Category Archives: Bak Bak

Anushka Sharma’s next production Kaneda confirms Arjun Kapoor in the lead

The first thing to come to your mind when you think of Arjun Kapoor and Anushka Sharma pairing up for a film is that finally we have a pairing of equals (read: the Khans’ principle of romancing actresses half their age is so passé).

 

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And so it’s confirmed. Anushka Sharma will reportedly be seen romancing Ki & Ka actor Arjun Kapoor in her upcoming film Kaneda. It will be helmed by Navdeep Singh, who last directed the sleeper slasher hit NH 10. DNA reports that it will be a dark, gritty thriller and after NH10 we are pretty sure it will be dark.

There were several rumours that Arjun Kapoor had stepped down from the film, but it has no been confirmed that he will be a part of it.

Kaneda will be Anushka’s third production after NH 10 and Phillauri. The 28-year-old actress has finished the last schedule of Phillauri, where she will be seen sharing space with Diljit Dosanjh and Life of Pi actor Suraj Sharma. The trailer is said to be released next week sometime.

Arjun Kapoor has two films — Half Girlfriend with Shraddha Kapoor and Mubarakan co-starring uncle Anil Kapoor.

Anushka’s last film was Karan Johar’s Ae Dil Hai Mushkil where she played a girl from Lucknow, Alizeh. She is currently also working on Imtiaz Ali’s next with Shah Rukh Khan, tentatively titled Rehnuma.

Raees box office collection: Shah Rukh Khan’s film has Rs 21 crore opening

Shah Rukh Khan has proved yet again, his penchant for making a solid opening at the box office with his latest release Raees.

Raees, directed by Rahul Dholakia and produced by Excel Entertainment and Red Chillies, was expected to take in anything between Rs 17-19 crores in box office collections when it opened on Wednesday, 25 January 2017.

The predictions seemed in line with SRK’s previous releases — Fan (which brought in Rs 19 crores on opening day) and Dilwale (which had a Rs 21 crore opening).

As per early reports, which have taken into consideration the screen count (approximately 2,600) and occupancy levels (reported to be around 60 percent through the day), the Day 1 box office collection has been estimated at Rs 21 crore.

Trade observer Ramesh Bala tweeted out the early figures: “Looking at the early day one numbers, Raees seems to have outdone Kaabil by a huge margin at the box office: Raees — Rs 21 crore; Kaabil — Rs 7.5 crore.

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1 figures for Raees at Rs. 20.5 crore, stating: “Considering the fact that Wednesday was a regular working day with the only advantage being the big holiday on Thursday (Republic Day), due to which evening and night shows were better than normal, Raees has clearly taken a very positive start at the box office.”

While official figures are still awaited, it is Day 2 figures for both Raees and Kaabil that will be keenly watched. It remains to be seen how much the public holiday will benefit the business of both films.

Bengaluru molestation: Backlash to Akshay Kumar’s message shows it’s catch-22 situation for stars

On the morning of 9 January 2017, Meryl Streep made a blistering anti-Trump speech at the 74th Golden Globes without mentioning the President-elect. During her acceptance speech for the Cecil B DeMille Awards, she called out Trump for mocking a disabled person and warned that the press would need to be defended. As expected, the same people who laughed at Akshay for using a public platform to address a societal issue lauded Meryl.

Akshay Kumar. File Photo

Bollywood actors are always criticised for not taking a stand on issues that are relevant and volatile. It’s just that when they do address an issue, their opinions are ridiculed and their motives questioned. And, don’t forget what happened to Aamir Khan and Shah Rukh Khan when they spoke up.

Celebrities in our country don’t have basic freedom of expression.  They are both expected to have and not have any opinions. If they do express an opinion, they shouldn’t have ever done or said anything contrary to that opinion. Also, they shouldn’t have a film releasing around the time of the said opinion being shared.

A friend pointed out that Akshay has Jolly LLB 2 releasing next month so obviously this video was a PR exercise. She added, “When he does films like Rowdy Rathore and Housefull where women are objectified, how can he expect his audience to respect women?” Last year, Katrina Kaif spoke about gender equality and violence against women during a conference in Delhi. The first reaction I heard was “How can Katrina talk about gender empowerment when she dances suggestively in skimpy clothes to ‘Chikni Chameli‘ and ‘Sheila ki Jawani‘?”.

