14 dicembre 2012

Barfi! : Recensione


[Blog] Recensione di Barfi! (2012)  deliziosa storia romantica raccontata da Anurag Basu. Nel cast Ranbir Kapoor, Ileana e Priyanka Chopra.

9 dicembre 2012

Amitabh Bachchan al River to River 2012

La foto del giorno - Il leggendario Amitabh Bachchan riceve le chiavi della città di Firenze in occasione della sua partecipazione al River to River Florence Indian Film Festival 2012 (per saperne di più: clicca qui). Big B ha scritto nel suo profilo Twitter:
6 dicembre: 'Into the magnificence of Firenze, Florence, Italy. Every corner and nook blessed with history and art and culture and style! More interviews and photo shoots. La Repubblica and then Uomo Vogue. Stunning pictures by ace photographer. Beauty in simplicity'.
8 dicembre: 'The Deputy Mayor of the City of Florence, presents me with the keys of the city. No longer a tourist now, but a guest! Honored! The fashion and design at every step is so infectious! You feel like spending a lifetime here. How do they do it? The cobbled streets, the old palaces, the squares... all maintained in its original form through ages. What magnificence!! Every shopping arcade, restaurant, office, Hotel, part of the lustrous palaces that existed. Not a stone changed, yet still in style. Last night Deputy Mayor of Florence presented me with the keys of the City. So honoured! Tonight Black and a Q&A with audience'.
9 dicembre: 'A standing ovation amidst shouts of 'bravo' for screening of Black. Here in Florence for R2R film fest. Thank you Sanjay LB. Walking the streets in Florence, biting cold, well clad, but the warmth coming from the ones that follow. Surprising, and humbling. A full house at the Odeon, Florence. In the Q&A a lady with the same symtoms as the girl in Black crying copiously!! Good bye Florence. It was a most enjoyable trip. The honor, the pride that Indian Cinema is attaining is a win for India'.
Anurag Kashyap l'8 dicembre ha scritto nel suo profilo Twitter: 'Big B was awarded "Keys to Florence" tonight and then there was an Italian flashmob dancing to a medley of Amitabh Bachchan songs #awesome'.


Ma è nel suo blog che Bachchan ha dettagliatamente raccontato la sua esperienza fiorentina:
6 dicembre: 'Each corner of this beautiful city speaks by itself, its glamour, its social standing, its arts and culture and of course the exquisite construction that it enjoys; fairy tale like in its appearance and demeanor, prompting a visit perhaps again with the grandchildren to those regions and areas that we were unable to see or talk about. Perhaps Abhishek shall be greatly more enterprising with Aaradhya. (...) Interviews and photo shoots took most of the afternoon away. But I have to say this. The French and the Italians are masters in their respective arts, and here in Italy the labor is working away, so the burden of responsibility shall fall on us, irrespective of the result. Not talking about any thing in particular, but just that the magic of shopping always takes center stage. Not for me. But for the photo shoot that is to follow soon. The La Republica newspaper, the largest in the country and the Uomo Vogue, spend time and energy to talk of the reveal, and reality of cinema. The dress outfits - a combination of personal and what they brought along is looked after. And some stunning photography takes place by the greatest in his profession and the country. And then resourceful attending staff from home, sets up the dining table with… yes you guessed it, Indian food!! In the heart of the finest eating regions of the world, and we ask for Indian! In matters of food, buddy there can be no winner… its only Italian'.
7/8 dicembre: 'Overwhelmed as I am with the beauty and elegance of Firenze, the opening of the River to River 12 Indian Film Festival tonight at the Odeon Cinema, one of its oldest is a delight to be present at, where the Deputy Mayor of the City, with his designated sash or ribbon of honour around his shoulder, presents me with the keys of the City of Firenze, and invites me to the city again not as a tourist but as a guest. Nothing could have been more overwhelming than this recognition, in the presence of the Ambassador to Italy of India and other distinguished guests. Firenze or in popular English, Florence, has a quiet elegance about it. Well… that is an inappropriate description, for, elegance is always quiet. Its seeming simplicity is what eventually is its most enduring complexity. It is not a book to be judged by its cover. It requires for one to stay a while, walk about on their own and finally discover that there is far more to it that was originally contemplated. A city of exquisite beauty in its museums and galleries, of history and geography and in just the simple way that the inhabitants of this enviable place, live and enjoy the pleasures of life. Pleasures of life? Yes because as one moves about the narrow cobbled lanes, entering old Palaces that have now been converted into meeting places, restaurants, theatres, shopping malls, one realizes that a city of such eminence needed to be preserved in the way it is'.
8/9 dicembre: 'Cobbled streets, old period palaces of families that lived and became its prestige, a cold winter breeze through the hair, body protected well with padded jackets and scarfs, mingling with the Saturday market crowds of Firenze in the main square… just a grand feeling of being free and independent and like any other, for once!! A small quiet and unassuming looking restaurant in one corner of the city, Italian delicacies beautifully presented, sparkling water of the brand Pellegrino and stimulating conversation with the festival organizer of River to River Indian Film Festival, marks the end of the afternoon, before the main event - Black at the show at the Odeon, the aged film theatre built like an opera house, astonishingly well kept and in sane condition. Gifts galore pour in as the local community gathers my presence, and then to the opening of the first presentation… It is a full house and it looks attractive. After a brief interaction to introduce the film, mob commotion, and shhh’s of silence, the film begins. Many who have had some experience as a viewer or hearer of Indian Films, move about speak loudly, almost as though they knew what was coming… but within a few seconds into the first frame, a silence pervades, and remains so till the last credits. When the lights come on the audience stands and applauds for long… long enough for me to walk up back on to the stage for a Q&A. It is quite overwhelming. Amid shouts of ‘bravo’ I stand before the audience and for long take in the applause. Applause…? The company that has interest in the film and in its distribution is also called Applause… so every time in the opening credits when the word drifts by, the obedient audience breaks into a clap… ha ha ha cute!! Its like those q-boards at Tv shows, when a large sized card is held up to tell the live audience in the house to clap their hands!! (...) In Italy, moreso, I discover, it is expected of everyone to be dressed as though they were on the fashion ramp of some of the prominent parades that take place. Everyone is designered to an elegance that makes me wonder, where and how on earth did all the beautiful, aesthetic, and poetry laden style, get to those that occupy the ‘boot shaped’ outline… What happened to these European states that they became this epitome of all that seemed elegant? Art, architecture, living and so many other aspects… all became the reference point for design. And as you walk down the streets enjoying the moment, you cannot but marvel at this phenomena. What took place in this part of the world that set them off to explore and conquer, to be different and experimental and to be welcomed as guests that finally turned out to be a dangerous welcome to wherever they went…'.

