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I am a homely girl
zinda bhag pakistani punjabi movie feat
I didn’t write a script
Real heroes missing from Awards 2013
‘zinda bhag’ pakistani punjabi movie feat: Naseeruddin Shah
ith his second Pakistani film that is slated for a release soon, veteran and versatile actor Naseeruddin Shah shares his view on Pakistani cinema, cinema as a means to promote cultural ties and why Indian cinema will make great films! In conversation. What is ‘Zinda Bhaag’ about? Zinda Bhaag’s a Pakistani film I shot last year and it’s made by a first time film maker. It’s about illegal immigrants in Pakistan and a satire on the national anthem of Pakistan. Pakistan Zinda bad- Pakistan Zinda Bhaag! It’s the story of unemployed guys who see no future, no prospects and they get a few lakhs by begging, borrowing, stealing and scraping from wherever they can. They are trying to escape on a ship. These are tragic events that occur in real life. I know of incidents where people have boarded the ship hiding in drums. When they leave Karachi, their ship is only taking circles and comes back to Pakistan. These people are then told they have arrived in Dubai but are finally apprehended in court. I’m playing an agent who helps these 4-5 youngsters escape. After ‘Khuda Ke Liye’, this will be your second Pakistani film. Many Paki actors have also made their careers in India. Will this help in promoting cultural ties? Cinema is the only way I know that will promote cultural ties between India Pakistan. I did plays there and workshops with university students where I spent time with them and played cricket. The kids are very bright like our generation here. There’s great curiosity, awe and
envy of India and they are fascinated by our country. The tables have turned completely. When we were young we heard stories of how they had imported cars in Pakistan. Whatever happens between our countries is so tragic. We can’t do anything about it. All we can do is encourage person to person contact. Few people in India have met Pakistanis or interacted with them. If you meet one, you will really change your opinion to some extent. How do you view Pakistani cinema? I feel great cinema will emerge from Pakistan in the near future. Great cinema will also emerge from Bangladesh and Nepal because these are countries which have been through hell. It will be these
tortured countries which will produce great cinema, literature, poetry and paintings. I really feel that. It will emerge in the same manner as it did from Italy and Germany after World War II and even from countries like France, Poland and former Czechoslovakia. They really suffered. Is Indian cinema any different from its’ neighbour? We are just too fat and contented with our selves. We’ll never make a great film in our country. Have you faced any flak for doing Pakistani films or received any threats so far? Not yet and hope it doesn’t happen. I won’t stop. I don’t go there to preach about India love or make these statements. I want to go there to meet the people, the younger generation. C
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Pooja Kiven aa...
OOJA KIVEN AA is a story of one girl and three guys. Pooja is a NRI who came from UK to sell her property. She has big bungalow in Mumbai.Bhinder One of the three guys is already in Mumbai two of his friends Deep and Jeet also go to Mumbai in search of work. Where all three met Pooja and find job in her home as cook ,trainer and cleaner. BN Sharma is a lawyer and also uncle of Pooja who try to cheat Pooja over her property. What happens next, to know catch the movie in your nearest Theatres on 22nd March. Film has 8 superb tracks by Sachin Ahuja. Film is edited by Steven Bernard who is Rohit shetty’s editor film is directed by Nidhi Sharma the youngest female director ever and story is written by MANBHAVAN. Film is produced by ROMI TAHLI ENTERTAINMENT. Movie : Pooja Kiven Aa Song : Peepni – Promo Singer : Rickie Rix,Mun-E Fame Music Director : Sachin Ahuja Lyricist : Kumar Sunny Music Label : Saga Music Digital Partner: Unisys C
Reetu Kalsi Editor Navi Achariya Asso. Editor
Real heroes missing from PTC Film Awards 2013
an you ever imagine a Punjabi film without either of these: Binnu Dhillon, B.N. Sharma, Jaswinder Bhalla or Rana Ranbir? If you’re a keen follower of Punjabi movies, then we’re sure you would reply- NO! Then how can a Punjabi film awards function be devoid of them? It’s hard to imagine that all these actors were so busy in their respective shooting assignments that none of them could find time out for the the ONLY Punjabi film
award function in the world!! Even the winners of the ‘Best Actor in a Comic Role’ - an award which was given both to Binnu Dhillon and Jaswinder Bhalla, were absent from the show. It was only Gurpreet Ghuggi (who won an award for Best Supporting actor for his role in ‘Carry on Jatta’) present at the PTC Film award function 2013 to represent the strength of Ballewood - our comedians! Very sad and unbelievable..Isn’t it?? C
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I am a very homely girl
Bollywood actress Kareena Kapoor is shooting for a TV commercial and she looks like a million bucks. On spotting you she said, Come. Let’s settle down for a chat...
