12 agosto 2012

Aishwarya Rai: Iruvar revival

Insomma: ci manca, e le immagini della sua ultima campagna pubblicitaria non ci bastano. Allora ci meritiamo un revival coi fiocchi. Iruvar, 1997, il suo film d'esordio. Splendide coreografie. Lei, poi, balla come una dea. Hello Mister Edirkatchi, Venilla Venilla, Viduthalai, Ayirathil Naan Oruvan. Scusate se il regista è solo Mani Ratnam. Scusate se il direttore della fotografia è solo Santosh Sivan. Scusate se la colonna sonora è solo di A.R. Rahman. E scusate se lei è solo la donna più bella del mondo: Aishwarya Rai. Dive si nasce, e ci dispiace per (tutte) le altre.

Delhi safari: locandina e trailer

La distribuzione è stata più volte rimandata per ragioni ignote. Ora si parla del prossimo ottobre, e da qualche giorno circola una nuova locandina. Nikhil Advani, regista di Kal Ho Naa Ho, è pronto a conquistare il pubblico dei piccoli (ma non solo) con Delhi safari, spettacolare pellicola di animazione in 3D. Le voci sono prestate da Govinda, Suniel Shetty, Boman Irani, Akshaye Khanna e Urmila Matondkar. La colonna sonora è composta dal magnifico trio Shankar-Ehsaan-Loy. Trailer. E incrociamo le dita...

Salman Khan e Katrina Kaif presentano Ek Tha Tiger

E' la coppia cinematografica del momento: la superstar Salman Khan e la regina del botteghino Katrina Kaif. Mercoledì 15 verrà distribuito il loro nuovo film, Ek Tha Tiger, e tutta l'India è col fiato sospeso. Vi proponiamo una divertente intervista concessa dai due a Hindustan Times, pubblicata oggi.

Oh my God!: nuovo trailer

Vi presentiamo il nuovo trailer di Oh my God!. Per saperne di più sul film: clicca qui.

Sir Vachaaru: le riprese in Italia

Kajal Aggarwal - Como
La produzione del film telugu Sir Vachaaru, innamorata dell'Italia, ha soggiornato a lungo nel nostro Paese per effettuare riprese in diverse località. Come già annunciatovi (clicca qui), il 4 agosto 2012 il set era stato allestito a Como. Articolo di QuiComo con photo gallery, e video. Articolo de La Provincia, photo gallery e video. Photo gallery de Il Giorno. Successivamente la troupe si è spostata a Milano, in piazza Duca d'Aosta e nella zona dei Navigli, e a Lecco. Photo gallery de La Repubblica. Photo gallery del Corriere della Sera. Articolo di LeccoProvincia. Caterina ci ha poi raccontato le riprese a Pisa (clicca qui). Articolo de Il Tirreno del 4 agosto. Articolo de Il Tirreno dell'8 agosto, photo gallery e video. Articolo di PisaNotizie. E per finire, l'8 agosto a Viareggio. Articolo di Versiliatoday.

Kajal Aggarwal - Milano

Ravi Teja - Milano

Kajal Aggarwal - Pisa

Kajal Aggarwal e Ravi Teja - Viareggio

Kanamachi: le riprese a Viareggio

Il 7 agosto 2012 la troupe del film bengali Kanamachi, diretto da Raj Chakraborty, ha allestito il set presso la Cittadella del Carnevale di Viareggio, con i mitici carri come sfondo delle riprese. Articolo di Versiliatoday.



Bollywood da bere

A seguito delle riprese a Milano del film telugu Baadshah (clicca qui), il 6 agosto 2012 Panorama ha pubblicato un articolo che, prendendo spunto dal set tollywoodiano, ci racconta l'avventura personale di Ivano Fucci (#santosubito) e della sua Occhi di Ulisse, la società che sta portando in Italia una serie di produzioni cinematografiche indiane.

