Reply to Thread New Thread |
08-11-2006, 02:19 AM | #24 |
|
Movies opening gr8 Biggest ever in the history of bollywood
The opening is expected to be twice the total collections of Krrish,RDB etc as the tics are bein sold at a premium of 50% Jus cant wait My frnd has watched the movie Seems that SRKs given one of his best ever performances particulary in the scene when hes crippled while playin football No KJ type entertainment |
|
08-11-2006, 02:40 AM | #25 |
|
KANK review
http://www.indiafm.com/movies/review/12514/index.html By Taran Adarsh, August 9, 2006 - 14:35 IST The wait has finally ended! KABHI ALVIDA NAA KEHNA has generated tremendous heat within and outside the film industry. It's not the star cast alone that has resulted in unparalleled, unmatched and unprecedented craze for the film. It's also the person seated on the director's chair that makes KABHI ALVIDA NAA KEHNA special. Very special. With KUCH KUCH HOTA HAI and KABHI KHUSHI KABHIE GHAM, his directorial accomplishments, Karan Johar has set such high standards that an all-important question crosses your mind as you walk into the screening: Will Karan surpass his own achievements with KABHI ALVIDA NAA KEHNA? KABHI ALVIDA NAA KEHNA is also an acid test for Karan for yet another reason. It's the first time that Karan has changed tracks. Agreed, the supremely talented director has tackled romance and relationships in the past, but KABHI ALVIDA NAA KEHNA goes a step further. It takes a bold look at relationships and makes an equally bold statement on the institution of marriage. Just don't expect KABHI ALVIDA NAA KEHNA to be a typical candyfloss entertainer. Or an archetypal fare that Bollywood is known for. In those 3.06 hours/22 reels, Karan packs in some solid stuff. And the conclusion to the story is bound to hit the orthodox elements hard. A film like KABHI ALVIDA NAA KEHNA is sure to have its share of advocates and adversaries no doubt, but it's a film that has the courage to say what it believes in. There are bound to be comparisons with films of similar genre. But let's put certain myths to rest at the very outset. The story revolves around two couples, but it's not CLOSER [Julia Roberts, Jude Law, Natalie Portman, Clive Owen], it's not SILSILA either. The speculation should end there. Karan's take on relationships is fresh, bold and innovative. It takes you by surprise. It shocks you as well. And it's also trend-setting. Frankly, a film like KABHI ALVIDA NAA KEHNA is akin to a big gamble. The subject matter has to be treated cautiously and delicately, or else it can boomerang badly. It might even hurt the sensibilities if entrusted in wrong hands. But Karan's skilled directorial abilities take the film to a different level altogether. The film charters a novel path as it progresses and gets bolder gradually. In a nutshell, KABHI ALVIDA NAA KEHNA bears the unmistakable stamp of a genius -- Karan Johar. The master storyteller only polishes his skills further, proving yet again that he's a forward-thinker and also, a progressive storyteller. KABHI ALVIDA NAA KEHNA narrates the story of two families -- Sarans and Talwars -- both not connected to one another. But circumstances bring them together. Dev Saran [Shah Rukh Khan] has an uneasy and troubled relationship with his wife Rhea [Preity Zinta] and son Arjun [child artist Ahsaas]. He resents his wife's growing success and in the process, ends up turning all his anger towards his loved ones. Maya Talwar's [Rani Mukherji] relationship with her husband Rishi [Abhishek Bachchan] is layered with a lot of self-doubt and question. She is unable to whip up enough passion for Rishi and is disappointed that her love for him does not match her own expectations of what it ought to be. This dilemma pulls her further apart from him, thereby causing a strain on their marital life. One fine day, Dev and Maya's path cross each other� KABHI ALVIDA NAA KEHNA starts like a nice romantic drama, with Abhishek getting married to his childhood sweetheart and SRK talking to his wife about the $ 5 million deal after he has won a game of soccer. But minutes later, the film does a 180-degree turn and establishes the friction between the two couples. The tension between the couples surfaces gradually, but reaches the crescendo 20 minutes before intermission. The spat between SRK and Preity