#Its a very good movie (BHAI THE PLOT TWIST)

[hinsaa-paramo-dharma]

Mera goal ab yeh hai ki main most cartoon shows/movies based on Hinduism ko dekhne waali hu, you know because aur kuch nahi hai mere paas karne ko (and also it would be interesting-)

Toh, koi recommendations??

[salmankhanholics]

★ Why Salman Khan Is Unstoppable!

28 JUNE 2018  GIRIDHAR JHA

Salman Khan is running no race, he’s riding high on pure stardom. Content be damned.

#Law and order under the Modi government has gone for a toss. I put two tickets of Race 3 in my car. Some idiots broke the window and left two more.

A surfeit of tweets—some hilarious, others acerbic—has swamped social media of late, cocking a snook at Salman Khan’s latest outing, Race 3, as ‘the biggest bore of the decade’ and ‘a sure-shot cure for the insomniacs’. This year’s much-vaunted Eid release has been mauled just as savagely by film critics, a few of them trashing it as simply insufferable.

Worse still, the film has made it to the IMDb list of ‘lowest-rated movies’ where it shares the dubious distinction with the likes of  Ram Gopal Varma Ki Aag (2007), The Legend of Drona (2008), Tees Maar Khan (2010), Himmatwala (2013), Humshakals (2014) and Kya Kool Hain Hum 3(2016)—all unmitigated disasters of our times.

In fact, some of Salman’s die-hard followers appear to be so disappointed with this movie that they have, for once, asked him not to take them for granted. ““Bhai,, don’t do films like Race 3,” a distraught fan tweeted in anguish after seeing the film. “It is not up to your standard.”

Under the best of circumstances, such reactions ought to have set off the alarm bells for a lesser star, but not the reigning monarch of B-town. Far from it, Bhai, as Salman is affectionately called, is having the last chuckle—he’s laughing out loud all the way to the bank. Remo D’Souza’s directorial venture has already crossed a commercial milestone, having notched up more than Rs 160 crore in India and Rs 250 crore worl­dwide in just about ten days. Quite an achievement for a film pilloried for its tacky plot, sloppy direction and deadpan acting!

But then, in an industry where stars are made and maimed every Friday, nothing matters more than what a movie ultimately earns at the ticket window. Race 3 may have been dismissed as a veritable affront to the aesthetic sense and sensibility by many a connoisseur of good cinema, but its box-­office figures have only underlined the enduring mass appeal of the 52-year-old warhorse, who remains a darling of the dress circle regardless of his receding hairline and protracted court cases.

But why is a star with unexceptional histrionic prowess still so popular with the masses? What are the factors that have sustained him as an alchemist at the cash counters? Ali Abbas Zafar, director of two of Salman’s recent blockbusters, Sultan (2016) and Tiger Zinda Hai (2017), puts it conclusively: “It is very important for a superstar to connect, communicate and maintain a relationship with his audiences through his films. I think the audiences see absolute honesty in the way he leads his personal life, as also in the way he portrays his roles,” Zafar tells Outlook. “It invariably touches a chord with the audiences who flock to the theatres to watch his films over and over again. It’s a factor that simply cannot be defined.”

Zafar, now at the helm of Salman’s next, Bharat, believes every movie has its own journey and destiny as far as commercial success is concerned. “We cannot measure it against the superstardom of an actor. While making a movie, nobody knows whether it will click or not,” he says. “It is something indescribable.”

The young auteur thinks that he is fortunate to have worked with as big a superstar as Salman at the outset of his career. “As a director, it is absolutely essential to highlight the USP of a big star in the best possible way,” he says. “You have to develop the character in sync with the superstardom.”

Zafar avers that the audiences are disappointed only when they find a star’s stardom putting his character in the shade. “But if the character and the stardom complement each other, as they did in Sultan, Tiger Zinda Hai and Bajrangi Bhaijaan (2015), then it creates pure magic,” he states.

Noted scriptwriter Rajat Arora considers Salman’s loyal fan base to be the biggest factor behind his success.  “What is remarkable is that people from all age groups, from kids to elderly people, like him. In fact, the release of his movie is a celebration of sorts of the star, idolised by his legions of followers.”

Arora, who scripted the Salman blo­ckbuster Kick (2014), says that is why nine of his movies have done business of more than Rs 100 crore while four others crossed the Rs 200-300-crore mark. “He has really worked hard over the years to maintain his stardom. He simply gives to his audiences what they really like to see.”