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ou look far calmer these days; quite unlike the restless Kareena we all knew a few years ago. I was a child then. Is it the Saif Ali Khan ef fect? Of course, it is. Also, experiences have made me stronger. Like? I mean whatever I have gone through in my personal and professional life. I’m a stronger girl now, far more at ease with myself than I was earlier. I’m doing things, which I want to. You have moved on in your personal life. Was it difficult parting with Shahid Kapoor? Yes, it was a very difficult period. Whatever went wrong between Shahid and me is very personal. I have always maintained that Shahid will always be part of my life. But, we are better off as friends. There is no animosity. On hindsight, do you think you could have done something to save the relationship? Sometimes there are no reasons for things which happen in life. Even if there’s one, I don’t think it’s right to talk about it openly. Did it take time for your family to absorb the fact that you were in love with Saif Khan? No, I don’t think so. My mother is cool about it. And Karisma and Saif get along
like a house on fire. How is Saif Ali Khan as a partner? He is fun and extremely loyal. He has all the qualities which I always wanted in a man. Is he very possessive? There were stories that he was upset with your dress at the IIFA awards and also when you gave a peck on the cheek to Sylvester Stallone? Saif is very supportive. He gives me space. All those stories were false. You get along well with his two children, Sara and Ibrahim? Both his kids are very loving. They are like Samaira (Karisma’s daughter) to me. Are you in touch with Shahid Kapoor? Oh yes. I message him and he messages me. You value marriage. You helped Karisma reconcile with her husband Sanjay? Contrary to what people believe, I am a very homely girl. I am always there for those who are there for me. Frankly, I am nobody to help somebody with their marriage. But as a sister, I can only offer support and advice. It has worked. You lost out on Dostana and Dilli 6 because Abhishek didn’t want to work with you? Firstly, there was no fight with Abhishek. He has decided not to work with me and I have decided the same. C
After surprising everyone with his turbaned look in Singh vs kaur, the action hero of Punjab, Gippy Grewal was recently spotted in an entirely different hairstyle at the PTC Film awards function and promotional interviews of his upcoming movie. Hair spiked up and a little pony tail behind. Is this the new look for the movie “Lucky Di Unlucky Story”?? Yes it is his new look for his upcoming movie, releasing on 26th April and another thing to be noted is that this time his head gear has changed from turban to hat! C
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ROBERT ALTMAN: ECLECTIC MAVERICK
n By Alex Simon
t’s the Fall of 1977 and I’m a bored and rebellious ten year old in search of a new movie to occupy my underworked and creativitystarved brain, feeling far too mature for previous favorites Wily Wonka and the Chocolate Factory (1971) and Return of the Pink Panther (1975), and wanting something more up-to-date and edgy than Chaplin’s City Lights (1931). I needed a movie to call my favorite that would be symbolic of my own new-found manhood (and something that would really piss off my parents and teachers). Mom and Dad were going out for the evening, leaving me with whatever unfortunate baby-sitter happened to need the $10 badly enough to play mother hen to an obnoxiously precocious only child like myself. I scanned the TV Guide for what the evening’s entertainment offered and that holiest of holy phrases in the world of the suburban 10 year-old boy caught my eye in the ad for the big Saturday Night Movie on channel 5: “Parental Discretion Advised.” Praise be to God! When my parents happened to catch me looking at the ad for the movie, they very sternly said to my baby-sitter and myself: “Under no circumstances let him watch this. He’s too young.” That clinched it, this movie must be the coolest thing ever! The minute my parents left, the baby-sitter, Lisa, said that I could watch whatever I wanted, as long as I didn’t tell my parents that her boyfriend was coming over to make out and smoke a little grass. A deal was struck. We shook on it. She smoked and smooched. I watched the movie. It was called M*A*S*H. It was directed by a guy named Robert Altman. And it changed my life. I sought out Robert Altman’s films feverishly after that. Altman’s work made me aware at a very early age what the medium of cinema had the potential to do in terms of transporting the viewer to another world--that is, another very real world. Never before had I seen a film that seemed so much like real life. Instead of one central character, there were dozens. People interrupted each other, talked over one another, left thoughts and situations unfinished and unresolved. They had sex without love, exposed hypocrisy and made the hypocrites themselves pay dearly for it. People bled when they were hurt and seemed to be hurt when they bled. Everyone in a position of authority was portrayed as something of a buffoon. People seemed to move through his films without a shred of sentimentality, but instead with a weary ambivalence. No crocodile tears in sight. Robert Altman was born February 20, 1925 in Kansas City, Missouri, the son of a successful insurance broker. Educated in Jesuit schools, Altman served as a bomber pilot in WW II, and was stationed in Southern California during his stint with the Air Force. Following his discharge, he attended the University of Missouri, studying engineering and attempted a number of aborted business ventures, including a dog tattooing machine of his own invention. At the same time, he began writing screenplays and stories in collaboration with George W. George, with some minor success. Altman also did some extra work in the Danny Kaye classic The Secret Life of Walter Mitty (1946, look carefully for young Altman smoking a cigarette during the nightclub scene). Unable to make a go of it in Hollywood, Altman returned in 1947 to his native Kansas City and began work with the Calvin Company, a leading producer of