Real Life Coach Of Geeta & Babita Phogat Lashes Out At Aamir Khan

Dangal

Dangal

Dangal has been winning hearts world over for the brilliant portrayal of the Phogat family and for showing women in great light. But there’s one person who isn’t very happy with film and that’s Geeta and Babita Phogat‘s real life coach PR Sondhi, who was portrayed as the film’s villainous coach PR Kadam, who locked Mohair Phogat in the janitor’s room during the Commonwealth’s final game.

In a recent conversation with India Today, Sondhi was asked what he thought about the film, and the man wasn’t too pleased.

They have changed the name to PR Kadam in the film, but somewhere the character is loosely based on my life. I have known Mahavirji (Phogat, wrestling coach and father of Geeta and Babita Phogat) for many years and he is a thorough gentleman. His two daughters have trained under me for more than three years and not once did he interfere. I don’t understand the need to show the character as such a taskmaster. There were four other coaches, who were also involved [in the training], but they haven’t been shown in the film at all.”

He even said he wants to take further action on the same.

When we all met, Aamir asked me general questions about wrestling, but not once did he discuss anything about the film. He should have told me how they were planning to portray the coach’s character. Distortion of facts has hurt my reputation. Once I watch the film, I will speak to the wrestling federation. I also plan to meet Aamir and seek an explanation.”

Ouch! We wonder what Aamir and the makers of the film have to say.

Source:

Here’s How Geeta Phogat Reacted After Watching Her Character In Dangal

Babita Phogat, Aamir Khan and Geeta Phogat

Babita Phogat, Aamir Khan and Geeta Phogat

Aamir Khan‘s nail biting and anxiety paid off as Dangal opened to full theatres last week and is garnering appreciation from all quarters of the country. Apart from the talent treasure, Aamir, the film has been praised for its plot, and the phenomenal acting by the girls – Fatima Sheikh and Sanya Malhotra .

The film follows the life of Mahavir Singh Phogat and his journey of training two of India’s most acclaimed woman wrestlers, Geeta Phogat and Babita Kumari. What, then, was the reaction of the real life stars on watching themselves in reel life? Speaking to IndiaToday, Geeta Phogat (portrayed by Fatima Sheikh) revealed that she despised watching the scene when she wrestled against her own father, as it brought back bitter memories. She said:

I did not enjoy watching that scene a lot as I realised how I treated my father and that I started thinking that I am some pahalwan (heavyweight). I did not like that scene as I got emotional watching it. It is not that I wrestled only once with my father, he used to test us in the akhada often. But I loved watching the entire movie.”

That particular scene was definitely an emotional ride!

Source : https://www.missmalini.com/2016/12/29/heres-geeta-phogat-reacted-watching-character-dangal/

“Being Objectified Is Part Of My Job” – Priyanka Chopra

Priyanka Chopra

Priyanka Chopra

Priyanka Chopra is my favourite person on this planet right now. She’s killing it internationally – her show Quantico might just be renewed for a third season, and she looks bomb AF in the Baywatch trailer. She also just became one of the global brand ambassadors for Pantene, which by the way, is a big deal.

In a recent interview with Cosmopolitan, she was asked if she’s proud to be considered a sex symbol like the previous cast of Baywatch. To which, PC answered:

Yes, being objectified is part of my job. I don’t get offended by being called a sex symbol, because I’m an actress and it’s the nature of what I do. But I don’t think being a sex symbol is something you want to aim for. Of course you want to be hot, but that’s not all you want to stand for.”

So many reasons to love this woman!

Source : https://www.missmalini.com/2016/12/27/being-objectified-is-part-of-my-job-priyanka-chopra/

Lo And Behold: Taimur Ali Khan Is Making His TV Debut Soon

Saif and Kareen with Taimur

Saif and Kareen with Taimur

With so much hype surrounding his birth, it’s no surprise that little Taimur Ali Khan is already a celebrity. Fans are eagerly waiting to see more of Saif Ali Khan and Kareena Kapoor‘s tiny bundle of happiness, and well, so are we!

