16 agosto 2012

Heroine: Halkat Jawani

Vi presentiamo il video del brano Halkat Jawani incluso nella colonna sonora di Heroine, composta da Salim-Sulaiman.

Raaz 3: Kya Raaz Hai

Considerando che Raaz 3 è un horror la visualizzazione del brano Kya Raaz Hai, incluso nella colonna sonora del film, è piuttosto azzeccata. Forse non proprio di buon gusto, ma si può apprezzarne una certa originalità, almeno nel panorama hindi. Bipasha Basu, in pelle nera e sguardo demoniaco, è aggressiva e convincente. Il compositore è Jeet Gannguli.

Kya Dilli Kya Lahore: trailer

In occasione del 65mo anniversario dell'indipendenza pachistana (14 agosto) e di quella indiana (15 agosto), in una località al confine fra i due Paesi è stato presentato il trailer del film Kya Dilli Kya Lahore, diretto e interpretato da Vijay Raaz. La distribuzione è prevista per novembre.

Chakravyuh: locandina

Qualche giorno fa vi avevamo segnalato un'intervista concessa da Prakash Jha (clicca qui) nella quale il noto regista presenta il suo nuovo lavoro, Chakravyuh, thriller a sfondo politico che esplora il controverso argomento dei naxaliti. Nel cast Arjun Rampal, Abhay Deol, Manoj Bajpai, Kabir Bedi e Om Puri.  Oggi vi presentiamo la locandina del film. La distribuzione è prevista per fine ottobre.

Festival des Films du Monde Montréal 2012

Il Festival des Films du Monde Montréal si svolgerà dal 23 agosto al 3 settembre 2012. I film indiani in cartellone sono B.A. Pass di Ajay Bahl; e Oba Nathuwa Oba Ekka, coproduzione indo-cingalese di Prasanna Vithanage, in lingua tamil, ispirata al racconto La mite di Dostoevskij. Sito ufficiale del festival.

Vidya Balan: It's difficult not to love me

Vi proponiamo un'intervista video concessa da Vidya Balan a Faridoon Shahryar per Bollywood Hungama. La spumeggiante attrice sembra divertirsi un mondo, quanto a Faridoon... è estasiato. Come biasimarlo? Non capita tutti i giorni di trovarsi al cospetto di *The Balan, The (Wo)man*. Prima e seconda parte.

Screen kisses that made a difference

Aishwarya Rai e Hrithik Roshan - Dhoom 2
Vi segnaliamo l'articolo pubblicato da The Film Street Journal dedicato ai (rari) baci nella storia di Bollywood. L'autore è il regista Dharmesh Darshan, che ci ha regalato una delle scene più intense del cinema hindi: l'appassionato bacio scambiato da Aamir Khan e Karisma Kapoor nel suo Raja Hindustani del 1996 (video). Mentre la recitazione di Karisma pare un tantino carica, Aamir è sempre perfetto e convincente. La sequenza ha una durata di circa cinque minuti, il bacio vero e proprio dura più di un minuto, quindi - siamo a Bollywood - è quasi interminabile. Ma vi proponiamo un altro famosissimo bacio che nel 2006 ha incantato l'India e non solo: la donna più bella del mondo, Aishwarya Rai, e il dio greco di Bollywood, Hrithik Roshan, nel film che li ha consacrati la coppia cinematografica più scintillante del cinema del subcontinente (Dhoom 2), al termine di una scena di grande effetto drammatico, si scambiano un indimenticabile bacio che scatena l'applauso del pubblico ad ogni visione (video). E come dimenticare Emraan Hashmi, il serial kisser di Bollywood?

Devudu Chesina Manushulu: recensioni

Ieri è stato il grande giorno della distribuzione nelle sale di Ek Tha Tiger, evento che ha offuscato persino le celebrazioni del 65mo anniversario dell'indipendenza indiana. Ma è stato distribuito anche Devudu Chesina Manushulu, il film telugu parzialmente girato in Italia (clicca qui). Non sappiamo nulla circa l'affluenza del pubblico (in India non si parla d'altro che di ETT), però l'accoglienza da parte della critica sembra negativa. Vi proponiamo le recensioni di The Times of India e di Rediff.

Oh my God!: terzo trailer

Poco fa Akshay Kumar ha presentato in Twitter un nuovo trailer - quello che verrà proiettato nelle sale - di Oh my God!.