Aamir Khan: Masala! dicembre 2012

La copertina del numero di dicembre 2012 di Masala! è dedicata ad Aamir Khan. 

Anurag Kashyap al River to River 2012

La foto del giorno - Anurag Kashyap è in questi giorni a Firenze, ospite del River to River Florence Indian Film Festival 2012 (per saperne di più: clicca qui).
 
 

5 dicembre 2012

Anushka Sharma: Verve dicembre 2012

La copertina del numero di dicembre 2012 di Verve è dedicata ad un'irriconoscibile Anushka Sharma.

I.D. al Torino Film Festival 2012

Alla 30ma edizione del Torino Film Festival, qualche giorno fa è stato presentato in concorso I.D., diretto da Kamal K.M. La pellicola si è aggiudicata il premio collaterale Achille Valdata per il miglior film, premio assegnato da una giuria di dieci lettori di Torino Sette. Recensione di Sentieri selvaggi. Sito ufficiale e trailer.

Vogue India ottobre 2012

E' disponibile in questi giorni nelle edicole italiane il numero di ottobre 2012 di Vogue India con Priyanka Chopra in copertina. Sito del distributore nazionale Intercontinental.

River to River Florence Indian Film Festival 2012

[Blog] La dodicesima edizione del River to River Florence Indian Film Festival si svolgerà a Firenze dal 7 al 13 dicembre 2012 presso il cinema Odeon. E' prevista una replica parziale a Roma dal 14 al 16 dicembre presso il cinema Trevi. L'evento bomba è la partecipazione alla manifestazione della superstar Amitabh Bachchan, e dei registi Anurag Kashyap e Imtiaz Ali. Vi segnaliamo alcuni dei titoli in cartellone.

Bipasha Basu: Women's Health India dicembre 2012

La copertina del numero di dicembre 2012 dell'edizione indiana di Women's Health è dedicata a Bipasha Basu.

Bollywood Film Meeting Roma 2012

Dal 29 novembre al 9 dicembre 2012 si svolge la rassegna Bollywood Film Meeting Roma presso il teatro Quirinetta. La curatrice Sabrina Ciolfi ci scrive: 'La rassegna offre uno sguardo sulla Bollywood contemporanea. Ho selezionato film di recentissima produzione, espressione sia del cinema mainstream sia di quello indipendente, il più possibile rappresentativi dei diversi generi e delle novità che si vanno affermando'. In effetti il programma è da urlo. Citiamo solo alcuni titoli: Jodhaa Akbar, Udaan, Dhobi Ghat, Delhi-6, Guzaarish, Delhi Belly, Shaitan, Shor In The City, Kahaani, Ra.One, That girl in yellow boots, Zindagi Na Milegi Dobara. Area del sito della Fondazione Roma dedicata all'evento. Programma completo. (Ringraziamo Sabrina Ciolfi e ci scusiamo per il ritardo).

Aamir Khan: Stardust dicembre 2012

Talaash sta incendiando il botteghino, e non solo in India. Il protagonista Aamir Khan è dunque ricercatissimo dai media: non si contano le copertine, le interviste, le apparizioni televisive. Ecco la superstar in versione imbronciata sulla copertina del numero di dicembre 2012 di Stardust.

Le prime del 7 dicembre: Khiladi 786

La superstar Akshay Kumar torna ad interpretare uno dei titoli della saga cinematografica forse più longeva del cinema indiano, inaugurata nel 1992 da Khiladi, e proseguita con Main Khiladi Tu Anari (1994), Sabse Bada Khiladi (1995), Khiladiyon Ka Khiladi (1996), Mr. and Mrs. Khiladi (1997), International Khiladi (1999) e Khiladi 420 (2000). Ora viene distribuito nelle sale l'ultimo capitolo: Khiladi 786, diretto dall'esordiente Ashish R. Mohan. Nel cast Asin, Mithun Chakraborty e Paresh Rawal. La colonna sonora è composta da Himesh Reshammiya. Ne approfittiamo per presentarvi il video del brano Long drive, e per riproporvi quelli di Balma (la ballerina è la modella polacco-tedesca Claudia Ciesla, ammirata in Italia nella serie Outsiders in Palermo), Lonely song, Khiladi Bhaiyya e Hookah Bar. Le note ai filmati includono i testi hindi delle canzoni. Trailer.

Shah Rukh Khan: Filmfare 5 dicembre 2012

La copertina del numero del 5 dicembre 2012 di Filmfare è dedicata a Shah Rukh Khan.

Le prime del 7 dicembre: 10 ml love

10 ml love è l'adattamento cinematografico hindi del Sogno di una notte di mezza estate di Shakespeare. La pellicola segna il debutto alla macchina da presa dello sceneggiatore Sharat Katariya. Nel cast Rajat Kapoor, Koel Purie, Tara Sharma e Tisca Chopra. Trailer.

Sonam Kapoor: Hello! India dicembre 2012

La copertina del numero di dicembre 2012 dell'edizione indiana di Hello! è dedicata a Sonam Kapoor.

Box office: 23/29 novembre 2012

1 - Jab Tak Hai Jaan (distribuito il 13.11); 2 - Son of Sardaar (13.11). Bollywood Hungama

Kangna Ranaut: Harper's Bazaar India dicembre 2012

La copertina del numero di dicembre 2012 dell'edizione indiana di Harper's Bazaar è dedicata a Kangna Ranaut.

21 novembre 2012

Silver Linings Playbook: locandina

Vi segnaliamo la nuova locandina di Silver Linings Playbook nella quale compare anche Anupam Kher. Vi ricordiamo che la pellicola, presentata in prima mondiale al Toronto International Film Festival 2012 (dove si è aggiudicata il premio del pubblico), viene distribuita oggi nelle sale americane. SLP ha anche inaugurato il Mumbai International Film Festival 2012, e qualche giorno fa è stato proiettato al Doha Tribeca Film Festival (evento a cui hanno partecipato Kher e Robert De Niro). SLP è diretto da David O. Russell ed è tratto dal romanzo L'orlo argenteo delle nuvole di Matthew Quick, pubblicato in Italia da Salani. Trailer.

Anupam Kher, Robert De Niro e Ashutosh Gowariker - Doha

Anushka Sharma: Brunch Q novembre 2012

La copertina del numero di novembre 2012 di Brunch Q, il periodico trimestrale affiliato a Hindustan Times, è dedicata ad Anushka Sharma.

