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Coronavirus: Salman Khan’s Radhe likely to be postponed

The release of Radhe: Your Most Wanted Bhai, featuring Bollywood superstar Salman Khan, is most likely to be delayed due to the coronavirus pandemic.

The film, which reunites Salman with his Bharat co-star Disha Patani, was scheduled to hit the screens on May 22.

This will be for the first time in over a decade that ardent Salman fans will not see a release on Eid, a festival date which has been synonymous with the actor.

Salman started shooting for Radhe last November.

However, due to the shutdown on all television and film production work due to the outbreak, the last leg of filming is yet to be complete.

“Radhe will be pushed ahead for sure. We have got two songs to shoot, there is some patch work left of about five days or so, we also have editing that is left. We don’t know when the situation will be normal and when we can shoot and finish our pending work,” a source close to the production told PTI.

Most of Salman’s Eid releases have turned out to be blockbusters such as Wanted (2009), Dabangg (2010), Bodyguard (2011), Ek Tha Tiger (2012), Kick (2014), Bajrangi Bhaijaan (2015), Sultan (2016) and Bharat (2019), barring Tubelight (2017) and Race 3 (2018).

The insider further said as people might be sceptical about watching a movie in a theatre due to the COVID-19 scare, it would be unfair to release a film in such times.

“We are in the same boat as other big films that were scheduled to release. We are going into May soon, the film was to release on Eid, which is May 22. It is not that the virus will be eradicated completely within a few days or months. Who will want to go to theatres during such times? The fear of not venturing out of homes and going to theatres to enjoy a film is a lot more and we all will have to deal with it and overcome it,” the source added.

Radhe is directed by Prabhudheva and the film is the third collaboration between Salman and the director after Wanted and last year’s Dabangg 3.

The action film also features Randeep Hooda and Jackie Shroff in key roles.

It is produced by Sohail Khan and Reel Life Production Pvt Limited under the banner of Salman Khan Films.

Besides Radhe, Salman was also set to present a film titled Bulbul Marriage Hall featuring Pulkit Samrat in the lead.

The film was scheduled to go on floors from April 16, but the makers have decided to halt the production till further notice.

Jawaani Jaaneman box office collection: Saif Ali Khan’s comedy makes Rs 16.80 cr in five days

Saif Ali Khan’s comedy of errors Jawaani Jaaneman has made a total of Rs 16.80 crore at the Indian box office in five days. The film garnered Rs 1.94 crore on Tuesday. As per reports from trade analysts, the slice-of-life flick has performed well in national multiplexes in the northern sections of India.

Jawaani Jaaneman is faring well as compared to Saif Ali Khan’s past solo releases Chef, Kaalakaandi, Bazaar, and Laal Kaptaan. Saif’s other film, Tanhaji: The Unsung Warrior, featuring Ajay Devgn in the lead, has been having a dream run at the ticketing counters ever since its release in January. The period drama, also featuring Kajol, has made a total of Rs 255.77 crore in its fourth week.

Charting the story of an estranged father-daughter duo who come together after she hunts him down, Jawaani Jaaneman is directed by Nitin Kakkar. The narrative follows a middle-aged man Jasswinder ‘Jazz’ Kapoor (Khan), who has not come to terms with his age and shirks at the mention of responsibility. His life takes a dramatic turn when Alaya F’s character Tia finds him in an alley, and tells him there is a possibility he is her father. Tabu, Kumud Mishra, Kubra Sait, and Farida Jalal are also part of the cast.

Jawaani Jaaneman trailer: Saif Ali Khan’s character is forced to grow up after his long lost daughter finds him

The first trailer of Jawaani Jaaneman was released on 9 January. The trailer opens to Saif Ali Khan’s mother (Farida Jalal) telling him about an acquaintance whose son was gay. To this he replies that he was not interested in men and even if he was he did not see it as a problem. His amused brother (Kumud Mishra) assures her that it was not the case.

Then we see how Saif’s character, an aging Don Juan, is vehemently against the idea of marriage and having family. “Sher hu mai sher. Aur sher tab tak raja hota hai jab tak akela rehta hai (I am a lion. A lion is only king till he is on his own),” he says. His bubble is soon burst when Alaya Furniturewalla finds her in an alley and tells him that there was a chance that he is her father.

