Showing posts with label Good Newwz. Show all posts
Showing posts with label Good Newwz. Show all posts
No one gives so much izzat to writers, directors as much as Dharma Productions-Somen Mishra
2:55 PM
Karan Johar; (right) Somen Mishra has been the bridge between the hustle of Aaram Nagar and the Dharma bubble. Pic/Instagram@somenmishra
Karan Johar might not be happy with Homebound’s box-office performance, but the rumours of Dharma making a loss are fabricated, says Somen Mishra, the man responsible for bringing in such critically acclaimed films under the studio’s banner
Priyanka Sharma (MID-DAY; October 19, 2025)
The year end is usually reserved for reflection. But for filmmaker Karan Johar’s Dharma Productions, casually described as the be and end all of Bollywood, this is the time for redemption.
At least, it seems so, with the acclaim and applause for two of its theatrical releases in the last two month— director Neeraj Ghaywan’s Homebound and filmmaker Shazia Iqbal’s feature debut, Dhadak 2. The architect of Dharma’s redemption arc, however, is not Johar. It’s the man, who is often dubbed as Johar’s right hand, who continues to embody the Aaram Nagar hustle even as he inhabits a designated corner of the swanky Dharma office, is the bridge between independent filmmakers and the Dharma bubble, and an outsider, ironically.
But Somen Mishra hasn’t only helped the company that he has been working with for over seven years now claim some glory, he has also resurrected his own image— of the man who caused the apparent downfall of Dharma. Out of the nine theatrical titles of the production house that Mishra has backed so far, there’s only been one superhit— Good Newwz— a hit in Johar’s directorial venture Rocky Rani Kii Prem Kahaani (2023) and a moderate success with Kesari Chapter 2 (2025). Even Dhadak 2, despite critical acclaim, ended its box office run at a dismal Rs 25 crore (approximately).
Notwithstanding its selection as India’s entry for Oscars 2026, Homebound is also only crawling at the box office. In fact, days after the film’s release, Johar was heard saying on a podcast that he would rethink about producing a film like Homebound because it might not always be profitable. Unsurprisingly, the filmmaker received backlash for his statement, and later had to clarify that he was “exceptionally proud of Homebound.”
“Dharma never loses money on any film because of the kind of budgets we make the films on, the kind of value we get, satellite, OTT, music. So, it rarely happens that we lose money. Most of the number and trade conversations that I have read online (about Dharma’s films) are all false. I've read the numbers of Dhadak 2 and Homebound. They’re completely wrong. They are one of the most tight budgets and very safe films for us,” Mishra tells us.
Negativity, of course, sells online. More so, if it’s around Dharma Productions. But its isn’t without a reason, with Johar’s reputation as an unrelenting godfather of star kids, which isn’t helped by the failure of films like Naadaniyaan, Sarzameen (both starring Saif Ali Khan and Amrita Singh’s son Ibrahim Ali Khan), Ae Watan Mere Watan with Sara Ali Khan, Jahnvi Kapoor-led Mr And Mrs Mahi and her latest, Sunny Sanskari Ki Tulsi Kumari. The first three, all OTT releases, also had Mishra as a producer..
“Gunjan Saxena: The Kargil Girl, on Netflix, was a success for us. Aap Jaisa Koi, which was much appreciated, starred two outsiders (R Madhavan and Fatima Sana Shaikh) and directed by an outsider, Vivek Soni. But Nadaaniyan is talked about more. Negativity in news tracks more. If I troll someone, that will track more than if I praise someone. Otherwise, with so much praise for Homebound, it should have translated much more in the numbers. But it doesn't happen. The flip side is, when something lands, the praise is also humongous, because with Dharma, you will get attention, either way. Initially, it was difficult to understand. But now I understand. I also make all the directors and writers understand that when they’re signing a Dharma film, there will be a lot of attention on them. They should be prepared for that,” he says.
In that context, the praise surrounding Homebound and Dhadak 2 naturally makes Mishra feel vindicated, and the cherry on the top is that both the directors are not only outsiders but also those that the producer always believed in. But Mishra insists it's not his credit to take.
"I can’t take the whole credit for it. I take some credit for it. It's the directors, writers and their teams, who have made it happen. When I joined Dharma, Karan's point was, 'We do one thing great but we should also do all kinds of things because cinema keeps changing everywhere.’ So, people can abuse us but I know cinema is a long process. Both Dhadak 2 and Homebound we started developing in 2021. On Homebound, three and a half years went into writing. Out of which, around 10 months went into acquiring rights from the New York Times, for which Basharat Peer had written the article on which our film is based. Another challenge was cracking the cast. But everyone on this film took a cut. They knew what we were trying to do. I said this won't be feasible if we don't make it in a certain budget. Janhvi worked for free and even for her staff, she incurred the expense. All the writers took a cut. Dhadak 2 and Homebound are the two of the most tight-budget Dharma films in a long time. I have read some of the budget numbers online which are more than double (of the actual budget). But anybody who sees the film, anybody who knows production will tell you what the numbers are," he smiles.
With Mishra, the otherwise inaccessible umbrella of Johar's company opened to outsider voices like never before -- from Ghaywan, Iqbal, Soni, Vasan Bala, Ishita Moitra, -- the list is long.
But the bridge between the two sensibilities hasn't always been smooth. With him at the helm of things, he is expected to not only protect the voice of the director and writer, who surrender their trust in him, but also the commercial interests of the company that has hired him. It's surely a delicate balance. For instance, when Dharma decided to remake Pariyerum Perumal (2018) into Dhadak 2, it became a love story. It’s the 'Dharmafication of an anti-caste film', said several of its critics online. Mishra disagrees that he is ever asked to mould a film into the palatable, tried-and-tested template of Dharma.
"When we pitched Dhadak 2, it was pitched in a mainstream space because I feel it's much more difficult to do caste in a mainstream space. If we have to make a film for festivals, then why would we take the whole route of a love story? We aren't forcing the same love story in Homebound because that is a friendship story. But we saw a love story in Dhadak 2. In the original, the female character wasn't strong. But what's the purpose of making the female character strong, if the bonding between the two characters is not strong. So, for us, it was always a love story. Call it by any name. We wanted to go mainstream and the way to go about it was to have a love story. I don't see it as Dharmafication. Otherwise, we would have put a love story in Jigra. I don’t get told by Karan that these elements should be in the film, but we have to be honest to what the story is. There are no songs in Homebound. In fact, we have a film coming up where the filmmaker told us, 'Should we put a song?' and I said, 'Please don't. Otherwise people will say Dharma made you do this'."
Fighting the perception battle for Dharma, online, also seems to be a part of Mishra's job, even though he maintains, "I have gone quiet now." Why wouldn't it be, after all he is the most accessible face of the company, someone the internet has been familiar with for longer than he rose the ranks in the industry, from the time he used to run a popular cinema blog. Fight Club featured everything-- from news to opinions -- about cinema from Mishra and others, many of whom are now part of the industry. He soon emerged as the "daring, opinionated as well as arrogant" cinema guy, who spared nothing and no one.
Naturally, people expect him to display the same attitude towards whatever is perceived wrong about his company. But defending Dharma is a full time job, he knows.
"Sometimes I carry this baggage. Like, the other day, somebody said, 'You are not supporting Neeraj Ghaywan. You made the film only to get the festival credit.' I said, 'Okay. You are not the first one to say that. We have worked hard for four years. And how much support did the filmmaker get? You ask him.' But I know you can't fight what people are saying. Do your job because whatever you say will be misconstrued as something else. Someone said, 'You didn't promote Homebound properly. If it were left to me, I would have taken the cast to the village that the story is based in.' Had we done that, we would have been told, 'You are exploiting someone's death. You are greedy.' Only your work can speak, and Dhadak 2 is the best example. Since the day we announced it, my closest friends would tell me, 'Didn't you get any other film to remake?' When they saw the film, they were very moved by it. They said they were proven wrong about it."
