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Category Archives: PakBcn blog

Dangal box office collections cross Rs 385 crore: Aamir Khan plans success party

Mumbai: Dangal producers Aamir Khan and Siddharth Roy Kapur will host a grand party here on Saturday to celebrate the success of the movie, which has become the highest grossing Bollywood entertainer.

In 'Dangal', Aamir Khan portrayed wrestler Mahavir Singh Phogat

The film has recently surpassed collections of Rs 385 crore at the Indian box office. For Aamir, it almost makes for twin celebrations as now he has two films — PK and Dangal — which have crossed the Rs 350 crore mark.

The makers are ecstatic with the reactions and positive response to the film, which is in demand even in its sixth week.

Aamir, who usually shies away from parties, is organising the celebration for Dangal after being urged by his friends from the Hindi film industry. He has invited the who’s who of the industry for the party at Taj Lands End, said a source in the know of developments.

Directed by Nitesh Tiwari, Dangal is an inspirational story of an Indian wrestler Mahavir Phogat, who against all odds, manages to train his daughters Geeta and Babita to become world class wrestlers.

The sensitive portrayal of the father-daughter relationship moved the audience, who also appreciated performances by Aamir and his on screen daughters Fatima Sana Shaikh and Sanya Malhotra.

Don’t expect Bollywood stars to pull a Meryl Streep: Honesty’s never a virtue in the film industry

On the contrary, more often than not they succumb to political and ideological bullying – never standing up for their beleaguered colleagues or fellow citizens. That these stars, despite their hefty celebrity statuses, have ever so often failed to defend fellow actors who are hounded by fundamentalists and government alike, is indeed a sad commentary on the culture of the Bombay film industry.

Mercifully, not all celebrities across the world, are cut from the same cloth. When confronted with bullies, not all of them genuflect or become tongue–tied. Nor do they fear to take the powerful head on.

Meryl Streep poses in the press room with the Cecil B. DeMille award at the 74th annual Golden Globe Awards at the Beverly Hilton Hotel on Sunday, Jan. 8, 2017, in Beverly Hills, Calif. (Photo by Jordan Strauss/Invision/AP)

This Sunday night, the celebrated actor Meryl Streep, presented an inspiring template for the kind of outrage celebrities can put on display.

While accepting her lifetime achievement award at the Golden Globes, Streep turned the occasion into one which addressed many of the anxieties that have been racking America since the Presidential election this November. Speaking out against the dangerous and discriminatory politics practised by US president–elect Donald Trump, she said:

“Hollywood is crawling with outsiders and foreigners. And if we kick them all out you’ll have nothing to watch but football and mixed martial arts which are not the arts. An actor’s only job is to enter the lives of people who are different from us, and let you feel what that feels like. And there were many, many, many powerful performances this year that did exactly that. Breathtaking, compassionate work.”

In a grand, eloquent sweep, the veteran actor gestured towards the challenges awaiting the acting fraternity, and many other diverse sections of the American public. She told the gathering how Trump’s imitation of a disabled reporter “broke her heart. … I still can’t get it out of my head, because it wasn’t in a movie. It was real life. And this instinct to humiliate, when it’s modeled by someone in the public platform, by someone powerful, it filters down into everybody’s life, because it kinda gives permission for other people to do the same thing,” she said.

Faced with Meryl Streep’s speech, one cannot but consider how strikingly different the conduct of Bollywood stars has been when it comes to dealing with similar challenges; how abjectly they have failed in not just defending their own rights as a collective community of actors – but also thereby ending up backing retrogressive fiats by default.

Very recently we were witness to the manner in which Raj Thackeray’s Navnirman Chitrapat Karmachari Sena (MNS) bullied top Bollywood actor Shah Rukh Khan, and director Karan Johar, into giving an assurance that they would not work with Pakistani actors in future. The orchestrated uproar over the release of Khan’s film Raees this September, which had Mahira Khan, a Pakistani actress in a lead role, pushed Shah Rukh Khan into offering Thackeray an assurance that “they will not hire any Pakistani actor till the situation between the two countries (India and Pakistan) improved.”

