Bollywood stars coming for Film Awards

Preparations for the three-day Global Indian Film Awards (GIFA 2006) extravaganza beginning Dec 7th is right on schedule.

Event organiser Harjeet Singh Dhillon, the executive chairman of One Big Option Sdn Bhd, said the crew were busy with last minute preparations to ensure a successful Awards Night.

GIFA 2006 is organised by One Big Option Sdn Bhd together with Popcorn Entertainment under the aegis of Tourism Malaysia and the kind patron age of Datin Seri Rosmah Mansor, wife of Deputy Prime Minister Datuk Seri Najib Tun Razak.

This is the second time GIFA, a prestigious awards ceremony to honour the Bollywood stars is held. The first was staged in Dubai last year.

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CORPORATE Movie Review

So finally it's about the conscience. All of Madhur Bhandarkar's best works - and this certainly qualifies as a fine progressive piece of cinema - have finally boiled down to the question of the conscience and the individual.

Kay Kay Menon playing the ambitious but conscientious corporate wheeler-dealer run by an unscrupulous tycoon (Rajat Kapoor) who would go to any length to make his way up the corporate ladder, is so adept at showing his troubled conscience you wonder which came first ….the conscience or movies crystallizing its dilemma.

The corporate world so much a part of television serials, has never been exposed on the large screen since Shyam Benegal's KALYUG. To his credit Bhandarkar, with considerable help from his editor, slices through these ambition-driven people with the urgent hiss of a car negotiating a craggy highway.

The bumps and jerks in these snarled lives are seldom detrimental to Bhandarkar's tremendous knack of storytelling.

This is a director who packs in a precious punch in the plot. The screenplay that Bhandarkar has co-written with Manoj Tyagi has enough twists and turns to make the corporate jargon decodable to the lay person.

Like CHANDNI BAR and PAGE 3, CORPORATE sets its feet firmly in a culture-specific work-oriented milieu. It then finds an emotional bedrock in its innumerable characters, portrays them as people trapped in ambitions and desires over which they've no control after a point.

Though Bhandarkar forms an amazing criss-cross of undercurrents in the two rival families headed by Rajat Kapoor and Raj Babbar (there're even the peons making nudge-nudge-wink-wink remarks about their bosses) the narrative finally narrows down to being a burnished love story between two colleagues, played with rhythmic restrain by Kay Kay and Bipasha, working on the same side of the fence and yet drifting away due to their inability to control the swing of destiny.

As the morally upright Nishigandha who steals her rival's project only to pay an unimaginable price for her indiscretion, Bipasha Basu pulls out all stops to deliver a performance that avoids artifice.

This one is straight from the heart.

Though the film knits a compelling criss-cross of agile entrepreneurship it's the heart that eventually triumphs over the head in this smartly told drama of doom and redemption.

The camera (Mahesh Milaye) doesn't stop long enough to absorb Aje Monge and Manoj Tyagi's penetrating words. Bhandarkar moves quickly and surely through the corporate labyrinth. His well-researched plot finds its level within the characters' conscience.

We're finally watching them with their souls naked to the camera.Every performance from Bipasha Basu to Sammir Dattani (who plays a brief but bright part of a young executive in her office) is credible and often compelling. Rajat Kapoor and in brief role Lillete Dubey, are front-runners in the performing sweepstakes.

Yes, the film's industrial mood and language may be impenetrable to those who think tycoons wear expensive suits and have meetings in 5-star hotels.

Look at the lies beneath, and the gloss vanishes, the grime bubbles to the surface. His plot is wide and often-deep giving incidental characters a sudden but sure sweep of self-expression. Rajat Kapoor's domestic life or the beginnings of a romance between new recruit Minissha Lamba and Sammir Dattani are dealt with in just one sequence each.

Bhandarkar is a past-master wielding the whip over his plot until the characters sing in a language of pain hurt and atonement. The larger picture secretes some startling comments on morality in a ruthless profession.

To begin with CORPORATE may lack the dramatic intensity of the director's earlier works. But once Bhandarkar takes you in, he turns the screw hard, reminding us of how far away ambition has driven us from our dreams.

By Subhash K Jha, IANS

People's expectations worry me: Rohit Shetty

Most of the filmmakers oscillate between hope and dread before the release of their films and director Rohit Shetty is no exception.

His forthcoming film "Golmaal" is set to roll on July 14 and he is experiencing mixed feelings for the same, reports Bollywood Trade.

"'Golmaal' is a very colourful and youth-oriented film. The promos have caught everyone's attention and the expectations seem to be sky high, which has got me worried. I hope I can live up to everyone's expectations. Besides, all the actors have done a marvellous job," said Shetty.

His directorial debut "Zameen" was out-and-out action-thriller but it didn't work well at the office.

One wonders what prompted him to switch to another genre'

"I don't want to restrict myself to a particular genre. I want to explore new horizons and when I heard the script of 'Golmaal', it got me really excited."

Apart from "Golmaal", which stars Ajay Devgan, Arshad Warsi, Sharman Joshi, Tusshar Kapoor, Paresh Rawal and Rimi Sen, Shetty has three other films in the offing.

One is an untitled action flick with Balaji Telefilms and the other two are with Ramesh Sippy and Shree Ashtavinayak Cine visions respectively. The cast of none of these films has been finalised yet.