Mishra insists his boss gives him a free hand, and this implicit faith is built on the initial successes that the former brought to the company, even if Johar never asked for "blockbusters" from the producer. “That’s the pressure I put on myself. My first few projects, Good Newwz, Lust Stories, Gunjan Saxena and Shershaah worked. So, the moment you initially come and deliver success, the company and the bosses will trust you. You think, 'Okay my job is done, the money thing is done. What else can I do, either get good directors or different voices'."
But faith can also create fear of failure and questions like, 'What will happen to my position in the company if the failure is too big?’ Like a Jigra. Fronted by Dharma's current biggest in-house star, Alia Bhatt, the Vasan Bala-directed action drama tanked at the box office.
“With success, it helps you to do more things. With failure, which I have learnt from Karan, you move on to the next. Get your learning and move on because you can't do anything about it. I know if it had landed well, it would have opened the door for Vasan, for more filmmakers and more things on a certain budget and scale. I still like the film very much. Vasan's craft is one of the best in terms of the staging and performances. And Alia has put her soul into that film. But even after that, there was so much conversation and dissection that happened. There is no point in doing so much.”
But does it mean Dharma won’t give another chance to Vasan? we ask him. “No. I can’t say but there have been conversations (with Vasan) about what to do and what not to do (in future). I feel some of the people who have made flop films, have gone on to make great films also. The learning is what and why it didn’t connect with people. But I don't have any fear about what happens to me in the face of a failure because people here are smart enough to know why a project failed. Also, people can see the honesty and integrity in the work. Films might not connect for various reasons. And 90-95 percent of the time, either good or bad, we know it before that. We might say whatever we say, but Karan, me, us, we know," Mishra tells us.
So, did they know that Jigra wouldn't work? “Jigra had a certain cinematic thing which people have to buy into. Those who buy the second half will buy the film. Those who can't buy the second half will not buy the film, which we all of course felt bad about. But Alia had done Raazi, why would she do another thriller? People said, this or that should have happened in the film. For me, the highlight was that 40-minute action sequence. A lot of people might not like that or might get thrown off by that. But for me, that was the highlight. Those were the concerns that if people like it, then it will land. If people don't get into that, it won't land.”
Hits and flops aside, Mishra is here for a larger cause, he emphasizes. Which is to open doors for people, like how they were opened for him— a man with no connection to the movies and also the city. "I remember Nikhil Mehrotra, whom we got to write Gunjan Saxena, jokingly told me, ‘Yahan per toh darwaze hi itne bade hain.’ So, I said, ‘Don’t worry, I am here. Talk to me.’ My idea is to make people feel safe. We aren’t mafia, we are good people. We are good to writers and directors. No one gives so much izzat to them as much we do.”
And money? “That too, ask anyone. A writer told me, ‘I got a call from Dharma asking me to send them my invoice. It has never happened before with me.”
And what about him? Is he still angry and arrogant? Mishra laughs out loud. "I was never arrogant. Online what you write, people read it in a different tone. Like someone asked a question and I replied, 'This is such a dumb question,' so this person said, 'You are calling me dumb.' But I don't think I was ever arrogant. Also, because of the blog, there was a persona that people believed. But online, you create a character. When people meet me, they say, 'You are much nicer than what you are online.'"
Every five years, I ask myself, what new can I do now?-Kareena Kapoor
8:03 AM
Renuka Vyavahare (BOMBAY TIMES; October 9, 2024)
Kareena Kapoor Khan will complete 25 years in the movie business next year. Her filmography boasts of an eclectic mix of memorable characters and no-nonsense, courageous leads. From Refugee (2000) to Crew and The Buckingham Murders this year, Bebo has had quite a journey. However, despite delivering some fine performances over the years, she is often in the focus for her trendsetting style and glamorous avatars.
The actress talks about her longevity in the industry and how she believes she has a long way to go.
‘It took many films for people to take me seriously as an actor’
When we asked her about glamour overshadowing acting talent at a recent event, the actress said, “People tend to overlook an actor’s gravitas if you are glamourous. If you see my choice of films, it proves this perception wrong. I have had a glamorous image, but I’ve never looked at myself like that. I prefer to keep my ear to the ground because it’s important for an actor to know the reality of a situation. I am focused on my performance. It took many films for people to take me seriously as an actor.”
She further added, “Today, when a film like Buckingham Murders releases, people take notice because I have constantly been at it, proving myself. That’s also one of the reasons behind the longevity I have been able to achieve as an actor. I have constantly tried to prove myself as an actor for the past 25 years. And I don’t want people to say you have done it all, now what? I have a long way to go.”
‘Perhaps, people like to see me in roles like Geet or Poo because the masses can connect to it more’
While Poo and Geet often walk away with all the glory, Kareena’s comic timing in films like 3 Idiots, Good Newwz and Crew have won a lot of appreciation, along with much critical acclaim for films like Omkara, Udta Punjab, Talaash, Jaane Jaan and The Buckingham Murders.
She elaborated, “In the last 25 years, the first decade went in people assuming that I was Poo, and the other went in people thinking I am Bhatinda ki sikhni Geet. Maybe I am a mix of both. I want people to know that I am an actor who is very passionate about her job.”
Talking about staying connected to the audience, she said, “People like to see me in roles like Geet or Poo more, perhaps because they are more connected to the masses. In the next 25 years, I will try to play more different roles. While I have done films with superstars, which have been hits, I have also had a career that I have simultaneously built to prove myself as an actor. The X factor combined with talent and, of course, 30 per cent of luck is what takes you places.”
‘Sustaining yourself in the industry is tougher, so I like to make varied choices’
Speaking of longevity in her career, the actress reminisced, “At 17-18, it was all about wanting to be in every film. If you sustain for a decade, it’s about reinvention, which is scary in an industry which is male-dominated. Over the years, apart from me, there have been other brave actresses too who have taken big strides. Every five years, I ask myself, what new can I do now? It’s not just about being a part of successful films but leaving behind a legacy. I come from a family (the Kapoors) where I have been challenged because they all are such amazing actors, but I want to leave my mark somewhere. Every 10 years, there is someone new, so how am I going to last? Sustaining yourself is tougher, so I like to make varied choices, be it The Buckingham Murders, Singham Again, Crew or Jaane Jaan, which dropped on a streaming platform. I feel it would have done great on the big screen, too.”
Star Positions 2023: Alia Bhatt, Deepika Padukone, Kiara Advani, Shraddha Kapoor lead the way
8:42 AM
Box Office India Trade Network
The box office has been back for two years now and now enough films have been released to get an idea of star positions post the pandemic. As far as female leads go, Alia Bhatt is the undisputed number one being the main force driving for the success of GANGUBAI KATHIAWADI and ROCKY AUR RANI KII PREM KAHAANI. She is probably the only female star who is a a box office draw and can carry a film alone.
The box office numbers of films featuring Alia Bhatt have always been better in Mumbai city and Pune even when the content is more of a North type of film like 2 STATES or RAAZI and this has continued with GANGUBAI KATHIAWADI and ROCKY AUR RANI KII PREM KAHAANI. So, when a heroine has a few places always outperforming, it really helps at the box office though it will be tougher ahead as these two centres are very unpredictable at the moment.
There are probably three other female leads that can be called stars today and they are Deepika Padukone, Kiara Advani and Shraddha Kapoor. So the ranking today is as follows and its difficult to put someone in fifth place as either no one is able to make much of an impact or other female leads don't hold the same value as before.
