Objection taken against Shreyas’ stammering act in Golmaal 3

Films in Bollywood have always been at the receiving end of both, bouquets as well as the brickbats. On the same thought, if you thought that the recently released comic caper Golmaal 3 (aka G-3) was at the receiving end of bouquets for its performances as well as its funny one liners, well, it seems that it’s the time for the film to be receiving the brickbats.

Those who have seen the film will know that the character played by Shreyas Talpade has been shown as someone with a stammering problem. Even though the cinegoers have loved his stammered performance on screen, there is a controversy that has taken birth over his character. The Indian Stammering Association (TISA), based out of Dehradun, felt that Shreyas’ character in Golmaal 3 mocks people who stammer. That’s why they have slammed the film’s makers with a lawsuit. TISA not only found the character played by Shreyas pretty objectionable, but also the fact that his character was always at the receiving end of jokes and ridicules by his other characters in the film. TISA has now sent a legal notice to the producers asking them to delete all the scenes where the character stammers and respond to it before a December 14 deadline.”

While the spokesperson of Shri Ashtavinayak Cinevision said that their legal department is looking into it, Shreyas feels that the people should look at it in a positive way, as the character he played is the hero of the film and that one should not make an issue out of it.

We’ll let the audiences decide that. What say readers?

Hrithik Roshan gets foot massage from Aishwarya Rai Bachchan

We have erotic and semi-erotic love-making sequences in films. But ever heard of a funny-erotic sequence? In Sanjay Leela Bhansali’s Guzaarish, Hrithik Roshan and Aishwarya Rai Bachchan who have done brilliant and aesthetic love scenes in Dhoom 2 and Jodhaa Akbar, had to do the toughest erotic sequence of their individual careers.
Aishwarya had to give Hrithik a languorous foot massage while he had to gradually let out sounds of immense pleasure and ecstasy. At some point during the slow-and-steady sequence Aishwarya to had to let out sounds of pleasure herself.
And if you think there was any awkwardness between Mrs. Bachchan and Mr. Roshan in performing this erotic sequence, then think again. The two co-stars whooped with laughter all through the rehearsals and even during the final take.
Since Hrithik’s character cannot feel a thing below the neck the whole exercise shows the two characters pretending to be in the throes of ecstasy.
Laughs Sanjay Leela Bhansali, “How can my hero who feels everything from neck up and absolutely nothing from neck down make love with his nurse? He can only pretend. Hrithik has no love scene with Aishwarya. The so-called love-making sequence is actually savagely funny take on a very poignant predicament of a man who cannot feel the things that normal people do. Although his limbs are senseless, his nurse gives him a foot massage to keep the blood circulations going. And that’s when the whole mock-ecstasy scene happens. I must say Aishwarya and Hrithik gave a whole new definition to ‘faking it’ in this sequence. Bahut masti wali scene hai. But the underlying tragedy of a man who will never actually experience what he’s pretending to, has also been brought out.”
It isn’t every day that a co-star gets a foot massage from the super-diva Aishwarya Rai Bachchan. Apparently, Hrithik was in full prankish mode for the sequence, probably to make sure there was no awkwardness with Aishwarya when they performed the oddball sequence.
Sanjay can’t get over how diligently Hrithik worked over his paraplegic’s body language in Guzaarish. “Hrithik actually allowed his body to go completely numb below his neck. His performance is comparable with Daniel Day-Lewis’ part as a paraplegic in My Two Left Feet…no, in fact better. His character can’t make love. But he make us feel his longing for physical passion.”

Tees Maar Khan copy of Peter Sellers’ After The Fox?

How many of you have heard about the most famous Hollywood comedian (after Charlie Chaplin of course) Peter Sellers? If not, please watch his movie The Party. Anyway, the point to bring up a man of such repertoire is because his films are still inspiring a lot of filmmakers from Bollywood. Peter Sellers 1966 Italian film After The Fox (Caccia Alla Volpe) is one such example. Yes, you heard it.

