Showing posts with label Madam Chief Minister. Show all posts
Showing posts with label Madam Chief Minister. Show all posts
I’m not foolish to say that everything I’ve chosen has worked out-Richa Chadha
8:09 AM
Richa Chadha talks about the factors that drive her decision of signing a project
Juhi Chakraborty (HINDUSTAN TIMES; March 12, 2022)
Actor Richa Chadha has earned the reputation of doing unconventional work in her 14-year-long career. But she admits that despite making offbeat choices, not all projects have done well.
“It is different when I get involved with something right from its inception, like Masaan (2015), for instance. There are also times when I choose projects that come to me. But I’m not foolish to say that everything I’ve chosen has worked out. I have also been naive to think that if I work with a particular director because his intent is good, the film will also be good,” admits the actor.
Chadha explains, from wanting to work with the people involved, or liking a script to signing work due to free time, there are various factors that drive her decision to take on a project. “With films such as Oye Lucky! Lucky Oye! (2008), Gangs Of Wasseypur (2012), or [my latest film] Madam Chief Minister (2021), it was different,” she says, and adds, “For instance, I really felt that the story (of Madam Chief Minister) needed to be told, particularly by somebody like me, who thinks of herself as an ally. I hardly charged any money for the film; it was more like a token amount. But sometimes, you choose a movie because your agency tells you, ‘Aapke paas dates khali hain’.”
The actor goes on to talk about some roles that one can’t say no to, case in point — her cult character Bholi Punjaban from the Fukrey franchise. “Sometimes, you have to do a film because you are part of the prequel. I am part of the Fukrey series and no matter which other projects I do, that character is iconic and I still have to reprise it,” Chadha, 35, ends.
Theatre-to-OTT: What's the plan for big films?
8:03 AM
Shortening of gap between theatrical and digital release is rapidly becoming a norm amid mid-range and smaller films, but over time will big budget films also follow suit?
Rishabh Suri (HINDUSTAN TIMES; April 3, 2021)
The Coronavirus pandemic period witnessed a drastic shift in the content consumption habits of the Indian audiences. From theatres the focus shifted to OTT platforms, which promptly took the centre stage as the sole provider of fresh content during the lockdown. And now even when the cinema halls have reopened amid fear, the makers, it seems are still attracted to the large audience base that an OTT release fetches them.
Like in the West, the Indian film industry too, is witnessing a phase where theatrical releases are rapidly making their way on to OTT platforms. Take for instance Indoo Ki Jawaani (2020), which released in theatres on December 11 and premiered on a streaming platform on March 1 or Madam Chief Minister, starring Richa Chadha in the leading role, which released in theatres on January 22, and was out on a digital platform in March.
Rumours are rife that some much-awaited releases such as Sooryavanshi and Radhe: Your Most Wanted Bhai too, have opted for smaller theatre-to-OTT release window now. In fact, their gap could be even as small as just four weeks. Trade expert Atul Mohan feels such arrangements are the need of the hour. “What worked five years back, won’t work today. We have to change with the changing times, and adapt to the need of the public. In the West, they had day and date releases, and the window has shrunk,” he says.
Asserting that a film anyway completes a major chunk of its theatrical run in about two weeks, Mohan says that OTT release within weeks is quite feasible. “Maximum business for the biggest of films is done in the first weekend, which is 60 -70% of the total. The remaining is done in the next four-five days, after that a film is stretched unnecessarily. Films which do business in the second week are very rare such as Dangal in 2016,” he adds.
Abir Sengupta, who helmed Indoo Ki Jawani, admits that an OTT release without much delay helped his case. “I wanted the maximum number of people to watch it... Because of restrictions, a lot of people, including my parents, couldn’t go to theatres to watch it… I was waiting for its satellite and OTT release. It happened very fast, I was happy that atleast people got to watch it,” he explains.
However, trade analyst Taran Adarsh feels it’s a case of wait and watch for big budget films such as Sooryavanshi, until an official announcement is made. “No one has commented about this theatrical and OTT release coming in so closely. Small films were a different case than big ones. They’ll have big life in theatres I presume, because they are such films. Obviously, immediate release on OTT, if it does very well in theatres, would not (be feasible),” he explains.