1. Alia Bhatt
2. Deepika Padukone
3. Kiara Advani
4. Shraddha Kapoor
There was a time when Deepika Padukone was well clear of the field but there were not many films towrds the end of the last decade just before the pandemic and the attempts to succeed in films where the female lead is the driver did not work like FINDING FANNY and CHHAPAAK. The last named was a huge downer just before the pandemic. PATHAAN came post the pandemic and it probably undid some of the CHHAPAAK damage which was a mistake of epic proportions for a heroine like Deepika Padukone..
Kiara Advani had made huge strides just before the pandemic with films like KABIR SNGH and GOOD NEWWZ and even in the pandemic, she had a blockbuster song Burj Khalifa and the film LAXMII (2020) which is probably still the only genuine HIT to be premiered on digital. The run continues post the pandemic and at the moment, she is that quintessential Hindi film heroine who fits well into all genres and is also able to pair up with most leading male stars. In popularity with the youth, she could actually be ahead of Deepika Padukone at this point of time.
Shraddha Kapoor is the fourth genuine female star today and actually should probably be doing better but there are so few films and this is just not the case over the last few years but even now post pandemic it will be only two releases in around four years with TU JHOOTHI MAIN MAKKAAR and STREE 2. The popularity is there but films have to come to prove this.
After these four, it would probably be names like Katrina Kaif, Kareena Kapoor, Kriti Sanon and Disha Patani. Katrina Kaif had TIGER 3 which did well and that is the zone she fits into well but there are very few films made like that. But the issue is that its difficult to slot her into that so called female content film zone unless its action genre but those films are also very less if any.
Kareena Kapoor has had LAAL SINGH CHADDHA and a television film but has face value and the talent still to work at the box office given the right film. But obviously too many television films will dilute the equity as far as theatrical value is concerned which will only make box office success harder especially in a female led film.
Kriti Sanon was on a upward curve before the pandemic hit and just behind Alia Bhatt and Kiara Advani as fas as the girls who made an entry in the last decade were concerned. Post pandemic, the audience has not been that kind with major duds and now its about whether this trend can reverse with the right films.
Disha Patani is similar to Shraddha Kapoor with so little work. There is some credit to go to her for the initial of EK VILLAIN RETURNS. So, there is some popularity there but again, you need back to back films to reach that genuine star status.
Generally there is dearth of popular heriones for the youth hero/heroine film as Alia maybe has become too big for this zone, Deepika will not pair well with the younger actors while Shraddha hardly does films leaving Kiara. But with her run at the box office, she will probably have the choice of the bigger films and there are four female stars who actually make a difference.
This makes it even more difficult to make that medium budget comedy/action /love story as the younger male stars have not hit huge heights at the box office, Hence, you need a pairing with a popular heroine to make it a package to get that initial audience out but those heroines are limited in supply.
Getting offended is becoming a hobby-Raj Mehta
8:25 AM
Even as he feels that comedy shouldn’t be intensely scrutinised, Jugjugg Jeeyo director on how he constantly re-evaluate the material as he handled delicate subject of divorce
Mohar Basu (MID-DAY; June 24, 2022)
Director Raj Mehta reveals that the premise of JugJugg Jeeyo, starring Anil Kapoor, Neetu Kapoor, Varun Dhawan and Kiara Advani, came from Kesari (2019) filmmaker Anurag Singh. “What attracted me was the one-liner, and I wanted to dig into it,” begins Mehta.
The film sees a young couple, essayed by Dhawan and Advani, contemplating divorce. When Dhawan’s character considers breaking the news to his family, he is shocked to know that his parents too are headed for divorce. Mehta knew that the film had ample scope for humour. “I want to not only make people laugh, but also leave them with a thought. Divorce is a tricky subject. I don’t want to tell viewers what is right or wrong. I want to leave them with questions, and they can decide.”
Of late, comedy has come under intense scrutiny. As a filmmaker who is tackling a serious subject in a light-hearted manner, did he feel the need to employ self-censorship? “How you react to a joke depends on whether it reminds you of an experience, and how much you have processed it. I want to [tell people to] stop getting offended. Getting offended is becoming a hobby. But as filmmakers navigate this environment and run the risk of being cancelled, we are always questioning ourselves. That said, I knew all along that in the name of fun, I can’t offend people who have been devastated by their divorces. I had to strike that balance.”
With his last release Good Newwz (2019) having minted money at the box office, the director admits there was additional pressure. “When I was making the film, I didn’t let it play on my mind. Now, a day away from release, I am thinking of the reactions that will come my way.”
Such on-screen depiction of marriages is rare, says Kiara Advani on JugJugg Jeeyo
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Fresh off success of Bhool Bhulaiyaa 2, Kiara says JugJugg Jeeyo takes hard look at complexities of modern relationships
Mohar Basu (MID-DAY; June 18, 2022)
Halfway into the year, Kiara Advani already has a blockbuster under her belt in Bhool Bhulaiyaa 2. Celebrations are in order, but at the moment, she is neck-deep in promotions for JugJugg Jeeyo . The Anil Kapoor, Neetu Kapoor and Varun Dhawan-starrer is special to Advani for a simple reason. “It has its heart in the right place,” she says. “Raj Mehta [director] has made a sensitive and entertaining movie. This is my second film with him [after Good Newwz], and he is a fine director who [has a command over] family stories and emotions.”
Through the arc of two couples at different stages of marriage, the film discusses the complexities of relationships, how people grow apart, and divorce. “We had to develop back-stories of our characters to bring depth to our performances. We jammed together to add things that weren’t on paper. In most cases, [relationships] fall apart due to lack of communication, and ego. The fights and turmoil had to be personal. We didn’t want to make it about right and wrong; instead, we wanted to show both perspectives. The film might appear to be a masala fare, but we have added gravitas to it. I am particularly proud of a sequence where Varun and my character get into a fight because she supports his mother [Neetu’s character]. It captures how falling out of love, and the desire to make a marriage work aren’t co-related.”
Besides being impressed by the film’s honest gaze at today’s marriages, Advani says her character was a big draw. “She is a strong, independent woman who has her own ambitions. She wants to create a marriage of equal partnership. Such on-screen depiction of marriages is rare.”
While JugJugg Jeeyo is barely a week away from release, her last offering Bhool Bhulaiyaa 2 is still running strong. The horror comedy has breached the Rs 175-crore mark to become the highest Bollywood earner of 2022 so far, at a time when Hindi films are floundering at the box office.
Advani takes a minute to soak in the numbers, before saying, “It’s a film that has given hope to the industry. [It shows that] a good entertainer still has the power to attract the audience. I am fortunate that my first release after the pandemic did this well. As an actor, there’s nothing more delightful than to deliver movies that bring back the community-viewing experience.”
But it is often noticed that a film’s success is attributed mainly to the leading man. Thankfully, Bhool Bhulaiyaa 2 has been an exception, with its leads Kartik Aaryan, Tabu and Advani being jointly credited for its runaway success. The change, though in its early stage, is significant.
“The notion is changing with more female actors taking centre-stage, and with more female journalists on the field, observing this and pushing for the change. There is still a long way to go, but the shift is perceivable. But in the case of Bhool Bhulaiyaa 2, the success primarily belongs to the producers and the director [Anees Bazmee] who showed faith and patience for three years [of the pandemic]. A lot of films [took] the OTT route, but our producers held on.”
I have always been more heart than mind, and JugJugg Jeeyo stems from that facet of me-Kiara Advani
8:43 AM
Reuniting with Good Newwz director Raj Mehta, Kiara on why JugJugg Jeeyo is special for her
Mohar Basu (MID-DAY; May 15, 2022)
It’s been a roller coaster ride from shoot to promotions for Kiara Advani, who is currently busy promoting the Kartik Aaryan-starrer, Bhool Bhulaiyaa 2, which is set to release in theatres this week. But, that’s not all that has Advani excited.