industrial films. The Delinquents (1957), his first feature, was followed by The James Dean Story (1957), a docudrama that mapped out his intentions of using film to explore the reality behind pop culture icons. From 1957 to 1965, Altman worked in Hollywood on a wide variety of TV programs including “Combat,” “Alfred Hitchcock Presents,” and “Bonanza;” his resistance to conformity, however, delayed his progression into feature filmmaking for another decade. Countdown (1968) and That Cold Day in the Park (1969) garnered some critical attention, but Altman’s career took a dramatic turn with M*A*S*H (1970), a box-office and critical smash which won the Palme d’Or at Cannes. Success led him to form his own Lion’s Gate production company—complete with state-ofthe-art editing and sound recording facilities—where the creative process was once described as “controlled chaos.” Altman’s ensuing films, Brewster McCloud (1970), McCabe and Mrs. Miller (1971), Images (1972), The Long Goodbye (1973) and Thieves Like Us (1974), added to his reputation as an artist, but were all disappointments at the box office (most are available on video, and are
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highly recommended!). They also demonstrated his interest, doubtless nurtured during his restless TV days, in revising genre conventions, hence the downbeat turns of the grim yet humorous Western McCabe, and the oddly relaxed quality of his excursion into noir with The Long Goodbye. Nashville (1975), though, won back the audience, was nominated for several Oscars, and invariably appears on critics’ “Best of the 1970s” lists for its layered narrative, breezy character treatment and witty music. Technically, the film was perhaps most remarkable for its dense, multi-track sound, which enabled Altman to subtly merge a diverse and often satirical group of stories set in the world of country music and contemporary politics. The accolades stopped with the still underrated Buffalo Bill and the Indians, or Sitting Bull’s History Lesson (1976), Altman’s bicentennial film, which explored the marketing of American history. His feud with producer Dino De Laurentiis over its editing led to his dismissal from Ragtime(1981), eventually directed by Milos Forman. Altman debuted as a producer with Welcome to L.A. (1977), by his protégé Alan Rudolph, and The Late Show (1977), by screenwriter Robert Benton, both films echoing his fondness for quirky characters and situations. Altman’s own directorial style continued to evolve and diversify with 3 Women (1977), which won Shelley Duvall the best actress prize at Cannes, the freewheeling satire A Wedding (1978) and Quintet (1979), an obscurely poetic film set in a snowbound postapocalyptic world. Two comedies of this period, the offbeat romance A Perfect Couple and H.E.A.L.T.H. (both 1979) were not widely seen. His final Lion’s Gate film, Popeye (1980), was a curious cartoon recreation that, like all Altman films, has its champions and its detractors. In 1981, Altman sold Lion’s Gate and turned his attention to the theater. He staged and then filmed the drama Come Back to the Five
and Dime, Jimmy Dean, Jimmy Dean (1982); Secret Honor (1984) portrayed Richard Nixon (Philip Baker Hall) delivering an “mea culpa” monologue; and Streamers (1983), a film of David Rabe’s play about stateside barracks life in the early days of the Vietnam War, garnered some critical support and a Venice Film Festival award for its ensemble cast. Paradoxically, Altman returned to carving a niche in the small screen, working on several madefor-TV productions including The Caine Mutiny Court-Martial (1988) and Tanner ‘88 (1988). Treading water as a film director for much of the 80s, Altman helmed such little-seen misfires as Beyond Therapy and O.C. & Stiggs (both 1987) before regaining critical attention with his handsomely filmed, quietly intense portrait of the Van Gogh brothers, Vincent & Theo (1990). He followed up with his most acclaimed film in years and one of his most commercially successful ever, The Player (1992), a bravura, scathingly satirical look at Hollywood opportunism that reunited Altman’s restless camera stylistics with his ironic take on popular culture. Short Cuts (1993), meanwhile, suggested a return to the collage of portraits from Nashville, as 22 actors in nine different tales enacted Altman’s take on writer Raymond Carver’s stories of
families and marital problems in a darkly rendered vision of Southern California life. Altman continued in a lighter but similar panoramic vein with Ready to Wear/Pret à Porter (1994), as another highly varied collection of current and past stars and character players enacted roles in a satirical look at the world of couture fashion during the Paris shows. Altman followed this with Kansas City (1996), a homage to his hometown and the 1930’s subculture of jazz and gangsters, and an adaptation of John Grisham’s bestseller The Gingerbread Man (1998) starring Kenneth Branagh. Altman’s latest, his 35th film, is the delicious black comedy Cookie’s Fortune, a southern fried treat that tells the serpentine story of what happens in tiny Holly Springs, Mississippi when town matriarch Jewel Mae “Cookie” Orcutt (Patricia Neal) is found dead from a gunshot wound. Everyone from the inept local authorities (Ned Beatty, Chris O’Donnell) to Cookie’s estranged nieces (Glenn Close and Julianne Moore, both brilliant), to her handyman and best pal (Charles S. Dutton) try to unravel the mystery, with delightful chaos ensuing. The screenplay by Anne Rapp is a delightful mix of William Faulkneresque southern eccentricities and homespun humor, and the film itself resonates with auteur Altman’s own
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distinctive signature, as always. The October Films release also stars Liv Tyler, Donald Moffat, and Lyle Lovett and is being released in Los Angeles April 3. In person, Robert Altman is as genuine a person as the characters in his films, exuding the boundless energy of someone decades younger than his 74 years. Mr. Altman sat down recently with us to talk about Cookie’s Fortune, his other legendary films, and the rich life he has led as one of the world’s premiere filmmakers...
