Saturday, December 20, 2014

हॅपी जर्नी - Happy Journey - Movie Review

 happyjourney
हॅपी जर्नी
कलाकार : अतुल कुलकर्णी, प्रिया बापट, पल्लवी सुभाष, माधव अभ्यंकर, सुहिता थत्ते, चित्रा पालेकर, सिद्धार्थ मेनन, शिव सुब्रह्मण्यन, मदन देवधर आदी.
निर्माता : संजय छाब्रिया
दिग्दर्शक : सचिन कुंडलकर
संगीत : करण कुलकर्णी
वेळ : 130mins
सिनेमा प्रकार : Drama


सचिन कुंडलकर दिग्दर्शित 'हॅपी जर्नी' हा नवा मराठी चित्रपट म्हणजे बहीण-भावाच्या तरल नात्यावर भाष्य करणारी एक अद्'भुत' सफर आहे. किंबहुना या प्रातिनिधिक नात्याच्या माध्यमातून सर्वच नातेसंबंधांवर आणि ती जपण्यावर एक सब्-टल टिप्पणी आहे. सिनेमा तंत्राची सर्व बलस्थानं वापरून, फँटसीच्या अंगानं जाणारी ही म्हटलं, तर एक रोड मूव्ही आहे; म्हटलं तर एक विनोदाचा प्रसन्न वापर असलेली कौटुंबिक कहाणी आहे! कॅराव्हॅनचा एक पात्र म्हणून वापर करण्यासारखा सचिन कुंडलकरचा खास टच अनेक प्रसंगांतून जाणवत असला, तरी ही त्याची सर्वोत्कृष्ट कलाकृती होता होता राहिली आहे, हेही नमूद करायला हवं.

निरंजन (अतुल कुलकर्णी) आणि त्याची बरीच धाकटी बहीण जानकी (प्रिया बापट) यांची ही गोष्ट आहे. गोव्यातल्या निसर्गरम्य गावात घडणाऱ्या या सिनेमात सुरुवातीला निरंजन दुबईहून येतो, तेव्हा त्याच्या धाकट्या बहिणीचं निधन झालेलं असतं. रक्ताच्या कर्करोगानं गेलेली त्याची बहीण शेवटपर्यंत त्याच्या नावाचा जप करीत असते. निरंजन सैरभैर होतो. त्यानंतर सुरू होतं एक अदभुत नाट्य. बहीण-भावांच्या अनोख्या प्रेमाचं, तितकंच उत्कट... तेवढंच धमाल अन् तेवढंच हळवं! हा पुढं घडणारा बहीण-भावांचा प्रवास आणि त्यातून उलगडत जाणारी गोष्ट म्हणजे 'हॅपी जर्नी'... माणसं असतात तेव्हा आपल्याला त्यांची किंमत नसते. पण ती एके दिवशी अचानक जातात, पुन्हा कधीही न येण्यासाठी. मग आपल्याला आठवतं, की त्याच्याबरोबर किंवा तिच्याबरोबर आपण अनेक गोष्टी करायच्या राहून गेल्या. गप्पा मारायच्या होत्या, मस्त भटकायचं होतं, एकत्र आइस्क्रीम खायचं होतं, धमाल करायची होती. आपण त्यांच्यासाठीच राबत असतो दूर कुठं तरी. त्यामुळं इच्छा असूनही या गोष्टी करता येत नाहीत आणि दोन्ही ​जिवांची तगमग सुरू होते. 'हॅपी जर्नी' आपल्याला आपल्या जवळच्या या नात्यांकडं पुन्हा पाहायला लावतो. आपण आपल्या बहिणीबरोबर शेवटच्या निवांत गप्पा केव्हा मारल्या, आपण आपल्या भावाबरोबर मनसोक्त दंगा कधी गेला... हे आठवू लागलं की अनेकांना लक्षात येईल, की याला युगं लोटली! आपण सध्या नक्की काय करतोय आणि आपण त्यामुळं काय 'मिस' करतोय, याची बोचरी जाणीव आपल्याला हा सिनेमा करून देतो.असं असलं, तरी बहीण-भावाच्या पारंपरिक नात्यांवर घाऊक रडायला लावणारा हा अश्रुपाती सिनेमा नाही. यातली पात्रं खऱ्याखुऱ्या माणसांसारखी वागतात. त्यांचं जगणं साधं असलं, तरी त्याला हसण्याची, विनोदाची चांगली किनार आहे. ते स्वतःवर हसू शकतात, रडू शकतात. एकत्र बिअर पिऊ शकतात, गर्लफ्रेंडशी बोलताना अडखळू शकतात... सचिनच्या संवादांनी यात मजा आणली आहे. 'अन्न-वस्त्रं-निवारा अन् वायफाय हे मला लागतंच' किंवा (निरंजन त्याची प्रेयसी अॅलिसच्या संदर्भात बोलताना) 'अॅलीस तर अॅलीस नाही तर गेलीस उडत' असे संवाद हशा पिकवतात.


असं असलं, तरी या सिनेमात सगळंच आलबेल नाही. विशेषतः उत्तरार्धात अनेक ठिकाणी अडखळायला होतं. निरंजनच्या प्रेयसीचा आणि तिच्या घरच्यांचा ट्रॅक या कालावधीत मोठा होत जातो आणि मूळ बहिणीची गोष्ट थोडी बाजूला पडते. निरंजन आणि त्याच्या बहिणीच्या प्रवासाची सुरुवातीला गंमत येते. पण त्यातला फँटसी एलिमेंट संपूर्णपणे एक्स्प्लोअर होतो, असं वाटत नाही. यातल्या त्या किंचित रहस्यामुळं सगळ्या गोष्टी इथं स्पष्टपणे लिहिता येत नाहीत. पण सुरुवातीला खिळवून ठेवणारी ही गोष्ट नंतर नंतर तेवढी गुंतवून ठेवत नाही, एवढं खरं.

अतुल कुलकर्णीचा प्रश्नच नाही; पण प्रियानं 'जानकी' खूपच गोड साकारली आहे. पल्लवी सुभाष आणि सिद्धार्थ मेनन या दोघांनीही अतुलच्या गर्लफ्रेंड/बॉयफ्रेंडच्या भूमिकेत साथ दिली आहे. पल्लवी सुभाषनं यात कॅथॉलिक ख्रिश्चन मुलीची भूमिका केली असली, तरी तिचे मराठी उच्चार त्या भूमिकेनुसार मुद्दाम खराब ठेवले आहेत, की ती नैसर्गिकरीत्याच तसं बोललीये हे कळायला मार्ग नाही. (काहीही असलं, तरी काचेवर करकटकनं ओरखडा काढल्यावर येतो, तसा शहारा तिचं ते मराठी ऐकताना येतो.) बाकी भूमिकांत माधव अभ्यंकर, सुहिता थत्ते ठीकठाक. पल्लवी सुभाषच्या अत्रंगी आई-वडिलांच्या भूमिकेत शिव सुब्रह्मण्यन ('टू स्टेट्स'मधले आलिया भटचे वडील) आणि चित्रा पालेकर यांनी धमाल उडवली आहे. या सिनेमात खास डिझाइन करून घेतलेली व्हॅन आहे.