With the first poster of JugJugg Jeeyo out this week, Advani is eagerly waiting to reunite with co-stars Varun Dhawan, Anil Kapoor, and Neetu Kapoor to promote the most awaited family drama of the year. “I have always been more heart than mind, and this film stems from that facet of me,” says the actor. The family entertainer from Karan Johar’s stables revolves around two couples from different generations and how the issues post their marriage entangle them.
Insisting that the story of JugJugg Jeeyo is something every person would relate to, she says, “It is every person’s story—we’ve either all gone through it or will go through it at some point.”
Having worked with director Raj Mehta in Good Newwz (2019) before, the choice to take up the film was a no-brainer for Advani. “Raj Mehta is the most entertaining director we have. Anyone who watches the film, will love how it makes it to your heart,” she added.
Cape of Good Films, a production house that has been silently succeeding
8:01 AM
The content house believes in creating content that challenges norms
HINDUSTAN TIMES (January 3, 2022)
Cape of Good Films, a logo sitting quietly on the poster of many successful films, actually has a lot to boast about with the success that the production house has seen over the last few years. Founded in 2009, this boutique content house started working its way up to making films that are meaningful, yet commercial in nature.
The company’s partner, Rana Rakesh Bali, says, “Every story can be told through the medium of cinema, provided it is treated sensitively, keeping in mind the audiences you are making the film for. No one comes to the theatre, paying their hard-earned money to be taught a lesson. If you want to say something serious, say it in a way that educates them while still making them smile. That is the mantra Cape is run by.”
In the last six years, through its associations with massive hits — from Airlift (2016), Toilet: Ek Prem Katha (2017) and Mission Mangal (2019) to National Award-winning and critically acclaimed films such as Rustom (2016), Pad Man (2018), Chumbak (2017), and commercial grossers such as Kesari, Good Newwz (both 2019), and 2021’s biggest hit Sooryavanshi — Cape of Good Films has had it all.
Path-breaking films by Cape also include Naam Shabana (2017) and Durgamati: The Myth (2020), which were headlined by strong female protagonists. Its films, such as Laxmii (2020) and the recently released Atrangi Re (2021), are breaking new records for the highest viewership on OTT platforms too. The content of these diverse films by the content house spans genres like no other. Their foray into producing music videos also struck a chord with Filhall and Filhall 2 shattering records.
What stands out about Cape is that there is no face to it. “It is just a team trying to make what they believe in and want to keep it such. The feeling emanates from the fact that the films that we make are larger than an individual and an entity, and should be preserved that way,” Bali shares.
The content house now looks forward to dishing out sought after films such as Raksha Bandhan, Ram Setu and OMG 2. It enters 2022 with a firm belief in backing and making content that breaks stereotypes, challenges notions, and makes the audience fall more in love with what they have always loved — movies!
Last year changed a lot of things for me and 2020 has been even better-Kiara Advani
8:13 AM
With three releases and another in the works, Kiara Advani is happy the year is ending on a good note
Monika Rawal Kukreja (HINDUSTAN TIMES; December 27, 2020)
Kiara Advani started 2020 on a high note with her web film Guilty garnering rave reviews. Calling it a special film, she admits, “It made me push myself and take the best risk with a character like Nanki.” While things would have been up and going, the Coronavirus pandemic brought everything to a standstill. However, the actor is happy that she had two more releases — Laxmii and Indoo Ki Jawani — and she’s currently shooting for her next. Looking back, she tells us how 2020 has taught us that ‘the show must go on’.
With two releases on the web and one theatrical, you’ve been on a roll. How would you sum up 2020?
This has been a year of risks and many learnings. I began it with Guilty, which was also the first film that I was headlining and for the first time portraying a character that we’ve never seen before by a lead actor. Then, both Laxmmi and Indoo Ki Jawani released amid the pandemic. Indoo Ki Jawani had already made a profit with digital and satellite sales, even before it released. But as a team, we wanted to support the cinemas by releasing it in theatres. I’m glad my performance was widely appreciated.
Now that you’re busy with JugJugg Jeeyo, how is it to be shooting for a fresh film during the Coronavirus pandemic?
Initially, no one thought this phase would last so long, but now, this is the new normal and the show must go on. I signed for nine new brands during the pandemic and resumed work in July. At first, it seemed impossible to think of shooting for a feature film in 2020, but with everyone adapting to the new rules, creating a bubble and shooting with every possible precautions, we decided to go ahead. We’ve adapted to this situation but there are days I feel nervous when we shoot with a crowd or new people coming into the bubble because as actors — while everyone else has their mask and protective gear on — we don’t, and are most vulnerable during a shot. However, our production and personal teams and director Raj (Mehta) have made it so comfortable. So, we’re blessed!
So would you, in that sense, say you’re ending 2020 on a good note? Also, how’s it to be working with Anil Kapoor and Neetu Kapoor for the first time?
I’m grateful to be working with Anil sir and Neetu ma’am. Working with such dedicated, passionate and experienced actors only makes me grow and improve myself. And I’m happy I’m ending this year working on JugJugg Jeeyo with such a supportive and positive atmosphere on set. I’m looking forward to 2021 and starting on new films.
You’ve completed six years in Bollywood and the last two years have been quite busy work-wise. Do you want to increase this pace?
It’s been a slow and steady and upward journey till now. And I’m very grateful for all the work that’s coming my way. Last year changed a lot of things for me (Kalank, Kabir Singh, Good Newwz) and 2020 has been even better. Every film has been equally special. There have been ups and downs, the days when I didn’t hope for the work that I have today. Now that I finally have all the work I was once longing for, I hope I never slow down this pace.
All time top satellite premieres - 5 films enter the league in 2020
8:22 AM
Box Office India Trade Network
This year there have five films which are among the top 25 television
premieres of all time. WAR, TANHAJI: THE UNSUNG WARRIOR, BAAGHI 3, SAAHO (Hindi) and DARBAR (Hindi) are the five films from this year and
they all topped the 1 crore mark for their premieres while WAR crossed 2
crore.
WAR had the best premiere but was the weakest one of the lot in subsequent screenings. The dubbed films SAAHO and DARBAR have had great results and for SAAHO, this is coming after a very good box office run of 150 crore nett. The other film to get good numbers on television this year was PATI PATNI AUR WOH which hit 88 lakh plus and STREET DANCER which got over 70 lakh despite releasing on satellite six months after digital release.
The films which were not upto the mark were DABANGG 3 (repeats are steady but a very low premiere), GOOD NEWWZ and BALA. HOUSEFULL 4 and TOTAL DHAMAAL released last year have had extraordinary runs through the Covid-19 period.
Below are the top 25 premeires of all time. The
numbers are impressions which are the number of television sets viewing
the film.
