Bollywood Reel-outs 2008
Bollywood, commonly referred to as Hindi cinema is the largest producer of Hindi films in India and is also one of the largest in the world. In 2008, around 125 films were released, among which only a few were able to pull the audiences.
A Wednesday: The best film of 2008, undoubtedly. For the first time in the history of Indian cinema a simple incident (it wasn’t even a plot) was treated in such a splendid manner. Naseeruddin Shah notched an award-winning performance for his role of a commoner out to take revenge on terrorists. A Wednesday is one of those few films that used the power of background music to it’s optimal.
Jaane Tu Ya Jaane Naa: Another simple film that was raised to the class of a splendid film; just because of two technical aspects of film-making - writing and direction. The oft-repeated theme was so well executed that it is probably one of the best examples of film’s having a non-linear narrative.
Rock On!!: Farhan Akhtar, the eminently gifted director, who was on a low after Don and Honeymoon Travels Pvt. Ltd. (as a producer) - sprung the surprise of the year with his acting debut in Rock On!!. It was the classic case of perfect casting, perfect script and perfect timing. Almost the entire cast fit their respective roles like hand-in-glove.
Welcome to Sajjanpur: The joke in the trade-circuit was - Shyam Benegal’s all the past movies in 25 years made less money than what Welcome to Sajjanpur did. A simple tale of a man out to woo his childhood crush. The film touched a lot of social issues and was one of the few films that worked well commercially as well as wowed the critics.
Dostana: Karan Johar’s ode to gays. He made them meet. He made them fall in love (fine, the script had them feigning it) and he made them smooch or kiss (as the case maybe). The point is the film was a hit (despite of a very high cost) and it not only ensured that the gamble paid off; but also proved that a story if convincingly told will strike it rich!
Jodhaa Akbar: Ashutosh Gowariker’s big epic about the love story of Mughal emperor Akbar and Rajput princess Jodha. The celluloid dream couldn’t have got any better. Hrithik Roshan really got into the skin of Akbar and Aishwarya Rai was ethereal essaying Jodha. The audiences ensured that the producers got their booty back.
Golmaal Returns: Welcome to slapstick inanity that set the cash-registers jingling. The biggest opening after Singh is King (before Ghajini happened, displacing the two). The film’s plot was ’accused’ to be borrowed from 1973 sleeper-hit Aaj Ki Taaza Khabar - but there were glaring differences in the screenplay. Tusshar proved that he is a fine comic actor, and even over-shadowed the eminently gifted Shreyas Talpade.
Sarkar Raj: Call it irony or destiny - Bachchan’s were cross with a certain Raj and their film was interestingly titled Sarkar Raj. Naturally, the media went gaga of Bachchan bashing Raj in the film, but that was not to be! One of the finest performances by Amitabh Bachchan (the death scene of Abhishek Bachchan for one) - the film was a big hit.
Singh is King: Akshay Kumar the new numero uno proved once and for all - the star power. The film set new records. The film also proved that there is immense lobbying within the film-fraternity with the reported Shahrukh lobby pulling it down and calling it a flop. Well the collections proved otherwise!
Ghajini and Bachna Ae Haseeno: Only Aamir Khan could have ensured that his film has the dum to surpass the mammoth collections of Singh is King. Reportedly, the film has not only set a new record for the opening day (fine there were more prints, but no one takes that into account anymore), but also new record for weekend collections. An eminently average fare the film finds space in top 10 only because of Aamir Khan.
Bachna Ae Haseeno finds space, because of the fine actor Ranbir Kapoor. A very difficult role for any young actor who has just started in films; Ranbir proved that the Kapoor khoon is very much in him and he is the next big thing. Yashraj reeling after a spate of flops - got a much needed average outing at the box-office with Bachna Ae Haseeno.
Apart from the films; there were many other things that kept Bollywood buzzing. Almost, everyone wrote obituaries of the films of select camps, be it Jodha Akbar, Sarkar Raj, Singh is King, Rab Ne Bana Di Jodi or Ghajini.
The fact is all these films - barring Ghajini, though money making propositions for producers - worked at select centers; at few centers (two and three tier cinemas) the exhibitors cribbed of the business not up to the mark or plain losses.
Films like A Wednesday, Rock On!! and other medium-budget productions never even saw a theatrical release at these centres.
Winding up the article, the writer will leave with the fare, scare and darshan of 2008:
Bikini fare of the year:
Kareena Kapoor in Tashan; never before the bikini looked so drool-worthy. ’Purrífect’ size-zero and perfect act.
Bikini scare of the year:
Minisha Lamba in Kidnap; I remember I was packing up for Langkawi and I actually made sure that the girls either got rid of the flab or packed shorts instead.
