Showing posts with label Happy Ending. Show all posts
Showing posts with label Happy Ending. Show all posts
Alia Bhatt entrusted me with designing her home. That project opened an entirely new chapter-Rupin Suchak
5:59 PM
Rupin Suchak, production and interior designer, on the illusion of wealth, tight deadlines and homes he builds for Bollywood’s stars
MUMBAI MIRROR (June 20, 2026)
I often joke that I have spent most of my career building worlds that people either inhabit for years or encounter for two seconds on screen. The tools are similar, but the pressures of these twin careers are not. My fascination with design started long before I knew it could be a profession. I grew up in a Gujarati family where I was constantly making things, whether miniature installations for Navratri, religious backdrops, stage sets for school productions or drawings for competitions. I was never the student who came alive in conventional academic subjects. Once someone put a pencil in my hand and ask me to create something, though, everything changed.
The first major validation arrived when I secured an All India Rank of 50 in the NIFT entrance examination. Suddenly it felt possible as a career path. My route into interiors was far from straightforward. For years, I worked in production design, first under Sabu Cyril and later independently. Sabu was a huge influence. I became fascinated by the idea that entire environments could be built solely to serve a story.
The commercial grind
When I struck out on my own, I worked on films such as Go Goa Gone, Happy Ending, Dear Zindagi and SPYDER. I also worked on more than a thousand commercials and TV productions. People often underestimate how demanding advertising can be. A commercial might require an entire world to be conceived, designed and executed in a matter of days. You learn speed, adaptability and precision very quickly.
After nearly five years in production design, the turning point came unexpectedly when I was commissioned to design the office of filmmakers R Balki and Gauri Shinde. What started as a single project altered the direction of my career.
During the project, Alia Bhatt visited the office and responded strongly to the design. Not long afterwards, she entrusted me with designing her home. That project opened an entirely new chapter. One commission led to another and before long interior design had become a major part of my practice.
Clients become the story
One of the biggest lessons came from discovering that homes are fundamentally different from film sets. A set exists to tell a story. A home exists for people to live their lives. On a film set, the narrative comes first. In a residence, the people become the narrative.
That sounds obvious now, but it required a significant shift in mindset. In production design, I was accustomed to creating highly immersive environments with strong personalities and unconventional ideas. In interiors, many clients initially wanted something safer. There was one early project that left me deeply dissatisfied because it looked pleasant enough but lacked any real character. I remember finishing it and realizing I never wanted to create generic spaces again.
I never wanted to create generic spaces again.
That project became an important lesson. It forced me to define what kind of designer I wanted to be. Since then, I have approached every commission with the belief that a space should reveal something about the people connected to it. A home should not simply look attractive. It should possess an identity.
Life after cut
Ironically, the biggest challenge in moving from film sets to homes was not creativity but patience. Film production runs on relentless deadlines. Interiors demand long conversations, planning, collaboration and attention to how people actually live. I am fortunate to work with architects who help translate my ideas into technically rigorous spaces, while I push them to think beyond convention.
Whether I am working on a film, a commercial or a residence, the objective remains remarkably similar. I want people to feel something. The medium changes. The story changes. But my desire to create memorable worlds does not.
For us, it’s a matter of pride if Pardesiya even gets compared to A R Rahman's work - Sachin-Jigar
10:41 PM
As listeners say that ‘Pardesiya’ is influenced by AR Rahman’s music, Param Sundari composers Sachin-Jigar reflect on how the album is their tribute to the maestro. They also share that they are proud that their work is being compared to A R Rahman's
Mohar Basu (MID-DAY; August 25, 2025)
Few composer duos in Hindi cinema today straddle madness and melody as deftly as Sachin–Jigar. Over the past decade, they’ve swung between quirky tracks like Kamariya, romantic numbers like Mileya Mileya, and chartbusters like Aaj Ki Raat. Ahead of their latest outing, Param Sundari, the duo talks about their mindset, music, and their tribute to the master. Excerpts from the interview.
What’s the secret of a long-term collaborative equation?
Sachin: It is destiny. We never sat in business meetings to plan this partnership — it just happened. I first met Jigar to share some workload, and there’s no way two people living so far apart could’ve just decided to become a jodi. It feels like something beyond us put us together. Let me give you a recent anecdote: I needed Jigar not just as my business partner but as family, and he came through for me. That’s when I realised I admire him beyond music. He’s five years younger but has this politeness, manners, and ability to communicate that I really look up to. He’s also the rebel in our duo, the one who pushes.
Jigar: The common thread between all of us is that we’re mad but sane enough to know that we’re mad! Otherwise, who decides to make a song “Baba Ji Ki Booti”? And when we did that track, everyone sang — Raj, DK, Anand, Kunal, me. Whoever was in the room. None of us was in it for stability. I think it’s that madness that connects us and keeps us together.
Last year was stupendous for you, with Aaj Ki Raat becoming 2024’s most-streamed song. When you start a new project after such a success, what is your mindset?
Sachin: Jigar doesn’t sleep — and he doesn’t let anyone else sleep either! (laughs) For him, the moment a song works, that gate is closed. He won’t allow us to repeat ourselves in the same way. That forces us to think differently, and that’s why we’ve managed to stay versatile. For me, that success gave me a certain ease. I’ve lived through the struggle of not finding popularity, so to be on the other side feels nice. But we were never in the game for just hits or flops. We came here to make good music, and even after success, that hasn’t changed.
Our mantra is never to define a “Sachin–Jigar sound.” We don’t want people to say, this is exactly what they always do. We move on, leave that sound behind, and try something new. If others want to pick it up, great. If not, no problem. That’s why after Stree 2, we thought, okay, we’ve done the madness in Stree, we’ve done dance numbers, now how do we break out again? That’s how Param Sundari happened. It’s become an unplanned pattern with us — one big dance number, then one big love song, then something unexpected.
Jigar : We’re also conscious of not getting typecast as “the commercial dance anthem guys.” So if we’ve just done a massive dance track, next time we’ll want to balance it with a love song or something soulful.
When the Param Sundari teaser dropped, it went viral, with Sonu Nigam’s voice everywhere on social media. How did that feel?
Sachin: A day before Jigar and I flew to Dubai for the Param Sundari music session, Dinesh Vijan called us to his office and told us this is a once-in-a-lifetime opportunity. Instantly, [A R] Rahman sir started playing in my head. Roja [1992] changed my life forever — if I’m a composer today, it’s because of those five years of listening to him. So working on Param Sundari felt like living a dream.
Jigar: South Indian music has also inspired us a lot because it stays rooted in its culture. Even in the most commercial films, you’ll hear classical influences. I trained in classical singing for 10–12 years, and often had to “unlearn” some of it to compose for cinema. But “Param Sundari” brought everything we wanted together, it felt like a dream we didn't want to wake up from. As for Sonu Nigam: growing up, albums like Yaad, Deewana, Jaan were my everyday listening. First it was a dream to see him live, then to hear him sing songs we produced. The first track we ever programmed was sung by Sonu Nigam. That was already a big moment.
But as composers, we never got to record him again. We always kept it inside us. One day, we have to make a tune worthy of his voice. I was such a huge fan, I would literally pray to him before going to school! (laughs) So when we composed Param Sundari, we both knew deep down: this is it. We didn’t even say it out loud to each other, but we knew this was the song for Sonu Nigam.