सिनेमात दोन-तीन गाणी आहेत. करण कुलकर्णी या नव्या संगीतकाराचं संगीत आहे. ही गाणी सिनेमात चांगली वाटतात; पण लक्षात राहिली नाहीत. सिनेमॅटोग्राफी उत्कृष्ट दर्जाची आहे. सिनेमातून दिसणारा गोवा अप्रतिम. तेव्हा, एकदा या सफरीला जायला हरकत नाही. हॅपी जर्नी!

PK - Movie Story - pk movie release date 19th dec 2014

pkAMir

PK
कलाकार : आमिर खान, अनुष्का शर्मा, सुशांतसिंह राजपूत, बमन इराणी, संजय दत्त, सौरभ शुक्ला, परीक्षित साहनी इ.
निर्माता : विधू विनोद चोप्रा, राजकुमार हिरानी, सिद्धार्थ रॉय कपूर
दिग्दर्शक : राजकुमार हिरानी
संगीत : शंतनू मोईत्रा, अजय-अतुल, अंकित तिवारी स्वानंद किरकिरे, अमिताभ वर्मा, मनोज मुंतशिर
वेळ : 153mins

राजकुमार हिरानी आणि आमिर खान या दिग्दर्शक-अभिनेता जोडगोळीचा, 'थ्री इडियट्स' या सुपरडुपर हिट सिनेमानंतरचा पुढचा सिनेमा म्हणून 'पीके'विषयी कमालीची उत्सुकता होती. या उत्सुकतेला न्याय देणारा आणि या जोडीकडून असलेल्या प्रचंड अपेक्षांना जागणारा हा सिनेमा आहे, हे सर्वप्रथम सांगायला हवं. त्याचबरोबर याच जोडीच्या आधीच्या स्वतंत्र सिनेमांएवढा किंवा अगदी हिरानींच्या मुन्नाभाईच्या सिक्वलएवढा हा सिनेमा ग्रेट नाही, हेही सांगायला हवं. अर्थात कुठलीही तुलना न करता स्वतंत्रपणे विचार केल्यास 'पीके' तरीही डिस्टिंग्शन मिळवतोच. याचं कारण राजकुमार हिरानी-अभिजात जोशी या लेखकद्वयाची विषयावर असलेली पकड, प्रसन्न हाताळणीची त्यांची क्षमता आणि आमिरसारखा भूमिकेला शंभर टक्के न्याय देण्यासाठी सदैव झटणारा अभिनेता... या 'त्रिगुणी'च्या मदतीने 'पीके' आपल्याला निराश करत नाही. किंबहुना धर्मासारख्या आपल्या रोजच्या जीवनाशी संबंधित असलेल्या जिव्हाळ्याच्या, श्रद्धेच्या विषयावर एक नवी दृष्टी ('इनसाइट') देतो. या सिनेमात मांडले गेलेले विचार नवे आहेत किंवा अगदी फार क्रांतिकारी आहेत असं नाही; पण ते सांगताना सिनेमाच्या माध्यमाच्या सर्व बलस्थानांचा अचूक केला गेलेला वापर आणि गोष्टीला असलेलं रंजनमूल्य या कसोट्या हिरानी-अभिजात अन् आमिर हे त्रिकुट यशस्वीपणे पेलतं. त्यामुळंच 'पीके'चं नाणं चोख वाजतं. सिनेमातल्याच भाषेत सांगायचं, तर हा राँग नंबर न ठरता परफेक्ट, 'राइट नंबर' ठरतो!

राजकुमार हिरानी आणि अभिजात जोशी पहिल्या चित्रपटापासूनच अभ्यासपूर्ण पटकथा लिहिण्यात तरबेज आहेत, हे आपल्याला माहिती आहे. विषयाचा सखोल अभ्यास, गोष्टीचा आरंभ, मध्य व (उत्कंठापूर्ण) शेवट यांचा पक्का हिशेब, सर्वसामान्य प्रेक्षक डोळ्यांसमोर ठेवून केलेली कथावस्तूची मांडणी, विविध प्रदेश-प्रांत यांना आपुलकी वाटेल अशा घटकांची चटकदार फोडणी, गीत-संगीतावर दिलेलं लक्ष आणि कलाकारांकडून खुबीनं काढून घेतलेली आपली पात्रं ही हिरानी-जोशी (व अर्थातच निर्माता विधू विनोद चोप्रा) या मंडळींची खासियत राहिली आहे. आपल्या भूमिकांबाबत भलताच काटेकोर असलेला आमिर त्यांना 'थ्री इडियट्स'च्या वेळी भेटला आणि त्यांनी इतिहास घडविला. पुढचं पाऊल टाकताना या तिघांनीही 'धर्म' हा भलताच संवेदनशील विषय निवडला आहे. धर्मविषयक जाणिवा आणि आपल्या सर्वांच्या श्रद्धा यात कालानुरूप होत गेलेले बदल आणि धर्माच्या नावाखाली राजरोस सुरू असलेली दुकानदारी आपण सर्वच जण रोज पाहत आहोत. धर्माला असलेलं परमपवित्र स्थान आणि त्याच वेळी गरजू लोकांची पिळवणूक करण्यासाठी या श्रद्धेचा होत असलेला गैरवापर आपल्या सभोवती रोज दिसतो आहे. यावर प्रच्छन्न टीका करण्यासाठी हिरानी-जोशी द्वयीनं मार्ग अवलंबिला आहे फँटसीचा. ('ओह माय गॉड'सारख्या सिनेमांतून हा विषय पूर्वी यशस्वीपणे हाताळला गेला आहे, त्यामुळे हिरानींना पहिलेपणाचा मान नाही...) एका अर्थानं इथं फँटसी आवश्यकच होती, कारण या पृथ्वीतलावरच्या कुठल्याही माणसाला जात व धर्म चिकटलेली आहेच. त्यामुळं या सर्व बाबींवर तटस्थपणे टिप्पणी करायला दिग्दर्शकाला परग्रहावरूनच माणूस (किंवा जो कोणी प्राणी म्हणाल तो) आणावा लागणार, हे उघड होतं. तसा तो त्यांनी इथं आणलाच आहे. त्यामुळं हे 'एलियन' प्रकरण या सिनेमाचं मुख्य रहस्य नाहीच. ते सिनेमाच्या सुरुवातीलाच स्पष्ट होतं. मात्र, नंतरच्या मांडणीत आणि प्रसंगांच्या साखळीच्या गुंफणीत सिनेमाचं सगळं यश आहे... आणि अर्थात 'पीके'ची प्रमुख भूमिका साकारणाऱ्या आमिरच्या अदाकारीतही!

