Showing posts with label Mastram. Show all posts
Showing posts with label Mastram. Show all posts
Mastram garners 11 million streams in a day; erotic shows continue to heat up temperatures on OTT
8:23 AM
As Mastram garners 11 million streams in a day, during the Coronavirus lockdown, we take a look at how a number of ‘erotic’ shows have, of late, been heating up temperatures on OTT platforms
Prashant Singh (HINDUSTAN TIMES; July 25, 2020)
Adults-only content has existed forever but they were always few-and-far-between, and hardly ever meant for mainstream consumption, especially in India. But now, titillation seems to have become a tried-and-tested formula with the number of such shows on OTT platforms steadily increasing. And even audiences seem to be lapping them up.Big numbers
According to a LetsOTT report, on July 3, adult comedy, Mastram recorded the highest single-day streams — 11 million. It has 362 million views till date in Hindi, Telugu and Tamil. Swara Bhasker was recently seen in a sensuous avatar in a new web series, Rasbhari that focuses on the hypocrisy surrounding female sexuality in a patriarchal society. Plus, a few weeks back, XXX Season 2 was in the news and found itself in legal turmoil for depicting scenes “insulting the Indian Army”.
“It’s very simple: there is a demand for adult content and that’s why makers are attempting them,” says filmmaker Ken Ghosh, who has been associated with shows such as XXX Season 1 and Dev DD. “If made responsibly and in a sane manner, such content can go on to do very well. Also, unlike theatres or TV, OTT isn’t about community or family viewing. It gives privacy, so one can consume such content without feeling awkward.”Demand and supply
Experts, though, contend that the idea behind such shows shouldn’t be to only “titillate or excite.” “In foreign shows, there’s a lot of nudity and skin show but it’s all a part of the narrative, and that’s how it should be,” says trade analyst Taran Adarsh. “In India, the genre is new, mainly because OTT is getting bigger now. Plus, the streaming space gives the freedom to push such content due to no censorship.”
Probably that’s why, by now, a number of shows — high on erotica — such as Gandii Baat, Panchali, Khul Ja Sim Sim, Kavita Bhabhi and Charmsukh among others have streamed on various OTT platforms. “Why are we becoming so painfully shy? After all, we are a land of Kamasutra. If there’s a need for erotica in the storyline, why not? Also, such shows are doing well because audiences are starved of such content from other platforms,” says ad guru Prahlad Kakar.
Lockdown effectIn India, such shows — almost always — come with their set of controversies/talking points. Bhasker-starrer Rasbhari, for example, was also under fire. “Nobody bats an eyelid to adult sex comedies (with men) but when you have a show about a woman, who is celebrating her sexuality, then everyone talks about Indian values, culture and the future of children,” the actor said recently.
Experts feel the viewership for adult shows is most likely to have gone up during the lockdown. “With OTT having been the preferred platform for entertainment now, such shows may have seen a spike in viewership. But to keep people hooked these shows can’t just be about erotica,” says Adarsh.
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Censoring OTT?
Unlike films and TV, OTT platforms aren’t under the purview of censorship/regulation. There has been a lot of talk about ‘a self-regulatory mechanism’ and ‘possibility of censorship’. But creators feel the authorities “should give audiences the freedom” to choose. “Right now, makers are trying new things since it’s a new platform. Soon, they’ll settle down. Makers must self-regulate but viewers should also have the option to watch or skip shows as per their wish,” says Ghosh.
Lights, camera but no action! Social distancing is killing the sex scene
8:34 AM
Once upon a time Bollywood relied on the bushes and the bees to show desire. With the pandemic putting an end to kissing-vissing, will films and TV shows have to press rewind on bold content?
Mohua Das (BOMBAY TIMES; June 7, 2020)
Fear of a different sort of Coronavirus casualty is looming large over film and TV folks — the death of the steamy sex scene in the wake of a pandemic and strict social distancing protocol imposed by an official directive from the cultural affairs ministry that allows shooting to resume within the two weeks but with a compulsory two-metre distance between members of the cast and crew.At a time when erotic content was sweeping through the Indian entertainment space, boldly aided by streaming platforms, the future of screen intimacy suddenly seems precarious. In April, filmmaker Shoojit Sircar had pondered the same questions in an Instagram post, where he wrote: “How the cinema world conducts shooting intimate scenarios (has) to be seen and planned, after all this is over. Especially the intimate kissing/hugging scenes.”
There is always editing and imagination to rely on, says Prabhleen Kaur Sandhu, producer of Mastram, based on the life of an erotica writer. “Two actors on screen can be made to look closer than they actually are. The build-up of the foreplay is more sensuous than the act itself and, therefore, camera angles and clever edits will become all the more important,” explains Sandhu, pointing at the industry’s need for “intimacy directors or coordinators” — a fast growing tribe in Hollywood fuelled by the MeToo movement — who help artistes and productions navigate everything from hugs and kisses to nudity and faux sex.
Before the pandemic hit, the makers of Mastram — a show on MX Player (disclosure: it is a Times Group company) — had flown in Amanda Cutting who had worked as an intimacy coordinator on a prequel of ‘Game of Thrones’. Cutting told TOI, “Some of the best intimacy is seeing the desire in a person’s eyes, the quiver of a lip, a hand that moves subtly. Intimacy isn’t really about the simulated sex. It is about the story, relationship and moments that cause it to build. As an intimacy coordinator, I have tools to trick an eye to think something is happening when in fact it isn’t.”
Sandhu says Cutting’s team came with intimacy kits that provide thick covers that help choreograph scenes in a way that looks real while protecting actors from unwanted touch. “Something like that can be useful at this time. If makers of erotic shows bring in intimacy experts for future shoots, I don’t see a reason for compromising on scenes that might take away from the essence of a show. Kissing might still be problematic, she admits, “because it’s direct contact and can still transmit the virus.”
Amid several shoulds and shouldn’ts, one thing that is hanging like a double-edged sword on actors and directors alike is whether time-honoured metaphors — two flowers brushing against each other, actors disappearing behind a giant tree to depict a liplock or a trembling bed and gyrating car to simulate sex — might make a comeback.
Filmmaker Madhur Bhandarkar, known to settle for an ‘A’ certificate rather than butcher subjects and scenes dealing with lovemaking, pornography and infidelity, is predictably concerned. “There had been a paradigm shift in content for films and web series in recent years. They pushed boundaries and several taboos were lifted. Now with the Covid crisis and no cure in sight, I’ve been discussing with fellow filmmakers about how we can shoot romantic moments — be it on a bed or at a party. Technology can help create a crowd but what about two characters hugging? Can we go back to the primitive days in which flowers and birds symbolised intimacy?” he frets.
Vikram Bhatt, who has been churning out erotic thrillers since the ‘90s and continues to break conventions, feels a return to the chastity of “two doe-eyed lovers” is an “absurd proposition”. “It’ll be bizarre and comical if that happened! I don’t think the current generation of viewers would even understand it,” argues Bhatt, given that romances no longer end with the heroine falling into the arms of her hero but big dollops of straightforward sex.