This development now forces him to suddenly grow up and take up responsibilities he had been shirking for so long. Tabu plays Alaya’s mother, who also finds her way to his house.

Jawani Janeman is directed by Nitin Kakkar, who had previously directed Filmistaan and Mitron. The film went on floors in London in June, 2019. The film is produced by Saif’s production house Black Knight Films, Jay Shewakramani’s Northern Lights Films, and Jackky Bhagnani’s Pooja Entertainment.

“It’s one of the most uber-cool stories that I have come across. We are excited about the film going on floors and really looking forward to it,” Bhagnani had previously said in a statement.

The film is slated to hit cinemas on 31 January.

 

 

Dabangg 3 movie review: Salman Khan’s Chulbul Pandey is no longer charming or funny – R.I.P. please, Robinhood

Early in Dabangg 3, Salman Khan’s character is chatting with his subordinates when he makes what may seem like a throwaway remark, “…hum class aur mass, dono ke liye kaam karte hai” (I work for the classes and the masses). Since “class” and “mass” are words used by the Hindi film industry to informally categorise sections of the audience, this is obviously more than just a casual comment – it is an allusion to Khan’s success across social strata since he turned out the blockbuster Wanted in 2009.

The effort to retain his cross-sectional appeal is evident throughout this dated, dull and clichéd film, which is what makes it such a mish-mash of conservatism and liberalism, almost amusing in its confusion.

Dabangg 3 marks Khan’s third screen outing as Chulbul Pandey, the comic-serious policeman who has no qualms about circumventing the law to serve the common people. In keeping I suppose with Hollywood’s trend of serving us origin stories of superheroes, this Bollywood venture is about how a useless, purposeless fellow called Chulbul became the chap we now know him to be: a destroyer of evil who is ever ready with a self-deprecating joke or gesture. By Film 3, he is the ASP of Tundla, still married to Rajjo (Sonakshi Sinha), a father, and up against a human trafficking don called Bali Singh played by Kannada star Kichcha Sudeep (his name is spelt as Sudeepa here).

The writers’ please-all aim in Dabangg 3 leads to many scenes of unwitting irony. Such as when Chulbul speaks of respect for women and gets furious at men who refer to women as “maal” just moments after he is shown dancing to the song ‘Jumme ki raat’ from the 2014 hit Kick in which Khan’s own character had picked up Jacqueline Fernandez’s skirt with his teeth without her knowledge and followed her while dancing. Then there is Chulbul taking a purportedly feminist stand on dowry and women’s education even as he describes himself as the “rakhwaala” (keeper) of a woman he intends to marry. The self-consciousness and duality of his liberalism become exhausting to watch after a while.

Equally exhausting are the rusty dialogues filled with rhymes, many failed shots at clever wordplay, some scenes of double entendre and others of downright crudeness.

Sample: Chulbul saying, “Hum unhi ko tthokte hai jo zaroorat se zyaada bhokte hai” (I only bump off those who bark too much).

Sample: Rajjo telling her husband, “hamare petticoat mein chhed mat karna” (please do not pierce a hole in my petticoat) when he snatches it away from someone who was fitting a drawstring in it, at which point hubby eyes her suggestively.

Sample: a random character who randomly enters a toilet where Chulbul’s brother is doing potty, at which point we are subjected to gurgling potty sounds.

Sample: Chulbul impaling his butt on a nail.

Sample: a bad guy’s crotch falling on a dagger.

Sample: Chulbul dropping his pants by mistake when he takes off his belt to whip someone.

Sample: Chulbul shooting a junior who asks how he can get a promotion.

All these scenes are designed to elicit laughs.

And then there are lines like this that are no doubt meant to sound smart but do not: Chulbul saying, “Ek hota hai policewala aur ek hota hai goonda, hum kehlate hai policewala goonda” (there are policemen and there are hooligans, and then there are those like me who are police and hooligan combined).

The story is not even worth recounting. It feels like a bunch of disparate ingredients hurriedly thrown together in a cooking pot. So does the music by Sajid-Wajid who have in the past created so many memorable tunes for Salman Khan starrers. Here they first recycle the Dabangg title track, then deliver two numbers that sound like first cousins of ‘Tere mast mast do nain’ from Dabangg, one terribly boring song in which Chulbul romances Rajjo and – c’mooon, they’re not even trying – ‘Munna badnaam hua.’

