Shivaji: How many hurdles?

There is a song in the movie Padayappa. That song literally means : There are a thousand hurdles in life, but for you, these hurdles are only a step. That fits well in the real life of the movie's hero Rajinikant as well.

At the one hand his 'Shivaji the boss' is creating much expexctations from all quarters. At the other hand, the perk and rumenaration that Rajni got has created a lot of buzzword. In Indian moviedom, there is hardly any actor at this moment to match his popularity and stature. Be as it may, rajinikant still faces some hurdles and as is shown in his many a films, he conquers them all. This time he has an uphill task ahead in his real life and every eye is on him now.Shivaji is directed by Shankar who gave us many hits like Kadhalan, Gentleman, Mudhalvan, Jeans and Indian. He is a stylish director but any director working with Rajini must bear one of the most daunting task and that task is to fulfill the public's expectations. And this task is compounded this time from the very first day of announcement of the 'Shivaji-the boss.' The difficulties faced by Rajinikant that I mentioned above starts from this severity. Rajini is not only the flagh bearer of Tamil film industry, he is an icon for millions of his rasigans. He might have enjoyed their fierce loyalty and unconditional love for over two decades, he also has to respond to their anticipations. That he does so time and again must be credited to his uncanny down-to-earthness.If he by chance misses the bus, a debacle is sure to follow as was proved at the time of Baba.To add to the woes of the Superstar, some external elements chip in, which make the outcome of a Rajni movie more thrilling than the movie itself. This time also, as the talk was on of Shivaji being a launch vehicle for the Rajini to his political career, there were many who contributed to the saga of Shivaji. First one was the Tamilnadu government itself which, fearing an onrush of the crowd and thereby encashment of the popularity by distributors, assumed all rights for the control of theatre ticket rates in Tamilnadu. As if it was not enough, VIjay T. Rajinder, an influencing personality in the Kollywood, cautioned against the hike of the ticket rates and declared that he will not sit quietly if the rates are increased.Then surfaced Rajinis' old nemesis, Pattali Makkal Katchi which raised its head again to oppose the Shivaji. It particularly targeted a song 'oru koodai sunlight, oru koodai moonlight,' on the pretext of using English words and sentences in the song. The party workers (or leaders?) even have shown readiness for an agitation for this cause. Pattali Makkal Katchi people have a history of opposing to Rajini, first time showing their trait at the time of release of Baba. But this time, Shivaji has faced resistance from one more quarter, and that is an unexpected one. A certain trade union in Thanjavoor has opposed some references to the Kaveri river in a song in Shivaji and they too seem ready for an agitation. What is funny in all this episode is the statement given by this union, in which it is said that Rajini has kept mum many times on Kaveri water dispute. That's why, according to this union, he has no right to use Kaveri's name in any song in his movie.As Shivaji-the boss has rewritten some records in the movie history of India, it has also has to face an unprecedented hurdle now. The Kannada Rakshan Vedike, an organisation specialing in isolating the Kannada peolple from neighbouring states, has decided to oppose the release of Shivaji-the boss in Karnataka. It is unusual development. Usually, even when non Kannada movies were banned or withheld from Karnataka (pls see some of my previous posts), Rajini films have been given the go. But this time now, the case is different. WIth the Kaveri tribunal award going in favour of Tamilnadu, Kannada Rakshan Vedike is full swing and to show its opposition to Tamilnadu, it has decided to play with Shivaji's prospects.

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CBFC certification: Telugu movies tops list

New Delhi, April 6 (PTI): Telegu movies have topped the list of feature films certified by the Central Board of Film Certification during last two years, according to figures available with the Ministry of Information and Broadcasting here.
A total of 245 Telegu films were awarded certificates. This was followed by Hindi films (223) Tamil films (162), Malayalam (77), Bhojpuri (76), Kannada (75) and Marathi 73, according to the official figures.
The CBFC in all issued a total of 10,551 certificates during the year 2006, as against 7,417 during 2005. As many as 3,454 certificates were issued to celluloid films and 7,097 to video films during this period. These consisted of 1091 Indian feature films (celluloid), and 336 foreign feature films (celluloid).
Out of 1636 Indian feature films (celluloid and video) certified during the period, 1130 were granted U certificates, 270 UA certificates, and 236 A certificates. Similarly, of the 1080 foreign feature films certified in the year, 460 were granted U certificates, 269 UA certificates, and 351 A certificates.
The Board certified a total of 7,242 Indian short films during the period January to December, 2006, of which 6,717 were granted U certificates, 359 UA certificates, 165 A certificates.
A total of 7097 certificates were issued to video films. Of these, there were 545 Indian feature films, 744 foreign feature films, 5494 Indian short films, 235 foreign short films, 75 Indian and 4 foreign films belonging to the Others category, long films other than feature.