If reports are to be believed, the wish may be granted soon as baby Taimur may make his TV debut in the coming months. According to a report in IndiaForums, an episode of the series, Living with the superstar will showcase the daily life of Saif and also feature his new born.

If the news is indeed true, we are looking forward to this particular episode with bated breath!

Source : https://www.missmalini.com/2016/12/26/lo-and-behold-taimur-ali-khan-is-making-his-tv-debut-soon/

Shah Rukh Khan’s father taught him four important life lessons, which helped him become a superstar

Shah Rukh Khan

Shah Rukh Khan

In life when you are alone or depressed, your creativity becomes your best friend, Shah Rukh Khan said while giving an inspirational speech to students during an event.

Had Shah Rukh Khan not been an actor, he would have definitely been a motivational speaker. The superstar who is among the most eloquent speakers of B-town gave an inspirational speech to the students of Maulana Azad National Urdu University where he was recently conferred with an honorary doctorate.

In a five-minute long speech, SRK recollected the learnings passed onto him by his late father.

“I feel proud when I see people studying and educating themselves. There is nothing greater than education in the world. My father was a highly educated man. But he was also poor. He never got any job. He hardly had any money. Whatever business he started despite being so educated, they was all failures. But he gave me a lot of love. Because he didn’t have any money on every birthday of mine, he used to give me some of his old things and through those, I got my learnings,” SRK said.

Revealing those gifts and subsequent lessons learned, he added, “The first old thing he gifted me was a chess set. He used to play chess with the head priest of a Hanuman mandir. He told me that I could learn a lot about life through chess. First and foremost being cooperation and teamwork. Second, in life when you have to go forward at times you do have to take a step backward too. Third being that small person the so-called pawns should be respected. No one is small. Everyone is useful. And the last thing was sometimes the things that we love the most like the queen in chess sometimes has to be sacrificed.”

The second thing that SRK’s father gifted him was a typewriter which taught him another important lesson. “When you type something wrong on a typewriter, if you write something erroneously, it becomes difficult to remove it. So you have to be very diligent and very careful. When I learned to type on it while doing commerce in college, the only thing I realized is that practice makes you perfect. Whatever you do in life, do it diligently. Do it in a way so that there are no mistakes. Do it thinking that this is your first and last chance and you will never get a chance to do it again.”

The third life lesson was taught to SRK was by his father’s old camera. “He once gifted me his old camera. It never functioned. I could see from the viewfinder but couldn’t click pictures. It taught me an important lesson. Our creativity or hobby cannot always become our work. Very few people are fortunate to make it their job to me. But whatever our creativity is, be it poetry, painting, singing or dancing, it is not necessary that the world should accept it. Like the camera I had, it couldn’t click but whatever one saw through it was beautiful. Similarly, you should hone your creativity for yourself and it doesn’t matter whether the world accepts it or not. Because in life when you are alone or depressed at that time it is your creativity who becomes your best friend whether the world likes it or not. I am a bad poet but when I am depressed, I write things like ‘Humne tumhare yaad main ro ro rakkhar tub bhar diye aur woh aakar nahakar chal diye.’ During sad times when I write this, I get a lot of peace.”

The fourth and final lesson given by SRK’s father was the need to have a sense of humour. “Sense of humour in your life is essential. Always have a child like innocence,” SRK told students before signing off.

Source : http://indianexpress.com/article/entertainment/bollywood/shah-rukh-khan-father-taught-him-four-important-life-lessons-which-helped-him-become-a-superstar-4446044/

How the concept of love stories has evolved over the years

Bollywood movies

Bollywood movies

Aye sun, sun lena
Sun mera kehna tu

Oh, ghaflat mein
Gaflat mein na rehna tu

Ki tere mere beech mein kya hai
Yeh tere mere beech mein kya hai

Hmm chaddar

Mili mili hai
Zara khili khili hai
Finally chali hai meri love life

–Tere Mere Beech Mein Kya Hai, a song from film Shuddh Desi Romance (2013)

Hum Apne Baare Mein Joh Bhi Kahenge Jhoot Kahenge … Aur Jhoot Ke Sivah Kuch Nahi Kahenge

