Scoop: Rahman comes THIS close to death in LA

While all the hoopla and euphoria surrounding A R Rahman’s double Oscar has been talked about no one knows he had a close shave with death during the rehearsals for his stage performance for the Oscars. The shocking shave with death came to light after Rahman’s return to India on Thursday when he blurted out the truth innocently. The accident could’ve proved catastrophic and would’ve meant almost sure-death for Rahman. Recalling the nerve-wracking experience Rahman says, “I really don’t know what happened. Two days before the Oscars we were rehearsing at one of the theatres for the Oscars, the Jay Leno Show and the Oprah Winfrey Show when a massive chandelier, covering portion of the ceiling crashed to the spot just a split -second after I moved away.” This isn’t just a routine drama-in-real-life occurrence. Divulges Rahman, “ If I hadn’t moved way I’d have become history after making history in no time at all.The chandelier crashed exactly at the spot I was standing in just seconds before. It left me shaken but not terrified. I guess it was God’s warning not to take any of the good things that are happening to me too seriously.” Sighing in relief Rahman says, “I think the love and prayers of all those who love me saved me. As I walked from the left side of the stage to the right I could feel a heavy drop from the air, like water rushing down from a height of 30 to 40 feet. So with the good came the rude reminder of how quickly it can all be snatched away.” Says Rahman, “When I did Oprah Winfrey’s show for the Oscars she asked me what Jai ho meant. I said it meant, ‘May the victory be yours.’ She wished the same back for me and I could see she meant it. It’s the best wishes from the world over that saved my life that day.” Rahman says he wasn’t the least scared being so close to death. “What has to happen will happen. I believe one is constantly walking hand-in-hand with death. Death is like a constant companion. But let’s not go into dark spaces right now.”

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Aishwarya and Abhishek have no plans of having a baby

The film has not taken the box office by storm but when I meet him for this interview at his office in the bungalow Janak, Abhishek tells me that what appealed to him when he was offered the film Delhi 6 was the fact that though Roshan is an American by mind, he is an Indian by heart. "It was not at all tough for me to get into the character of Roshan, because I could easily connect to it, since I could understand him, having spent twelve years abroad in a different culture. I could relate to the character because like Roshan, I too had learnt abroad and know how it is to feel like an outsider, though born and brought up in a hard core Indian family, steeped in the culture of the ancestors". Abhishek had almost lost the opportunity to act in Delhi 6. "When Rakeysh Om Prakash Mehra gave me the script to read it, frankly I did not know whether he wanted me to be a part of the film because in the past too he had given me the script of his films. I was happy when he said that he wanted to cast me in Delhi 6, though I could not adjust my dates for the shooting since he wanted to shoot in the winter in Delhi though I had committed those dates to Mani Ratnam for Guru. Rakeysh asked me whether I would mind if he goes ahead with the film with some other actor and reluctantly I had agreed too. I think I was destined for the role of Roshan because came back to me, after tweaking the script after a year". Earlier, Abhishek had flatly declined to be part fo his film Rang de Basanti. "When he came to me with the script of Rang De Basanti, I could not understand it at all. To add to my confusion, he had then decided to call his film not Rang De Basanti but Paint It Yellow. I could not fathom how he could show Bhagat Singh in contemporary setting and said no to be part of the film and after I said no to it, he approached Aamir Khan. The rest is history. " Even after Rakeysh had finalized Aamir for Rang De Basanti, he came to him once again to offer the role of Siddharth in Rang De Basanti when Arjun Rampal walked out. However, Abhishek says that he told him that he could not be a part of the film because he could not understand the subject at all. Laughs Abhishek, "I told him that I was not as intelligent as Aamir Khan is. The role then went to Siddharth". Abhishek admits that though Drona was only two hours and ten minutes long, thanks to its screenplay, people felt it was too long. "As an actor, I feel you have to be immune to both hits and flops. You work hard in every film and naturally want it to click, because there is an emotional 'connect' to the actors with their films". Abhishek is of the opinion that his life has not changed after marriage in any way, because now he has a wife like Ash who he considers to be his best friend. Abhishjek denies that it is a conscious decision on his part to do most of his films with Ash. "It is petty to think that I maneuver to have Ash in every film of mine. I do not decide who should be cast in a film as my leading lady. I do not insist that Ash should be my leading lady. I did two films last year after marriage and Ash was not there in them at all. Ash was not there in Delhi 6 with me. Mani wanted her in his film which has a working title like Ravana and Abhinav Deo was keen that she should be a part of his film. " Abhishek confesses shyly that he and Ash have still not thought about an addition to their family. "We feel that a child is God's gift and frankly have not planned about having a child as of now because both of us are quiet busy with work. As and when we do have a child, what is of primary importance is that we should have a healthy child and it is immaterial whether we have a son or a daughter". Abhishek's next releases will be Balki's Pa in which he has been cast with his dad, Mani's film, in which his co-actors are Vikram, Ash and Ravi Kishen and Rajeev Menon's next film, which has been inspired by his parents' film Abhimaan.