on one hand [Preity: �I wear the pants in this house�], followed by the heated argument between Abhishek and Rani [Abhishek: �You can't even bear a child�] is amongst the most remarkable portions in the film. These sequences hit you like a ton of bricks! It's not that the first half is laced with tense-filled moments. In fact, the first hour-and-a-half has light portions in abundance. Amitabh Bachchan's philandering lifestyle provides ample moments of laughter and of course, eye-candy, what with some gorgeous firang babes jumping out of the closet. In the post-interval portions, infidelities occur, betrayals are discovered and the couples' worlds go upside down. The sequence at the dinner [Sr. Bachchan hosts a sit-down dinner on Kiron Kher's birthday], when SRK expresses his feelings, or when SRK opens up to Preity and Rani to Abhishek about the affairs are master strokes from the writing and execution point of view. Note another scene: SRK waiting with a bouquet of roses for Rani and by a sheer coincidence, Preity walks in at that time at the signal crossing. This sequence [it depends on treatment alone] deserves distinction marks. The end is powerful, but disturbing. Disturbing for those who believe in the age-old traditions. The film moves about in a serpentine fashion. Just when you thought that the couples have decided to go separate ways, there's another twist in the tale and yet another, in the end. Karan Johar takes colossal strides as a storyteller. Films like K.K.H.H. and K.K.K.G. were the tip of the iceberg. Karan's take on relationships and marriages is refreshingly different because there's tremendous identification with the characters. You see it happening all around you these days. Technically too, this is Karan's finest work to date; he balances style and substance beautifully. KABHI ALVIDA NAA KEHNA is not a date film and the writers [Karan Johar, Shibani Bathija] spell it out at the very outset. The screenplay balances the two extremes -- light moments and dollops of emotions -- with amazing ease. The relationship between the couples or even those between the parent and child [the Bachchans] is delicately handled. If there are moments that move you to tears, there are ample moments that bring a smile to your face as well. Another noteworthy aspect is its forthright dialogues [Niranjan Iyengar]. The lines sound straight of life and there also exist a host of interesting observations. Yes, the film is talky, but in a smart way. You never feel that the characters are talking to hear their own words or to fill up screen time. Anil Mehta's cinematography is awesome. The film has been filmed in New York and the lensman captures the various seasons and colors with gusto. The outcome is easily comparable to the best in Hollywood. Shankar-Ehsaan-Loy's music is melodious. 'Mitwa', 'Rock N Roll Soniye' and 'Where's The Party Tonite' appeal also due to the vibrant choreography [Farah Khan]. The styling and the production values are topnotch. Editing could be tighter. A bit of trimming, in the first half mainly, would only sparkle the film further. In KABHI ALVIDA NAA KEHNA, the actors get a chance to shine and no one shines brighter than Shah Rukh Khan. Let's just state one thing here: This is SRK's finest work after D.D.L.J. His sequences with Preity specifically, when the couple has their spats, or in the climax, when he just stares at Rani from inside the train, proves that he's undoubtedly the best in the business. The ferocity with which he delivers his lines and the restless energy he imparts to his character electrifies every scene that he's in. Rani is remarkable yet again. In fact, if you consider BLACK to be her most memorable performance so far, then watch her in KABHI ALVIDA NAA KEHNA. This surpasses her work in BLACK or VEER-ZAARA and PAHELI. Her makeup as well as her overall appearance is tremendous. She's never looked as good before! It would be unfair to describe either Abhishek Bachchan or Preity Zinta's performances as 'lesser'. Abhishek is brilliant, especially when he gets serious towards the end. His penultimate sequence, when he gives a golden advice to Rani, is outstanding. Preity not only looks gorgeous, but the dedication to her role shows at vital points. Her penultimate scene with Rani, when she confronts her at the marriage reception, is fabulous. Amitabh