This film, like all your work, can be categorized into a genre on the surface, but still retains your very distinctive style. What was it that drew you to Cookie’s Fortune? Robert Altman: Anne Rapp, who wrote it, has been under contract to me and we developed it together. She’s from the south, from Texas, and is writing my next film as well. It’s called Dr. T and the Women, about a gynecologist who’s pussy-whipped (laughs). It’s a Texas story. Anne is very good at this type of story. Your work seems to have a very specific painterly influence, with your fluid camera, as well as a strong literary influence with your John Dos Passos-style ensemble of colorful characters. I’m sure I’ve been influenced in both areas (by different artists), but with the multi-character thing, mainly what I’m trying to do is make the story dense, fill the corners, rather than deal with just one or two characters. The problem is, of course, to really get the most out of it, you’ve got to see these pictures a couple of times. With Cookie’s Fortune, for example, on the first viewing it’s a whodunit. You want to know who’s responsible for the mysteries that unfold. Then the next time you see it you know all those ques-
tions and you can then deal with all the details. But you can’t ask audiences to do that, especially nowadays. Although I think it’s always been like that. It’s a shame that anything that’s complicated seems to turn many audiences off, but I don’t know how to do it any other way. You’ve always done that, though. Even as far back as The James Dean Story, which was also very dense with characters. Yeah, George W. George and I did that together, shot it, edited it... The thing I think that made that film interesting was the way still photos were used. And that style is still being used on news magazine shows and in documentary films today. Yes, that’s true. Let’s talk about your early TV work. I just saw your famous episode of Combat, where Vic Morrow surrenders to the dead German soldier. It’s now regarded as one of the greatest episodes of television
ever. Is it true that doing that controversial episode got you fired? (laughs) Yeah. It sounds like you’ve always had a maverick sensibility. Well, that’s what I’ve been labeled as, but I certainly don’t think of myself that way. What happened with Combat was I produced the episodes that I did, and really liked those. The executive producer at the network turned the script down flat, said it would stir up too much controversy. He went out of town one week and I said “to hell with it,” and just went ahead and did it while he was gone. He came back, found out, and fired me. And it turned out to be the show’s premiere episode. I think it was nominated for an Emmy. I’ve also always loved the ambiguity of the endings in many of your films, especially in Cookie’s Fortune. We never know whether (a certain character) is aware of what they did or not. Yeah, and I’m still not sure myself. Sometimes I think they knew ex-
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actly what they were doing, other times I don’t. I don’t know the answer, so how can I tell you? In many ways Cookie’s Fortune could be looked at as the portrait of a culture war--the old south ways grappling with more up-to-date values. In many ways it’s a comment on the culture that exists, especially the notion of family pride. And it’s true, suicide in those small communities is considered a disgrace. And most suicides, and this is true in all cultures, which are done in a reasonable way, like taking pills or putting a pillow over your face, many family members don’t know that the person has committed suicide. It’s kept hidden...the old south values are colliding and disappearing every year. The population of the town, Holly Springs, where we shot the film, is 50% black and 50% white. There’s no racial problems there, but there’s also no mix. It’s silent. The chief of police is black. The mayor is black. But I had a situation there where I had a knee problem, and I called this woman who was our sort of coordinator and contact to the city, and I said “I need a doctor. Do you have anyone you could recommend to me?” The lady said (southern accent) “Well...there’s two doctors, and they’re both very good, I hear. Either one would be good.” I said “Could you recommend one?” She said “Well...one of them is black, and the other one is white.” And I said “Well, could you recommend one, please?” She said “Well...that would be your preference.” Finally I said “Who’s closer?” (laughs) It’s amazing that that’s still there, and I guess it always will be. You grew up in the midwest. How did you fall in love with film? I don’t know, I just did. I went into the Air Force when I was barely 18 and started writing when I was overseas. Long letters