Hindi Music Review: Krrish

In 2003, young blood Hritik Roshan took Bollywood by storm when he bagged the prestigious Filmfare Award, India’s most important film award, beating out stalwarts like Ajay Devgan, Salman Khan, Shah Rukh Khan (called the King of Bollywood, or King Khan), and reigning emperor Amitabh Bachchan. (Visualize this: Heath Ledger winning best actor over the likes of George Clooney and Marlon Brando).

The film? A story about a mentally challenged boy who befriends an alien. At the helm of this project, entitled Koi…Mil Gaya, was father Rakesh Roshan. The music director was uncle Rajesh Roshan. The lyrics were done through a collaborative effort between Ibrahim Ashq, Dev Kohli, and Nasir Faraaz.

This year, Hritik is all geared up to repeat his phenomenal performance from Koi…Mil Gaya (translated- I found someone) in the sequel, entitled Krrish (no real translation here- it’s a name). Here, he plays the son of the main character in Koi Mil Gaya.

If Koi…Mil Gaya was a pioneer for Indian cinema’s foray in to science fiction films, Krrish is touted to be a steady blend between action and science fiction with magic, and superheroes, and of course, romance. What is a Bollywood film without romance?

This film boasts a talented star cast. Aside from Hritik, the cast includes the ethereal Rekha as Krish’s grandmother, Nasseruddin Shah as a doctor, and Miss World 2000 Priyanka Chopra as Krish’s love interest. On a side note, has anyone noticed that Priyanka is slowly but steadily becoming one of the most talented and sought-after actresses in Bollywood. I think Aishwarya Rai is in danger here! This girl’s the real thing. Imagine Scarlett Johanssen giving Julia Roberts a run for her money! Well, those things actually do happen in Bollywood.

The music in Krrish is composed by Rajesh Roshan. Nasir Faraaz, Ibrahim Ashq and Vijay Akela have written the lyrics.

Pyaar Ki Ek Kahani- Sonu Nigam, Shreya Ghoshal

The album opens well with this song, which has been shown in the trailers of the movie. He’s saying, “Come, let me tell you a love story about a boy and a girl.” You can pretty much guess the rest. This is a typical Bollywood number, made memorable by the unique touches that Sonu Nigam and Shreya Ghoshal add to the song. Somehow, we never tire of these songs, and this one isn’t one to disappoint us. It’s good.


Koi Tumsa Nahin- Sonu Nigam, Shreya Ghoshal

This was supposed to be the title song when the movie was named “Koi…Tumsa Nahin.” But even though the name of the movie changed, this is still potentially the album-selling title song. He’s telling her that there’s no one like her in the world, and she’s telling him right back. Pretty straightforward, simple lyrics so commonly known in Bollywood. After the title song in Koi Mil Gaya (which I really liked), this one doesn’t quite meet the mark. But still a good number overall.


Chori Chori Chupke Chupke- Udit Narayan, Shreya Ghoshal

This song is slightly reminiscent of O Re Gori from the disastrous film Aap Mujhe Achche Lagne Lage (the songs were good…right? Maybe?) It has a distinct Rajesh Roshan feel to it. This is an okay song. My main gripe is not with the song itself, but with the name. Can someone please stop telling Bollywood that Chori Chori Chupke Chupke is a great catch phrase- it’s not! (Even translated, it means secretly, softly, twice—I think!) Again, the music really stands out because of the various instruments being used. Gotta give Rajesh-ji credit for creativity in that department. Udit Narayan and Shreya Ghoshal really get into the skin of the song and deliver commendably. Can anyone believe this gal is as young as she is! She’s a pro. The lyrics are not out of the ordinary, but they are work overall.

Dil Na Diya- Kunal Ganjawala

This song is supposed to be the sequel version to “It’s Magic” from the Koi Mil Gaya. It’s catchy and fun. Kunal Ganjawala’s voice suits such an upbeat number. Like Sunidhi Chauhan, Kunal Ganjawala is slowly climbing the ladder to success in Bollywood. Again, the lyrics are not extraordinary, but the music doesn’t require poetry. The lyrics are functional, placing the focus more on the music and of course, the centerpoint- Hritik’s dancing, which is unrivaled by any other male actor in Bollywood. Overall, a fun song which will probably gain popularity when Hritik shakes a leg to it!

Main Hoon Woh Aasman- Ustad Rafaqat Ali Khan, Alka Yagnik

The first thing that stood out in this song was Ustad Rafaqat Ali Khan’s new and refreshing voice. After hearing the same big names doing all the same songs, his voice is pleasant to listen to. Alka Yagnik never ceases to impress me. She blends well with the track. The chorus and music in this one is actually fantastic. I think this was my favorite track out of the whole album. It’s haunting and powerful and serene all at the same time. And from the trailers of the movie, it seems the perfect fit for the (almost Batman-ish) atmosphere that is created. Really good.


Big Band Mix- Sonu Nigam, Shreya Ghoshal

The token remix to an original. But what makes this song stand out is the jazz base, which is seldom heard in Hindi music. It’s a fun foot-tapping piece. Not extraordinary, but a valiant effort. Sonu Nigam is hardly recognizable, in a good way. As always, Shreya Ghoshal delivers.


