Joker ci incuriosisce sempre più, e l'item song Kafirana è forse la migliore dell'anno, almeno sino ad ora. La coreografia è visualizzata dalla splendida Chitrangada Singh, combinazione rara di eleganza e sex appeal. Gli utenti di sesso maschile apprezzeranno. Il brano è composto da Gaurav Dagaonkar. Il testo è firmato dal regista del film, Shirish Kunder. Per la cronaca: il termine fakht significa solo (sempre che i commenti al video siano affidabili).
5 agosto 2012
Con colpevole ritardo vi segnaliamo, a ridosso della distribuzione del film, il video del brano Electric Piya incluso nella colonna sonora di Gangs of Wasseypur II, composta da Sneha Khanwalkar.
[Blog] Recensione di Paan Singh Tomar (2012), film che si è candidato a diventare uno dei più importanti dell'anno. Diretto da Tigmanshu Dhulia, con Irrfan Khan e Mahi Gill.
Il Melbourne International Film Festival 2012 si svolge dal 2 al 19 agosto. I titoli indiani in cartellone sono Gangs of Wasseypur I & II e Miss Lovely. Sito ufficiale della manifestazione.
Bollywood Hungama ha presentato gli anni novanta, e finalmente incontriamo nomi di attori e registi in attività ancora oggi, ma soprattutto incappiamo in uno dei titoli leggendari della storia del cinema hindi: Dilwale Dulhania Le Jayenge (1995). Inutile precisare che la pellicola è il campione d'incassi del decennio, oltre ad aver infranto ogni record al mondo di programmazione (ha ormai celebrato le 800 settimane - avete letto bene). La coppia Kajol-Shah Rukh Khan conquista il pubblico indiano anche con un altro blockbuster, Kuch Kuch Hota Hai (campione d'incassi nel 1998). Il trio regale dei Khan - Aamir (Dil e Raja Hindustani, campioni d'incassi nel 1990 e nel 1996), Salman (da protagonista in Saajan e Hum Aapke Hain Koun!, campioni d'incassi nel 1991 e nel 1994) e Shah Rukh (DDLJ e KKHH) - si accinge a regnare su Bollywood. I registi (e sceneggiatori) Aditya Chopra e Karan Johan debuttano e incendiano il botteghino con DDLJ e KKHH. Particolarità: il campione d'incassi nel 1997 è Border, considerato ancora oggi uno dei migliori film di guerra in lingua hindi. L'articolo cita solo i numeri uno, ma a noi piace ricordare anche un clamoroso esordio nel 1995: il frizzante Rangeela segna l'ingresso a Bollywood del vulcanico regista Ram Gopal Varma, proveniente dall'industria telugu, e del geniale compositore tamil A.R. Rahman. E restando nei confini di Kollywood, la splendida Aishwarya Rai debutta su grande schermo nel 1997 con Iruvar, diretto dal mitico Mani Ratnam. Vedi anche Top hit films: 1980s.
Il 21 luglio 2012 Box Office India ha pubblicato un interessante articolo dedicato ai programmi televisivi per ragazzi e alle loro potenzialità pubblicitarie. Scopriamo che nel 2011 il 18,3% del pubblico televisivo fra i 4 e i 14 anni ha seguito questo genere di programmi. In totale 48 milioni di spettatori, il cui 85% preferisce i cartoni animati. La lingua è nel 76% dei casi l'inglese, ma sta crescendo a vista d'occhio la domanda per programmi in hindi e in altre lingue indiane. In particolare, lo share dei programmi per ragazzi in tamil ha superato quello dei programmi informativi. L'offerta è suddivisa fra 14 canali. Sun TV Network nel 2007 aveva lanciato Chutti TV, un canale per ragazzi in tamil; nel 2009 Kushi TV in telugu e Chintu TV in kannada; nel 2011 Kochu TV in malayalam. Sempre nel 2011 Maa TV Network ha lanciato il suo primo canale per ragazzi, Maa Junior, in telugu. Nel 2012 Discovery Kids ha inaugurato le sue trasmissioni, e si propone di soddisfare anche le richieste locali. Cartoon TV e Pogo hanno trasmesso nel 2011 25 mila episodi di programmi d'animazione. I ragazzi oggi godono di un accesso sempre maggiore alla rete, quindi cresce l'interazione. I canali per ragazzi hanno creato siti internet appositi, come Nick India o Sonic Gang, e profili nei social network. Ovviamente questi canali devono offrire contenuti anche per adulti, dal momento che il 66% dei genitori guarda la televisione con i figli. E il 20% del pubblico che guarda canali per ragazzi è di età compresa fra i 25 e i 44 anni. La pubblicità si adegua: nel 2011 il 35-40% degli spot su Cartoon Network e Pogo era relativo a prodotti per adulti.
