Posters from Tamil film “Jigarthanda”

Quite like the posters. It is directed by Karthik Subbaraj (of Pizza fame) and stars Siddharth and Lakshmi Menon.

 

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Jigarthanda Latest Poster - Every story has a Woman

Vintage Poster- Rocket Tarzan

 

This has to be probably the wackiest and zaniest poster I have come across as far as Hindi cinema is concerned. This piece of sublimity was apparently by a certain B. J. Patel and it was released in 1963. Sadly I can’t locate any transfer/print/copy of the film anywhere

 

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Rangan On Zanjeer

Rangan hardly ever downright trashes a film (even when he should) but it’s hilarious when he does. I don’t even need to watch this drivel to know that it absolutely deserves this. And worse. And oh, SHUT UP PRIYANKA!

http://baradwajrangan.wordpress.com/2013/09/07/zanjeer-puppet-on-a-chain/

Stills- Nayanthara

I was thinking that while Anu takes care of the serious and intellectual side of the blog (since she is the one with classy and cultivated tastes), I will handle the ‘silly’ bit. So here are some stills of one of the most beautiful actresses in India along with Alia, the gorgeous Nayanthara. More HERE

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More Stills HERE

“Heroes, Gundas, Vamps & Good Girls”- Hindi Pulp Cover-Art by Shelle

Lindsay Pereira’s (Mid-Day) piece on the above mentioned post-card book

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He decides what women with paanch pati will look like-

“Why send a drab email when you can send a deliciously outlandish postcard dripping with suspense, blood, sex and tragedy, ripped from a collection titled Heroes, Gundas, Vamps and Good Girls inspired by Hindi pulp fiction covers. Here’s why North India can’t get enough of Shelle’s cleavage-sporting chudails and Haryanvi ghouls

“He goes by the pseudonym Shelle a derivative of the Hindi word for style. It was suggested by friends because his name, Mustajab Ahmed Siddiqui, takes up too much room. For people of North India, his work is more familiar than they think; they have had around 40 years to get acquainted with it.

Shelle’s name accosts them when they walk into railway stations across the country. Every bookstore they pass showcases his work in bold, because his are the covers adorning most action-packed Hindi pulp novels.

Without his brush, bestselling Hindi writers like Anil Mohan, Ved Prakash Sharma and Surender Mohan Pathak would have far poorer sales.

Now, thanks to Chennai-based Blaft Publications, Shelle can find a new audience. For Rs 295, we all have a chance to take a closer look at some of his cover art through Heroes, Gundas, Vamps & Good Girls, a collection of 25 postcards”…

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Apex’s thoughts- From ‘Vicky Cristina Barcelona’ to ‘Cocktail’ –the ‘menage-a- trois’ Bollywood conundrum

 

Apex left it is a comment here but I decided to make it into a separate post.

 

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I have liked both these flicks a lot but let me clarify that neither of them is very ‘significant’ or ‘great’. Infact neither of them are even worthy of lengthy debates and dissection of minutiae. What did catch my attention is the way Cocktail got misinterpreted, dissed and maligned without even being given a chance. Of course, Vicky Christina Barcelona (VCB) wasn’t exactly the same film (though similar and some would be indignified at this comparison), but VCB was spared a similar plight because of the names associated with it ( Woody Allen) and the unmistakable ‘subservience’ of Bollywood commentators about most Hollywood products especially the one with big names. I may come to VCB separately in a different post maybe (if mood permits), but lets tackle the Bollywood variant/manifestation called Cocktail directed by Homi Adjania, co-written and produced by Imtiaz Ali.

What will happen if Woody allen makes a film for Bollywood audience and sensibilities? Not sure of the product but am sure of the result—‘failure’ on the box office front (the same critics who laugh at cocktail may be more lenient there though).
Cocktail brings together some very interesting influences and to appreciate this, it is important to get down from the ‘intellectual high-horses’ and exit atleast briefly the domains of pseudo-intellectual ghettos one finds peace and reassurance in!
Even within this much-maligned ‘rom-com’ llght genre, it is much easier to defend a VCB than a Cocktail! So expectedly, I shall choose the more difficult job. Infact, most will even find this comparison to Allen ‘misplaced’ or even ‘outrageous’. I am aware that some of the readers who requested me to write this are not aware of the conventional ‘Bollywood traditions’. To understand the nuances, to the uninitiated, a prelude of the influences that go into this film—

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बच्चन सिनेमा और उसकी ईर्ष्यालु संतति- गिरिराज किराडू