–a dialogue from film Tamasha (2015)

Hum Kyun Nahi Ek Doosre Ko I Love You Jaisi Stupid Baatein Bolenge … Kyun Ki Phir Sab Emotional Ho Jaata Hai, Senti Ho Jaata Hai Aur Masti Ka The End Ho Jaata Hai

–a dialogue from film Befikre (2016)

These are not snatches of disparate and disconnected exchanges. They are evocative retailing of how the theme of ‘love stories’ or ‘romance’ in Hindi cinema has evolved in recent years. In the song from the film Shuddh Desi Romance, which explores how young generation in cities beyond metros looks at romantic relationships, when the hero asks the heroine what is that binds them together, the heroine says, ‘Quilt.’ When she is asked again the same question, she says, ‘Conversations.’ Even though the song is a celebration of love, the hero and the heroine refrain from using the term ‘love’ to convey what binds them together and instead keep things implicit. In dialogues from films such as Tamasha (2015) and Befikre (2016), one senses how unconventionality in love stories in Hindi cinema has taken a leap and acquired a new meaning. These dialogues evidently point out how a flippant and casual approach has seeped into love stories in Hindi cinema and how couples in relationships would do everything that is expected of a typical romantic couple but they would refuse to acknowledge even a slight possibility of love between them. They have incisive clarity of what not to do in relationships but not of what to do in relationships. Young lovers in recent Hindi films cling on to a relationship that offers ephemeral and convenient aspects of friendship and help circumvent demands that make a romantic relationship enduring. Is this a reflection of the times we live in? This can only be understood by looking at how ‘obstacles’ in love stories in Hindi cinema have shifted from socio-economic environment to conflicting, commitment-phobic and wavering nature of the lovers.

The external factor

Love stories in Hindi cinema for a large part of the 1950s and 1960s were sub-plots of main stories which were mostly drama films with a large amount of social commentary in them. Prominent films such as Awaara (1951), Bandini (1963), Sujata (1959), Shree 420 (1955), Pyaasa (1957), Deedar (1951), Daag (1952) , Baazi (1951), Taxi Driver (1954), Kala Bazaar (1960), Kala Pani (1958) and Guide (1965) explored social themes with love stories in the background. There is a telling scene in film Awaara where Nargis’s character cautions Raj Kapoor’s character that she is changing clothes and gentlemen (Shareef) do not come near women when they are changing clothes. Raj Kapoor’s character asks Nargis’s character, “Main Shareef (gentleman) Nahi hoon na??” She says, “Nahi. Tum Junglee (savage) Ho.” This reply shifts the focus of the interaction from an innocuous romantic playfulness to a tirade by Raj Kapoor’s character on how being a part of the have-nots make him a misfit among the high class people. His character says, “I am penniless, uneducated tramp! I don’t fit into high society! How dare I maul your fragile body by my beastly hands! Good That you have told me my class.” Dr. Piyush Roy, film historian and critic, Centre for South Asian Studies, University of Edinburgh, points out, “The theme of love stories and the nature of their unfolding in Indian cinema have been fairly reflective of the dominant, part socially preferred and part revolutionary, idealised/utopian ideas and notions around romance of their times. Hence a film like Pyaasa or Mere Mehboob could have happened in the 1950s and 1960s when wooing was an art to be appreciated and excelled in.” There were a few love stories which served as clear templates for future Hindi films. Prominent among these were Andaz (1949), Tere Ghar Ke Saamne (1963), Nau Do Gyarah (1957), and Bombai Ka Babu (1960). One film that proved to be an exception in portrayal of love story in Hindi cinema in the 1960s was Guide (1965). It was the first Hindi film to explore theme of a married woman abandoning her unfaithful husband and choosing to stay with the man she loves.