Gangs of Wasseypur II: recensioni

The Times of India, ****: 'For those who like their celluloid hard and bloody and full of machismo, with an overdose of bodies, butchering and bloody-bravado, welcome to blood-fest - Round Two! This time it's double the dollops of gore; two much. Booming guns and metal-shredded innards spilling gut onto the streets. More revenge and rage. More gangs and more bangs (some pistols firing from lungi covered groins) and more man-power. With every shade of red, black and grey - deeper and bolder. (...) Director, Anurag Kashyap's culmination to this gang-saga is as bloody as the first (if not more); yet it's an easier watch. The story is astutely interspersed with bursts of music (Bihari folkish tunes with a modern twist), humour (crass and rural), high drama and sudden relief - like a sexual climaxing. Even with a high quotient of brutal violence and moral assassination, Kashyap keeps his sense of humour (mostly black) intact, and entertains. With characters named 'Perpendicular', 'Definite' (Zeishan Quadri), 'Tangent' - he truly defies all tiresomely tried-and-tested formulas of filmmaking in Bollywood with his 'big bang-bang theory'. Though in spurts, it unleashes scenes that make you crack up, in true Bollywood style humour. (...) Nawazuddin Siddiqui spells doom, is devious and highly-dramatic - yet you take to his character almost instantly. He brilliantly blazes through this role, from being as strong or as shallow as his character demands. Huma Qureshi, with her gaudy clothes, designer sun-glasses and unusual attractiveness is the hottest cheez in Wasseypur. She beautifully lends support as a powerful man's 'prouder' better-half, even in his worst crimes. Richa Chaddha holds fort in the sequel too, strong and poised, she's fab. Zeishan Quadri makes a mark, most 'Definite'ly. With excellent performances, a screenplay that's strung together beautifully (Zeishan Quadri, Akhilesh, Sachin Ladia, Anurag Kashyap) a revenge story that touches a dramatic crescendo and music that plays out perfectly in sync with tragic twists of tale - GOW II is an interesting watch, for the brave-hearted. Like the first part, the movie slows down at times (with pointless pistols, hordes of characters and wasted sub-plots); the length needs to be shot down desperately. But otherwise, it's revenge on a platter - served cold (heartedly) and definitely worth a 'second' helping'.
Bollywood Hungama, ****: 'GOW II has some genuinely unusual flashes which preoccupy you even after the show has wrapped up. The fact that you carry the film back home, the fact that the characters perturb you and so does the finale only goes to demonstrate that the film has worked for you. (...) Murky, menacing and petrifying and yet witty, GOW II is one intriguing expedition that's several notches above the foremost part. Strengthened by exhilarating acts and stimulating plot dynamics, this is a transfixing motion picture that confiscates your complete concentration. In fact, this cartridge-ridden chronicle is immensely praiseworthy and commendable for a multiple viewing, only to grasp all its fine characteristics to the optimum. (...) On the facade, GOW II is a vengeance story, a representation of retribution connecting generations of gangsters. Scrape that exterior and you'll notice more than that. The writing is unrestrained and imaginative. In fact, in terms of its screenplay, there is not a single scene in the film that leaves you with a sense of deja vu. (...) On the whole, GOW II is an Anurag Kashyap show all through and without an iota of doubt, can easily be listed as one amongst his paramount works. An engaging movie with several bravura moments. Watch it for its absolute cinematic brilliancy!'.
Rediff, *** 1/2: 'Kashyap, in pulling out all the stops, seems content here to let his madcap characters actually enjoy themselves a great deal, making for a far sillier - and decidedly more joyous - cinematic universe. (...) Kashyap's visual flair has just grown with each film, and this one is not just cinematically self-assured but also highly nuanced'.
Tehelka, ***: 'Like the precocious child too aware of being cute, GOW is ultimately irritating. It’s not the cuteness or the precociousness that is the problem, it’s the awareness. Anurag Kashyap is a canny filmmaker. He knows what audiences will respond to, but he is so pleased with this knowledge that he can’t resist yet another slowmotion sequence, yet another film reference, yet another spray of too vivid blood, yet another character with yet another defining tic. It’s not enough that a character is named Perpendicular, there has to be another named Tangent, and another still, named Definite. Sneha Khanwalkar’s unquestionably cool soundtrack is so overused, it punctuates the film like a giddy schoolgirl might punctuate a text message or tweet: “OMG!!!!! GoW ROCKS!! 2 gud!!! Nawazuddin is SOOO CUUTTEE!!!!” There are so many exclamation points, you long for the restraint of the full stop, the courtesy of the comma. (...) As with GOW I, GOW II careens from scene to scene like a drunk driver between lanes, the tone at once portentous, bawdy, abrasive, comic, earnest: the film amounts to much less than the sum of its often violent, often tender, often funny, often spectacular parts'.
Mayank Shekhar: 'Few actors in recent years have managed to morph into characters the way Nawazuddin (Siddiqui) has. His everyman looks and incredible command over his demeanour helps him achieve a level of transition that makes every other leading man you’ve met at the movies this year seem like monkeys – imitations, either of others, or their own selves. You’re equally stunned by the casting (Mukesh Chhabra) for the rest of the film. Each piece, right down to the toothy thanedar, fits in brilliantly across a saga phenomenally mined by story writer Zeishan Qadri. Over the past few years, the kind of talents Anurag Kashyap has managed to attract and inspire as both producer and director makes him India’s top film school of his own. He’s rightly the fan-boy’s ultimate filmmaker. Director Ram Gopal Varma used to play this role before. This is doubtlessly Kashyap’s best work yet. (...) The director is interested in detail, whether in the step-by-step procedure of murder on the street, or booth-capturing, or sweetly mulling over seductive moments. He’s clearly mastered the pop-corn art of sensational killings and colourful dialogue. The reason you prefer this sequel to the first installment, besides it being more contemporary is, well, this is where the beginning ties up with the end. You get a full sense of the film’s ambitions. You leave the theatre feeling satiated, slightly rejuvenated, but mostly heavy in the head. You realise the picture might have hit you with a rod. Clearly that was the intention'.
Hindustan Times: 'GOW II is less like a movie sequel, more like the season finale of an ongoing (and admittedly, engaging) TV series. (...) In Kashyap’s pulp-fiction version of the Jharkhand mafia wars, violence is fundamental. It’s graphic, easy and often without deliberation. The gravity of death is replaced by an ironical matter-of-factness: the cries of mourning are drowned out by the cheap noise of a brass band. Cinematic realism pervades, not only in the film, but in the minds of its characters. (...) The movie plays out amid political and financial machinations – illegal scrap metal trading, election rigging – not unheard of in Jharkhand. Yet, it would be a mistake to judge Wasseypur for factual correctness. Kashyap shows familiarity with this world in his attention to detail – the typical Hindi accents, the Ray Ban shades, the pager. But they enhance the flavour rather than the facts. Wasseypur is as much a celebration of small-town India as it is a sinister revenge tragedy. If the subject wasn’t so gory, you’d call it charming'.