Mystic Love Mix- Ustad Rafaqat Ali Khan, Alka Yagnik

The remix to Main Hoon Woh Aasman. I like what they’ve done to this remix, but probably because I like the original. Nothing else to really say about this one, except that it’s a remix.


Overall, this is a pretty good album. Nothing really stands out as an extraordinary fare, except for Main Hoon, but it’s likely to do well, especially after the movie releases. I might not buy the album, but I would go watch the movie!

Portrayals of sexual violence in popular Hindi films, 1997-99

The incidence of sexual violence against women is greater in societies that have male-dominated ideologies and a history of violence, as is the case in India (Burt, 1980; Check & Malamuth, 1985; Linz & Malamuth, 1993). The number of registered cases of sexual crimes against women in India increased from 67,072 in 1989 to 84,000 in 1993 ("Crimes Against," 1996). In 1995 alone, more than 25,000 cases of molestation and 12,000 cases of rape were reported in the capital city of New Delhi (West, 1996). It is estimated that well over 80% of sexual crimes go unreported ("Atrocities Against," 2002). For example, only 7,643 of the estimated 50,000 instances of violence against women were reported to the police even in Kerala, a South Indian state with the highest women's literacy rate ("Atrocities Against," 2002).

One specific form of sexual harassment called "eve-teasing" is prevalent, especially in urban India. (3) The term eve-teasing is used to refer to sexual harassment of women in public places such as the streets, public transportation, parks, beaches, and cinema halls. This type of public harassment by a lone man or gangs of men includes verbal assaults such as making passes or unwelcome sexual jokes; nonverbal assaults such as showing obscene gestures, winking, whistling, and staring; and physical assaults such as pinching, fondling, and rubbing against women in public places ("Eve-teasing," 1999; Stevens, 1984). In addition, in several instances eve-teasing has been followed by more violent assaults such as rape and murder. In trying to construct the profile of an eve-teaser, it is interesting to note that about 32% of eve-teasers are college students ("Films," 1998).

Awaaz second most watched Hindi News channel - DMS

Awaaz, the consumer channel from the TV18 group has become the second most watched Hindi News channel amongst all decision makers. More corporate professionals are opting to watch news-based programs followed by business shows and current affairs on CNBC TV 18, the survey reveals. Awaaz is watched by more than 43% of India's decision makers, ahead of established news channels, second to Aaj Tak, which is run by the TV Today Network and has maintained its position as the No. 1 News Channel from past 6 years.

"The findings from the Decision Makers Study conducted by A C Nielsen corroborate the fact that editorial competence and quality of programming are key to getting the loyalty of audiences that are extremely discerning. It is due CNBC TV18's sustained thrust on cutting edge programming, depth of coverage and innovation in programming formats that we have the continued patronage of decision makers. The fact that Awaaz, which is a much more broad based platform also reflects the changing preferences of upscale Hindi viewers." says an TV18 source.

Corporate Decision Makers across sectors also watched Awaaz, which also confirms the findings of a study conducted by Synovate on Awaaz's viewer profile, whose research brings out the fact that Awaaz delivers many more affluent people per viewership point than any other Hindi news channel and is neck-to-neck with business news on the parameter of delivery of quality audiences.

For record note, the DMS 5 brings together a composite understanding of the media habits and lifestyles of Indian business leaders. A successor to the popular DMS 4, the current survey was conducted among senior executives designated as General Managers and above across India's top 500 private companies, top 100 public sector and 100 leading financial sector companies including banks, merchant bankers and foreign institutional investors (FII). The DMS helps marketers understand the role of various channels in communicating to these high profile consumers and provides insight into their media habits - newspaper and magazine readership, TV viewership, radio listenership and Internet usage – as well as lifestyle behavior and product ownership.

Mercury rises in Bollywood boulevard

By Priyanka Khanna, Indo-Asian News Service

New Dehli, April 30 (IANS) With one superhit, half a dozen hits and some above-average earners under its belt, the Indian box-office is holding its breath as much-awaited films ready to hit the screen.


The first quarter of 2006 was encouraging in terms of box-office returns. With Rakeysh Omprakash Mehra's 'Rang De Basanti' turning into a cult film, especially in the metros, and Priyadarshan's comedy 'Malamaal Weekly' made on a small budget of Rs.60 million raking in Rs.120 million, Bollywood could not stop smiling.

Small and experimental films have not disappointed either. While Rajat Kapoor's wife-swapping tale 'Mixed Doubles' did better than expected, Homi Adajania's dark comedy 'Being Cyrus' with a budget of Rs.30 million earned thrice that amount.

Big-budget box-office fiascos like 'Family', 'Fight Club' and 'Humko Deewana Kar Gaye' have been offset by moderate success of Milan Luthria's 'Taxi No. 9211' and 'Shaadi Se Pehle'. Even 'Saawan - The Love Season' has managed to stay on the marquees for three weeks owing to a cameo by Salman Khan.

While 2005 was a good year for trade in terms of business - 'Page 3' and 'Black' were the biggest hits in the first quarter - this year seems all set to do better.

For an industry that churns out the most number of films in the world, the Mumbai studio-based Hindi film trade has struggled to improve its hit to flop ratio. Compare this year's figures with past years' and there is reason enough to cheer.

