Indiancelebs

Kangana Ranaut have posed nude for cover page of a film magazine. The picture is accompanied by a headline that really screams - ‘Naked truth exposed!’ It has caught a lot of attention. Though she cool enough. She says, “What’s the big deal about the picture? Are any of my vital organs seen? I haven’t posed nude at all. These days one doesn’t need to. Body suits are available readily in the market.” She can’t understand why so many eyebrows are being raised! “Why would I be upset? It was for an annual issue and we just tried doing something different. In my profession, one has to do different kinds of photo shoots. I fail to understand why such a big deal is being made about a normal picture,” adds Kangana.

Source: Bollywoodpremiere

Bollywood troubled actor Salman Khan seems to be heading for another breakup. In fact, he was at an all time low after his breakup with Aishwarya Rai ( now, Aishwarya Bachchan) until he found Katrina Kaif. They have been going steady for some years now, but the story seems to have changed of late. The grapevine is abuzz with the news that they have split.

Sources revealed that Salman had a tiff with Katrina after she signed a few films without his consent. It was rumoured that Salman was not happy with Katrina for signing a film with Shahid Kapoor. It is also said that she abruptly hung up on him when she failed to convince him on the matter.

Katrina is currently busy shooting for Singh is King in Australia while Salman is shooting for Boney Kapoor”s Wanted – Dead and Alive in Mumbai. However, Salman seems to have cancelled the shooting of the film after the tiff with his girlfriend.

Well, it looks like this is the beginning of another great split!

Source: OneIndia

A ‘comeback’ film always holds significance. Dilip Kumar [Kranti], Amitabh Bachchan [Mrityudatta], Vinod Khanna [Insaaf], Dimple Kapadia [Saagar], Mumtaz [Aandhiyaan] and Kajol [Fanna] are names you cannot erase from your memory since the celebrated actors returned to the big screen after a hiatus.

With Aaja Nachle, Madhuri Dixit, who reigned supreme, is back to the studios with the Numero Uno production house of the country. Does the actress still possess the charisma to ignite fire in water? Also, does the vehicle she chooses to make a comeback with, have the fuel to reach the winning post?

Sadly, Aaja Nachle is below the mediocre mark and doesn’t meet the humungous expectations that you associate with the Yashraj - Madhuri combo. What’s the problem? Without a doubt, the script! What starts off as a story that seems real and identifiable becomes a fairy tale in the latter hour. Also, with a title like Aaja Nachle and the story harping on music, the songs had to be chartbusters. That’s just not the case here!

In short, Aaja Nachle fails in the two vital departments — writing and music. The film doesn’t make your heart go dhak-dhak, nor does it prompt you to break into a nach at the end of the show.

After nearly a decade, an unexpected phone call shakes Dia [Madhuri Dixit] out of her dance rehearsal in New York. Makarand [Darshan Zariwala], her guru, is dying and she must return to Shamli, a town in India. The town where she grew up, the town where she learnt to live and to dance. Also the town she left on an impulse, severing ties with her parents and her people.

It is a poignant and troubled return; not only has her guru passed away but the institution that he so lovingly nurtured is in decay and under threat of demolition. Ajanta theatre, the once vibrant hub of the community, the place where Dia’s fondest memories are embedded, must now be brought down because the local political authorities feel it a waste of prime real estate.

With the help of Doctor [Raghuvir Yadav], the caretaker of Ajanta, Dia sets out on a mission to prevent the destruction and resurrect the spirit of Ajanta. In an atmosphere of mistrust, ridicule and active hostility, Dia picks up the gauntlet and agrees to achieve the near impossible task of putting together a theatrical production. She must also ensure that every member of the production is from Shamli town. She has only two months to prove her point or the bulldozers will be waiting.

Bearing a striking similarity to the Brazilian film XUXA REQUEBRA, Jaideep Sahni’s screenplay is the biggest culprit here. The protagonist [Madhuri] knows that there would be hurdles galore on her way, as she embarks on a journey to realize her guru’s dreams. But she hardly struggles to achieve the impossible. Even the corrupt politician [Akhilendra Mishra] or the shrewd businessman [Irrfan], who could’ve proved to be tough nuts to crack, give in so easily.

Besides, the goings-on get too unbelievable. The first question that crosses your mind is, how does Madhuri raise the funds to put up this spectacular event [the set design in the penultimate song is marvellous]? Okay, that’s a cinematic liberty, but, seriously, there should’ve been at least some reference to where the money would flow in to fund this mammoth, lavish and extravagant event. What starts off as a ‘real’ film, drifts into a ’surreal’ world as it moves ahead.

Debutante director Anil Mehta knows the importance of frames/visuals since he’s an accomplished cinematographer. But Mehta ought to know by now that it’s the content that does the talking eventually. The writing is too commonplace to make any impact whatsoever. In an effort to strike a balance between believable and make-believe, Aaja Nachle falls like a pack of cards.