In the 70s, with socio-economic changes such as rising unemployment, poverty, emergency and the rise of ‘Angry Young Man’ persona, love stories in Hindi cinema did not have much prominence in the central plot. Jyotika Virdi, associate professor in the Department of Communication, University of Windsor in Ontario, Canada in her book The Cinematic ImagiNation: Social History Through Indian Popular Films points out, “In the 1970s romantic love became less central as Hindi cinema took a turn toward gangster films. Stories of individual revenge against social injustice, mediated through elaborate family melodramas, proliferated. Amitabh Bachchan’s pre-eminence eclipsed women’s roles: the attrition of the romance subplot limited the space for women characters, turning them into liminal figures in narratives centred on a newfound masculinity. The proliferating gangster-cum-action films revealed corruption in high places, avaricious “antinational” elements, and profiteering by wealthy smugglers and were eagerly consumed by audiences throughout the 1970s and 1980s, becoming integral to Hindi cinema.”

There were, however, few love stories which redefined the genre and created a benchmark in Hindi cinema. One such film was Bobby (1973). It emerged as one of the early films which showed teenagers as lovers in an entertaining and engaging way. Jyotika Virdi of University of Windsor points out in her book, “In Bobby, puppy love confronts patriarchal authority. The teen lovers face parental authority’s power to summon privileges of class and the support of the state via its restrictive age of consent laws.” The film had such an instant connection with the youth that today Bobby has become a benchmark in not only teenage love story but in the genre itself. Virdi observes in her book, “Curiously, Bobby’s astonishing success was not replicated for almost two decades, when the narrative elements of young love and defiance of parental authority became established genre conventions.” Other love stories that also provided template for future love were Abhimaan (1973), Avishkaar (1974), Koshish (1972), Rajnigandha (1974), Mili (1975) and Ankhiyon Ke Jharokhon Se (1978).

In the 1980s, with a few exception of love stories such as Ek Duje Ke Liye (1981), Love Story (1981), Ijazzat (1987), Ram Teri Ganga Maili (1985), and Sagar (1985), action films dominated a large part of the decade. However, in the late 80s, two films came as a whiff of fresh air. One is Qayamat Se Qayamat Tak (QSQT) (1988) and other was Maine Pyaar Kiya (1989). QSQT explored a Romeo and Juliet kind of love story in which families of the lovers shared a tragic past which created rift and hatred in them for each other. Maine Pyaar Kiya, directed by Sooraj Barjatya, was a benchmark for future love stories in the true sense of the word. It showed the importance of proving oneself as a worthy match and winning the consent of the families without resorting to unconventional ways of union was possible. It showed how one can love and accept social acceptance even with values that form the bedrock of Indian culture.

Post liberalisation of India (after 1992), after Maine Pyaar Kiya, Sooraj Barjatya made film Hum Aapke Hain Kaun (1994), which showed how ‘home’ becomes the background for romance and how family serves as a supporting link in the blossoming of a romantic relationship. Both Maine Pyaar Kiya (1989) and Hum Aapke Hain Kaun (1994) served as inspiration for future narratives on love themes such as Dilwale Dulhaniya Le Jaayenge (1995) in which even when one transcends national boundaries one does not abandon the values and seek consent of families by proving one’s worthiness. This was followed also Kuch Kuch Hota Hain (1998). In subsequent years, the theme of love began coming into the foreground in Hindi cinema. Jyotika Virdi of University of Windsor in her book observes, “Over the twentieth century love became increasingly important in the pursuit of happiness, and was defined hedonistically in “individualistic and private terms.” Love is entwined with marriage and conjugal bliss as true happiness, and the happy ending is married life.”

On the whole the reading of the theme of romance in Hindi cinema can be summed up in an observation from the Encyclopaedia of Hindi Cinema edited by Gulzar, Govind Nihalani and Saibal Chatterjee. It says, “Romance in Hindi cinema does not depict as much of an individual’s spiritual, emotional and individual growth, and the sublime as it asserts the right of the individual to exercise his or her choice.” It is fairly evident that obstacles or conflicts required in love stories in the aforementioned films were provided by external factors. Causes for obstacles or conflicts in love stories before liberalisation of India were parents’ undisputed say in the union, social and economic divides, customs and rituals, caste, and other external factors. In these love stories despite these obstacles there is one clear trend: the remarkable clarity and acknowledgement of romance of equal intensity in couples. They never doubted their love for each other. They doubted the social acceptance of their love for each other. Contrary to this, in the past one decade, there has been a market shift in the way love stories have evolved.