Kajol: Masala! 15 novembre 2012

La copertina del numero del 15 novembre 2012 di Masala! è dedicata a Kajol, più bella e fresca che mai.

Salman Rushdie a Che tempo che fa

Salman Rushdie e Roberto Saviano - Che tempo che fa, 2012
Salman Rushdie ha incontrato Roberto Saviano nel corso del programma televisivo Che tempo che fa andato in onda il 19 novembre 2012. Video ufficiale. Vi ricordiamo che Rushdie è stato anche ospite dell'evento BookCity: il 18 novembre lo scrittore ha partecipato ad un incontro pubblico al Teatro Franco Parenti di Milano. Intervista concessa da Salman Rushdie a Il Giornale.

Salman Rushdie - Teatro Franco Parenti Milano, 2012
 

Tasher Desh: prima mondiale e recensioni

Kaushik Mukherjee: red carpet
L'11 novembre 2012 Tasher Desh è stato proiettato in prima mondiale al Festival Internazionale del Film di Roma. Vi segnaliamo alcune recensioni.
CineClandestino: 'Tasher Desh irrompe sul proscenio della settima edizione del Festival Internazionale del Film di Roma con la deflagrante potenza distruttrice di un ordigno nucleare: (...) il film di Q è una delle materializzazioni possibili dell'idea stessa di kermesse propugnata da Marco Müller, quella che vede il festival come un luogo che accorpi nella stessa anima ricerca e intrattenimento, sperimentazione visiva e racconto popolare, innovazione e classicità. (...) La classe registica di Q, in grado di lavorare sulle geometrie della messa in scena e su un utilizzo quanto mai fertile e creativo della scenografia (la natura dello Sri Lanka, dove il film è stato girato, si mescola alla perfezione con la particolare ricreazione dello spazio voluta dal regista), si abbandona fin dall'incipit in bianco e nero (...) a una furibonda apocalisse visiva. Il montaggio sincopato, la narrazione ellittica e sconnessa, la recitazione urlata, le inquadrature sghembe fanno di The Land of Cards un elogio della frenesia e del caos che evidenzia, prima ancora che lo faccia il testo in sé e per sé, l'anima profondamente libertaria e antifascista del film. Una scheggia impazzita che attraversa la prassi cinematografica missando al proprio interno la cultura occidentale e quella indiana. (...) Q pone la firma in calce a un'opera orgogliosamente post-punk, in cui anche il colore è utilizzato in modo eversivo (...) e un incontro di ping pong dalla brevissima durata può essere risolto registicamente con otto inquadrature diverse. Spiazzante ed esaltante allo stesso tempo, The Land of Cards rammenta a coloro che ne avessero smarrito la memoria quanto il cinema possa essere rivoluzionario nell'utilizzo stesso delle tecniche e degli stili'.
CineFatti: 'Tasher Desh è un capolavoro di rara bellezza e raffinatezza (...): Q può diventare il regista simbolo del cinema del XXI secolo, con le sue idee, con la sua fusione di stili e con i brividi di grande cinematografia classica inseriti in un vortice d’innovazione. (...) Sono uomini e donne, attori eccezionali che recitano come fossero in un'opera di teatro contemporaneo. E’ la regia di Q a rendere tutto diverso, movimentato, emozione pura, Cinema. (...) Gioia per uno dei film migliori visti fino ad oggi qui al Festival Internazionale del Film di Roma, il migliore della sezione CinemaXXI in cui concorre. Duro da sopportare, difficile da digerire in molti momenti, ma le vere sfide vengono dai lavori difficili se si ha voglia di capirli e viverli per quello che vogliono essere. Momenti di puro cinema, cinema del futuro, quello che vorremmo vedere prevalere, simbolo del nuovo che tanto farebbe bisogno al mondo intero, perché si deve capire che le barriere vanno abbattute e spazio va lasciato alle nuove possibilità e ricerche'.
Area del profilo Facebook di Kaushik Mukherjee dedicata alle immagini scattate a Roma dal regista. Video ufficiale del red carpet con intervista concessa da Kaushik. Photo gallery del red carpet de Il Cinemaniaco.

Kaushik Mukherjee - Roma 2012

Kaushik Mukherjee - Roma 2012

Le prime del 30 novembre: Talaash

L'attesa è finita: il 30 novembre 2012 viene distribuito nelle sale indiane Talaash, thriller psicologico diretto da Reema Kagti e interpretato dalla superstar Aamir Khan, affiancato da Rani Mukherjee, Kareena Kapoor e Nawazuddin Siddiqui. Producono Aamir Khan e Farhan Akhtar, mentre Zoya Akhtar collabora con Reema alla sceneggiatura. La colonna sonora, composta da Ram Sampath, è notevole: vi riproponiamo il fascinoso video di Muskaanein Jhooti Hain, di Jee Le Zaraa, di Jiya Laage Na, nonchè la playlist di tutte le canzoni. Ne approfittiamo per segnalarvi il video del brano Hona Hai Kya e una lunga intervista concessa da Aamir a Hindustan Times. Trailer sottotitolato in inglese. Video della presentazione della colonna sonora. Nei prossimi giorni la macchina promozionale a sostegno di Talaash lavorerà a pieno ritmo, ci riserviamo dunque di tornare a scrivere sull'argomento.

Box office: 2/8 novembre 2012

1 - 1920 Evil Returns (distribuito il 02.11); 2 - Luv Shuv Tey Chicken Khurana (02.11); 3 - Student of the year (19.10); 4 - Chakravyuh (24.10). Bollywood Hungama non specifica il periodo, per cui, nel calcolo degli incassi al botteghino, potrebbero rientrare anche i giorni che vanno dal 9 al 12 novembre, dal momento che il 9 non vi sono state prime visioni a causa dello slittamento al 13 per la festa del Diwali.