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On the sets Veer at Amber Fort

Salman Khan’s self-scripted period drama, in which he is playing a warrior fighting against the British rule, has stopped shooting at Amber Fort, Jaipur, after an accident on its sets caused injuries to fans watching.

Here are snapshots of the stars in action on the sets before the Rajasthan High Court issued a stay order on the filming there.

Salman Khan’s green signal


Phirang wrestler


Jaadu ki jhappi


Ready for action

Veer is now being shot for at City Palace, Jaipur. The film is slated to release by the end of 2009 .

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Delhi 6 - Movie Review

Rakeysh Omprakash Mehra thinks out of the box and it's more than evident now. First AKS, then RANG DE BASANTI, now DELHI 6. A two-liner of the story may give you an impression that it's similar to UTV's earlier outing SWADES, directed by Ashutosh Gowariker: An American of Indian origin returns to his roots and decides to stay back in India. But DELHI 6 bites more than it can chew.

Set in old Delhi, the screenplay [Rakeysh Omprakash Mehra, Prasoon Joshi, Kamlesh Pandey] takes its own sweet time to come to the point. In fact, the entire first half is dedicated to the sundry characters in the bylanes of old Delhi, where several stories run parallel with the main plot... The two warring brothers [Om Puri, Pawan Malhotra] and the wall that divides the two; the daughter of the house [Sonam Kapoor] aspires to be an 'Indian Idol' contestant; a moneylender's [Prem Chopra] wife has an illicit relationship with one of his lecherous debtors [Cyrus Sahukar]; an 'untouchable' [Divya Dutta] makes more sense than the so-called thekedaars of samaj; a friend of the family [Rishi Kapoor] has still not forgotten his first love [Tanvi Azmi]. Oh yes, there's also a 'Kaala Bandar' who spreads havoc in the locality. Really, Rakeysh tries to pack in multiple stories in those 2.18 hours.

But, alas, the problem is that barring a few individualistic sequences, you don't carry the film home. The film is engaging in bits and spurts. Worse, it tends to get monotonous, preachy and boring and the end is so bizarre, you actually want to ask the writers, 'Hey guys, you okay?'

Let's cut a long story short: Rakeysh Omprakash Mehra misses the bus this time.

DELHI 6 tells the story of a young American boy Roshan [Abhishek Bachchan] of Indian origin, who comes to India for the first time, to drop his ailing grandmother [Waheeda Rehman]. She wants to retire and spend the last leg of her life back home; dissolving into the soil she was born in.

In America, having led a very western lifestyle, Roshan is not familiar with the sites and smells, the food and culture, the religion and beliefs, this huge melting pot that India is. He believes that Dadi had left her family and loved ones back in America, only to realize that how wrong he was.

The warmth and affection of the neighbourhood embraces him with open arms. Amidst all this he meets the beautiful Bittu [Sonam Kapoor], who wants to break free from the typical Indian social structure, to whom Roshan is destined to lose his heart.