एकदा ही सूत्रधाराची भूमिका आणि त्याची ओळख प्रस्थापित झाली, की पुढचा खेळ रचणं तसं हिरानी-जोशींना सोपं असतं. इथं त्यांनी या 'पीके' (आमिर) नामक सूत्रधाराचं अस्तित्व आपल्या नायिकेच्या - जगज्जननी उर्फ जग्गूच्या (अनुष्का शर्मा) - आयुष्याशी जोडलं आहे. बेल्जियममध्ये प्रेमभंग झालेली आपली नायिका आता दिल्लीत परतली आहे. गोष्ट अशी खुबीनं रचली आहे, की जग्गू आणि पीके यांची सातत्यानं भेट होत राहते. तिला 'पीके'चं वेगळेपण त्वरित जाणवतं. तिच्या पेशामुळं त्याच्यात असलेली 'स्टोरी'ही दिसते. त्यातून 'पीके'च्या आत्तापर्यंतच्या अवताराची कथाही फ्लॅशबॅकसारखी उलगडत जाते आणि त्याच वेळी वर्तमानातली त्याची आणि तिची श्रद्धा व धर्माविषयीची अखंड शोधयात्राही सुरू राहते. हे सगळं करताना राजू हिरानी या सगळ्याला सटायरची आणि उपहासगर्भ विनोदाची फोडणी देत राहतात. त्यामुळं सिनेमा पूर्वार्धापर्यंत चांगलाच वेगवान होतो आणि पुढं काय होणार, याची उत्सुकता मनात निर्माण करतो. उत्तरार्धात दिग्दर्शक धर्माविषयीच्या तात्त्विक चर्चेला सुरुवात करण्यासाठी राँग नंबर आणि राइट नंबरची संकल्पना आणतो. (म्हणजे आपल्याला तयार करणारा भगवान हा खरा राइट नंबर आणि त्याच्या नावाखाली दुकानदारी करणारे देवाचे मॅनेजर म्हणजे राँग नंबर...) ही तशी बाळबोध कल्पना आहे आणि तिचं सिनेमात अतिसुलभीकरण केल्यानं सिनेमाचा एकूणच परिणाम उणावण्यात त्याची परिणती होते. सिनेमाच्या शेवटी एक लहानसा ट्विस्ट आणण्याची ट्रिक दिग्दर्शकानं याही ठिकाणी वापरली आहे. मात्र, तीही फार परिणामकारक नाही. असो.आमिरचा अभिनय ही या सिनेमाची अर्थातच फारच जमेची बाजू आहे. या सिनेमाच्या त्या प्रसिद्ध पोस्टरवरील दृश्यापासून ते शेवटच्या त्या सरप्राइज पॅकेज असलेल्या पाहुण्याबरोबर पुन्हा पृथ्वीतलावर येण्यापर्यंत आमिर प्रत्येक दृश्यात भाव खाऊन जातो. हा अभिनेता सदैव काही तरी नवं करण्याच्या शोधात असतो. एलियन म्हणून त्यानं सदैव चेहऱ्यावर दाखवलेला आश्चर्यमुग्ध भाव आणि नंतर भोजपुरी संवादाचा जपलेला अफलातून लहेजा यामुळं आमिर टाळ्या मिळवतोच. पण आता अशा शारीरिक लकबींतून वैविध्य दाखवणाऱ्या भूमिका हे त्याच्यासाठी कितपत आव्हान असेल, याची शंका आहे. त्याच्या आहे त्याच रूपात, पण व्यक्तिरेखेच्या खोल तळाशी बुडी मारून शोधलेलं भावदर्शन दाखवणारी भूमिका त्यानं आता करावी. अनुष्का शर्मा अप्रतिम. तिनं यात उभी केलेली 'जग्गू' म्हणजे सहजसुंदर अभिनयाचा एक उत्कृष्ट नमुनाच. बाकी हिरानींच्या टीममधील संजय दत्त, बमन इराणी, सौरभ शुक्ला या मंडळींची इथंही हजेरी आहे आणि त्यांनी आपापल्या भूमिका चांगल्याच केल्या आहेत. सुशांतसिंह राजपूतच्या वाट्याला पाहुण्या कलाकाराचा रोल आहे आणि तो त्यानं व्यवस्थित केला आहे. (त्याला त्याचं बक्षीसही 'ऑनस्क्रीन' मिळालं आहे.)

हिरानींच्या या चित्रपटात त्रुटी अर्थातच आहेत. एक तर या सिनेमात अनावश्यक गाणी घुसवली आहेत. 'भगवान है कहाँ रे तू...' हे सोनू निगमनं गायलेलं 'थीम साँग'सदृश गाणं वगळलं तर अन्य गाणी ही केवळ टाकायची म्हणून टाकली आहेत. शिवाय या सिनेमाची लांबीही त्यामुळं अनावश्यकपणे वाढली आहे. दुसरं म्हणजे या सिनेमावर हिंदू धर्मातील गैरप्रकारांवरच अधिक फोकस केल्याचा आरोप येण्याची दाट शक्यता आहे. त्यात या सिनेमात नायिकेवर प्रेम करणारा नायक पाकिस्तानी दाखवला आहे. हे करताना निर्मात्यांच्या डोळ्यांसमोर पाकिस्तानी मार्केट नसेल, असं मानणं म्हणजे फारच बाळबोध होईल. याशिवाय आमिरला भोजपुरी भाषाच बोलायला लावणं किंवा राजस्थान, दिल्लीचा बॅकड्रॉप वापरणं ही प्रत्येक गोष्ट तेथील प्रेक्षकवर्ग डोळ्यांसमोर ठेवून केल्यासारखी झाली आहे.

अर्थात असं असलं, तरी सिनेमा एकूण करमणूक करणारा झाला आहे, हे निश्चित. हिरानी आणि आमिर या मंडळींनी स्वतःचा 'बार' उंचावला आहे, ही गोष्ट मुळातच त्यांचं मोठेपण मान्य करणारी आहे. त्यामुळं त्यांच्याकडून अपेक्षाही अधिकच्या असतात. सचिन तेंडुलकरचं उदाहरण याबाबत चपखल ठरेल. त्यामुळं जे काही अपेक्षाभंगासारखं वाटतं आहे, तेही मुळात हा सिनेमा या दोघांचा असल्यामुळं वाटतं आहे, ही गोष्ट मान्य करायला हवी.

थोडक्यात, धर्मविषयक आपली संवेदनशील मतं जरा बाजूला ठेवून, जरा तटस्थपणे ही करमणूक अनुभवली, तर अधिकचं काही तरी पदरी पडेल. अन्यथा बाकी मसाला सिनेमे आहेतच...