Shalini Thackeray, general secretary of MNS Chitrapat Karamchari Sena, went to the extent of saying: “It is not a veiled threat. It’s a direct threat to producers like SRK and Karan Johar who take Pakistani actors in their movies.” Even in the face of such unabashed bullying, Bollywood kept totally silent.

The same way it kept mum when the Modi government attacked actor Aamir Khan last year for his comments on the prevailing culture of intolerance in the country.

The discomfiting truth is that in almost all such cases of covert and overt persecution, actors are left to fight lonely battles (that is if they themselves do not rush to placate the bullies,) while the industry heavyweight lapse into silence as a means of self–preservation and self–advancement.

In stark contrast to such servility, Meryl Streep spoke out not on just on behalf of her own fraternity – but also defended the interests of the larger fraternity of others who are feeling ever more alienated and threatened by Trump’s politics.

Her speech, in its wide scope, was political in content. “Disrespect invites disrespect, violence incites violence. And when the powerful use their position to bully others we all lose,” she said. Addressing the media, the actor called on the press to hold the government accountable and for the public to support independent reporting. She urged the “famously well-heeled Hollywood Foreign Press” to support the Committee to Protect Journalists. Saying “we’re going to need them, and they’ll need us to safeguard the truth.”

In a strangely fitting way, Streep’s speech comes days after the death of Indian actor Om Puri who, not only championed progressive causes throughout his career but was mercilessly hounded by the powers that be last year for his remarks on the controversy on hiring Pakistani actors.

Unsurprisingly, he found little vocal support within his own community. All too often, only the Anupam Khers of Bollywood are heard speaking out aloud – and that speaks volumes for the culture that seems to dominate the film industry in India.

Om Puri brought the rural aam aadmi character into mainstream cinema: Amol Palekar

Om Puri had mentioned that he gave all the credit of his entry into film life to me. He had said that it was because of my success that people like him and Naseeruddin Shah could even dream of entering into films, doing good roles and being established. I don’t know how much of it was true but if at all it is to be considered, I would say that if I represented the aam aadmi, it was the urban aam aadmi. Om brought in the rural aam aadmi into mainstream cinema and Bollywood. He further took it to international cinema. His long journey reflects his acting powers and brilliant career.

Om Puri. News18

I want to correct the impression that he started his career from FTII. Before that, he graduated from the National School of Drama. In fact, my first meeting which I remember with Om was when we were both participating in a theatre festival in Kolkata. I had seen his performance in Udhavas dharamashala. This was a Marathi play which was being performed in Hindi and I knew that play very well. So, when I saw his interpretation and his performance in that play, I was completely bowled over and our friendship and association began from that day. So, his career had started from theatre. And his roots were always in theatre. He eventually went into films, then grew on an international level. But I think more than Ghashiram Kothwal, I would point out Udhavas dharmashala. In his acting career, Aakrosh was brilliant and in Mrinal Sen films, he was absolutely outstanding.

But I admire Om for his completely different portrayal in Jaane Bhi Do Yaaro and his role in Chachi 420 is very unlike his personality. He came up with such beautiful performances in comedy that one could see what tremendous range this actor had. Irrespective of the kind of role or the frame of the role he was given, he would still come across with flying colours. I think of the hard work which he had shown in the National School of Drama, in FTII and in his entire career. He could hardly speak English when he started his career but went on to act in Hollywood films, speaking in perfectly good English without getting brought down by this kind of handicap. This just shows his strength, his capacity, his hard work and his growth.

We did a film four or five years back and I made a film called Dhamkatha. It was a movie for children in which Om had played the lead role of a lovable grandfather. Again, we had some memorable moments during that period. We worked very hard during the day. And then, after a hard day’s work was over, we would sit down, chat, have a drink and discuss a lot of things over that drink. During that discussion, Om did not just talk about films. He was capable of talking about his point of view, his opinion on politics and his comment on social issues. This side of his personality was very fascinating. Therefore, we could connect a lot more and it was a very beautiful association, although we did not meet regularly.