Inner obstacle

Recent love stories in Hindi cinema such as Tamasha (2015), Shudh Desi Romance (2013), Love Aaj Kal (2009), and Befikre (2016), show a distinct pattern where the role of obstacle or conflict has shifted from external to internal–characters themselves are obstacles. Nasreen Munni Kabir, author, film historian and documentary filmmaker, points out, “I think love stories in older films often had obstacles in parents. Parents would not agree to the love. Now parents have no say in anything. Therefore there is no obstacle. In any drama if there is no obstacle you have to create an obstacle. So obstacle in today’s love stories is not an external one. It is neither the villain nor the parent but it is the internal dilemma of whether people are really in love or do they want to commit. This is a biggest change: the inner obstacle, which is interior to the character.”

Given this, an immediate question that comes to mind is what could have triggered this shift? Rachel Dwyer, professor of Indian Cultures and Cinema, University of London, feels these modern love stories are valuation of friendship as a serious relationship. She says, “Perhaps it is the valuation of friendship as a serious and fulfilling relationship that is part of the shift. The idea that romantic love isn’t the only important relationship one forms outside one’s family. A relationship that doesn’t have to become part of a family but stands apart from it.” There is also a cultural context to these love stories which can be traced back to classics in Indian mythology. Sanjay Ranade, assistant professor, department of journalism and communications, University of Mumbai points out, “It is an old expression area. It is a story of Dushyant and Shakuntala. These love stories are a contemplation on the journey from the point when Dushyant loses the ring and till he finds it. The point is the ring is found ultimately. Whenever you come across love stories where couple say they are romantically interested in each other, it is a story of a lost ring. You see there is a background to it. There is some ring that is going around. There is some fish which eats the ring and a fisherman catches the fish and then finally finds a ring in it.” He says, “The male in recent love stories does not remember anything while the woman remembers everything. Consider the film Yeh Jawaani Hain Deewani (2013). Deepika Padukone’s character remembers everything while Ranbir Kapoor’s character is fooling around and then due to some trick of events they come together. This is the underlying theme of most of these love stories. The entire frame of such love stories is of denial.” He adds, “Another peculiar aspect of Dushyant and Shakuntala story that matches with these recent love stories is the aspect of mental acceptance. Dushyant and Shakuntala don’t get married in ritualistic sense (Vedic). Their marriage is Gandharva marriage in which the union is mental thing and not a physical thing. It is a mental acceptance and does not have social sanction. In the same way couples in these love stories set in modern times will do everything a married couple would do but will not get married. Then just like Dushyant the male in today’s love stories forgets and then a ring comes in and that ring could be a car, an incident, a memory or a person which unites them together.”

Though these love stories seem to reflect the changing times we live in, they have garnered neither high critical acclaim nor have they proved to be money-spinners at the box office. A case in the point is the audience’s tepid response to the latest release Befikre. Dr. Piyush Roy of University of Edinburgh, points out, “In Befikre, the real change would have been in having the character of Vaani Kapoor getting hitched to her fairly eligible banker beau in Befikre and not returning to Ranveer Singh because that choice would have been a fairer reflection of real life decisions made in similar circumstances. Love stories today have become far less complex and real with the focus being on more to shock than telling a truly nuanced sexual tale. Being confused, noncommittal, selfish or stupid are personality traits that have nothing to do with the location of a person. So every time a character in Befikre or Ae Dil Hai Mushkil tries to justify its silly sexual dare as a possibility because of their being in Paris or London or Vienna is uninformed judgement.”

Source : http://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/how-the-concept-of-love-stories-has-evolved-over-the-years/articleshow/56184412.cms

Listen to your heart in deciding career, Shah Rukh Khan tells students

Shah Rukh Khan

Shah Rukh Khan

Shah Rukh Khan encouraged young students to listen to their heart and do what they like, to avoid regrets about career choice later in life.