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PK - Movie Story

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Story: An alien lands on earth but loses his remote to go home. Does 'PK' return - and as he navigates the human world, what does he gain and lose?

Review: Arriving on earth, an alien (Aamir) is immediately robbed of the only thing he's wearing, the remote via which he can go home. Knowing nothing of human ways, language, clothing or lies, the alien searches desperately for his remote, his antics bizarre enough for people to ask if he's 'pee kay' or drunk. One day, 'PK' meets Jaggu (Anushka), a TV reporter who helps him. Can they find PK's remote, now with god-man Tapasvi ji (Shukla)? And do PK and Jaggu also find love?


PK is as much a philosophy as a film. It takes the 'stranded alien' theme, familiar from classics like ET, but tells the tale equally from the lonely alien's eyes - at times, evoking the beautiful story The Little Prince - as from his human narrator's. Starting with the alien's desperation, PK captures the fears and falsehoods humans weave around faith. When PK decides to pray for his remote, he's bewildered about whom to and how to pray. PK features brave scenes - money extracted at temples, coconuts offered in confusion at a church, god-men doling out tortuous advice - and strong lines, including a Muslim girl bravely asserting, "Itna chota nahin ho sakta hamara khuda, ki use hamare school jaane pe aitraaz ho." Capturing faith whipped into hate, PK's sterling message, directed sensitively, stands out.

As does Aamir Khan as the wide-eyed alien bemused by human life, a paan-chomping Chaplin from outer space, liked by rustic Bhairon Singh (Sanjay Dutt in a warming cameo). PK's simplicity contrasts with Jaggu's complicated life, heartbroken after she thinks her Pakistani boyfriend Sarfaraz (Sushant) ditched her in chocolate-box Belgium. Tapasvi warned Jaggu's father (Parikshet Sahani) that her Muslim lover would betray her - does PK prove him wrong?

Anushka presents a sprightly show while Boman Irani stands out as a TV channel head. Some supporting acts and special effects could've been sharper though while at points, editor Raju Hirani should've been sterner with director Raju Hirani in trimming tighter scenes. Between gods, frauds, love and bombs, there are multiple threads here. Some distract, others impact, like PK hilariously dazed by humans hiding when they make out - except when they announce it with band-baaja on their wedding day.


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अगर इस साल बॉक्स ऑफिस पर सबसे ज्यादा कमाई की रेस में फर्स्ट और सेकंड नंबर पर रही हैपी न्यू इयर और किक की कलेक्शन के साथ पीके के पहले तीन दिन की कलेक्शन की तुलना करेंगे तो शायद पीके पीछे रह जाए। पिछले करीब दो महीनों से बॉक्स ऑफिस पर छाई वीरानी और लगातार फ्लॉप होती फिल्मों के इस दौर में जब मल्टिप्लेक्सों के कई ओडी बंद पड़े है, ऐसे बुरे वक्त में वीरान पड़े बॉक्स आफिस पर रौनक बिखेरने के लिए पीके का सुपर हिट होना जरूरी माना जा रहा है। निर्देशक राजू हीरानी इस फिल्म से बॉक्स ऑफिस पर जबर्दस्त कामयाबी की हैट्रिक बना चुके हैं, अपने उसी बेहतरीन स्टाइल पर चलते हुए हिरानी ने एकबार फिर इस फिल्म में दर्शकों का सिर्फ मनोरंजन ही नहीं किया है, बल्कि एक अच्छा संदेश भी दिया है।

हिरानी ने अपनी पहली फिल्म में डॉक्टरी पेशे के साथ जादू की झप्पी जोड़ी तो अगली फिल्म में गांधीगीरी का संदेश दिया। इस बार उनकी नई फिल्म पीके में भगवान तक पहुंचने का एक नया शॉर्टकट रास्ता दिखाया गया है। हिरानी की यह फिल्म परेश रावल, अक्षय कुमार की ओ माई गॉड की याद दिलाती है। पीके भगवान तक पहुंचने का ऐस शॉर्ट कट बताता है, जहां किसी बाबा या गुरु की ज़रूरत नहीं है। हिरानी की तारीफ करनी होगी कि उन्होंने इस मेसेज को ऐेसे ढंग से पेश किया है जो आपको हंसने, सोचने पर मजबूर करती है तो कुछ सीन्स में आापकी आंखें नम भी कर जाती है।

कहानी: चारों तरफ बिखरी रेत देखकर समझ आता है कि कहानी की शुरुआत राजस्थान से हो रही है। स्क्रीन पर चमकती धूप और चारों ओर बिखरी रेत वीरान नजर आ रही है। अचानक इस रेतीली भूमि पर साफ बादलों के बीच आसमान से एक विशेष यान रेतीली जमीन पर उतरता है। इस विशेष यान से गले में सिर्फ एक चमकता लॉकेट पहने एक शख़्स (आमिर खान) उतरता है। इस शख्स के तन पर एक भी कपड़ा नहीं है और सिर्फ चमकता लॉकेट पहने इस युवक को देखकर आप अंदाज लगा लेंगे कि किसी दूसरे ग्रह से पृथ्वी पर आने वाला यह युवक पीके है। इसका कोई नाम नहीं है। गांव वालों को अपने साथ हर वक्त ट्रांजिस्टर लटकाए घूमने और अजीबोगरीब हरकतें करने वाले इस युवक को देखकर लगता है कि उसने शराब पी हुई है और पीके घूम रहा है। यही वजह है कि गांव वाले उसे पीके कहने लगते हैं। बता दें कि पीके जैसे ही विशेष यान से पृथ्वी पर उतरता है, तभी रेल की पटरी के किनारे ट्रांजिस्टर पर गाने सुनता जा रहा एक चोर इस नंगे शख्स के गले में लटके चमकदार लॉकेट को छीनकर भाग जाता है। यही लॉकेट उसके अपने ग्रह पर वापस जाने का इकलौता जरिया है, जिसके बिना वह अपने घर यानी ग्रह पर वापस नहीं जा सकता।

धरती पर आकर पीके देखता है कि यहां सभी लोग अपनी मनचाही इच्छा, मुराद पूरी करने के लिए भगवान का दरवाज़ा खटखटाते हैं, सो पीके भी अपने लॉकेट की तलाश की फरियाद लेकर मंदिर, मस्जिद और गिरिजाघर तक पहुंचता है। लेकिन उसे लॉकेट यानी रिमोट नहीं मिलता। आखिरकार पीके को पता चलता है कि उसका लॉकेट अब धर्मगुरु तपस्वी बाबा (सौरभ शुक्ला) के पास है, जो अब इस चमकते लॉकेट को भगवान शंकर के डमरू का गिरा मनका कहकर अपने भक्तों से मोटा चंदा बटोरने में लगा है। यहीं से पीके भगवान को समझने और उस तक पहुंचने का नया रास्ता तलाशने में लग जाता है। भगवान तक अपनी बात पहुंचाने के इस लंबे सफर में टीवी पत्रकार जगत जननी उर्फ जग्गू (अनुष्का) उसका साथ देती है। जग्गू एक टीवी जर्नलिस्ट है और कुछ नया करना चाहती है। जग्गू को टीवी हेड बमन ईरानी की पूरी सपॉर्ट मिलती है।