The SFX are bad. Even the choreography has nothing new to offer, which is odd since the ace choreographer-cum-dancer Prabhudeva has directed this film.

As far as acting goes, Khan’s charm wears thin as he tries hard to resurrect that unusual blend of gravitas and humour that worked so well in Dabangg in 2010. Here he comes across as almost embarrassingly juvenile.

Sinha has little to do but pout and look pretty. Her Rajjo is also throw up in their air by a massive explosion that somehow leaves her makeup completely unscathed. Why is this talented women wasting herself so?

An unimpressive newcomer called Saiee Manjrekar gets a large supporting role to which she lends nothing but her smooth complexion and lovely figure. The rest of the cast hams shamelessly.

Anyone who has seen Sudeep in his Kannada films knows that he has the charisma to match Salman, but he does not stand a chance here in Dabangg 3 in the face of a sketchily written character which does little but showcase his towering physique.

There is so much tomfoolery and immaturity in this film that the climactic fight sequence comes as a shock. It is so grossly violent and in-your-face that I could barely bring myself to look at the screen. And of course because it is a masala film by a commercially focused director with a major male star as the lead, it has been given a UA rating instead of the strict a it deserves.

And no guys, it is no longer entertaining when two male actors with fabulous bodies take off their shirts for no reason to engage in fisticuffs. This was a fun device when it was first introduced, especially because for decades before that, male stars had been completely careless about their bodies and it was assumed by both the industry and audiences that only women can and should be objectified. Now though, it is a boring formula. Gentlemen, we love the fact that you work out, so get your scriptwriters to find a more imaginative way now to let you display your sexy torsos, please?

Somewhere in the middle of Dabangg 3, Rajjo tells Chulbul that she will never again force him to take a ’70s-’80s style kasam (oath). Never mind the context. I do wish Bollywood would take a kasam here and now to lay Chulbul Pandey a.k.a. Robinhood Pandey to rest.

Dabangg 3 : Salman Khan’s Chulbul Pandey fights Kiccha Sudeep’s Balli in upcoming Prabhu Deva film

After a long wait, the makers of Dabangg 3, finally dropped the trailer on 23 October (Wednesday). The film marks the return of Salman Khan as the iconic cop Chulbul Pandey. “Ek hota hai police wala, ek hota hai gunda. Hum kehlate hain police wala gunda (On one side there are cops and on the other there are gangsters. I embody both),” is how Chulbul reintroduces himself.

The trailer sees him walk around the ghats, shoot down bad guys and introduces us to one of his subordinates, who demands a promotion. A younger Chulbul is also seen in the clip, alongside his then romantic interest Khushi (played by debutant Saiee Manjrekar). However, there is Balli (Kiccha Sudeep), who seems to go out of the way to cause grief in Chulbul’s life. Dabangg 3’s trailer promises coordinated dance performances by the actors, high octane action, comedy and bombastic dialogues.

The film will also reportedly see Arbaaz Khan as Chulbul’s brother Makkhi and Dimple Kapadia in a flashback sequence. Sonakshi Sinha plays Rajjo while Vinod Khanna’s brother Pramod will portray Chulbul’s father Prajapati Pandey.

The trailer of Dabangg 3 is set to be included with screenings of Housefull 4, as reported earlier. The makers had previously attached the film’s teaser with Hrithik Roshan-starrer high octane action thriller War.

Directed by Prabhu Deva, Dabangg 3 is produced by Salman Khan Films and Arbaaz Khan Production. It is scheduled to release on 20 December in Hindi, Kannada, Telugu, and Tamil. The duo have previously worked together on 2009’s Wanted. They have another film, Radhe, in the pipeline, which will hit cinemas on Eid 2020.

Shah Rukh on Salman Khan’s special cameo in Zero song: Very dignified and loving of him

Mumbai: Bollywood superstar Shah Rukh Khan who unveiled the trailer of his upcoming film Zero on the occasion of his birthday on Friday, 2 November, said that he was touched by the gesture of Salman Khan doing a cameo in the film.