Le prime del 15 agosto: Ek Tha Tiger

Per la folla oceanica di fan della superstar Salman Khan l'attesa è finita: Ek Tha Tiger, il film che si propone di battere ogni record precedente d'incasso, è in distribuzione nelle sale indiane in occasione delle celebrazioni dell'indipendenza, giusto poco prima dei tre giorni festivi di fine Ramadan (19-21 agosto). La pellicola segna il debutto della collaborazione Salman-Yash Raj Films, nonchè il ritorno sul grande schermo della coppia Sallu-Katrina Kaif dopo la clamorosa rottura del fidanzamento (o presunto tale, con un ragazzaccio come Salman Khan non si è mai certi di nulla...) poco meno di un paio di anni fa. Dirige Kabir Khan. L'energetica colonna sonora è composta da Sohail Sen. Un assaggio nei brani Banjaara, Laapata e The Tiger song. Ma la canzone più famosa, Mashallah, è firmata da Sajid-Wajid. Il trailer è spettacolare. Sito ufficiale.

Box office: 3/9 agosto 2012

1 - Jism 2 (distribuito il 03 agosto); 2 - Kyaa Super Kool Hain Hum (27 luglio). Bollywood Hungama

The magic of Bollywood - Anjali Gera Roy

Recensione del volume The magic of Bollywood: at home and abroad, curato da Anjali Gera Roy e edito da Sage Publications. Hindustan Times. 'Not for the first time, were we caught hypnotised by the formal and informal promotional machineries of our dream factories. It’s a serious matter - more so since the middle of last decade when, prodded by foreign affairs mavens such as Shashi Tharoor, the Indian government took formal note of the ‘soft power’ of Bollywood around the world. In Davos in 2006, Joseph Nye, the Harvard professor who coined the term to underline the power of attraction rather than coercion, took note of the growing phenomenon. The official stamp came in 2008 when Manmohan Singh told would-be government officers to use it as an instrument of foreign policy. We owe it to ourselves to go beyond anecdotal evidence and understand the limits of this power'. Qualcuno dia il mio indirizzo a Babbo Natale. Grazie.

India, a sacred geography - Diana L. Eck

Recensione del saggio India, a sacred geography di Diana L. Eck pubblicato da Harmony Books. Hindustan Times