“At the same time, intimacy applies not only to kissing or sex scenes, but also to a range of human emotions portrayed through physical touch. If one thing is allowed, the others will have to be too,” reasoned Bhatt. Emphasising on rapid testing kits to keep cameras rolling, he dwelled on single location shoots to keep a film or TV show contained in scale without necessarily constricting the story.
“Today you can’t cheat audiences with obliqueness,” agrees Vishnu Mohta, co-founder of the Bengali video streaming platform Hoichoi that has about eight shows with bold erotic content that have been given a raincheck until December when the hope is that things will begin to normalise. “Shows today are built around reality, therefore body language matters. The larger challenge is proximity and how much can you rely on cheat shots and CG?”
Mekala Krishnaswamy, who finished shooting a social drama that involved intimate moments before lockdown happened, highlights why sexual intimacy is increasingly a part of the vernacular. “Our show is about a guy who is down in the dumps when his life turns around. It’s not an erotica but does have intimate scenes because they’re part of communicating a character’s headspace and emotion, not for titillation,” she explains, while speculating on ways in which an intimate sequence could still be shot “after isolating the characters for 10 days, getting them tested, having bathing arrangements on set and a minimal crew.”
But even as lockdown lifts, sanitation is ramped up and directors get creative with how they show intimacy, actors remain perturbed. “No matter how many tests and temperature checks happen, you don’t know where your co-actors have been or who they’ve met. I do eroticas and most of my shows involve kissing. I’m scared and worried,” admits Priya Banerjee, known for turning up the heat with her steamy act in shows like Twisted, Hello Mini, Bekaboo and Baarish across OTT platforms. “While I hope there’ll be honesty between actors involved in intimate scenes, I have already spoken to my manager and producers about eliminating kissing scenes in future projects. If it isn’t needed, I am going to put my foot down. It’s not just about audiences, it’s about life and survival.”
Not alarmed by the possibility of birds and bees stealing her thunder, Priya beams: “You know, I’ll be the happiest if flowers and bushes return! Intimacy is anyway overwhelming so this would free me of any worry, my parents would be happy and the florists would be back in business!”
Coronavirus effect: Mastram writers to cut down on erotic element for the show's second season
8:06 AM
As shoot of intimate scenes may pose difficulty in the post-COVID world, Mastram writers to cut down on erotic element for the show's second season
Mohar Basu (MID-DAY; May 22, 2020)
The makers of Anshuman Jha-fronted Mastram have an uphill task as they develop the second season of the web series based on Rajaram, the popular erotica writer of the '80s. After all, with an increased emphasis on social distancing, shooting intimate scenes will pose a problem in a post-Coronavirus world. In a pre-emptive move, the creative team has decided to curtail intimate sequences at the writing stage, instead of training the focus on the protagonist's psyche.
Writer Aryan Sunil explains, "[In the next season], we are delving into Rajaram's life and how he arrived at his books. As for the shoot of [erotic] scenes, we will follow the guidelines that will be put in place. We were the first show in India to hire international intimacy directors. After the crisis, we will be more careful. The sequences and the degree of intimacy depicted will be decided by the intimacy directors."
Jha believes cutting down on the erotic element will hardly affect the theme of the MX Player offering. "The DNA of the show will not change much because the story is about Rajaram's romantic interests, his relationship with his uncle and his cult books. The conflict between his real-life relationships and his literary imaginations will continue to be explored."
An intimate scene needs to be choreographed like a dance sequence-Amanda Cutting
8:31 AM
For the first time, a web series has roped in an intimacy co-ordinator, Amanda Cutting, to create safe working spaces for artistes
Nuzhat Aziz (BOMBAY TIMES; May 17, 2020)
Whether it is a mega or medium budget film, a web film or web series, shooting intimate scenes for the screen is a challenge for filmmakers. It needs to be directed and filmed aesthetically and with sensitivity, apart from creating a comfortable space for the actors in the spotlight. So, when producer Prabhleen Kaur roped in intimacy coordinator, Amanda Cutting, for the recently launched web series Mastram, it was a refreshing initiative. The series — an adapted biopic based on the erotic writer, Mastram — needed to depict sex in an unrestrained manner and Amanda was flown in from Canada to help actors feel confident and reduce the emotional bleed-off that can happen during the shoot of intimate scenes. Excerpts from an interview…How difficult was it to break the language barrier and understand the intricacies of intimacy suited for the Indian sensibility with regard to erotica?
Mastram, the author, has a cult following in India and it was important to do this in a manner that paid homage to that. I got some of his works translated into English to have a stronger idea of the context of the show, and the poetry of Mastram. It was important for me to understand how Mastram creates these sensuous scenes, and the language that he utilises in order to depict them. It is erotica, and there’s nothing that you can avoid in that, but it could have gone incredibly graphic in a way that felt distasteful. But I really feel it was incredibly, elegantly done.
How important is it to have intimacy coordinators on board a film set, especially in a post #MeToo era?
I am seeing a massive uptake in production houses wanting intimacy coordinators on their sets. I think people are seeing the difference that it makes. Unfortunately, there is a disease of mediocrity out there. Because we are trying to pump out so much content so quickly that we forget that the artistes are human beings. I feel artistes are not confident when there is no clear communication between the production unit and the performers.
Do you think the way we shoot intimate scenes will change in the post-Coronavirus pandemic future?
Making sure that we are not exposing people unnecessarily is critical. It could also mean that there is a revival of renaissance flirting on screen. Something that I loved about the Bollywood films of the 60s and 70s was a lot of the tantalising eye contact and the sensual dancing used as build-up. Indians really know how to flirt on film. With challenges comes an amazing collective creativity and it might even be something that’s more exciting to watch.
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ON THE MOST CHALLENGING SCENES
“The Kama Sutra scene (with Isha Chhabra and Anshuman Jha) with candles was incredible. We had very specific positions that we wanted to embrace in that scene and Tara Alisha Berry was brilliant because she is so flexible that it actually allowed us to pull out even more interesting positions. It was also challenging because we only had that much time on set.
The motorcycle scene was a challenge because the actors were being vulnerable, and doing something that, on camera, appears that it is public. However, we made sure there was no actual public perceiving those actions. We had a lot of security, and massive big curtains that basically covered and created a big black box around the area. The content that we were creating was 4-5 minutes long, after an average 4-6 hours of shooting.”
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FILMING AN INTIMATE SCENE
- First, we understood the performers’ personal boundaries.
- We then had a workshop with the performers where we cleared their consent with each other, and went through the storyboard so that they knew exactly the sexual positions, and the angles they were being filmed from, including the type of lighting we were using.
- Next, we walked through the choreography, as that’s really what it is. It is no different than a Bollywood musical dance sequence.
