presidency to allot land for building Cinema houses. There was a vast piece of land from where Metro Cinema stands today to Girgaon Chowpatty, which was infact a huge graveyard, the Collector magnanimously allotted for this purpose. This was sometime in 1925 or so, I guess. I was among the 2 dozen participants of a walk arranged by Sahapedia (https://www.sahapedia.org) in October last year, as we sipped chai at Cafe Gulshan listening to the history of single screen cinemas as narrated by its owner, Janab Syed Akhtar Qureshi. Qureshi’s father was among the pioneers who acquired a piece of land with a desire to build a cinema and Ahktar, his son and the present owner of Gulshan Cinema narrated some interesting accounts on advent of cinema houses in Grant Rd. Alfred was the oldest in the area- Ripon Theatre in its ‘play house’ era.The name ‘ Ripon’ is there to see even today on engraved glass at the first floor level.The Play Houses were a place for social assembly. Therefore it had a card playing room, café etc… too.

Alfred Talkies stands apart. Its distinctly European architecture occupies pride of place at a busy intersection, painted in what hopeless artists call “skin colour”. Constructed in 1880 as the Ripon, it was amongst the first to stage plays in local languages. Reborn in the Hollywood-crazy ’30s as the Alfred, it retains its original architecture, complete with brown balustrades and wrought iron framework supporting stained glass murals above the entrance. (https://thecitystory.com/alfred-talkies-grant-road-cinemas-mumbai/)

Next to the Alfred,stands the New Roshan, which was once adorned with distinctive mosaic tiles on its façade. Further down is Gulshan where we met Qureshi. With advent of Digital Screenings as also loss of patrons to Multiplexes, these single screens with seats for 800-1000 viewers are finding it difficult to attract audiences or get reels of new age Bollywood cinema. So they survive on re-runs of yesteryear thrillers or Bhojpuri films. About 25-30 years ago, they were  very vibrant hangouts and screenings had saucy subtitles, creatively coined by brilliant minds in the eco-system. Even today I remember some of the ‘double entendre’ hindi titles to some Hollywood cinemas screened at cinemas like Alankar,Diana,etc not too far from where we sat and listened to Qureshi.

Qureshi’s narrative included some hair raising anecdotes- How a maulvi interpreted a recurring dream which led to him digging up the grave of one ‘pir’, Baba Shaheed Sheikh Badruddin Shirazi. Qureshi Sr resolved to build a befitting dargah within the premises of the cinema hall and respectfully offer prayers to the noble soul. Till date Akhtar Qureshi too worships the saint whose memorial is housed in the basement of his cinema hall. He told us that most single screens in the vicinity had similar ‘dargahs.’

Nishat ,Royal and Super Silver on the M S Road

We traced our steps back towards the Maulana Shaukat Ali Rd (M A Rd) since venturing any further would have taken us into the avoidable red light district. There was the Nishat Cinema, which ran a Bhojpuri film with an imposing title      ’ Power Unlimited 2’ and Royal Cinema on its opposite side , also running a Bhojpuri film ‘ Niravuha Rickshawala 2’ . I wondered whether these were sequels to earlier super hits!. Finally on the M S Rd was ‘ Super Silver ‘, which was comparatively newer 

Believe it or not- this used to be the famous Naaz Cinema! “Industry ko jis par Naaz tha kabhi,kahaan hai,kahaan hai,aaj woh kahaan hai?”

[whittlebaggett8]

Is Avengers: Endgame a Masala Movie?

A formulation created up of blended genres that is sometimes seen by outsiders as uncomfortable in Indian videos operates fantastic for Marvel.

No, this is not a critique of Avengers: Endgame. And no, there won’t be any spoilers – except I spoil somebody’s day by challenging their sights. I will not truly emphasis on Endgame alone, in any case.

What does Marvel’s latest strike have to do with India? A stereotypical Indian film — and I pressure “stereotypical” — is 3 hours very long, with its plot interspersed with music and dance sequences. The genres of romance, household, motion, comedy, and drama mingle on the monitor with each individual other. Perhaps just one of the best symbols of this sort of a fantastic blend was Main Hoo Na (2004). There, the hero finds his dropped brother, his antagonist, and the love of his everyday living all all through the identical mission, although living a double everyday living as a army officer and a college student – and by undertaking heroic, comic, and romantic deeds just one following one more. Some in the West (and really in India as very well) uncover the formula absurd.