Exhibitor Akshaye Rathi says a gap of 28 days between theatrical and OTT releases is good enough in the current scenario. “These are exceptional times which require exceptional solutions. All of us in the industry realise we are still not out of the pandemic and consumption is going to be hampered to some extent… 11%, 50 %, we don’t know. I think all of us in the industry, exhibitioners, producers, actors should work around these solutions. If that means a window is temporarily shortened, and everyone agrees to it, it’s fine,” he says.
But what about a scenario where audiences already know that a film will come on an OTT platform after a short gap and so they don’t go to a theatre and risk it or pay more money? Rathi says, “I don’t know if those films would be available in regular viewing models, most of them would be on pay-per-view model. It’s about the experience, so a lot may consider going out to cinemas, as there is a high degree of sanitisation measures. We are a country of 1.3 billion people, even if a fraction sees a film, it’ll work.”
A list of top 10 grossers in Hindi post Covid-19
8:42 AM
Box Office India Trade Network
The box office in Hindi circuits has been a disaster since cinemas
opened in October 2020. Major films have avoided the ticket counter as
maskers believe the audience will not be there. The best we have seen
post Coronavirus is 4 crore nett of SURAJ PE MANGAL BHARI.
This was actually the first new releases when cinemas reopened in
October. SURAJ PE MANGAL BHARI has slowly crept up to the 4 crore nett
mark but it took ten weeks to get there. The next best is WONDER WOMAN 1984 with 3.37 crore nett and then with around 3 crore nett it is VIJAY THE MASTER (dubbed version of Tamil film MASTER) which is a big GROSSSER
in Tamil Nadu crossing the 100 crore nett mark but had no takers in
Hindi circuits.
VIJAY THE MASTER fetched over 15 crore for its rights but theatrically
it was a token gesture release with satellite and digital being main
reasons for the price and this 15 crore is being asked for satellite
only. The Hindi version had a huge release in West Bengal of over 125
cinemas but it took the whole weekend to cross just 10 lakhs nett.
The Tamil version of MASTER did pretty well for a day or two in Mumbai city
and some other centres of Maharashtra but that was about it and it also
collected 3 crore nett. The all formats total in Hindi circuits was 6
crore nett nett apprx which makes it more than SURAJ PE MANGAL BHARI but
like that WONDER WOMAN 1984 and TENET were even more. The only other films to get over 1 crore nett in Hindi are TENET and
INDOO KI JAWANI.
The top ten grossers in hindi language post Covid are
as follows and most of them are still running at places due to lack of
new releases but collections are very limited.
1. Suraj Pe Mangal Bhari - 4,06,00,000
2. Wonder Woman 1984 (Hindi) - 3,37,00,000
3. Vijay The Master (Hindi) - 2,96,00,000
4. Tenet (Hindi) - 2,18,00,000
5. Indoo Ki Jawani - 1,14,00,000
6. Tom & Jerry (Hindi) - 65,00,000 (10 days)
7. Madam Chief Minister - 57,00,000
8. Shakeela - 35,00,000
9. Ramprasad Ki Tehrvi - 30,00,000
10. Chakra Ka Rakshak (Hindi) - 25,00,000
2. Wonder Woman 1984 (Hindi) - 3,37,00,000
3. Vijay The Master (Hindi) - 2,96,00,000
4. Tenet (Hindi) - 2,18,00,000
5. Indoo Ki Jawani - 1,14,00,000
6. Tom & Jerry (Hindi) - 65,00,000 (10 days)
7. Madam Chief Minister - 57,00,000
8. Shakeela - 35,00,000
9. Ramprasad Ki Tehrvi - 30,00,000
10. Chakra Ka Rakshak (Hindi) - 25,00,000
Post Coronavirus pandemic, are only big budget films suited for theatres?