It was a pleasant discovery that Indians like curvy women-Amanda Cutting
8:28 AM
Intimacy coordinator for the web series Mastram, Amanda Cutting, on what her presence on a film set means for aesthetics in a post - #MeToo world
Mohar Basu (MID-DAY; May 3, 2020)
For the longest time, the most persistent imagery of sex on our screens was the visual of two flowers coming together. And yet, in a parallel universe, existed the erotic novels by Mastram that explored the vivid sexual experiences of the common Indian. Thus, it was essential for producers of a biographical series based on Mastram, to depict sex uninhibitedly — much like how Vatsayana’s Kamasutra meant for us to enjoy the experience.Among the first things that producer Sunil Bohra and the OTT platform MX Player did was hire an intimacy co-ordinator, a first for the Indian entertainment industry.
Amanda Cutting, who has previously worked on an unaired prequel pilot for Game Of Thrones, The Magicians and The Good Doctor, was flown in from Canada for the job.
Cutting, locked down at her home in Calgary, Canada, tells mid-day in a telephonic interview that she had to mentally realign herself to Indian sensibilities to deliver an authentic show that stayed true to its muse. “The idea of bringing me down was to ensure that performers are confident doing intimate actions and feel safe during shooting. Because I had both prior directorial experience and have worked on shows with explicit sexual content, they felt like I was a good fit,” she says about the 10- episode series directed by Akhilesh Jaiswal, starring Anshuman Jha and Tara Alisha Berry.
Mastram is an adapted biopic based on the life of erotica writer Mastram. The show blends in experiences of his personal life and his stories. On the subject, Cutting says, “I was familiar with Mastram because my uncle is East Indian. But, as part of my research, I familiarised myself with the details of the script and understood the cultural milieu of the stories he wrote. I got [my hands on] some translated Mastram novels to understand how he created sexual tension. A lot of the choreography for these scenes was done keeping in mind the novel.”
The thing about depicting sex on screen, Amanda concedes, is to ensure that it’s sensual and arousing. “In this case, I had to help the audience use its imagination to finish off stories. Some of it was explicit, a lot of it was suggestive. And that often has a more seductive impact than a full naked body.”
She adds that she stayed away from Bollywood clichés. “The positions usually utilised were discarded. I brought in many Kamasutra positions that honoured Indian culture and don’t rely on the Westerner’s gaze. Different things are considered appealing for people in different cultures. It was a pleasant discovery that Indians like curvy women. As a full figured woman myself, it was refreshing to know that curves are sexy. Also, it was nice to realise that build-up and tension is valued. Indians understand foreplay. Delayed gratification is a significant tool in my line of work where we can drag an audience along for the ride and keep them excited. That’s where the sizzle lies.”
Cutting walks us through workshops and storyboards created for every scene that helped familiarise the cast with the choreography of an intimate scene. “It’s like dance prep where there are set moves which are orchestrated. So, where do the hands go, in what position should each performer be, what are the barriers so that private parts don’t graze. The better you know them, the safer you feel, the better you perform. Every detail was discussed thoroughly and after that there could be no changes. It also reduced the possibility of retakes.”
She says that work begins where a script would say “they make love passionately on the beach” “What does this entail? Will they be nude or under beach towels? The intent of the scene had to be clearly stated. Depending on the scene, there was a strict close-set protocol where only essential crew was allowed. A lovemaking scene usually had the two performers, the DOP, the sound recordist, the director and myself. Eliminating people was important to ensure a safe environment.”
In the post-#MeToo world, her own hiring, Cutting believes, helps establish the idea of setting boundaries for artistes. “Defining consent is top priority now. Every actor has different boundaries and my job was to ensure the scene supports the story and is not gratuitous. No actor should be compelled or pushed into a scene. Sometimes, producers, even in the West, would pressure to show more; something that the performer on that day may not have wanted to do. Productions might want to push them to hold up to their contract but my job is to ensure they feel safe and consequently negotiate on scenes. Sometimes changing shooting angles can help say the same story, without making anyone feel uncomfortable. I am now getting called at the audition level itself to familiarise actors with what they are walking into. They can say no right at the start if they wish.”
Jhand, Banana, Fukrey, Fugly...Bollywood's going crazy with quirky titles
8:06 AM
Seema Sinha (BOMBAY TIMES; May 17, 2014)
What's in a name, you may
ask. Well, a lot, especially if it's Bollywood titles you are talking
about. Attention-grabbing and amusing names have always been a part of
the Hindi film industry - for example, Halaku and Shin Shinaki Boobla Boo
were released in the 50s, over half-a-century ago. And it's a practice
that continues to date.Take a look at some of the latest titles - Kuku Mathur Ki Jhand Ho Gayi, Yeh Hai Bakrapur , Mastram, Banana, Mango, Singh Is Bling, Shortcut Romeo, Humpty Sharma Ki Dulhania, Fukrey, Fugly, Hasmukh Pigal Gaya, Disco Valley, Heropanti -and you'll know what we are talking about. A couple of seasons ago you had gems like Matru Ki Bijlee Ka Mandola, Shahrukh Bola Khoobsurat Hai Tu, F.A.L.T.U., EMI: Liya Hai To Chukana Padega.
Says Ekta Kapoor, co-producer of Kuku Mathur...“A film's title should not only be true to its story, but also have a huge intrigue factor to make it exciting and inviting for the audience."
A title should not be quirky just for the sake of it, believes Rajkumar
Santoshi. The filmmaker, who has 'traditional' titles like Ghayal,
Ghatak and Damini to his credit, named his last two releases Ajab Prem
Ki Ghazab Kahani and Phata Poster Nikhla Hero. Says he, “I have always
gone by the subject. For instance, Ajab Prem... tells a strange love
story, while Phata Poster... is about a boy who wanted to be an
actor, a real hero. The title should not be flat. It should create
curiosity and indicate the storyline. It should come naturally, not
for the sake of being funny". However, some filmmakers have always had an affinity for funny titles. For example, the Mirza brothers - Aziz and Saeed - often opted for names like like Albert Pinto Ko Gussa Kyoon Aata Hai, Salim Langde Pe Mat Ro, Phir Bhi Dil Hai Hindustani and Raju Ban Gaya Gentleman.
Even legendary filmmaker V Shantaram was known for unconventional titles like Jhanak Jhanak Payal Baaje and Jal Bin Machhli Nritya Bin Bijli. And who can forget comic genius and singer Kishore Kumar's Jhumroo, Chalti Ka Naam Gaadi and Badhti Ka Naam Dadhi?
While not all films with wacky titles have been hits, one can't deny their ability to tickle the audience's interest. Keeping that in mind, looks like the race for the craziest title is nowhere near the finishing line.
AT A GLANCE
Albert Pinto Ko Gussa Kyoon Aata Hai (1980)Andheri Raat Mein Diya Tere Haath Mein (1986)
Salim Langde Pe Mat Ro (1989)
Chain Kulii Ki Main Kulii (2007)
Manorama Six Feet Under (2007)
EMI: Liya Hai To Chukana Padega (2008)
Shahrukh Bola Khoobsurat Hai Tu (2010)
F.A.L.T.U. (2011)
Phata Poster Nikhla Hero (2013)
Banana (Upcoming)
Kuku Mathur Ki Jhand Ho Gayi (Upcoming)
Mango (Upcoming)
Day 1: Hawaa Hawaai 65 lacs, Mastram 50 lacs, Koyelaanchal 45 lacs
4:12 PM
Box Office India Trade Network
HAWAA HAWAAI was the top film of the new releases followed by MASTRAM and KOYELAANCHAL. The business was dull of all the releases but they
fared bettered than last weeks films. The six releases occupied around
2500 screens between them but collected just 1.75 crore nett combined.