1. Baahubali 2: The Conclusion - 2,60,54,00,000 (Sony)
2. Prem Ratan Dhan Payo - 2,51,19,00,000 (Star)
3. Bajrangi Bhaijaan - 2,37,45,000 (Star)
4. Housefull 4 - 2,15,42,000 (Star)
5. War - 2,25,00,000 (Star)
6. Baahubali: The Beginning - 2,07,77,000 (Sony)
7. Dhadak - 1,83,16,000 (Zee)
8. Total Dhamaal - 1,67,93,000 (Star)
9. 2.0 (Hindi) - 1,65,13,000 (Zee)
10. Golmaal Again - 1,63,52,000 (Star)
11. Dangal - 1,62,64,000 (Zee)
12. Baaghi 2 - 1,61,45,000 (Star)
13. Kesari - 1,56,66,000 (Zee)
14. Judwaa 2 - 1,52,66,000 (Star)
15. Tanhaji: The Unsung Warrior - 1,38,40,000 (Star)
16. Tiger Zinda Hai - 1,37,04,000 (Sony)
17. Baaghi 3 - 1,29,06,000 (Star)
18. Saaho - 1,28,20,000 (Zee)
19. Darbar - 1,27,31,000 (Star)
20. Luka Chuppi - 1,25,00,000 (Star)
21. Stree - 1,23,29,000 (Star)
22. Junglee - 1,11,77,000 (Star)
23. Simbaa - 1,11,02,000 (Zee)
24. Toilet - Ek Prem Katha - 1,09,25,000 (Zee)
25. Jolly LLB 2 - 1,08,51,000 (Star)
2. Prem Ratan Dhan Payo - 2,51,19,00,000 (Star)
3. Bajrangi Bhaijaan - 2,37,45,000 (Star)
4. Housefull 4 - 2,15,42,000 (Star)
5. War - 2,25,00,000 (Star)
6. Baahubali: The Beginning - 2,07,77,000 (Sony)
7. Dhadak - 1,83,16,000 (Zee)
8. Total Dhamaal - 1,67,93,000 (Star)
9. 2.0 (Hindi) - 1,65,13,000 (Zee)
10. Golmaal Again - 1,63,52,000 (Star)
11. Dangal - 1,62,64,000 (Zee)
12. Baaghi 2 - 1,61,45,000 (Star)
13. Kesari - 1,56,66,000 (Zee)
14. Judwaa 2 - 1,52,66,000 (Star)
15. Tanhaji: The Unsung Warrior - 1,38,40,000 (Star)
16. Tiger Zinda Hai - 1,37,04,000 (Sony)
17. Baaghi 3 - 1,29,06,000 (Star)
18. Saaho - 1,28,20,000 (Zee)
19. Darbar - 1,27,31,000 (Star)
20. Luka Chuppi - 1,25,00,000 (Star)
21. Stree - 1,23,29,000 (Star)
22. Junglee - 1,11,77,000 (Star)
23. Simbaa - 1,11,02,000 (Zee)
24. Toilet - Ek Prem Katha - 1,09,25,000 (Zee)
25. Jolly LLB 2 - 1,08,51,000 (Star)
I believe fear is worse than the virus-Kiara Advani
8:19 AM
Excited for her next, Laxmii, releasing on an OTT platform, the actor sayswhile the community watching aspect of theatres will be missed, she’s happy people will finally get to watch the film, from the comfort of home
Monika Rawal Kukreja (HINDUSTAN TIMES; November 1, 2020)
Calling it her “first interview post Covid”, Kiara Advani is excited that life is slowly getting back to normal. “I took one day at a time in all these months, and it’s so funny that we adapt to any situation so fast,” she says, adding that, “The new normal is so different. Everyone is being cautious, and I feel you’ve to feel safe when you’re ready to go back to work.” Looking forward to her next, Laxmii, releasing on the web, Advani gets talking about the film, the OTT boom and restarting shoots.
Upon resuming work, did you shoot for any of your upcoming films?
I had three films pending for release, but after the lockdown, we had a little bit of work on all those, so I started with them. I shot for a song for Indoo Ki Jawani, then Laxmii’s last scene was pending, besides dubbing work and a lot of brand shoots. The first film shoot I’ll start this month, and we resume Bhool Bhoolaiya 2 in January. I believe fear is worse than the Coronavirus, so we’ve to take precautions and be responsible during this time.
Now that cinemas are slowing opening, do you still somehow wish for Laxmii to release in theatres?
I’m really happy that people will finally get to watch the film; it has been waiting for so long. Also, nobody knew seven months ago what was going to happen the way things were going, so that’s the producer’s call (to release it online). Of course, the film was made for theatres, so we’ll miss the community watching aspect, as a film like this in a theatre would have been extremely exciting, but it’ll also be beautiful in your home. As an actor, I just want my films to reach as many people as possible.
With Lust Stories (2018) and Guilty, you’ve already seen the power of OTT. Does that restore your faith in the medium?
When I did Guilty, there was a lot of creative liberty and it got me so much critical appreciation. It also reached a wider audience. So, web opens the horizon, as there are so many films of different languages people are watching. It pushes your boundaries — as artistes, filmmakers, writers, and content creators. Everybody is charged up to put their best foot forward and bring something new to the table. Viewers also want fresh content and it’s like a challenge to continue entertaining them with new and exciting stuff on OTT.
After Good Newwz (2019), how was it collaborating with Akshay Kumar again?
Working with Akshay sir is amazing, you learn so much. While filming Good Newwz, we never had time to interact. But, during Laxmii — since it’s a horror comedy and we shot a lot in the evening and at night — Akshay sir had made a lounge room where all the main cast and crew would have their meals together. It just kept everyone’s energy up and the vibe was always happy and positive. We also have kids in the film, so he was doing tricks with them and joking. He’s always so full of life and energy, and that’s an amazing quality, very admirable and inspiring.
Cinemas get cold response; experts feel 'too early to arrive at a conclusion'
8:04 AM
Prashant Singh (HINDUSTAN TIMES; October 19, 2020)
Finally, the silver-screens have brightened up once again, as theatres reopened their doors (except in a few states including Maharashtra) from October 15, after being shut for over seven months. But people’s response, across the country, has been “quite subdued”. Experts contend “it’s too early to arrive at a conclusion”, and also, that “non-availability of new content is a major reason”.
As of now, old Hindi films such as Tanhaji: The Unsung Warrior, Thappad, Good Newwz, Chhichhore, Dream Girl, Malang and Shubh Mangal Zyada Saavdhan have hit various theatres across the country, besides English movies such as My Spy and 1917. Analysts, on their part, believe that “signs of recovery will start to show only after at least four to six weeks.”
Trade analyst Taran Adarsh says, “The fear of Coronavirus is still around. Right now, people are worried about their safety and security. Entertainment is the last thing on their minds. The real litmus test would be when biggies like ’83 or Sooryavanshi open.”
In terms of fresh movies, only Suraj Pe Mangal Bhari has been announced as the Diwali release. But insiders feel the lucrative Diwali period is also going to be “quite tepid” with no biggie lined up. Exhibitor-distribitor Akshaye Rathi, on his part, feels considering that only “old films are running in theatres, the response has been very encouraging”.
While West Bengal’s theatres are likely to see some fresh Bengali releases around Durga Puja, new Hindi ones such as Indoo Ki Jawani, Bunty Aur Babli 2 and Sandeep Aur Pinky Faraar etc., may hit the big screens in the coming days, besides '83 which is supposed to open around Christmas.
Theatre owners, though, are “hopeful”. “We are fully aware that it’s going to take time (for people to come back in big numbers). Also, there is no fresh film right now. I am confident that new, engaging content will expedite the process of normalcy,” says Chinmoy Sharma, owner of Assam-based Anuradha Cinema.
Nearly 5000 tickets on Day 1 sold as cinemas open in the post-Coronavirus world
8:32 AM
Box Office India Trade Network
Cinemas opened up in many parts of the country on Thursday though the
properties opening up was very limited as were the screenings in these
cinemas which opened and it is expected that more will open up today.
The response was muted which was expected but with nearly 5000 tickets
selling across the country, it is not that bad considering how many
cinemas actually opened and what sort of content was being played. It
would not have been a surprise if the number was in hundreds rather than
thousands. The biggest chain in the country PVR sold around 700 tickets
on very limited screenings which could well have been the all India
number considering the situation.