8:28 AM
The film industry is grappling with the dilemma of whether small films will eventually stop releasing on the silver screen
Juhi Chakraborty (HINDUSTAN TIMES; February 28, 2021)
In the past couple of months since theatres reopened, several films made their way to cinemas. And most of them were small or medium budget projects. However, those films such as Suraj Pe Mangal Bhari, Indoo Ki Jawani, Madam Chief Minister and Ramprasad Ki Tehrvi, could not grab eyeballs and neither could they get the cash registers ringing. This has led to people wondering if budget films should head to OTT platforms as a rule and if theatres should be reserved only for films with a huge star cast?
“Some of the biggest films have also headed to OTT platforms, so we should stop distinguishing between ‘big’ and ‘small’ films based on their budgets,” says filmmaker Anand Pandit.
He further asserts that what we are seeing is a diversification of what was supposed to be a success formula. “Today, there is no formula. On OTT alone, last year, you saw Laxmii, Coolie No 1, Raat Akeli Hai, Ludo and Sir. And all of these films did well so who is to say which film is meant for the big screen and which isn’t?” he asks.
Filmmaker Nikkhil Advani says that they are clearly demarcating their productions on the basis of a few things. “We are making pure feature films where budgets, scale and point of consumption is suited to cinema, for theatres. We are having conversations with platforms for projects which are being commissioned, and we are also making smaller films which would premiere directly on digital and be sold to them,” he says.
Actor Bidita Bag, whose film Fauji Calling is going to make its way to theatres soon, says, “I am worried that people might not come and see the film. Big films will grab more eyeballs any day, and unke saamne yeh chhoti machli kya karegi? So, it will become difficult to release the film after March because of the big films lined up.”
Many production houses have adopted a release strategy that is decided on a case to case basis. “It’s true that post-pandemic, the release schedule of several films have been put in disarray. It is hard for small firms to manage narrow theatrical windows. In that scenario, if it makes monetary sense for a smaller film to release on an OTT platform, I do see this becoming a trend,” says Siddharth Anand Kumar, Vice President — Films & Events at Saregama India Ltd.
In conclusion, Pandit adds that we just have to accept that content has to be experimental now regard of the budget. “The conventional blockbuster may have to redefine itself though I do feel the magic of the big screen will prevail,” he says.
I am not as well versed in politics as Subhash Kapoor & Richa Chadha are-Akshay Oberoi
8:10 AM
Akshay attempts his first political drama with Richa-starrer Madam Chief Minister
Uma Ramasubramanian (MID-DAY; January 26, 2021)
Akshay Oberoi’s latest release, Madam Chief Minister, sees him play the romantic interest-turned-rival to Richa Chadha’s protagonist. He says that the drama, centred on the protagonist’s rise in the murky world of politics, was an unfamiliar territory for him. “I am not as well-versed in politics as Subhash Kapoor [director] and Richa are. So, I had to do a considerable amount of homework. When I was younger, I used to see heated conversations on politics and that turned me off. But now that I am older, I take a keen interest in the [subject]. That said, I stay away from toxic debates,” says the actor.
Even though the footfall at cinemas has been abysmal, the makers chose a theatrical release for the film. While Oberoi describes it as their mark of support to exhibitors, he understands the audience’s hesitation to step into a movie hall. “[In the current circumstances], I won’t unnecessarily pressure people to watch films in theatres. Cinemas are in trouble, and every industry needs a push at this point. But each viewer needs to make [an informed] decision for himself.”