ऐक्टिंग: आमिर खान ने पीके के किरदार में जान डाली है। आमिर ने दूसरे ग्रह से आए ऐलियन के किरदार को कुछ ऐसे अंदाज से निभाया है, जैसे टीवी पर मिस्टर बीन्स अपने किरदार को आसानी से टोटली डिफरेंट ढंग से निभाते हैं। यकीनन, अगर आमिर के इस किरदार की बात की जाए तो यहां वह अपने लगान के भुवन वगैरह और अपने दूसरे कुछ बेहतरीन किरदारों से बहुत-बहुत आगे हैं। रब ने बना दी जोड़ी के बाद इस बार अनुष्का शर्मा को ऐसा किरदार मिला है, जिसमें उन्हें अपनी काबलियत साबित करने का बड़ा प्लैटफॉर्म मिला है। जगत जननी के किरदार को अनुष्का ने जिस बेहतरीन ढंग से निभाया है, उसकी तारीफ करनी होगी। बैंड मास्टर भैरो सिंह के छोटे से रोल में संजय दत्त खूब जमे हैं। वहीं तपस्वी बाबा के किरदार को सौरभ शुक्ला ने बस निभा भर दिया है। बमन ईरानी और परीक्षित साहनी ने अपनी बेहतरीन परफार्मेंस से साबित किया कि हिरानी की फिल्म उनके बिना क्यों पूरी नहीं होती।

डायरेक्शन: हिरानी की यह फिल्म परेश रावल की फिल्म ओ माय गॉड से बेहद मिलती है, फर्क बस इतना है कि परेश ने अपनी बात को बेहद सटीक और भाषण अंदाज में पेश किया तो हिरानी ने पीके का ट्रीटमेंट ऐसे मजेदार ढंग से किया, जो आपको खुलकर हंसने का मौका देता है। यकीनन फिल्म का पहला पार्ट गजब का है। शुरुआती सवा घंटे की फिल्म दर्शकों को सीट से बांधने का दम रखती है। बेशक इंटरवल के बाद रफ़्तार कुछ सुस्त होती है लेकिन क्लाइमेक्स बेहतरीन और सुखद है।

संगीत: फिल्म का संगीत कहानी के मुताबिक है। ठरकी छोकरा पहले से कई म्यूजिक चार्ट में टॉप फाइव में चल रहा है तो नंगा पंगा दोस्त, भगवान है कहां है तूं गीतों का फिल्मांकन बेहतरीन है। हिरानी ने इन गानों को ऐसे अंदाज से फिल्म में फिट किया है कि गाने कहानी का हिस्सा बने हैं।

क्यों देखें: आमिर खान की बेहतरीन परफॉर्मेंस। अगर आमिर के फैन नहीं भी हैं तो आप इस फिल्म को मिस ना करें। इसी के साथ हल्की-फुल्की कॉमेडी की चाशनी के साथ-साथ एक ऐसा मेसेज जो आज की भागती दौड़ती जिदंगी में आपको राहत देता है, वहीं अधंविश्वास और धर्म के ठेकेदार बाबाओं की पोल खोलती ऐसी कहानी, जिसे आप पूरी फैमिली के साथ बेहिचक देखने जा सकते हैं। 


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Film: PK
Diectorr: Rajkumar Hirani
Cast: Aamir Khan, Anushka Sharma, Sanjay Dutt
Certification: U/A
Rating:

If Rajkumar Hirani's films were people, they'd be my favorite school Teacher. Not the Einstein-haired caricatures from 3 Idiots, but that frumpy old professor that walks normal, dresses quirky, and tells stories with a questionable singsong voice. He is a tad melodramatic, sometimes uses sign language to drill in the message, but everyone understands him. He wipes out the blackboard, throws away the textbook and tells us to observe a baby instead.

Instantly, our faces light up. What an unconventional teacher! Is this even allowed? What will the principal say? Hell, will our parents approve? But maybe he's onto something. More so, if this baby is Aamir Khan.

When on song, this Khan shares his enthusiasm for innovation. Naked, wide-eyed, flappy-eared and stumped about why we're so worried about higher authorities. About rules and superstitions, like why the boy must always be taller than the girl.

Suppose this baby grows in minutes, and somehow begins to speak our language—keeping with the necessary suspension of disbelief required for us to be in teacher's funny class. Baby will ask us why we spend two minutes reciting morning prayers. Or why we consume half a spoon of curd for good luck before exams. Do we always pass? We ask him if he is drunk ("Peekay aaya?") to question our parents' beliefs. But he asks us more questions. He shows us a shiny mirror that arrests our attention; it shows us exotic places like Bruges, Rajasthan and spunky girls (Anushka) who believe him. To prove his point, this girl is always taller than him. He doesn't mind. This mirror also shows us our reflection. We don't like what we see. We tell our elders about this magical classroom, these odd questions. Their only question: What colour was this baby?

Put a face to this question and you'd get revered God-man Tapasvi (Saurabh Shukla), or for that matter, majority of the free world. They speak sense, but so does PK Baby. He speaks uncommon sense.

I've been schooled about humanity in hospitals, about 'Gandhigiri' on Mumbai streets, and about the futility of Indian education systems. I've not always agreed with the manner of these lessons. But I've let news channels with images of death and destruction teach me about religion. I've struggled to put down my opinions on paper, without using this r-word, 'blind' and 'God' together.

Today, I see my garbled, reluctant voice on screen in the form of perhaps the finest, and most balanced mainstream film in years.

More importantly, as serious as my views have been, I've never figured out how to laugh about them, while thinking, agreeing, cringing and nodding nervously. The two smartest screenwriters of our generation, Mr. Hirani and Abhijat Joshi, have gone one better and crafted not so much as a movie as a relevant argument—with the usual ebbs and flows, dramatic flourishes, pauses and lapses in concentration (bloated second half) that characterize fierce debates. I can't describe their baby without giving away too much. But rarely have I seen such a purposeful script, each scene merging into another rabble-rousing satirical set piece, peppered with actors at the top of their game.

I can think of nobody but Aamir Khan as PK, and nobody but Rajkumar Hirani as our teacher. Take in what they say. Enjoy the way they say it. Make this mandatory for impressionable children waiting to hope. After all, these kids will be the ones in charge if extraterrestrials ever pop in to review our planet. And for once, let them think past the stars.
 