L'India è in fibrillazione: finalmente viene distribuita nelle sale la seconda parte di Gangs of Wasseypur, il film fenomeno del 2012. La prima parte il 22 giugno aveva infiammato critica e pubblico. Vi rimandiamo alla presentazione di GOW I per saperne di più sulla pellicola (vedi anche le recensioni). Ora ci limitiamo a ricordarvi i video dei brani Dil Chhi Chha Ledar (interpretato dalla dodicenne Durga), Electric Piya e Kaala Rey inclusi nella colonna sonora di GOW II, composta da Sneha Khanwalkar. E' la stessa Sneha a prestare la voce alla terza canzone. In questo sito potete ascoltare tutte le tracce seguendone i testi in hindi (non lasciatevi impressionare dall'alfabeto devanagari e scorrete verso il basso, sino ai caratteri latini). Il trailer è a dir poco magnifico. Approfittiamo dell'occasione per presentarvi una nuova locandina. Cosa aggiungere? Peccato non essere a Mumbai...
Venerdì 3 agosto 2012 è stato distribuito nelle sale indiane il film indipendente Shuttlecock boys diretto da Hemant Gaba. Vi presentiamo la locandina, il trailer e il sito ufficiale, e vi segnaliamo alcune recensioni. The Times of India, *** 1/2: 'Don't go by the title. Don't go by the cast. Just go for the idea the movie is based on: Give it a shot!'. CNN-IBN: 'Gradually, the location for aspirational Indian films has shifted from the squalor of Mumbai to the bustle of New Delhi. A slew of films based in Delhi have either shown the city's stark indifference in its busy hovels or its rise as the playground of the rich. SB does none. The film straddles the city's areas of opportunities and blends the desolate struggles of its people. (...) SB deserves a watch for the effort that went into making it. It's not a perfect film, but you will have the biggest smile on your face watching it'. TheW14.com: 'This makes the film an important lesson in entrepreneurship, where all characters are driven by their individual motivations. No one takes centre-stage. They equally share and respect the space of friendship. You watch then a sincere film on urban friendships with no posh locations or a stellar star-cast. Sticking to a uni-layered, character-driven plot, yet making sure the movie doesn’t miss a single note, this is by all means a commendable effort by the cast and crew entirely comprising first-timers. All actors play their parts convincingly enough. (...) The direction could have been more detailed; the art-work could’ve done with greater finesse. The film still doesn’t disappoint you as it convincingly captures the streets and young ethos of Delhi. While the characters are introduced too quickly, leaving you feeling a tad uneasy in the initial minutes, you find yourself engrossed in some finely subtle scenes later. Yes, there are clichés. Sure, the story’s predictable. (...) The film remains still an indie, low-budget, digital camera initiative with reasonable potential to excite mainstream audiences. Because it’s a story told from the heart'. DearCinema: 'Indie films are often talked about for the grand issues that they deal with. But Hemant Gaba’s directorial debut SB entices with its simplicity. The best part of the film are its characters — the shuttlecock boys — who are surprisingly real in depiction and effortless in their performances. (...) Though the film is predictable, one smiles one’s way through the journey of the boys as their relatable chemistry unfolds on screen. The shortcoming of the film, ironically, rests with its characters as well. Though wonderfully conceptualized, the filmmaker falls short of exploring them satisfactorily. The characters are one-dimensional and the viewer gets to know little about their lives outside the need of the plot. (...) SB is a simple and basic exercise in filmmaking that engages and doesn’t disappoint'.