But the word ‘inspiration’ is too cliche. It’s ‘similarities’ that count when our filmmakers get inspired. After a bit of research, we found out that one of the most anticipated films of this year, Tees Maar Khan, is a fully inspired version of the 1966 comedy, After The Fox starring Peter Sellers. And after watching the trailer, here are some of the ‘similarities’ evident between both the films:

Peter Sellers plays Aldo Vanucci (aka the Fox), one of the greatest criminals of the world, and master of disguise. After Aldo escapes from the Italian prison he was held in, he meets again with his friends, and plans to retrieve the “gold of Cairo” a large shipment of gold, that waits to be unloaded somewhere in Italy. Aldo devices the perfect plan. Posing as a famous director, he finds the ideal coastal village to unload the shipment, and persuades the entire population that he has chosen their village as the set for his new movie. Everybody, including the idiot chief of the local police is so excited, that they can’t even imagine that in fact they are helping the Fox to get the “gold of Cairo”.

1. After The Fox: Peter Sellers plays a master of disguises thief who makes an entire village a movie set to pull off a heist.
Tees Maar Khan: Akshay Kumar plays a master of disguises who makes an entire village into a movie set to pull off a heist.

2. ATF: Victor Mature plays a vain movie star acting in the “film within the film” and Sellers plays on his vanity.
TMK: Akshaye Khanna plays a vain movie star acting in the “film within the film” and Kumar plays on his vanity.

3. In both cases there is a bumbling police chief.

4. In both cases, the hero’s mother really thinks he’s a filmmaker.

5. In both cases there’s a femme fatale.

6. ATF: A ship is heisted.
TMK: A train is heisted.

In the past, we have seen many Bollywood filmmakers getting inspired by World cinema and Hollywood films and making their own desi versions of the films without realizing the consequences. Well, it’s time they do! In fact in the recent past, many Hollywood studios have taken Bollywood producers to court due to plagiarism and copyright infringement. Will Tees Maar Khan producers also face the music now? Well, this is something that only time will tell.

Deepika Padukone lifts 75-kg Imran Khan

MUMBAI: In most Hindi films, we’ve seen the hero lift his heroine in some or the other scene. But a heroine carrying her hero on her back… now that’s a bit difficult to imagine. Well, Deepika Padukone has done exactly that vis-à-vis Imran Khan in her forthcoming film, Break Ke Baad. Although it wasn’t easy, she managed it after some training and rehearsals.

The scene in question features as one of the montages during the song Adhoore hain…. Director Danish Aslam’s idea was to also show the kind of lead Deepika’s Aaliyah Khan plays the lead in the relationship with Abhay Gulati (Imran Khan). “Considering Aaliyah leads this relationship, there are many instances of role reversals to depict that,” reveals a source, adding that the montages in the track, which come at the time in the movie when she wants some time off alone.

He continues, “Danish felt that showing Aaliyah carrying Abhay was the perfect way to convey the drastic changes their relationship was undergoing. That’s why this particular scene is of great significance.”

Break ke BaadTurns out that was easier said than done, as Imran weighs 75 kgs as against Deepika’s negligible 55 kg weight. But she underwent considerable training for about a fortnight prior to the shooting of the scene. Apart from that, we’re told that for about three-four hours, Deepika also rehearsed carrying Imran on her back but not without adequate precaution.

“To ensure that she didn’t suffer any back trouble while performing the scene, she wore a thick, wide belt as a preventive measure,” says our source, glad that it went off smoothly, without the heroine suffering any injuries or pain.

Deepika recalls the sequence as really “fun to shoot.” She says, “Everyone on the sets was worried. But being an athlete, I was confident that I’d be able to carry Imran on my back without any problem.”

On the contrary, director Aslam calls it a complicated scene. “It’s not easy to carry 75 kgs on your back. We didn’t want Deepika to get hurt, so we exercised caution. It took us two days to complete shooting this sequence, but the end result is brilliant,” he says.

Abdul Razzak Fetch Single handed Victory For Pakistan

Abdul Razzak gets single handed victory for Pakistan. He scored 109 runs not and gets famous victory for Pakistan with 1 ball spare. He also scored most runs for 7th wicket by Pakistan. When he came to bat Pakistan was in trouble as they lost well going Shahid Afridi. At that time he batted sensibly and secures his wicket to play shots at the end of the inning.

He is really the hero for Pakistan in the 2nd ODI against South Africa in Dubai. He played 72 balls for his 109 runs and hit 10 sixes and 7 fours. It was really a fantastic inning in the difficult situation. Pakistan team was looked down after losing five wickets but Razzak returned them their pride.