Monday, December 1, 2014

16 must-see Wall Street films that will make you wish the market is open even on holidays

MARKET MOVIES


16 must-see Wall Street films that will make you wish the market is open even on holidays 
 
ROGUETRADER (1999) A SENTENCE: Faster paced British version of Wall Street.PLOT: Based on the real-life story of Barings Bank trader Nick Leeson, Ewan McGregor does a surprisingly awesome job of emulating the British wunderkind down to his addiction to fruit candies. While a relatively unsuccessful movie at the box office, Rogue Trader is entertaining.


BOILER ROOM (2000)
A SENTENCE: For those in a sales job or telemarketing.PLOT: Vin Diesel and Giovanni Ribisi as Long Island pump and dump brokers? Count us in. This classic flick showcases Ribisi's rise to the top as he learns the ins and outs of operating in a boiler room. It's very similar to Jordan Belfort's upbringing, minus the yachts and excessive drug use.


AMERICAN PSYCHO (2000)
A SENTENCE: You'll never look at business cards the same way again.PLOT: Patrick Bateman, played by Christian Bale, is the consummate Wall Street professional, beyond the fact that he's losing his mind. Throughout the film Bateman utters some absolute classics, including a soliloquy on Phil Collins that likely changed his career for ever.


MARGIN CALL (2011)
A SENTENCE: Consider this one a new classic -it seems like everyone else is.PLOT: One banker creates a model that shows that his firm is completely under water, but before he can show anyone, he gets fired.He hands his model off to junior banker and the firm goes into emergency mode trying to save everything.


TRADING PLACES (1983)
A SENTENCE: No movie about Wall Street is funnier than this.PLOT: Eddie Murphy and Dan Akroyd are at their best as director John Landis tells the tale of how one man's fall from Wall Street is another man's blessing. Watching Murphy talk about futures and markets is hilarious and unparalleled in humour.


GLENGARRY GLEN ROSS (1992)
A SENTENCE: “The leads are weak?
You're weak!“ -Alec Baldwin PLOT: Glengarry Glen Ross takes place off of Wall Street but still deals with incentives that salesman deal with, including bonuses and cars and how they'll do anything to close the sale. Baldwin is only in the movie for about 10 minutes but gives an speech that deserves an Oscar.


BONFIRE OF THE VANITIES (1990)
A SENTENCE: The film's ability to tackle different New York City social classes is without question.PLOT: Originally a book by Tom Wolfe, the film targeted the Manhattan elite of the 1980s and their distance from the rest of the city. Tom Hanks gets involved in an extramarital affair and, eventually, a tragic murder results.


COSMOPOLIS (2012)
A SENTENCE: You may come out of this one scratching your head.PLOT: Eric Packer, a billionaire investor rides around Manhattan in his state-of-the-art limooffice.Throughout the day you'll meet his wife, his lover and his associates.After a currency speculation goes awry, Packer's life begins to unravel.Enter murder, intrigue... etc.


WALL STREET (1987)
A SENTENCE: Classic Wall Street film.PLOT: Oliver Stone originally set out to depict the greed associated with Wall Street in the 1980s. Little did he know, it would go on to become one of the finest pieces of financial cinema ever created. Everyone loves Michael Douglas' character Gordan Gekko, who is modelled after Michael Milken and Ivan Boesky.


ENRON (2005)
A SENTENCE: One of the best documentaries ever made. Ever.PLOT: The film tells the tale of Enron's rise and fall from grace, including the strange tales of executives Ken Lay, Jeff Skilling, Andy Fastow and Timothy Belden.This movie also features interviews from former energy traders and hedge fund king Jim Chanos.


QUANTS (2010)
A SENTENCE: A rare look inside the minds of mathematical geniuses who have invented financial models that have both destroyed and made Wall Street.PLOT: Quants: The Alchemists of Wall Street is 45-minute documentary on the inner workings of quantitative analysts on Wall Street.


THE PIT (2010)
A SENTENCE: A slightly sad look at the end of the open outcry trading floor.PLOT: Follow a bunch of veteran traders as they discuss their careers and the end of their way of doing business.


MONEY NEVER SLEEPS (2010)
A SENTENCE: It's the sequel to Oliver Stone's classic.PLOT: Gordon Gekko gets out of prison for securities fraud. He teams up with his future son-in-law Jacob to repair the relationship with his daughter, Winnie. Gekko also helps Jacob get back at the man who screwed his mentor's firm over.


TRADER (1987)
A SENTENCE: Brilliant... If you can find it.PLOT: This little-known documentary stars Paul Tudor Jones and chronicles his day-today life as an active investor. Jones uses techniques like historical chart reading, taken from Jesse Livermore, to predict the Black Monday crash on film.


TOO BIGTO FAIL (2011)
A SENTENCE: Surely you remember the financial crisis.PLOT: Lehman Brothers implodes, global markets are at risk, and Washington has to catch up to save the economy.


WOLFOF WALL STREET (2013)
A SENTENCE: It's by far the raunchiest Wall Street movie.PLOT: Jordan Belfort's best-selling tell-all memoir that chronicled his boozy, drug-fuelled, high-flying Wall Street lifestyle running 1990s-era boiler room Stratton Oakmont was adapted into a film directed by Martin Scorsese starring Leonardo DiCaprio.

Saturday, November 29, 2014

Women who mattered at the box office in 2014

Women who mattered at the box office in 2014



They are still not paid on par with their male counterparts.However, women in Bollywood are certainly making their individual clout felt at the box office. This year has been particularly spectacular for Kangana Ranaut, who carried Vikas Bahl's Queen entirely on her dainty shoulders. As the ditched-at-the-altar youngster from New Delhi who meta morphoses into an independent woman, after her decision to go on a solo-honeymoon, Kangana shone brightly . She had displayed her acting chops in Fashion and Tanu Weds Manu, both of which were hits. However, with Queen, the accolades didn't stop pouring in for the longest time. What's more, the cash registers rang at an altogether different decibel level.
Next in line is Priyanka Chopra, who in her decadelong career, has shown tremendous gumption when it comes to choosing subjects.While Fashion gave her a display window for her histrionics, Omung Kumar's Mary Kom was easily the cherry on the cake. In this biopic based on India's most famous woman pugilist, MC Mary Kom, PC transcended physical attributes and made the North-Eastern boxer come alive on the big screen. The film found critical and commercial acclaim, and put Priyanka right where she belongs -on top of her game.
Farah Khan, known for her strong commercial film sense, may have got flak for the script of her Diwali release Happy New Year .However, the filmmaker, who has been a steady force at the box office, having enjoyed successes like Main Hoon Na and Om Shanti Om in the past, added to her brand equity when HNY crossed the `150-cr mark. She is the only woman director in the Big Club and that's no mean feat.Like they say , you can love her or hate her, but you cannot be indifferent to her.




