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This time debutante director Pradeep Sarkar takes on the adaptation of Parineeta by joining hands with Vidhu Vinod Chopra production house. Chopra has a remarkable past record of good films to his credit and Sarkar comes from a background of advertising and directing music videos.
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The film starts with Amitabh Bachchan’s poetic voiceover introducing 1962’s Calcutta(as called then) with sepia color tone welcoming us to the City of joy, of laureates, of processions & strikes, of the section of moderns highly influenced by British raj, of those eating paan & rasgullas, of the banks of Ganga river overlooking the symbolic Howrah bridge sliding into the world of Shekhar Rai(Saif Ali Khan) who is getting married to Gayatri Tantiya(Dia Mirza),a high society resident but his heart belongs to Lolita(debutante Vidya Balan) with whom he had shared the most memorable childhood and and many priceless moments.
He chooses to drift back in time taking the film in flashback mode when he as a kid was first introduced by his neighbour Koel(Raima Sen) to her cousin Lolita who after a sad demise of her parents was invited to stay with her maternal uncle. They hit it off from the very first moment… they evolve from neigbours to friends to lovers, an evolution so effortless and non-prentious.
A kind and favourite of all Lolita is free to walk into Shekhar’s room at any time of the day and has a key to his personal savings and he is free to call her anytime of the day to listen to his new musical score and even expects her to give inputs to make the tune more lilting which she happily does. Outside the world of this deep relationship of trust and unspoken rights over each other, there is a world where Shekhar’s aristocratic father(Sabyasachi Chakravarthy) , a very shrewd businessman lives and there is also Girish babu(Sanjay Dutt), a suave London-returned bachelor whose cheerful & generous heart falls for Lolita at first sight. Lolita’s call for her family duties and Shekhar’s transition from ‘just a Musician’ to ‘just a Buisnessman’ results in friction.
Some more trying times fall ahead which force one and all to take some stand in their lives which necessarliy not be pleasing to the other or oneself. So does one make a compromising decision and live with it for lifetime or is there some chance to revert back to where one’s soulmate resides?
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Shy, introverted, and kind-hearted Surinder Sahni is an office worker for Punjab Power. He quietly falls in love with the daughter of his former professor, beautiful and vivacious Tania Gupta, whom he first sees during the preparations for her wedding. Upon their first meeting however, Taani jokingly berates and blames him for setting an impossible set of standards that she was never able to meet as a child. A short while later, Taani’s father suffers a heart attack when the entire wedding party learns that her fiance and his family were killed in a traffic accident. Fearing that Taani will be alone in the world, the professor asks Suri to marry her. Suri concedes; Taani tearfully agrees only to please her father. However, Taani tells him that while she will try to be a good wife, she can never love him due to having no love left within her. Suri still continues to indulge her every desire. This includes frequent visits to the cinema to see song and dance films which appe (more…)
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I want to see some Bollywood films, but have idea where to start! I’m fine with subtitles – my main criteria is that they should be classics in the genre, accessible for those with little previous experience of such films, and be easy to get hold of (preferably the kind of thing a public library would have). Any suggestions?
Well my ex who is a desi, introduced me to bollywood and I do have to say that it is really awesome.
I love watch the movies and listen to the music while driving and all, but I was wondering how I could learn to dance like that.
Any good ideas? I live in GR, Mi and so there are no really dance schools available.
BOLLYWOOD MUSICAL COLLECTION! Nandini (Aishwarya Rai) the daughter of singer Pandit Darbar (Vikram Gokhale) loves his student, Sameer (Salman Khan). However, Vanraj (Ajay Devgan) sends his proposal to her father. Sameer and Nandini are caught romancing each other, and as a payment for teaching Sameer music, Darbar demands Sameer forget Nandita. After the marriage takes place, Vanraj comes to know about Nandinis love for Sameer. He decides to unite the lovers even in the face of ridicule by society and takes Nandini to Italy to search for Sameer. They find Sameer… but Nandini is now torn between Vanraj, whom she has come to respect and Sameer, whom she loves.
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Would you believe the most enchanting musical of the year is an almost four-hour-long epic about a ragtag group of 19th-century Indian farmers who form a cricket team to take on an arrogant British captain? The old-fashioned Hollywood musical is alive and well in India’s Bollywood industry, where the joyful explosion of music and dance and innocent romance abounds in sweeping epics. In this infectious tale of bloodless revolution, the underdog outcasts and oddballs of a fractured village pull together into a unified team to take on the oppressive colonial Brits at their own game. Think The Longest Yard meets The Seven Samurai by way of Rudyard Kipling, with cricket bats, choreographed dance numbers, romantic triangles, and a rousing call to solidarity. There are no surprises, but what spirit, what color, what good fun! –Sean Axmaker
From The New Yorker
This Indian film-a period musical drama about a group of drought-stricken villagers who play a cricket ma (more…)
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Both stylish and stylized, Santosh Sivan’s Hindi epic Asoka tells the heavily fictionalized but nonetheless compelling story of India’s greatest emperor. In the third century B.C., the Mauryan king Asoka built a vast empire by means of ruthless conquest; but after the great Kalinga war he became sickened by the terrible slaughter he had caused, converted to Buddhism and dedicated the rest of his life to spreading peace and prosperity. The film, though, concerns itself only with Asoka’s rise to power, his love for the princess Kaurwaki, and his subsequent descent into brutality. Shah Rukh Khan is a brooding and temperamental prince who woos the lovely princess Kaurwaki (Kareena Kapoor) incognito and with the aid of the obligatory song-and-dance numbers. After a promising start involving mythic swords, heroic combat, and King Lear-like sibling rivalry, the film falls into a familiar Bollywood groove for a while until events overtake the unlucky lovers and Asoka (more…)
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Mira Nair (Monsoon Wedding) adds her angry voice to the cinema of forgotten children in this wrenching drama of an 11-year-old boy (real-life street kid Shafiq Syed) who heads to the big city and joins a sea of homeless kids and down-and-out adults scrambling to survive the pitiless streets. The fantasy of Bollywood dreams hangs just out of reach in posters, movies, and radio tunes, momentary respites from the hard reality of a world ruled by brutal pimps and drug dealers. In the tradition of Los Olvidados and Pixote, former documentarian Nair’s feature debut is shot entirely in the slums of Bombay with a largely nonprofessional cast from the same streets. Though the drama is at times misty and melodramatic, her clear-eyed look at the mercenary world around these ultimately fragile forgotten children earned her the Caméra D’Or at Cannes in 1988. –Sean Axmaker
From director Mira Nair (Monsoon Wedding), this “brilliantly achieved, stunning and p (more…)
Story
In colonial India, subedars (tax collectors) went from village to village, with soldiers, often demanding more than taxes. A subedar commands Sonbai, a beautiful and confident women whose husband is away in the city, to sleep with him. She slaps him and flees for safety to a spice factory where women grind chillies into fine powder. The aged factory guard, Abu Mian, locks the door behind her, refusing to open it to the soldiers, to the cowardly village men led by the mayor, and to the subedar himself. The town’s teacher, who follows Gandhi, and a few women, led by the mayor’s wife, protest ineffectually against this village-approved rape. The stage is set for a final confrontation
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