Gattu al Piccolo Grande Cinema 2012

La Fondazione Cineteca Italiana ci segnala quanto segue: 'Presso la Sala Alda Merini-Spazio Oberdan (a Milano) della Provincia di Milano nell’ambito del festival Piccolo Grande Cinema, domenica 25 novembre alle ore 15.00 Fondazione Cineteca Italiana presenta in anteprima il film Gattu di Rajan Khosa. Si tratta di una toccante storia che ha per protagonista il giovane Gattu, un bambino orfano con la passione per il gioco degli aquiloni. Nel cielo che sovrasta la città in cui abita nota un misterioso aquilone di nome Kali e decide di avventurarsi sul tetto della scuola per riuscire ad avere alcuni metri di vantaggio per raggiungerlo e sconfiggerlo. Per riuscirci però deve fingersi uno studente. Peccato solo che non sappia nè leggere nè scrivere... Prodotto in India con un piccolo budget, questo film si rivolge a un pubblico dai 5 ai 99 anni e permette di scoprire l'India da una prospettiva inedita. Gattu ha ottenuto la menzione speciale nella sezione Generation Festival del Cinema di Berlino 2012. Ingresso bambini: euro 3,00. Ingresso adulti: euro 5,00 senza Cinetessera. Biglietti in prevendita allo Spazio Oberdan da una settimana prima dell'evento'. Sito della Cineteca Italiana. (Ringraziamo Cristina Formenti). Trailer di Gattu. Recensioni pubblicate dai media indiani (la pellicola è stata distribuita in India il 20 luglio 2012). Aggiornamento: abbiamo informato Rajan Khosa via Twitter della proiezione. Il regista, molto cortesemente, ci ha risposto: 'Wishing the Gattu viewers in Milan all my best. And a life where all dreams come true'. Grazie, Rajan!                

16 novembre 2012

Aaradhya Bachchan: il suo primo compleanno

La foto del giorno - La piccola Aaradhya Bachchan oggi ha festeggiato il suo primo compleanno. Eccola ritratta in braccio ai genitori, Aishwarya Rai e Abhishek Bachchan.

15 novembre 2012

Delhi Dilemma - David Bailey

Il celebre fotografo britannico David Bailey è in India per la presentazione del suo volume Delhi Dilemma edito da Steidl. Vi segnaliamo l'intervista raccolta da The Times of India e pubblicata... domani.

Aiyyaa: Sava Dollar, Aga Bai, recensioni e interviste

Qualche giorno fa la nostra Caterina ha pubblicato la recensione di Aiyyaa. Ne approfittiamo per segnalarvi i video dei brani Sava Dollar e Aga Bai, inclusi nella colonna sonora del film composta da Amit Trivedi. Vi proponiamo anche alcune recensioni.
Bollywood Hungama, *** 1/2: 'Its strength lies in its cohesive script and able performances. (...) What keeps the film going is Sachin Kundalkar's ability to stumble upon humor in the most ordinary situations. (...) Again, this is one of those rare movies where every actor, big or small, sparkles in their respective part. (...) Sachin catches the pulse of the Maharashtrian backdrop and does immense justice to the written material. Moreover, while the middle class setting of Mumbai has been explored in several Hindi movies, it looks so real in Aiyyaa. The characters, their home, the verbal communication… everything seems original here. This director, in my opinion, is a prized find. (...) Aiyyaa is what it is for varied reasons and one of them is Rani's livewire act. A complete natural, Rani glides through her part with brilliance. An accomplished actor, who can handle the comic sequences with as much flourish as the emotional ones, Rani is absolutely ravishing. (...) On the whole, there are reasons aplenty as to why Aiyyaa becomes a deserving watch. It's arresting, amusing, entertaining and of course, thoroughly enjoyable, with Rani's splendid act, refreshingly different plot, winsome songs, pleasant humor and terrific moments as its aces. Don't miss it!'.
The Times of India, ** 1/2: 'From top to basumm Rani is truly Wonderum! As Meenaxi, she's 'nose-dived' into the character, literally. She's looking fabulous (especially in her bronzed dream sequences), and has dished out a brilliant performance, slipping from traditionally simple to shockingly sexy in a heart-beatumm. Her comic-timing is a revelation and so are her belly-dancing skills. And even with all that boldness, she steals the thunder (more with talent than her thighs-sighs). Prithviraj is simply Eroticumm! He exudes chiselled, raw sexuality in every scene; gets wet, adds Southern masala with his moves, but says nothing really. (...) Sachin Kundalkar starts out well, but while juggling between Marathi matrimonials and midnight-masala, his plot goes 'wakda' (read: digresses). After a few giggles, erotic gasps (...), the story stretches pointlessly and loses its scent. Even with such a talented ensemble, this one turns into a cultural showpiece, and gets lost in translation. That's the sad-partumm!'.
Hindustan Times, **: 'Rani is delightful as a woman in heat. She expertly manages to be both a simpleton and a seductress. She looks stunning and dances like a dervish. But the film can't match her performance. Kundalkar's story soon runs out of charm and wit. His lovely idea and original voice is stretched to the point where even Rani's mannerisms start to feel repetitive. Prithviraj, who plays her object of desire, doesn't have much to do except be the attractive, angst-ridden artist. He has a nice presence but by the time this love story is resolved, you are way beyond caring - which is a real shame because parts of Aiyyaa have energy and passion. But it is drowned by the insistence on being wakda - crooked. Clearly wackiness can't carry a film'.
Rediff, *: 'Aiyyaa, in one word is director Sachin Kundalkar's fantasy. The director is so self-absorbed and self-obsessed that it seems the film was not made for audiences but to satisfy his own creative urges. (...) Rani, as fine an actor that one gets in Bollywood, gets no support from the way her character is written but nevertheless is a joy to watch. The ways she says aiyyaa (a Marathi expression used when one is pleasantly surprised), the way she breathes, the way she portrays her character, and the way she dances. There is no way to find fault with Rani but she is shockingly let down by the storyline. One can only hope Rani is more selective of what she portrays on screen. (...) However, one can't help but say that after every ten minutes or so as the film progresses one expects an unexpected turn that never comes'.
Mayank Shekhar: 'Rani Mukherjee’s been around in movies for about two decades. She comes with a certain baggage. She plays a working woman from a deeply conservative, hardcore Maharashtrian household in this film. It would take a lot of effort on her part to shed the heroine image and morph into the middle-class Meenakshi. Sometimes she tries. Sometimes she doesn’t. You remain distracted by her presence to start with. Given that the film doesn’t have an engaging enough story line to concentrate on instead, a character sketch after another doesn’t help. (...) Those used to viewing wonky diploma films and experimental shorts at various short film competitions would be familiar with a film like this. They usually sound funnier in narration than they look on screen, and belong to YouTube. This one is raised in size and proportion with item songs, top-line star cast, massive promotions, and a mainstream theatrical release. I feel sorry for Rani Mukherjee fans, who are probably tearing their hair out at an expensive multiplex right now'.
Vi segnaliamo anche la lunga intervista concessa da Sachin Kundalkar e da Anurag Kashyap (produttore del film) a Box Office India, pubblicata il 29 settembre 2012.