Shahid Afridi played aggressive inning in the middle and scored 49 runs on 40 balls. When he got out Pakistan’s score was 136 for 5 wickets. Fawad Alam also played sensibly and secured his wicket. He along with Razzak took Pakistan’s total to 217 runs before he got out.

Razzak didn’t panic even seeing wickets falling on the other end. He also denied many singles and retained the strike. All hits made by Abdul Razzak stayed connected and resulted in maximum. He surely was the man of the match. Series is now leveled with 1-1.

Peru’s Vargas Llosa wins Nobel for literature

STOCKHOLM: Peruvian-born writer and one-time presidential candidate Mario Vargas Llosa, who has chronicled struggles for power, won the 2010 Nobel prize for literature, the awarding committee said on Thursday.

The committee said in a statement Vargas Llosa received the award “for his cartography of structures of power and his trenchant images of the individual’s resistance, revolt and defeat”.

Vargas Llosa, who made his international breakthrough with the novel “The Time of the Hero” in 1966, is the first Latin American winner for literature since Octavio Paz won in 1990.

His works build on his experiences of life in Peru in the late 1940s and the 1950s. Vargos Llosa ran for president of Peru in 1990 but lost to Alberto Fujimori, who ultimately had to flee the country and was subsequently convicted of various crimes.

“He is an outstanding author, and

Peru’s Vargas Llosa wins Nobel for literature

STOCKHOLM: Peruvian-born writer and one-time presidential candidate Mario Vargas Llosa, who has chronicled struggles for power, won the 2010 Nobel prize for literature, the awarding committee said on Thursday.

The committee said in a statement Vargas Llosa received the award “for his cartography of structures of power and his trenchant images of the individual’s resistance, revolt and defeat”.

Vargas Llosa, who made his international breakthrough with the novel “The Time of the Hero” in 1966, is the first Latin American winner for literature since Octavio Paz won in 1990.

His works build on his experiences of life in Peru in the late 1940s and the 1950s. Vargos Llosa ran for president of Peru in 1990 but lost to Alberto Fujimori, who ultimately had to flee the country and was subsequently convicted of various crimes.

“He is an outstanding author, and

Comedy film titled Anna Salman to be based on Salman’s real life

After the success of Dabangg, Salman regained his position of being the superstar. Everyone wants a piece of him and why not. South of India is all rage about Sallu bhai and he has new share of fans down there.

Even producer B.K Krishnan of BRK Films is eager to make a film on the life of Salman Khan. Featuring all his trials and tribulations, the media glare on him, the highs and low in his life and all that has led this star to reach the status he enjoys today.

The film, tentatively titled Anna Salman meaning ‘brother Salman’ is still hero lessclaims the producer who is busy finding the lead actor for his film. The film, apparently, will have similar incidents from the star’s life like the Bandra Bakery incident, Black Buck poaching incident etc. It will also have the hero having a torrid relationship with an upcoming star, which presumably refers to Aishwarya Rai and is going to be played by Ritu Sachdeva.

Here comes the interesting part, the producer claims that the film will be an out and out comic film where the hero finds himself in the wrong time at the wrong place leading to unwanted situations but still comes out triumphed and adored by his fans.

Wonder what Salman’s reaction to this would be?

Comedy film titled Anna Salman to be based on Salman’s real life

After the success of Dabangg, Salman regained his position of being the superstar. Everyone wants a piece of him and why not. South of India is all rage about Sallu bhai and he has new share of fans down there.

Even producer B.K Krishnan of BRK Films is eager to make a film on the life of Salman Khan. Featuring all his trials and tribulations, the media glare on him, the highs and low in his life and all that has led this star to reach the status he enjoys today.

The film, tentatively titled Anna Salman meaning ‘brother Salman’ is still hero lessclaims the producer who is busy finding the lead actor for his film. The film, apparently, will have similar incidents from the star’s life like the Bandra Bakery incident, Black Buck poaching incident etc. It will also have the hero having a torrid relationship with an upcoming star, which presumably refers to Aishwarya Rai and is going to be played by Ritu Sachdeva.

Here comes the interesting part, the producer claims that the film will be an out and out comic film where the hero finds himself in the wrong time at the wrong place leading to unwanted situations but still comes out triumphed and adored by his fans.

Wonder what Salman’s reaction to this would be?