Sustained success is a sure sign that Bollywood is evolving as an industry. And the increasing diversity of entertainers churned out by Hindi filmdom is even more heartening.

The sheer variety that went on the marquees on Friday shows that Bollywood is in the throes of taking flight into uncharted heights.

Maverick filmmaker Ram Gopal Varma unveiled his horror sequel 'Darna Zaroori Hai', veteran moviemaker Mahesh Bhatt presented an unusual love story of a mobster in 'Gangster' and internationally-acclaimed storyteller Gurinder Chadha's husband Paul Berges has Aishwarya Rai infuse magical powers into spices in his directorial debut 'The Mistress of Spices'.

'Darna Zaroori Hai', an anthology of stories directed by different directors, has raked in mixed reviews for each of its directors.

'Gangster', starring newcomer Shiney Ahuja, Emraan Hashmi and debutante Kangana has impressed critics across the board.

In fact, Emraan has emerged as quite a crowd puller given the wolf-whistles his appearance on the screen evoked. Even his previous release - Ananth Mahadevan's 'Aksar' - had done reasonable business though the film only had good music.

But now that he has gone on record saying that he will not kiss on screen anymore, it remains to been seen whether his popularity takes a plunge.

The other Friday release - 'The Mistress of Spices' has, as all Aishwarya-starrers, come in for harsh criticism, unmindful of the fact that it is the work of a debutant director.

It is a simple tale based on a novel by Chitra Divakaruni, though the on-screen chemistry between Aishwarya and head-turner Dylan McDermott of 'The Practice' fame could have had more sizzle.

The myriad films on offer go to show that formulaic narratives are on their way out. That the big daddies of Bollywood have learnt this lesson is evident from upcoming film '36 China Town'.

Subhash Ghai-promoted '36 China Town' is produced under the banner of Mukta Arts and slated for release Friday. Directed by Abbas and Mustan Burmawalla, it stars hot real-life couple Kareena Kapoor and Shahid Kapur. The multi-starrer includes Akshaye Khanna, debutant Upen Patel, Paresh Rawal, Johnny Lever and Payal Rohatgi.

The film promises to be a fast-paced thriller, a genre not touched by Ghai before. A much-in-news hot pairing and great music by Himesh Reshammiya are the other pluses going for the film.

The success of the film may be crucial for Kareena and Shahid's career graphs as flops in their respective kitties are piling up.

May will also see big-budget films like Kunal Kohli's 'Fanaa' (Aamir Khan-Kajol), Rakesh Roshan's 'Krrish' (Hrithik Roshan-Priyanka Chopra),

Karan Johar's 'Kabhi Alvida Na Kehna' (Amitabh Bachchan-Shah Rukh Khan-Abhishek Bachchan), J.P. Dutta's 'Umrao Jaan' (Abhishek-Aishwarya) and Farhan Akhtar's 'Don' (Shah Rukh-Priyanka Chopra-Kareena).

All of which indicate that 2006 would be a profitable year.

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Critical year for Khans

The Khan triumvirate of the Hindi film industry - Aamir, Salman and Shah Rukh - will play a decisive role in shaping Bollywood destiny this year, say industry experts.

Out on bail, Salman is in New York for the 'Rock Stars' concert. Aamir is in the news for supporting political causes in between releases. And Shah Rukh is hard at work on the remake of one of Amitabh Bachchan's biggest hits ever, 'Don'.

On screen, too, there's a tough contest ahead as they clash at the box office. The last time they found themselves in a similar situation - with multiple releases - was way back in 1995.

Trade expert Taran Adarsh agrees that this is going to be a critical year for the Khans.

'This year is crucial since there is strong competition. Nobody can take things lightly.

'The Khan rivalry will give a lot of options to audiences,' he said. The winners will be the viewers, he added.

Copyright Indo-Asian News Service

MPA Survey says India to drive Star Group's revenues

India is driving Star Group's revenues in Asia, the group's revenue is likely to grow by 25 per cent to $555 million for the year ending June 2006. The operating profit margin is estimated at 25 per cent, implying more than $140 million in operating income, according to latest estimates by Hong Kong based Media Partners Asia (MPA), a publishing and research firm. The growth for the group will be driven by the Indian venture, says the study.

As per the estimates, advertising and subscription revenue growth, mainly from India, boosted the group's earnings during the quarter ended December 31, 2005. Revenues have grown by 30 per cent year-on year to more than $140 million for the quarter ended December 2006 with operating income up 43 per cent year-on-year to about $42 million, a 30 per cent margin.

The advertising gains were led by weekend programming initiatives at flagship Hindi channel Star Plus in India and from growth at new channel Star One. For the first half of fiscal year 2006 that ended in December 2005, the group's revenue grew 25 per cent year-on-year to more than $270 million with operating income rising 12 per cent yearn-year to $57 million. Margins contracted from 24 per cent to 21 per cent on account of higher programming and distribution costs, particularly in India. Having obtained a domineering position among the Hindi channels, the group is looking at some regional strategies for India.

In an interview recently Michelle Guthrie, CEO, Star Group said, "We are looking at strategies based around our existing content but we're wary about the lack of advertising in the regional markets as pricing power is limited and the overall pie remains small."

Talking specific about some channels within the Star bouquet she added that Star One, a general entertainment channel targeted at the younger audience, is "Starting to work and build on the leadership position we have with Star Plus. But it still has a long way to go."