Bachchan is in superb form. The naughty streak that he displays soon disappears in the second half, when he realizes that something is amiss. In fact, his expressions at the dinner first and also in the hospital only reiterates the fact that he's an icon. Kirron Kher excels in a brief but significant role. Arjun Rampal looks perfect for the part. Kajol and John Abraham [both appear in songs] add to the glamour quotient. Child artist Ahsaas looks cute and acts well. On the whole, KABHI ALVIDA NAA KEHNA is an outstanding film from the writing, performance and execution point of view. It has style, substance, it takes challenges and doesn't follow formulas -- and that is its biggest strength. At the box-office, the film will embark on a hurricane-like start, establishing new records in days to come. The first weekend will be superb, while the weekdays [15th and 16th August are also holidays] will result in a record-shattering first week billing. With no opposition in sight for the next few weeks, KABHI ALVIDA NAA KEHNA will have a dream run at the box-office. Its business in Overseas will also be remarkable. Has the potential to prove the biggest money spinner in this territory. |
|
08-11-2006, 05:18 AM | #26 |
|
|
|
08-11-2006, 05:36 AM | #28 |
|
|
|
08-11-2006, 10:26 AM | #29 |
|
Phoo!!! I'm personally a fan of Karan Johar. I loved Kuch Kuch Hota Hai, and I also loved Kabhi Kushi Kabhi Gham enough to buy the original DVD when I could've copied it. :P I'm waiting to see this movie! Sounds cool so far! :P |
|
08-11-2006, 10:36 AM | #30 |
|
SRK, Karan’s guests watch KANK
IndiaFM | Thursday, 10 August , 2006, 08:59 More on Karan Johar and KANK! The film-maker has decided against holding the premiere show of his new film and even the pre-release screenings have been very, very few this time. The guest-list has been limited to the friends/well-wishers of the Johars. The first screening was held for the cast, crew and the Yash Raj family, the second for Karan’s friends, the third for Bachchans’ guests and the fourth, held on Tuesday night [August 8] at Yash Raj, was for Karan and SRK’s guests, including the Videocon people, the Moranis and several hi-profile dignitaries from all walks of life. The heavy downpour [it’s raining heavily in Mumbai since Saturday] didn’t deter the guests from arriving on time and the auditorium was packed to capacity. In fact, the audience gave a standing ovation once the screening of this 22-reeler ended. P.S.: Some interesting trivia on K.A.N.K. The promo of not just DHOOM 2 [amazing, astounding], but also KABUL EXPRESS is included with the prints of the film. Speculation is rife that Kareena Kapoor makes a guest appearance in the film. That’s not true. Only two actors appear in cameos -- Kajol and John Abraham. |
|
08-12-2006, 04:29 AM | #32 |
|
`KANK` creates history in Chennai!
By Moviebuzz | Friday, 11 August , 2006, 13:41 Karan Johar�s Kabhi Alvida Na Kehna (KANK) releases today (Aug 11) worldwide including Chennai. The film has been declared a super hit even before its release due to extraordinary advance booking. In Chennai KANK is all a set to break Rajnikanth�s Chandramukhi�s record first week net collections! KANK opens big in four theatres-Sathyam, Ega, Anna and Mayajaal with combined seating capacity of 3140 per show, and on offer 12,560 seats per day. The advance booking is unbelievable, even though ticket rates are priced at Rs 150, 125 and 100 at Sathyam, Rs 100, 80 at Ega and Anna and Rs 150 at Mayajaal. The film releases for the long Independence weekend (Aug 11- 16) as Wednesday is also a holiday due to Janmashtami (Sri Krishna Jayanthi). Tickets have been sold out till Wednesday night at Sathyam, while in other theaters they are getting filled up fast. At Mayajaal, Corporates have snapped the first 16 of 24 shows scheduled for the weekend! Remember that Chandramukhi too opened big in five theatres but tickets were priced in the Rs 70-90 range and even with 100 percent opening, in the first week, the net was approximately Rs 48 Lakhs. Now the trade expects KANK to net between Rs 60 to 65 Lakhs in its opening week from Chennai, thereby creating history. |
|
08-12-2006, 04:37 AM | #33 |
|
KANKs rulin the world
Anyway check out this Don teaser http://www.indiafm.com/features/2006...411/index.html It rox Jus take a look at the aerial stunts man |