We called him, he heard it, came to the studio, and recorded it in half an hour. It was magical. For us, it’s the greatest tribute — to have the man who inspired us be part of our music. Recently, he called and told us how much love he’s receiving for the song. To hear that from your idol — that’s the biggest moment of the year.
With the first track going viral, the flip side is that the rest of the album has to match up. Do you worry about how people will receive a song?
Jigar: Definitely the latter. That’s not our job. Once we put our music out, it belongs to the audience. As fellow creators, we may form opinions, but as listeners, people have the right to completely own or dismiss what we make.
We learned early in our careers to detach ourselves from the fate of a song. It hurts when a track you love doesn’t do well, but once you release it, it’s no longer yours. You’ve shot the arrow, and it’s out in the world. What feels “good” to me might not land with someone else, and that’s okay. So yes, we’ve made peace with it. Especially today, when there’s such great indie music and such strong new artists coming through, we’re not greedy. We just try to give our best and then leave it to the universe.
Has it happened that you expected a song to be a big hit and it didn’t catch on?
Jigar: Many times! One example is Happy Ending [2014]. The album actually caught on months later. At release, it didn’t get the traction we hoped for, though we felt it was a true coming-of-age album in terms of sound and concept. The first song, Jee Phaad Ke, generated noise, but the other tracks didn’t bloom immediately. And because once a producer sees one song breaking through, he’ll naturally invest all his energy and money into pushing that one, the rest often get sidelined. We always believed the album would find its way — and it did, but very late. There are other examples too. A beautiful song like Pinjra Tod Ke in Simran, or Hoor in Hindi Medium with Atif Aslam. We thought they’d immediately catch on. They didn’t at first, but later people came back to them, and now they even request us to perform them on shows.
Sachin: It’s a part of the game. That’s why having the first song of an album break through is actually a huge victory. Because imagine if you’re waiting until the fourth track for something to click — by then the producer may lose hope, and the entire album can collapse.
Jigar: For us, every film’s music carries big stakes. Actors want to be seen in a good light, producers are investing heavily, directors have worked hard. If the first song doesn’t land, there’s panic. And in those moments, you have to put art aside and think practically: we have to make this work. When the first track works, it also gives us the liberty to experiment with the rest of the album. For example, because Stree worked, we could make Stree 2 completely different — even put a ghazal on a beat. That was a risk, and it only happened because the first one clicked. So yes, we’ve learned that “first song tracking” is the safer and better place to be in, even if the others don’t explode in the same way.
Dinesh Vijan, Amitabh Bhattacharya and the two of you almost function like a unit. And every time this unit comes together, it delivers. What makes it work?
Sachin: Dinesh is extremely critical of his own work, and Amitabh Bhai is the same. He’ll come back after six days to change just one word in the last line of an antara, or fight with us about a line even before a shoot mix is delivered. That level of self-criticism keeps the bar high.
The truth is, at the end of the day, no matter how many aspirations or ideas we all come in with, there’s only one song to be made. That perspective keeps us grounded. We keep checking each other.
Dinesh loves to experiment — he’ll come to us with a reference, or say, “Here’s this Afro-inspired song, can we make it a love track?” He’s always hustling, always infusing new ideas. Jigar, as I’ve said, is the rebel — he refuses to repeat himself, and he shares a bond with Dinesh that goes beyond work, which makes them almost like brothers.
Jigar: For me, I try to stay objective, to keep perspective when things get too passionate. And Amitabh Bhai has this magical ability to bring in a word or phrase that sparks a whole song. Among the four of us, someone always has the starting point.
Because this unit has delivered before, we have the courage to keep pushing further — to take one more risk, one more step. The balance of being able to check each other and push each other is what keeps us both grounded and moving forward.
Also, we’ve been through failures together — films that didn’t work, songs that vanished without a trace. That’s why now, even if something doesn’t work, it doesn’t shake the association. Our bond isn’t dependent on hits. It’s dependent on whether we’ve fulfilled each other’s creative soul. If between the four of us, we’ve inspired and satisfied each other creatively, then that’s success, no matter how far the song travels.
On social media, people are calling Param Sundari’s music derivative and influenced by A R Rahman. Do you worry about that?
Sachin: Never. From the beginning, this song came from a place of pure art, dedication, and a tribute to the master. For us, it’s a matter of pride if one of our songs even gets compared to his work. I look up to Rahman sir not just for his work, but for the person he is. On the inlay card of his first independent album [Vande Mataram], he wrote: ‘Hope to become the song of an independent India.’ That’s the man we’re paying homage to.
Jigar: When people say Param Sundari feels familiar, for us, familiarity isn’t bad. Familiarity can make you feel at home, and once you’re there, you can surprise the listener with new things hidden inside.
I have dealt with body shaming for a long time-Ileana DCruz
8:01 AM
Sanyukta Iyer (MUMBAI MIRROR; July 17, 2017)
Ileana DCruz, who bagged
the Filmfare Award for Best Female Debut (South) in 2006 for her turn in
the Telugu drama Devadasu, repeated the feat six years later with her
Bollywood debut, Anurag Basu's acclaimed Barfi!. Four years later, the
30-year-old actress, who features in two big-budget ensemble films this
year, Anees Bazmee's Mubarakan and Milan Luthria's Baadshaho, admits
that even though she harbours no regrets at the end of a successful
decade in films, it's definitely not been a walk in the park for
her. From constantly being chased by the paparazzi which she believes is
an “invasion of privacy“ to having to bow out of several Bollywood films
because of reasons other than availability of her dates, it's been a
journey of tough choices.
“I'm human and there's a constant pressure to look a certain way which affects me. I have dealt with body-shaming for a long time but the more I tried to follow people's advice, the more I realised that I couldn't please everyone. Now, I have accepted that no matter what I do, I'm going to disappoint someone or the other,“ she smiles. “So now, I wake up every morning and look at myself in the mirror and try to accept myself for who I am. I'm no longer doing films or dressing up to please anybody. I'm striving to love myself for who I am.“
She admits that she's still an outsider because she's rarely seen at Bollywood bashes and would rather hang out with people she is comfortable with than pretend to be someone she is not in a crowd. “I don't go out much and when I do, it's always related to my films. I don't share a close bond with Mumbai's filmi folk because I am not from a filmi family. I'd like to change that but I won't go up to people and strike up a conversation for work. You either have an equation with an actor, director or producer, or you don't. I like the fact that I am socially awkward. I won't go out of my way to be nice to someone because I want to do a film with them. That's just not who I am,“ she says matter-of-factly.
She acknowledges that when she started out in Bollywood, she was a lot more shy and jokes that another reason she's not mingling with B-townies is because she's often out of the country holidaying with her Australian photographer-boyfriend, Andrew Kneebone. They have been reportedly dating for over five years and unlike her contemporaries, who continue to hide behind the “good friends“ relationship status, she's never shied away from posting about her personal life on social media or making hand-in-hand appearances with her beau. Is marriage on the cards? “I am happy, in a great space and doing great films. I have no regrets with respect to my personal life and I enjoy using social media to reveal a fair bit about my personal life and hold back on the rest of it. I don't want to lead a life where I have to explain to people who I am all the time,“ she insists.