Butt ’darshan’ of the year:
John Abraham in Dostana; I can still very clearly recall all the oohs and ahs of the girls in the audi!
Body ’darshan’ of the year:
Aamir Khan in Ghajini, need I say more!
Welcome to Sajjanpur: The joke in the trade-circuit was - Shyam Benegal’s all the past movies in 25 years made less money than what Welcome to Sajjanpur did. A simple tale of a man out to woo his childhood crush. The film touched a lot of social issues and was one of the few films that worked well commercially as well as wowed the critics.
Dostana: Karan Johar’s ode to gays. He made them meet. He made them fall in love (fine, the script had them feigning it) and he made them smooch or kiss (as the case maybe). The point is the film was a hit (despite of a very high cost) and it not only ensured that the gamble paid off; but also proved that a story if convincingly told will strike it rich!
Jodhaa Akbar: Ashutosh Gowariker’s big epic about the love story of Mughal emperor Akbar and Rajput princess Jodha. The celluloid dream couldn’t have got any better. Hrithik Roshan really got into the skin of Akbar and Aishwarya Rai was ethereal essaying Jodha. The audiences ensured that the producers got their booty back.
Golmaal Returns: Welcome to slapstick inanity that set the cash-registers jingling. The biggest opening after Singh is King (before Ghajini happened, displacing the two). The film’s plot was ’accused’ to be borrowed from 1973 sleeper-hit Aaj Ki Taaza Khabar - but there were glaring differences in the screenplay. Tusshar proved that he is a fine comic actor, and even over-shadowed the eminently gifted Shreyas Talpade.
Sarkar Raj: Call it irony or destiny - Bachchan’s were cross with a certain Raj and their film was interestingly titled Sarkar Raj. Naturally, the media went gaga of Bachchan bashing Raj in the film, but that was not to be! One of the finest performances by Amitabh Bachchan (the death scene of Abhishek Bachchan for one) - the film was a big hit.
Singh is King: Akshay Kumar the new numero uno proved once and for all - the star power. The film set new records. The film also proved that there is immense lobbying within the film-fraternity with the reported Shahrukh lobby pulling it down and calling it a flop. Well the collections proved otherwise!
Ghajini and Bachna Ae Haseeno: Only Aamir Khan could have ensured that his film has the dum to surpass the mammoth collections of Singh is King. Reportedly, the film has not only set a new record for the opening day (fine there were more prints, but no one takes that into account anymore), but also new record for weekend collections. An eminently average fare the film finds space in top 10 only because of Aamir Khan.
Bachna Ae Haseeno finds space, because of the fine actor Ranbir Kapoor. A very difficult role for any young actor who has just started in films; Ranbir proved that the Kapoor khoon is very much in him and he is the next big thing. Yashraj reeling after a spate of flops - got a much needed average outing at the box-office with Bachna Ae Haseeno.
Apart from the films; there were many other things that kept Bollywood buzzing. Almost, everyone wrote obituaries of the films of select camps, be it Jodha Akbar, Sarkar Raj, Singh is King, Rab Ne Bana Di Jodi or Ghajini.
The fact is all these films - barring Ghajini, though money making propositions for producers - worked at select centers; at few centers (two and three tier cinemas) the exhibitors cribbed of the business not up to the mark or plain losses.
Films like A Wednesday, Rock On!! and other medium-budget productions never even saw a theatrical release at these centres.
Winding up the article, the writer will leave with the fare, scare and darshan of 2008:
Bikini fare of the year:
Kareena Kapoor in Tashan; never before the bikini looked so drool-worthy. ’Purrífect’ size-zero and perfect act.
Bikini scare of the year:
Minisha Lamba in Kidnap; I remember I was packing up for Langkawi and I actually made sure that the girls either got rid of the flab or packed shorts instead.
Butt ’darshan’ of the year:
John Abraham in Dostana; I can still very clearly recall all the oohs and ahs of the girls in the audi!
Body ’darshan’ of the year:
Aamir Khan in Ghajini, need I say more!
.The Film critics writes about films. But Not a single Indian critics or even the film fraternity have not supported a film like Last Lear. Acted by Amitabh, the film is tribute to film making. It is sad no critics highlighted this film as best film, What has gone wrong with our Indian cinema watchers. How Critics and Film fraternity is digesting the Bhelpuri and masala films, we do not know. If Kagaz ke Phool was best film, The LAST LEAR by Rituparno is best Indian Film of the decade. Just not for the year. So Jago people, jago, Give your tribute to acting, whcih we see on screen. LAST LEAR I am voting sincerely, even if critics and film fraternity are not.
.Best film of Amitabh was LAST LEAR, Undoubtedly it is the best film of the year too. But no recognition, no mention. The film is tribute to film-making itself. All other films mentioned are not best, just average. Again Bhootnath was real children film.
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