Apparently, actors like Akshay or Katrina have no right to speak about gender issues. ‘Every job is a job’ does not apply to Bollywood’s actors. The argument is that actors have a large sphere of influence. Hence, we expect our actors to be actor-activists. And, that brings us right back to the backlash they face every single time. Ever so often the repercussions go beyond abuses online or being topics of discussion on primetime news. If Bollywood is too scared to speak up, it’s because their statements could (and have, in the past) harmed the industry financially. This is not a fear that Hollywood lives with.

During the Actress Roundtable of 2015, Kalki Koechlin was spot on while explaining an actor’s social responsibility. “People always say that actors have a responsibility… an actor has the responsibility to deliver in their job as an actor, just as much as a banker in theirs. For every actor to be an activist on every topic is ridiculous,” she said.

Every time we look to our celebrities to use their influence to impact large scale societal change, it is important to remember that they are only human. Like us, they are bad, and at times lazy activists. When a celebrity speaks out, it’s out of sheer frustration and anger at what is happening in the country. Again, that reaction is no different from how anyone of us would react.

Most of us don’t have the bandwidth to comment about everything. What an actor chooses to take a stand on comes from a personal space. It has nothing to do with his/her movies. In his video message Akshay said, “I am ashamed to be a human being today. I was returning from my New Year’s vacation with my four-year-old daughter in my arms when I learnt about the molestation incident in Bangalore (sic). I don’t know how did you all feel about it, but my blood started boiling. I am a daughter’s father but even if I was not one, I feel if a society cannot respect its women, it doesn’t deserve to be called a humane society. What’s most disgusting is that people have the guts to justify such shameful acts by criticising women for their choice of clothes.”

Everything Bollywood does is not for publicity. Among the many causes he supports, Akshay, along with Youth Sena leader Aaditya Thackeray, has been involved in the Women’s Self Defense Centre (WSDC) in Mumbai where women are given free self-defense training. Launched in 2014, WSDC offers a course that lasts for a month after which women have the option of enrolling for free advance classes. There are plans to open 100 more WSDCs across the country in the next five years.

Akshay Kumar doesn’t need a video message or a WSDC to generate publicity for his next release or for himself. Nor does Katrina Kaif need to speak at a women’s empowerment conference to generate work. Like you and me, Bollywood celebrities are not obligated to be activists. They do it because they are concerned citizens.

The only people we need to question about social responsibility are our elected representatives. They are the only ones who directly benefit from airing their views. So, leave Bollywood alone.

Om Puri: His life, dreams, struggles and accomplishments in his own words

I used to work as a clerk at a government office in Punjab. I was paid a salary of Rs 600 per month. I decided to leave the job, and pursue a career in acting. I knew that irrespective of how I fared, I would do better than making six hundred rupees. So I quit the job. At the time, it was unheard of. Everybody wanted government jobs. I studied acting for five years, including a course at the National School of Drama (NSD) in Delhi, and only after I was certain that I had the requisite skill, I moved to Mumbai. But it took not less than thirteen years after I decided on pursuing a career in the film industry that stability finally found me.”

These are Om Puri’s words in an interview to me.

Om Puri had earlier sought bail after being accused of domestic violence. PTI

An internationally acclaimed actor, a Padma Shri recipient, one of the pioneers of the world of parallel cinema, a stellar performer whose versatility transcended borders – Om Puri, who breathed his last in his Mumbai home on Friday, bagged several credits during his celebrated career spanning over four decades. But behind the tales of glory was a man who, as per his own admission, had trained hard to acquire the skill he was distinguished for.

He had struggled hard to survive in Mumbai before the film industry let him carve his space.

My interaction with Mr Om Puri was on a morning in August, 2015. I was busy with research for my recently published book, ‘The Front Page Murders: Inside the Serial Killings that Shocked India.’ The book, which is the true story of a serial killer who would murder and hack Bollywood strugglers for wealth in Mumbai, 2012, required me to speak to film industry insiders about the Bollywood struggler life in Mumbai, their passion and its pitfalls.