Superstar Shah Rukh Khan today encouraged young students to listen to their heart and do what they like, to avoid regrets about career choice later in life. “When you become a person of my age or your parents’ age or your teachers’ age, somewhere that regret will be there that why I did not do that (as a career). I just want to tell every boy and girl that do where your heart is,” he said.

Shah Rukh had a pep talk with students of Maulana Azad National Urdu University here where he was conferred an honorary doctorate for his contribution towards promotion of Urdu language and culture. The actor recalled that his (late) father, though financially not so well-off, taught him various things in life. “He used to play chess with the head priest of a Hanuman temple,” he said.

The 51-year-old actor said the lessons he was taught included how to work with others and that one has to step back, sometimes, to move ahead in life. “Nobody is small. You have to respect all,” he said. “He gave me a typewriter. You have to be very diligent in typing. When I learnt typing, I realised that practice makes you perfect. Whatever you do in life, do it with diligence as if it is the last chance to do it,” he said.

Shah Rukh said his father told him to retain a sense of humour and childlike innocence.
“Life will be better if you look at things with a sense of humour,” he said. Observing that creative expression in any form would be a good outlet for one’s feelings, he said such a habit would give solace in times of feeling lonely.

“I am a bad poet. But, I still write something…When I write, I get peace,” he said. The actor also suggested the students to respect and enjoy the gift of life, through good or bad times. Earlier, Chancellor Zafar Sareshwala conferred the ‘honoris causa’ (doctor of letters) on Khan and Rekhta Foundation founder Sanjiv Saraf at the sixth convocation of
the university, for their contribution in the promotion of Urdu language and culture.

Expressing happiness on being conferred the honorary doctorate, Khan said the honour would make his father happy as he was a freedom fighter and held Maulana Azad and also education in high esteem. The actor said he would try to live up to the responsibility bestowed on him.

Source : http://indianexpress.com/article/entertainment/bollywood/listen-to-your-heart-in-deciding-career-shah-rukh-khan-tells-students-4445930/ </>

Sonam Kapoor’s Neerja, Shah Rukh Khan’s Dear Zindagi, Salman Khan’s Sultan – which was the BEST movie of 2016?


2016 year was an exciting year for me as a movie buff. On one hand I get to watch a commercial potboiler like Sultan, where Salman Khan has no qualms showing off his paunch, while on the other hand, I don’t mind bursting into tears for a hard-hitting drama like Neerja, that had Sonam Kapoor in the lead with no Khan to support her. It was a year where women took the lead from the men and gave us quality stuff that a male-dominated industry like Bollywood needs. If Sonam Kapoor made her detractors eat their words about her lack of acting ability with Neerja, Alia Bhatt delivered two critically acclaimed performances in Udta Punjab and Dear Zindagi, making us believe that Highway was no flash in the pan. Kareena Kapoor proved once again that marriage is no deterrent to good roles with a movie like Ki & Ka.

As for the actors, there was Akshay Kumar who gave us three different entertainers that all belonged to various genres, and yet made hits out of them. Shah Rukh Khan may have had a misfire with FAN, but it was a laudable effort and he also redeemed himself with Dear Zindagi. Salman Khan proved again why he is the golden ruler of the box office, while the younger stars like Varun Dhawan, Sidharth Malhotra, Ranbir Kapoor also got their opportunities to shine. Everyone one had their movies (except for Deepika and Kangana), not everyone shined and we had a lot of movies that sank without a trace, while some made it to our fave list. Now here’s a chance for you to show us which of these below 2016 movies are your favorites. Please note that these films were considered based on two factors – their box office appeal, as well as how they fared well with the critics.

Based on these two factors, here is our list of Bollywood movies from 2016 that stood out from the rest…

Dangal

Dangal

Dangal

Aamir Khan does it again! He ends 2016 with a bang by delivering of the best movie of the decade. Dangal is a well-enacted biopic, that has some brilliant performances from all the cast members. Aamir gives his best performance in years, but its the girls playing his daughters who steal the show at times. The wrestling sequences are well-choreographed, and the narrative is very strong at most of the time. It’s not easy to make a movie that supports sports development, women empowerment and duty towards nation without sounding preachy, but Dangal manages to pull that off with immaculate ease.