Still from Zero Eid teaser. YouTube screengrab

During the trailer launch of the film when he was asked about how Salman came on board, Shah Rukh told the media: “Anand (L. Rai, Director) has spoken to Katrina (Kaif) regarding this film quite sometimes ago and that time Salman also heard the story.”

“Then Salman called and said that there was this story and hear it. The coincidence is that, when finally, I said yes to the film, after that he said that I will be a part of this film for sure, by doing a song. That was very dignified and loving of him.”

The film also features Anushka Sharma and Katrina Kaif. It is interesting to observe that after Yash Chopra’s Jab Tak Hai Jaan this trio is coming together all over again to execute Rai’s vision.

Talking about her journey Anushka said: “This year I am completing 10 years in Bollywood. I made my debut with Shah Rukh and now after 10 years, in 2018 I am doing another film with him, it is so special and this is how life has come in a full circle.”

In the film Shah Rukh is playing a character of a dwarf and Anushka and Katrina are playing a physically challenged person and an actress respectively.

Bharat: Katrina Kaif replaces Priyanka Chopra; Jackie Shroff to play Salman Khan’s father

After Priyanka Chopra walked out of Salman Khan’s Bharat owing to personal reasons, DNA has reported that Katrina Kaif, who was the makers’ original choice, has joined the cast. A source told the publication that producers Atul and Alvira Agnihotri share a warm relationship with Kaif and when Chopra’s departure from the film was announced, they called Kaif and sorted out her dates. Kaif, who will play the female lead opposite Khan, is expected to join the team in September.

Salman Khan and Katrina Kaif on Bigg Boss 11's Weekend Ka Vaar

DNA also found that Jackie Shroff, who has previously played on-screen dad to Akshay Kumar and Sidharth Malhotra in Brothers, will star as Khan’s father. “It’s essentially a beautiful story of a father and son, so when Jackie was offered the film, he liked the script and gave his nod.” The team is reportedly currently shooting in Mumbai and Shroff will join the crew around the end of September.

However, there has not been an official announcement regarding this development. While Priyanka has opted out of the Salman Khan starrer, she is also shooting for Shonali Bose’s The Sky is Pink alongside Farhan Akhtar and Zaira Wasim.

Bharat also has Tabu, Disha Patani, Sunil Grover in pivotal roles. It is a remake of the 2014 Korean film, Ode to My Father and will release in cinemas on Eid 2019.

Secret Superstar: Aamir Khan’s character in the film inspired by Anil Kapoor, Jeetendra

Mumbai: Bollywood superstar Aamir Khan’s quirky character Shakti Kumaarr from his forthcoming movie Secret Superstar has been inspired by Jeetendra and Anil Kapoor.

Anil Kapoor (left); Aamir Khan in Secret Superstar (centre); and Jeetendra. Image courtesy: Facebook

Aamir said in a statement: “One of the secrets from Secret Superstar is that in this film, I have used some lines that film actors usually use in their personal life and whenever I meet them. I tend to remember some lines from it, and I have used those lines while playing my character in the film.

“For example, when I met Jeetuji (Jeetendra) for the very first time, I found him as a very humorous person. He had come to visit Nasir (filmmaker Nasir Hussain) sahab once and I was sitting with them that time. I was an assistant to Nasir sahab then. Jeetuji said, ‘Nasir sahab, I have been offered a film which has a double role’. Jeetuji laughed and said I can’t do one role properly and I have been offered two roles.

“Further, he said that it’s perfectly fine, I’ll do it well and said ‘Buck up India’… The way he said ‘Buck Up India’, I found it so charming that time that it remained in my mind, and now also if we meet somewhere, he says, ‘Son, you have a release now… Buck Up India! It will do very good’. The way Jeetuji uses that phrase ‘Buck up India’ is something I like and I have used that in Secret Superstar.”

What about Anil?

“One thing about Anil Kapoor I have noticed is that whenever he is done talking on call, he doesn’t say bye once, he says bye about 15-20 times on call. So while speaking with him on call when I say, ‘Anil, see you bye’, he says ‘Bye, bye, bye, bye, bye’ in series. My character uses this trait also.”

Secret Superstar is a film which brings out the inner superstar of a teenage girl who is dreaming to become a singer and how she fulfils her dreams by keeping her identity hidden.