Actress Manasvi Mamgai, 26, is simple, sensitive and sweet

I AM PROUD OF HAVING MADE IT ON MY OWN WITHOUT EITHER MY FATHER OR A GODFATHER


Manasvi Mamgai, 26, is simple, sensitive and sweet. She is also restless, adventurous and hyper. For her, everything needs to be perfect and she is susceptible to getting emotionally attached easily. She has not seen her father since the age of 16 and is proud to have made it without either her father or even a godfather, be it winning the Miss India title in 2010 or her first Prabhudheva film Action Jackson. Over a cup of coffee, she talks to Bombay Times about her difficult childhood, her love for her mother and why she is so scared of Prabhudheva.Excerpts: 
 
How did you become a Miss India?
I am a Garhwali with roots from Uttaranchal.I was born in Delhi, but brought up in Chandigarh. My dad was in the construction business and mother, a teacher. My parents always had trouble in their marriage, but they remained together till such time that I grew up. My mother has always been spiritual and was into Art of Living through which she knew Rhea Pillai. Rhea had once come to Chandigarh when I had passed out of Class XII, when she saw me and said, `You are tall and good looking. Why don't you try modelling?' She said, `Come to Mumbai. I will introduce you to a couple of people and let's see what they have to say about you.' So I came to Mumbai and she made me meet Atul Kasbekar and Reshma Shetty and a couple of other people. Fortunately , they said nice things and I decided to try modelling and moved to Delhi. I was just 16 then. Work started pouring in. I started earning and that's when my mother got the courage to leave my father and shift with me to Delhi. I always wanted to become a Miss India. I filled up the entry form, auditioned and through the normal process, won it in 2010. They always say that when you become Miss India, you go down in history , as every girl while growing up wants to be one. After becoming Miss India, I shifted to Mumbai. I continued walking for fashion weeks and kept meeting and auditioning for films, till Prabhudheva auditioned me for Action Jackson. Actually , my whole fascination with glamour started with dancing. I have learnt bharatnatyam, belly dancing and contemporary dance. I always wanted to dance and perform. Even when I thought about movies, I always dreamt of working with a Farah Khan or Remo Fernandes or Prabhudheva. I feel life has come a full circle and my wish has come through working with Prabhudheva in Action Jackson.

Talk about working with Prabhudheva?
When I met him for the first time, I had a fan moment.For people who dance, it's a big thing to just meet Prabhudheva. He is very sweet. While offering the role to me, he said, `Manasvi, the only difference between my other movies and this movie is your character.' He just said that one line and I was on.He is very fair. He will know what your potential is and basis that, he does justice to each one. He knows when you are working hard. He has two eyes in the front and two eyes at the back and is very alert and I am very scared of him.

What about Ajay Devgn?
Ajay is so classy and composed and both Prabhudheva and he don't talk.

Who do you love the most in the world?
Mom. She is the only one I have in the world. She is very shy , but is more ambitious about me than I am about myself. She was the one who pushed me to take part in Miss India. That was her dream. For me, it was about acting and dancing, but while she was growing up, she would read a lot of magazines and was very fascinated with models and glamour. She is also my biggest critic. But this time, for the first time, when I performed the Gangster Baby song at the song launch, she recorded it on her phone and since then, she must have seen it 300 times. She said, `Look how well you dance.' Ever since my parents separated, I have not been in touch with my father. And since the age of 16, I have taken care of my mother and myself. And there has never been a time honestly, when I have bowed down to anybody or taken a favour or support.
Everything I have done is on merit. She is proud of that. And I am very proud that I have done it on my own without any godfather.
And probably that is also the reason that I am always insecure and hyper about people favouring someone.

Which was your lowest period?
I was in depression for a year when I lost Miss World.Till then, whichever competition I had gone to in life, I had always won. always won.Miss World is something I really wanted. If you tell me to get flowers for you, I will spend one hour finding the best flowers for you. In Miss World, I can't even tell you how much hard work I put in. But after losing, for a year, I could not face the world and it was depressing. I lost faith in everything. I was angry with the world, with God, with everybody . Also, just post that, I went through a breakup in my relationship.I get easily attached, as I am a very emotional person. I felt life had ended.Fortunately , I was modelling and doing very well and slowly , I came to terms with it.

Are you in a relationship right now?
I have had a few affairs and all of them have been serious, as I put my heart into everything. When I like somebody, that person is everything for me. That is the way I am. Right now, I have no time. If I am in a relationship, then that becomes the centre of my universe and I can't afford that right now.
Your parents separated when you were 16. Isn't it unusual that you are not in touch with your father?
He has been a great father and I have many of his traits. I look like him and like him, I feel very close to nature. He was a genius, who was a bit crazy . For instance, he dropped out of second year of engineering from one of the top colleges only because he proved his teacher wrong against stuff written in textbooks. He was very inventive, but the problem was that even when a top corporate house would be looking for him desperately to solve a problem, and if he didn't feel like going, he would not. He was unpredictable, head strong and egoistic, but was very caring towards me. I remember if I had gone to a dance competition and came back home late, he would be up cooking food for me. He was protective about me and once, when I was about to meet with an accident, he almost mur dered the person who was responsible. But with my mother, there were a lot of issues and a lot of domestic violence at home. Right from when I was very small, they would fight. I wish my parents had sepa rated much before. At least I would not have seen all those things while growing up. I knew that despite being a good father, he had wronged my mother a lot and so, I decided to stay with her and cut off from him. He tried to be in touch with me always, but every time my father's name comes up, I cannot control my mother. She is very uncomfortable and still hates him. She doesn't want me to be in contact with him. Once, after winning Miss India, I was in contact with him. She came to know and she got very upset. I still love him, but I don't want to meet him as he is very unpredictable and may start harassing my mother again. As a child, the violence troubled me, but I was so young that there was not much that I could do. I was always with my mother, but did not have the voice at that time to do anything till I became 16.Dance helped me in a big way to escape that.

Do you have a dream?
I want to be remembered as a great actress, good human being and a person who is nice to work with. I also want to relax in my life and not stress out as much as I do.



Friday, November 28, 2014

Genre-defining sci-fi films that pushed the envelope

Genre-defining sci-fi films that pushed the envelope


Sci-fi films are back in the spotlight again thanks to Christopher Nolan's latest, Interstellar. Nolan is a huge fan of Stanley Kubrick and his film has many references to Kubrick's own 2001: A Space Odyssey, which has been described as one of the best sci-fi films of all time and set a benchmark. Here are a few more sci-fi gems that we won't be forgetting any time soon... 


 2001: A SPACE ODYSSEY
What was special: Technical brilliance that was well ahead of its time.
Stanley Kubrick's vision in this film was both magnificient as well as genre-defining. Never before had such a film been attempted. And yet, the film was not about laser gun battles and space ships exploding but more of a philosophical kind that inspired as much discussion as the universe inspires wonder. There were obvious references to the inevitability of human evolution as well as the dangers of relying too much on technology . And so, Kubrick proved to be well ahead of his time.There was something different about his film -depth and passion. Perhaps that is why this film is considered essential for anyone with a casual or academic interest in film in general or science fiction in particular.


