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.