Neerja

Neerja

Neerja

If I had to be partial, Neerja would be the movie for me that wins at nearly every department – be it direction, the narrative, the technical aspects and the performances. It’s not easy to make a movie that finds itself confined to a claustrophobic cabin for most of its runtime, with a lead actress who is not often praised for her acting prowess, and still make it brilliant. Neerja is not only the best biopic of the year, or perhaps the decade as well, it also gave Sonam Kapoor her best performance till date. If you leave the screening dry-eyed, you know there is something wrong with you.

Airlift

Airlift

Airlift

Based on a real-life incident set during the Gulf War, Airlift is that kind of Bollywood movie that sets us on the same scale as international-standard survival dramas. It may not be bereft of Bollywood clichés (that climax fight could have been avoided), yet this thriller has enough moments to make us bite our nails at the plight of our fellow countrymen trapped in a foreign land, torn by war. Akshay Kumar is on a roll here, and he has a fine supporting cast to lend gravitas to the movie.

Kapoor & Sons

Kapoor & Sons

Kapoor & Sons

Did you ever expect a Bollywood mainstream movie to accept homosexuality as a part of its plot? Without making it in your face, Kapoor & Sons did just that while making a movie about a dysfunctional family, that has problems like any of ours. Replete with brilliant performances from the entire cast, especially Fawad Khan, and a taut direction by Shakun Bates, Kapoor & Sons could be 2016’s best family drama of the year.

Pink

Pink

Pink

A movie that gave the word NO a lot of respect, Pink was a near-brilliant court room drama, heralded by strong performances. Taking on the still topical subject on female harassment, Pink doesn’t hesitate into being an uncomfortable viewing at times, thanks to stark depiction of molestation. Sure the conveniently happy ending has its share of detractors, but overall it’s a very strong movie with a fantastic message.

Dear Zindagi

Dear Zindagi

Dear Zindagi

I always say FAN was Shah Rukh Khan’s best performance in years, but the movie left me disappointed. That was somehow redeemed in his next, Dear Zindagi, a clean flick about how to face your problems head on with some philosophical (and sometimes preachy) gems. Shah Rukh Khan was fine in his extended cameo of a therapist, but it was Alia Bhatt who walked away with all the acting accolades. Sure the movie was a half an hour too long and self-indulgent, but many people could relate to its various themes and situations it presented, making it a decent hit.

Udta Punjab

Udta Punjab

Udta Punjab

Udta Punjab got me in its support the moment I saw that dark and hard-hitting trailer. While the movie found itself in unnecessary controversies surrounding its release, Abhishek Chaubey’s handling of drug abuse in Punjab told through the lives of four individuals is an exemplary tale in itself. Balancing on the fine line between hard-hitting drama and black comedy, the movie had some splendid performances from Shahid Kapoor, Alia Bhatt, Kareena Kapoor and Diljit Dosanjh. Udta Punjab is not without its flaws, but it is nearly a masterpiece that 2016 can claim of its own.

Sultan

Sultan

Sultan

Salman never promises you good cinema, he promises good entertainers. While I am not a huge fan of Sultan, it does have its bright moments, some good songs and well-directed wrestling sequences. Above all, this could also be Salman Khan’s best performance in recent times; that self-introspective mirror scene did it for me. And those 300 crore business that the movie managed is enough to give Sultan a place in the list. After all, nearly an entire country cannot go wrong in liking a movie. Oh, wait! A country voted for Trump, didn’t it?

MS Dhoni: The Untold Story

MS Dhoni: The Untold Story

MS Dhoni: The Untold Story

People were disappointed that they never got to see the career controversies of Dhoni in his supposed biopic. The movie also had the feel that it was a vanity project for Captain Cool. But Neeraj Pandey’s fine handling of the project made it an inspiring drama about a small-town boy from Ranchi who became the MVP of Indian cricket, through his sheer hard work and determination. It also helped matters that Sushant Singh Rajput was brilliant in his role.

