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TV actor Karan Patel to star in 'Shootout at Wadala'

Posted by Unknown Jumat, 29 Juni 2012 0 komentar

One more TV name Karan Patel will soon be seen in Sanjay Gupta's forthcoming film. The actor plays a sharpshooter

He has completed the shoot and says he has never worked with someone more professional than co-star Anil Kapoor.

Hopefully this will see Karan make his transition from the small to the big screen.

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Will soon release ghazal album: Javed Ali

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A big fan of Ghulam Ali, singer Javed Ali, known for the hit song "Jashn-e-bahaaraan", is confident that ghazals will not die a silent death. He is all set to release his debut ghazal album.

"I will make a ghazal album. I have a taste for ghazals and I like them. Within a few months, I will release one," Ali told.

Talking about the fading away of ghazals with the demise of Mehdi Hassan and Jagjit Singh, he said that nowadays there are "upbeat songs" as people want to make "the audiences sing and dance with them immediately".

"Ghazals have a different audience and I know that the era of ghazals will come back for sure," he added saying he also wanted to be a ghazal singer.

"When when I was young, I used to listen to his (Ghulam Ali) ghazals. I used to think that I will become like him one day. But then I came into the film industry, I got the concept of world music. I have sung all kinds of songs - be it ghazals, qawwalis, romantic numbers or peppy numbers," he said.

Ali came into the industry almost 10 years ago and has given some hit numbers like 'Ek din teri raahon mein' from "Naqaab" and "Guzaarish" from "Ghajini".

He agrees that music has changed over the years and that he welcomes flexibility in people's attitude.

"I feel that melody, style of singing has changed. 10 years ago, when I was new, people used to always ask, 'Do you sing like someone?'. Nowadays, they want to see new things. This is very good. Everyone has their own individuality and it is important that it comes out," he said.

His next is Sony Mix's "MIX Solos", which endeavours to bring people closer to music. The idea is to show a a 30-90 seconds clip featuring a singer singing unplugged version of his song and sharing story about its making.

Ali believes in the show and said: "I am happy that there is one channel which makes people realise how many people's efforts go behind a song. People will get to know stories and develop an interest for music," he said.

For isntance, there is an anecdote behind Kishore Kumar's song "Khaike paan Banaras wala", said Ali and added: "We know that Kishore da sung the song while chewing paan."

Anecdotes arouse interest, feels Ali. "When we listen to the song, we are able to relate to it. Our songs also have stories, when it will come in front of people, they will like it and remember the song."

It is often said that today's songs have less shelf life and Ali blames the volume.

"Earlier, one song used to be recorded in a month and now 30 songs get recorded. How many can you even remember? The frequency has increased. It is the age of sound. Songs are played on sound," he said.

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Allah Ka Vaasta, please support me to help free Sarabjit: Salman urges Pakistanis

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Bollywood superstar Salman Khan has urged the people of Pakistan to help him in efforts to free Sarabjit Singh, the Indian who is on death row in the neighbouring country.

"Requesting the people of Pakistan to support me to help free Sarabjit, who has been in prison since 30 yrs. Please. Allah ka vasta (for god's sake)," Salman tweeted.

"Request the awam (people) of Pakistan, members of the press, Govt of Pakistan, President (Asif Ali Zardari) Zardari, a humble request. It would be the most amazing gesture to send Sarabjit back to his family after 30 years. Hope you support me like it's your own cause," he added.

Hours after reports emerged that Pakistan was to free Sarabjit, the officials clarified that another Indian prisoner named Surjeet Singh, who has been in jail for three decades, would be released instead. The change of stance created a stir across India.

The actor was upset after he saw Sarabjit's family in dispair.

"I saw a picture of Sarabjit's sister, it killed me. Felt real sad for her. Help me, help her," he tweeted further.

On Thursday, at the Wagah border in Punjab, 69-year-old Surjeet Singh who was released from the Pakistan prison was reunited with his family in an emotional homecoming.

