19 luglio 2012

Lo spot di Zoya Akhtar contro il cancro

Farhan e Zoya Akhtar
Un'ora fa Farhan Akhtar ha lanciato in Twitter il magnifico spot in bianco e nero diretto dalla sorella Zoya per conto di Ogaan Cancer Foundation e della sua campagna volta a contrastare in India la diffusione del tumore al seno. Geniale la scelta dei testimonial, tutti di sesso maschile: Abhay Deol, Farhan Akhtar, Arjun Rampal, Shahid Kapoor e Ranbir Kapoor. Gli attori raccontano l'importanza delle figure femminili nella loro vita, ed esortano le spettatrici a non sottovalutare il rischio di un tumore al seno.

Ranbir Kapoor e Zoya Akhtar

Son of Sardaar: trailer

Il prossimo novembre sarà un diwali tutto da ridere, a giudicare dal trailer di Son of Sardaar, presentato poco fa in Twitter dall'attore protagonista e coproduttore del film Ajay Devgan.

Nitin Sawhney presenta The lodger

Se siete a Londra in vacanza, vi suggeriamo di non perdere un evento di sicuro interesse: sabato 21 luglio 2012 al Barbican verrà proiettata in prima mondiale l'edizione restaurata de Il pensionante (The lodger), film muto del 1927 diretto da Alfred Hitchcock. Per l'occasione, il talentuoso musicista Nitin Sawhney ha composto una colonna sonora nuova di zecca, che verrà eseguita dal vivo dalla London Symphony Orchestra. Sawhney presenta la sua opera in questa intervista. Vi ricordiamo che Nitin ha composto diverse colonne sonore, fra cui menzioniamo Split wide open (magnifico film del 1999 diretto da Dev Benegal, con Rahul Bose) e The namesake (Il destino nel nome, di Mira Nair, con Irrfan Khan e Tabu - 2007). Sawhney firma anche la colonna sonora della nuova attesissima pellicola di Deepa Mehta tratta dal celebre romanzo I figli della mezzanotte di Salman Rushdie. Fra gli album vi consigliamo lo splendido Prophesy del 2001 (un assaggio da leccarsi anche le dita dei piedi: Moonrise).

Salman Khan e Katrina Kaif: Stardust luglio 2012

I due sono ex fidanzati - anche se in questi giorni si vocifera che abbiano celebrato insieme il compleanno di Katrina Kaif e che Salman Khan le abbia regalato un'automobile -, ma non hanno problemi a recitare insieme: Ek Tha Tiger è il film più atteso dell'anno. Stardust dedica la copertina del numero di luglio 2012 alla celebre coppia.

Billa II: recensioni

The Times of India, ***: 'Ajith's entry on screen at the multiplex where we watched Billa 2 was greeted with deafening whistles. Though his screen character is uni-dimensional, Ajith manages to charm with his lop-sided smile and some heavyweight dialogue. (...) If you're a Ajith fan, Billa 2 is a must. If you're an action aficionado, it's a treat. If you're neither, then don't bother'. Deccan Chronicle, ***: 'The film works to a great extent because of the sheer screen presence of a star called Ajith Kumar'. Rediff, **1/2: 'Ajith, however, has the Billa charm. His mature looks work in his favour as he builds his crime empire; his strong, taciturn, cold features give you no glimpse of the man underneath. It's a role Ajith has performed well before too. For a film that's supposed to document the making of the don of all dons, there are no striking insights into his character, which is a major let-down. (...) If there's anyone who has poured their heart and soul into the film, it's the stunt crew, and the SFX team. The stunts are a joy to watch, while the SFX team transforms the gangster Billa into a faintly James Bond figure armed with, what else, but more guns and girls. (...) Chakri Toleti's screenplay turns the hero into the formulaic figure of the '60s, where he's a demi-god and pretty much no one can touch him. The only difference is that here, Billa is supposedly a villain. Billa 2 is stylishly shot, and Ajith carries the film on his shoulders, but that's all there is to it. When it comes to screenplay, logical plots and characterisation, it fails to meet expectations'. The Hindu: 'The treatment is darker than ever before, so much so that it is hard to imagine the last time any mainstream actor with box office appeal as much as Ajith Kumar appeared in a movie so grim and unrelenting. He deserves praise for attempting to do something that most mainstream stars would hesitate to do. But no amount of effort can pull off such a weak script. (...) There is hardly any emotional connect with any of the characters. The script relies solely on selling the Ajith Kumar’s off-screen synergy with fans, so much so the story remains half-baked and banal. The most successful gangster movies have relied more on scripts than stunts. But the situations in Billa II will only leave one laughing for all the wrong reasons. (...) There are plenty of gaping holes in the script. But if one can narrow it down to just two things, it would be the lack of a proper adversary pitted against a character that audience has long ago accepted as menacing. None of the villains match up in terms of characterisation. And most importantly, where is the heroine? (...) Where the movie lacks in substance, it does try to score with technical aspects. (...) The best thing about Billa II is its length, which is at least half an hour shorter than the standard for Tamil cinema'.