The approx collections of the releases were as follows.HAWAA HAWAAI 60-65 lakhs nett
MASTRAM 45-50 lakhs
KOYELAANCHAL 40-45 lakhs nett
Mastram's first show cancelled across cinema halls in Mumbai
3:58 PM
Asira Tarannum (MID-DAY; May 10, 2014)
Morning shows of the film, Mastram, were cancelled across the city. Apparently, the film wasn’t screened at any cinema hall before Friday noon. Ironically, ticket portal, Book My Show, was said to be accepting ticket bookings for the morning show, despite the cancellation.
A moviegoer, who went to catch the first show of the film at Movie Time in Matunga, laments, “I wanted to watch the film in the morning. But when I came to the theatre to buy the tickets, I was told about the morning shows getting cancelled.”
Sunil Bohra, the film’s producer, said, “We got our certificate from the Censor Board quite late last night, so the film’s print couldn’t reach theatres in time for the morning shows.” He added that audiences who had bought tickets for the morning shows will be reimbursed. However, at the time of going to press, no refunds for the morning shows had been made.
Early morning shows of Mastram cancelled on first day?
11:37 AM
The shows of the newly-released film MASTRAM are getting cancelled in most parts of the country, according to reports. Eros One theatre in Delhi has cited 'non-availability of the movie' as the reason and has said that it'll screen the film from tomorrow. But the rest of the theatres are expected to commence the screenings in a few hours, hopefully.
Keep watching the space for more updates.
Fenil's Bollywood Talk # 307
8:10 AM
DISASTROUS FRIDAY AS 6 FILMS UP FOR RELEASE!
Believe it or not, tomorrow as many as 6 Hindi films are up for release. It’ll be disastrous as these half a dozen films would jostle for space in theatres and also for audience attention. What’s more, none of these films don’t seem exciting enough or have created sufficient buzz. My views:
HAWAA HAWAAI: It is directed by Amole Gupte and like his previous film Stanley Ka Dabba, it also stars his son Partho in leading role. Saqib Saleem plays his coach in this film that is supposedly the first movie ever to be based on skating. Trailer has been impressive but as it’s not a typical entertainer of sorts, the buzz hasn’t been huge. Also, due to low costs, the marketing has been low-key. There’s no chance that it’ll take a bumper opening. But if response is very positive, the film can significantly pick up and turn out to be the surprise of the season.
MASTRAM: An erotic drama, it attempts to depict the life of the anonymous writer who wrote sex stories in 80s and 90s that sold like hot cakes. The trailer is hilarious and very sizzling. But for obvious reasons, the makers have not been able to show it on television. However, what’s surprising is that they haven’t even promoted ‘Achko Machko’ song that’s sung by the very popular Yo Yo Honey Singh. Hence, even though the material is attention-grabbing, the faulty promotion has prevented it from making huge impact. And this can dent it’s collections as well. Yet, it can score and grow due to its adult content.
YEH HAI BAKRAPUR: This is a small-budget satire that has wonderfully caught viewers’ attention due to two aspects – one, because of the goat and it’s hilarious and stylish depiction in the posters and two, because of the manner in which the makers have used Shah Rukh Khan’s name to sell the film (the goat is named Shah Rukh). However, these are marketing gimmicks and although it has helped the film to stay in news, it won’t really help attract viewers to theatres. Also, there’s too much competition in the week for the film to excel.
KOYELAANCHAL: Starring Suniel Shetty and Vinod Khanna, Koyelaanchal shows how politics and mafia have ruined the lives of people living coal mine areas. Surprisingly, the manner in which the coal areas are shot and presented is much better than in Gangs Of Wasseypur and Gunday. Also, from the promos, the film looks like a no-nonsense sensible flick with sufficient doses of entertainment. Sadly, the buzz is negligible. Also, Suniel Shetty doesn’t have the same pull anymore, sadly. The film can work slightly, only in mass belts.
MANJUNATH: The theatrical trailer of this film has been really hard-hitting. It’s also praiseworthy to see the actor playing Manjunath, who very well resembles the real person on whose life the film is based. This looks like an honest and sincere effort and needs time and space to grow. Sadly, Manjunath is going to suffer very badly in this flood of releases. But somewhere, the makers too are to be blamed for designing such a not-so-impressive marketing for the film.
KHWAABB: The film that has been least promoted of all has been Khawaabb. It’s shot well, despite being digitally picturised and having a low-budget feel. But sadly, it’s going to sink without a trace. CHECK THE TRAILER HERE
WHICH FILM WOULD YOU LIKE TO SEE OUT OF THESE FILMS AND WHY? DO LET ME KNOW!
Why do films dealing with bold subjects have to struggle before release
8:15 AM
Bharati Dubey (MID-DAY; May 7, 2014)
Sunil Bohra’s film, Mastram, slated to release this Friday, has run into trouble with the Central Board of Film Certification (CBFC). The examining committee of the Censor Board has referred the film to the revising committee, as there was a difference of opinion among members over its certification.
A source says, “Some members felt that film should be given an A certificate, while others felt that it should be referred to a higher body due to its adult content. Some others want to deny it a certificate. The revising committee screening is likely to take place today and they will take a call on the film’s certification.”
The film’s producers, however, are confident that the committee will pass the film. But of course, this last-minute hitch due to ‘silly reasons’ is something they are happy about. A source says, “The producer gave us a copy of the film on Monday; their earlier copy had some glitches. I don’t think we are at fault here. As per the rules, the producer is supposed to submit his film three weeks in advance.” hitlist takes a look at earlier instances where adult content made the censor board see red…
Certification blues
Filmmaker Madhur Bhandarkar had to accept an A certificate for his film, Dil Toh Baccha Hai Ji. He says, “My film has a scene where a girl asks Ajay Devgn about when he lost his virginity. Plus Emran Hashmi’s character is shown having an affair with a mother and daughter, and they are not biologically related. I even told the censor board that this was not very different from Sai Paranjpe’s film, Katha, where Farooq Sheikh has an affair with Mallika Sarabhai and Winnie Paranjpe. But I had to take an A certificate for the film as I wanted it to release on time.”
A source from the censor board points out that producers are only too ready to accommodate changes as they are eyeing commercial gains. “Producers don’t want an 'A' certificate as it adversely affects the film’s business. For instance, it’s rather foolish of producer Sanjay Khandelwal to make changes and keep approaching the censor board every few months in a bid to get his film, Vatsayana Kamasutra, a U/ A certificate. When a film is certified, six members have arrived at this decision. It’s easy for filmmakers to say call them ‘silly cuts’ but the truth is that members often try to be lenient while certifying a film. We do not wish to take away from the filmmaker’s vision, but we also want the film to be sensitive to an audience as diverse as ours,” says the source.