My study took me to actor Om Puri, recipient of two national awards then, but a man of long-standing perseverance, his story barely told. Since I had been a senior crime correspondent with a leading national daily, availing Mr Puri’s mobile number through an entertainment journalist in the city was not a difficult task. But I knew that getting him to talk would be tricky. He was a Bollywoodwallah after all, and to journalists, no one has more dolled up egos than this breed of artists. I, however, was in for a surprise.

‘Haan ji,’ Mr Puri answered his phone.

After I introduced myself, inquiring if it was a good time to talk, Mr Puri informed that he was on his way somewhere, and would be happy to spare a few minutes. Pleasantly surprised, I rolled out my questions, and he gladly detailed.

Recollecting the time when he first moved to the city of slums and skyscrapers to chase his Bollywood dream, Puri said:

“I was 26 years old when I first came to Mumbai. I did not know anyone here except for actor Naseeruddin Shah. He was my senior at NSD. So upon reaching here, I went straight to him. He was living in a rented room then, and allowed me to stay with him for two weeks. We were sharing the room, but the landlady did not approve of it. I was staying as a guest, and wasn’t paying rent. So she took me out. Through a friend, Naseer then found a paying guest accommodation for me off Hill Road in Bandra. It was a bungalow, and I was given one room with only a cot, one almirah, a table, and a chair. That was 1976. I paid a rent of Rs 175 per month. One and a half years later, the landlady’s son got married. They wanted the room, and I had to move out.”

The veteran artist recollected that after leaving the bungalow, he approached a hostel in Bandra. However, the authorities were skeptical about letting him stay because they had a bad experience with an actor before, and didn’t allow accommodation to Bollywood aspirants anymore. Puri tried to convince them, saying that he wasn’t any other run-away in the city, whiling his time away, that he was extremely serious about his Bollywood dream, and was working hard towards it. But the hostel authorities wouldn’t budge.

I did not give up hope, and landed at the hostel every other week. I had to have a roof. Eventually, they agreed, and I stayed there for two years, sharing my room with another boy. Aakrosh released in 1981. The film was very well received by art producers, but it didn’t impress the film industry. I moved to several other places before Manmohan Shetty’s Ardh Satya was released in 1983. (Om Puri’s career took off with this film; he also won the National Film Award for Best Actor for this role.) Mr Shetty told me that he had a one-BHK flat lying vacant in Chembur, and that I should move there until I get my own place. Things were good thereafter – eight years after I moved to Mumbai, and thirteen years after I chose to pursue a career in acting.

During our conversation, Puri spoke extensively about how difficult the life of a Bollywood struggler is in Mumbai, how these men and women flock to the city with dreams of the silver screen, hopes of that one celluloid break, and how they end up getting exploited by men who have set up businesses only to cash on their innocent dreams.

Bollywood aspirants need to be careful about falling prey to criminal elements in Mumbai. They should only visit established offices, and not believe any random person who boasts of connections in the film industry. The struggler’s life is very difficult here.  When you come to the city with dreams of the film industry, the biggest problem is survival. Mumbai is an expensive city. When youngsters approach me for roles, the first thing I ask them is if they can afford staying in the city for at least a year without a stable income, if their families can afford it. If yes, they can go ahead and try their luck.

Talking about his own luck, Puri said that he had worked hard to turn fate in his favour.

“Bollywood aspirants usually come to this city, looking at people like us. And when they see someone like me, particularly, it gives them hope. They think ke yaar, Om Puri jaisa aadmi, jiske face pe daag hai, naak bada mota sa hai, Irfan Khan bhi koi aisa good-looking nahi lagta, agar yeh log kar sakte hai, toh hum toh inse better dikhte hai. (They think that if a man like Om Puri, who has spots all over his face, a fat nose, Irfan Khan is also not very good-looking, if they can make it, we are better looking than them.) But they don’t realise that we have worked hard to study acting before coming to Mumbai. I came here after training for five years.”

Although I haven’t spoken to the actor since this conversation, I know that he was proud of his eccentric looks, and his achievements in the face-obsessed film industry despite them.

“I have no regrets at all. I have done quite well for myself. I didn’t have a conventional face, but I have done well, and I am proud of it,” Puri wrote on Twitter a fortnight ago.