While filming her romcom, Happy Ending, in Michigan in 2013, Andrew had accompanied Ileana on the long shoot and bonded well with her co-star, Saif Ali Khan, who instantly became a close friend of the couple. “Of all my co-stars, Saif bonded the best with Andrew and it was real fun having them on set,“ she reminisces.
More recently, while filming Mubarakan, she found a new BFF in Athiya Shetty and her reel avatar enjoyed “whacking around“ hero Arjun Kapoor too, who describes the trio as Oceans 3. She reveals that the comedy caper was physically exhausting as her character, Sweety, is an animated, Punjabi girl. “I didn't know if I could pull it off convincingly. But it has been a satisfying experience,“ she says.
She was simultaneously also filming the heist-action-thriller Baadshaho set in the 1970s, in which she plays Ajay Devgn's love interest. “It's the most intense film I've been a part of. It was mentally exhausting,“ she signs off.
“I'm human and there's a constant pressure to look a certain way which affects me. I have dealt with body-shaming for a long time but the more I tried to follow people's advice, the more I realised that I couldn't please everyone. Now, I have accepted that no matter what I do, I'm going to disappoint someone or the other,“ she smiles. “So now, I wake up every morning and look at myself in the mirror and try to accept myself for who I am. I'm no longer doing films or dressing up to please anybody. I'm striving to love myself for who I am.“
She admits that she's still an outsider because she's rarely seen at Bollywood bashes and would rather hang out with people she is comfortable with than pretend to be someone she is not in a crowd. “I don't go out much and when I do, it's always related to my films. I don't share a close bond with Mumbai's filmi folk because I am not from a filmi family. I'd like to change that but I won't go up to people and strike up a conversation for work. You either have an equation with an actor, director or producer, or you don't. I like the fact that I am socially awkward. I won't go out of my way to be nice to someone because I want to do a film with them. That's just not who I am,“ she says matter-of-factly.
She acknowledges that when she started out in Bollywood, she was a lot more shy and jokes that another reason she's not mingling with B-townies is because she's often out of the country holidaying with her Australian photographer-boyfriend, Andrew Kneebone. They have been reportedly dating for over five years and unlike her contemporaries, who continue to hide behind the “good friends“ relationship status, she's never shied away from posting about her personal life on social media or making hand-in-hand appearances with her beau. Is marriage on the cards? “I am happy, in a great space and doing great films. I have no regrets with respect to my personal life and I enjoy using social media to reveal a fair bit about my personal life and hold back on the rest of it. I don't want to lead a life where I have to explain to people who I am all the time,“ she insists.
While filming her romcom, Happy Ending, in Michigan in 2013, Andrew had accompanied Ileana on the long shoot and bonded well with her co-star, Saif Ali Khan, who instantly became a close friend of the couple. “Of all my co-stars, Saif bonded the best with Andrew and it was real fun having them on set,“ she reminisces.
More recently, while filming Mubarakan, she found a new BFF in Athiya Shetty and her reel avatar enjoyed “whacking around“ hero Arjun Kapoor too, who describes the trio as Oceans 3. She reveals that the comedy caper was physically exhausting as her character, Sweety, is an animated, Punjabi girl. “I didn't know if I could pull it off convincingly. But it has been a satisfying experience,“ she says.
She was simultaneously also filming the heist-action-thriller Baadshaho set in the 1970s, in which she plays Ajay Devgn's love interest. “It's the most intense film I've been a part of. It was mentally exhausting,“ she signs off.
Kill Dil and Happy Ending are not my kind of titles-Govinda
8:07 AM
Govinda on why his last two releases failed at the box office
Chaya Unnikrishnan (DNA; October 22, 2015)
Govinda made a comeback to films last year with two
back-to-back releases Kill Dil and Happy Ending. He played the
antagonist in Kill Dil and a superstar in Happy Ending. However, the
films did not fare well at the box office. Here the actor talks about
what went wrong with the movies and his next outing...
Is it true that you are making your Marathi film debut?
Yes, I am doing a Marathi film, but the makers have to announce it first. Also, the project has been stuck for three months as they are sorting out some things. I will talk about it once it’s ready.
Both your comeback films Kill Dil and Happy Ending did not fare well at the box-office. What went wrong?
These days, heroes release their films during the holidays or the festive period. That way they get more shows in a theatre. I was making a comeback after four-five years. And two films of mine released almost together. Those who wanted to watch a comedy, went to see Happy Ending and others saw Kill Dil. The audience got divided. Also, women, I feel, are not interested in films like Kill Dil. Another reason for their tepid business is they got released towards the end of the year. If they had hit theatres mid-2014, they would have worked better as it was the holiday season. Moreover, Kill Dill and Happy Ending are not my kind of titles — Coolie No.1, Raja Babu, Dulhe Raja are more my type (laughs).
But you were appreciated in both your films...
Yes, and that was a big surprise!
Why is that?
I thought because I was returning to films after a gap of five years, my fan following must have reduced. People would think, ‘After so many years what’s the need for Govinda to do these films?’ But whenever I appeared on screen, the audience clapped and that was heartening. In Happy Ending for instance I was apprehensive about how people will react to me dancing with Ileana (D’cruz) but they liked it. Also, my mother is no more and I do what I feel is right. It was fate that I didn’t have a film for five years. I wasn’t getting the roles that I wanted to, but finally my wife and daughter said I have to work. That’s when Kill Dil and Happy Ending came my way and I did them. They were not wrong decisions. As I said, people liked me in the films. Sometimes, if you come after a gap it works provided you work on yourself.
What next?
My home production Abhinay Chakra is ready and will release in January.
Hasn’t that been delayed?
Yes, but it’s okay. It’s just two years since I announced the film and it’s ready now.
Your daughter Tina’s debut film Second Hand Husband didn’t do well...
(Cuts in) The film was completely her choice and she has acted well. Somewhere luck factor counts in the film line. Sometimes our relationships come into play or the presentation is not right — like my two films which released around the same time. It was not wrong on the part of the makers because their money was invested in it, but the timing wasn’t right. The same thing happened with Tina, though she was appreciated. Sometimes a good story and screenplay also doesn’t work. That’s not in anybody’s hands. When Sadma released Kamal Haasan and Sridevi, both were appreciated. Even the director won acclaim, but the film didn’t do well. People went to the extent of saying Kamal Haasan shouldn’t have done another film after Ek Duuje Ke Liye!
Will you produce a film for Tina?
It is in my mind, but first let Abhinay Chakra release. When I decided to make this film, I didn’t get support from financiers. Sometimes, when we actors are making a comeback, we don’t get support, but that’s fine. I have completed the film and I hope it becomes a hit when it releases. I can say I did it on my own strength. It was the same at the beginning of my career too — whatever I got was on my own strength — my producers then weren’t big.
Your son Yashvardhan looks ready to step into Bollywood. Is he planning to?
Yes, he has just done his acting and filmmaking course from London. He is trying to get into films. I did whatever I got, for me it was kaam mila, ishwar mila — maine screenplay kidhar jaa raha hai, story kya hai, kabhi dekha nahi — but my son won’t do that. He understands cinema.
Salman Khan recently launched Sooraj Pancholi and Athiya Shetty. Are you looking at any of your industry colleagues to do the same for your son?
I don’t look at my friends for that. Then they feel they have made your life or that you are dependent on them. I don’t even want people to ask me these questions. Whatever we do, we want to do it on our own.