(Crisp) Movie Review: MADAM CHIEF MINISTER by FENIL SETA
11:53 AM
Madam Chief Minister is an interesting tale of a woman who is nobody and then suddenly becomes the chief minister of Uttar Pradesh. It seemed like a fictional account of Mayawati but it’s not. The circumstances under which Tara (Richa Chadha) enters politics and her journey after becoming the CM are very different. Writer-director Subhash Kapoor spins an interesting world which thankfully looks convincing, unlike the other political drama which we saw last week, Tandav. The first half is fine and without complaints. The intermission point is arresting and the second half starts with a bang. One expects the film to go on another level. Sadly, after a thrilling 15-20 minutes, the film drops. The last act is unconvincing and weak. The makers try to end the film on a high but don’t succeed much. A big issue is that the protagonist faces a lot of detractors, some of whom were experienced players, but she defeats them and outwits them easily. Initially, one doesn’t mind this aspect but later on, it becomes difficult to digest that she manages to do it quite easily. Speaking of performances, Richa Chadha handles the lead part with confidence and brazenness, which was the requirement of the character. Saurabh Shukla is excellent and his scenes in the first half are impressive. Akshay Oberoi too gives his best. One wishes he had more screen time. Manav Kaul is dependable but is let down by the writing, especially towards the finale. Shubrajyoti Barat is good as the villain. Raviza Chauhan (Shashi Rai) leaves a mark. Nikhil Vijay, as Dhanush lookalike, hams. All in all, Madam Chief Minister is a one-time watch political fare. Richa Chadha and Saurabh Shukla’s performances, the political angle and some exceptional scenes will give you your money and time’s worth!
My rating - *** out of 5!
Fenil's Bollywood Talk # 657
10:41 AM
REPUBLIC DAY WEEK TO SEE THE RELEASE OF A NOT-SO-EXCITING FILM!
Republic Day is a National Holiday and hence, most filmmakers would be more than happy to release their film during this period. Over the years, some very exciting and big films have made it to the screen in this week like Street Dancer (2020), Manikarnika - The Queen Of Jhansi (2019), Padmaavat (2018), Raees (2017), Kaabil (2017), Airlift (2016) etc. This year, due to lockdown’s after effects, things have gone for a toss. With very few films releasing nowadays, one expected at least some mid-sized or big film to make it to theatres in this week. Alas, that didn’t happen as the industry still fears that viewers would not turn up to theatres.
As a result, a small Hindi film named Madam Chief Minister would be trying it’s luck in cinemas tomorrow. Starring Richa Chadha in the lead, it’s directed by Subhash Kapoor of Jolly LLB and Jolly LLB 2 fame. The film deals with a woman from a backward caste who rises to become the chief minister of Uttar Pradesh. Immediately, parallels were drawn with that of UP’s ex-CM Mayawati. It also led to a controversy as one of the posters shows Richa holding a broom. Many claimed that it indicates the stereotyping of the Dalit community. Moreover, a Dalit leader threatened to cut off Richa’s tongue! This was even after the poster was withdrawn and Richa posted an apology.
At times, these controversies help the film to generate awareness and maybe, even excitement. In the case of Madam Chief Minister, that didn’t happen. The promotion has been negligible. Many genuine moviegoers are not even aware of the film and that it’s releasing tomorrow. Even the lone theme song of the film is forgettable. A catchy, exciting song could have helped to some extent. The film might still find audiences in some multiplexes as it’s a woman-centric flick and because Richa enjoys some following among the premium viewers. Even then, it’s sure to wind up below Rs. 1 crore.
Anyone who threatens violence can't be Ambedkarite-Richa Chadha
8:23 AM
Richa Chadha receives threats from a fringe group, which accuses her film of maligning Mayawati's image
Mohar Basu (MID-DAY; January 19, 2021)
Richa Chadha has been subjected to violent threats since the trailer of Madam Chief Minister dropped online. Nawab Satpal Tanwar, founder of Akhil Bhartiya Bhim Sena, took umbrage over the now-recalled poster that stereotyped the Dalit community. He also accused the Subhash Kapoor-directed venture — which sees Chadha battle sexism and casteism to rise up the ranks in the political world — of maligning the image of former Uttar Pradesh chief minister Mayawati. Last week, he openly issued death threats against the actor, offering a reward to anyone who will "chop Richa's tongue off".
On Sunday, Swara Bhasker condemned Tanwar's "criminal intimidation". Chadha reacted to reports of the threats by tweeting, "Hum nahin darte."
When mid-day reached out to Chadha, she decried Tanwar's incitement to violence. "Anyone who threatens violence cannot be an Ambedkarite because they are encouraging something unconstitutional. I don't want to say more on the subject because I don't want to amplify this stupidity," she said.