Ae Dil Hai Mushkil

Ae Dil Hai Mushkil

Ae Dil Hai Mushkil

Is ADHM’s Karan Johar’s skewered take on love and friendship? Or is it his most mature work till date? Never has a Bollywood movie got so much divisive reactions than this Diwali release. While not a fan myself, I do appreciate that there was sense of maturity in how Karan Johar handled Anushka – Ranbir’s track, though that weak climax nearly did it in. ADHM also boasts of a killer soundtrack, great technical values and Aishwarya Rai looking her hottest. In short, it was this year’s best looking movie.

So which of these is your fave movie? Let us know…

Source : http://www.bollywoodlife.com/news-gossip/sonam-kapoors-neerja-shah-rukh-khans-dear-zindagi-salman-khans-sultan-which-was-the-best-movie-of-2016/

Dangal box office collection day 3: Aamir Khan starrer earns Rs 106.95 crore in the opening weekend

Dangal

Dangal

Aamir Khan’s Dangal, as expected, has created history at the box office. It’s record breaking day three collections are the proof of it. The film has garnered an earth shattering Rs 42.35 crore collections on its third day. Which is the highest ever third day collection. Dangal has crossed Rs 100 crore in just three days of its release. By doing so Dangal has become the sixth film in the history of Indian cinema to cross Rs 100 crore in the first weekend of its release. This also becomes Aamir Khan’s second film after 2013’s Dhoom 3 to enter Rs 100 crore club in its first weekend. 

Dangal had a massive first weekend at the Indian Box Office. Witnesses the biggest third day ever in India as it collects Rs 42.35 crore on day three. Total weekend collections stands at Rs 106.95 crore (148.45 cr GBOC) including 1.07 cr from Tamil and Telugu on day three.

With Rs 100 crore plus weekend collections the film has already beaten the likes of all films of 2016 except Akshay Kumar’s Airlift, Housefull 3 and Rustom, Sushant Singh Rajput’s MS Dhoni- The Untold Story and  Salman Khan’s Sultan. Dangal is soon expected to take over all the aforementioned films by the end of its week one and is also expected to cross the business of Sultan by the end of its run.

Dangal, which opened on December 23, has been getting rave reviews from audiences and critics alike. Based on the life of former wrestler Mahavir Phogat and his quest to win Gold medal for India through his daughters Geeta and Babita Phogat. The film stars, Aamir Khan as Mahavir Phogat, Fatima Sana Shaikh as Geeta Phogat and Sanya Malhotra as Babita Phogat. Dangal also stars Sakshi Tanwar, Aparshakti Khurrana and Girish Kulkarni.

BollywoodLife in its review of Dangal had said, “Dangal is the film of the year for me. It is brave, gritty, honest and has a performance of a lifetime by Aamir. Watch it because I can’t think of a better film that came out this year which got your attention with such intensity. And yes, I loved Sultan as well. But Dangal sort of won my heart over.”

Source : http://www.bollywoodlife.com/news-gossip/dangal-box-office-collection-day-3-aamir-khan-starrer-earns-rs-106-95-cr-in-the-opening-weekend/

Did Ram Gopal Varma abuse Amitabh Bachchan while praising him?

Ram Gopal Varma and Amitabh Bachchan

Ram Gopal Varma and Amitabh Bachchan

Amitabh Bachchan’s ‘Kaalia’ recently completed 35 years. To express this joyous moment, Big B took to Twitter to share few pictures from the movie.

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However, Big B’s director friend, Ram Gopal Varma seems to have crossed the line of decency as he used abusive language while sharing his opinion about the same. While trying to praise Amitabh Bachchan’s performance, the director also challenged the new generation actors to match up to Big B’s level of acting. Here’s what RGV tweeted:

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While we appreciate that Ram Gopal Varma praised Amitabh Bachchan’s acting in ‘Kaalia’, we wonder how would Big B and other actors react to his abusive tweet!

Source : http://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/did-ram-gopal-varma-abuse-amitabh-bachchan-while-praising-him/articleshow/56164917.cms