Will we see you working with David Dhawan again?
No, never. And I would prefer not to discuss it. I don’t want to hurt anybody.
Any other films in the pipeline?
Yes, I have signed two-three films but I will talk about them when they are ready. That’s the way I work.
Happy ending will be aired on &pictures tomorrow at 8 pm
I'm not leaving the film industry, but it's time to think about what I am doing-Ileana DCruz
7:44 AM
Ileana D'Cruz admits that she isn't happy with the scripts she has been getting since Happy Ending.
MUMBAI MIRROR (September 1, 2015)
Ileana D'Cruz, who debuted with the Ranbir Kapoor-starrer, Barfi! and was last seen opposite Saif Ali Khan in Happy Ending, admits that she has taken a sabbatical from films to introspect on the course of her career.
"I haven't done anything since Happy Ending, so it has been a while. I took a break because I didn't like what I was getting. I wasn't happy with the scripts and don't want to sign just anything. I want to work on good projects," the actress says, adding, "I'm not leaving the film industry, but it's time to think about what I am doing."
All's not lost yet. The 27-yearold actress acknowledges that there is one interesting project which will be announced soon. "There is something interesting in the pipeline about which I'm excited. But you know how the film industry works. Sometimes thing are confirmed, sometimes it doesn't happen," she said.
Buzz is, the actress has been offered Rs.1.5 crore for an item number in an upcoming Telugu film, Bruce Lee.
I've finished my work in Jagga Jasoos but I won't promote the film-Govinda
7:59 AM
Govinda is upset with the makers for not standing up for him; adds that he couldn't launch his daughter while he was struggling himself
Avinash Lohana (MUMBAI MIRROR; June 10, 2015)
Dressed casually, Govinda strolls into his Juhu office and immediately jumps into the heart of a recent controversy. Buzz is, he has been abruptly dropped from Jagga Jasoos and Anurag Basu has approached Amitabh Bachchan to replace him in the Ranbir Kapoor-starrer.
Prod him on the subject and the actor points out that it's only a friendly guest appearance with barely three or four scenes. "I've finished my work but I won't be a part of the promotions. I'm upset with the makers for not clarifying things on my behalf. I can understand them not wanting to get dragged into a silly controversy but not reacting was not a solution. Nobody is allowed to make money by defaming me. I may forgive but I'll never forget," he asserts with quiet menace.
Still seething, he reveals that Karan Johar had offered him a film two years ago. But he turned it down after he learnt that the maker had made enquiries about whether he came to the sets on time. "I have worked with producers like Saif Ali Khan and Salman Khan and there have never been any complaints about my late-comings," he argues. "In fact, Salman keeps asking me why I haven't been signing films. I tell him that I only want to do films I'm comfortable with."
But Govinda recently refused Salman's remake of the superhit Marathi movie Shikshanacha Aaichya Gho. "I didn't like the subject. Period," he says shortly. And did he enjoy Happy Ending and Kill Dil which were supposed to resurrect his career last year but tanked at the box-office? "I got my share of appreciation so I have no problems with the films. It was a pleasure working with the production houses. There were no rumours... no fake news," he quips with a smile.
And when will he reunite with his favourite director, David Dhawan, with whom he's given a string of hits in the past? "After working together in 17 films, we haven't met once in the last five years. When two people don't meet for so long, how will they work together?" he asks, quickly adding that David's sons, Rohit and Varun, are like family and he has no problem working with the kids.
His fans will however get to see Karisma Kapoor and him together on the TV screen in the finale of Dance India Dance Super Moms. The duo is still remembered for hit songs like Main toh raste se ja raha tha and Sarkailo khatiya. Govinda promises that their performance will remind one of their glory days, 15 years ago. "I've done around 15 films with Lolo, we were a lucky jodi. It's great that she has begun to work again," he beams.
Judging the reality show has given Govinda a new perspective on acting and women. "It showcased women who had quit their jobs after marriage and motherhood, and proved that they're not done yet. I feel blessed by all these super moms," he asserts.
Meanwhile, daughter, Tina Ahuja, will be making her Bollywood debut in Second Hand Husband. Her dad is elated and proud that she will make her beginning without help from him. "She's hardworking and confident, I pray she succeeds," he says.
Didn't he want to launch her himself? "After Partner and Bhagam Bhaag, I didn't work for five years. It was a difficult time and making a film was impossible. I couldn't give her a break when I was struggling myself. But after Happy Ending and Kill Dil, I signed nine films and will roll with two home productions in September," he signs off.
The appreciation for Badlapur proves that audience accepts atypical content-Dinesh Vijan
7:48 AM
BOMBAY TIMES (February 25, 2015)
Maddock Films' Dinesh Vijan
has produced films that include Being Cyrus, Love Aaj Kal, Cocktail, Go
Goa Gone and Finding Fanny. Reserved, unless he's promoting a film, we
caught Vijan celebrating the audience's overwhelming appreciation of his
latest outing, Badlapur, and managed to get some insights into the man
and his process.
How do you choose your projects?
I have to be
emotional about them. We generally don't seem to accept that the
audience will accept atypical content. This is a misconception. I
choose stories that resonate and don't initially look at figures. This
keeps the film pure. After it's canned is when my insecurities surface. I
wonder what mad dog bit me to make stuff that is considered risky or
niche and I analyse how to pitch it to the right audience.
But your choices have no pattern and seem like such a mixed bag.
Maddock Films enjoys the loyalty of talented directors like Sriram Raghavan, Homi Adajania, and with Illuminati Films, I've had the fortune of working with Imtiaz Ali and Raj & DK as well. Now, if my directors are a mixed bag of nuts, then what will our films be?
Director Homi Adajania told us that you were largely responsible for the unforgettable music of Cocktail and director Sriram Raghavan echoed the same about Badlapur's music.
That's generous of them. Music is a very important part of my life and my films. The process of collaborating to create music has taught me the value of harmony and helped me grow as a person. I enjoy a very special association with Pritam and Sachin-Jigar as well. Both relationships are unique, though they share the same ideology to explore and achieve some thing special.
Isn't a large part of producing about people management?
I'd be highly stupid to think that I know everything and only used technicians to execute things rather than apply their individual creativity. The energy on a project is very important. My main job is to bring out the best in people and make sure my team is happy. I'll risk sounding clichéd, but I have no doubt that the actual joy of the experience reflects on the screen.
How do you deal with failure?
Agent Vinod, Lekar Hum Deewana Dil and Happy Ending didn't end happily, to say the least. I truly believe that failure teaches you so much more than success ever can. How I see it is if a film goes down, it is my mistake and if it succeeds, it's everyone's victory. If that sounds like a lonely place to be, so be it, but I truly believe this.
What is next on your plate?
I have a story that Homi (Adajania) is co-directing with me because we have a blast working together. It's a long-haul shoot, so we decided to have an extended holiday. On a serious note, experiences are what make us grow. I feel it'll make me a stronger producer once I've gone through this experience.