This form of function is normally named a masala motion picture. In Hindi, masala stands for any type of combination, frequently in the perception of a mix of spices. A masala motion picture, thus, is not just 1 coherent style it is a mix of genres and moods, rather very similar to how some classical Indian arts contain several aesthetic preferences. There will have to be comedy but also drama there essentially should be enjoy but there also should be some motion.

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What system has Marvel utilized? It has relieved its films of stiffness and presented them as deals of various emotions. The epic mood is interwoven with threads of anti-climatic comedy the material of motion has the embroidery of enjoy on its edges. Avengers: Endgame is the fruits of this course of action. The heroes from time to time turn into their individual caricatures, as the movie consistently shifts from currently being serious to joking. As in an Indian film theater, we are meant to giggle, tear up, gasp, and be surprised, all for the duration of one display.

I am not saying that Marvel has begun to make Indian-design masala movies. Clearly the tale, model, and know-how are incredibly different. The moods may perhaps be mingled in both of those instances, but their proportions are not very similar. As opposed to what we would uncover in a stereotypical Bollywood film, motion is prominent in Marvel’s cinematic universe, while really like and family members are only additions (even though family members matters drastically in the particular circumstance of Endgame). The Black Panther did not amuse us with a dance sequence. Spiderman did not change out to be Iron Man’s extensive-shed son. Black Widow and Hulk did not thrust for a really like relationship via their families regardless of coming from different communities.

And still the similarity I assert is in the combination of moods. If the antics of caricature-like personae can healthy in the epic canvass of a war for the long run of the universe, then I do not see the stage of laughing at Indian flicks for churning their very own blend. If the overdrawn Thor of Endgame does not cross the limits of awkwardness, then together with a scene in which the hero chases soon after a SUV in a bicycle rickshaw (as in Key Hoon Na) does not either.

The resemblance may perhaps be accidental. Marvel films have pretty unique origins: They are, after all, the silver screen versions of well-known comics (which have been a significant section of an American pop lifestyle, as opposed to in India). But the apparent similarity is the concentrating on of a wider viewers. Marvel begun with a comedian guide fanbase, but desires to attain a a great deal wider audience, as well as sate the tastes of each the younger and more mature audiences (as a result the lack of intercourse scenes and somewhat toned-down violence). In India, the cinema halls are generally frequented by total people, so the country’s filmmakers should comply with similar factors. Moreover, Indian film producers hedge their bets by often supplying works that would attract people of various backgrounds. In a nutshell – the two Marvel movies and masala movies are attempts at a capture-all film. And, by the way, Avengers: Endgame is a few several hours very long (like a stereotypical Bollywood perform, sans the dances) and currently scored the major opening in Indian theaters of all Western motion pictures so far.  

This, of program, does not imply that a single need to like masala films or can’t criticize them for a variety of facets – or that 1 simply cannot dislike Marvel and masala flicks for the exact same good reasons. My position, having said that, is that anyone who finds Marvel’s system a great system need to not one out Indian films for utilizing their have unique combination of moods, as they have accomplished for decades prior to Marvel.

The post Is Avengers: Endgame a Masala Movie? appeared first on Defence Online.

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[storylinemovies-blog]

ঠিক যেন রূপকথা

                                                           - By Saswata Barman

…And the Winner is “Rupkatha (রূপকথা)”, announces the anchor!! [Applauses all around the BFI theatre]

Sugato’s first Bengali film has won the ‘Best Foreign Film’ award in the British Film Institute [BFI] International Festival! Amongst the rousing applause, Sugato’s mind wanders away to Kolkata, his Grand-parents’ home, the streets of Kolkata, Rabindra Sarobar, the park, lake, that conversation…… He wonders whether that was a dream or this is!!

[Almost a year back]

Sugato is not enjoying his work anymore. He has delivered many projects year-on- year for 10 years now but this is getting monotonous. He has shared this with his manager who has advised him to take a break. Sugato decides to visit his Grandparents in Kolkata, where he spent the first few of his growing years. Sugato’s Grandfather was an Engineer with the Public Works Department and since his retirement has been engaged in multiple activities including running an amateur club on short film making. His Grandmother is a retired School Principal and he remembers how she introduced him to the world of books – fiction, travelogue, puzzles and what not. Sugato’s Grandparents live near Rabindra Sarobar. He still remembers when he used to go to the lakeside for a walk with his Grandfather and spot the migratory birds!