|
08-12-2006, 04:49 AM | #34 |
|
rediff review
I feel older. A showing of Karan Johar's mammoth 22-reel Kabhi Alvida Naa Kehna has left me unbelievably exhausted. I walk out of the hall feeling my cheeks for stubble, wondering if my clothes are suddenly dated and my hair's grey. For this is no ordinary 3.5-hour film. It is a saga that stretches on and on -- imagine, if you will, a Balaji Telefilms soap running for several seasons, time leaps and all. Yes, I've lost a sizeable chunk of my life, and you will too. I am now older, but not wiser. Because Karan Johar, God bless his soul, has never been about meaning. He has manufactured dreams in wonderful abundance, right from the frothy Kuch Kuch Hota Hai straight out of Archie comics, to Kal Ho Naa Ho, a rom-com Julia Roberts wouldn't have looked out of place in. Johar's films are bright and cheery, all merriness and overdone cliches as wholesome as besan ka ladoo. Indulgently, a nicely-packaged treat, never mind extra desi ghee. Tragically, Johar too seems struck by the 'Substance Syndrome', something that usually affects item girls. Not content to merely shake their booty in our glad faces, the well-built lasses suddenly bring out the dupattas and nurse deluded dreams of acting talent, resulting in much audience grief. Similarly, Karan, the popcorn populist we all rather enjoy, has decided to turn to a deeper, darker subject. The KANK gang deals with infidelity, with broken marriages standing in the way of true love -- it is a tremendous departure from the happy-joy world the director has dealt with so far, but he can handle melodrama and undeniably make women weep, so perhaps this step made sense. Kabhi Alvida Naa KehnaIt would, if only he'd let go of his glossy fun roots. Please forget the Closer rumours right now. Infidelity is a tough subject to broach, but Karan opts for neither the compelling emotional complexity of a Silsila nor the cheeky nonsense of a Masti. Instead, he tries straddling both worlds -- imagine the unforgettable Amitabh-Rekha-Jaya story set in New York to a laugh track. Not wise at all. So, we have failed footballer Dev Saran (Shah Rukh Khan), resentful towards fashionista wife Rhea (Preity Zinta), simply because she's a success. On the other side of the tracks, we have party-planning upstart Rishi (Abhishek Bachchan) trying hard to court schoolteacher wife Maya (Rani Mukerji), but she's quite the cold fish. Mere seconds into the film, Khan meets Rani in red wedding regalia on a park bench, wondering if she should take the plunge. It being his anniversary, and this being a KJ film where everyone's a drama queen, he encourages her to get married even as he exposes the vulnerability of his own marriage while rudely bringing to light the fact that she isn't in love. The strangers meet, trade immense dialogue and say farewell, until Rani brings up the film's title -- never say goodbye, for then it kills the hope of meeting again. And meet they obviously do, four-odd years later, with both marriages well on the rocks. Amid some inexplicable tomfoolery about a black-jacketed kidnapper, SRK creams Rani with a football, re-introductions are made and big life questions are brought up. Meanwhile, their spouses, being true media professionals, use the hospital waiting room to schmooze. Now, everyone knows everyone, and -- as the cracks in the relationships are predictably more than apparent soon -- the SRK-Rani affair begins, kicking off a series of contrived situations, each progressively more artificial than the last. Kabhi Alvida Naa KehnaYet, as mentioned, the possibly compelling potential for drama isn't given any elbow room. The characters are cardboard, the setting is glitzy, the songs are tiresome, and the story oscillates between high melodrama and slapstick hilarity, going nowhere. Decidedly going somewhere on the other hand is Amitabh Bachchan, playing Abhi's flamboyant dad Sam ('sexy Sam,' the background score keeps reminding us). A widower who dresses like Snoop Doggy Dogg and cavorts appropriately with blondes, it's fabulous to see Bachchan relish this campy role, fur-lined handcuffs and all. There's a jump in his stride and a twinkle in his eye as he carries off peculiar colours with flair. And the Big B convincingly shows there's way more to him than meets the eye. A tense romantic drama between