These ticket sales came from mainly English and regional content with Hindi having a minor contribution. This is expected also as its old films being screened and on top many of them are flop films like SECTION 375 and THAPPAD. The HIT titles like GOOD NEWWZ and HOUSEFULL 4 have been screened on television with the latter getting over a record breaking 10 crore impressions in screenings over the last 7-8 months. So there will not be an audience here either especially in these social distancing conditions. The biggest HIT of 2020 TANHAJI: THE UNSUNG WARRIOR also had screenings but this film had also ended its run when theatres shut though its possible it could find an audience in Maharashtra where it turned out to be one of the biggest blockbusters ever. But the state government have not given the green light for cinemas to open in Maharashtra.
These ticket sales came from mainly English and regional content with Hindi having a minor contribution. This is expected also as its old films being screened and on top many of them are flop films like SECTION 375 and THAPPAD. The HIT titles like GOOD NEWWZ and HOUSEFULL 4 have been screened on television with the latter getting over a record breaking 10 crore impressions in screenings over the last 7-8 months. So there will not be an audience here either especially in these social distancing conditions. The biggest HIT of 2020 TANHAJI: THE UNSUNG WARRIOR also had screenings but this film had also ended its run when theatres shut though its possible it could find an audience in Maharashtra where it turned out to be one of the biggest blockbusters ever. But the state government have not given the green light for cinemas to open in Maharashtra.
The numbers will get better as more properties open up but it cant go far without any new content and this is a huge issue. KHAALI PEELI will not make it cinemas this week due to an issue over print costs between the distributors and exhibitors though that is not the type of film which will get audiences into theatres in these times.
Its pretty much certain that distributors and exhibitors are going to have issues agreeing sharing terms with the new content as distributors will want more compared to the pre covid19 terms as business will be limited. So what happens here is an unknown. TENET which releases across the world in August had better than normal terms in most countries. This film will be the hope for some sort of audience in the Hindi markets while certain territories may get some public in with regional films.
Anil Kapoor and Neetu Kapoor to play parents to Varun Dhawan in Raj Mehta's next; also stars Kiara Advani
8:40 AM
Kiara Advani joins them in Raj Mehta’s romantic-dramedy
Himesh Mankad (MUMBAI MIRROR; August 18, 2020)
Kiara Advani, who was last seen in a special appearance with Varun Dhawan in the 2019 period-drama Kalank, will reunite with him for director Raj Mehta’s next. “It’s a script that Raj and his writing partner Rishabh Sharma have been working on for a while now. The untitled film is a romantic dramedy and should go on the floors around October-end or early-November,” revealed a source close to the development, adding that while the story is set in North India, contrary to the speculations, it is not a sequel to the director’s debut, Good Newwz.While the film would be Kiara’s second outing with Raj after the Akshay Kumar, Kareena Kapoor, Diljit Dosanjh-starrer, it’s Varun’s first collaboration with the director. Anil Kapoor and Neetu Kapoor, who are also a part of the film, play Varun’s parents and their track is said to be high on humour. Neetu was last seen in Abhinav Kashyap’s 2013 film, Besharam, co-starring husband Rishi Kapoor and son Ranbir.
Varun and Kiara were supposed to work together in Shashank Khaitan’s Mr Lele, but it was shelved earlier this year due to creative differences. After wrapping up his home production, the Coolie No 1 remake, the actor had planned to roll with Sriram Raghavan’s Ekkis, the journey of the 1971 war hero Arun Kheterpal, in May. It was to be shot on a big scale with multiple war sequences. But the Coronavirus-triggered pandemic has put paid to those plans. “Ever since, Varun has been on the lookout for a film that’s relatively easy to shoot and so he chose Raj’s directorial,” the source shared.
We realised Rannbhoomi needed a humongous budget-Shashank Khaitan
7:37 PM
After announcing Rannbhoomi with fanfare, director Shashank Khaitan reveals why Varun Dhawan-led war drama was put on the backburner
Uma Ramasubramanian (MID-DAY; August 10, 2020)
Director Shashank Khaitan had caught everyone's attention when he had announced the epic war saga, Rannbhoomi, with Varun Dhawan in 2018. The movie was to mark the third outing of the actor-director duo who had delivered hits in Humpty Sharma Ki Dulhania (2014) and Badrinath Ki Dulhania (2017). Soon after, the Karan Johar-production was put on the backburner.While little was known about why it was shelved then, Khaitan finally reveals that the film's staggering budget compelled the makers to do a rethink. "The film demanded world-class special effects and technology. As I started discussing with technicians, we realised that the budget was turning out to be humongous. It's not easy [to recover costs] if you mount a big-budget movie. For every Baahubali that has done well, there are several other [expensive] movies that have not been successful. This puts a lot of pressure on the producers," he says.
Even as he is creatively inclined, the three-film-old director keeps a sharp eye on the finances. "With such a large budget, I, as a director, had to be doubly sure that I am equipped to make the film. So, we unanimously decided to wait it out," says Khaitan, who graduated to production with Good Newwz last year. As the film premieres on Zee Cinema on August 15, the filmmaker says, "Taking on the additional responsibility of a producer was a novel experience."
A look at the post-lockdown collections of Baaghi 3, Good Newwz, Dream Girl in UAE
10:11 PM
Box Office India Trade Network
Cinemas have been open in UAE for over a month and although the market is dominated by Hollywood releases there has been three Hindi films to get screenings. BAAGHI 3 which is a holdover from before the Coronavirus lockdown has the best numbers though they are minimal like all releases
GOOD NEWWZ and DREAM GIRL were re releases and mainly saw screenings in the weekend. There have been markets like France and South Korea which has seen a solid return of the audience according to the circumstances as they have had some new local releases. The UAE market has not seen any new content over the last six weeks so has seen very low footfalls with collections 90-95% lower than a normal week before the lockdown.
The weekly collections of BAAGHI 3, GOOD NEWWZ and DREAM GIRL in UAE post the lock down are as follows. The number of cinemas are in brackets.
Baaghi 3
$2137 (15)
$1385 (9)
$529 (7)
$783 (4)
$1333 (5)
$1150 (5)
Good Newwz
$664 (10)
$318 (4)
$657 (3)
Dream Girl
$430 (8)
$116 (4)
The curious case of identity theft on IMDb
8:32 AM
How a man, busted for fabricating entries on IMDb, exposes the entertainment industry’s struggle to find a safe home for credits
Jairaj Singh and Arnab Ganguly (MUMBAI MIRROR; July 12, 2020_
Till a few weeks ago, he was a legend the film industry had failed to acknowledge. On IMDb — the largest and most popular TV and movie database on the internet — his feats were going spectacularly unparalleled, and there for all to see. Even Satyajit Ray — whom Akira Kurosawa hailed as a ‘giant’ — paled in comparison to his filmmaking prowess, if you compared the credits listed on their respective profile pages. The 18-year-old student from Navi Mumbai, who was running the page with his own name, claimed not only to be an actor and director, but also to have experience in animation, costume design, editing, stunts, visual effects and scriptwriting, among other things.On June 23, screenwriter and poet Varun Grover exposed the IMDb account. He took to social media when he saw an ‘Abhishek Chaudhary’ listed as one of the writers of Sacred Games, the show Grover had developed from Vikram Chandra’s 2006 novel by the same name. Upon inspecting the profile page on the website, he found that this person also claimed to have played the role of a newborn in Good Newwz (2019) and a father in Badhaai Ho (2018), besides other stuff. “The guy is a bit of a credit-vandal. A normal talent would have credits in 4 or 5 different fields (writer, director etc). A genius like Mr Ray has credits under 14 categories. Our maestro ‘Abhishek’ has 30+ varied talents,” Grover wrote in a Twitter thread. He also questioned IMDb’s “strict monitoring and verification process”, which had allowed something like this to pass.