[Day 7 of Sugato’s trip]

Since he came here in Kolkata, Sugato has spent the entire week catching up with his relatives, childhood friends from the school before his father shifted to London. Today, after waking up in the morning, he thought he needs to relax at home only and what better than reading some books from his Grandmother’s mini library in the third floor! After having breakfast, he walked up to the third floor where all the books are stored in a room in huge bookshelves alongside the walls. There is an arm chair in the middle of the room. Sugato picked a couple of books on Bengali Cinema and started reading. “Wow”, he thought to himself, “I should have read more about this as - Cinema is the reflection of the society and its times”. He kept reading and got completely hooked on to the book…….

There was a noise from downstairs; his Grandfather was going to the lakeside for a stroll and was asking if Sugato wants to join as well. Sugato replied back “আসছি … আমিও যাব”. Sugato’s Grandfather was a strict disciplinarian and asked him to get ready and join him in the lake side near the ঠাকুরদের Gallery.

Sugato reaches the lakeside and can not find his Grandfather. He walks up to the lake and sits on a vacant bench by its side. The childhood strolls around the lake started floating in front of his eyes. He was replaying his childhood and deep into his thoughts.

Suddenly, there was a voice “আমি কি এখানে বসতে পারি?”. Sugato turns his head around and sees this elderly man, probably an octogenarian like his Grandfather.

He says “হ্যাঁ অবশ্যই”.

Elderly Man – “Where do you live?”

Sugato – “I live near the Menoka cinema. Well actually it is where my দাদু and ঠাকুরমা lives. I live in London and have come to visit them.”

Elderly Man – “Oh I see. [pauses for a moment] If you do not mind, what is your grandfather’s name?”

Sugato – “His name is Apurbo Chakraborty. He was a Chief Engineer in the P….” [The Elderly man starts speaking]

Elderly Man – “I know Apurbo very well. He runs this Club for Short film making and I am a big fan of his club. He has inspired so many people to get into film making. I wish we had more people like him” [sighs]

Sugato – “Are you a member of that club as well?”

Elderly Man – [Looks at him] “No I am not, but I have visited his workshop once. I, however appreciate his efforts a lot. It is high time that people start nourishing the rich heritage of Bengali film-making and take it to newer heights!”

Sugato – “It’s a coincidence that I was reading the History of Bengali Cinema collected from the Archive of the Centre for Studies in Social Sciences, this afternoon.”

Elderly Man – “Do you want to know about the beginning of the industry – the Tolly industry as they say these days?”

Sugato - [Sounds excited] “Yes sure! That will be my pleasure.”

Elderly Man – “Bengali cinema had its presence in the last decade of the 19th century. The first cinema shows in Bengal date back to 1896-7. This was around the time when Lumiere Brothers’ Cinematographe in Bombay did the first Cinema show in July 1896. Hiralal Sen of Royal Bioscope company in Calcutta started making short films from around 1900. Cinema in Bengal around that time revolved mostly around the silent films and slowly the talkies were evolving. They were very much at par, if not better than the films being made in Bombay. Over the years, the gap increased in favour of the Bombay industry but Bengal has gifted India and the world some of the finest actors and directors.”

Sugato – “Wow, so which was the first Bengali film?”

Elderly Man – “The first Bengali-language film was the silent feature Billwamangal, produced by the Madan Theatre Company of Calcutta. This was based on the play written by Urdu playwright Agha Hashr Kashmiri. The movie released in November 1919, six years after the first full-length Indian feature film, Raja Harish Chandra, was released. The first Bengali talkies Jamai Shashti, however released on 11th April 1931 at Crown Cinema Hall in Calcutta as a short movie. The first Bengali talkies as a full-length feature film was, Dena Paona, which released on 30th December 1931 at Chitra Cinema Hall in Calcutta. Madan Theatre was a giant film corporation in Calcutta. It was the numero-uno in silent film distribution and many cinema theatres across the subcontinent. Then came Birendranath Sircar’s New Theatres Ltd., established in 1930 and went on to make landmark films in Bengal and Indian film industry like Pramatesh Barua’s Debdas in1935 and Mukti in 1937, Nitin Bose’s President in 1937, to name a few. The studio created star singers like Kananbala and K.L. Saigal.