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Himesh faces music in Germany

It is Germany again. I have talked about Bollywood films being popular in the beer country and loat of shows and shooting concerning Bollywood taking place there. It seems that the love between Germany and bollywood has stretched too far and cracks have begun to show.
Bollywood's current blue eyed boy Himesh Reshmiya is producing a film on his own life. This news item was flashed through various medias some time ago. At that time, no one cared much about the project. This same project has now created news in Germany for some wrong reasons. Reshmiya and his crew flew to Cologne this eek to film in one of the city's Gothic churches. But some residents opposed the shooting claiming the film crew had desecrated the site.
Bollywood has unarguably got a foothold in Germany. Indian films have made it onto German cinema and television screens and have a huge following. But Indian filmmakers have also discovered Europe offers prime locations for shooting. While they have already almost exhausted some scenic spots in the Alps, ever new locations are hunted zealously which make them constantly vulnerable to controversy.
The Agnes church is one of Cologne's biggest sacred buildings. Its gothic steeple rises up to the sky. Surrounded by cramped apartment buildings and busy streets, the landmark church is an oasis of calm .Amid that sorrounding, a voice drons out of the loudspeakers. That voice belongs to Himesh Reshamiyya. He plays the lead in the Bollywood film "Aap Ka Suroor," which is currently being shot in Germany.
Agnes church is one of the film's locations. The producers want to simulate a night-time concert in the huge nave and covered the windows and walls with black drapes. In a place where believers usually kneel down to pray, there are now 50 professional dancers in silver sequined dresses shaking their hips while a few hundred extras mill around waiting to play the cheering crowd.
But having fun and dancing in a church has raised a few eyebrows. Cologne's archbishop Joachim Meissner tried to stop the shooting from going ahead, but failed when it was revealed the church's pastor had already signed the contract with the production company.
Many parishioners are angry about the production. An elderly woman shakes her head as she enters the church and then turns to leave saying: "I wanted to pray, to light a candle."
Until Sunday, only the film team will be allowed to use in the main nave, which has upset more than a few people. They don't understand why she shoot has to take place in a building they consider holy. Deutsche welle recently reported about this episode. The full story is available on
http://www.dw-world.de/dw/article/0,2144,2387067,00.html

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Tollywood’s Sorry Picture

The picture can’t be more contradictory. On one hand, Hindi movie channels are running successfully showing dubbed and remake versions of Telugu films, which in all earnestness seem to be getting a lot of response from ­audience. At the same time, Telugu films themselves are facing a hard day in Andhra Pradesh itself. Having found itself in a quagmire of business losses and a stiff competition from Bollywood and Kollywood, it is striving hard to regain its land. But for the passive onlooker, that seems a distant possibility. What make it more pitiful is that this year Tollywood is celebrating its 75th year.
Telugu film industry in India has a unique standing. It has not only the distinction of being the third biggest film industry in India, in terms of films produced per year and the turnover achieved therein, it also thrives on many demi-gods and cult like fan following of some actors. These actors in turn have never let down their fans and have delivered year after year the films, that we relish even years later. That’s why a Chiranjeevi starrer ‘Gang Leader’ became a super hit in the latter part of 1980s and when it is shown on Star Gold in a dubbed version (named Naya Don), it still got a better TRP. It prompted the channel to show one more dubbed movie named ‘Vishwa’. It was a Nagarjun starrer which was released in 2004 as ‘Nenunnanu.’ The trend continued and rival channel Zee Cinema started to show some dubbed Chiranjeevi movies in prime time. Diler (Anji) and Rakshak (Mrugraju) are two films falling in this category.
It is not that all Telugu films sell on star value. They usually have a strong story element with eye-catching picturisation and of course, a great music. That was the case till recently, i.e. till last year. Now it is almost a sorry picture. Tollywood has seen too many flops for the last couple of years and it is frantically searching for a hit. Even superstars like Chiranjeevi and Nagarjun are finding it difficult to break this mould. One problem that these actors face is the non-availability of good roles. They have been caught in a kind of trap where they can’t play the roles they wish.
In a recent interview, Chiranjeevi has said, “"My image troubles me in different ways. I cannot act in roles different from that of mass commercial ones due to image." That brings the real dilemna of a hero who has steadfastly lead the industry for more than a decade. Lack of worthwhile stories and too much insistence on the routine formulas, that have proved to be a bane for Tollywood. The producers in the industry seem only working for garnering the monetary profit from the films without giving a hint of thought as to what its outcome might be. Trying to emulate the Bollywood for that purpose is just a way of doing that. That’s why heroines and character artists from Mumbai find their way in Telugu films these days more and more. Add to that song (and they abound to the hilt) and dance sequences picturised on the exotic foreign locations. Not surprisingly, the budget of the film skyrockets to few crores. Given the stiff competition in this era, this money is hardly recovered giving more sleepless nights to everybody associated with the project. Even the advertising cost of the film amounts to few crores.
From the start of this year, 40 films have been released in Andhra Pradesh and only two of the proved to be a hit. That’s why trade pundits are anticipating a bleak show ahead. Sankranti season, in which Tollywood is expected to make fortune did not yield expected revenue. Filmmakers and industry insiders are now pinpointing their hopes on summer season. Holidays to school and colleges mean a boon to the film circuit. Many big films are expected in this season. So one can only hope their expectations come true and we are treated to an entertaining fair once again, like we were in the past.