The indicators for Star's financial's point to the television network rapidly closing in on Bennett, Coleman & Co (the Times Group) as the largest media group of the country. It is also well known that Star India is the jewel in Rupert Murdoch's Asian operations. MPA estimates that Star India contributes around 69 per cent to Star's overall revenue.

A reasonable guesstimate is that Star India is currently sized at $385 million or around Rs 1,725 Crores. On the other hand, the Times Group is likely to close the financial year at a little above Rs 2,000 Crores. This brings Star India within striking distance of India's largest media conglomerate. Star India continues to outperform the advertising market, its advertising revenue is growing by around 25-30 per cent per annum as against 10-15 percent market growth.

Bollywoods "Fight Club" Movie Review

Action films will never go out of fashion. Bollywood has seen a spate of romantic musicals and family dramas in the last few years, so it was getting a little cranky. That's why action flicks come in as a fresh whiff of air. FIGHT CLUB is an action film and true to its theme it quite succeeds in packing the punch! Vikram Chopra here shows that he is adept with the technical aspects of filmmaking. But the script is a let down and hence the execution is hampered.

FIGHT CLUB is the story of four friends, Vicky (Zayed Khan), Karan (Dino Morea), Somil (Ritiesh Deshmukh) and Diku (Ashish Chaudhary) who stumble Send Fight Club Ecardsupon the idea of starting a Fight Club, where people get the opportunity to bash up their enemies and settle the scores. But constant run-in with the police just starts nagging them and the action then shifts to Delhi. The four buddies now start a suburban club and are joined by the brawny bouncer Sameer (Sohail Khan). But in the process, they call upon the wrath of the fiery gang lords (Rahul Dev, Ashmit Patel, Yash Tonk) and a flaming rivalry ensues thereon that, but naturally, makes the way for blood-soaked action and adrenaline filled excitement.

FIGHT CLUB could have been better! It begins on a promising note, though one feels that the film falters somewhere in the middle. The story however is fine, but the screenplay is the real culprit. The scenes just don't propel the narrative and the dialogues aren't better too! The cramming together of a gang full of actors might just be the reason that the film tails off from its premise. The conjecture to give every actor a sufficient screen-time just contrived the narration.

On the plus side, one must say that the action sequences choreographed by Abbas Ali Moghul are first-rate. Sudeep Chatterjee does a brilliant job with some graceful cinematography. The music by Pritam is good though the songs are just intruded to fill in the space. This film could have done without the songs and dance routine as the pace of the film could have been sustained.

On the acting front, Zayed Khan, Sohail Khan and Suniel Shetty get the maximum footage, while the others are just as passable. Ritiesh Deshmukh is wasted in a role that could have just brought him out of the tag of a comedy actor. The ladies in the film don't have much to do anyway, all the three - Dia Mirza, Amrita Arora and Neha Dhupia - just add up to the glamour quotient.

Considering that this is Vikram Chopra's directorial debut, he has done a pretty decent job as far as handling his cast and crew is concerned. He has tried to extract maximum from them but the faulty script and too much emphasis on the technical stuff has marred the execution. However the credit should go to him and the producers for trying something really fresh as far as action films are concerned. Unfortunately, FIGHT CLUB is just another action movie, which otherwise had the potential of being a solid entertainer.

Madhuri Dixit to perform at Filmfare awards?

Indo-Asian News Service

Mumbai, Feb 21 (IANS) Bollywood diva Madhuri Dixit is rehearsing with Saroj Khan for a special performance to commemorate the late Parveen Babi at the 51st Fair One Filmfare awards to be held at Mumbai Metropolitan Region Development Authority (MMRDA) Grounds here Feb 25.

After a gap of four years, the two dancing queens have teamed up for a performance. The last time they worked together was in Sanjay Leela Bhansali's magnum opus "Devdas".

The other major performance will be by Abhishek Bachchan and Ashwarya Rai, who are currently in the headlines for their so-called marriage plans.

American actor and musician Will Smith will also attend the event and entertain his fans in India.

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Mandira to play 'Deal Ya No Deal' with dabbawalas

After railway porters, traffic policemen and auto rickshaw drivers, Sony TV's game show "Deal Ya No Deal" has invited Mumbai's famous 'dabbawalas' to play the game with Mandira Bedi.

Sudhir Dabbawala will play the game and his 22 colleagues will enjoy the fun and thrills as part of the audience at 9 p.m. Feb 24.

The dabbawalas are members of the labour-intensive firm called Nutan Mumbai Tiffin Box Suppliers Association. Around 5,000 semi-literate people work with this group to transport 175,000 lunch boxes in a three-hour period every day.

They use public transportation over 25 km and the process involves multiple transfer points at a high level of quality.

The dabbawalas even impressed Prince Charles with their innocence and commitment to work. This time round, they will please Indian viewers on the game show.

The second series of "Deal Ya No Deal" with Mandira has given the show greater interactivity and made it a complete reality game show.

The show will continue with its simple and easy format. No difficult questions, no muscle power, only one mantra - Deal Ya No Deal.

'Mughal-e-Azam' to wow Pakistani audiences

Forty-five years after it became one of the biggest blockbusters of Indian cinema, the classic "Mughal-e-Azam" is set to dazzle audiences in Pakistan with censors clearing the film for screening.