External Affairs Minister S M Krishna said he hopes that Pakistan will seriously 'ponder and consider' and release death row convict Sarabjit Singh too.

"I am happy that Surjeet Singh is being released and I hope that Pakistan will also seriously ponder and consider and release Sarabjit Singh also," Krishna said.

In New Delhi on Thursday, Dalbir Kaur, the sister of Sarabjit Singh, demonstrated at Jantar Mantar and said Pakistan should release her brother.

Dalbir also met SM Krishna over the issue of his brothers' release from a Pakistan prison.

Initial reports of Sarabjit's release had triggered celebrations in his family in India but later the Pakistan authorities said it was Surjeet Singh and not Sarabjit Singh who would be released.

Claiming that his brother charged with terrorism and spying is 'innocent' , Dalbir said Pakistan President Asif Ali Zardari should rethink his decision and release him.

Dalbir said she will continue to fight for Sarabjit's release from Pakistan prison.

Islamabad on Tuesday night clarified that it was Indian prisoner Surjeet Singh and not Sarabjit who would be released from its jail in Pakistan, hours after media reports circulated claiming Sarabjit's imminent release.

Pakistani human rights activist Ansar Burney told an Indian TV channel that the sudden change in the Presidential stance might be under the pressure of the mullahs.

Sarabjit Singh has been languishing in a Pakistani jail for over 20 years after a Pakistani anti-terrorist court awarded him the death sentence in 1991.

He had been convicted of involvement in a string of bombings in Punjab in 1990 that killed 14 people.

The developments came two months after Pakistani microbiologist Khalil Chishty, accused in a 1992 murder case, walked free from an Indian prison after being granted interim bail by the Supreme Court.

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Shenaz wants another Aamir Khan film on her birthday

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Usually people are excited about their birthdays but not Shenaz Treasurywala, who celebrates her birthday today

“I feel the pressure to have a good day,” she laughs. As for her birthday gift, the actress has a long wish list. She tells CS, “More than anything else, I want my own home as I have spent too many years living and working around the globe.

It should ideally be in Manhattan and only I can give it to myself. I also want peace, love, success and to continue being a working actor in India and the US. Another Aamir Khan film would be a good gift too!” (winks)

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Maximum is a minimum-fuss crime drama

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Starring Naseeruddin Shah, Sonu Sood, Neha Dhupia, Amit Sadh, Vinay Pathak

Written & Directed by Kabeer Kaushik

Rating: *** ½

With a kind of brisk businesslike immediacy and the least amount of fuss Maximum takes us into the world of encounter killings and the internecine war in Mumbai’s police department which threatens to destroy the very institution built to mend the wounds and fissures in the social fabric.

Writer-director Kabeer Kaushik seems to be a born minimalist. His earlier film the underrated Saher was also steeped in the khaki colour. In Maximum the world of legally-enforced corruption is created with such a lack of back-projection, history and vocalized subtexts that you often feel the director takes his audience for granted.

This is not the case. Kabeer Kaushik only presumes that we are intelligent enough to enter the murky morally ambivalent world of his characters without being led by the hand. It’s a dark unlit and often dreary world ignited by repugnant flare-ups of violence where cops are shown to behave like hardcore criminals. You really can’t tell the two sides apart.

Naseeruddin Shah who plays a ruthless encounter cop Arun Inamdar is introduced to us when a victim lies bleeding in front of the cop. Characteristically director Kabeer Kaushik plunges into the scene of crime when the dark deed is done. We see Inamdar watching the victim bleed to death and then pumping two bullets into the chap to make sure there’s no unfinished business here.

This is a world of unmitigated immorality. Bullets are fired not to stop but to merchanidize crime. And the lawmakers are shown to be as corrupt as the ones they set out to nab and mend. Pratap Pandit, as played by that fine versatile actor Sonu Sood, is a man of a few words, much action.

We are not given a chance to know him closely. He shifts gears so often we’re often left looking briefly at gaping wounds that can never heal in our socio-political system. The view is swift and disconcerting.