Aishwarya Rai ambasciatrice per UNAIDS

Nazioni Unite, settembre 2012
Ci delizia il fatto che nelle ultime settimane Aishwarya Rai abbia moltiplicato le sue apparizioni pubbliche in eventi di vario tipo. Un preludio al ritorno sul set? Speriamo! Domani la piccola Aaradhya compie un anno: ormai è grande e pronta ad andare a vivere da sola, lasciando la nostra Ash libera di occuparsi nuovamente della sua carriera cinematografica. Vi ricordiamo che il 24 settembre 2012 la diva indiana è stata nominata ambasciatrice internazionale per conto del programma delle Nazioni Unite UNAIDS. Nel comunicato stampa ufficiale leggiamo alcune dichiarazioni di Ash: 'I am honoured to accept this appointment. Spreading awareness on health issues, especially related to women and children, has always been a priority for me. And now, as a new mother, I can personally relate to this - the joys and concerns of every mother and the hopes that we have for our children. I strongly believe that every baby should be born free from HIV. And I wish that every woman living with HIV stays healthy and has access to treatment. I promise that with UNAIDS, I will do my utmost to make this happen'. Video diffuso da NDTV con sequenze della cerimonia della nomina e della conferenza stampa, e con intervista ad Aishwarya. Video del discorso di Aishwarya pronunciato in occasione di uno degli eventi organizzati dall'ONU. In ambito più profano, vi proponiamo di seguito un magnifico scatto del servizio fotografico realizzato da Ash per la nuova campagna pubblicitaria di Longines.
 
Aishwarya Rai e Michael Douglas - ONU 2012
Longines 2012
 

Mohsin Hamid a Ti racconto un libro

Sono trascorse diverse settimane da quando il profilo Twitter di Einaudi aveva segnalato questa bella intervista video concessa dallo scrittore pachistano Mohsin Hamid, autore de Il fondamentalista riluttante, al programma televisivo Ti racconto un libro diffuso dal canale Iris. Siamo in ritardo cronico, ormai lo sapete, no? Tranquilli: piano piano vi aggiorneremo su tutto...

Makkhi: locandina, trailer, Arre Arre, recensioni e altro

Torniamo a parlare del mitico Eega, lo stravagante film in lingua telugu diretto da S.S. Rajamouli (per saperne di più, consulta l'argomento R S.S. RAJAMOULI). Come già annunciatovi, il 12 ottobre 2012 è stata distribuita nelle sale anche la versione doppiata in lingua hindi, dal titolo Makkhi. Con colpevole ritardo vi presentiamo la locandina, il trailer, e il video del brano Arre Arre incluso nella colonna sonora del film composta da M.M. Keeravani. Vi segnaliamo inoltre alcune entusiastiche recensioni.
Hindustan Times, ****: 'Makkhi is the most outlandish film I've seen in years. It's also the most fun I've had in a theatre recently. (...) It takes courage to pick a story as weird as this. Clearly writer-director S.S. Rajamouli is equipped with guts and a ferocious imagination. (...) By the end, I was clapping and rooting for the fly. How many films can get you emotionally invested in an insect? Makkhi is a mad roller coaster ride that's worth taking'.
Rediff, ****: 'The camera work is beyond belief. The makers have used Scorpio cams to capture complex shots. The result is a mind-blowing rampage of uniquely filmed scenes. (...) This super-fly is a super-stud, a bee-sized package that promises definite entertainment which even the so called larger-than-life superstars fail to achieve or achieve at a highly superficial level. Director S.S. Rajamouli and Kotagiri Venkateshwar Rao, who handled the editing and camera work, and the entire team deserve thundering applause'.
Bollywood Hungama, ****: 'Original, inventive, innovative and imaginative, Makkhi raises the bar of films made in India. (...) At a time when most dream merchants in Bollywood are concentrating on mindless entertainers that kiss goodbye to logic, Rajamouli strikes the right balance between logic and entertainment in Makkhi. The scale of the film is colossal, the plot is invigorating and the outcome leaves you mesmerized. (...) A technical wonder, the computer generated fly is, without doubt, the star of the show. And its creator, Rajamouli, a sheer genius for creating a film that sweeps you off your feet and leaves you awe-struck. (...) The writing is smart and clever, the episodes are ingeniously integrated in the screenplay and the culmination to the tale leaves you spellbound. I'd go the extent of saying that Makkhi has an unfaultable start, immaculate middle and impeccable end, which is a rarity as far as Indian films go. (...) On the whole, Makkhi is a landmark film. You ought to watch certain films in your lifetime. Makkhi is one of those films. For choosing a crackling idea, for executing it with panache and for taking Indian cinema to the next level, I doff my hat to you, Mr. S.S. Rajamouli'.
The Times of India, *** 1/2: 'Ironical it is, that the animated makkhi is so full of life, that he doesn't ever make you miss the presence of a beefy Khan, Kapoor or Kumar. The animation is on par with some of the best in the West and Rajamouli's characterisation of the fly is to be seen to be believed'.   
Box Office India: 'The story, the way it has been written and, above all, the way it has been presented on celluloid takes you totally by surprise. Every scene is a treat to watch, and one good scene is followed by an even better one. (...) Watching Makkhi is a sheer experience! (...) The major highlight of the film is its pace'.
Vi segnaliamo l'intervista video concessa da S.S. Rajamouli al canale CNN-IBN, e l'articolo Hyderabad-based Makuta VFX delivers visual effect of Makkhi pubblicato da Bollywood Hungama il 29 ottobre 2012.

Looking for screen time

Si parla (e si scrive) poco in generale del cinema indipendente indiano, per cui stupisce il lungo articolo dedicato all'argomento pubblicato da Hindustan Times l'11 novembre 2012. Vi invitiamo a leggerlo.

Mere Dad Ki Maruti: locandina e trailer

Vi presentiamo la locandina e il divertentissimo trailer di Mere Dad Ki Maruti, commedia diretta dall'esordiente Asheema Chibbar e interpretata da Ram Kapoor. Produce Aditya Chopra per Y-Films.

Erase: il nuovo singolo di Priyanka Chopra

Ieri in Twitter è stata lanciata una breve traccia audio del nuovo singolo internazionale di Priyanka Chopra. La diva indiana presta la voce al brano Erase, composto dal duo di dj The Chainsmokers. Erase sarà disponibile su iTunes a partire dal 19 novembre.

La saga familiare nel cinema hindi

In India la saga familiare ha sempre conseguito un successo stellare al botteghino. Ma con il proliferare di serie televisive che trattano lo stesso tema, Box Office India, in questo articolo pubblicato il 10 novembre 2012, chiede a produttori e registi se vi sia ancora spazio per la saga familiare al cinema.