to my family members...I had a cousin who worked in Hollywood as a secretary to a big agent, and I was pretty impressed with all that. I was stationed here at March Field before I went overseas, and just ate all that up. I thought all those beautiful starlets were just delicious, you know? (laughs) That’s what really attracted me. How did you get that bit part in Walter Mitty? The director, Norman McLeod, was a friend of my dad’s. I was paid as an extra. It was fun. Where did you see your action during WW II and how did it affect you? I flew B-24’s in the South Pacific, Borneo. I don’t know what affect it had on me. I didn’t think about it very much. I flew 40 some-odd missions...I got out, was stationed at March Field in Riverside and got a taste of the glamour of it all, more than anything else. Then I started doing writing for the radio. I was a big fan of radio. Norman Corwin was my big hero then. He was a great artist. Radio, after the war, of course, lasted about six years, then television came along and dumbed it all down to zero. Then I went back to Kansas City and got a job with an industrial films company for a few years. I was always pushing toward setting up dramatic scenes in those, things like that. Is there any one film you saw as a kid that made you say “this is what I have to do with my life”? Yeah, there were a couple. But the film that, I think, changed my attitude and showed me what film was, was David Lean’s Brief Encounter (1945). Before that, films were all flash and action, pussy, and all that stuff. I remember seeing Brief Encounter here, somewhere in the Melrose/Fair-
fax area, and leaving the theater and just walking for blocks, and blocks. Lean really opened up the medium. The British films of that time were the best. Then later, Kazan did it here, in the theater first, then brought that sensibility to film, the naturalism in the acting. I was influenced by all those kinds of films and consequently my films, I guess, reflect that. I’m the last person who really knows what it is my films do. Most of this stuff is just instinctual and I don’t pay much attention to it. I don’t know and I don’t really want to know. I find myself during the last 30 years of having a lot of accolades and so forth, and I’ll be on the set and asking myself “Wait a minute, am I doing this because this is what the critics expect me to do? Am I trying to follow that, or am I dealing with this honestly?” And it’s very difficult. You tend to believe your own publicity. It’s hard not to, because it’s very pleasant. Suddenly you’re the expert and you begin to believe it. And that’s very destructive. M*A*S*H was really the first film to address what was happening in Vietnam, even though it was set during the Korean war. Yeah, and I did everything I could to hide the fact that it took place in Korea. They made me put that legend (Gen. MacArthur’s speech) at the beginning so that people knew it was Korea. Most people missed it, but in our minds, it was all about Vietnam. Any advice for first-time directors? The same advice I give my children and anybody else: never take advice from anybody! Anybody who gives you advice is giving you what they think is correct for them if they were in your position. But they’re not you! And you’re not them. C
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Japan Academy Awards
High school drama Kirishima, Bukatsu Yamerutteyo (The Kirishima Thing) won best picture and best director for Daihachi Yoshida at the 36th Japan Academy Prize on Friday, with other honors widely shared in a year featuring few critically acclaimed films...
Brad Pitt and Angelina Jolie’s wine sells out
Brad Pitt and Angelina Jolie’s wine sold out in five hours. The couple joined forces with the Perrin family, wine makers and owners of Chateau Beaucastel in France’s Chateauneuf-du-Pape region, to create a range of wines at their estate Chateau Miraval, and 6,000 bottles of Miraval Rose 2012 completely sold out after going on sale on Thursday (07.03.13). A representative told: “The sale started at 9 am, and all the bottles were sold out by 2 pm.” While the Perrin family have taken most of the responsibility for the wine production, Brad and Angelina consulted on the new bottle and redesign, which carries the names ‘Jolie-Pitt and Perrin’. Brad said: “We are intimately involved and quite enthused over the wine project with our friends the Perrin family.” Marc Perrin added: “We talked a lot and did the first harvest together. They are very demanding in seeking excellence in the quality and character of their wine.” This is not Brad and Angelina’s first foray into wine production as it was previously revealed Brad wants to serve their own product Pink Floyd, at their upcoming wedding. A source said: “Guests shouldn’t be disappointed in his taste. C
TOKYO - High school drama Kirishima, Bukatsu Yamerutteyo (The Kirishima Thing) won best picture and best director for Daihachi Yoshida at the 36th Japan Academy Prize on Friday, with other honors widely shared in a year featuring few critically acclaimed films. Hiroshi Abe won best actor for his comedy work as a time-traveling ancient Roman who ends up in a Japanese hot spring in mega-hit Thermae Romae, which took $66 million (5.98 billion yen) at the local box office. The best actress award went to Kirin Kiki, who was honored for the title role in Masato Harada’s Waga Haha no Ki (Chronicle of my Mother), that starred Koji Yakusho (Memoirs of a Geisha) as her son. Hideji Otaki, who died in October last year, was the unsurprising choice for best supporting actor for Anata-e. The veteran actor, whose career spanned six decades, died at 87 of lung cancer at his home in Tokyo. Best foreign language film went to France’s The Intouchables, topping nominees Argo, Skyfall. Dark Knight Rises and The Girl with the Dragon Tattoo. The comedy-drama, directed by Olivier Nakache and Éric Toledano, has been a favorite in Japan since it won the Sakura Grand Prix at the 2011 Tokyo International Film Festival, before going on to become the highest-grossing French language film of all time. Best animation went to Okami Kodomo no Ame to Yuki (Wolf Children Ame and Yuki) by Mamoru Hosoda, beating out the $58.2 million-grossing (5.3 billion yen) Evangelion 3.0 You Can (Not) Redo. Special awards were given posthumously to directors Kaneto Shindo and Koji Wakamatsu. C