Farzi is not getting shelved; the film should roll latest by February-Raj Nidimoru & Krishna DK
7:59 AM
Joginder Tuteja (MUMBAI MIRROR; December 22, 2014)
Rumours are doing the rounds
that Shahid Kapoor's con caper, Farzi, has been being
shelved following the dismal response to its director duo, Raj Nidimoru
and Krishna DK's last release, the Saif Ali Khan-starrer Happy Ending. “I'm wondering where this news, which is nothing more than pure
speculation, came from,“ says an exasperated Raj. “This as random as it
gets. Prep for the film is on in full swing. The secondary cast is being
locked and the production design is being worked upon.“
Explaining the delay, Krishna says: “Even after we lock the final script, we take two to three months to gear up for the shoot. We had never set a date. It was decided that once Shahid (Kapoor) and Nawaz (Nawazuddin Siddiqui) are done shooting for their current projects, respectively, we will start with Farzi. The film should roll latest by February.“
Farzi will see the director duo return to crime drama after 99 and Shor In The City. Raj refutes the buzz that the plot revolves around an Internet hacking. However, he refuses to reveal more. “All I can say is that it is a contemporary film with a truly original storyline. It has a big canvas, some action and lots of satirical humour,“ he says.
Meanwhile, Kriti who stars opposite Shahid in the film is already beaming with excitement. “It is a totally new part for a female protagonist. I'm really kicked!“ she says.
Explaining the delay, Krishna says: “Even after we lock the final script, we take two to three months to gear up for the shoot. We had never set a date. It was decided that once Shahid (Kapoor) and Nawaz (Nawazuddin Siddiqui) are done shooting for their current projects, respectively, we will start with Farzi. The film should roll latest by February.“
Farzi will see the director duo return to crime drama after 99 and Shor In The City. Raj refutes the buzz that the plot revolves around an Internet hacking. However, he refuses to reveal more. “All I can say is that it is a contemporary film with a truly original storyline. It has a big canvas, some action and lots of satirical humour,“ he says.
Meanwhile, Kriti who stars opposite Shahid in the film is already beaming with excitement. “It is a totally new part for a female protagonist. I'm really kicked!“ she says.
Why 2014 suffered a considerable dip in revenue this year as compared to 2013
7:55 AM
Bharati Dubey (MID-DAY; December 15, 2014)
The year 2014 witnessed the rise of a new order at the box office but in terms of success one saw a drastic drop. If one compares the commercial success of significant films at the marquee, the number of Hindi films that were hits — or at least broke even in terms of business — were a measly 19 as compared to 2013 which had close to 25. 2012 had about 24 successful releases.
Considering there were at least 120 releases in this calendar year — of course, we have not taken Aamir Khan’s PK into account — we’re talking about huge figures here. To understand how 2014 fared for the Hindi film industry, let’s break down certain significant aspects that are the highlights of the passing year…
Size matters
Although several small-budgeted films managed to earn a Friday release, not all of them made hay when the sun shone. What this translated into was a complicated scenario where the bigger films were too dull to attract crowd while the better, but smaller movies just couldn’t make the most of the allotted space. Like media observer Shailesh Kapoor informs, “The big reason for the drop in box office figures is that low and medium budget films are not getting any audiences. Ticket prices have gone up year-on-year and audiences today want to go to theatres only to watch big films which have good star cast or production values.”
However, there were exceptions like Queen starring Kangna Ranaut and the Shahid Kapoor-starrer Haider. Both the modest budgeted films flourished exceedingly well purely on the basis of word-of-mouth. According to trade analyst Amod Mehra, 2014 had faced more flops than the previous year. So what exactly was the reason behind this anomaly? Mehra believes captivating content — or should we say, the lack of it? — has been a prime reason. “Content wasn’t paid attention to during the making of several films that opened this year. Also, music which is an important marketing tool for a film, didn’t quite impress the audiences.”
According to a well-placed source in the industry, the film business has been growing year-on-year for the last five years. In fact, stats indicate that the growth was a staggering 38 per cent from 2011 to 2012, when the domestic net business grew from Rs 1,725 crore to Rs 2,375 crore. From 2012 to 2013 too, the growth was a healthy 17 per cent. But this year, we are staring at possible negative growth. “Even if PK does exceptionally well, this year would fall at least 200 crore short of the Rs 2800 crore business of 2013. After an incredible crest, finally, the growth has stopped,” adds Kapoor.
Limited to Rs 100 crore
Only five films have crossed the much-fabled Rs 100 crore mark in 2014. Anand Vishal of Fun Cinemas says he’s not surprised by the apparent decline. However, he has noticed a positive trend too. “Unfortunately, the misses have been more this year making a lull at the box and poor collection. Only major plus that has happened in the last two years is that English (read: Hollywood) films have picked up and the acceptability also.” After all, Hollywood releases, be it The Amazing Spider-Man 2 or Guardians Of The Galaxy or the most recent Interstellar, saw encouraging queues outside the cinema halls.
Full house, empty show
Big films like Action Jackson, Happy Ending and Kill Dil fell flat at the box office. What is worrisome about this downward trend is the number of A-listers attached to these projects is too high. And that’s not all. If a film doesn’t do well at the box-office, the chances of it making a splash on the small screen diminish as well.
This year, very few films had content and repeat value.
An industry insider on condition of anonymity shares an amusing thought. “The makers have begun to take the audiences for granted. As a result, they are more focussed on packaging rather than on the actually content of the film. What else can explain the way Saif Ali Khan was promoted for Happy Ending? It has proved that a star does not always guarantee a hit.”
Solutions
The industry feels there is a correction needed and stars need to guarantee at least a good opening for a film. There have been examples this year where a star hasn’t been able to draw initial audience. So how exactly is the high price A-listers demand justified? Distributor Ramesh Sippy believes it’s high time the stars to cut their prices to have a cost- effective product. Also the stars price could be linked to their first weekend box office collection of their films — not just trade buzz.
In other words, the star would require guaranteeing a certain draw on his or her name in the opening weekend. “This is an SOS call. If the producer is unable to make films, there will be no work and therefore becomes essential that the artiste or the actors understand this situation and not run shy of this scenario,” adds Sippy.
Despite 2 recent flops, Govinda prefers to being choosy & getting his price?
7:41 AM
Shaheen Parkar (MID-DAY; December 15, 2014)
Govinda's two back-to-back releases Kill Dill and Happy Ending may not have made an impact at the box office, but the actor is sticking to his guns.
The actor wants to do what he feels is astrologically best suited for him and at his price. Incidentally, the actor received accolades for his performance in both the films. Buzz is that when he was approached for a project recently, the actor quoted a high fee.
Says Govinda, “I was praised and acclaimed in both the films. The subject of a film depends on the wishes of the producer and accordingly its business. It is not the actor’s call.”
About recent speculation that Salman had extended a helping hand yet again to Govinda and had recommended him for another big project, the actor maintains, “This is not true.” A couple of months ago, Govinda had created a buzz by refusing to act in Salman Khan’s Hindi remake of Mahesh Manjrekar’s 2010 Marathi film Shikshanachya Aaicha Gho.
Though Sallu was rather keen that he be part of the project, Govinda felt it was too arty and had refused to budge from his stance even though the script was apparently altered to suit him.
Fenil's Bollywood Talk # 337
9:48 PM
AFTER 5 FLOPS IN 5 WEEKS, ALL HOPES PINNED ON PK!