Nervous, but also very excited: Deepika Padukone on her Hollywood debut with Vin Diesel

Mumbai: Actress Deepika Padukone says she is nervous and excited about her Hollywood debut xXx: Return of Xander Cage that stars Vin Diesel.

“I am really excited. This is my Hollywood debut. I am very nervous, but I am also very excited. And today is the beginning to that journey. Hopefully, we will be coming to India soon,” Deepika said on 1 January before leaving for abroad to kick-start the film’s promotion.

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“In terms of promotion, first we will head to Mexico. As far as the release is concerned, we will first release the movie in India. While shooting the film, I discussed this with my unit… that it would be great to first release it in India and I am happy that it is finally happening,” she added.

After her Hollywood debut later this month, Deepika will be known for being more than a Bollywood actress.

Talking about it, she said: “I think I’d like to be known as a good person and a good actor. But I also feel very proud that I get to represent my country, especially in this kind of action franchise of the film.”

“I am really excited. I am also very sure we will enjoy this film because of its content. There is a lot of action, adventure in the film, which we have not seen in Indian films before. So, I can’t wait to bring this movie to India and show it to everyone.”

Shah Rukh Khan: ‘As an actor, I do not perform keeping awards in mind; it just happens

Mumbai: Bollywood superstar Shah Rukh Khan, who launched the upcoming international film award titled ‘Indian Academy Awards’ says he loves awards and considers them the collective applause for his work.

Shah Rukh Khan. File photo/Solaris Images

“I love being a movie star and I love awards. After working for some time in the industry, we all reach a point from where we need some kind of applause and recognition. My awards are the collective applause for the work that I have done that year or on a film,” Shah Rukh told media here.

Khan added that in his opinion, none of his films so far in the vast body of his work is worthy of a National Award.

“If I haven’t got an award, I didn’t deserve it.. as an actor, I do not perform keeping any award in mind, it happens,” he added.

Indian Academy Awards, conceptualised by Brainstorm Entertainment and executed by Cineyug will held in California to celebrate world cinema of three major film industries — Bollywood, Tollywood and Hollywood.

Apart from Shah Rukh Khan, the event had Vandana Krishna, Saurabh Pandey of Brainstorm Entertainment, US Consul General Tom Vajda and Aly Morani from Cineyung.

Explaining the idea of celebrating cinema on such a huge platform, Shah Rukh, asking people not to compare it to the Oscars or any such awards, said: “Bollywood films are hugely respected by American artistes. Creating this kind of platform will help us to not only promote our Indian films of different industries, but also create awareness of our work.

“India is one of the old filmmaking countries of the world. So as a member of film industry, I feel it is our responsibility to educate people about our cinema that can resolve lot of misconception about Indian films.”

One of the unique factors of the award is film lovers’ participation. People can vote for their favorite films, stars in over 21 categories from the official website of Indian Academy Awards.

IAA founder Pandey said: “The Indian film industry is going global and the Indian Academy Awards is a celebration of that global, democratic academy that is completely transparent and all encompassing. Our aim with these awards is to bring a sense of realism and credibility to cinema awards in the Indian film industry. This is an academy that never sleeps.”

Vajda said: “We are very pleased to support the collaboration between the American and Indian film industries, in a way that recognises and promotes great talent and storytelling in movies. California is a perfect destination to showcase this for both American and Indian audiences”.

Indian Academy Awards will be a two days extravaganza of live performances by various superstars of Bollywood including Shah Rukh that will be choreographed by Shiamak Davar along with music and fashion shows on 7-8 July 2017 in Silicon Valley.

Kahaani 2 quick review: Vidya Balan is riveting in thriller that’s let down by its second half

Except for carrying forward the name of a character — ‘Vidya’ — for the first half of the movie, Sujoy Ghosh’s Kahaani 2 (also known as Kahaani 2: Durga Rani Singh) starring Vidya Balan and Arjun Rampal, is an entirely different movie from its predecessor in the franchise. The plot is new, so are the characters.

