Faraaz, starring Zahan Kapoor and Aditya Rawal in the lead roles, is directed by Hansal Mehta.
The film, which is based on the real-life terrorist attack that ravaged a Dhaka cafe in 2016, stars Zahaan Kapoor and Aditya Rawal in the lead roles. It is jointly produced by T-Series, Benaras Media Works in association with Mahana Films
Discuss this movie here
Discuss Malhari (From Bajirao Mastani) is Bollywood's Equivalent to Naatu Naatu Song..? (minus Golden Globe Award.)
Energetic Choreography and lyrics..Vishal's Voice(that guy is insane)..Set n Costumes..Bhanshali's Grand Music..and top of that Maratha's glorious victory as a reason for celebration.
Identify the Movie Can you identify the movie - A moderate box office success which received good critical acclaim and a few awards
Same as above… been looking forward to catching these at home.
Who do you think is the most intellectual star in Bollywood? Feel free to count directors, producers as well. By intellectual, I mean, well informed, witty, does not live in a bubble, etc.
Do you think any of the three mainstream (pathan/kabir/tiger) will die in the end of the series and will create emotions among fans by creating an emotional ending
He's such a talented actor. He was brilliant in Yeh kaali kaali ankhein. You feel for the character and what he's going through. He perfectly conveys the feelings of turmoil and hopelessness through such a subtle performance. Eagerly waiting for season 2!
He truly deserves more appreciation for his roles and performances (Mardaani, Chhichhore, looop lapeta...). Hope to see more of him on screen!
I know this is unpopular because everyone collectively agrees that Deepika is a better actress than Katrina. She is, I'm not disputing that.
But Deepika has such a distinct tone of vocal register that in every role she plays she sounds the same. It is immediately recognizable that the character who spoke the dialogues in YJHD (a simple indian girl) also spoke in Cocktail (a UK grown indian) even though the characters are nothing alike (Naina in YJHD is the equivalent of Meera in Cocktail if anything). I'm not talking about the content of the dialogues but how they are said, and for characters that are polar opposites they shouldn't sound similar considering we even had a Naina equivalent in Cocktail. This goes on to show Deepika doesn't have much control over her voice register and range (pitch, tonal sounds, accent differences, timing, stressing upon the same syllables, etc).
I felt her vocal register was most natural in Chennai Express, probably because her voice found common ground with her character's, and it did justice to her character there.
On the other hand, Katrina's accent is the most difficult part to get through in her dialogues which takes away half the points right there because of the integrity of hindi communication. But if you somehow look past that she does a decent job in deepening her voice when she has to in serious scenes (Namaste London), anxious situations (APKGK), deliver with playful energy (Mere Brother Ki Dulhan) and Zero ofc.
But my favourite distinction of hers is that of her characters in Rajneeti and the one in Bharat. Even though the characters could've theoretically worked for sounding exactly like each other, there were still differences in the way the dialogues were delivered.
Other actresses I think do a fantastic job in their vocal range in dialogues: Alia, Priyanka, Kajol, Madhuri.
So for me, vocal dialogue delivery: katrina > deepika but overall acting katrina < deepika
THREAD for all discussions related to Pathaan box office figures and/or records, both domestic and international.
📇 Recommendations Where do I watch deshdrohi online? I'm desperate to watch it but i can't seem to find it anywhere....
Does somebody have a link to Krk's deshdrohi (2008). It's surprisingly elusive inspite of its popularity as meme material. I've been trying to search for it since the past week , but my efforts have been unfruitful. Please help guys!!
Almost Pyaar with DJ Mohabbat, Anurag Kashyap’s 22nd feature as a director (including the anthologies), released in theatres this Friday. Down with a bad cough, exhausted with the promotions, he spoke to Namrata Joshi for Cinema Express the day after organising a special screening in Mumbai, attended, among others, by Aryan Khan. In between gulping anti-biotics and sharing his plans for a recuperative working holiday in Prague to record Tchaikovsky live with the Royal Philharmonic for his next film, Kennedy, Kashyap spoke about people’s fatigue with hatred, taking his brain along for watching Pathaan, his ideas about love, getting inspired by his daughter Aaliyah, being a “relatively cool” dad and a lot more.
This morning, I read about Smriti Mundhra’s documentary The Romantics on Yash Chopra and Yashraj Films. SRK has been winning people’s hearts again. Love seems to be in the air. The song in Almost Pyaar… “Mohabbat se hi to kranti aayegi” is resonating even more …
People are tired of hatred. Boycott Bollywood, anti-Muslim narrative, whatever you may call it, is just tiring. I think people are drained of the energies. It’s a very negative energy that has made us all feel exhausted. So, right now, Pathaan is not just a movie. It’s a festival, a celebration.
People have been saying that one must leave one’s brain behind while watching the film. I tell them that I took my whole brain along for the film. I noticed how cleverly that man has put across the message of unity. I am marvelling at that. That’s the genius of SRK, the writers and the filmmakers. SRK has never looked sexier, and John [Abraham] has never looked better to me. It felt so good. My joy is not fake or make-believe. All over the country, people are happy. SRK has given people the opportunity to come back and say “enough”. That’s why everyone is dancing at the screenings.