That Rakeysh Omprakash Mehra is an accomplished storyteller is evident in several individualistic scenes. Note the scene when Vijay Raaz slaps Abhishek and Abhishek slaps him back. Also, portions in the second hour, when a Baba [Akhilendra Mishra] triggers off the Mandir-Masjid talk and divides the two communities, is very well structured. The sequences are disturbing and the writers and director succeed in exposing the fickle-minded people residing in the locality.

But the screenplay isn't foolproof. The romantic track is the weakest link in the enterprise. The love story falls flat. Also, the ending is so abstract that an average moviegoer would find it difficult to comprehend what the actual culmination is. The sequence in the end, when Amitabh and Abhishek have a conversation, looks weird. In fact, ridiculous. What was the need to have this sequence? It makes no sense. Even the Ram Leela sequences, interspersed at regular intervals, are forced in the screenplay.

Rakeysh's handling of the subject is exemplary at places. But the writing [faulty at times] as also the execution of the material isn't the type that would appeal to all sections of moviegoers. A.R. Rahman's music is outstanding; it's easily amongst his finest works. 'Masakali', 'Ye Dilli Hai Mere Yaar', 'Rehna Tu', 'Maula' and 'Genda Phool' are amazing tracks. Ditto for Prasoon Joshi's lyrics; they're gems. Binod Pradhan's cinematography is brilliant. Watch the Jama Masjid sequence [breath-taking] or the camera movements in the bylanes of old Delhi. Just one word to describe the output: Incredible!

Abhishek doesn't work. Also, his American accent looks fake. Sonam is likable. Waheeda Rahman enacts her part well. Rishi Kapoor is wasted. He deserved a better role. Amongst supporting actors, Om Puri [powerful], Pawan Malhotra [flawless], Vijay Raaz [tremendous], Deepak Dobriyal [genuine], Divya Dutta [admirable] and Cyrus Sahukar [likable] leave a mark.

Prem Chopra is alright. Atul Kulkarni looks like a buffoon. And what is Raghvir Yadav doing in this film? Supriya Pathak, Tanvi Azmi, K.K. Raina, Akhilendra Mishra and Dayashanker Pandey are passable. Amitabh Bachchan's presence in the penultimate minutes fails to evoke any reaction.

On the whole, DELHI 6 has a terribly boring beginning [first hour], an absorbing middle [second half] and a weak end [climax]. At the box-office, the business is bound to be divided. The film may record bountiful collections at multiplexes in its opening weekend. The popular music as also the fact that there's no major opposition will benefit the film in the initial days. But the business at single screens as also the mass belt will be a shocking contrast. However, the cracks will start appearing sooner than expected, even at plexes. Thumbs down!

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MTV VJ - Anushka Hot In Bikini

MTV VJ - Anushka Hot In Bikini
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Billu Barber - Movie Review