I don’t remember meeting Om on a regular basis. But whenever we bumped into each other, we would mostly be shooting in a studio for different films. He would be shooting his film, I’d be shooting mine. We would be there, then we’d sit down and have lunch together, or we would bump into each other at a film function or a party. Even though there was a long gap between each time we met, there was never a feeling that it was after any gap. It was always with a kind of warmth and the feeling that we just met yesterday. And he always had respect, so our friendship was a very beautiful relationship.

Today is not the day to talk about controversy. But I don’t think people have an appropriate view about actors. I just saw yesterday that Akshay Kumar came out and commented on the Bengaluru incident. Why do people think that actors can’t do it? Anchors have always done it, actors have done it in the past when they felt that there was something wrong happening in our country. I think it is just the media’s perception that actors are only entertainers and they need not talk about any other issue, neither political nor social. But Nana Patekar has been doing such a brilliant work for farmers.

I have said that some actors don’t hesitate to come out and make a statement. Om was one of them. And therefore, we belong to the same gharana.

Koffee with Karan season 5: Shahid and Mira Kapoor, get a room

In the latest episode of Koffee with Karan, Shahid Kapoor and his wife Mira were so mushy, in-love, and all about each other that we felt like asking them to get a room (or go home).

For their first public appearance together, this was quite a memorable one. Quick flashback: the duo announced their marriage in 2015 amid many rumours. It was an arranged one and had the whole country talking. They were wedding in a lavish ceremony. Whatever questions you had about the couple, this episode of Koffee with Karan definitely answered most of them.

Karan Johar being himself, started the show by addressing the elephant in the room: in his last few appearances on the show, Shahid appeared with all his rumoured love interests, Kareena, Priyanka, and Sonakshi. While Karan took Shahid’s case on this, Mira seemed unfazed and quite sporting.

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This was followed by multiple stories of how Shahid and Mira met for the first time. Sample these: When both families gathered together to discuss Shahid and Mira’s wedding, the duo were unaware. They were assuming that the match being spoken about was Shahid’s younger brother Ruhaan, and Mira (because their ages are similar). Upon meeting for the first time, Shahid and Mira spoke for 7 hours, non-stop. It was after meeting a couple of times did they decide to get married, but when Shahid met Mira’s father for the first time, he was prepping for Udta Punjab. Which means that his father-in-law saw him in his Tommy Singh avatar (ouch).

However, this story takes the cake. During their first meeting, Shahid asked Mira why she wants to marry someone much older to her. Mira’s response was, “why do you want to marry someone much younger? That’s much worse.”

One of the first judgments you make about Mira (let’s face it, we were all judging her, this is the woman’s first TV appearance), is that she’s unlike a “star wife”. She seems quite real, and it shone in one particular anecdote. When Karan asked her how she manages at film parties, she revealed that she actually likes meeting new people and hearing stories about a world she is not a part of. But more importantly she had no reason to feel weird or out of place.

Mira left no opportunity to make fun of Karan Johar (woot woot). When they played a game called “pillow talk”, Johar asked Mira what she says to Shahid every night before sleeping. When she revealed it was, “I love you,” Karan in his trademark style said, “I feel like I’m watching some Valentine’s Day special”, to which Mira said, “it’s like you’re watching one of your own movies.”

The flavour of being real must have transferred to potentially one of the most histrionic host on Indian TV, because when Karan Johar asked Mira things about Bollywood she doesn’t like, she said, “Airport looks and nepotism,” to which he responded, “the latter might be directed at me”.

Suffice it to say, this was one of the most candid episodes, where love was not just in the air but pretty much everywhere (this rhyme was as cliched as the couple, Shahid and Mira).

Dangal movie review: Aamir Khan and four lovely youngsters knock it out of the park

Sweaty bodies gripping each other in places strangers should not touch, violence as a form of entertainment, our baser human instincts getting official and mass encouragement – if you ask me why I cannot stand contact sports, these would top my answer.