The release of Shehzada has been postponed. But you and Hansal Mehta are going ahead with your films. I remember you telling me that the success of big films helps the small filmmakers, but doesn’t the enormousness of Pathaan feel like a threat at this juncture?
Shehzada is getting postponed because it wanted a big number of shows. For Almost Pyaar and Faraaz, we are talking about a much smaller number of screens. We are happy with 3-4 shows. So Pathaan doesn’t affect small films. It helps them by getting people to the cinemas. The scales of the films are so different.
Why *almost* love?
It’s about the need for love in this world, the one thing everybody runs away from and the one thing everybody is confused about. The definition of love keeps changing with generations, with individuals. The two love stories in the film may not have reached the desired ending but there’s still a possibility which is what the film—and a podcast within the film that it’s named after—talk about.
It's also about how parents jump in and ruin things for the kids. Both the love stories in the film get ruined by the parents who are hardly there. We don't have the conditioning, we don't understand the younger generation, and we judge immediately. That judgment is based on how we were in the past. We had been made to believe that a boy and girl can never be friends when they can be very good friends.
Like the song, does love mean revolution, freedom for you?
When a couple says, I love you’ what does it mean? I want to tell people that they're just going about their lives. They're doing things that they want to do. They are navigating through life and want to do that together. That’s all.
Love is something that grows over a period of time. I have never believed in the idea of love at first sight. It is just infatuation. We used to call it love in the 80s and the 90s, but it was actually just a crush or infatuation. I have learnt this from the young generation much after having grown up myself: this is crush, this is lust, this is sex, this is love.
For me, two people have to get to know each other over a period of time, and then they come together. That’s what I am showing in the film—the process of falling in love. Two people are just about to go on this journey when the parents intervene. It doesn't matter if the girl is a Hindu or a Muslim. In my film, in one story she is a Hindu, and in the other a Muslim. On one side, people have given it the name Love Jihad, but patriarchy exists on the other side too. I am not scared to say this. The honour of the family is always associated with the vagina. It is not associated with the male child. The idea was to take both scenarios. Hindu and Muslim, small town and the progressive, so-called big city London.
It’s not just India or Pakistan. The entire Asian continent is like that. Why limit the problem to India and the here and now?
So, it’s a Gen X filmmaker making a film for the millennials and Gen Y? Did your daughter Aaliyah inspire you?
I totally stole from the kids. Words, situations and everything. Imagine, the scenario from the times when we were young. When a boy and girl would travel together and get locked in a room, there would always be this sexual tension that comes from repression. That is absent today. They lie next to each other like friends. They trust and have much more clarity. They have no qualms in saying let’s hook up. We were ashamed of even saying I love you.
In my films, it’ll never be about I love this person. I love that person. It’s about a person coming to the realization, a point of finding oneself. Dev D’s D, Rumi in Manmarziyaan. My most filmi love story is Gangs of Wasseypur, between Mohsina and Faizal.
You pre-empted my question. As a director, you have never been associated with love stories, yet your films have an element of love in them.
Mukkabaaz has that, and Bombay Velvet has that. Gulaal was built around it. The boy feels betrayed and used by the girl and blames everybody for it. I keep saying that my favourite romantic film is the Before trilogy [by Richard Linklater]. It’s a lifelong story of love. Love need not be validated by physicality or any other thing.
If you don’t have love and empathy within you, then we get the situation where couples get beaten up on Valentine’s Day. You don’t have the capacity, you don’t have love in your life, and deep down you are jealous. You don’t want anyone else to have it. It’s this insecurity people have with love.
I once told you how my niece thinks of you as this very cool dad, thanks to all the YouTube videos she has been seeing of you and Aaliyah…
I am a relatively cool dad.
So, does being a relatively cool dad help in making a film like Almost Pyaar…?
It’s my daughter who helped me make the film. It’s she and other people in my life who have made me appear like a relatively cool person. People tell me that it’s amazing how you have brought up your daughter. I tell them not to discount the contribution of Aarti [editor and Kashyap’s ex-wife Aarti Bajaj]. It’s she who has done the hard work. And Aaliyah has worked hard on herself. Aaliyah has worked very hard on me, making me understand things and making me see things in a way I never saw before. She is a very mature person. She talks about mental health. She talks about things that we didn’t dare to talk about. And her following is so huge. Parents, and people who work in the mental health field come and tell me how amazing my daughter is.
Has she approved the film? Did she like it?
Yeah, yeah, she did. She would bring her friends to watch the film. I have gone ahead with it based on the confidence of that generation. Yesterday, also we pretty much had Alaya, Aaliyah and Karan bring the younger people in. The show was full of young kids. They loved the film; the film spoke to them.
You very rightly pointed out how sorted the young are. But, in the times of social media, YouTube, podcasts etc, how much tougher or easier is it for them to negotiate love?