Does blurring or deleting work?
There are also cases where film scenes have been blurred out due to the censor board’s instructions. In case of Kangana Ranaut-starrer Queen, CBFC did not object to Lisa Haydon removing a bra and making Kangna wear it as a headgear, but it asked for the bra to blurred from the scene where it is kept on the table by Kangana. To this, the source from the board says that it has now decided to do away with the blurring of this scene. “We will give the film an A certificate or cut the scene altogether instead of blurring it,” says the source.
It may be noted here that in the upcoming film, The Xpose, lead actress Zoya Afroz appears in a bikini scene akin to Parveen Babi’s scene from a yesteryear film. Afroz’s bustline in this scene has been blurred; ditto for Sunny Leone’s cleavage in Ragini MMS 2. The source says, “Blurring does not serve any purpose these days. The censor board had instructed Dedh Ishqiya’s makers to blur out a scene where a semi-nude Arshad Warsi visits a brothel, but when one of the members of the board watched the film in a theatre, the scene hadn’t been removed.”
Audiences not ready?
Then there are films like D-Day and Grand Masti, which were replete with sexual innuendoes, but the revising committee cleared both the films. Why then is the board so iffy about sex scenes in a film? A censor board member says, “The problem is that filmmakers want to get away with showing sex in U/ A films. But we have to keep in mind that young impressionable minds have to be protected. Sex in films is usually gratuitous and that is not the manner in which younger audiences need to be introduced to sex. The CBFC is fairly broadminded when it comes to sex depicted in mature stories meant for an adult audience.”
This is interesting in light of what Ekta Kapoor had recently. In an earlier interview, the producer had said that the censor board should object to depiction of sexual crimes in films and that any movie that shows a man running behind a woman and pulling her dupatta shouldn’t be screened. “But if a woman is dancing and wearing a low-cut blouse, don’t blur or delete that because by doing that you are feeding a mentality that says that a woman must cover herself,” she had said.
Meet the guy who designed the posters of Mastram
7:57 AM
Kripa Krishnan (MUMBAI MIRROR; May 7, 2014)
But the posters of the upcoming erotic drama, Mastram, a fictional tale of the cult porn writer who goes by the same pseudonym, has refused to bite the sinful apple.
So instead of a sprawl of skin, designer Kunal Naik picked a typography which mimicked the male organ, along with the nib of a pen positioned on a pair of glossy red lips to hint at the sexual content. “The film is not about porn, it is about a writer who is pushed into the forbidden genre. Mastram is a reluctant pornographer, he is not driven by lust but literature,” explains Naik.
Writing paraphernalia abounds in the red and white promotional images; a naked woman is covered in bound tomes, a nib masquerades as a belly button piercing and a type-writer is foregrounded by stiletto clad legs. “I decided to use innuendo, instead of being direct. And the use of phallic symbols, like a pen poised on a rose, adds a touch of humour to the images,” says the designer.
But some of the innuendo was lost on a auto rickshaw driver, who after seeing the ‘Vote for Mastram’ promotional campaign, mistook the film for a political biopic. “I was on my way to my son’s school when we saw the posters at a traffic signal. The driver was in a chatty mood and asked me whether I knew the politician in question. I played along and told him that the tagline which suggests that you should quiz your paapa, chacha or tau about Mastram did not fit the bill. That's when he made the connection with the writer of ashleel books,” recounts the artist.
The posters are the recreations of some of Mastram’s popular creations, Chalakti Jawaani, Hospital Mein Suhaag Raat and a rather innocent sounding Baniye Ki Lollipop.
But the covers are brimming with female flesh, some coy some brazen, but all teasing. Did the topic of objectification ever come up? “Not really because we were very clear about not crossing the line and taking the film into the vulgar territory,” says Naik. Would the rickshaw driver agree?
Porn writer Mastram exposes the hypocrisy in our society
9:27 AM
Parag Maniar (BOMBAY TIMES; May 6, 2014)
Rahul Bagga, who plays the title character in upcoming film Mastram, says it was disturbing to play a porn writer, albeit on screen. He says, “We’ve all had innocent fantasies while young. Looking back as grown-ups, we laugh them off. But if these fantasies turn sexual, the natural tendency is to suppress them. In that sense, it was not easy playing someone who has no inhibitions. The scene where my character fantasises about his wife and best friend was particularly tough. But he has no choice. He has to continue writing.”
Mastram bases his erotic fantasies on whatever he observes around him — Baniye ka lollipop, Sheela ka yowan, airhostess ki kaamuk udaan, hospital mein pehli suhaag raat... the list is long. However, the actor says that more than the role, it was the ideology of the script that fascinated him. “The script exposes the hypocrisy in our society. Everybody will be fine as long as you conform to the norms. But the moment you cross the line, people will look down upon you, even though they may secretly enjoy what you are doing,” he says. Producer Sunil Bohra adds, “The film is not a crass entertainer. It has a meaningful story that even the female audience will like.” The film has been presented by Sunil Jain’s A Jar Pictures Production.
Mastram, a Bohra Bros Production, releases May 9.
Why should a porn writer be termed a bad person?-Mastram director
8:19 AM
Parag Maniar (BOMBAY TIMES; April 27, 2014)
After backing critically acclaimed ventures like Gangs Of Wasseypur, Shaitan and Shahid, Bohra Bros Production is ready with their next outing, Mastram.
The film revolves around Rahul (played by Rahul Bagga), who wants to become an established writer. When he finds no takers for his serious stories, he starts writing pornography under the pseudonym Mastram. The books sell like hotcakes in his hometown in Himachal Pradesh and the writer, whose identity is still a secret, becomes popular. But once Rahul reveals the truth about himself, the same hypocritical society looks down upon him.
Interestingly, there’s a real-life Mastram who is yet to come out in the open. Says debutant director Akhilesh Jaiswal, “Mastram books are published even today and have a large readership in the North. I have read his books as a student. It’s his writing that inspired me to make this fictional biography.”
The filmmaker adds that he wants to convey a message through the film, which is presented by Sunil Jain and A Jar Pictures Production. He explains, “A porn writer is not a bad person. Also, the fact is that these books do sell. This movie also exposes our society’s double standards.”
Producer Sunil Bohra says, “I read Mastram even today. There are no images, but the books still succeed in creating a fantasy because of their impressive use of Hindi.”
Mastram releases May 9.
BEST gives in to Shiv Sena’s demand; removes objectionable lines from Mastram poster
7:49 AM
Bharati Dubey (MID-DAY; April 23, 2014)
A day after Shiv Sena objected to the posters of the film, Mastram, being put up on BEST buses, BEST chairman, Arun Dudhwadkar, has asked the film’s producers to remove some objectionable lines from the posters.
Arun Dudhwadkar tells hitlist , “We have asked them to delete a Hindi line from the posters which goes something like this: ‘If you don’t know about Mastram, please ask your father and uncle about him’. We felt that these lines would corrupt children’s minds.” However, Dudhwadkar emphasises that they have not asked the makers to withdraw their posters.