The coloured version of "Mughal-e-Azam" that introduced the movie to a whole new generation of moviegoers in 2004 is the one that will be screened in Pakistan sometime in April-May.

With the Central Board of Film Censors clearing the movie Saturday, "Mughal-e-Azam" will be only the fourth Indian movie to be screened in Pakistan. The members of the board viewed the movie twice and decided to pass it without any cuts.

But officials have made it clear that the clearance of the epic was only a one-time waiver and the ban on Indian films would remain.

Director K. Asif's magnum opus "Mughal-e-Azam", which deals with the forbidden love between Mughal Emperor Akbar's son Prince Salim and the courtesan Anarkali, had a long and turbulent production history.

Asif began work on the film in 1944 but its lead actor died two years later and its financier Shiraz Ali then shifted to Pakistan after the Indian subcontinent was partitioned in 1947.

The director resumed work in 1951 with the new cast featuring Dilip Kumar and Madhubala, and then decided in 1959 to re-shoot it in colour. But film distributors lost patience and Asif went on to release it with only a few colour sequences.

In 2004, the full film was digitally coloured and given a Dolby surround soundtrack.

In Pakistan, the film will be distributed by Mandviwalla Entertainment Pvt Ltd of Karachi, a leading distribution firm.

Indian films have been banned in Pakistan since the 1965 war between them. Since then, the only Indian films cleared by the Pakistani censors were "Noor Jehan" (in 1981), "Kashish" (in 1982) and "Sohni Mahiwal" (in 2006).

Akbar Asif, the son of director Asif, had also presented a copy of "Mughal-e-Azam" to President Pervez Musharraf in December 2004 as a gift.

Recent reports have also suggested that the Indian film "Taj Mahal", which stars Pakistani actress Sonia Jehan, the granddaughter of singer Noor Jehan, might also be cleared for screening in the country.

Will Lajmi's 'Chingaari' finally strike a chord?

Filmmaker Kalpana Lajmi, known for making women-oriented films, has now come up with the poignant tale of a prostitute.

The film releasing Friday is about the plight of a sex worker who finally raises her voice against the exploiters.

"Chingaari", based on a short story by veteran Assamese singer and music director Bhupen Hazarika, revolves around three characters - a young postman, a sex worker and a village priest.

The young postman, Chandan Mishra played by Anuj Sawhney, is a crusader of sorts while Sushmita plays Basanti, the sex worker. The turning point in Basanti's life comes when she gains the respect of Chandan. But she is not allowed to even dream of a relationship with him.

Mithun Chakraborty plays Bhuvan Panda, the village priest who secretly lusts for Basanti. But Basanti revolts and the film's title "Chingaari" is drawn from this spark of revolt.

The climax of the film sees the exploited Basanti rising like a goddess and unleashing a fury to crush the exploiters and their dual standards.

Armed with a trident, she embodies the fury of the gods and rips open the façade of those who preach spirituality but practice vice.

Lajmi first offered the powerful role to Bipasha Basu, Raveena Tandon and Preity Zinta. When they turned it down, she approached Sushmita.

The male lead was also offered to several top-notch actors like Akshay Kumar, Akshaye Khanna and Tusshar Kapoor. But none was willing to don the greasepaint for the soft, romantic character. So Kalpana settled for the lesser-known Anuj.

A slight rift was created between the director and the actress by leaks about a kissing scene. But the storm blew over as Lajmi sorted things out with Sushmita.

Lajmi's fans had been hugely disappointed by her poor craftsmanship in "Daman" and "Kyon?"

"Daman", which came in 2001, was the feeble tale of a suppressed woman where Raveena played the role of the exploited wife. But the film failed to offer any solutions to violence against women.

This was followed by "Kyon?" in 2003, which was also a disappointment. One hopes "Chingaari" has something better to offer.

See Movie Stills from 'Chingaari'! Click HERE

Dominican Republic woos Indian film producers

Dominican Republic is seeking to woo Indian investment in IT and film producers to shoot in the Caribbean nation's picturesque locales.

As a measure of its growing interest in India, it is even planning to open an embassy here.

The republic's foreign minister, Carlos Morales Troncoso, will be here for a week from Thursday in the first high-level visit from the tiny nation of nine million that bridges the Caribbean and Central American regions.

Troncoso will meet Minister of State for External Affairs Anand Sharma and discuss bilateral ties. An agreement on bilateral cooperation will be signed between the two ministers, an external affairs ministry release said.

A 25-member delegation including the education and IT ministers, as also a 10-member business delegation, will accompany Troncoso.

The delegation will visit also Bangalore and Hyderabad for meetings with Indian industrialists.

"There is scope for significant increase in the bilateral trade," the ministry release said. India's exports to Dominican Republic in 2004-2005 stood at $20 million while imports amounted to $2 million.

Now Switzerland goes gaga over Bollywood

Bollywood films are growing in popularity in Switzerland with Aamir Khan's "Rang de Basanti" being the latest to draw rave reviews and audience applause.

"We had to wait long till once again a film from Aamir Khan, the star from 'Lagaan', comes to our cinema," said Zuritipp, the cultural news supplement of Zurich's largest selling German language daily Tages Anzeiger.