The narration assumes a peculiar pace. Though there are bloody shootouts, grim exchange of dialogues, item girls gyrating in smoky dance bars, and car cashes on Mumbai’s deceptively glistening roads, the underbelly of the film is coated with a deathly silence.

As guns roar and Daniel George plays out an elegiac evocative background score to underline the senselessness of the violence, we can see the characters’ selfimposed emptiness in the face of the volatile noise that they’ve created around their lives.

The hollowness hits you in the head more than the heart. And when the emotions seize the plot in a vice-like grip we feel terribly sorry for the characters for the deathtrap that they’ve built for one another and finally themselves.

The film opens in 2003 at the height of the encounter killings in Mumbai. Two encounter specialists played by Sonu Sood and Naseeruddin Shah are at loggerheads the way any two professionals in the same job-space are bound to be.

Admirably the director doesn’t use the two principal characters to form a central conflict. This is a world deprived of moral and legal bearings. Dog eats dog. Cop kills cop.

Kaushik’s narration is as ruthless and stripped of humour and other sources of cinematic solace as the world his characters inhabit. A certain amount of familiarity with the world of encounter killings is assumed on the audiences’ part.

We are expected to understand the subverted value-system of the encounter cops who do their social cleansing and in the process get so embroiled in blood, their hands are soaked in the very blood that they are meant to wash away.

Hence our ‘hero’ Pratap(based on a real-life encounter specialist) is shown to kill criminals, extort money from builders and businessman and hobnob with the powerful and profance. And yet he returns home to a loving wife(Neha Dhupia, blending into the saree folds as fluently as the slit gowns that she generally wears) and a daughter. The father-daughter scenes are done with a tremulous tenderness.

Sonu Sood invests immense emotion in these scenes. His performance takes him through several moral dilemmas. Years pass. Sood’s body language expresses the deplorable shift in power equations. Here’s a performance that again proves this underrated actor’s unimpeachable versatility.

“When you are slipping you either fight back or you keep quiet, ” he tells his journalist-friend, played by an interesting actor Amit Sadh. They share keema-pao at an Irani restaurant. As the years pass earlier the cop paid, later the scribe does.

A subtle illustration of a power-shift that says so much about the socio-economic equations of Mumbai. The journalist’s character remains a kind of sutradhar who gets willnilly sucked into the power game between crime and politics.

By the end of the film we really don’t know who is in the crime folds for the money and who’s there for the power.

Maximum is a film that’s far more in-charge of its out-of-control sharp-shooting cops than it seems. Yes, there have been any number of films about encounter cops. But this one gets at the underbelly of desolation and isolation of such cops as effectively as Shimit Amin’s Ab Tak Chappan.

The are some brilliantly executed shootouts. Note Neha Dhupia’s haunting alaap just before a pen-ultimate exchange of fire. And the climactic confrontation between Sood and Naseer’s character on a station leaves us sickened yet invigorated…

The stunning endgame is one of the many pleasures of watching Maximum. A layered sharp and sagacious look at the internecine world of encounter cops, Maximum is a minimum-fuss crime drama where the characters are so austere in their emotions they somehow seem to be constantly shadow-dancing with their conscience.

The performances by Sonu Sood and Naseeruddin Shah propel the plot to a gripping summit. But there isn’t enough of Naseer. Vinay Pathak as a UP ka politician and Amit Sadh as a journalist both trying to make sense of Mumbai’s confounding cosmopolitanism add considerably to the film’s powerful personality.

For Sonu Sood Maximum is a new beginning.

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Supermen of Malegaon is hilarious

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Cast: Sheikh Nasir, Akram Khan, Shafique and Farogh Jafri

Director: Faiza Ahmad Khan

Rating: ****

There is global cinema and national cinema. In a country like India, there's also regional cinema. What many don't know is that India is also home to what can be called - 'local cinema' where films are produced and consumed locally.

"Supermen of Malegaon" is a hilarious, poignant and well-researched take on one of the dozens of local film industries existing in the country.

It is a love poem to cinema, an ode to the spirit of human ingenuity, a passionate tale about making films and it's hilarious to boot. For most of the audience, this might be the funniest documentary ever made.