two married couples -- and the most compelling character in the film is a dad who dresses like a pimp? The film is working from a fundamentally flawed script, and our four (okay, two) main leads aren't really fleshed out at all. Khan is perpetually pissed, an angry man too busy grumbling about his limp to care about his marriage. Mukerji's character is strangely unreceptive of Abhishek's advances. Preity's Rhea echoes Bollywood clich� of careerwomen being ruthless and uncaring. Abhi, while a bit of an upstart, is the most believably written of the bunch. But never once do you feel concern for any of them, nice New York cinematography or not. Johar's movies are always star-heavy, but rarely has a weak script relied so completely on pretty people with big names to carry every line through. The dialogues they mouth are meant to be meaningful, trying to sound profound about trite nothingness -- then again, the script is by Shibani Bhatija, the woman who wrote Fanaa, which explains a lot. Honestly though, if you really dig Kabhi Khushi Kabhie Gham and are waiting for Fanaa on DVD, you might just love this movie. If you do, tell me how. As for the pretty people, half the reason you've been scrolling down is to read how the stars have done. Well, it's typical. For those of us who've been hoping for a new and improved SRK, this isn't the film. Shah Rukh hams supreme, scowling and smirking seemingly in slow motion, each facial twitch exaggerated to painful proportions. From heavy breathing to simpering, breathless sobs to caricatured anger, KANK provides a virtual gallery of Khan at his most over-the-top, with the actor's emphasis making the most derivative 'American' lines very painful indeed. While Rani is laden with flaky dialogues that most actresses would balk at, the actress manages to provide a realistic character, as far as her words allow. Unforgivable scenes are suddenly salvaged by Ms Mukerji breaking into a teary grin, and for that we must thank her. Kabhi Alvida Naa KehnaAbhishek Bachchan plays a cad, a clubbing bling-lover completely smitten by his wife, who really doesn't care. It's a tricky role, and Abhi does impressively with a nuanced performance showing admirable restraint, again despite the words. The actor has a deft comic touch, and his Rishi manages to come off both relatable and sensitive. Preity who? Zinta has barely a walk-on part in the film, her appearances pretty much restricted to the loud and showy songs. Kirron Kher (as SRK's ma) has sleepwalked through 'warmly Punjabi' roles like this before, and inevitably draws the occasional smile. As does the film. Despite the bad handling, the pained acting, fractured narrative and twisty plot, there are moments where you grin. Moments where Khan pulls off some (ad-lib?) panache, where a line actually comes off as funny, where things work. But, in a film dragging close to four hours and making you feel each minute, we deserve way more smiles per hour. And, for all the hype about Bollywood heading into a 'bold' direction, KANK ends up being a lot of oversight with barely any insight. No motivations are explained, no headway made. Couples on the verge of marriage would do well not to head into the theatre. You may be dumped for the choice of flick. Damn, it still hurts. Think it'll take a couple more viewings of another film with a limping leading man to soothe the pain. ivlo contradicting review-a |
|
08-12-2006, 05:08 AM | #35 |
|
|
|
08-12-2006, 05:19 AM | #36 |
|
|
|
08-12-2006, 05:22 AM | #37 |
|
|
|
08-12-2006, 05:48 AM | #38 |
|
I feel older. A showing of Karan Johar's mammoth 22-reel Kabhi Alvida Naa Kehna has left me unbelievably exhausted. I walk out of the hall feeling my cheeks for stubble, wondering if my clothes are suddenly dated and my hair's grey.
For this is no ordinary 3.5-hour film. It is a saga that stretches on and on -- imagine, if you will, a Balaji Telefilms soap running for several seasons, time leaps and all. Yes, I've lost a sizeable chunk of my life, and you will too. I am now older, but not wiser. Because Karan Johar, God bless his soul, has never been about meaning Raja sen is a worst reviewer avarukkae padam pidikala Nangathaan appavae sonnOmla :P |
|
08-12-2006, 08:24 PM | #39 |
|
|
|
Reply to Thread New Thread |
Currently Active Users Viewing This Thread: 1 (0 members and 1 guests) | |
|