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A walk in distaste

Yesterday evening. As I finished my daily work in the newspaper office, we readied ourselves for the things to come. It was me and my friend, Ashish, who were set for the tiny adventure that was to be unfolded. As decided before, our crime reporter Mangesh has arranged the tour with the help of a policeman. We were to take stock of the situation existing in the historical and inarguably the most infamous part of the Pune city, Budhwar Peth.
We did not reach to the galli, as it is called locally, and decided to have the dinner first. It was a wise decision as the view unfolded within half an hour was nothing less than unsavory. Once done in hotel, we were out on the street that lead us to the main place where various hues of flesh trade take place day in and night out. The policeman aided us and quelled each and every querry posed by us, and they were plentiful. There was no shade of emotion on his face and he betrayed no awkwardness of the situation as we made our way through the constant in and out rush of the people condemned to quench their lust here. The curiosity was not limited to us either.
‘‘Kuch nahin, hamare dost aaye hai,’’ the policeman would tell everyone in the brothel as they scanned our faces. Is it a raid? Round? The girls and women in the dark and tiny rooms looked at us questioningly. There was not a word from their mouth but the air spoke more loudly than one could hear.
‘‘Namaskaar, Namaste," the hapless females greeted us each time we entered a room. We were so not a position to answer that gesture in the manner that we would normally.
"These women demand at least Rs. 100 for once," informed our police guide. On one of question, he showed us even those women who settle for twenty or thirty Rs. Those women were past their prime. With number of men ready to sleep with them fastly depleted, they are sometimes even can’t have their meal or breakfast. This being so, they sell themselves for any meagre amount they can get. "Anyone sleeping with these women and here in these rooms, will that person have any wish to have sex later in his life?" quiped Ashish. Yes, it is an open question. But the fact remains that women with some flesh on their bodies do thrive here and men who go for them has remained, if not increased, intact for at least two centuries.
We were there for some one and two hours only. But that little amount of time itself opened our eyes to many facets of this world which hitherto woukd have never come to us in our mediocre life. Many myths were broken and many new thing known. Take for examle, the underaged girls relived from the brothels.
Our policeman told us this way, "Some girls take money from the middlemen. Then they come here and are enaged in prostitution. When all their money is spent, they convey their whereabouts to police or other institutions or better still some NGO. If they are thus freed from the prostitution home, they go to their native village and stay there for some time. After that, they again contact some middleman and come here through them."

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Indian movies growing out of all woods

The film industry in India could not have better than this. After witnessing its most successful year in the recent past in terms of box-office collections, the industry is poised to grow even more. And this is not an abstract anticipation of any Bollywoodwallah, it is a studied inference of an American institute.
The PTI recently reported about a report by the Creative and Innovative Economy Centre (CIEC) of George Washington University Law School, wherein the centre has estimated that Indian film industry will grow by more than 15 per cent in the coming year. The reasons attributed are growing number of multiplexes and the availability of digital technology.
What this report did not elaborate, and which I specifically observed some three months ago, that this trend of growth is more evident in Bollywood but it equally, or more precisely more forcefully exist in the regional film industries. The statistical data of these scattered centres of film making does not come up at once and hence it is relegated to the unhidden corners of respective trade papers.
The Bollywood, that now produces Hindi films for mainly urban and overseas audience is considered worth 25, 000 Crores, according to Industry sources. Coming next to it is Kollywood or Tamil film industry which had a turnover of around 23, 155 Crores at the end of year 2005. This year’s data is yet to come by. The second biggest film industry in South India, that is Telugu film industry has a turnover to the tune of 23, 044 Crores.
Even the once near-dead or non-existent industries are gaining or regaining ground in the unprecedented ways. The Marathi film industry was staring at its death just five years ago. But the Shwaas changed it all. The film released in 2004 won a Golden Lotus Award from the President and that provided a much-needed impetus to the Maharashtrian producers. That’s why this year saw as many as 75 films in Marathi language were passed for the release by the Central Certification Board of India, called Censor Board, compared to the two or three on an average in the 90s.
The Bhojpuri films till recently remained in the shadow of the Hindi films. But as the Bollywood turn more and more urban; these films emerged strong with flavor of local themes and talent providing ingredients. Even Bollywood Superstar Amitabh Bachchan has thought it imperative to act in a Bhojpuri film, which was quite unthinkable in the past.
So given this trend, it is hardly surprising that world is anticipating a big growth from Bollywood. The question is, will it take cognizance of the growth of other film industries in India.