The final quarter of a year is considered most profitable, thanks to the biggies that release during the festive periods. Even the films that release in between the festival generally score big time. For instance, last year Goliyon Ki Raasleela Ram-leela and R…Rajkumar hit theatres between Diwali and Xmas and both worked. This year, a lot was expected from The Shaukeens, Kill Dil, Happy Ending, Ungli and Action Jackson. What’s more, all these films were solo releases and had enough time to recover their investment. Alas, all these films, that released after Diwali, flopped miserably. Action Jackson is better though than the rest but due to high costs, it might not turn out to be a huge grosser in the long run.
The industry is in shock and so is the distribution and exhibition sector. No wonder that all hopes are pinned on PK that releases next Friday. It’s the second collaboration of Aamir Khan-Rajkumar Hirani-Vidhu Vinod Chopra and their last outing 3 Idiots was a historic success. Hence, PK is also expected to be that film that would attract hordes of viewers. Let’s hope PK ends the dry run at the box office.
Meanwhile, the Hindi films that release tomorrow – Main Aur Mr Riight and Badlapur Boys – lack any buzz. In fact, the Hindi version of Rajinikanth-starrer Lingaa might attract more viewers.
-------------------------------
DDLJ TURNS 1000!
December 12, 2014 will be a day that would be remembered for years. After all, this is the day when the longest running film ever, Dilwale Dulhania Le Jayenge, will complete 1000 weeks! The film is running since 1995 at Maratha Mandir in Mumbai; at present it is screened in the morning at 11:30 am and even today, it attracts people from all over, mainly due to its low rates (Balcony priced at Rs. 20, Executive at Rs 15 and DC at Rs 15). Many feel that the matter is fishy. Those who suspect are free to go to Maratha Mandir on any day and see for themselves that it’s all genuine. People still come to relive the magic and there are viewers who have seen the film almost 200-300 times and they are still not done!
The lead actors of the film – Shah Rukh Khan and Kajol – will be coming tomorrow to perform and interact with the viewers. Here’s hoping the film runs for many more thousands of weeks! It’s an incredible piece of cinema and definitely deserves it!
After hattrick of flops, Saif Ali Khan open to renegotiating his remuneration?
7:57 AM
Ankur Pathak (MUMBAI MIRROR; December 10, 2014)
The last month has been particularly traumatic for Bollywood with as many as five films with an A-list cast, taking a drubbing at the box-office. From Akshay Kumar's The Shaukeens and Ranveer Singh's Kill Dill to Emraan Hashmi's Ungli, none of the projects have managed to live up to the audience's expectations. Buzz in trade circles is that many actors are taking a hefty pay cut - in some cases, nearly 40 per cent - while producers are slashing budgets by half to make projects financially viable in this uncertain market.
One such actor is Saif Ali Khan, whose last release definitely did not have a happy ending, commercially. Mirror has learnt that after the film's dismal opening, the makers of his upcoming ventures are exercising caution, given that this completes a hattrick of flops for the actor -- starting with Bullett Raja, Humshakals and Happy Ending.
Ekta Kapoor is reworking the logistics of the Sujoy Ghosh-directed screen adaptation of the Japanese bestseller, The Devotion of Suspect X, starring Saif. Its budget has been scaled down by almost one-third and the actor's remuneration is also being substantially reworked. Ditto Reema Kagti's next Mr Chaalu, starring Saif and Kangana Ranaut.
Admitting that there has indeed been a fluctuation in his fee, Saif told Mirror that money is not a priority at the moment. He said: "Prices go up and down. Right now the quality of work is more important to me than money. Next year should be about good roles."
Stressing on the need for stars to take a reality check so that investments can be recovered, trade analyst Komal Nahta reasoned, "If a star charges Rs 25-30 crore, he should at least ensure a Rs 20 crore opening which is not happening. Why just Saif, every star needs to reconsider his pay-package! All of them know where they are going wrong, but they choose to look the other way. The flops should be eye-openers."
Another trade analyst, Amod Mehra, however opined that it is not the star's salary but the content that has failed. "Yes, the money they charge contributes to a movie's failure, but that's not the only factor. We've seen some terribly scripted films recently," he pointed out.
Ramesh Taurani, the producer of Saif-starrer Race and Race 2, who recently had monetary differences with the actor, endorsed Mehra's view. "Saif's films haven't worked because the content wasn't good. But he's a huge star and will bounce back with a hit," he stated.
Commenting on the same, Kabir Khan, who is directing the mega-budget action thriller Phantom, starring Saif and Katrina Kaif said: "I cast Saif in Phantom because he is perfect for the role. Irrespective of hits or flops, he is a terrific actor and that, not numbers, will always be a director's priority as far as casting is concerned."
Ritesh Sidhwani, who is producing Kagti's film, agreed with Kabir: "We have full faith that Saif will deliver, just like he did in Dil Chahta Hai. We start filming with Kangana and him in January."
Why November 2014 has turned out to be one of the worst months in recent times
6:32 PM
Box Office India Trade Network
November 2014 has turned out to be one of the worst months in recent times. May 2014 may have done less business but the main releases in that month were HEROPANTI and THE XPOSE and November 2014 has just grosssed 14-15 crore nett more despite having releases like THE SHAUKEENS, KILL DIL, HAPPY ENDING and UNGLI. Barring Kill Dil, the others have not even covered their promotion costs.
CHAAR SAHIBZAADE is the only silver lining but then, its the Punjabi version that doing roaring business at India and abroad. The hindi version has trended well but collections are very low.
It could be just coincidence that all the major releases of the month were poor but with the sort of openings taken, it could also be that the public has little interest outside the big budget films at today's ticket rate prices which average over Rs 200 in the metros. And the releases were targeting metro multiplexes as none of them had content which would appeal in B and C centres. Only time will tell if the high ticket rates are a major concern.
An ACTION JACKSON and TEVAR may get away with it as they cater to a wider market but the first half of 2015 will see mostly films catering to the city multiplex audience. If results don't improve by a margin it will be time for a rethink by the major production studios in the sort of cinema being made and the huge promotion costs spent for an initial box office response which hardly ever materialises.
The name Govinda was enough for me-Divya Kumar
7:29 AM
Singer Divya Kumar on singing G Phaad Ke for the actor from Happy Ending
Kasmin Fernandes (BOMBAY TIMES; November 28, 2014)
How did G Phaad Ke happen?
G Phaad Ke happened fortunately. It was just after Shake Your Bootiya (Finding Fanny) that almost all the songs of Happy Ending were finalised. G Phaad Ke had various arrangements as (composers) Sachin and Jigar work to the core of all the tracks they compose to get the best sound and tune. I had been a part of the song from the scratch level and got lucky to sing the final version as well. It was nice to be a part of the ensemble singing cast of Paaji Tussi Such A Pussycat.
What was the brief?
The name Govinda was enough for me.You don't need any brief after that. Never in my wildest dreams had I thought I would get an opportunity to sing for Govinda sir. The song had elements of both, class and mass. Singing this song was a totally different experience. It was straight, without any harkats and murkhis. The idea was that club songs should be hummable for everyone who's dancing on the floor. (Singer) Shefali Alvares made it even more classy and beautiful. Hil dul ke nachte nachte gaana record ho gaya.
What would you say to critics who call its lyrics crass?
I'm too small to say anything to anyone. Critics do their job and we do ours. If at all the lyrics were a problem, the song shouldn't have worked. However, people are loving it. (Lyricist) Ashish Pandit has done a great job writing it. It's quirky and mad, that's what the song required.