Vidya Balan in 'Kahaani 2: Durga Rani Singh'

Kahaani 2 is set in Kolkata and is the story of Durga Rani Singh, played by Vidya Balan, who has been accused of kidnapping a 6-year-old called Mili, and murdering her grandmother. There is a also a parallel life she leads as Vidya Sinha, who has a daughter named Mili. Confusing enough? You will have to watch the movie to find out how this plot plays out.

The movie revolves around child sexual abuse. The first half of the movie gives you all the possible thrills and chills as Durga Rani Singh sets out in a mission to rescue a child from a possible abuser.

This is one of those movies for which the trailer is a curse. Two of the most startling moments in the film lose all their shock factor if you’ve already watched the trailer, and that’s sad.

The movie also has Inspector Inderjit, played by Arjun Rampal. ‘Hot’, I’m sure is the correct terminology here. He is entirely convincing as an inspector who has been transferred to a small town and is waiting for a promotion so that he along with his family could shift back to the city.

The first half is gripping, and 100 percent entertaining. But the second half turns out to be slightly off track. While Sujoy Ghosh with his magical attention to detail has scripted out what was meant to be an amazing narrative, the second half drags, and is not as entertaining. The director also flavours the second half with subtle humour in the midst of intense moments. While I was with a theatreful of people laughing along at those subtleties, I felt like it might be taking the seriousness away from the issue of child sexual abuse. And the way CSA is dealt with in the movie is good, but not moving enough perhaps.

Powerful, strong and riveting, Vidya Balan gives a performance which is definitely worth watching multiple times. Arjun Rampal puts up a great show as well. The two childactors who play the character Mili are spot on. While the performances take Kahaani 2 a notch higher, a not-so-thoroughly thought out second half pulls it down.

Force 2 is a refreshing action film from John Abraham, despite its faux-patriotism

Right away let’s establish one thing, and this will likely hold true for a few years at least: Popular Indian cinema is going to milk patriotism and pride in the nation as much as it can, given the direction in which national discourse has swung. (Check your WhatsApp forwards for a quick confirmation.)

No genre of popular cinema is going to tap into this more than action entertainers, because nationalism is a natural ally of grandiose masculinity and brute physical power, attributes that we’re trying to ascribe to a nation we, strangely enough, call our ‘Motherland’.

Expectedly, given that it gets to play with a big action star as a cop, Force 2 does it with élan.

At one point John Abraham’s ACP Yashvardhan declares that the days are gone when India couldn’t carry out covert operations on foreign soil. ‘Ab hum ghus ke maarte hain’, he exclaims. Translation: ‘Now, we barge in and kill our enemies!’ (Does anyone else feel that ‘surgical strike’ has the potential to be a smashing new drinking game? Surely we deserve a pun on ‘shot’.)

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Once you accept that we’re going to see this quite often now — at least until India (as a collective consciousness) has more important things to worry about than projecting a strong masculine image to the world — and once you accept that cinema is going to assimilate popular culture in order to maximise footfalls and profit, you might just find Force 2 to be a refreshingly decent actioner, unlike the ludicrously overcooked action films Hindi cinema in particular frequently subjects us to. (I’m looking at you, Dilwale and Shivaay.)

For starters, Force 2 is set in a world where everyone doesn’t speak Hindi (imagine). The film is based primarily in Budapest, and mercifully, Hungarians and other foreign nationals in the film get to keep their language and not converse in awkward Hindi with the Indian lead pair. The foreign language lines are subtitled in Hindi, which is encouraging. It’s a sign of not taking the audience for granted, while also ensuring that the audience does not remain a passive viewer throughout. (In general, this would be a good time to brush up on our Hindi reading abilities, please note.)

This trait, of not taking the audience for granted, runs through the film.

The plot itself is standard international espionage fare for a seasoned viewer of Hollywood’s self-aggrandising CIA movies. (Stories of the CIA blatantly using Hollywood, for something that goes beyond even propaganda, make for a fun read if you love conspiracy theories.) However, beyond that, the film actually does a good job of not dumbing everything down.

In fact, Force 2 can well be compared with any commercial film with an espionage backdrop from anywhere in the world, and it would hold its own because at the heart of it, the film’s intent is clear. There exist different types of patriotism, and even service to one’s nation cannot be seen through a monochrome  prism. It blurs the lines between what we call ‘massy’ and ‘classy’, keeps the setting contemporary, and serves up a fairly engaging plot all the way till the end.