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अनुराग कश्यप ने सिनेमा की जैसी बौद्धिक संभावनाएं जगाई थीं उनकी फ़िल्में उन संभावनाओं पर वैसी खरी नहीं उतर पाती हैं.’गैंग्स ऑफ वासेपुर’ का भी वही हाल हुआ. इस फिल्म ने सिनेमा देखने वाले बौद्धिक समाज को सबसे अधिक निराश किया है. हमारे विशेष आग्रह पर कवि-संपादक-आलोचक गिरिराज किराडू ने इस फिल्म का विश्लेषण किया है, अपने निराले अंदाज में- जानकी पुल.
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[गैंग्स ऑफ वासेपुर की ‘कला’ के बारे में बात करना उसके फरेब में आना है, उसके बारे में उस तरह से बात करना है जैसे वह चाहती है कि उसके बारे में बात की जाए. समीरा मखमलबाफ़ की ‘तख़्त-ए-सियाह’ के बाद फिल्म पर लिखने का पहला अवसर है. गर्मियों की छुट्टियाँ थीं, दो बार (एक बार सिंगल स्क्रीन एक बार मल्टीप्लेक्स) देखने जितना समय था और सबसे ऊपर जानकीपुल संपादक का हुक्म था]
अमिताभ बच्चन अपनी फिल्मों में ‘बदला’ लेने में नाकाम नहीं होता. तब तो बिल्कुल नहीं जब वह बदला लेने के लिए अपराधी बन जाय. बदला लेने में कामयाब होना उन कई फार्मूलों में से एक अहम फार्मूला है जो अमिताभ बच्चन के सिनेमा ने बनाया. और यह फार्मूला – ‘व्यक्तिगत’ स्पेस में हुए अन्याय का प्रतिकार कानून और सामाजिक नैतिकता = स्टेट की मशीनरी से बाहर जा कर ही संभव है उर्फ अपराधी होना एंटी-स्टेट होना है – उन कई फार्मूलों में से एक है जिन पर गैंग्स ऑफ वासेपुर बनी है. ‘मर्दानगी’ का ‘प्रदर्शनवाद’ (एग्जिबिशनिज्म) और उसका सफल कमोडिफिकेशन; स्त्री-‘बोल्डनेस’ के दो बेसिक प्रकारों – एरोटिक (दुर्गा) और लिंग्विस्टिक (नग्मा) – का उतना ही सफल कमोडिफिकेशन और ज़बरदस्त संगीत (चाहे वह हमेशा संगत न हो) ऐसे ही कुछ दीगर फार्मूले हैं जिन पर यह फिल्म बनी है, वैसे ही जैसे बहुत सारी फिल्में बनती आयी हैं….

Image from Anurag Kashyap’s ‘Ugly’ (Updated)

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Kashyap has said that the film is essentially a simple kidnap drama but which also deals with a lot of things- relationships, our patriarchal system, how men look at women, domestic violence…. basically a very personal drama in the shape of a thriller. The film has been selected for Cannes Directors’ Fortnight section this year. It releases sometime at the end of the year only after he finishes shooting for Bombay Velvet. Ugly stars Ronit Roy, Rahul Bhatt (not Mahesh Bhatt’s son but a TV actor), Tejaswini Kolhapure (Padmini’s sister, you might remember her from Paanch), Siddhant Kapoor (Shakti Kapoor’s son), Girish Kulkarni (the famous Marathi director of Deool, Velu and Vihir) and Vipin Sharma. It has been written and directed by Kashyap himself.

Ghulam- Spaces, Memories and the ‘Deewar Reversal’

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In a crucial scene in Vikram Bhatt’s Ghulam quite a few characters participate in a local meeting to discuss the violence in the neighbourhood. There is Fatima (Mita Vashisht), the Muslim lawyer who plays an important role in the protagonist Sidhu’s (Aamir Khan) life. Then we have a Tamilian vegetable seller, and a crippled Muslim man from Uttar Pradesh. And of course Sidhu himself is presented at the meeting as a Maharashtrian identified by his last name Marathe. Taking the context of Bombay’s linguistic  and cultural hybridity amidst a compressed landscape of architectural chaos, Ghulam presents the urban crowd not as an abstract force but as a multicultural presence. The presence of the crowd and urban chaos are relationally structured around the Marxist idea of ‘empty space’. By contrasting ‘real’ space (the space of the crowd, the street, and the home) with fetishized ‘empty space’, Ghulam creates a conflictual movement between the ‘everyday’ present and the ‘traumatized’ past. This is most vividly imagined in the scenes on the river-bank (‘ghaat’).

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Remembering Anthony Gonsalves- Naresh Fernandes on the ‘original’ Anthony

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MIDWAY through Manmohan Desai’s classic 1977 film about three brothers separated at birth, a man in a top hat and a Saturday Night Fever suit leaps out of a giant Easter egg to inform the assemblage, ‘My name is Anthony Gonsalves.’

The significance of the announcement was lost under the impact of Amitabh Bachchan’s sartorial exuberance. But decades later, the memory of that moment still sends shivers down the spines of scores of ageing men scattered across Bombay and Goa. By invoking the name of his violin teacher in that tune in Amar Akbar Anthony, the composer Pyarelal had finally validated the lives of scores of Goan Catholic musicians whose working years had been illuminated by the flicker of images dancing across white screens in airless sound studios, even as acknowledgement of their talent whizzed by in the flash of small-type credit titles.

The arc of their stories – determined by the intersection of passion and pragmatism, of empire and exigency – originated in church-run schools in Portuguese Goa and darted through royal courts in Rajasthan, jazz clubs in Calcutta and army cantonments in Muree. Those lines eventually converged on Bombay’s film studios, where the Goan Catholic arrangers worked with Hindu music composers and Muslim lyricists in an era of intense creativity that would soon come to be recognised as the golden age of Hindi film song.

The Nehruvian dream could not have found a more appropriate harmonic expression.

A few months back, a friend called to tell me about a new character he’d discovered in a story published by Delhi-based Raj Comics: Anthony Gonsalves. On the page (and accessible only if you read Hindi), Anthony Gonsalves is part of the great Undead, the tribe doomed to live between the worlds. It wasn’t always like this. In his prime, Anthony Gonsalves was a mild-mannered guitar player who had devised a magical new sound known as ‘crownmusic’. But his jealous rivals tortured him to death so that they could steal his work. Now, the magnificently muscled superhero emerges from the grave each night to prevent the desperate from committing suicide and to rid the world of evil, informed of imminent misfortune by his pet crow….

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