What is your take on the current crop of singers?
We have a lot of mad talent here. Everyone is so good! It's nice to see a variety of singers and artistes coming from different genres. A lot of people I know personally are so nice and appreciative. It feels good to be amongst them and working together is always fun. I just hope we'll always be good friends and keep working to the best of our abilities.
Do newcomers have it easier than playback singers of the past?
Times have changed. Back then, there were no options. Music today has a lot of different genres. We are experimenting, trying out new things, searching for new voices. To create a genre of your own and to maintain it is the game. We see a lot of new singers coming in and doing great work. I don't think it's difficult. If one has talent, it will showcase somewhere, some day. You can upload a song on the internet and go viral on social media, and you might get called to the studio!
What genres would you like to sing?
Maybe a slow sufi song or a love song or one about heartbreak. I am happy with whatever I have got until now. I have sung rustic folk, Punjabi and dance songs.Whatever comes my way, I'm up for it. If a composer believes I can sing a particular song, then I should be able to do justice to it.
Future plans?
My mom is asking me to get married in two years, which is scaring me. It's too early now. I want to work hard and keep my family, friends and fans happy and proud. My dreams are infinite, but I will never stop chasing them. However and whatever I earn in life, I will be an artiste.
G Phaad Ke happened fortunately. It was just after Shake Your Bootiya (Finding Fanny) that almost all the songs of Happy Ending were finalised. G Phaad Ke had various arrangements as (composers) Sachin and Jigar work to the core of all the tracks they compose to get the best sound and tune. I had been a part of the song from the scratch level and got lucky to sing the final version as well. It was nice to be a part of the ensemble singing cast of Paaji Tussi Such A Pussycat.
What was the brief?
The name Govinda was enough for me.You don't need any brief after that. Never in my wildest dreams had I thought I would get an opportunity to sing for Govinda sir. The song had elements of both, class and mass. Singing this song was a totally different experience. It was straight, without any harkats and murkhis. The idea was that club songs should be hummable for everyone who's dancing on the floor. (Singer) Shefali Alvares made it even more classy and beautiful. Hil dul ke nachte nachte gaana record ho gaya.
What would you say to critics who call its lyrics crass?
I'm too small to say anything to anyone. Critics do their job and we do ours. If at all the lyrics were a problem, the song shouldn't have worked. However, people are loving it. (Lyricist) Ashish Pandit has done a great job writing it. It's quirky and mad, that's what the song required.
What is your take on the current crop of singers?
We have a lot of mad talent here. Everyone is so good! It's nice to see a variety of singers and artistes coming from different genres. A lot of people I know personally are so nice and appreciative. It feels good to be amongst them and working together is always fun. I just hope we'll always be good friends and keep working to the best of our abilities.
Do newcomers have it easier than playback singers of the past?
Times have changed. Back then, there were no options. Music today has a lot of different genres. We are experimenting, trying out new things, searching for new voices. To create a genre of your own and to maintain it is the game. We see a lot of new singers coming in and doing great work. I don't think it's difficult. If one has talent, it will showcase somewhere, some day. You can upload a song on the internet and go viral on social media, and you might get called to the studio!
What genres would you like to sing?
Maybe a slow sufi song or a love song or one about heartbreak. I am happy with whatever I have got until now. I have sung rustic folk, Punjabi and dance songs.Whatever comes my way, I'm up for it. If a composer believes I can sing a particular song, then I should be able to do justice to it.
Future plans?
My mom is asking me to get married in two years, which is scaring me. It's too early now. I want to work hard and keep my family, friends and fans happy and proud. My dreams are infinite, but I will never stop chasing them. However and whatever I earn in life, I will be an artiste.
Fenil's Bollywood Talk # 335
8:17 AM
WILL NOVEMBER END ON A GOOD NOTE WITH UNGLI?
The month of November is about to end and for Bollywood, it hasn’t been great. The Shaukeens and Rang Rasiya released in the first week and despite being well-made films, both the movies failed commercially. The next release was Kill Dil which flopped because of lack of excitement for the film and a very amateur climax. Happy Ending hit theatres last week and has sent shockwaves in the industry as collections have been very dismal. In fact, the cost of Happy Ending was huge and because of the bad collections, it’s turned out to be one of the biggest disasters in recent years.
Now, Ungli is all set to release tomorrow, on the last Friday of November. The odds are heavy against the film but it touches topics that the aam junta can relate to. Starring Emraan Hashmi, Kangana Ranaut, Randeep Hooda, Angad Bedi and Neil Bhoopalam, it has been in the making since 2012. Sanjay Dutt plays the cop and he was seen hurriedly shooting for the film before the commencement of his jail sentence. Arunoday Singh and Neha Dhupia too feature in the film but are missing from the promotions and majorly from the promos. Shraddha Kapoor has done a wonderful item song but sadly, the songs have failed to make an impact. And this is shocking, considering that Emraan Hashmi films always have hit music. It is directed by Rensil DSilva, who directed Kurbaan and also wrote Rang De Basanti and it is directed by Karan Johar. The promotions haven’t been great. In fact, there was a lot of negativity surrounding the film and there were reports that the actors aren’t interested to promote the film. In fact, Kangana is missing from the promotions, which has raised lot of eyebrows.
The opening can be bad but as said above, if the film connects with the audiences, it can grow rapidly. Like the other November releases, Ungli faces no competition as such and this coupled with good word of mouth can definitely help the film significantly.
WOULD YOU LIKE TO SEE UNGLI AND WHY? DO LET ME KNOW!
Middle finger scene retained in Happy Ending but removed from Ungli by the Censors
7:59 AM
Subhash K Jha (DNA; November 26, 2014)
If you’ve been following the trailers and the
promotions of Rensil DSilva’s upcoming Ungli, you’d have noticed the
cast showing the middle finger to anyone who cares to look. The director
calls it “an act of defiance expressing the indignance and contempt
that the film’s characters feel for the corruption all around them.”Sounds to us as good a reason as any. But the Censor Board doesn’t seem to share Rensil or his team’s well-intentioned enthusiasm. Two flashes of middle finger have been cut from the film. However, Rensil seems content with the cuts and feels that it was “a reasonable cut considering we got a UA certificate.”
The Board, however, hasn’t been consistent on this particular bone of contention. Dimple Kapadia’s middle finger had to be chopped from prints of Abhishek Sharma’s The Shaukeens at the last minute as it was found to be objectionable. But in Happy Ending, Kareena Kapoor’s finger stays intact. Why the partiality?
Box Office Disasters in recent years
2:17 PM
Box Office India Trade Network
HAPPY ENDING is one of the high profile distasters in the last few years. Below is a list of major films that became commercial disasters since 2010 and the nett business they accumalated:
Happy Ending (2014) - 21 cr (expected)
Gori Tere Pyaar Mein (2013) - 14 cr
Zanjeer (2013) - 18 cr
Players (2012) - 30 cr
Joker (2012) - 20 cr
Tezz (2012) - 16 cr
Game (2011) - 7.50 cr
Khelein Hum Jee Jaan Sey - 4.75 cr
Guzaarish (2010) - 30 cr
The above films are the biggest box office disasters in the last few years amongst the major releases. All the above films cost over 50 crore to produce and release apart from GAME and KHELEIN HUM JEE JAAN SEY which were in the 35-40 crore region but the business of these two was a total washout.