Figures, of course, don’t lie. Salman has had an unparalleled run in the past decade or so. Since Dabangg (2010), his 13 consecutive movies have minted more than Rs 100 crore, a figure considered to be the benchmark for a Bollywood blockbuster. Only a couple of them, such as Jai Ho (2014) and Tubelight (2017), are considered flops. But that is because of their high production costs; otherwise they too made it to the elite 100 crore club effortlessly.

Curiously, all this has happened des­pite Salman’s apparently cavalier attitude towards his career. At a time when his illustrious contemporaries—Aamir Khan and Shahrukh Khan, the other two of the holy tinsel town trinity—are constantly striving for content-driven cinema, commensurate with their expertise and experience, the youngest of the three 1965-born Khans functions within his own world, relying more on his popularity than the script of his movie. More often than not, he takes up a project purely for emotional reasons and shows no qualms in helping out his family members and friends in bolstering their careers. From Sonakshi Sinha in Dabangg to Athiya Shetty and Suraj Pancholi in Hero (2015), many star kids owe their launches to him. As for Race 3, he has gone a step further, as its ent­ire cast, save Anil Kapoor, app­ears to be piggybacking on his charisma. High on his success, Salman seems to care too little for the criticism that he turns a movie into an extended family enterprise these days.

Critics, however, believe that the Midas touch may not last for long. “He’s not serious about picking good subjects. I thought Salman had turned a new leaf with Bajrangi Bhaijaan and Sultan but Race 3 demolished my hopes,” rues film writer Deepak Dua. “The film has too many non-actors who are in it primarily because of their close ties with him.”

Dua says Salman probably knows his range as an actor and that’s why he restricts himself to his comfort zone of masala entertainers, unlike Sha­h­rukh and Aamir. “Let alone Aamir, even Shahrukh has been trying to do things differently since the days of Phir Bhi Dil Hai Hindustani(2000) and Asoka (2001),” he says. “It’s an altogether different matter that he has not been successful in that.”

Dua fears that Salman, at this juncture of his career, may end up committing the same blunder as yesteryear star Dhar­mendra. “Dha­r­mendra did many eminently forgettable act­ion flicks like Bag­­havat (1982) and Hukumat (1987),” he says. “I am afraid Salman is veering tow­ards the same rut, playing a he-man over and over again. Race 3 is yet another pointer to that, ” he adds.

Race 3’s success, Dua points out, is the outcome of a number of factors. “The film benefited from the brand name of the Race franchise, besides Salman’s superstardom,” he says. “Also, it was released on Eid, an occasion when even his really bad movies have done well. But it has to be borne in mind that the success of a bad movie like Race 3 will only spawn films of similar or worse quality.”

The audiences see absolute honesty in the way he leads his real and reel lives,” says Sultan director Ali Abbas Zafar.

Trade pundits, however, see the success of Race 3, in spite of the trenchant criticism, as yet ano­t­her confirmation of the saleability of Brand Salman. “Jaako raakhe Salman, maar sake naa critics (No critic can harm a Salman project,)” says veteran film trade expert Atul Mohan, twisting a popular adage used by the actor in Race 3.

Mohan, the editor of Complete Cinema, further says that Salman has never been serious about film scripts and yet he has been consistently delivering what the audiences like. “Without the audience’s support, it would not have been possible for Race 3 to earn Rs 160 crore in the first ten days of its release,” he elaborates.

Mohan even goes to the extent of saying that the criticism against and the potshots at Race 3 on social media are part of a ‘sinister campaign’ by a few people who are acting with vested interests. “When somebody becomes popular, certain people try to bring him down,” he says. “In the case of Race 3, social media was used by many as a tool to harm the prospects of Salman’s movie. But people are still flocking to theatres, despite all the trolling.”

That probably sums up the prolonged magic that Salman has cast on the audiences in recent years. Even though most of his movies are bereft of the nous of an Aamir-starrer or the purpose of a Shahrukh project, he remains the ultimate talisman at the box office—somebody who wears his X-factor like  armour and lives by what his character says in the film Kick; “Dil mein aata hoon, samajh mein nahin (I come into the heart,  not the mind.)”