STAR WARS: THE EMPIRE STRIKES BACK
What was special: Creating a new ecosystem of fantasy alien worlds and characters.
This film managed to overcome `the curse of the sequel' which essentially is about the fact that sequels never manage to live up to the buzz or profitability that the first film made. There are plenty of such examples. But this one spawned a million memes in the present day -right from the opening scene despicting the Hoth battle to the famous dialogue between Darth Vader and Luke, where he tells Luke that he is his father, The Empire Strikes Back is simply unforgettable when it comes to sci-fi films.


PREDATOR
What was special: Arnold's brand of action blended with alien sci-fi thrills.
This is one of Arnold Schwarzenegger's best-known films and deserves mention as it blended sci-fi with Arnie's own brand of action. The sense of dread that the film evoked -that of the hunting party becoming the hunted -as well as the slashergore element made this one a big hit. The screenplay is tight, the script is economical, Arnie's quips are all in place and the final battle sequence between him and the alien makes for some gripping cinema.


THE ABYSS
What was special: The underwater special effects and aliens.
James Cameron again pushed the boundaries of cinema with the famous alien sequence that had a u d i e n c e s enthralled at the time. Seen today , it still elicits admiration and wonder. It was this `wow factor' as well as the drama that is played out when the crew are inside the oil rig that is deep underwater.The portrayal of the descent into the abyss in the submersible was also chilling.


E.T.
What was special: The alien was a good guy for a change.
E.T. managed to tread the fine line between sweetness and sweetness overload. We also see a very young Drew Barrymore in here in one of her early screen appeareances. screen appeareances.Utterly captivating and also unique, this was a sci-fi film that didn't treat aliens as some sort of entity that one should be terrified of. Here, we saw an alien that cured things and conquered with kindness, so to speak. The children in this film are not afraid of E.T. himself in the least; it is only the adults who are suspicious. This film was a massive hit and is essential viewing in Steven Spielberg's canon of films.



STAR WARS
Plenty of adjectives have been used to describe George Lucas's iconic and groundbreaking series of films. More accessible than Kubrick's magnum opus, the first one had crossover appeal with kids as well as adults. It presented alien worlds in a manner that had not been seen on screen ever before.While Odyssey made you pause and reflect, this one left you fascinated with its pure, unabashed fun. And it also managed to build a galaxy-spanning ecosystem of imaginary worlds.


ALIEN
What was special: The first sci-i film to have a female actor play such a badass role
The idea of a crew aboard a spaceship somewhere far out in the galaxy being stalked by a hideous monster isn't new. But the film made waves with the idea of a tough female lead (Ripley) brilliantly portrayed by Sigourney Weaver.


GRAVITY
What was special: Apart from the superb performances, the immersive effects.
Sandra Bullock won an Oscar for her role in this fantastic film the portrayed the cold, dark reality of space in a manner that had never been seen (or `experienced', rather) on screen before. The film is the closest you can come to being in space, while on planet Earth.


EVENT HORIZON
What was special: It very effectively combined horror with deep space sci-fi.
This one deserves mention as although it wasn't as much of a monster hit compared to the other movies in this list, it has in time grown in stature to become something of a cult favourite. And how can we forget the fact that Event Horizon melded sci-fi and horror so effectively (also it also was one of, if not the first sci-fi films to mention things like `Event Horizons') so as to give you a fortnight's worth of scares.

















beyond the man-woman relationship

Indian television explores unconventional relationships


It's not just liplocks that's making waves on the tube. TV shows are getting bolder by going beyond the man-woman relationship 
 
SAME-SEX RELATIONSHIPS Maryaada...Lekin Kab Tak? was the first show on Indian television to explore a gay relationship, with Dakssh Ajit Singh and Karan Singh portraying the role of a gay couple.TV show Pyar Tune Kya Kiya, too, had touched upon the subject.Now, Ayaz Ahmed is playing a homosexual in Kaisi Yeh Yaariyaan.



ROMANCING THE GHOULS
Pyaar Kii Ye Ek Kahaani and Fanaah, said to be inspired by The Twilight series and The Vampire Diaries respectively, showcased romance blossoming between a human and a vampire.

 
TRANSGENDER AND GIRL
In Ek Boond Ishq, Hunar Hali's character Nandini was shown getting married to a transgender played by Vishwajeet Pradhan. This was probably the second time an unsuspecting girl was shown getting married to a transgender on Indian television. Earlier, in Rakt Sambandh, Sandhya (Sriti Jha) had tied the knot with Yuvraj, who was later revealed to be a transgender.

 
INCEST
Laut Aao Trisha touches upon a lot of sensitive and controversial issues like incest, group sex and more.

 
MAY-SEPTEMBER RELATIONSHIP
TV show Webbed aired an episode revolving around a teacher who was involved in a physical relationship with her student. Television shows, which deal it easy with the subject of unconven tional relationships, don't have . There is always a chance of it backfiring. GECs are usually worried about the numbers and viewers' feedback. Vikas Gupta, programming head of a channel, says, “Not all broadcasters lap up such concepts. But thankfully , there are enough people who realise the importance of showing such relationships on the tube, especially since television is evolving and so is society .“
 
ART IMITATES LIFE
While these subjects may still hold shock value, they are actually a reflection of what is prevalent in society. As Nalini Negi, who plays the title role in Laut Aao Trisha that deals with incest and group sex, says, “Unconventional relationships exist in our society . I have heard of two cousins tying the knot in Hyderabad. What we portray on the show is reality and not a work of fiction.“
Adds Rishina Kandhari, who essayed the role of a homosexual in Yudh, “Fortunately , we have become progressive. Earlier too, there were just as many females or males who were attracted to the same sex, but they could never muster the courage to admit it due to social perceptions and stigmas.“

DEALING WITH THE SUBJECT SENSITIVELY
Vikas believes that one has to be extremely sensitive while broaching such issues, as it can have an adverse effect otherwise. “The first time is always a tough one, but it's a process.We need to tell these stories extremely sensitively. They need to blend in and not stand out. There is a huge moral responsibility when you attempt a topic like this. Fortunately, due to the internet and the cast's regular visits to dif ferent cities, the response is positive and fast,“ he says.
Dakssh Ajit Singh, who was the first actor to play a homosexual on Indian television in Maryaada... Lekin Kab Tak?, too feels that makers should not toy with serious subjects like same-sex relationships just for numbers and show them in poor light. “Many times, the creative team lacks clarity and the right vision while exploring such relationships. If you have taken up a cause, you should do full justice to it and not change it to grab more eyeballs.“

A POSITIVE DEVELOPMENT
There's no denying that showcasing such relationships is a bold move. But it can safely be said that it's a positive development. After all, television is one of the most powerful mediums and plays an important role in changing the perspective of the society .