Till the court passes a verdict, I won’t judge anybody, says Richa Chadha on Subhash Kapoor
8:29 AM
Richa Chadha defends her decision to work with #MeToo accused Subhash Kapoor on Madam Chief Minister
Uma Ramasubramanian (MID-DAY; January 18, 2021)
Richa Chadha says she gave her nod to Madam Chief Minister as it is an empowering tale of a woman who battles casteism and sexism to carve her place in the world of politics. However, the makers got off on the wrong foot - the film’s first poster, which saw Chadha holding a broom, was widely criticised for stereotyping the Dalit community, and using the word ‘untouchable’ in the text. Soon, the team retracted the objectionable poster.
Though she had issued an apology on January 15, the actor, talking to mid-day, says the criticism was "premature". "I understand their hatred [towards the poster], but I think the criticism was premature; the filmmakers changed the poster the very next day, as soon as they realised there has been a mistake from their end. This is a learning experience for us. Sometimes, I feel people are harder on women and actors, and I will maintain it in this case because [the umbrage] was misdirected. I was surprised that I was attacked because actors don’t control the making of posters."
Considering Chadha has been a fierce advocate of #MeToo India, her decision to front the Subhash Kapoor-directed movie shocked her fans. In 2014, the director was accused of sexual misconduct by Geetika Tyagi. "I came out of a court case [the defamation suit against Payal Ghosh] only a few months ago. I stand by the #MeToo movement. But at the same time, I don't believe in social media trials. Unlike other [accusations] that were brought to light on Twitter, this case is subjudice. We must respect the law of the land and the court’s verdict. Till the court passes a verdict, I won’t judge anybody," she states.
No one is doing charity by making films on Dalits. Do them right or stay away-Somnath Waghmare
8:10 AM
Despite the occasional film centred around a Dalit character, Hindi cinema has pretty much skirted around the realities of the caste system. This week, the poster of a forthcoming film, Madam Chief Minister, drew criticism for its problematic representation of a Dalit politician. Filmmaker and researcher Somnath Waghmare spoke to Sonam Joshi about the controversy and the importance of Dalit filmmakers telling their own stories
Sonam Joshi (THE TIMES OF INDIA; January 10, 2021)
Your academic research at the Tata Institute of Social Sciences in Mumbai focuses on the portrayal of caste in Marathi cinema. What about Hindi films? Has there been a positive change?
Historically, the Hindi film industry has been dominated by savarnas and keeps putting out their stories. Even though Mumbai was B R Ambedkar’s city, he has zero presence in cinema. For example, Franz Osten’s Achhut Kanya came out in 1936 when Ambedkar was already a strong leader and had debated with Gandhi on the Poona Pact but it ignores this. Instead, the cinema of that time glorified Gandhi’s idea of Harjians but not Ambedkar’s social vision of ‘educate, agitate, organise.’ Bimal Roy’s Sujata, which was made in 1959 and has a Dalit protagonist, makes a reference to Mahatma Gandhi but not to Ambedkar. These were parallel and progressive filmmakers but they ignored the anti-caste discourse and portrayed Dalit women as victims and male Brahmins as saviours. This tradition continues in films till today, whether it’s Bandit Queen or Article 15. In the latter, the police officer who came from a dominant caste doesn’t know his own caste. Is this possible in India?
After criticism, actor Richa Chadha who plays the lead in Madam Chief Minister, which is loosely based on Mayawati, argued that it was better that she play the role rather than such stories not being told at all. What is your take?
This argument reflects caste arrogance. Let’s start with the poster which was problematic because there was no reason to show the protagonist with a broom in her hand.
Mayawati is a well-educated woman and a four-time CM. Was she ever seen sweeping with a broom? Her father worked in a post office and she was a teacher. It is a stereotypical idea of Dalits to give her a broom and make her look weak. Even if there aren’t enough Dalit stories being told on screen, no one is doing charity by making these films. If you don’t have the skill, capacity or understanding to deal with such issues, it is better to pass the mike to people who do.
Do you draw hope from the rise of filmmakers such as Nagraj Popatrao Manjule (Marathi) and Pa Ranjith (Tamil)?