It seems that Mastram’s advertising agency had booked around 100 BEST buses for promoting the film.
BEST is said to charge around Rs 10,000 per bus; this means that producer Sunil Bohra has already paid them Rs 10 lakh for his film’s promotion. And while Bohra says that he has already made the required changes, a source close to the agency says, “Taking heed of the objections that have been raised, we have now put up white stickers on these buses in order to block out these lines.” But Akshay Bardapurkar, general secretary, Shiv Sena Chitrapat Sena, insists that he wants the posters to be removed rather than censored.
He says, “We have requested the chairman to take strong action against the posters. But now it is BEST’s prerogative to take suitable action as per their rules and regulations.”
Shiv Sena objects to Mastram’s posters on BEST buses
2:26 PM
Bharati Dubey (MID-DAY; April 22, 2014)
The cine wing of Shiv Sena has objected to posters of Sunil Bohra’s film, Mastram, being put up on BEST buses. Akshay Bardapurkar, general secretary of Shiv Sena Chitrapat Sena, tells hitlist , “It is one thing to offer an adult film star such as Sunny Leone a new lease of life in our film industry and another to use government machinery (read: BEST buses) to promote porn writing.”
He says that he has spoken to BEST chairman, Arun Dudhwadkar, about the same. “Recently, a student asked one of my friends, a school principal, about porn writing after seeing the film’s poster on a BEST bus. My friend then brought it to our notice. Now we have decided to take action against the medium that is being used to propagate porn. We also want to view the film before it is released, as we are quite upset about its alleged content as well.”
When contacted, producer Sunil Bohra said, “I don’t know about Shiv Sena’s objection. Indian Motion Pictures’ Producers Association, (IMPPA) has already cleared my film’s posters. In fact, when our agency informed us about an objection to the line, ‘The legend of porn writing is back’, in the film’s poster, we immediately deleted the same as we didn’t want to hurt anyone’s sentiments.”
Producers of Savita Bhabhi sue Mastram makers over copyright infringement
7:52 AM
Gaurav Dubey (MID-DAY; April 10, 2014)
If all goes per plan, the pornographic cartoon character Savita Bhabhi will
soon be made into a film. In the meantime, its makers are taking legal
action against Mastram producer Sunil Bohra over alleged copyright
infringement. Says a source, “In the film Mastram, there is a character
called Savita, and her role shares many similarities with the Savita
Bhabhi. This is a clear case of copyright violation.”Nitin Gupta, producer of the film, Savita Bhabhi, says, “The character of Savita Bhabhi was created in 2002 in UK and soon after, the comic strip was banned in India. Yet it is a character that enjoys a huge fan following in India. We now own the rights to make a Hindi film based on Savita Bhabhi; we bagged the rights in December last year.”
Gupta recounts that Mastram’s producer Sunil Bohra had called him earlier as he wished to own the rights to the character. “I told him that we didn’t wish to do so. Yet he has chosen to go ahead and feature a character called Savita in his film. This is a violation of copyrights; we want him to take off this character from his film,” says Gupta. He adds that the UKbased creators and copyright owners of Savita Bhabhi (Media Farm Limited) have sent a legal notice regarding this to the Bohra brothers. “It has been sent on behalf of Media Farm Limited and my production house,” he says.
When contacted, Sunil Bohra said, “I have not received any legal notice as of now; if he wishes to send me one, I know how to handle it. This is just a publicity stunt, as I own the film title, Savita Bhabhi. In fact, I had it registered with IMPPA (Indian Motion Pictures Producers Association) more than two years ago. Savita is just a character in this film.”
Mastram pushed ahead by a week; won't clash with Kochadaiiyaan
7:58 AM
Sonali Joshi Pitale (MID-DAY; April 5, 2014)
Sunil Bohra’s film, Mastram, was supposed to release on May 1 along with Rajinikanth’s Kochadaiiyaan. But now it has emerged that his film has been delayed by a week. Mastram will now release on May 9.
Last week, Bohra, who is the film’s producer, had said that he was okay with his film clashing with Rajini’s epic, but now he tells hitlist that his film is not yet ready for release. “I need more time to work on the film’s publicity. Also, its post-production work is taking time. I don’t want to compromise on my film; I’d rather release it a week later,” he says.
He asserts that he was not worried about taking on Rajini’s film. “That’s not the reason behind the film’s delay. It’s just that we are shooting a new promotional song this week. If I release my film on May 1, that leaves me with little time to promote the film and the song,” he explains.
With Mastram’s release being pushed ahead, only Super Nani and Purani Jeans will release alongside Rajini’s film on May 1. Bohra adds that he is now working on a new version of the Punjabi song, Baba Ve Kala Maror. The song will feature lead actors Rahul Bagga and Tara-Alisha Berry.
Will Rajinikanth's Kochadaiiyaan's May 1 release impact Hindi films?
8:33 AM
Sonali Joshi Pitale (MID-DAY; March 29, 2014)
The makers of superstar Rajinikanth’s much anticipated film, Kochadaiiyaan, have now announced May 1 as the new release date for their film. This big budget film — it has cost approximately Rs 125 crore to make — will release in seven different languages all over India.
It is hardly surprising that no other South films are
releasing on this day. However, interestingly, some Hindi films have
already declared May 1 as their release date. Clearly, they are willing
to take on the challenge of competing against the Thalaiva ( it means
boss in Tamil). hitlist spoke to a few industry insiders to get their
take on whether these films can pass the box office test on May 1.So far, a total of three films — Indra Kumar’s Super Nani, Ashuu Trikha’s Koyelaanchal, Akhilesh Jaiswal’s Mastram, and Tanushri Chattrji Bassu’s Purani Jeans — are likely to release on same day as it is a holiday weekend. It may be pointed out here that May 1 is celebrated as Maharashtra Day as well as Labour Day and it falls on Thursday this year. Apart from these films, a Hollywood film, The Amazing Spider-Man 2, will also release in India on May 1.
A source points out that it’s surprising that Purani Jeans is clashing with Kochadaiiyaan, as they are both Eros productions. “It is bit odd for both of them to release them on the same day. It is likely that one of them will be pushed ahead.”
Trade expert Komal Nahata points out that Hindi films releasing on the same day as Rajini’s latest film will find it tough to do well at the BO. “After Robot’s resounding success, Rajinikanth’s star power has risen multifold across India and not just in the South. I am sure some filmmakers will change their release dates, as it is not advisable to clash with such a big film. But some of them will end up releasing their films as there are hardly any free weekends available now and they will invariably eat into each other’s business,” he says.
Anand Vishal, head of operation- sales, Fun Cinemas, says, “In some pockets of Mumbai, Rajini’s film will do well and we will factor this in while alloting screens. For example, in Matunga and some other Western suburbs, it will definitely do well. So we will give the film more screens in those areas. But yes, it is true that distribution becomes a tough task for us if more than two films release on the same day.” However, he is quick to point out that he expects Mastram to do well. “Youngsters like to watch such films as they deal with bold subjects,” he says.