The Times of India, *** 1/2: 'KAK is undisputedly a visual delight (specially in 3D) with psychedelic, vibrant colours, and voiceovers that ain't all that bad. (...) Just one problem: The dialogues. (...) Come on guys! We are talking (and catering) to a generation-of-hardly-many-words (forget difficult ones) that's growing up on FB... Twitter... SMSing'. Bollywood Hungama, **: 'KAK has some gorgeous images, but the feeling of watching an epic unfold on screen is missing. Let's presume, those who go to watch the film are familiar with the story. So the gratification lies in the telling. The problem with KAK is that the movie lacks the dramatic and edge-of-the-seat screenplay. The movie starts off well, but the narrative never rockets. Also, the run time of 2 + hours is a disincentive. A 90-minute film, encompassing the imperative episodes, would've made the narrative crisper. In fact, the film could've done way with a couple of songs. One more factor that goes against it is the spoken language. (...) It gets tricky, at times, even for grown-ups'. CNN-IBN, **: 'How to infuse a vivid body language into a character is one of the biggest hurdles in the way of animation films. KAK also faces the same problem but nearly perfect voice-overs and good visualisation save the day for the film. (...) Directed by Vikram Veturi, the film’s strongest point is the correct selection of language meter. (...) It is difficult to figure out that what stopped the director from making Kans a grey character because initially the film tries to bring out his soft side also but then within moments Kans changes into a real monster, this makes the pivotal character of Kans a bit superficial. (...) With good production values, KAK is childish but enjoyable, but you really need to avoid the lack of excellence in animation'. The Film Street Journal, * 1/2: 'The 3D with some brilliant special effects (Reliance Animation) succeeds to a certain extent in holding the interest of its target audience – children. The film covers up a lot of flaws with some really picturesque 3D visuals. (...) The film is far too long to capture a child’s attention when even adults would find the slow ant pace a big drag. Some chopping and editing may have helped to keep it crisp and crunchy. (...) While the narration is simplistic, the language used is such pure Hindi that tots would find it difficult to comprehend most of the words'. Box Office India: 'KAK wins over you from the word ‘go’. It is a perfect film for the young audience, who enjoys watching cartoons and animated series. The main highlight of the film is the apt voice-overs by actors like Om Puri, Manoj Bajpai, Anupam Kher and Juhi Chawla. (...) This is a good attempt in 3D animation and hopefully it will set a new benchmark for animation films in India, both in quality and revenue'.
Erano anni che, scorrendo recensioni cinematografiche, non ci divertivamo così tanto. La visione di Jism 2 ha solleticato il lato burlone dei critici indiani, che si sono prodotti in una serie infinita di lazzi esilaranti. Temevamo commenti pruriginosi e moralistici, invece la pellicola di Pooja Bhatt è stata letteralmente demolita con dosi industriali di umorismo. Ed è risaputo: l'ilarità uccide l'erotismo. Le recensioni di cui vi proponiamo una selezione sono quasi tutte un vero spasso, e vi suggeriamo di leggere integralmente almeno quelle di Mayank Shekhar, di The Film Street Journal e di The Indian Express. Pronti? Via! The Times of India, ***: 'Jism 2 offers several surprises, foremost being Leone's performance. (...) Sunny may be honey-trap but despite spending most of the movie in plunging night-wear, she conveys delicacy and grace. (...) Jism 2's second surprise is the quality of Hooda's voice, almost Naseer-like at times, warm, caressing, with perfect diction. This, despite the ridiculous lines the actors mouth. (...) Without (...) plot absurdities, Jism 2 could have been tighter. Slicker. And hotter. Instead, with unexplained turns (...) and over-acting, it's often limp, salvaged by its last 20 minutes of suspense. (...) Jism 2 offers one more surprise, earning it a couple more points. It's pleasingly aesthetic'. NDTV, ***: 'What Jism 2 lacks by way of pace and thrills is amply made up for by the strikingly composed and lit frames, the generally taut editing, a first-rate performance from Hooda and, of course, the rampaging sex appeal of Sunny Leone. (...) On the flip side, Jism 2 fails to create the atmosphere of menace and foreboding that a dangerous cat-and-mouse game with a heartless annihilator should necessarily have generated. Even the sexual chemistry between the seductress and the two men seems somewhat laboured at times. What saves the film from falling into a bottomless pit is a certain degree of serious-mindedness that is embedded in the screenplay. Jism 2 goes beyond the confines of carnality to refer to bigger issues, political and polemical'. Hindustan Times, **: 'The story (...) is (...) one of the silliest in recent history. (...) Over the past decade, the Bhatts (Mahesh, who has written this film, Mukesh and Pooja) have become experts at creating low-budget thrillers that have a high sex quotient, melodious songs and often, Emraan Hashmi. Among the three, Pooja has the keenest aesthetics, so no matter how inexpensive her films are, they usually look good. Jism 2 is set in lovely, leafy Sri Lankan locations. The love-making includes white candles, bath tubs and massage oils. Perhaps this is what she means when