Young Geeta and Babita Phogat have far more mundane reasons for hating wrestling: no girl they know does it, so why should they? Dangal is the story of their father’s bulldog-like determination to make them gold medal winners for India, and the girls’ own passage from aversion to passion for the sport.

Nitesh Tiwari’s third film as director is based on the real-life story of Haryana’s Mahavir Singh Phogat, patriarch and coach of one of the country’s most unusual sporting families: his daughters are all wrestling champions, the eldest two — Geeta and Babita — are Commonwealth Games gold medallists, and Geeta is the first Indian woman wrestler to have ever qualified for the Olympics.

This achievement is particularly striking considering that Haryana has one of India’s worst child sex ratios and a horrifying track record in the matter of female foeticide and infanticide.

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Dangal is about Mahavir’s single-mindedness which brings him into conflict with his wife, his community, the country’s sporting establishment and ultimately, even Geeta.

The first half of the film is riveting in every way imaginable. Mahavir (played by Aamir Khan) gives up his wrestling dreams to financially support his family. He then decides to turn his yet-to-be-born sons into wrestlers who will bring home golds for India. This dream too is crushed when he and his wife Daya have four daughters instead in succession.

One day when Geeta and Babita bash up a couple of local boys for abusing them, Mahavir sees the light. He forgot, he says, that a gold medal is gold whether won by a boy or a girl.

The songs neatly woven into the narrative in these scenes are catchy, their lyrics steeped in hilarious colloquialisms. The acting is singularly flawless all around.

Geeta and Babita as children are played by two brilliant debutants, Zaira Wasim and Suhani Bhatnagar, who knock it out of the park in every scene (if I may borrow a phrase from another game). And the storytelling matches up.

No effort is made to gloss over Mahavir’s flaws: he is a dictator at home and a terror outside. This is, without question, a traditional set-up where the husband/father’s word matters more than anyone else’s opinions or beliefs. Even the local people are afraid of him, but that does not stop them from gossipping about this man who, they are convinced, will drive his daughters to ruin by forcing them into a field they believe no woman should touch with a barge pole.

Jolly LLB 2 trailer: Akshay Kumar plays a bumbling lawyer-turned-hero in Subhash Kapoor’s film

The Jolly LLB 2 trailer is out. And from what it offers for our consumption, it seems to have capitalised on all of its leading man Akshay Kumar’s strengths.

Akshay Kumar in Jolly LLB 2

Jolly LLB 2, the trailer, starts off as a comic caper. We see Akshay’s character, a lawyer named Jolly, on a losing streak in court. He is prone to asking his witnesses filmi questions, like when Salman Khan is likely to get married; cry like (in the words of Saurabh Shukla, who plays the judge) Nirupa Roy, and generally engage in a whole lot of theatrics that have little or no intended effect.

He also has the gift of spinning grand, catchy lines — although his bombast finds barely any appreciation in the courtroom, or at home, with his long-suffering wife Pushpa (Huma Qureshi).

Things — and the tone of the film — change suddenly when a man is killed, and his wife approaches Jolly for help seeking justice.

Jolly quickly realises that this is not just about one man’s life being brutally cut short, the victim was but one pawn in a larger nexus that involves several powerful people. When Jolly fights against them, he realises that he has the fight of his life ahead. His adversary in court is the evil advocate Annu Kapoor.

There is one dialogue that is sure to be a crowd-pleaser: Jolly says in court that whoever said ‘everything is fair in love and war’ was the biggest fool — because then it would mean that those who decapitate soldiers at the border in the name of war, or those who fling acid at women in the name of love, are justified in carrying out their heinous acts.

The Jolly LLB 2 trailer packages everything that the ‘Akshay Kumar brand’ is known for — comic timing, action, dialogue delivery, romance and pop patriotism — in its two-and-a-half minutes of run-time.

Dear Zindagi movie review: Incredibly cute Alia, Shah Rukh Khan need a more consistent script

Dear Zindagi is clearly straining at the formula-ridden Bollywood straitjacket to give us a refreshing take on love and family, and for the most part it sticks to its guns. In the end, it does succumb to the pressure to bow to perceived public demand with passing mentions of what we have come to consider inevitable in every Hindi film, but the ride up to that point is so rewarding so often that it is tempting to look past those needless moments.