Ek Tha Tiger: recensioni

E' confermato: Ek Tha Tiger ha infranto ogni record d'incassi per la prima giornata di programmazione. E le recensioni critiche non sembrano troppo negative. Di seguito ve ne segnaliamo alcune.
Bollywood Hungama, **** 1/2: 'ETT is enthralling and most significantly, an entertaining motion picture. On the exterior, it is a compelling love story/thriller. But beneath the entertainment that it offers, it carries a message as well. Loud and clear. If the spectators can see through the coating, great. Even if they don't, they will yet go back in high spirits. Let me clarify, ETT is not a 'dark film'. No jingoism. No political statements. (...) Kabir Khan's direction is thoughtful, focused and never goes off-track. (...) Clutching the thriller with his dynamic presence and performance, Salman is, without doubt, the lifeline of this film. He pulls off the part with flamboyance. Also, he brings in so much visceral rousing energy to the film, every time he appears on the screen'.
The Times of India, *** 1/2.
Hindustan Times, ***: 'ETT is Salman Khan’s best film since Dabangg. But because his last two films were Ready and Bodyguard, the bar is not exactly high. Still, ETT has more of a story as well as greater coherence and emotion than both those films put together. Director and co-writer Kabir Khan takes the larger-than-life Salman Khan persona and wraps it in an engaging story that services it. Of course it’s played out like a comic book but if you’re willing to suspend disbelief there’s fun to be had. (...) It’s such a pleasure to see a Hindi film heroine not playing a damsel in distress. (...) But the screenplay by Kabir and Neelesh Misra requires Salman to emote and play a character. Thankfully, he makes an effort. Of course, he is always in invincible hulk mode - yes, there is a brief shot of him taking his shirt off - but there is also sweetness and a touch of vulnerability'.
Rediff, ***: 'The shirt stays on. So numbed are we by the onslaught of mindless Southern remakes heavy with punchlines and raucous slapstick that an action film where the leading man doesn't lose his shirt automatically feels somewhat special. That this un-unpeeling of wardrobe happens in a Salman Khan filmamplifies the magnitude of the movie miracle. Over the last few years, Khan has almost singlehandedly - via winks and jiggling pectorals and flat gags (and invariably record-breaking boxoffice performances) - ushered in and legitimised a new level of cinematic mediocrity. In this new film, Salman Khan discusses the sovereignty of Montenegro. Clearly this is a departure. And yet, not so much. Director Kabir Khan scales down the ambition as he aims for a safe mainstream middle-ground in his ETT, a spy-thriller which takes a while to get boiling but eventually crackles along quite effectively. That other Khan - the one whose name is enough to give distributors orgasms and make trade analysts hunt out new hyperbolic adjectives - does his bit and does it well. In a film industry which has trouble keeping secret agents anything but laughable, Salman out-Dons Shah Rukh and out-Agents Saif. He's not quite Ethan Hunt, but - as we see when he hangs nonchalantly from a well-cut blazer on the top of a runaway tram - he's something all right. (...) Katrina Kaif (...) is so darned leaden. It's a immensely unappealing performance, the sort we thought Kat had worked her way up from, and resultantly kills any chance of a chemistry between the pair. Khan tries valiantly, using his most cunning linguistic techniques to get her to say tangri right, but no amount of tongue-ri seems sufficient. The film, relying too heavily on the relationship, loses its footing and, about midway through, even Khan seems like less of a ladykiller than we need him to be. (...) Post-interval, however, the film changes gears. We see more of the stuntwoman than we do Katrina, which is a good thing. (...) One well-choreographed stunt follows another, and while the whole thing is shrouded in blockbuster-implausibility, the action keeps things interesting. There is a decent 'what if' idea at the heart of the story, and, thanks to Khan, there's someone to cheer. (...) It could have been snappier, and the girl could have been much better, but the film should be applauded for giving us a non-sleepwalking Salman, and enough genuine bang for our buck'.