The film has been accorded three stars in the movie section of 20 Minutes, a tabloid circulated free in trams, buses and trains. This rating puts it on a par with such Hollywood flicks as "Memories of a Geisha" and "Oliver Twist".

Aamir Khan is hugely popular in Switzerland since the "Lagaan" days, during the screening of which he had made an appearance at the Arthouse cinema, on his way back from the Locarno film festival.

Download Kal Ho Naa Ho WallpapersShah Rukh Khan is also widely recognised and his "Paheli" last year was feted with four stars by 20 Minutes, a rare acclaim accorded to only few Hollywood, German, or Swiss films. His other films "Kal Ho Na Ho", "Main Hoon Na" and "Devdas" also stirred frenzied responses.

The "India Everywhere" tagline of the Confederation of Indian Industry (CII)-sponsored events at the recent World Economic Forum summit in Davos seems to have livened up the streets of Switzerland as one encounters Aishwarya Rai posters in Longines watch ads and Bollywood movie posters.

Surely Bollywood has arrived in Switzerland, enjoying wide popularity, in a trend that goes beyond just a passing fad. The trend is here to stay as many people seem to see Bollywood as an alternative to Hollywood.

Download Lagaan Wallpapers"The Swiss want more and more Indian films," said an employee at a cinema about Indian films that are shown in Hindi with German subtitles.

With the increasing popularity of Hindi films, the songs are also creating a fad. Major music stores like Music Hug are flooded with CDs of Hindi film music. There was a time when such music was available only in pirated versions in Pakistani stores for the home-sick diaspora from the sub-continent. Now the most upmarket video stores are dishing out CDs of Indian films in slick packages to the Swiss public.

What is it that appeals to the Swiss people about Hindi films?

A Hindi movie enthusiast, Daniel Meier, said: "Oh, these actresses are so beautiful!"

As for the growing popularity of these films among young women, he said: "How much our women would love to have a man in a typical Bollywood film who loves his woman so much and is not fixated on football and going out for beer with his male peers."

Nicole Sieber, a high school teacher, said: "It's amazing how much they can pack into one film - glamour, dance, moral values, history, emotions."

Sieber, who finished her studies in English literature recently from the university of Zurich, said she had a group of about 8-10 classmates who were all crazy about dancing to Bollywood tunes, besides watching the films.

Yolanda, a student at the University of Zurich, says she likes only films showing traditional Indians.

Switzerland seems to be repaying to Bollywood the popularity it has received as a site for shooting of so many films.

In the summer of 2002, the university held an exhibition titled, "Bollywood and Switzerland". At the inauguration ceremony, Bollywood filmmaker Yash Chopra was honoured for his trend-setting work using Switzerland as the locale for countless dream, dance and honeymoon sequences in his films.

Download Veer Zaara WallpapersThe Swiss tourism industry is grateful to Chopra and other Bollywood directors for popularising the country among Indian tourists, who make up one of the largest tourist groups.

The craze seems to have spilled over to neighbouring Germany as well, where the popular TV channel RTL beams Bollywood blockbusters dubbed in German at prime time. Viewers can download ringtones of different Hindi songs on their mobile phones for three euros per downloading.

The films shown repeatedly include "Kuch Kuch Hota Hai", "Veer-Zaara", "Taal" and "Hum Dil De Chuke Sanam".

Music has no boundaries: Ghulam Ali

Kozhikode, Feb 12:
Stating that music has no boundaries, globe trotting ghazal maestro Ghulam Ali today said that it could play an important role in easing tension between India and Pakistan and pave way for lasting peace.

Talking to reporters, prior to the start of his programme ‘’Ghazal Ke Mehfil,’’ on the concluding day of the Tenth ‘Malabar Mahotsav’ here, he said it was easy to achieve peace through music as the people in the sub-continent spoke the same language and were familiar with the same ragas.
The singing sensation from Pakistan said he believed in purity in ghazal. Fusion laced with ghazal would destroy classical music, he opined.
Ghulam Ali, who got his initial musical training from his father and also trained briefly under the legendary Ustad Bade Gulam Ali Khan said he would be happy to conduct ghazals in Malayalam if he got an opportunity.

Ali, who first sang for Lahore radio in 1960, has his works etched in many languages, including Urdu and Hindi. His compositions include ‘Hungama hai kyon barpa,’ ‘Dil mein ek lahar si uthi hai abhi,’ ‘Mehfil mein baar baar usi par nazar gayeen,’ ‘Kal Chaudavin ki raat thi,’ to name a few.
Ali, the most influential amabassador from across the border, who, sang ‘’Faasle aise bhi honge, yeh kabhi socha na tha’’is considered to have brought ghazal from both the countries closer to each other. UNI

The Man, his Music & Mantra

Chandigarh, February 12:
The band has increased its volume. From six, they are a line-up of eleven now, including three girls. The state is still exalted, but the sounds have turned mellower, maturer. And Dr Palash ‘Polly’ Sen has successfully graduated to a complete maniac — at least when it comes to his first love, something he’s been associated with for eight years and something that has been in his family for four generations now (his son Kinshuk has joined in too) — music. ‘‘Precisely the reason I don’t do films. You get stuck in the long process. I look for instant gratification, and music gives me that,’’ he shoots, slightly restless with the concert time running out and rest of the members on stage for the sound check at the PEC Fest. ‘‘Moreover, I never got an offer as good as Filhaal again,’’ says this cerebral singer who coined the term ‘Hindrock’ for ‘‘journalists who kept pestering him with what is your style of music.’’ ‘‘It’s rock, and it’s in Hindi. So there it goes — Hindrock,’’ Polly grins, all set to release their next album, Mehfuz this month.