Cocktail: recensioni

La coppia Saif Ali Khan-Deepika Padukone sul grande schermo funziona: Cocktail non ha convinto la critica ma sta incassando parecchio al botteghino. Vi segnaliamo alcune recensioni. The Times of India, ***1/2: 'Homi Adajania's romantic comedy Cocktail is a slice-of-life film mounted beautifully and imaginatively. (...) Cocktail does have some terrific highs. One is Deepika Padukone's performance. Easily the best in her five-year-long career. (...) DP will definitely win notices and nominations for her near-faultless performance'. Hindustan Times, ***1/2: 'The writing is enhanced by the performances. The big surprise here is Deepika, who moves beyond her usual statuesque mannequin pose and gets into the skin of the emotionally raw and needy poor little rich girl. This is easily her best performance to date'. Bollywood Hungama, ***: 'Cocktail is a complex film, which reflects the complexity and intricacies of human relationships. The highpoint of the film is the three sharply defined characters, besides, of course, the styling and visuals. But this slice-of-life film skids in the post-interval portions. In fact, if the first hour is absorbing, fascinating and pleasurable, hitting the right notes when required, the second hour is half as exciting as the first. What ails the film? Well, too many songs, an over-stretched story, the inconsistent screenplay, the beaten to death finale and the lethargic pacing. (...) The scene stealer is, without doubt, Deepika, who not only looks sizzling hot, but pitches in her career-best performance. She lets herself loose, surrenders to her character wholly and nails the performance. It's an incredibly noticeable act'. Business of Cinema, **1/2: 'The real revelation of Cocktail is Deepika Padukone who sizzles. (...) The editing (...) could have been tighter, as could have the script - 15 minutes off the running time would have prevented the audience from questioning much that the script takes for granted. (Imtiaz) Ali’s script is surprising superficial and lacks the complexity and nuances seen in Jab We Met and Rockstar. Director Adajania manages to craft some truly enjoyable moments, but there are others scenes that could have been revisited. I look forward to seeing his next film, which one hopes will be based on his own script and present an edge and original narrative that this film lacks'. The Indian Express, **1/2: 'There’s some good stuff in Cocktail. Adajania (...) is a director with style. (...) Nice while the fizz lasts'. CNN-IBN, **: 'It's the script that is to blame here, given that the film suffers from lazy, loopy writing. Everyone is trying too hard - to be cool, hip, funny or convincing - and as a result the film gives off the feeling that this generation is completely superficial, with no real emotions. Cocktail also never offers you a real sense of who these characters are - you almost never see them at their jobs, they appear to have no friends apart from each other, and there are way too many unanswered questions about their families'. Rediff, **: 'Cocktail has a handful of moments and a few genuine sparks, but finally crashes and burns so spectacularly that it's hard to focus on the positives'. The Film Street Journal, 1/2: 'The story and the characters seem like an unkempt amalgamation of Imtiaz Ali’s previous love stories. (...) The story, predictable from the trailers itself, unfortunately remains that way till the very end. One gets to know the entire route this train is going to take right at the start and the journey takes over 2 hrs and 20 mins to reach the predicted destination. There is nothing unique in the triangle whether it is the stereotypical characters or the overdose of drama that infects the second half'. Box Office India: 'The film kicks off well but is marred by a jerky rhythm and pace. In the first half, it picks up pace, with tongue-in-cheek one-liners and laughter blended with beautifully picturised songs. (...) However - and this is its failing - the movie suddenly turns predictable to the very end, robbing the second half of enjoyment. (...) Directorially, Homi Adajania impresses you and also manages to disappoint. Had he wielded a little more control over the second half of the film, the outcome would have been sheer pleasure for movie-lovers. But Adajania does full justice to the script. Writers Imtiaz Ali and Sajid Ali manage to come up with a new-age way of writing but they lapse into formula mode in the second, which is disappointing'. Mayank Shekhar: 'Budgets are often inversely proportional to content in Bollywood. This is a good case in point'.