IMDb was quick to follow up as the posts went viral, and instantly wiped out almost all the fake credits on Chaudhary’s page, without acknowledging the oversight. It left behind the entries of two films, one genuine and one fake: Brazen Epiphany, which credits Chaudhary as an actor, and Chosen Few, a TVF short, which credits him as playing the role of a policeman. Within a week of the issue coming to light, a man claiming to be Abhishek Chaudhary messaged Grover on Instagram and confessed that he was behind the IMDb profile — and proved it by making fresh edits on the page. Chaudhary told Grover that IMDb had barred him from creating more fake entries, and then tried to justify himself.
“My initial impression, on discovering the fake credits on IMDb, was that he was misusing the mutual trust platform,” Grover tells Mirror. “But after interacting with him, I figured he has some kind of reasoning behind it. He thinks of himself as some sort of a vigilante, exposing loopholes in a system. Also, the joy of cheap thrills is difficult to resist. So I believe it’s a mix of everything.”
The (con) artist
On his LinkedIn page, Chaudhary introduces himself as a “pseudo-introvert, a web developer and a maker”. He also says he’s the “Chief Executive Officer of The Abbie”, which does not appear to be an organisation, and has only one follower on its page.
A second year student of computer engineering at an institute in Vashi, Chaudhary is not a self-avowed film buff but is “open to making films” once he gets his engineering degree. Last year, he and his friends took part in a contest organised by the India Film Project, where each team was given a theme and 50 hours to make a film. They made Brazen Epiphany, a 5.26-minute audio film about a journalist who is interviewed after winning an award. The film was uploaded on YouTube on April 11, and has had 45 views. “I knew my film was not going to win, but I wanted to promote it. My first step was to create an IMDb page,” Chaudhary tells Mirror. “I had to fill up a long form, which took two days to get approved. This left me wondering whether IMDb was actually verifying all the information that it was being fed.”
At first, Chaudhary claims, he would spend quality time on the crowd-sourced website by contributing genuine entries, like adding missing plot details and fixing the release date of a film. It was only once he discovered the existence of a loophole, and realised how easy it was to fabricate credits, that he started misusing the website. “I was jealous of not being famous,” says Chaudhary, who created his first fake entry in March by calling himself a comic who was a part of Comicstaan, the stand-up comedy reality show. “I was just eager for fame. At the time, Sacred Games was trending. I thought that if I add my name to it as a writer, people might recognise me.”
While Chaudhary found it easy to create such fake entries, Pooja Tolani (left) — a writer who has actually worked on two episodes in the second season of Sacred Games with Grover — had to struggle to make even a legit entry. She was asked by IMDb to send a screenshot of her name in the end credits, and it took her, in all, almost three months to get the credit.“At first, I did not pay much attention to adding my name to the show’s credit list. My colleagues had added their names and it had been a very simple process for them,” says Tolani. “I tried in December once, but couldn’t do it. Later, I learnt it had been declined because the information could not be verified. In February, I tried several times, and every time it said it could not be verified. I was then asked to submit evidence. I wrote on the IMDb website that I was one of the co-writers, and mentioned the two episodes that I had worked on, and also provided the links. It was still declined.”
IMDb, on its site, maintains that for users to get credit they “need to have at least one pre-existing credited entry in the database”. It says that it relies on end credits because “these days, end credits are much more comprehensive and most people who contribute eligible work, receive a credit”. Even though it operates as a crowd-sourced website like Wikipedia, on its own Wiki page, IMDb makes a distinction about how it is different by stating that “contributors cannot add, delete, or modify the data or text on impulse, and the manipulation of data is controlled by IMDb technology and salaried staff”.
When Mirror reached out to IMDb to ask how Chaudhary managed to fabricate credits while Tolani had to struggle to get her due, a spokesperson responded by sharing the information that’s already on the website. “The information in IMDb comes from various sources. While we actively gather information from and verify items with studios and filmmakers, the bulk of our information is submitted by people in the industry and visitors to our site,” reads the statement. “Our sources of information include, but are not limited to, on-screen credits, press kits, official bios, autobiographies, and interviews. Given the sheer volume and the nature of the information we list, occasional mistakes are inevitable and, when spotted/reported, they are promptly verified and fixed.” The website evaded all questions pertaining to the specifics of the case.
A flawed system
On July 8, filmmaker Apurva Asrani tweeted how his name, as co-writer of the legal drama Shahid (2013), “miraculously popped back” on IMDb after he wrote a blog, despite three years of chasing the website to include it. “Credits on IMDb should exactly reflect those that appeared on the film, but that’s not always the case,” says Asrani. “In the case of Shahid, Hansal Mehta and I are mentioned as additional screenplay writers in the film’s opening credits. We both even shared a screenwriting award with the film’s main writer, but for the last three years, my name and a mention of the award has been missing from IMDb. After I blogged about it, someone was able to edit the page and attach proof of my name in the opening credits. Now it is there, but I don’t know for how long.”
For most people in the entertainment industry — especially those still trying to establish themselves — IMDb is the go-to site. Filmmaker Bejoy Nambiar says that in recent years, an IMDb profile has become a “calling card”, an online resume, for people to verify and crosscheck credentials. It also helps actors, writers and tech crew to negotiate better deals. The loopholes in the system have, however, given rise to fraudsters, both online and offline. Last year Gaurav P Singh, an assistant director, had to conduct a sting operation to nab a man, his namesake, who was using his IMDb profile to get work. “I had to make him apologize to me on camera and write to all the production houses he had been doing the rounds of, seeking work by posing as me,” he says. “The funny thing is that he knew everything about me and my work and, during the first quarter of the meeting, tried very hard to convince me that he was me.”
Such incidents expose a major faultline in an industry which refuses to be transparent about giving credit to people. Other than the end credits of a film or a TV show, there is no way for people — involved in the larger creative process — to be formally acknowledged for their contribution. If production houses do create an official webpage, including all the credits, it is usually a transient exercise. IMDb is, arguably, the only database that one can refer to for information long after a project is done. So correct and honest representation is crucial.
Grover, like many people in the industry, feels the onus should also lie with production houses to ensure proper credits go on IMDb, but adds, “we are talking about an industry with no structure, no strict labour laws, no unity, and, in most of the cases, [sees] rampant exploitation”. As long as that continues, fraudsters and vandals will also continue to thrive.
The fake credits on the page (before IMDb removed them)
Will re-release of films work for theatres?
8:20 AM
Cinema halls are gearing to reopen when restrictions ease, but they’re likely to use old hits to draw audiences
Rishabh Suri (HINDUSTAN TIMES; June 11, 2020)
With life crawling back to normal mid the Coronavirus crisis, and resumption of shoots, comes the big question: when will movie theatres reopen? And an even bigger question: which filmmakers will be ready to test the waters and see whether audiences trickle in?UAE, with no new films in hand, has decided to re-release Good Newwz and Dream Girl, both 2019 films, in theatres. Back home too, experts believe the same strategy would be employed.
OLD MAY STRIKE GOLD
Manoj Desai, executive director of G7 Multiplex and Maratha Mandir cinema, Mumbai says, “A theatre lockdown happened in 1996. On reopening I decided to re-run the 1961 Shammi Kapoor film Junglee. It was housefull. Then I re-released Teesri Manzil, also housefull. Just after the Covid-19 lockdown started, I had thought I’ll again use this idea.”
Earlier, speculation was rife that Sooryavanshi and '83 would be the first to release to draw audiences. But '83 director Kabir Khan told us recently, “It’s not like the lockdown will lift and we will throw our films to test waters. We will wait till comfortable.”Shibasish Sarkar, group CEO, Reliance Entertainment which is involved with both these films, says, “We are expecting theatres to reopen in mid to end of July. Also, it will be in some states. It’s not as if suddenly some ready films would be released, it will take time. Hollywood films will come first — Christopher Nolan’s Tenet, Mulan, then Wonder Woman 1984. I expect old films to be released again, but I don’t expect people to come to the hall for them. It would be a kind of practice for theatres to get everything ready.”