Evidently excited about it, Palash, at the same time is fiercely possessive about Indian music and considers it a huge compliment to play for an Indian audience. ‘‘The music explosion has seen Pak bands rushing in like crazy, and the sad thing is that there is no reciprocal effect to it. These guys are eating up our identity, and we are watching like fools. I feel this entire hospitality business is a farce. Instead we should be promoting our own talent,’’ Polly makes all the sense adding how the Indian music industry is still stuck in a ‘‘retro format.’’ ‘‘Music remains the Number One mode of entertainment, a publicity vehicle for every film. The only way we can boost this industry is with corporate backing.’’ The doc’s got the right diagnosis! ‘‘I think it’s the coolest to be a doctor,’’ Palash sticks to identity number one, and to a no playback too. ‘‘How can you sing to somebody else’s words and music. For an expression to be personal, you need to write and compose on your own. We have made our place and I never want to lose that,’’ the big boss of the band proclaims. ‘‘I guess someone has to be in the lead and take control,’’ winks the ‘Sultan of SMS’. ‘‘Nah, I am just a simple person and I maintain that.’’ Which is why our guy avoids preaching. ‘‘We have a message in every song, and total quality control too. If you like it, follow it.’’ We already are doc.

Treading the hard path to success

Music composer Ismail Darbar tells about his struggles and much more to Madhur Tankha...

There are no shortcuts to taste success. And no one knows it better than music composer Ismail Darbar, who is revered for his thought-provoking and sensitive compositions. Having struggled hard for over a decade in the big, bad world of Bollywood before one of the finest Hindi film directors took note of his inborn artistic talent to infuse life into meaningless songs, he knows what success really means.

In the Capital on Saturday to judge a musical competition "Hero Honda Surtarang National Singing Talent Hunt", Ismail said he was elated to have arrived in New Delhi. "Dilli genuinely belongs to big-hearted people. It was here that the prestigious National Award was conferred on me for my debut film `Hum Dil De Chuke Sanam'. The city has been lucky for me as it is difficult and unimaginable for an upcoming composer to bag such an important award and that too for his first film. However, first and foremost I am thankful to the Almighty for showering his blessings on me."

On his little known background, Ismail said he hails from Surat, a city in Gujarat. "Surat has given Bollywood three immensely talented artistes. It has produced one of the best Hindi film actors Sanjeev Kumar and also the legendary Mehboob Khan who directed `Mother India'. Thirdly, it produced me. In Mumbai I learnt Western classical music from Ramprasad Sharma. But Hindustani classical music was in my blood as before me all the three generations of my family were into this wonderful music. My father, Hussain Sahib, played saxophone and clarinet. Western classical instruments were also played by my grandfather and great grandfather," he said.

Asked how he managed to get a break in acclaimed film director Sanjay Leela Bhansali's magnum opus "Hum Dil De Chuke Sanam", Ismail's eyes lit up and a smile crossed his countenance. "After playing violin for 21 years, I took the decision to become a music composer. It was Kunal Ganjawala who gave my name to Sanjay. In our first meeting at his house, I sang the song `Tadap Tadap'. It took Sanjay six months before he decided to sign me on for the film. He is truly one of our best directors. I say this not because Sanjay is my friend or because he gave me a break but because he has done the whole Hindustan proud through his brilliant cinema." Ismail is gung-ho about his upcoming film "Pyaar Kiya To Nibhana" in which he has got a golden opportunity to make Lata Manageshkar sing. "Though Lataji is 77-years-old yet she works with energy and enthusiasm of a 17-year-old. After I sang the song to make Lataji understand the nuances, she practiced the song till 2 a.m. in the morning and even skipped lunch to dub the song." Expressing happiness that musical programme "Sa Re Ga Ma Pa" on Zee TV was giving a platform to a number of budding singers, Ismail said sometimes it disturbs him to see that teenagers were making such painstaking efforts to make a mark in the industry. "It should not be forgotten that the contestants have been away from their homes for the past eight months and have even temporarily discontinued their studies," he said.

About the glamour element introduced in the programme, Ismail said it was necessary to create interest among those who do not give importance to songs. "Even channels have to recover their cost. They provide food, accommodation and all types of comforts to the contestants that too in a place like Mumbai. Naturally, a little glamour element is necessary."

In unreleased "Mehbooba" Ismail has got a chance to work with Sanjay Dutt. Ismail said that despite being son of the late Sunil Dutt and a big star, Sanjay is a down-to-earth person. "He knows the importance of sharing a personal bond with the actors."

Even though his contemporary Himesh Reshammiya is making waves by belting out popular chartbusters like "Aashiq Banaya Aapne", Ismail is content sticking to his own field. Ruling out singing songs, he said: "I only sing when I have to make the film director and singer understand the nuances of the song. The day I feel that a particular song can be best sung by me alone I would certainly do it. A person has to bear out his soul while singing. If he is a sensitive, warm human being then it reflects in his song."