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Pokkiri : Vijay has one more success

If one prefers only to look at entertaining value of a film, Pokkiri stands quite a good chance. In Mumabaiyya parlance, it is a paisa vasool film. Coming from the ‘Ilaiy Dalpathi’ Vijay, it has all the elements that make Tamil films dear to every film buff. One expected a thrilling, action and romance saga for Vijay, who had been on a search out for a hit for a year or so. The initial response and thereafter also has shown that his search is over now and there is talk now of his being the next superstar of Kollywood. Undoubtedly, Pokkirri makes all Vijay fans happy with its stylish treatment, eye-catching stunts, an out of the blue story and witty dialogues. There are many plus points in the Pokkiri. The most prominent being that it does not hide violence. It does not either hide its intention of being a violent story. It takes us through the dark and sullen underworld where killing is the thumb rule.
This is a remake film and it shows all through the film. But adding some true blue Vijay elements like stunts and comedy, Prabhu Deva has done it refreshingly new. Why he has kept some ‘overt’ features in the movie is an open question. The opening scene of Vijay dreaming of being a batsman and the lady in the villain gang fascinating herself with Vijay was such scenes. Thank god, the number of such scenes are limited.
Vijay shines in the movie from the word go. He was the same, dancing, acting and fighting the way he does. We are entertained like we do always. Still there was something missing this time in Pokkiri. As the one who relished and relish even today the Ghilli in 2004, this film is stops short somewhere near the expectations. While in Ghilli, Vijay carried the film on his shoulders, in Pokkiri, the film sways somewhere between the action and romance genres. I watched this film expecting it to be a action thriller. Thriller it is, but not the usual action thriller. The thrilling scenes come in as a concession the director has agreed to give to viewer so as not to make the film a run of the mill kind.
Prabhu Deva has tried very much to make Pokkiri as spicy as possible. But he has failed to keep a balance between the romance of lead pair and magnetic fight scenes of Vijay, the lead protagonist. One more flaw is in storyline itself that the sudden twist in the tale comes very late. A basic opportunity to dwell on this twist and make use of it, to stuff it in the confrontation scenes between main protagonist and villain is lost in the process. To say the least, there are not a single confrontation between Vijay and Prakash Raj after the latter learns Vijay’s true identity diminishes the entertainment value of the film. Even the protective element of Vijay for Asin is used only as a vehicle to make the film running. No use of this angle is done from the angle of Prakash Raj.
While watching Pokkiri, one is always reminded of Ghilli. Even some indications to that effect are provided in the film here and there. As if Sivakasi and Thirupachi never happened. Even some actors in that film appear here in different roles. That’s why a kind of anticipation was built as if this was the second part of Ghilli. But whereas in Ghilli, Trisha was shown harassed, hounded and sought by villain, in this film, the hero covertly does all this. In Ghilli, the story had ingrained human angles making it dear to all and sundry. In Pokkiri, when the main hero himself is ruffian, the human emotion are bound to take a back seat. As a effect, his tantrums also fell off. In the ruthless criminal world it it only bullet and guns that do all the talking. To compensate this loss, a separate comedy track is imbibed in the form of Vadivelu and he does it with a large effect. This part of the films gets 100 per cent marks. Especially are the comic scenes where Vadivelu tries to urinate in front of a wall and one where he opens the water tanker mistakingly.
Heroine Asin looks good throughout the film. She looks the perfect match to hero Vijay and glamour girl for the audience. But this romantic angle overshadows many times other happenings in the film. She acts like she has no clue of what’s going on screen in her absence. This comes out so starkly when the Inspector comes and harasses her mother, or when he sends goons to her house. Even when she knows that Vijay appreciates her and is ready to do anything for her, she not once tells Vijay about all this. This is a very weak character in the film and its only justification seems to be filling the need of glamour in the story.
Pokkiri seems to be one of the biggest successful films in Kollywood. It might come second only to Shivaji-the Boss starring Rajinikant, which will be released in April. Till then, it will bask in the glory. That is the thing I fear most. Since Vijay has tasted success with two of the remade Mohan Babu flicks, he might go for a third one. That will be really sad for the Tamil audience. Because he has the capability to deliever original hits which he have proved in the past. So let us hope that his ‘Alagiya Tamil Magan’ will be an original and as engrossing film as we are accustomed to. That will be the real success for Tamil filmdom’s next superstar

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