He confirms both their films won’t be among the first to release, but adds Reliance would give any of their titles such as Simmba (2018), Golmaal Again (2017), Super 30 (2019) for free to theatre owners. “We survive because theatres are there,” he adds.
THE OTT FACTOR
However, recent films such as Angrezi Medium or Baaghi 3 are already on OTT, why would people pay to watch them in theatres? Hardik Mehta, whose Roohi Afzana starring Janhvi Kapoor and Rajkummar Rao is stuck, says, “It’s an important step forward. Let’s run cinema halls for 24 hours, but only at 50% capacity. Also, Nolan will release Tenet in July, even those at home will say ‘I’ll have to go to a theatre’,” he says.
Good Newwz, Dream Girl to re-release in UAE
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Akshay Kumar-Kareena Kapoor Khan's Good Newwz, Ayushmann Khurrana's Dream Girl to re-release in UAE on June 11, to increase theatre footfalls after lockdown
Mohar Basu (MID-DAY; June 8, 2020)
After the unprecedented global standstill, several countries — including the United Arab Emirates — have reopened. As part of its gradual lifting of the Coronavirus lockdown, the UAE threw open the doors of its theatres on May 27, luring cinegoers with re-releases of popular Hollywood and Bollywood movies. Encouraged by the positive response to the re-release of Baaghi 3, several filmmakers are considering a second round of big-screen outing for their offerings.Come June 11, Akshay Kumar and Kareena Kapoor Khan starrer Good Newwz, which minted over Rs 100 crore at the domestic box office on its release last year, will hit the marquee again. The superstar hopes that the comedy will spread cheer amid the current crisis. "Dubai has always given so much love to my films. The re-release of Good Newwz is special, especially during such times. I hope it manages to entertain the audience once again," says Kumar.
Ayushmann Khurrana's 2019 comedy, Dream Girl, too is part of the line-up. Vibha Chopra, global syndication & international film distribution head, Zee Studios, says that they deliberately chose laugh riots. She explains, "The world has been going through a tough time. The re-release of Good Newwz and Dream Girl is an opportunity for the audiences to take a break from the chaotic scenario and experience the joy of watching films on the big screen, keeping health and safety at the forefront."
I was chatting with Rajkummar & Patralekhaa on my birthday when he broke the news about Irrfan-Hansal Mehta
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Hansal Mehta reveals that a project with the late actor didn’t materialise, says he’s been very productive during the lockdown
Akash Bhatnagat (MUMBAI MIRROR; June 2, 2020)
Also produced by Bhushan Kumar, the film was supposed to release in March, then pushed to June and even now its opening date is uncertain. But Hansal is not worried, “It would have been a disaster had it opened in March; it’s a film which will be liked by all even if it comes after five years as it is an inspiring, heart-warming story laced with gentle and genuine humour. So, I am not bothered.” There have been rumours of a digital release, but the National Award-winning director shrugs it off as just speculations. “We are going through a pandemic and have lost two stalwarts (Rishi Kapoor and Irrfan Khan) in the midst of it. It has been a tough couple of weeks for the industry during which we didn’t even discuss the film. But my producers are working on it and we will have something concrete to announce really soon,” he promises.
Irrfan passed away on Hansal’s birthday (April 29). “I was on a video call with Raj and Patralekhaa who had called to wish me. We were chatting and laughing when Raj broke the news to me. I was stunned,” he recalls. That day, Hansal had tweeted about a secret which even now he refuses to divulge, saying it’s private. All he will say is that Irrfan and he almost ended up working together fairly recently. “It did not happen eventually for a variety of reasons that I don’t want to discuss as it will hurt a lot of other people,” says the filmmaker, who regrets not getting the opportunity, but is glad he got to spend some time with his friend. “We had known each other since 1994, and now our life and death are inter-connected. My date of birth will now mean a new life for Irrfan in a better place,” Hansal says emotionally.
Recently, his film Omerta, based on the life of terrorist Ahmed Omar Saeed Sheikh, completed two years. Going down memory lane, Hansal admits the film was a difficult but satisfying journey because it was Raj and his most intimate collaboration after Shahid. “It will remain special to me because we collaborated on creating an aspect of human nature which we don’t normally explore even as a human characteristic. Evil is not seen as evil,” he points out.
The filmmaker has been a part of movies not only behind the camera, but also in front of it. He was last seen in The Accidental Prime Minister last year. “I keep stepping in for friends when they call me in emergency,” he laughs, revealing he has also done a small role in Vikrant Massey’s sci-fi film Cargo, which was screened at the MAMI film festival in 2019, for producer Shlok Sharma. “I told him I am not an actor but he was persistent,” he shares, adding that he often gets called for acting gigs. “I guess it’s because of my grey hair and that I work for free and for the love of being on a film set. I was even shortlisted for the doctor’s role in Good Newwz, but I was busy with Chhalaang at the time and the film was saved,” he concludes with a chuckle.
There’s not a feeling that ‘arrey, main atak gayi hoon’-Kiara Advani
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The actor calls herself a ‘home person’, but admits no one had imagined that the ‘world would come to a standstill’
Prashant Singh (HINDUSTAN TIMES; May 20, 2020)
She was shooting for Bhool Bhulaiyaa 2 till days before lockdown 1.0 was announced. Before that, Kiara Advani was working back-to-back on her slate of films [Good Newwz, Laxmmi Bomb, Indoo Ki Jawani, Shershaah and Guilty]. But then, everything came to a screeching halt due to the Coronavirus pandemic. And the actor admits that sometimes, she finds it all “a bit unbelievable”.
“Honestly, no one — including me — imagined the world coming to a standstill,” says Kiara, adding that she has “anyway always been a home person”. “So, there’s not a feeling that ‘arrey, main atak gayi hoon (oh, I am stuck)’. But having said that, I do miss going on the sets,” she says.
Interestingly, the actor has been making great use of “all the free time”. “I’m using this to expand my knowledge vis-à-vis things that I had been mulling over. For example, I am trying to polish my Urdu diction, and there are so many institutions/universities that are offering free courses. So, the idea is to keep myself engaged in a productive manner,” she says.
Not just that, Kiara is also kicked that she is back in touch with so many people. “I always wanted to reach out to them. Now, I have reconnected with so many of my friends as well as my school teachers. And honestly, it’s such a warm feeling,” says the actor, adding that not many know she also plays online ludo almost every day with her friends and family.
At the same time, what’s really heartening for Kiara is to see the feeling of oneness in people. “Amidst the crisis, it’s great to see how people are valuing basics and finding happiness in them all over again. It’s clear that we all are in it together,” says the actor, adding that among other stuff such as meeting friends and family, an important thing on her to-do list once things go back to normal, is to enjoy a film in a theatre. “And that too, with my bucket of popcorn, but that may take some time,” she says.
At the same time, Kiara is also aware that another thing which “may take time” is a film team “being able to go back to the sets and work”. “I know that it will take some time for film shoots to resume because at any given point, we have 500-600 people on a set. But let’s keep our spirits intact for everyone,” she concludes.
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The written word!
Although Kiara has watched her share of content on OTT platforms during the lockdown period, there’s one thing that the actor wanted to do “in a more regular manner” but couldn’t — reading books. “I am not much of a reader but it’s definitely high on my to-do list. In fact, I have a list of books ready that I want to start [reading] soon,” she says. But in the meantime, the actor has managed to finish reading all the [film] scripts [offered to her]. “That way, I’m making the most of this period,” she says.
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