she says that the film has a feminine gaze. But neither a feminine nor masculine gaze can combine intense passion with such a ridiculous story. For an erotic film, everyone talks way too much. Of course, we get love-making, Leone's bare back and ample cleavage. But the Bhatts - Mahesh and Pooja - also want to unveil some deeper truth about men, women and their obsessions with each other. So Jism 2 plays out like an unintentionally funny fever dream. (...) Hooda is a fine actor but here he seems to be emoting for all three of them. Leone, who is very pretty, clearly wasn't cast for her acting skills, but honestly, she's not bad. She wisely finds a sort of half-bewildered, half-heavy breathing expression and then stays with it. When the emotion becomes too complex for her to handle, Pooja cuts to the back of her head'. Bollywood Hungama, **: 'Jism 2 is visually stunning. (...) The story of Jism 2 unfolds at a leisurely pace, which shouldn't be the case if it's meant to be a thriller. Also, it gets too verbose and talk-heavy after a point. (...) There's no denying that Pooja Bhatt has extracted an arresting performance from Sunny Leone. But the screenplay plays a complete spoilsport. This could've been a convincing take on obsession, vengeance and infidelity, but there's hardly any movement in the story. (...) Randeep enacts a pivotal character with aplomb'. Business of Cinema, **: 'The part of Kabir also does not do justice to Randeep Hooda’s skills and talent though he seems to have tried to infuse the part with his own interpretation. It’s hard to avert your attention when he’s on screen' (#parolesante). The Indian Express, * 1/2: 'Hooda, he of the hooded eyes and deep voice, is the only sexy thing in the movie'. Rediff, * 1/2: '(Sunny Leone) delivers her lines with the concentration of an impassive newsreader rattling off cue cards on the screen. She has the body but not the racy persona required to hit the sensual notes. (...) At best, it's just a blank, expressionless parade of rehearsed intimacy featuring an entire catalogue of seductive poses and salon-polished skin playing against various artists' bland soundtrack, which is better suited for exotic spa or honeymoon package commercials. Hollowness, not audacity, is Jism 2's real problem. (...) Moreover, it's impossible to concentrate on anything except the dialogues, which are so, SO cheesy, it'll split your sides. (...) It's like Sunny Leone's assets are the script, screenplay and sole purpose of Jism 2 and everyone outside that - Hooda, Singh, Zakaria or the audience - is obliged to wag their tongues with thrill'. The Film Street Journal, *: 'The good: ? Let’s pass this one. The bad: The film unintentionally changes its genre to comedy because of some atrocious dialogues mouthed by a bunch of freaks who breathe lust. (...) The main problem is that it doesn’t even fit in the official porn category which is supposed to be unpretentious, emotionless and brainless. Jism 2 actually has pretentions of having a brain. Take any scene, any emotion, and Sunny Leone is directed to breathe through it. Yes, breathe heavily for obvious reasons. The only switch in Sunny’s expressions is in the range of her breathing speed. Normally a gifted actor, Randeep Hooda has nothing much to do except to look like a maniac'. CNN-IBN, *:'To say that its script is ridden with plot holes is an understatement; the plot itself is like a big, black hole there is no coming out of'. Mayank Shekhar: 'The predominantly male audiences at my theatre surely didn’t come to this film for its stars, songs or story-line. (...) Viewers probably walk in for the leading lady and the lovemaking. Several female actors in cinema exist merely to excite a wet dream. In a sexually repressed India, this is a social service of sorts. (...) The only thing they needed to get right with Ms Leone’s acting is the dubbing. They made sure even that’s off. She sits or stands in every conversation, heavily breathing in and out her silicone implants, nervously twitching her eyebrows. It’s hard to tell what she plays in the movie. (...) This is good enough script for a pornographic pic. By the time you hit the climax, of the film of course, you realise, there was hardly more sex in it than any other skin flick, and you had to sit through two growling naked guys (Arunoday, Randeep) and a psycho boss (Arif Zakaria) instead, babbling over international terrorism. Audiences are known to giggle at uncomfortable sex scenes. They laugh here at the heroes’ serious dialogues, in chaste Urdu, cooking up obscure conspiracy theories. This is the entertainment we deserve'. Filmfare: 'Some films should never have been made. This is one of them. (...) Sunny Leone is a non-actor. Arunoday (Singh) took his cue from her and give her stiff competition in non-performance. Randeep Hooda gamely tries to be within his character but even many broody expressions aren’t enough to save the day'. Box Office India: 'Director Pooja Bhatt, who shouted from the rooftops that Jism 2 was an erotic film, fails to establish her characters, and the sex scenes are neither explicit nor sensual. As a director, Bhatt fails to lace together a storyline along with screenplay. The script is weak and lacks conviction. The basic premise and story are jerky and the entire storyboard sets a weary tone. The script, which needed punch in each scene, falls flat. (...) Randeep Hooda gets into the skin of his character and (...) portrays the grey shades of his character beautifully'.