I hope you are not getting bored?” [Asked the man to Sugato]

Sugato – “No, Not at all. Please carry on.”

Elderly Man – “New Theatres also gave us acting stars like Pahari Sanyal who became well known for their character roles upto the 50’s. The New Theatre also started the practice of remakes in those days as they started double versions of its films, in Bengali and Hindi-Urdu. This gave them a Pan-India market and reach. Another well-known director who was a product of New Theatres was Bimal Roy, a renowned Director in the 50’s who made films like Udayer Pathe that went on to be remade into one of the most popular Hindi films – Humrahi. The 1950’s also gave Bengali cinema two if its biggest stars of all times – Uttam Kumar and Suchitra Sen. The golden years of the 50’s also saw an important film being made that was celebrated much later. Satyajit Ray’s Pather Panchali which released in 1955 and won “Best Human Document” at the 1956 Cannes Film Festival. He went onto make a trilogy and Apur Sansar, the third film of Ray’s Apu trilogy, which had a ‘silver jubilee’ in Calcutta. Apur Sansar introduced Soumitra Chatterjee, who along with Uttam Kumar became Bengali cinema’s top male star and continues to inspire through his movies and theatre shows till today.”

Sugato – “I have heard my grandpa speak about Mrinal Sen….”

Elderly Man – “Yes there was him and Ritwick Ghatak, both Satyajit Ray’s contemporary. Ritwick Ghatak introduced a brand new form of Bengali cinema, that made political statements of their times. Mrinal Sen carried forward the picturisation of social unrest and radical politics of his times. Sen’s Akaler Sandhane in which a film crew recreates the 1943 Bengal famine, won the Silver Bear at Berlin in 1981. Satyajit Ray received an Oscar for his lifetime’s work days before his death in 1992, marking the end of an era. The ‘90s also saw the rise of a Director- Rituparno Ghosh. His films resulted in the Bengali middle class returning to movie halls. In the last 10 years or so, film making has become much matured in Bengal. Directors like Srijit Mukherjee, Atanu Ghosh, Kamaleshwar Mukherjee and many others are making their own brand of movies. But still, there is a lot to be done….”

Sugato – “A lot to be done? What do you mean?”

Elderly Man – “Bengali cinema has lot to offer to the world. The language of cinema is universal and its high time good Bengali films reach to the world audience. Bengalis in general like quality cinema with good storylines but at the same time Bengali film makers sometimes underplay their brilliant work. There should be a common endeavour in this industry to take strength from its glorious history and take the next step forward to make Bengali movies a global phenomenon”

[A voice is heard from an elderly woman]

“Sugato wake up now, it’s time for lunch; take your bath and come down, your Grandpa has returned from his stroll as well”

Sugato stares at the door and hears his Grandpa say “Why did not he come to the lake side as he said…..?”. He looks down at the book in his hands. He has almost finished the book and is on a page that says “50’s – 70’s - the era of Satyajit Ray”……

Sugato has made up his mind. He wants to make a Bengali film and take it to the global audience. He will ever remain indebted to the man, who had this inspiring conversation with him. He said to himself – “ঠিক যেন রূপকথা”!

N.B:

The endeavor to take Bengali Cinema to the Global audience is a reality unlike the fiction above. Storyline Movies was created in Dec 2016 by six Bengalis coming from different walks of life. Led by Acclaimed Director Atanu Ghosh of Abby Sen, Angshumaner Chobi’s fame, the aim of the production house is to make Bengali movies with quality storylines and release them in different languages worldwide. Our first venture is 72 Ghanta directed by Atanu Ghosh and includes actors like Soumitra Chatterjee, Abir Chatterjee, Paran Bandopadhyay, Indrani Halder and many more. To know more and help us with this endeavor please connect with us @

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Source of Reference on History of Bengali Cinema - Bengali Cinema: 'An Other Nation' by Sharmishtha Gooptu; published by Routledge.

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