Rating: ***1/2 Priyadarshan is synonymous with ha-ha-thons, but the talented storyteller has been equally proficient while handling intense dramas like SAZA-E-KALA PANI, GARDISH and VIRASAT. Like VIRASAT and MALAMAAL WEEKLY, Billu, the accomplished director's new outing, is also set in a hamlet. Although the story has been attempted in Malayalam (KADHA PARAYUMBOL) and Tamil (KUSELAN) earlier, the story actually takes its inspiration from the legendary friendship between Lord Krishna and Sudama. In this case, the story talks of the friendship between a superstar and an ordinary mortal who runs a salon. Billu is a simple story about simple people, told in the most simplistic manner. There's a generous dose of glamour as well, given the fact that the protagonist's friend happens to be a superstar, but what actually works for the film is the simpleton's story. He wages a daily battle to make ends meet. Although the film is engaging, Priyadarshan reserves the best for the finale this time, when the superstar reminisces about his childhood friend and the deep bond that they shared. The end is remarkable and is sure to strike a chord with all sections of moviegoers. Final word? Billu is amongst Priyadarshan's finest works. And also Irrfan and SRK's. This tale of friendship is sure to steal your heart! Billu tells the story of a simple ordinary man, Bilas Rao Pardesi (Irrfan Khan), living in a small town with his wife Bindiya (Lara Dutta) and two kids. His life undergoes a drastic change as superstar Sahir Khan (Shah Rukh Khan) visits the village for a film shoot. Everything changes. Things go from good to bad to worse to good again. Ten minutes into the film and you get absorbed into Billu's small world. The salon is in bad shape, the family is facing tough times, the neighbours and acquaintances are fair-weather friends... Billu's life gets grim with each passing day. The story takes an interesting turn when Billu's life collides with the superstar's. And the assorted characters -- right from an aspiring poet/lyricist (Rajpal Yadav), to a stingy money lender (Om Puri), to the principal of the school (Rasika Joshi) -- everyone wants favours from Billu. These characters only make Billu more interesting. SRK's track is equally fascinating and only spices up the proceedings. In fact, Priyadarshan has amalgamated the three songs (featuring SRK with Deepika, Priyanka and Kareena) in the narrative smartly. Not once do you feel that you're watching two stories concurrently. The best part of the enterprise is its climax. The superstar recalls his humble beginning and how his friend stood by him in times of crisis. The writing is brilliant and SRK only takes the scene to greater heights with his terrific portrayal. Priyadarshan is adept at handling relationships and with Billu, he proves he can handle emotions with as much flourish as comedy. To tell a simple, uncomplicated story, without the usual frills, is an arduous task indeed and Priyadarshan tackles the material with remarkable ease. The humour here is subtle, not loud, and a constant smile remains on your face all through. Mushtaq Shiekh and Priyadarshan's screenplay is foolproof. In fact, the writing never loses focus and the highs and the lows in Billu's life are sensitively penned by the duo. Manisha Korde's dialogues are simple, gelling with the mood of the film. Pritam's music is energetic. The songs, promoted aggressively prior to the release, only get an impetus thanks to the presence of the three actresses. 'Mar Jaani' and 'Love Mera Hit Hit' are, of course, the pick of the lot. V. Manikandan's cinematography is top notch. The locales (Pollachi) are breath-taking. In the recent years, Irrfan has emerged as a force to reckon with, his performances have appealed to all strata of moviegoers and his work in Billu will only cement his status as a remarkable actor. Shah Rukh Khan needs to be admired for two reasons. The show belongs to Irrfan, although SRK could've forced himself in every scene. Also, he has chosen to opt for a film that's not one of those run-of-the-mill types. In terms of performance, SRK shows his true potential towards the finale. Lara Dutta springs a pleasant surprise. She goes through her part with complete understanding. Om Puri is excellent. Rasika Joshi is too good. Rajpal Yadav is really funny in the penultimate scene, when he recites a film song of an SRK film. Asrani and Manoj Joshi are passable. On the whole, Billu is a sweet-n-simple film that lingers in your memory even after the show has concluded. The final 20 minutes are the highpoint of the enterprise and that elevates the status of the film to great heights. The film has the potential to grow with a strong word of mouth. Recommended... Take your family for this one!

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Let's Kiss: Kareena and Saif finally lock lips

Saif Ali Khan and Kareena Kapoor are sharing a happy moment on screen. They are kissing onscreen for the first time for their untitled film directed by Renzil D'Silva for Dharma Productions. A source has confirmed the intimate scene, "Last week, Saif and Bebo shot for their kiss in a Chembur studio. The kiss is part of a song. The actress who has done kissing scenes on screen before was quite comfortable with the idea of lip-locking with her beau. She even was seen calmly discussing the angle and the intensity with the director." An insider adds, "At one point it was discussed if the scene was necessary and it looked like the couple had their doubts about the screen smooch. Rensil looked unhappy and had a word with Saif. The director convinced him to do the scene. Saif in turn made Bebo understand that it was necessary and she agreed." It took just about five takes to get the kiss right.