If left alone, they will find their way. We forget it when it comes to ourselves, but we found our way, right? My daughter once told me a very nice thing. She said that she had heard many stories from me, about my dad, and his struggles. Half of it has become mythology. She said that my guilt was that my father spent so much money on my education, but I wanted to be a filmmaker at a time when filmmaking was looked down upon. She tells me that my struggle was my choice, my parents let me be. She dropped out of college and is on YouTube and it is her choice. She will navigate. She tells me that when I made a mistake, I dealt with it myself. So, she will also deal with it herself. Parents think that they can help their kids with their experience. We think we know how to find solutions for everything. But we mess it up for them. Our solutions are based on our understanding, and we want to secure things for them. We must allow them to navigate on their own. We only need to have their back. Be there when they need us and when they call us. That’s how I’d look at it. When my daughter calls me for anything, I’ll just be there, but I won’t tell her how to live her life.
There’s something about Alaya F [the lead in his film]...
Khatarnaak hai. She already had it when I saw her 18-minute showreel. The world has seen her in Jawaani Jaaneman and Freddy. Karan [Mehta] also had it in him, but it needed to be honed. I put him through training. Alaya being from the industry, had a sense of direction. She knew where to go. She came prepared. She is very natural and extremely focused. You should see her yoga videos on Instagram. The Bhopali accent video she does in the film is not her language. For her to master that, do it with conviction and in only one take!
How did you convince [filmmaker, programmer, and programming director of London Indian Film Festival] Cary Sawhney to play a role in the film?
Because the role is similar to who he is. Cary is Sikh and gay. I wanted someone who had lived that life. I didn’t have to convince him. I just told him, ‘I want you to play you’. It’s like why I wanted Karan Johar as the villain in Bombay Velvet. When a straight actor plays gay, he overdoes it. Being gay doesn’t change a human being. There is homophobia, but there is also predatory behaviour within that world. I wanted to show that. I didn’t want to make a woke film. I wanted to make an honest, real film. The boy slaps the girl in anger at one point, but it’s between the boy and the girl. What he felt at the moment. The girl also replies in her way but doesn’t hit him back. For her, that was not the way to answer back. I did not want to make a film where we can check all the boxes. I wanted flawed people and let them remain flawed.
The short film of yours that I saw recently—Four Slippers, currently playing at the International Film Festival of Rotterdam—is about the denial of love leading to a cycle of toxicity in a man and his radicalisation. It’s a parallel narrative of sorts to Almost Pyaar…
We have just taken four different episodes from a person’s life. There’s the childhood where you are unable to express yourself. That’s how the conditioning has been. You are married even before you have found yourself. It’s about repression. Putting a picture of an actress on the wall and fantasising is ok for the man. But when your wife wants to speak up and explain something, you say it's gandi baat. These men are uncomfortable in such situations. They can’t discuss things. The wife leaves, and this man leads a sad life alone and becomes a toxic human being. The Manav Kaul segment [about a bigot] is factual. It happened and we all saw it. We just changed Aamir Khan to Ajeet Khan.
What happened in the ending? Where did they go?
Hi folks, Recently saw the trailer of "The Romantics" show and wanted to hear your opinion about it
For me, it seems like a glorification of the 90s era and the paradigm shift from making romantic and action movies blindly to exploring new genres.
Who would win in a free for all between them
❓ASK TJMM is releasing next month. It's one song is already out and promotions have begun. So, what are your expectations from the movie? And what are your box-office prediction for the movie?
I wanna watch Karan Arjun, I downloaded it but quality is pretty poor and I can’t find it online. I’d prefer not paying but yea.
So recently, I have started revisiting old (retro) movies like: 1) Chupke Chupke 2) Baaton Baaton Mein 3) Golmaal 4) Kisi se mat kehna 5) chitchor 6) Chashme Badhoor 7) Khoobsurat 8) the stranger (by satyajit ray) 9) Angoor (did not enjoy this at all though)
And through all these movies I really enjoyed the simplicity of the script, simple relatable characters, loud talking jijaji/papa/uncle/daddy 😂, music ofcourse and humour. Humour in these films is not OTT, double meaning or crass but more built in the movie and the nature of the situation.
I found Satyajit Ray’s - The Stranger, very intriguing. I am not much into regional cinema and that gave me a glimpse into a typical Bengali household/lifestyle/their mind during those vintage times.
What are your favourite retro movies?
Box Office Within 9 days...Pathaan smashed a 10 year old record in UK which every single Indian film till now struggled to cross including Bahubali2 and RRR most probably Pathaan will set the new record at a position atleast 2 times or 3 times bigger than previous record !!!
After the massive success of pathan what do you think tiger 3 will be able create the same hype and will have the same collections as pathan.Srk also have a cameo in tiger will it help to create the same hype like salman did for pathan.
A great movie on agism problem of indian culture (all asian cultures really). We expect our elders to behave a certain way while forgetting about them being normal human beings.
Good emotional ride.