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Abbey Clancy to kiss for Comic Relief
bbey Clancy is to take part in a Celebrity Kissing Booth. The model will be one of many famous faces manning the cubicle at BBC Television Centre in London to help raise money for Comic Relief as part of Graham Norton’s ‘Comic Relief Big Chat’ show. Members of the public who are over 18 and have made a text donation to the charity are free to visit and lock lips with a famous male or female celebrity live on BBC Three, though the final list of stars taking part has yet to be revealed. Talk show will see the popular presenter attempting to break the Guinness World Record for most questions asked on a TV chat show. His guests include Russell Tovey, Jimmy Carr, Martin Freeman, Elle Macpherson, James Nesbitt, Louis Smith and Warwick Davis. As well as the kissing booth, providing a break from the interviews will be music from Example, Paloma Faith, Hurts and Laura Mvula. Graham recently said it was impossible to turn down the charity challenge, especially as it wasn’t as physically demanding as what other celebrities have done for good causes. He said: “Compared to running marathons, climbing mountains and canoeing down rivers, sitting and chatting for a few hours seems quite easy. “They are running out of people to do those physical challenges so I thought I should really get in quick with this.” C
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David Bowie to Be Honored With BBC Radio Focus
LONDON- David Bowie will be honored by the BBC with a weeklong celebration of his life and work across BBC Radio 6 and BBC Radio 2, the U.K. public broadcaster announced here. The radio extravaganza will air during Easter week in the U.K. BBC Radio 6 Music will broadcast a slew of program specials, including BBC archive concerts and interviews with Bowie, some of which have not been heard for over 30 years. The documentaries promise to “uncover more about his life and work.” The BBC has also pledged complementary programming on BBC Radio 2, the broadcaster’s mainstream station. Particular focus will be given to the time in which Bowie lived in Berlin - 1976 to 1979 - following his success with glam-rock alter ego Ziggy Stardust in the early 1970s. He created the album Low, Heroes and Lodger in the German city. Comedian and actor Adam Buxton will present his own guide to BBC archival interviews with Bowie, while the station has also scheduled to air the singer’s 1971 Paris Theatre In Concert set -- a concert that has only twice been played out in its entirety and was last heard by listeners June 20, 1971. Buxton said: “David Bowie has done a lot of interviews in his 45-year career and I’ve listened to most of them. I’ll be taking a journey through my favorite parts of Bowie’s work thus far and putting them in the context of a few of his most insightful, charming and ludicrous interviews.” C
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‘I’m So Excited’
print viewed), the film, both plotwise and joke-wise, immediately recalls another bluntly titled jetliner comedy: the Zucker Brothers¬ and Jim Abrahams’ 1980 disaster flick spoof, Airplane! Only that this version feels like it was remixed by John Waters on one of his more debauched days, going so far as to feature a brief scene of semen tasting between two of the aircraft’s sexed-up stewards. Like Airplane!, the story here couldn’t be simpler: While on board a flight bound for Mexico City, several crew members and first class passengers try to cope with the fact that the landing gear has failed and that they might all wind up plummeting to their deaths. Forced to come to terms with their dark secrets and oversized libidos as the plane circles above Spain, the characters begin to band together in all kinds of ways as they prepare for a nasty crash landing. On the crew side there’s the trio of uber-gay flight attendants (Javier Camara, Raul Arevalo, Carlos Areces), the aforementioned co-pilot (Hugo Silva) and his straight-faced captain (Antonio de la Torre), whose sexual orientation is constantly brought into question (at one point he’s referred to as an “experimental c---sucker”). And on the passenger side there’s the clairvoyant virgin (Lola Duenas), the drug-smuggling groom (Miguel Angel Silvestre), the sharp-tongued madame (Cecilia Roth) and the mysterious dude in the dark suit (Jose Maria Yazpik), who tries to read Roberto Bolano’s 2666 when he’s not hiding his own sordid motives. C