Jab Tak Hai Jaan: recensioni

Anche per Jab Tak Hai Jaan le recensioni non sono troppo entusiastiche, ma il decesso improvviso di Yash Chopra ha indotto i critici a limitare il sarcasmo e ad addolcire il giudizio finale. Il risultato? Pezzi monotoni e tediosi. Traspare che JTHJ non sia piaciuto poi molto, però, agganciato al filone del classico film romantico d'altri tempi, gli vengono perdonati diversi passi falsi.
Bollywood Hungama, ****: 'Thankfully, not once does the script or the writers (Aditya Chopra and Devika Bhagat) permit any penetration of superfluous or redundant characters or sub-plots that would've only led to puzzlement. (...) JTHJ is not your typical love story. It has the old-world charm written all over it, with twists and turns plenty. (...) The only hiccup is that it gets too slow-paced at times. Also, the screenplay could've been tighter at places. The DoP (Anil Mehta) and the production designer give the film a radiant look that befits a classic. The cinematography is surreal, grandiose and simply overwhelming. The vibrant frames add to the magnificence of this already spectacular looking film. The costume designers too come up with a wardrobe that's brimming with stunning outfits'.
The Times of India, *** 1/2: 'Every frame is picture perfect, the emotions are well nuanced. But there is one inherent flaw - the story by Aditya Chopra is hackneyed. (...) Shah Rukh Khan is the backbone of JTHJ. He's charismatic as the lover and enigmatic as the army guy. (...) When it comes to handling the intense emotional scenes, Katrina Kaif is still a Barbie doll, beautiful but plastic. (...) Anushka Sharma is saddled with an unsatisfying role. (...) A.R. Rahman's music never grew on the charts; but in the film, the music charms you because the lead actors infuse life into the songs'.
Hindustan Times, ***: 'This film has all the elements you would want in a Yash Chopra film - gorgeously shot locations in the UK and Kashmir, lavish songs and three inherently noble lead characters who struggle gallantly against their individual obligations. But what JTHJ does not have is a coherent plot. (...) The story by Aditya Chopra is grossly over-written and borderline ridiculous. (...) And yet, despite the wobbly narrative, JTHJ works as an ode to epic romance. I didn't buy into the story, but I bought into the heartfelt performances. All three - Shah Rukh, Katrina and Anushka - are top-notch. And ladies, take note: Shah Rukh (...) with this film, finally breaks his no-kissing rule. You also have to admire his ability to play the romantic hero. We've seen him do it for two decades but he still makes it compelling. JTHJ is too tangled to transport you. At almost 180 minutes, it also requires enormous patience. But I recommend that you see it. Because only Yash Chopra could make heartache so attractive and ennobling that his characters wear it like a badge of honor'.
Rediff, ***: 'A Yash Chopra drama that treads very familiar territory slickly - and a fair bit too slowly - but does so with an old-world sincerity that somehow makes most of it bearable. Rather like its leading man, who is often made to balance entire scenes on his dimples, grinning so wide his eyes appear closed. There are times in JTHJ when it's hard not to feel embarrassed for Shah Rukh Khan having to work with material this tedious - and yet he, despite the exaggerated show of youngness, manages inexplicably to charm. This is his film, and, against all odds, he works it well. (...) Katrina is the film's big surprise, providing a solidly competent performance in a role that could well have been reduced to farce. The lazy screenplay makes sure she kisses more than she gets to speak, which isn't a bad thing because she turns out pretty good with the silent moments. The actress brings a tenderness to the proceedings and emotes strongly, making sure her character - while unlikely, untimely and irrational - ends up real enough to root for. And yet it's not her film. Or even Yash Chopra's, really. JTHJ is all Shah Rukh, all the time. His character seems larger than the film, and Khan himself is in fine form even when the script deserves far less. There are times he seems out of place, certainly, but these are made up for by times where he grounds the narrative with one glare, with one scowl, with one kiss. The dude abides. As a swan-song for the master director, JTHJaan might only be a middling effort. But then, sometimes, all we need is a Khan-song'.
Mayank Shekhar: 'This is a romantic weepy. They are expressly made for women audiences the world over. Be warned. But you knew that all along. These barriers are mostly blurred. There’s an emotional woman inside every hardened man. No one should feel shy about letting it all out. Except that by the end of the saga, you worry less about the hero’s love and his wellbeing, and far more for the movie’s length. (...) After about three and half hours in the theatre, when you step out of JTHJ, you realise his last movie, at 80, clearly wasn’t quite his best, or even close to it. It would have been unfair to even expect that. But it did have shades of what we loved him for. You can instantly tell why he was still the youngest filmmaker around. This film may not survive him. There’s a huge legacy that will, and I know we will forever thank him for being'.