Director Sangeeth Sivan, who has worked in both Bollywood and the South
film industry, feels that Rajini is a like a God in the South, so it is
understandable that no will consider a box office tussle with him. “However in Mumbai or elsewhere, I don’t think his films create a similar
mass hysteria. All said and done, it is an animation film. I agree that
Hindi cinemagoers will watch it, but it should have a limited impact on
other films. My guess is that Hindi directors will be more concerned
about cricket (IPL) than Rajini.” Mukesh Bhatt’s film, Citylights, that
is being directed by Hansal Mehta, was supposed to hit the screens on
May 1. But the film’s release has now been pushed ahead and it will
release on May 23.When asked if the reason behind this move was avoiding a clash with Rajini, Bhatt denied it. He said, “Our creative team decided to delay the film’s release ten days ago. The film is not complete as of now, and we don’t want to hurry it.” He also emphasised that with people having different tastes, all kinds of films can afford to release on the same day. “ One has to keep in mind that some films can’t avoid a clash as there are no free weekends available,” Bhatt said.
Director Ashuu Trikha offers a similar explanation for
changing the release date of his film, Koyelaanchal. He says, “I am
releasing my film on May 9 instead of May 1 and this decision was taken
long ago. I didn’t know anything about the release date of Rajinikanth’s
film back then.”Producer Sunil Bohra, whose film Mastram (right) is also slated to release on May 1, says, “I am not shifting the release date of my film. I think we have a different set of audience, so there is no harm in releasing the film on same day.”
Their confidence notwithstanding, how these films will actually fare remains to be seen.
The Mastram effect: Erotica comes of age in Indian Cinema
12:02 PM
As Indian audiences gear up for Mastram, we take a look at how erotica in our films is slowly coming of age
Urmimala Banerjee (MID-DAY; March 2, 2014)
With
sex and sexuality being hush-hush topics in India, any film with some
amount of skin show generates curiosity, which, often transcends into
‘healthy’ (pun intended) good opening collections at the ticket windows.
After all, nothing sells like sex.
People still remember Mandakini’s shower act in Raj Kapoor’s Ram Teri Ganga Maili, Rekha’s bathing sequence in Girish Karnad’s sensuously crafted Utsav and Zeenat Aman’s cleavage show in Satyam Shivam Sundaram. In recent times, films such as Jism 2, Murder and B.A. Pass created waves online as well as in theatres.
The latest film to explore the theme of erotica is Akhilesh Jaiswal’s Mastram. A biopic of legendary Hindi porn writer, Mastram whose books were read by young men across India in the ’80s, the film tries to explore the writer’s conflict with his creative aspirations and society. The idea is novel with the trailer evoking interest among the Internet savvy audience.
Shashi Kapoor and Zeenat Aman in the 1978 film Satyam Shivam Sundaram
When fact meets fiction Out in the open Akhilesh Jaiswal, the director of Mastram says, “Like many young North Indian men, I too grew up reading Mastram’s books. I used to wonder how this guy would be like and what would he be telling people about his profession. It was just a thought that later formed the base for my film. We did a lot of research but could not find any links to the ‘actual’ Mastram. Most of the old bookstalls that sold his stuff had shut shop or the owners had died, so I could not establish any contact.”
Working on a film based on the life of a porn writer would not have appealed to many Bollywood heroes but Jaiswal says that the initial reaction wasn’t that negative either.
“I did not approach any big star but 90 per cent of those I asked were kicked about the script. When Nawaz (Nawazuddin Siddiqui) heard it, he loved it and so did Rajkummar Rao. Unfortunately, they could not be a part of the film due to other commitments.
Mandakini took a shower under the waterfall in a transparent white saree in Raj Kapoor’s Ram Teri Ganga Maili (1985)
Adult topics are slowly finding their way into Indian cinema, be it the theme of sperm donation in Vicky Donor or live-in relationships in Shuddh Desi Romance. Vivek Agnihotri, whose film Hate Story had some steamy sequences featuring Bengali actress Paoli Dam (right) opines, “The media has played a huge role in opening up people’s minds towards bold subjects. And it’s not just about sex. Topics such as gay relationships, premarital sex, abuse, etc are being talked about in open forums. This has made it easier for the middle class to accept such films.” Ajay Bahl, who made the critical and commercial hit B.A. Pass also feels the same, “Indian society is rapidly evolving and people are exposed to foreign content, this has brought about a change in perceptions.”
Beyond titillation With news of a heroine wearing a bikini still making for great PR material, the maturity of the industry when it comes to erotica is highly debatable. The young generation of filmmakers seems to have a common view — sex without content in a film is not going to hold the audiences attention. Bahl states, “In my opinion, only visually erotic content does not guarantee a good opening at the box office. The vibe of a film is very important. Filmmakers now hopefully know that mere titillation will get them nowhere. The idea is to tell a great story and if it falls under ‘erotica’ then so be it. Audiences have been accepting indirect sensual content for a long time in the form of songs and even TVCs.”
The logic seems to hold true. With porn being available at the click of a button, the idea of enduring a trashy film for three hours just for some hot scenes is just fading away. “The world watches porn for gratification and once it’s achieved they shut it off. It’s simply because porn does not have the story or dramatic content to hold their attention. Films are all about drama, it works if the drama works, erotic or not,” says Bahl.
The modern audience wants to see all genres of films. And erotica is catching up, especially after the success of books like CL James’ 50 Shades Of Grey, both in the print and online version. A lot of erotic content is available in e-books and lapped up by both the sexes.
Agnihotri says, “I made a suspense film (Chocolate) and a sports drama, (Dhan Dhana Dhan Goal) and I wanted to test my audience with Hate Story. I don’t come from a camp that makes such films or own a erotic thriller franchise, it was an independent effort.”
Pushing limits While big budget erotic thrillers do get marketed well, smaller films find it tougher. B.A. Pass (right, below), which earned Rs 4.30 crore in the first weekend had to be released by Bahl himself. “It was not easy to sell the film as no corporate wanted to touch it. In fact, we never sold B.A. Pass. I released it myself with help from Bharat Shah’s distribution company. Making an erotic film just for profitability is in the domain of ‘B’ and ‘C’ grade category. I don’t think any good filmmaker approaches the genre in this fashion.”
Dealing with the Censor Board is another hassle. “I feel
they live in an archaic world. The members are totally out of sync with
what is preferred by the modern adult audience. The board should be
done away with.” However, things seem to be in a transition mode.
Director Ashim Ahluwalia who never expected his film Miss Lovely to get a
release in India was glad when the Board passed it with only four cuts
earlier this year. In 2013, they had asked Ahluwalia for 157 cuts. In
India, the Censor doesn’t allow frontal nudity, hardcore lovemaking
scenes or graphic content, so as a veteran director opines, “What we see
is not really erotica!”
Actors’ take
While Mallika Sherawat’s act in Murder classified her as ‘hot’, Shilpa Shukla wowed the audience and critics alike with her sexy Machiavellian act in B.A.Pass. Agnihotri explains, “Shooting an intimate scene is not challenging. Actors hardly have any dialogues in such sequences. It’s more about playing with the lighting, camera angles and art direction.” Such films have given a boost to many new starlets and revived flagging fortunes.