The Bottom Line Almodovar’s campy in-flight comedy takes off and certainly gets off, but is otherwise a rocky ride. Opens : March 8 (in Spain) Director: Screenwriter Pedro Almodovar Cast : Javier Camara, Raul Arevalo, Cecilia Roth, Antonio de la Torre, Paz Vega, Penelope Cruz, Antonio Banderas
iving a whole new meaning to the word “cockpit,” Pedro Almodovar’s I’m So Excited! (Los amantes pasajeros) is a raunchy and rowdy throwback to the director’s kinkier efforts from the late ‘80s/early ‘90s (Law of Desire, Tie Me Up! Tie Me Down!) - although it also makes for a rather bumpy flight, literally hovering in circles before descending to lots of outre gags and candy-colored copulation. Opening in most territories without making the usual stopover in Cannes, the film will play best with local crowds and dedicated fans of the veteran Spanish au-
teur, as well as with LBGT audiences looking for a one-way ticket of binge-drinking, pill-popping and other such things one shouldn’t do with their seatbelt fastened. Indeed, these and other overthe-top moments might make this one a tough sell for Sony Pictures Classics when it releases stateside in late June, as this is a far cry from such stirring, modern-day melodramas as Volver, Talk to Her and All About My Mother, which together grossed over $30 million in the U.S. And although Almodovar alumni Antonio Banderas and Penelope Cruz make a brief and cute cameo early on in this one (appearing for the first time together in one of his movies), this effort feels more like a gleefully dirty sitcom that’s primarily destined for Spanish-speaking and European audiences. With its English-language title taken from the Pointer Sisters song which gets lip-synched in a kitschy mid-movie interlude but with an added exclamation point (per the
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enelle Evans Desperate To Hold On To
‘Teen Mom 2’
he MTV star is back in rehab just days after getting out, and a source reveals, why the troubled Teen Mom returned so fast. Read on for the exclusive details. Jenelle Evans has been on a downward spiral ever since appearing on MTV’s Teen Mom 2. After years of arrests, drug charges and stints in rehab, the troubled mom to Jace, 3, hit rock bottom after she left rehab on March 2 — and immediately returned for more help. A source close to the situation tells, why she went back to rehab. Jenelle was hit with allegations she was addicted to heroin after her mom Barbara Evans reportedly walked in on her shooting up, according to her sister Ashleigh Evans Wilson. After her mom forced her into rehab to get clean, she was back just a couple months later in February, reportedly for the same drug problem. Jenelle Evans Back In Rehab Days After Getting Out “Jenelle was only in for a few weeks to detox and then left immediately. The physical addiction was over but not the mental addiction. That takes longer to get over, which is why three days after getting out she’s right back in,” the insider. “She’s not doing it because she wants to be clean. She’s doing it to try and save her MTV job and that just won’t work. You have to want to be clean for yourself,” the source added. Reports surfaced in January that Jenelle’s future on the hit MTV docu-series was in jeopardy after her string of personal and legal trouble, which included separating from her husband Courtland Rogers, suffering from a miscarriage at approximately seven weeks pregnant, and getting back together (and breaking up) with her ex-fiance Gary Head. Hopefully, Jenelle gets her life back on track for herself and for Jace— and not for her MTV paycheck. C
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Erin Andrews Explains 50 Cent Kiss: ‘It Was My Fault!’
Last month, 50 Cent attempted to kiss Fox Sport’s Erin Andrews while she was covering the Daytona 500 in Florida. The sportscaster appeared to deny the rapper’s advances by turning her head a few times, and the diss went viral, with Fifty becoming the butt of the joke. Now, Andrews is taking the blame for the 50 Cent-kiss mishap. “It was my fault!” she told, “Everybody was supposed to be in their spot and then they all went to the bathroom and I was screwed,” she said, referring to the Daytona contestants, who usually relieve themselves prior to the event, during which they have to spend about “four hours” in their cars. But then the 34-year-old Andrews spotted the rapper. “I went and said hello [to him]. We’re actually business partners - I’m one of the spokespeople for SK Energy. He grabbed me, I went one way, they screamed ‘Danica,’ I whipped my neck, I got whiplash and it’s fine.” She did feel bad about it all.
Demi Lovato’s Sister: Singer Talks About
Demi Lovato revealed Monday that she had just recently learned about an older halfsister. Demi Lovato’s never been one to shy away from interviews, and now the singer has opened up about what it was like to just recently discover the existence of a secret half-sister. The 20-year-old “Heart Attack” singer revealed the news to WBLI radio station Monday morning, saying that she spoke to her sister for the first time over the summer. “I just got to know … I have an older sister that I’ve never known my whole life. She’s in her 30s. She’s my half-sister. I talked to her for the very first time in my life around when I turned 20 [in August 2012],” Lovato said on the “Dana & Jeffrey in the Morning” show.