Salim-Sulaiman’s music is another minus point. You expect the songs to linger in your memory even after the show has ended… that’s what makes a musical tick, right? It’s not the case here. Dialogues are wonderful at places, especially the ones delivered by Akshaye Khanna and Madhuri. Cinematography [Mohanan] is splendid.

Madhuri has always delivered qualitative performances and the fire continues to burn to this date. She’s top notch, but how one wishes the script would’ve done justice to her talent. It doesn’t offer her a pedestal to take that big leap. The loyal Madhuri fans would surely feel disillusioned and saddened.

Akshaye Khanna is tremendous. In fact, it’s a treat to watch Madhuri and Akshaye together, after a hiatus. Kunal Kapoor is likable; he enacts his part with natural ease. Konkona is nice, but when compared to her previous work, it’s definitely not in that league.

Irrfan, in a brief role, is okay. Divya Dutta too is relegated to the backseat. Ranvir Shorey is first-rate. Ditto for Raghuvir Yadav. Darshan Zariwala does a fine job. Yashpal Sharma is alright. Vinay Pathak and Sushmita Mukherjee are adequate. Akhilendra Mishra is as usual. Jugal Hansraj gets no scope. Vinod Nagpal and Uttara Baokar, as Madhuri’s parents, have nothing much to do. Felix D’Alviella [as Steve — Madhuri’s lover] is passable.

On the whole, Aaja Nachle disappoints big time. At the box-office, the film has embarked on a poor start and coupled with weak merits will only emerge as one of the major disappointments of the year.

Source: OneIndia

Now it’s Saif’s turn to become become a producer and like his good friend SRK, chhote nawab is also looking forward to cast Deepika ‘Shanti’ Padukone in a lead role opposite him.

The actor has already finalized a project titled ‘Agent Vinod’, to be directed by Sriram Raghavan next year. In all likelihood, the film will star Saif’s latest flame Kareena Kapoor.

But now, rumours have it that Saif is eager to start another film before ‘Agent Vinod’. The actor has reportedly been impressed by director Imtiaz Ali ’s work in Jab We Met and has been discussing several scripts with him.

And Deepika Padukone, who made her dream debut opposite Shah Rukh Khan in Om Shanti Om, is under consideration for the lead role in the film.

Saif says the cast of the film will be announced once the script is ready.

On a different film, Deepika is all set to do a film with Akshay Kumar. The flick will be directed by Nikhil Advani and produced by Rohan Sippy.

Big B Aamir Khan war of words is heating up everyday. Aamir in a recent media interview panned director Sanjay Leela Bhansali for his handling of the film Black terming it ‘insensitive and manipulative.’ He also termed the performances of the actors ‘over the top’.

The criticism did not go down well with Amitabh Bachchan. In an interview with a tabloid he was asked what he thought about Aamir’s ‘over the top’ remark.

“I cannot comment whether my performance was towering or not, but Aamir may be right on the other maybe the performances did go ‘over the top’ of his head!” Amitabh responded.

In his response to Bachchan’s outburst, Aamir Khan posted a blog entry that was calm and matter of fact.

“I have the highest regard for Mr Bachchan and I am very big fan of his work. Probably one of the biggest. I believe that he along with Mr Dilip Kumar are among my two favourite actors of Indian Cimema.

I have no hesitation in saying that I don”t even feature on the same platform as an actor. He is also in my opinion THE biggest star that Indian Cinema has ever seen.”

Putting his comments on Black in perspective Aamir continues,

“My big exception towards Black is the fact that a child with severe difficulties is shown being ill treated instead of being treated with love, care and understanding. I simply cannot come to terms with that no matter what the writer and director say in defence.”

Source: Santabanta

Cast: John Abraham, Bipasha Basu,Arshad Warsi,Boman Irani; Director: Vivek Agnihotri;
Rating: **1/2

Think of sports-based films made in India and visuals of lagaan and chak de india flash across your mind. Will Dhan Dhana Dhan Goal fall in the same league as these immensely popular flicks, is one vital question that crosses your mind as the reels of UTV’s new sport-based film [their second this year, after HATTRICK] Dhan Dhana Dhan Goal are about to unfold.

Goal is a simple story that packs not just the sport, but also dabbles with issues like racism and fanaticism associated with this sport. Issues that Westerners can relate to more than Indians, especially racial discrimination.

As a film, Goal has its share of highs and lows. If the first hour is strictly okay, the pendulum swings in its favour in the second hour — in the last 20 minutes, to be precise. The sport succeeds in arousing patriotic feelings, besides involving the viewer in the fight-to-finish finale.

Conversely, there are times when you feel that the film falls back on the predictable, tried-n-tested mundane stuff. And packs in something [’Billo’, the song] that’s just not in sync with the mood of the film.

To sum up, Goal is a simple story, well told. Notwithstanding the hiccups, this film hits a Goal, courtesy its brilliantly executed finale.