A film crew follows Sheikh Nasir, a resident of Malegaon, as he tries to make a parody of Superman called "Malegaon Ka Superman" with actors, cast, technicians and props sourced from his town. We get a glimpse of the joys, the agony, the achievement and the epiphany of creating cinema.

That he is making a low budget, made for a local audience film without the aspiration of making money, lends it the poignancy and innocence missing from the biggest filmmaking centres of the world.

If Marin Scorsese's "Hugo" was the feature film version of the depiction of one man's passion for making special effects laden cinema, "Supermen of Malegaon" is the documentary version of the same passion.

Like Georges Melies, who desired to make a rocket fly and men disappear at a time when it was considered impossible, Sheikh Nasir tries to find cheap alternative to making superman fly, to find local solutions to complex cinematic problems at a budget where such special effects seem impossible.

"Supermen of Malegaon" is thus a study in ingenuity, of a die-hard but untrained film crew's intense desire and ability to conjure up tricks to create magic on screen. Thus we see Sheikh locally making the green chrome background used for special effects.

We see our crew tear up our Superman's external undergarment and another mans jeans to hoist them through an iron bar before the green chrome screen to show them flying. We see Sheikh using a cycle as a trolley and an empty bullock cart as a jimmy jib.

While it is a serious film about someone making a parody, it also becomes a metaphoric parody of commercial cinema, and all the cliches they belt out in a spirit of self-righteous megalomania.

For this is how filmmaking can and should be - a work of passion first and commercial considerations second, just like Georges Melies and Sheikh Nasir saw and like thousands of aspiring filmmakers globally dream of but are not allowed to make.

Ironically, this tale of Malegaon's filmmaking 'Supermen' has been made by a motley group of talented super women. Director Faiza Ahmad Khan's keen sense of satire and irony are amply visible.

Sneha Khanwalkar ("Oye Lucky! Lucky Oye!" and "Gangs Of Wasseypur") gives a rustic feel to the film with her earthen music while editor Shweta Venkat Matthew lends the film its poignancy with her observant edits.

Two superhero films release this week in India - "Supermen of Malegaon" and "The Amazing Spiderman - The Untold Story". Ironically, it is "Supermen of Malegaon" that has an amazing story that has not yet been told.

While the world has watched Spiderman on three previous occasions but this is perhaps the first time anyone is telling the funny, hugely inspiring and globally awarded story of a local film industry.

The choice of what to watch, dear viewer, is entirely yours.

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'Gangs of Wasseypur's entire team abused me'

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Reema Sen on why she didn't feature in the promotions of 'Gangs of Wasseypur' and life after marriage

Reema Sen is back to Bollywood after a gap of two years and is currently soaking in all the attention that’s coming her way post Anurag Kashyap’s Gangs of Wasseypur. And while the actress was conspicuous in her absence during the film’s promotions, Reema says it was because she was away honeymooning with her husband.

The 30-year-old actress married Delhi-based businessman Shiv Karan Singh, earlier in March this year. She laughs as she says, “I could not be there for the promotions as I was on my vacation and my entire team was abusing me for it.”

In fact, for the film’s screening at the annual Cannes Film Festival this year, the actress said she had to postpone her honeymoon once.

Gangs of Wasseypur could have been a dark film, but the cast and crew had some rather light-hearted moments during the shoot. Reema recalls one such incident where she accidentally hit Manoj Bajpai.

She says, “There was this scene in the film where I had to slap Manoj and I accidentally hit him. Later, he laughed and told me, ‘God bless your husband!’ It was really nice to work with actors like him and Tigmanshu Dhulia.”

Currently, Reema is enjoying her newly married status and was thrilled when her husband sent her a bouquet of roses and a bunch of balloons after watching her latest film.

“Life’s not changed drastically after marriage. I am enjoying the Delhi culture. Gangs took a lot of my time and that’s the reason why I was not visible on screen. There’s no stopping me from doing more films, ” she signs off.

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