Credit for this must go to director Abhinay Deo, who has always displayed a sensibility that is far more evolved than most other filmmakers. Incidentally, he happens to be one of India’s finest advertising filmmakers. He has made plenty ads over the years that showcase his ability to use the visual medium effectively without having to spell everything out. Watch one particular scene early in the film, where an Indian RAW agent is assassinated while riding a motorbike. It is a brutal scene that eschews gore in favour of pure imagery to make its point.

The hiccups in Force 2’s screenplay mostly come from trying to straddle that line between what’s right and what sells, and this is something even the most hardened cynic must grant to at least the producer of the film.

So, you have an Indian police officer appointing himself for a mission abroad involving the death of RAW agents. You have a perfectly made-up woman, from RAW no less, who partners with him on this mission. And you have a charming, baby-faced villain who oozes snarky charm. A few convenient liberties here and there are bumps in a film that otherwise keeps you interested for the most.

A special mention for John Abraham here.

The man does best in roles where he doesn’t have to emote, so he sticks to them. Back in 2013, when the Congress was in power, he co-produced and starred in Madras Café, which took a more than sympathetic view of (if not one that was downright in favour of) Rajiv Gandhi. This year alone, he has had Dishoom and Force 2, both of which firmly take a position aligned with the current government’s rhetoric.

Here’s a man who plays his cards right, and it explains why he’s still able to continuously churn out films as producer and solo lead, even if some of them don’t emerge winners at the box office.

Credit for Force 2 must go to the man who is at the receiving end of enough jokes about his acting talent, or lack thereof. Yes, we’re still a long way off from giving the world a global action film that we can be proud of, but Force 2 seems like a surgical baby-strike in the right direction.

Dilwale Dulhaniya Le Jayenge to Ae Dil Hai Mushkil: Bollywood loves naming films after hit songs

Dilwale Dulhania Le Jayenge still runs successfully at Maratha Mandir today. What runs along with it in the film industry, are all the DDLJ clichés that the film gave birth to, in 1995. The train sequence, lovers running and uniting in the fields and the girl’s furious father letting go of his daughter in the climax – all these scenes became historic and, in turn, the formula for all commercial entertainers.

Ae Dil Hai Mushkil borrows its title from the Johnny Walker's iconic song from the 1956 film CID.

An unnoticed trend or formula that Aditya Chopra’s film injected into the veins of the industry was that of dedicating the title of the film to the name of a famous song. Dilwale Dulhania Le Jayenge was the name of a song from Yash Raj Films’ 1974 movie Chor Machaye Shor starring Mumtaz and Shashi Kapoor.

Chopra, who was just four years old at the time of the release of the film, is likely to have imbibed the dialogues, scenes and songs of his legendary father Yash Chopra’s films. Thus, while selecting a title of his directorial debut, he chose one of the famous songs that he grew up listening to. The title fit into the context of the film aptly as well.

What followed was a trend of naming films after famous songs as a formula, on the director’s part, to replicate DDLJ’s momentous success. One of the first attempts at executing the formula was in the 1998 Sohail Khan directorial Pyar Kiya Toh Darna Kya starring Salman Khan and Kajol.

The film could have been named anything else but Khan chose to bank on the popularity of the legendary song from K Asif’s 1960 historical drama Mughal-e-Aazam. The film emerged successful and the trend of naming films after famous songs continued.

While intertextuality was not a new phenomenon in Hindi cinema, these allusions to popular songs gained traction as a mere market trend. There were several instances when the title of the film had little to do with the story but was used nonetheless as the song it was named after had immense recall value among its target group.

For example, Samir Karnik’s 2011 comedy Yamla Pagla Deewana was named so to attract the fans of Dharmendra to cinema halls. The film was nothing more than an ode to the revered actor and the fact that he was sharing the screen space with his sons Sunny and Bobby Deol for the first time. The right packaging, in which the title played a crucial role, ensured the film was a huge success at the box office, though it was panned by the film critics.