Writer-director Gauri Shinde’s Dear Zindagi comes four years after her remarkable debut with English Vinglish. If that film brought the charismatic Sridevi back to the big screen as a leading lady after a 15-year hiatus, this one redefines the concept of hero and heroine in Hindi cinema.

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Dear Zindagi revolves around Kaira (Alia Bhatt), a talented young cinematographer in Mumbai who despises her parents, appears confident in her romantic relationships yet is ridden with insecurities about the men she is drawn to. Those insecurities lead her to deliberately hurt her boyfriends before they get a chance to hurt her. It does not take a degree in psychology for a viewer to figure out her behaviour patterns, but Kaira is naturally confused by her fears. She ends up seeking professional help, and with some wise counsel, finds her answers herself.

When one of the biggest stars in the history of Bollywood appears on screen about 40 minutes after the opening credits, it goes without saying that this is an extremely unconventional film. Bhatt’s Kaira is the focal point of the story from start to finish whereas Shah Rukh Khan – playing her therapist Dr Jehangir Khan – surfaces towards the latter part of the first half and is nowhere to be seen in the concluding scene.

In a male-obsessed industry still tending to subordinate women in most mainstream projects, this is a decision that shows guts on Shinde’s part and Khan’s evident willingness to experiment. That other MegaKhan, Aamir, took a similar gamble with rewarding results in Taare Zameen Par (2007), and this is a winning aspect of Dear Zindagi too.

SRK gets less screen time but owns every scene he is a part of. In fact, Doc Jehangir enters the picture just as the film is sagging and appears to be repeating itself. His arrival immediately lifts Dear Zindagi. It sags again occasionally thereafter, but never when he is around. Besides, there is such warmth in Kaira’s interactions with the Doc that it envelops the rest of the narrative too.

It is worth mentioning that Khan in this new phase of his career when he is acknowledging his age gracefully, showing us a dash of gray and a whiff of wrinkles, is looking hot.

Kaira explodes in anger at one point when someone describes her as a pataka (firecracker). Well, that’s precisely what Bhatt is – a pataka with pizzazz and verve. What makes her so impactful is that she has had an internal journey with each of her roles so far, and not so far allowed that journey to be overshadowed by her attractive personality. Kaira is simultaneously exasperating and endearing, and Bhatt remains in control of that difficult blend throughout.

Still, the film needed more matter to wrap around these two lovely stars, and Dear Zindagi too often does not. Some of that comes from the failure to build up the satellite characters who are Kaira’s go-to people in times of need. We get that she is pre-occupied with her own emotional struggles to the point of not noticing their problems, but that is no excuse for the writing to neglect them too.

Who is Fatima (Ira Dubey) beyond being a mature, married friend? Who is Jackie (Yashaswini Dayama) beyond being a sweet, supportive, possibly younger friend? Who and what is that chubby male colleague beyond being chubby and funny? Who is her brother Kiddo (Rohit Saraf) whom she loves, beyond being her brother Kiddo whom she loves? Who and what are her boyfriends Sid (Angad Bedi), Raghuvendra (Kunal Kapoor) and Rumi (Ali Zafar) beyond being a good-looking restaurateur, a good-looking producer and a good-looking musician?

(Spoiler alert) And then there are those two oh-no moments towards the end – you know the kind that make you say, “Oh no, you too Dear Zindagi”? One of them seems to go along with the traditional view that characters played by a major male star and a major female star must inevitably be attracted to each other if they interact long enough in a story; the other underlines the essentiality of a man in a woman’s life to make her feel complete. Both are fleeting suggestions, but they pull down the film’s assuredness about what it is trying to say until then. Oh no, you too Dear Zindagi? (Spoiler alert ends)

For this and other reasons the film is inconsistent and intermittently lightweight. Yet, there is much else to recommend in Dear Zindagi.