How Dilip Kumar and Shah Rukh Khan’s camaraderie goes way beyond photo opportunities

Shah Rukh Khan’s recent visit to check on the health of the 94-year old Dilip Kumar, upon the latter’s return after spending a few days in the hospital for some kidney related problem, brought to mind the sweet bond that the two have shared over the years.

The thespian and his wife, Saira Banu, have publicly expressed their love for Shah Rukh Khan on numerous occasions and in fact, have even said that SRK is the child that they would have loved to have.

Besides having a few things in common with the younger Khan — including the same number of Filmfare awards for the Best Actor, eight to be exact, and both playing Devdas at some point in their careers — Dilip sahab’s fondness for Shah Rukh Khan also mirrors the manner in which he has interacted with some of the superstars who followed him.

Dilip Kumar’s influence on Indian cinema is peerless and this influence extends beyond acting prowess. It was Dilip Kumar’s persona that inspired more than a few generation of actors such as Manoj Kumar, Rajendra Kumar, Dharmendra and Amitabh Bachchan, and almost every single one of them famously modelled certain aspects of their craft on Dilip Kumar.

In Manoj Kumar’s case, he even took his screen name ‘Manoj’ after a character that Dilip Kumar portrayed in one of his films, Shabnam (1949). Dharmendra often mentions that even though he came to (then) Bombay to try his hand at acting, meeting Dilip Kumar was perhaps a bigger draw for him. During the shooting of one of his initial films in the late 1950s, Dharmendra met Dilip Kumar’s sister, and thanks to her ended up spending an evening at Dilip Kumar’s residence. Late in the night when Dharam ji was leaving, Dilip Kumar gave him a sweater as it had been raining, and to this day, the sweater is a prized possession for the former.

Later the emergence of Rajesh Khanna as the new superstar coincided with the period where Dilip Kumar had considerably reduced his output, but even then the public interaction between Dilip Kumar and other leading men, such as Khanna and later Amitabh Bachchan, was the same. It’s not just Hindi films where Dilip Kumar’s impact, both as an actor and an elder, was felt. His friendship with the iconic Sivaji Ganesan, and later his influence on a Kamal Haasan, is also well documented.

Now Kangana Ranaut writes an open letter: ‘If Saif Ali Khan’s point is true, I’d be a farmer’

In his open letter on Kangana Ranaut and nepotism, Saif Ali Khan mentioned how he is not on social media because it comes across as ‘fake’. Now, Ranaut has responded with an open letter of her own. Thus, open letters seem to be the tweet equivalent of those who have chosen to distance themselves from social media.

Saif Ali Khan and Kangana Ranaut in a still from Rangoon. Twitter

In her open letter, Ranaut clarifies that her response to Saif’s letter should not be  viewed as a clash of individuals but as a healthy exchange of ideas. Ranaut largely countered Saif on three arguments. Firstly, she explained how the nepotism is not a personal issue between both of them and in fact, addresses a much larger issue that concerns society as a whole. Therefore, she argued that Saif did owe an explanation to the public, and not just a personal apology to Ranaut.

“Nepotism is a practice where people tend to act upon temperamental human emotions, rather than intellectual tendencies. Businesses that are run by human emotions and not by great value-systems, might gain superficial profits. However, they cannot be truly productive and tap into the true potential of a nation of more than 1.3 billion people,” she said in her open letter.

Secondly, she contested Saif’s claim about genetics playing a role in children of film personalities inheriting their talents. She argued that artistic skills, hard-work, experience, concentration spans, enthusiasm, eagerness, discipline and love, which are prerequisites of making it large in the film industry, can not be inherited.

“If your point was true, I would be a farmer back home. I wonder which gene from my gene-pool gave me the keenness to observe my environment, and the dedication to interpret and pursue my interests,” she said, in her open letter.

She even challenged Saif’s allegation on the media for being a part of the vicious cycle of nepotism. She said that nepotism is a part of the human nature, not a crime. While she said there is no point in getting defensive about one’s choice, she also clarified that nepotism is not the way to go forward.

“In my opinion, that is an extremely pessimistic attitude for a Third World country, where many people don’t have access to food, shelter, clothing, and education. The world is not an ideal place, and it might never be. That is why we have the industry of arts. In a way, we are the flag-bearers of hope,” she signed off.