The list does not include the umpteen releases week in week out which become box office disasters as they hardly have a release.
Movie Review: HAPPY ENDING by FENIL SETA
5:50 PM
In a scene in Happy Ending, superman Armaan Malik (Govinda) presents a set of DVDs of Hollywood films to Yudi (Saif Ali Khan) and tells him to script a movie, comprising of interesting aspects from the Hollywood flicks. Incidentally, Happy Ending is also a bhelpuri of various films like Love Aaj Kal, Tashan, Cocktail, I Hate Luv Storys, Pyaar Ke Side Effects, Dil Toh Baccha Hai Ji and many other Hindi films. The directors try to make it funny but the end result is sadly lackluster!
The story of the movie: Yudi (Saif Ali Khan) is based in Los Angeles and has written a bestseller – Operation Payback – 5 ½ years ago. He is living his life comfortably through the earnings made from the sales of his novel, and by breaking up with girls the minute they propose to him. But soon, the funds dry up and Yudi is seen desperately looking for a new venture. Single-screen superstar Armaan Malik (Govinda) comes to LA and asks him to script a romedy that would help him ‘take over’ the multiplex junta. Yudi finds himself drawn to Aanchal Reddy (Ileana DCruz), author of a romantic book, for much-needed inspiration. On the other hand, he’s trying to break up with Vishakha (Kalki Koechlin) but funnily fails to do so each time. How all the factors make Yudi a better person is what the film is all about.
Despite the clichés and beaten-to-death storyline, Happy Ending is thankfully not boring and is pretty engaging. The first half is great and has some breezy and funny moments. Music is lovely and performances decent. However, things begin to spoil in the latter part of the second half when the film goes on a predictable route. In fact, it seemed that the writers and makers ran out of ideas and decided to end the film in a conventional way. This is not just done because wherever the makers have added some original and fresh idea, it has worked big time - be it Kareena Kapoor’s cameo or Ileana’s book reading scenes or Preity-Saif bond (it’s amazing!) or Yudi’s conversations with Yogi (nothing extraordinary but it was amusing) or Kalki’s weirdo character or Ileana-Saif deciding to suddenly make out or Ileana-Saif riding down the Pacific Coast Highway. Sadly, in the finale, something hatke was much needed and that’s when the makers didn’t live up to the expectation!
After the disastrous Humshakals and Bullett Raja, it was great to see Saif Ali Khan back to the romcom space and as expected, he does a fantastic job. One can make out that he looks at ease and is enjoying this space. He has a second role in the film as well, as Yogi, which was quite impressive. And watch out for his expressions and antiques in the song Paaji Tussi Such A Pussycat. Terrific! Ileana DCruz as always looks stunning and delivers a fine performance, sans complaints. Govinda is hilarious and brings cheer everytime he appears on screen. Sadly, he’s hardly there in the film – at best, it was a supporting role. Kalki Koechlin is charming and plays the odd character with élan. Ranvir Shorey (Montu) has a great screen presence and essays the interesting character very nicely. Preity Zinta (Divya) has a very fine character and proves that she’s still one of the best actresses around. Kareena Kapoor raises laughs in her cameo scene. Shivani Tanksale (Gauri) is great in her role. Rahul Nath (Gary) is good in his small role.
Sachin-Jigar’s music is too good. Paaji Tussi Such A Pussycat is the best followed by G Phaad Ke and Haseena Tu Kameena Main. Background score blends very well with the film’s breezy feel. The film has 3 cinematographers - Chase Bowman, Yaron Levy and Mahesh Limaye – and they all have done a good job and given the film a fresh and uniform look. Hussain Dalal’s dialogues are witty. Directors Krishna DK and Raj Nidimoru have made some great and exceptional films in the past like 99, Shor In The City and Go Goa Gone and it’s shocking that they came up with such an average film. Their direction is brilliant without doubt but the routine story didn’t give them a chance to come up with a film as good as their previous works. As mentioned above, some of the fresh idea worked very well but overall, the impact was missing and the clichéd climax ruined it all. Thankfully, they are getting back into their zone with their next film, Farzi!
Some of the best scenes:
1. The intro scene
2. All scenes of Vishakha
3. All scenes of Montu and Gauri
4. Yudi’s conversations with Divya
5. Yudi overhears Aanchal’s conversation
6. Yudi-Aanchal on the highway, in the hotel room and at book reading session
7. Yudi gets hospitalized
8. The song Paaji Tussi Such A Pussycat
On the whole, Happy Ending starts off very well and has some interesting moments, performances and music. But it’s a bhelpuri of various films that we have seen in the past and moreover, has a very predictable and typical climax. An average fare, sadly!
My rating - ** ½ out of 5!
Fenil's Bollywood Talk # 334
8:21 AM
WILL HAPPY ENDING HAVE A HAPPY RUN AT THE BOX OFFICE?
After two successive flops, Saif Ali Khan is back with Happy Ending, a film that is carrying positive vibes and can end his bad run at the box office. It is directed by the talented Krishna DK and Raj Nidimoru, who have made a niche for themselves with films like 99, Shor In The City and Go Goa Gone. The film also stars Ileana DCruz, Govinda, Kalki Koechlin, Ranvir Shorey and Preity Zinta and Kareena Kapoor in special appearances. The highlight of the film seems to be Saif-Govinda’s chemistry and from the promos, it looks hilarious. Raj-DK’s quirky sense of music is seen in Happy Ending songs as well, especially in Paaji Tussi Such A Pussycat, a song that has already got it’s due in a way. The other songs of the film are quite interesting as well. The film looks fresh and shot in some great locations in USA. It’s a solo release and has no competition in a way since last week’s Kill Dil has failed.
However, excitement for Happy Ending is limited. Also, the feel and theme for the film is such that it can work in multiplexes and urban areas more. And this can limit it’s collections to an extent. Opening can be average and if the reports are positive, it can excel significantly on Saturday and Sunday.
Saif is a great actor and definitely deserves a huge hit. And Happy Ending is a romcom of sorts, which has been his forte. Here’s hoping Happy Ending turns out to be a Happy bet for the actor!
WOULD YOU LIKE TO SEE HAPPY ENDING AND WHY? DO LET ME KNOW!
Check out Govinda's six pack abs in Happy Ending
7:59 AM
Chaya Unnikrishnan (DNA; November 20, 2014)
Everybody from Shah Rukh Khan to Sidharth Malhotra has
worked enough to flaunt six-pack abs. The latest to join the ab-wagon
is Govinda.
While we saw and marvelled at how much Chi Chi has slimmed down in his last release Kill Dil, in his next Happy Ending, he will go shirtless and show off his six-pack abs. Find that a little difficult to digest. The actor has always been known for his excellent dancing skills and superb comic timing, but his physique? Naah!
So of course, we were curious and asked Happy Ending director Raj Nidimoru (one half of director duo Raj-DK), if Govinda actually worked out to get the six-pack ab. He said, “The story demanded that Govinda (who plays an actor in the film) transform himself mid-way through the film. When we told him about it, he thought and said he will do it. Usually, actors like Shah Rukh Khan and Ajay Devgn achieve their six-pack abs first and then splash it. Here, Govinda undergoes a transformation through the film. To know whether he has actually done it and how he has achieved it, you’ll have to watch the film!”
Can’t wait.
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