The use of music, Amit Trivedi’s breezy tunes and Kausar Munir’s conversational lyrics are lots of fun, as are Kaira’s many amusing interactions with her friends. DoP Laxman Utekar fills the film with pretty frames of Goa beyond what we are used to seeing of that picturesque state, and is just as imaginative in his focus on Khan and Bhatt’s faces. Watch out for the closing shots of Bhatt on a beach.

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From an industry that usually treats parents as deities deserving to be worshipped, it is also unusual to get a story that does not ignore these gods’ feet of clay, especially considering that Dear Zindagi is co-produced by Karan “It’s All About Loving Your Parents” Johar.

Above all, it is nice to see a film making an effort to destigmatise patient-therapist interactions, in a portrayal far removed from the “paagalkhanas (lunatic asylums)” of an earlier Bollywood era.

Dear Zindagi then is a mixed bag. I loved SRK in the film, Bhatt is always a pleasure to watch, the story visits many themes that are uncommon in Bollywood, and several of the discussions are either witty or insightful or both. Overall though, the film comes across as being not enough because the writing needed more substance.

Dear Gauri Shinde,

You broke the mould with the delightful English Vinglish. Since you have defied convention in so many ways this time round too, you may as well have gone the entire distance without worrying about the consequences. We believe in you. Please do have faith in our faith in you.

Dangal’s first song ‘Haanikaarak Bapu’ champions everything that’s right with Aamir’s film

Comparison is the fuel of Bollywood at the moment, what with the many clashes (read: Mohenjo Daro and Rustom; ADHM and Shivaay) we have seen in 2016. However — and we never thought we would say this before its release — Aamir Khan’s  Dangal seems to be doing everything right, where Salman Khan’s Sultan went wrong.

Allow us to elucidate.

After its intriguing trailer, Dangal‘s first song, ‘Haanikarak Baapu‘ revolves around Aamir Khan coaching his daughters to become competent wrestlers. The song is shot and sung from the girls’ point of view, where they seen working out really hard, training their bodies to be wrestlers, and facing the wrath of Aamir, who is shown to be brutal with them in their training.

You don’t need us to tell you that Aamir can really act. He plays the stern father part with complete conviction, and it works well for a song that laments about this very fact.

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‘Haanikarak Baapu’ is peppered with dialogues; Sakshi Tanwar, who plays Aamir’s wife and mother to the girls, has her Haryanvi accent bang on. Aamir rocks a dad bod (an elderly man with a paunch and a flawed, yet desirable body, for the uninitiated) in this film, much like Salman in Sultan. However, he is a lot more nonchalant about it.

The song itself is catchy, and we’re sure kids will love it, but the real champion of ‘Haanikarak Baapu’, and by extension Dangal, is its nuanced and unbiased portrayal of the fact that it is actually two girls who Aamir trains; his daughters.

Force 2 movie review: Slick mix of action, John Abraham, suspense and an appealing villain

It is hard to find a film that does not promise an iota more of anything than what it intends to deliver, and then efficiently delivers on its promise. Force 2 is an intense action flick that serves up slick stunts and technical finesse to support its straight-laced storytelling style.

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Director Abhinay Deo’s latest film is a sequel to Nishikant Kamat’s Force (2011), which starred John Abraham and Genelia D’souza. That film in turn was a remake of the 2003 Tamil blockbuster Kaakha Kaakha directed by Gautham Menon, starring Suriya Sivakumar and Jyothika.

Force did not have Kaakha Kaakha’s emotional heft, but it did have gripping, not-before-seen action plus a villain worth living and dying for. Its Achilles heel was the casting of the heroine. Four years since Force, the franchise repeats the mix, giving us gripping action once again, a solid villain and a contentious heroine.

Abraham is back in Force 2 as a well-intentioned Mumbai policeman who does not play by the book because the book, in his opinion, can tie a good cop down. In the years since Yashvardhan lost his wife (played by D’souza) in the first film, he has remained as strong-willed, impertinent and determined to vanquish evil as he was back then. When a bunch of agents of the Indian intelligence agency RAW (Research and Analysis Wing) are exterminated in well-planned back-to-back killings, Yash enters the picture to find out why and to prevent further deaths.