Similarly, after Ranbir Kapoor had a flawed launch vehicle in Saawariya, Yash Raj Films decided to capitalise on their own formula when they re-launched Kapoor through the film Bachna Ae Haseeno, named after his father Rishi Kapoor’s iconic song from the 1977 action film Hum Kisi Se Kum Naheen. The film worked and launched the fourth generation star in the process. Incidentally, another film of Ranbir, Yeh Jawaani Hai Deewani was named after the title song of his uncle Randhir Kapoor’s 1972 film Jawani Diwani. The titles of the two films were in tune with Ranbir’s characters but at the same time, they indicated the fact that Ranbir is carrying forward his family legacy.

There were a few films which took their titles from popular songs but presented it in an entirely new light. The most recent example is Karan Johar’s Ae Dil Hai Mushkil. The title is inspired from Johnny Walker’s historic song from the 1956 film CID. Though the context of that song was the trials that one faces while making his ends meet in Mumbai, Johar’s version turned into an anthem for unrequited lovers.

Another good example is Farah Khan’s Om Shanti Om, which was a complete detour from Rishi Kapoor’s song from the 1980 thriller Karz. Though both the films were based on the theme of reincarnation, the title had little to do with the coincidence. It alluded to the characters of the film, Shantipriya and the two incarnations of Om.

Another interesting example is Rakesh Roshan’s Koi Mil Gaya. The title referred to a dance number in Johar’s Kuch Kuch Hota Hai. Since the song was a children’s favourite, Roshan decided to name the film after the song to please his target group. However, the rationale behind the title was not superficial as unlike the song it was named after, the ‘koi’ in the song did not refer to first love but to an extra-terrestrial creature.

Roshan’s 2003 fantasy film came just six years after Johar’s film so the song had good recall value by then. Similarly, films like Guzaarish and Jai Ho also followed the same path as they banked on the popularity of recent hit songs from Ghajini and Slumdog Millionaire. Though Sanjay Leela Bhansali added depth to the title of Guzaarish by addressing the issue of euthanasia, Sohail Khan changed the name of his film from Mental to Jai Ho after AR Rahman won an Academy Award for composing the renowned song sung by Sukhwinder Singh.

As the trend continues with upcoming films like Meri Pyari Bindu and Raabta, we are yet to see whether these films hold any titular relevance or are merely spin offs of popular songs with good recall value.

Ae Dil Hai Mushkil speeds to 100-cr mark; Shivaay picks up on day 4: Box office report

Diwali has long been a coveted box office slot for Bollywood filmmakers, with its potential to draw in the festive/holiday audience.

Ae Dil Hai Mushkil has pulled ahead of Shivaay in their box office battle

But the two high-profile Diwali releases this year — Karan Johar’s Ae Dil Hai Mushkil and Shivaay — haven’t given the industry as much of a boost as expected.

In fact, the joint collection of both films by the end of their opening weekend (Rs 64.16 crore), is reportedly the lowest in six years — and by a substantial margin.

“Diwali puja and festivities made a dent in the business of Ae Dil Hai Mushkil and Shivaay on Sunday. Business should witness an upward trend on Monday and Tuesday,” tweeted trade analyst Taran Adarsh.

Distributor Joginder Mahajan told IANS: “People are more inclined towards festivities during Diwali. So these collections are good for both films. The crucial days will be Monday and Tuesday.”

Of the two films, both of which released on Friday (28 October), Ae Dil Hai Mushkil has pulled ahead with a comfortable margin.

Opening collections: 

Shivaay‘s opening weekend collection (ending Sunday, 30 October) came to Rs 28.56 crore, trade reports confirmed.

Taran Adarsh and trade publication KoiMoi.com confirmed these numbers for Shivaay’s domestic box office collections over the three days — Friday: 10.24 crore; Saturday: 10.06 crore; Sunday: 8.26 crore.

In contrast, Ae Dil Hai Mushkil registered domestic weekend collections of Rs 35.60 crore.

At Rs 13.30 crore on Friday, ADHM gave Ranbir Kapoor and Anushka Sharma the third highest opening figures of their careers so far, and collections stayed strong on Saturday, at Rs 13.10 crore.

Just like Shivaay, ADHM too saw a drop in collections on Sunday, to Rs 9.20 crore.