Son of Sardaar: recensioni e interviste

Come sta procedendo la sfida del Diwali? E' ancora presto per decretare il vincitore, ma abbiamo già qualche dato certo, grazie agli aggiornamenti di Taran Adarsh in Twitter. La contesa relativa al numero delle sale si è conclusa con 2.500 sale per Jab Tak Hai Jaan e 2.000 per Son of Sardaar. Entrambi i titoli stanno incendiando il botteghino, e l'industria cinematografica di Mumbai ha un motivo in più per celebrare. E' un testa a testa che vede primeggiare alternativamente JTHJ e SOS. Nei circuiti multisala sembra avvantaggirsi JTHJ, nei cinema monosala è invece SOS ad avere la meglio. All'estero JTHJ ha strozzato il rivale (pare che in Nuova Zelanda sia entrato direttamente al numero uno nella classifica dei titoli più visti, battendo le pellicole locali e quelle hollywoodiane), ed anche negli USA i numeri generano entusiasmo. Ma SOS ha bruciato sul tempo JTHJ in Pakistan ridisegnando la storia di Bollywood nel Paese confinante. Sembra inoltre che entrambi i titoli abbiano segnato il record di incassi nel primo giorno di distribuzione per entrambi gli attori maschili protagonisti. Ma passiamo alle recensioni, non proprio entusiastiche per la verità.
Bollywood Hungama, ****: 'SOS pays homage to the cinema of 1980s and 1990s. The trend of creating desi movies that emphasize on entertainment has already gathered steam and SOS is one more big-budget extravaganza that aims at wooing the Indian mass audience. Sure, it's brash, outrageous, wacky, exaggerated, irrational... so what? As long as it's fun to watch, one shouldn't grumble. While the first hour is breezy and thoroughly enjoyable, the narrative dips in the second half as the focus shifts to romance, with vengeance taking a backseat. But the penultimate portions, especially the combat between Sanjay and Ajay, is the hallmark of the enterprise. (...) Regardless of the 'old-fashioned' appeal, Dhir imparts a novel touch to several sequences. He plays to the gallery blatantly and audaciously, but he also ensures that the film is held together by a mesmerizing screenplay that unfolds at a feverish pace. Besides, Dhir emulates his peers and packs a solid punch in the high-voltage dramatic sequences. (...) SOS marks Ajay's return to action, a genre that was once dominated by him till he decided to diversify to romance and comic roles. The supremely talented actor takes charge of the film from the commencement itself and holds it tight all through. (...) Post Agneepath, SOS is another significant film in Sanjay's career. The actor is in his element here, handling the ferocious moments (...) and the sensitive ones (...) with effortless ease'.
The Times of India, ***: 'Ajay Devgan convincingly plays son-of-the-soil with power, playfulness (...). He switches from comedy, action and romance flippantly, impressing with funny lines. (...) Sanjay Dutt as the supporting sardaar, is a delight to watch (...) and his angry outbursts are adorable. Juhi Chawla lights up the screen with her comic timing as impeccable as ever. The coy-cum-cutesy scenes between Dutt and Chawla are amongst the highlights of this one. (...) Ashwni Dhir entertains in parts, with a plenty of Punju humour and goofy one-liners that crack you up. While handling all the Jaswinders, Parminders, Happys and Sweetys, he loses the plot (...). This is a mass-entertainer, strung together with a series of Santa-Banta jokes, spiked solidly with macho sardaarisms'.
The Economic Times, ** 1/2: 'SOS is amongst that category of films which are devised more as a business proposition over sheer love for cinema. Ajay Devgn decides to produce a film. The story is derived from a South film (Maryada Ramanna, which in turn was a remake of a 1929 black-n-white silent American film Our Hospitality) - a supposed sure-shot success formula in contemporary times. The Telugu arena is substituted by a Punjabi backdrop - a milieu more assimilative and accommodating for the national audience. Ashwani Dhir, the director of a sleeper hit (Atithi Tum Kab Jaoge) is given the task to go over-the-top to mould himself into another Rohit Shetty. Salman Khan is brought in for a cameo. And a SOS is born! Now there is nothing wrong in the concoction as long as it is consistently entertaining. Just that the consistency of this recipe is uneven and unreliable! (...) In this action comedy, the action lacks innovation and the comedy lacks permanence. With action having its limitations, one expects more from the humour quotient but the fun starts just in the pre-interval portions and dissipates soon in the second half. After that the plot keeps beating around the bush with overblown action and underwhelming humour. Too much of time is expended in the exaggerated prologue with multiple disjointed gimmicks, none of which have the expected impact'.
Hindustan Times, **: 'The idea, I think, is to be entertained without straining your brain. I'm all for it, as long as there is significant entertainment. There was none here. SOS is exhausting, painfully loud and way too long, with too few laughs. Ajay Devgn as the buffoonish and burly Jassi has some moments of genuine comedy, but Sanjay Dutt, playing the ferocious Billu Paaji, is just large and lumbering. The one bright spot here is Juhi Chawla (...) - she sparkles in every scene she has. SOS made me miss Rohit Shetty, the reigning king of this type of cinema. That says it all'.
Rediff, **: 'Empty vessels make the most noise and that stands true for SOS . It lacks a good script and is packed to capacity with a lot of action and masala. (...) The acting department does their fair bit. Ajay Devgn as Sikh is convincing and puts his sincere bit in the role through the film. Sanjay Dutt is good when he is angry and also when he is funny. (...) The show stealer is Juhi Chawla as the Punjabi girl who is Sanjay Dutt's love interest, she lights up the screen with her smile. (...) Music is not great and most of the songs are forced and out of place. Action is over the top but that's all that there is in this two hour twenty minute film. And that too seems stretched at times. No doubt there are a few dialogues and punch lines that will make you laugh. SOS has a lot for the masses but it lacks a good story. With all the other ingredients in place it feels like SOS is a good opportunity wasted'.
The Film Street Journal, **: 'Without an ounce of doubt, Ajay Devgn is superb. He is spontaneous, natural and his comic sense is impeccable. (...) Yes, the action is supposed to be over-the-top; yes, it is supposed to be nonsensical; yes, it is supposed to be absolutely mind boggling. But is it supposed to be down right unreasonable as well? There is just too much of flying in the air when punched and unnecessary, a-fist-a-minute action. Ashwani Dhir tries to put way too much into the movie. Instead of being action-packed, it’s jam-packed, just far too much happening in one movie. The Salman Khan sequence is so forced, so superfluous and so in-your-face that it seems to be screaming aloud to the competition, 'Look, we too have Salman this Diwali.' (...) Dharmendra Sharma’s editing should have been sharper, reducing the length of the film by cutting out a sizeable chunk of un-funny parts and meaningless fights. SOS has been in news for all the wrong reasons in the past few days and the way the film has turned out, it won’t blaze headlines for too long. It may claim to be a masala entertainer but it lacks punch and zing. Entertaining in parts, it is definitely not entertaining enough to waste a precious Diwali day on'.
NDTV, * 1/2: 'When a movie tries too hard to be funny and the effort shows in every frame, it only ends up being an unintentional joke rather than a genuine laugh riot. SOS is one such abomination. To give the principal actors their due, everybody on view gives it the best shot that they can. But it is impossible to help something as spectacularly ludicrous as this rise above its morass of mindlessness. (...) After propagating a rustic blood feud for over two hours, the film, by way of closure, invokes the wise words of a spiritual apostle to advocate peace. Forgiveness yields love and love yields God, one character pipes up. No offence meant, SOS deserves no form of absolution, no matter who or what your God is. (...) While the men on the screen defy gravity at will, the narrative defies logic without a care. Looking for genuine fireworks this Diwali? Look elsewhere'.
Box Office India: 'Right from the first frame till the end credits roll, the film keeps the audience entertained. The pace does dip in places, especially during the second half, but the overall result is superb. (...) The other plus is that the writers have not penned a senseless comedy. The cinematic liberties are subtle and they work. (...) What makes the proceedings especially enjoyable is the brilliant dialogue. (...) Despite the pace dropping in some places, the film moves very quickly. (...) Ajay Devgn is the soul of the film. Whether action, comedy or emoting through his expressions... he is outstanding! (...) A spectacular Diwali treat. Go for it! Blockbuster'.
Mayank Shekhar: 'You could get the mother of all sar-dards (headaches), if you entered this movie with an expectation any higher than a chewing gum of the mind that should ideally be dispensed with the moment the madness is over. The madness will start seeming reasonably tolerable only then. Ajay Devgn plays the hero. His favourite refrain, since he must have one, goes (in a growling tone), 'Kabhi hass bhi liya karo (You should laugh once in a while).' You do laugh, in certain parts, though few and far between. (...) This is a children’s film, though the audience in my theatre mostly comprised happy rowdies, unlike the young girls, old aunties and families for Jab Tak Hai Jaan at the theatre next door. A 'festival film' means serious art-house cinema in other cultures. In India, it denotes a madcap pic like this, for which countless fans turn up on Diwali morning to catch a nearly packed 8.30 am show. This is where I am reporting from. (...) Thanks to Bollywood’s pictures, most of us are familiar with Punjabi. So that should not be a problem. Though given this film, and so many others based on South Indian blockbusters, you could be forgiven to believe that hysteria, and not Hindi, is the national language of India. (...) Looking at the number of guns and swords going around in broad daylight, you could mistake Punjab for Taliban’s heartland in Afghanistan. (...) The premise is quite straightforward. It makes for ample comedy. There are probably all of five or six major scenes in the whole film. (...) The idea bears promise, yet there is hardly enough meat in it to occupy a full length feature. (...) This is a festival film. Anything vaguely silly, fairly funny, and altogether outrageous would do. I suppose this would do too. Nobody was expecting anything else anyway'.
Vi segnaliamo anche una lunga intervista concessa da Ajay Devgan a Hindustan Times e pubblicata l'11 novembre 2012.