[bharatiyamedia-blog]

A poorly executed movie that wastes its promising premise- Leisure Information, Firstpost

http://tinyurl.com/y44c62zr Shouvick Sarkar’s third directorial enterprise after Chupkotha and Virus is a perplexing little movie titled Shakkhi. I name it perplexing as a result of the movie is predicated on a narrative that’s, the truth is, fairly attention-grabbing and one may have simply made a pleasant partaking drama out of it. Sarkar even had a implausible array of actors standing by him to make the movie work. However the execution of the movie is sort of disappointing, and at each stage, it turned out to be an uphill activity merely to stay invested in it. The issue, then, isn’t a lot with the substances – as a result of Sarkar had all the pieces going for him – however with the cooking course of itself. Which could be very unhappy. A nonetheless from Shakhhi. YouTube Shyamal is a promising younger chap within the dockyard neighbourhood of Kolkata, who makes a residing by giving false witness in courtroom. He’s within the good books of the native mafioso Bhai Da, and his loyal lieutenant Barun Da. When the spoilt brat of a son – Jagat – of this feared don finally ends up raping a younger lady named Shikha, Shyamal is requested to name off the sufferer as a girl of questionable reputation, which he does with vital ease and elan. The perpetrator Jagat goes scot free and poor Shikha has to face vital social ostracisation. However when Shikha seems to be Shyamal’s neighbour within the slum the place he lives, the younger man all of a sudden springs a conscience, and in a considerably unconvincing twist within the story, begins to fall for her. At first look, the truth that Shyamal inexplicably begins to really feel for Shikha got here throughout as completely unimaginable to me. However maybe there’s an evidence for his quite odd behaviour. The truth that he has by no means been in direct contact with the folks he has given proof towards, and that he has by no means seen – first hand – the end result of his clearly heinous acts may maybe be why had by no means felt the pangs of ethical conscience. However right here she was – a strolling, speaking corpse, left lifeless and joyless by a merciless world who, even at the moment, nicely into the 21st century, blames the sufferer for an act resembling rape. On witnessing her plight along with his personal eyes, Shyamal’s convictions might have circled. Is it potential that I’m giving extra credit score to the movie than it deserves? Maybe sure, maybe no. However one factor is for certain – the remainder of the movie is one large messy bundle. Actors have little or no to work with, pointless characters are introduced in, merchandise numbers are inserted for sensational causes and why, oh why are there Hindi lyrics in Bengali songs? Even the background rating is self-important, in a lot as it’s consistently attempting to create an environment that the actors on the display screen are failing to depict with their performances. The side-characters overact the hell out of their strains, and there are a number of scenes, which present extraordinarily poor craftsmanship. And all of the mayhem ends with one large twist within the plot, which is as sensational as it’s unconvincing. It’s a massively troublesome activity to decide on a efficiency to discuss, from among the many slew of deadbeat ones which have flocked this movie. Which is sort of stunning, as a result of the actors themselves are extraordinarily gifted. One should blame the script, I suppose – I can’t appear to seek out every other purpose for such a poor present. Among the many higher ones is the efficiency of Shantilal Mukherjee – the trusted right-hand man of the dockyard don. Mukherjee is earnest and critical in regards to the comparatively well-written position he has been entrusted with, and infrequently misses a beat. However even he’s a far cry from the attractive performances that I’ve seen him give in his different movies. Arjun Chakrabarty places in a real effort as Shyamal, though he was not totally profitable in depicting the duel that should have gone on contained in the thoughts of his character. This, I’m afraid, isn’t one of many higher performances of Saayoni Ghosh, who got here throughout as quite one-note to me. I additionally felt she was frightfully miscast for the position, just because she simply didn’t look, communicate or act the half. One among my favorite actors – Anindya Banerjee – performs the errant son of the lozenge-sucking don (a trait given for the sake of it, maybe?) and does a less-than-decent job. Apart from these, there isn’t a single efficiency that deserves a point out. I’ve not had the chance of watching Shouvick Sarkar’s different two movies, however going by his craft in Shakkhi, I’m totally unimpressed. It is a movie that I’ll maybe keep in mind for a really very long time – for the straightforward purpose that it wasted a superbly good alternative to inform an incredible story. Up to date Date: Jun 08, 2019 16:43:04 IST Your information to the most recent election information, evaluation, commentary, reside updates and schedule for Lok Sabha Elections 2019 on firstpost.com/elections. 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