The case lands him in beautiful Budapest. His partner and supposed boss in this mission is RAW officer KK, Kamaljit Kaur, played by Sonakshi Sinha. KK is to the always-defiant Yash what chalk is to cheese, so of course they clash repeatedly.

Together, they find themselves up against an antagonist who somehow manages to stay ahead of them every step of the way. Shiv Sharma (Tahir Raj Bhasin) is driven by an unexplained grouse against RAW and India. It is evident from the moment we meet him that Yash and KK will solve the case when they crack the reason for his animosity.

The purposefulness of this film’s writing is both its strength and its weakness. Parveez Shaikh and Jasmeet K. Reen are here to entertain us with suspense and unrelenting skirmishes – involving wit, guns and fisticuffs – and they do that well. If only they had paid more attention to the characterisation of Yash and KK, Force 2 would have been more than just that.

Yash relies almost entirely on our pre-existing investment in him from the previous film, on Abraham’s dimpled charm and the actor’s unapologetic willingness to be objectified without denting his dignity in the way Hindi cinema tends to do with women. However, we do not see enough of the character’s journey here, nothing much to add to the Yash we already know from Force.

The film’s potentially most interesting element is the most problematic. Leading ladies in Hindi cinema are rarely in positions of authority over leading men, and they are certainly rarely at the centre of hard-core action cinema. KK, then, is a fascinating proposition. Having envisioned her though, the writers give her short shrift.

Sections of Bollywood these days are taking a long, hard look at the way women have been straitjacketed in films since the 1970s. While some are ushering in genuine change, too many are struggling to pull themselves out of the morass of their own misogyny. Sinha earlier this year starred in Akira, which made a woman the central figure in an all-out action-reliant drama but then spent so little time on fleshing her out as a human being, that the most engaging character in the film turned out to be her arch enemy – who was a man … of course. Deo & Co are better in the sense that their KK is not a one-line concept note. We do get to see her for the person that she is. Still, she is a RAW agent who screws up on an important assignment in a way you know the male lead of this kind of Hindi film would not, and when it comes to the crunch, she still needs a man to be decisive on her behalf and have the last word.

The saving grace of the Yash-KK equation is that despite the hint of a romance between them, the film does not go too far in that direction. This is a good thing, since Sinha looks like a child in comparison with Abraham. The actress does a fair job of what she is given to do, but I wish she had been given more to do and the screenplay had been less patronising towards KK.

The best written character in Force 2 is Shiv Sharma, a criminal who is both cold-blooded and nuanced, a man we can fear yet empathise with without the film getting too maudlin in its portrayal of him. Tahir Raj Bhasin is wonderfully controlled in his execution of Shiv, making him as intriguing as Vidyut Jamwal’s Vishnu was in Force yet completely different.

Hrithik Roshan, Kangana Ranaut’s legal spat might have reached an official conclusion

March 2016 marked the beginning of one of the biggest controversies in Bollywood for the year.

Kangana Ranaut and Hrithik Roshan had slapped each other with legal notices through their respective attorneys, Rizwan Siddiquee and Deepesh Mehta.

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After Kangana made a comment about a ‘silly ex’ of hers, Hrithik Firstpost slapped a defamation notice against her that seemed to indicate that (he believed) the comment was directed at him. The fight got murky, and allegations were thrown from both the parties.

As had reported earlier, the crux is that an email ID, from which Kangana claimed to have received messages from Hrithik, seem to indicate that they were in a relationship. Hrithik, on the other hand, said he never had an email account with that ID, and that it was an impostor who had been communicating with Kangana
all along.

He even tweeted that he would rather have an affair with the Pope. Ouch.

An officer connected with the Cyber Crime Cell has been quoted by various news outlets as saying the emails came from a US server, and in the absence of data from there, no user could be identified, which for Kangana’s team was a win-win situation.