The Film Street Journal, ***: 'Finally, a semblance of a story from a Salman Khan film. (...) The lines and plot keep you engaged despite the weepie quotient. (...) The Khan’s stunningly speedy, slick action sequences and parkour-inspired stunts erupt explosively and are a notch above his previous action scenes in earlier films. (...) Treason, trauma, betrayal, double-crossing... one does expect all this and more from spy films, especially ones with fancy names like ISI (agenzia pachistana di servizi segreti) and RAW (Research and Analysis Wing, agenzia indiana di servizi segreti), but this one doesn’t deliver on such a scale. The plot may be gripping, but there aren’t many surprises. In fact it’s even slightly cheesy, unusual considering the YRF banner. A few more twists and turns would have been in order. Also, the action slows down inexplicably in the second half and moves with ant-like speed. (...) The finale is abrupt and the story ends on an unfinished note. (...) A chunk of story appears to be missing, with the happy ending tacked on'.
CNN-IBN, ** 1/2: 'To be fair, ETT is a very different beast from recent Salman Khan starrers, particularly his last two releases, Ready and Bodyguard. Now that could be construed either as good news or bad news depending on what you thought of those films. For those like me, who weren't fans of those blockbusters, it's refreshing to note that ETT isn't an over-indulgent one-man showreel. Hallelujah, this film has a plot. Unfortunately, however, it's a one-line, threadbare plot around which director Kabir Khan constructs the entire movie. (...) The film's screenplay packs more holes than you're likely to find in a fisherman's net, and the clunky dialogue is the sort you'd expect from someone whose only research involved going through back issues of spy-themed comics. What doesn't disappoint is the action in this film. (...) Despite its obvious flaws, ETT is far from unwatchable. It's a welcome change from the harebrained films we've seen Salman Khan in lately, and for what it's worth he's playing a character and not himself for a change. The question you have to ask is – Is that enough?'.
Business of Cinema, **: 'What happens when you mix Scotch with Pepsi, or combine a suit with flip flops? Exactly what happens when Yashraj meets Salman: the champion of pulpy romance with the man who beats everyone to pulp. Nothing. For two and a half hours, nothing, barring a couple of good action scenes and an armchair journey around the world. The premise of the story, at least at the beginning, sounded promising. A romance between a RAW agent with an ISI operative (no prizes for guessing who is in RAW – dare they make a Bollywood film where the hero is Pakistani? The leading lady, however, can be from Mogadishu and it would not matter). But besides the promising principle of the thought, the rest of the film falls flat. (...) The action sequences are superbly shot and choreographed. (...) The action scenes are clearly the only parts of the film on which money was well-spent. (...) But what kills the film, besides the obviously half-hearted screenplay, is the lead performers. Put Salman Khan in a scarf and you might as well ask Sachin Tendulkar to bat left-handed. Minus his shirtless moments, quirky one-liners and natural charm, which made films like Dabangg and Wanted such sure-shot winners, Salman falls flat. He looks stiff, overweight and tired. (...) Katrina Kaif manages a second expression somewhere towards the end of the film, but by then it’s too late'.
Mayank Shekhar: 'Reviewing a Salman Khan film is like ironing a pair of jeans: what’s the point. People will go, watch it anyway. (...) The character isn’t important. The audience believes Salman is a character himself. They react to him. (...) The skilled, sorted director’s ensured the film has a script. (...) The trouble with over-promoted pictures is their highlights get stale by repetition in trailers. You would’ve seen some of the film’s best action scenes already. But that is to take away nothing from the effort that may have gone into putting these stunning sequences together. Hollywood achieves similar results with over 10 times the budget. (...) The mechanics of how the RAW operates, right down to wire-taps, is treated with fair realism for a Hindi film. (...) At least this Salman film was fully worth it. For the first time since Chulbul Pandey (Dabangg) has the actor attempted to play a character, which to begin with, is saying a lot'.
Box Office India: 'ETT, billed as the biggest Hindi movie of all time, has neither the definitive stamp of Salman Khan nor the classic signature of Yash Raj Films, one of the biggest production houses in the country. Director Kabir Khan, who has a good track record of delivering good commercial cinema (Kabul Express and New York), was perhaps caught between the contrasting styles of the superstar and the production house and came up with a compromise to suit both. (...) ETT totters on all three pillars of a movie – story, screenplay and dialogue. (...) Dialogue is the worst and is neither reminiscent of Salman Khan nor Yash Raj Films. So what works in favour of the film? Salman Khan, Katrina Kaif and, once again, Salman Khan. (...) Kabir Khan fails this time in every department of filmmaking'.