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Dev D - Movie Review

Starring Abhay Deol, Mahie Gill, Kalki Koechlin Directed by Anurag Kashyap Rating: *** ½ Fiery unforgettably unstoppable in her self-worth…Paro, now transposed to Punjab (gawd, yeh ladki kahan-kahan jayegi?!) knows her Devdas just back from England wants some quality sex. As determined as ever, she cycles to the nearest surgarcane fields with a bulky bedroll tied to the carrier, spreads it,and herself, out for her foreign-returned lover-boy… That image of the super-determined Paro cycling to sex in the fields, compounded with that brilliantly shot sequence where she explodes her bitterness frustration and anger by pressing down on a handpump as thought it were a….never mind!...qualify as two of the most astutely achieved images of literature- on- cinema in recent Bollywood memory. Anurag Kashyap at last sheds his obstinate inaccessibility as a filmmaker. More a homage to Sanjay Leela Bhansali than litterateur Saratchandra Chatterjee's Devdas, Kashyap's Dev D is that deep liberating lascivious luscious provocative tantalizing and tragic view of tragic hedonism, ruinous selfindulgence and vain miscommunication that Saratchandra barely thought about but couldn't articulate. Kashyap's Devdas is a raunchy renegade, a bastard of the first order who thinks of only selfgratification. And his task is made easier by the two women who come into his life in this splendidly tragi-comic subversion of a timeless novel that said, defeatism is heroic. But only when compounded by the ability to confront your weaknesses headlong. As Dev D, Abhay Patel, that big-little hero of the outré cinema, is crass and wounded, vain and vicious, stupid and sensitive. The contradictions pulsate and nourish the narrative making it a ripe and riveting drama of disorientation and dissociation where the protagonist's failings are defined more by physical appetites (sexual and otherwise) than metaphysical longings. In telling a timeless story of selfseeking arrogance Anurag Kashyap manages to build a spiral of contemporary themes. The Chandramukhi sections where the innocent school girl gets trapped into a quagmire of campus sleaze and finally ends up as a sex worker is hertwrenching in its portrait of the contemporary moral crisis that threatens to tear our civilized society limb by limb. Kashyap pays some delectable tributes to Sanjay Bhansali's Devdas, not only in the outstanding sets and art decoration (Sukanta Panigrahi) and the super-smouldering-and-evocative cinematography (Rajeev Ravi) but also in the way kitsch is converted into a cool neo-classic currency. The dialogues (Kashyap and Vikramaditya Motwane) have a constantly quirky and cutting edge. Check out the long boudoir piece where Chanda wonders aloud to Dev why people are so coy about calling a a sex worker a randi. The words and visuals are not for the squeamish. Indeed the film's most glorious accomplishment is that it succeeds in simultaneously being sluttish and sublime. The principal characters seem to be scoffing and saluting Saratchandra's novel while forging a totally unexplored territory for the three tormented misfits whose malfunctional destiny makes them bitter and angry but never repulsive to the spectator. Anurag Kashyap shoots the drama of the damned on locations that echo the protagonist's inner state. The open-aired Punjabi prelude progresses painlessly into a pained and claustrophobic psychedelic stroble-lit nightmare that includes three male pub performers who pop up willy-nilly to sing on Dev's plunge into a hellish self-pity. Kafka would recognize and Saratchandra would probably reject the world that Kashyap's Devdas enters. Would Saratchandra Chatterjee, Bimal Roy or Sanjay Leela Bhansali smile at Anurag Kashyap's backhanded warm and revisionist look at the life love and heartbreaks of Hindi literature's ultimate loser? Abhay Deol plays Devdas with a wry cynicism suggesting both disgust and longing for a social system that rejects him as much he rejects it. Kashyap's two prized finds are his 'Paro' Mahie Gill and 'Chanda' Kalki Koechlin. Mahie plays Paro with a blend of pride and resignation, fire and pathos, bringing to the part a rare and undefinable solidity. How does she compare with Suchitra Sen or Aishwarya Rai Bachchan's Paro? Who's comparing?!! Kalki as the schoolgirl-turned-whore plays her character stripped of all selfpity. Not that she enjoys being what she is. But this Chandramukhi isn't apologetic about the place that life has put her in. Anurag Kashyap's Dev D is a harsh but sensitive take on an age-old material, done with a sense of spiraling pit-in-the-stomach vertiginous momentum that's not quite lost even as the protagonist loses his way in a maze of selfindulgence. Watch the film to see with what tongue-in-cheek temerity form is wedded to content without the director wavering in his determination to take cinema into regions that have nothing to do with convention. And everything to do with invention.

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