Bahl says, “My actors were exceptional performers who were mature enough to realise what the film’s actual message was. Thematically, B.A.Pass was based on the premise that society feeds on its own weak and that is the film we made. I don’t think any good actor in their right mind would want to do a (s)exploitation flick. However, if they find material, which digs deeper on an intellectual and emotional plane and a story, which moves them, then today’s actors are brave enough to go further.”
Bollywood's most erotic films 1. Kamasutra: Exotic sets, softcore lovemaking scenes and raw sensuality made this Mira Nair film a much talked about one.
2. Utsav: This 1984 film was based on the play Mrcchakatika and produced by Shashi Kapoor.
3. Satyam Shivam Sundaram: Zeenat Aman’s skimpy outfits and smooching scenes with Shashi Kapoor created quite a furore.
4. Ram Teri Ganga Maili: Besides the shower act, Mandakini also did a very sensuous bedroom scene with Rajiv Kapoor.
5. Anubhav: Post Utsav, Shekhar Suman again did intimate scenes with co-star Richa Sharma in this film that also had Padmini Kolhapure
Girish Karnad’s 1984 Rekha-starrer Utsav combined love, politics, erotica and comedy
People still remember Mandakini’s shower act in Raj Kapoor’s Ram Teri Ganga Maili, Rekha’s bathing sequence in Girish Karnad’s sensuously crafted Utsav and Zeenat Aman’s cleavage show in Satyam Shivam Sundaram. In recent times, films such as Jism 2, Murder and B.A. Pass created waves online as well as in theatres.
The latest film to explore the theme of erotica is Akhilesh Jaiswal’s Mastram. A biopic of legendary Hindi porn writer, Mastram whose books were read by young men across India in the ’80s, the film tries to explore the writer’s conflict with his creative aspirations and society. The idea is novel with the trailer evoking interest among the Internet savvy audience.
Shashi Kapoor and Zeenat Aman in the 1978 film Satyam Shivam Sundaram
When fact meets fiction Out in the open Akhilesh Jaiswal, the director of Mastram says, “Like many young North Indian men, I too grew up reading Mastram’s books. I used to wonder how this guy would be like and what would he be telling people about his profession. It was just a thought that later formed the base for my film. We did a lot of research but could not find any links to the ‘actual’ Mastram. Most of the old bookstalls that sold his stuff had shut shop or the owners had died, so I could not establish any contact.”
Working on a film based on the life of a porn writer would not have appealed to many Bollywood heroes but Jaiswal says that the initial reaction wasn’t that negative either.
“I did not approach any big star but 90 per cent of those I asked were kicked about the script. When Nawaz (Nawazuddin Siddiqui) heard it, he loved it and so did Rajkummar Rao. Unfortunately, they could not be a part of the film due to other commitments.
Mandakini took a shower under the waterfall in a transparent white saree in Raj Kapoor’s Ram Teri Ganga Maili (1985)
Adult topics are slowly finding their way into Indian cinema, be it the theme of sperm donation in Vicky Donor or live-in relationships in Shuddh Desi Romance. Vivek Agnihotri, whose film Hate Story had some steamy sequences featuring Bengali actress Paoli Dam (right) opines, “The media has played a huge role in opening up people’s minds towards bold subjects. And it’s not just about sex. Topics such as gay relationships, premarital sex, abuse, etc are being talked about in open forums. This has made it easier for the middle class to accept such films.” Ajay Bahl, who made the critical and commercial hit B.A. Pass also feels the same, “Indian society is rapidly evolving and people are exposed to foreign content, this has brought about a change in perceptions.”
Beyond titillation With news of a heroine wearing a bikini still making for great PR material, the maturity of the industry when it comes to erotica is highly debatable. The young generation of filmmakers seems to have a common view — sex without content in a film is not going to hold the audiences attention. Bahl states, “In my opinion, only visually erotic content does not guarantee a good opening at the box office. The vibe of a film is very important. Filmmakers now hopefully know that mere titillation will get them nowhere. The idea is to tell a great story and if it falls under ‘erotica’ then so be it. Audiences have been accepting indirect sensual content for a long time in the form of songs and even TVCs.”
The logic seems to hold true. With porn being available at the click of a button, the idea of enduring a trashy film for three hours just for some hot scenes is just fading away. “The world watches porn for gratification and once it’s achieved they shut it off. It’s simply because porn does not have the story or dramatic content to hold their attention. Films are all about drama, it works if the drama works, erotic or not,” says Bahl.
The modern audience wants to see all genres of films. And erotica is catching up, especially after the success of books like CL James’ 50 Shades Of Grey, both in the print and online version. A lot of erotic content is available in e-books and lapped up by both the sexes.
Agnihotri says, “I made a suspense film (Chocolate) and a sports drama, (Dhan Dhana Dhan Goal) and I wanted to test my audience with Hate Story. I don’t come from a camp that makes such films or own a erotic thriller franchise, it was an independent effort.”
Pushing limits While big budget erotic thrillers do get marketed well, smaller films find it tougher. B.A. Pass (right, below), which earned Rs 4.30 crore in the first weekend had to be released by Bahl himself. “It was not easy to sell the film as no corporate wanted to touch it. In fact, we never sold B.A. Pass. I released it myself with help from Bharat Shah’s distribution company. Making an erotic film just for profitability is in the domain of ‘B’ and ‘C’ grade category. I don’t think any good filmmaker approaches the genre in this fashion.”
Actors’ take
While Mallika Sherawat’s act in Murder classified her as ‘hot’, Shilpa Shukla wowed the audience and critics alike with her sexy Machiavellian act in B.A.Pass. Agnihotri explains, “Shooting an intimate scene is not challenging. Actors hardly have any dialogues in such sequences. It’s more about playing with the lighting, camera angles and art direction.” Such films have given a boost to many new starlets and revived flagging fortunes.
Bahl says, “My actors were exceptional performers who were mature enough to realise what the film’s actual message was. Thematically, B.A.Pass was based on the premise that society feeds on its own weak and that is the film we made. I don’t think any good actor in their right mind would want to do a (s)exploitation flick. However, if they find material, which digs deeper on an intellectual and emotional plane and a story, which moves them, then today’s actors are brave enough to go further.”
Bollywood's most erotic films 1. Kamasutra: Exotic sets, softcore lovemaking scenes and raw sensuality made this Mira Nair film a much talked about one.
2. Utsav: This 1984 film was based on the play Mrcchakatika and produced by Shashi Kapoor.
3. Satyam Shivam Sundaram: Zeenat Aman’s skimpy outfits and smooching scenes with Shashi Kapoor created quite a furore.
4. Ram Teri Ganga Maili: Besides the shower act, Mandakini also did a very sensuous bedroom scene with Rajiv Kapoor.
5. Anubhav: Post Utsav, Shekhar Suman again did intimate scenes with co-star Richa Sharma in this film that also had Padmini Kolhapure
Girish Karnad’s 1984 Rekha-starrer Utsav combined love, politics, erotica and comedy
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