14 novembre 2012

Kajol alla prima di Jab Tak Hai Jaan?

Non sappiamo se la fotografia a sinistra si riferisca all'evento, ma Hindustan Times ha rivelato che la superstar Kajol è intervenuta alla prima di Jab Tak Hai Jaan accompagnata nientemeno che dal nuovo big boss di casa Yash Raj Films, ossia lo schivo Aditya Chopra (in effetti nei video e nelle photo gallery compaiono solo Uday Chopra - il figlio più giovane di Yash - e Pamela Chopra - la vedova -, e ci chiedevamo dove fosse finito Aditya...). I due hanno snobbato il red carpet e raggiunto gli studi da una porta secondaria. Quanto alla superstar Salman Khan, abbiamo letto altre conferme relative alla sua presenza. Pare che Sallu sia arrivato in ritardo (non è chiaro se alla prima o al party danzereccio organizzato dopo la proiezione).

La prima mondiale di Jab Tak Hai Jaan

Da destra: Katrina Kaif, Shah Rukh Khan e Anushka Sharma
Lunedì sera a Mumbai ha avuto luogo una première davvero indimenticabile. In occasione della proiezione speciale di Jab Tak Hai Jaan, gli studi della Yash Raj Films si sono trasformati in una gigantesca sala cinematografica, decorata con le locandine di tutti i titoli diretti dal compianto Yash Chopra. E' stato organizzato un red carpet, calcato dalle celebrità più note di Bollywood. Ha fatto scalpore la partecipazione delle superstar Salman Khan (alcuni media lo hanno menzionato, ma per la verità noi non abbiamo scovato nè fotografie nè video) e Aamir Khan (con Kiran Rao, elegantissima) ad una prima di una pellicola interpretata da Shah Rukh Khan. Amitabh Bachchan era accompagnato dalla moglie Jaya, dal figlio Abhishek e dalla nuora Aishwarya Rai. C'erano anche le superstar Akshay Kumar e Hrithik Roshan. Molti divi del passato, fra cui Rekha. Molti registi, fra cui Karan Johar, Ashutosh Gowariker e Shekhar Kapur. Numerose le eroine dei film di Chopra, fra cui Madhuri Dixit e Rani Mukherjee. E poi Preity Zinta, Shahid Kapoor, Anil Kapoor e altri ancora. Clamorosa a dir poco l'assenza dell'eroina numero uno, Kajol, la protagonista del più grosso successo prodotto dalla Yash Raj Films (ma diretto da Aditya Chopra): Dilwale Dulhania Le Jayenge. Tutti i riflettori erano comunque puntati sul trio di attori di Jab Tak Hai Jaan: Shah Rukh Khan, Katrina Kaif e Anushka Sharma (che ha sfoggiato una magnifica nuova acconciatura e un abito Cavalli). Video e photo gallery proposti da Rediff. Primo e secondo video diffusi da India Today, con interviste concesse da Shah Rukh, Aamir Khan, Akshay Kumar, Hrithik Roshan e Karan Johar. Lo ammettiamo: al caldo abbraccio scambiato da Aishwarya e Hrithik ci siamo un po' emozionati...
 
Da destra: Amitabh Bachchan, Jaya, Ash e Abhishek
 
Aamir Khan e Kiran Rao
 

13 novembre 2012

Shekhar Kapur to make Paani with newcomers

In questo articolo pubblicato oggi, Bollywood Hungama rivela alcuni dettagli interessanti relativi a Paani, progetto al quale il noto regista Shekhar Kapur si è dedicato negli ultimi quattro anni. Intrigante l'ambientazione della vicenda narrata nel film, una Mumbai del futuro divisa in Upper City e Lower City. La prima è popolata dal gruppo dominante che si è assicurato il monopolio delle scarse risorse idriche. Fantascienza, denuncia sociale, ma anche storia d'amore: l'eroe di Paani, proveniente dalla Lower City, conquisterà, dopo diverse peripezie, il cuore dell'eroina dei quartieri alti. E moltissime canzoni: Shekhar vorrebbe realizzare un musical ispirato a West side story. Ovviamente il progetto è ambizioso. Si tratta di creare una città che non esiste, e il regista sta selezionando la location, anche estera, più adatta (nel pezzo viene citata la Spagna). Quanto al cast, nulla di fatto per Hrithik Roshan. Shekhar affiderà i ruoli principali a due esordienti. Le riprese dovrebbero iniziare la prossima estate. Il regista ha negato la partecipazione di Danny Boyle alla produzione di Paani.

Race 2: trailer

Vi presentiamo il trailer di Race 2. Per saperne di più sul film: clicca qui.

Sonam Kapoor intervistata da Vogue Italia

Milano 2012
Il sito di Vogue Italia ieri ha pubblicato un'intervista concessa da Sonam Kapoor ad Arianna Pietrostefani, corredata da un video e da una ricca photo gallery. Quanto all'Italia, Sonam ha dichiarato: 'Amo la moda italiana, lo stile che gli italiani hanno nel sangue. Nessuno è come loro'.