Southall United Football Club is facing its deepest crisis ever. Bankrupt, with no stars, no coach, no sponsors, no takers, no spectators and most importantly, no owner. After the City Council sends an eviction notice, it’s the last chance to save the ground, the club and their honour. Shaan [Arshad Warsi] takes up the challenge to save the club from extinction. After a disesteemed ex-player, Tony Singh [Boman Irani], joins them as the coach, Shaan and he begin work to gather the worn out team.

Sunny’s [ John Abraham ] dreams to play for England crashes after his club does not select him. The reason is apparently not his game, but the colour of his skin. Sunny and Shaan never see eye to eye. Adding to their personal chaos is Shaan’s cousin sister Rumana [ Bipasha Basu ], who is in love with Sunny.

Tony manages to convince Sunny to play for Southall United. It takes a while before Shaan and the team warms up to Sunny. With Sunny joining Southall United, the team gradually starts climbing the points tally. The City Council is worried. Johny Bakshi [Dalip Tahil], a commentator and a frontman of the Council, plans to lure Sunny away from Southall United.

Director Vivek Agnihotri combines style and substance in his second outing Goal. Take the sequence at the very start, when an English woman and her frontman [Dalip Tahil] reveal their plans of coming up with a shopping complex on the ground. The director opens the cards at the very outset. But the narrative dips, rises, hits a low and ascends unfailingly till the first hour ends. The sequence prior to the intermission — at the Manchester United Stadium — leaves you awe-struck and makes you look forward to a powerful second hour.

Fortunately, the drama only gets exciting in the post-interval hour. The cold vibes that Arshad and John share as also John’s volte-face, when he decides to abandon his club for the riches, give the film that extra dimension, camouflaging the defects that raised their head not too long back. The film dips at times in this hour too, but the journey to the finale is well structured. Yes, John’s change of heart is slightly filmy and cliched, but the climax is astounding. The penultimate 20 minutes in the stadium are awe-inspiring and that’s what you carry back home.

Vivek Agnihotri knows what he’s talking and though you know that he got swayed by technique in his very first film chocolate, in Goal, he never lets technique overpower content. The story is simple, but absorbing and presented stylishly. He’s truly evolved into a fine storyteller.

There’re just two songs in the narrative — the anthem Dhan Dhana Dhan Goal/excellent and ‘Billo’/well-tuned, but the mujra doesn’t go well with the mood of the film. Attar Singh Saini’s cinematography is striking. The camera movements — so difficult in a film like this — are exemplary.

Both John and Arshad are the ‘Men of the Match’. John is a revelation. Wrongly dubbed as a clotheshorse in his earlier films, he hits a goal in Goal. John lends the right texture to his character. He not only looks right for the part, but also plays the sport like a pro. Goal should occupy the top slot in his body of work!

Arshad Warsi is superb. An incredibly talented actor whose versatility speaks volumes. Cast in a sober, serious role this time, Arshad enacts the part with as much ease as he portrayed Circuit. Bipasha Basu may not have a lengthy role, but she adds zing to the goings-on as and when she appears. Her love story with John is really cute.

Boman Irani is top notch. Note his roar at the intermission point or the uneasiness he displays whenever his team locks horns with the rivals on field. It’s a flawless performance. Raj Zutshi is first-rate. Dalip Tahil carries the venomous part well. The actor enacting the role of Arshad’s wife does a commendable job.

On the whole, Dhan Dhana Dhan Goal has an ordinary first hour, but the post-interval portions, especially the exhilarating climax, makes up for everything. At the box-office, the producers [UTV] have already recovered the cost of production from various sales and in-film advertising. The theatrical business will only add to the booty, considering the film has the merits to work with moviegoers. Another factor that goes in its favour — and it’s an important one — is the fact that the moviegoers haven”t seen a new release post-Diwali. That should reap dhan for Dhan Dhana Dhan Goal.

Source: OneIndia

There are friendships and enmities galore in Bollywood, and the two are often interchangeable. In most cases, you never know which is which, since both are cloaked under the guise of professionalism.

Take Amitabh Bachchan and Shah Rukh Khan, as examples. The rivalry between the emperor and the king began when SRK took up ‘Kaun Banega Crorepati 3′ as a host. Their on-again, off-again friendship has been in the news since then.

Recently, on the day of the release of his latest film, ‘Om Shanti Om’, Shah Rukh was the chief guest on ‘Nach Baliye 3′, on STAR Plus.

Here, he spoke about his heroine, Deepika Padukone, and mentioned that he had a blast working with her. There was one slight problem, he added, and that was her height.

“We wanted one kissing scene, but I only reached up to her stomach,” he joked. “Her height is suitable for one hero only, and that is Amitabh Bachchan,” he added.

Maybe he was joking, but if it was a dig (which only Shah Rukh can confirm), we do not think the Big B will take it lightly. Especially since much has been written about Amitabh already not being too pleased with SRK. And whatever happened to Shah Rukh’s declaration of being a happy person, and therefore wanting to spread happiness? Rajnee Gupta