Filmmakers such as Manjule and Ranjith have tried to break this narrative of victimisation. For instance, in Kabali, Ranjith takes a mainstream actor like Rajinikanth and then talks about Ambedkarite politics. Manjule’s Sairat takes the core caste question in the village to the mainstream with a lot of honesty. Fandry also talks about Dalit assertion because the character doesn’t die in the end. These filmmakers portray Dalits as normal humans. Most importantly, these films have an ideological position. For instance in Kaala, Rajinikanth is a Dalit don from Mumbai’s Dharavi and uses symbols like Ambedkar, Phule and Buddha. In Fandry too, you see the imagery of these social reformers and their ideas come across. We see more people from marginalised communities attempting this in regional cinema but in Bollywood, where dominant castes dominate, there are very few possibilities.
How can the film industry encourage more diversity?
There are many Dalits, Adivasis and OBCs in the Hindi and Marathi film industries but they hide their identity by changing their last names. In 2019, Neeraj Ghaywan put out a call on Twitter for assistant directors and assistant writers from Dalit, Bahujan and Adivasi (DBA) backgrounds. Actor Niharika Singh also launched a film training programme for the DBA community. This is the only way. People may abuse reservations but because of them there is some diversity in every government department today. There is an annual diversity report in Hollywood. Imagine if we had to create a report like this. The truth would come out.
What are the common caste stereotypes portrayed in films?
Filmmakers usually glorify their own castes while Dalits, adivasis and OBCs are shown as peons and criminals. Recently, there was an ad that showed a man with a Dalit surname as an online stalker, which was later withdrawn. I haven’t seen any character named Waghmare in films, who isn’t a criminal. During research, I found that post-Sairat, there were no Dalit stories but a reaction in the form of titles with dominant caste surnames such as Carry On Deshpande. There is a lot of anti-reservation discourse in cinema as well.
What about your own journey as a filmmaker?
I choose subjects that are close to my experience. I made Battle of Bhima Koregaon in 2017 because I heard stories of the battle from my mother and grandmother while growing up. I am making a film on Chaityabhoomi, the resting place of Ambedkar, where lakhs gather every year on his death anniversary on December 6. I am also working on a biopic of anti-caste activist and sociologist Gail Omvedt, who came to India from the US, and her husband Dr Bharat Patankar, who lived just 10 km from my college.
However, there is one thing that I discovered when I went back to my village in Maharashtra due to the lockdown — caste hasn’t changed at all. Your personal worth is still decided by your position in the caste hierarchy. Even if you do a PhD from Oxford University, they still see you the same way.
Richa Chadha spearheads Subhash Kapoor's next titled Madam Chief Minister
9:06 AM
Avinash Lohana (MUMBAI MIRROR; February 12, 2020)
After the 2017 comedy-drama Jolly LLB 2, featuring Akshay Kumar and Huma Qureshi, director Subhash Kapoor was to helm Mogul, the biopic on T-Series founder Gulshan Kumar, with Aamir Khan playing the late music baron and also producing the film with Bhushan Kumar. Now, Mirror has learnt that while Aamir is busy with Laal Singh Chaddha, the director has quietly gone on and shot a political-drama, titled Madam Chief Minister.
“During one of the discussions on Gulshan ji’s biopic, I brought up this subject with Bhushan ji who agreed to support the film,” informs Subhash who wrapped up the film in a start-to-finish 40-day schedule in Lucknow last November-December. His last directorial was also filmed in the City of Nawabs.
Bhushan, who’s producing the film with Naren Kumar and Dimple Kharbanda, describes it as an interesting script. “Subhash has incorporated many incidents and anecdotes he had seen and experienced as a political journalist into the narrative,” he adds.
Richa Chadha, who was recently seen as Kangana Ranuat’s friend-turned-kabaddi coach in Ashwiny Iyer Tiwari’s Panga, plays the lead role of a politician. The film also features Manav Kaul and Saurabh Shukla. While readying for a July 17 release, Subhash has begun prep for Mogul.
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