Music Composers of Bollywood still find Mohd Rafi as ‘Today’s Singer’!

Aadesh Shrivastava, who has had the good luck to meet Rafi and play on his songs under several senior composers, puts it simply, “Every song I compose has Kishoreda’s feel and Rafisaab’s gaayaki somewhere within my subconscious mind. And by gaayaki I mean his sharp harkatein, which would be as sharp as the edge of a sword, and everything else.”

Aadesh adds, “If you say Mora piya has that ambience, I agree completely. And my semi-classical Baawri piya ki (Baghban) was made with him in mind – 101 per cent! Ravi Chopra, my director, and I discussed this song and we kept saying, ‘Kaash! Agar yeh gaana Rafisaab gaate!’, though Sonu Niigaam was brilliant. The song in my mind’s eye when I composed this one was Tu Ganga ki mauj from Baiju Bawra. Whenever Rafisaab would go high-pitched in a song and take a sapaat (broad) taan, incredibly his expression quotient would never change or get diluted. There was no showmanship. It was all so natural – and beautiful.”
Shantanu Moitra agrees that Rafi is in-built in the composers’ psyche. “These are schools that we have to study to compose for Hindi cinema, and regardless of favourites, we have to look at all the various schools like Lata Mangeshkar, Asha Bhosle, Mohammed Rafi, Kishore Kumar and so on. I had Rafisaab in mind straightaway in two scores of mine – Parineeta and Khoya Khoya Chand – in addition to other songs in many films. These are virtually my tributes to Rafisaab. For the song O re paakhi from the latter, the song that came to mind was Yeh duniya agar mil bhi jaaye from Pyaasa. In this song, the sequence in the film
has a crowd of people, and through all this and the orchestral accompaniment, Rafisaab managed the difficult job of sounding lonely, as he was supposed to, as if he was oblivious of everything else just like the hero. I have been told that Rafisaab would always want to know who the actor was and about the character, so that he could modulate his voice. This quality needs to be emulated by today’s singers – to change from a Tu Ganga ki mauj to a song for Johnny Walker and sound equally apt! This can only happen when you give your 100 per cent to each song.”
Shantanu recalls Sonu and him discussing the Pyaasa classic and Rafisaab a lot for the song. The trick was in making a composition that went on the path in its own way, and for Sonu, it was a tightrope about how Rafi would have sung it, and how he could make it his own song and not an imitation while keeping within the broad parameters.”
Sajid, of the Sajid-Wajid duo, declares that you do not have to keep Rafisaab in your mind at all. “Woh zahan mein na hokar bhi zahan mein rehte hi hain (Rafi remains in your subconscious even when you do not consciously remember him)!” Our Kya Yehi Pyaar Hai, especially the title-track, and the songs of Mujhse Shaadi Karogi clearly demonstrated this. Even today when we compose a Saanchi saanchi nazar for Dabangg or Meherbaniyaan and Taali maar de in Veer, we somewhere have within our minds the quality Rafisaab imparted to his songs – which could be called the punch of a real hero. The genius of Rafisaab lay in also understanding a song, and the character. There are good singers today, but they must master this art.”
Shekhar Rajviani of Vishal-Shekhar also agrees with his colleagues. “Vishal and I make songs that we always think could be sung by both Rafisaab and Kishoreda. But paradoxically, I do not understand the term “Rafi’s style”. What is that?? Rafi could sing any song, and has done so. We missed him terribly in Aankhon mein teri and Main agar kahoon in Om Shanti Om. We have fantastic singers even today, but Rafisaab would have taken these songs to the skies!”
The last word comes from Himesh Reshammiya, who has composed the Rafi-like ace Tum chain ho qaraar ho in the just-released Milenge Milenge. “Rafisaab would have rocked even today. A song like Chura liya hai tumne from Yaadon Ki Baraat can give a run to any chartbuster today. I have had three or four stages in my career so far, in terms of the kind of music I composed, and the first two stages are completely dedicated to Mohammed Rafi, till perhaps Tere Naam and even a bit beyond, when I used Udit Narayanji and Sonuji a lot. These legends are our roots, our inspirations. Jo kaam hua hai woh hamesha rahega! Rafi is not yesterday’s legend but the forever “voice”. He will continue to shape and influence film music for ever.”
Screen India

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