The “X Factor” judge added: “I asked her, ‘Why haven’t you ever contacted me?’ She just said, ‘Well, because I never wanted you to think that I wanted anything from you. So I’ve just kind of been waiting to see if you wanted a relationship. I thought that was so incredible. So I actually have three sisters!” C
Denise Richards’ Body Looks Amazing As She Leaves The Gym In Sports Bra
Denise Richards’ Body Looks Amazing As She Leaves The Gym In Sports Bra Just like her pal Brooke Burke-Charvet, Denise Richards left the gym wearing only a sports bra and spandex in Los Angeles. Is this the new workout attire? The mom-of-three, 42, flaunted her toned tummy as she sipped on a Dole Fruit Smoothie Shaker while carrying her yoga mat. Her body is bananas- so much for those skinny pictures... “My secret to staying in shape is consistency. When I consistently stick to my routine, that is when I feel my best,” Richards told HuffPost in November. “I also think you need to work out for your own body. Just because something works for someone else, doesn’t mean it will work for you. So I believe you should continue to try different activities until you find out what works for you,” she added. “I have tried everything out there you can imagine- weights, classes, everything, and for me, the best thing my body responds to is Pilates.”
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ctress-filmmaker Angelina Jolie, who helmed the romantic drama ‘In The Land of Blood And Honey‘, says she never wanted to direct movies. The Oscar-winning actress said
she wrote and directed the film, a love story set during the Bosnian war, as a homework giving herself to learn more about the history, reported Contactmusic. “I didn’t set out to ever become
a director or write a script. I was never intending to make a film. I often give myself homework on different things; it’s good exercise to get your mind working,” she said. Jolie, who also works as a UN special envoy, then began writing the film to help raise awareness of the situation. “I’ve been travelling for over 10 years to these conflict and post-conflict zones, and thinking about what happens to people when they live inside these situations, and how their humanity is just stripped apart. “I spent so much of the time bringing people back – like they’re in the refugee camp and returning them to the place where they faced war. So I wanted to have a meditation on what this is and how people who are neighbours can turn against each other,” she said. This is not the first time Chelsea Handler has publicly sh-t on Angelina Jolie . She’s called her a f-cking c-nt, she’s called her a homewrecker, she’s good for it every time. And she’s asked about it every time. If I were interviewing her for etalk, I would ask her too. Because she always delivers. And then there’s a headline. And the headline attracts attention. Handler appeared on Bravo’s What Happens Live this week and when asked about Jolie, she came through again: “She seems like a demon. It has nothing to do with Jennifer.
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As a woman, I know when you see somebody walking across the room that’s a bad girl. I just don’t like Angelina Jolie. I don’t think she’s a girl’s girl. I like girl’s girls!” Needless to say, this story has now made it onto every entertainment news website. Good for Gossip... but is it good for Chelsea and, more importantly, Jennifer Aniston? Because no matter how she denies it, Chelsea’s attacks on the Jolie are interpreted as attacks on behalf of Jennifer. Which kinda makes Jennifer not unlike Taylor Swift this week in Vanity Fair when she wouldn’t talk about her private life but “authorised a friend” to do so on her behalf, taking down Harry Styles in the process. Taylor Swift is 23 years old. She is a silly girl. Jennifer Aniston is 44, not a silly girl. But her friend, her friend is making her look silly. And we’ve been told by Team Aniston that she’s better than that, that she’s so totally over that. Only Chelsea keeps undermining her. If I’m Jennifer Aniston then, I’m shutting that down. But it’s not her fault what comes out of Chelsea’s mouth! She can’t tell her friend what she can and can’t say! No. She can’t. But, as a friend, she can ask her friend to respect her, because, whether intended or not, every time Chelsea Handler throws down on Angelina Jolie, Jennifer Aniston is mentioned. And if she’s mentioned, it means she’s part of the story. And if she’s part of the story unwillingly, she has every right to ask her friend to take her out of it. Unless...she doesn’t want to be taken out of it? As I’ve said many times before, all three of them do their part to sustain the Triangle. Brange and Jennifer will be together forever. C
Angelina Jolie is an Oscar-winning actress who has become popular by taking on the title role in the “Lara Croft” series of blockbuster movies. Off-screen, Jolie has become prominently involved in international charity projects, especially those involving refugees. She often appears on many “most beautiful women” lists, and she has a personal life that is avidly covered by the tabloid press. In her earliest years, Angelina began absorbing the acting craft from her parents - her father is the Oscar-winning actor Jon Voight and her mother is Marcheline Bertrand, who had studied with Lee Strasberg. At age 11, Angelina began studying at the Lee Strasberg Theatre Institute, where she was seen in several stage productions. She undertook some film studies at New York University and later joined the renowned Met Theatre Group in Los Angeles. At age 16, she took up a career in modeling and appeared in some music videos. Her exotic good looks may derive from her mixed ancestry which is Slovak, FrenchCanadian, Iroquois and English. In the mid-1990s, Jolie appeared in various small films where she got good notices, including Hackers (1995) and Foxfire (1996). Her critical acclaim increased when she played strong roles in the madefor-TV movies True Women (1997) (TV), and in George Wallace (1997) (TV) which won her a Golden Globe Award and an Emmy nomination. Jolie’s acclaim increased even further when she played the lead role in the HBO production Gia (1998) (TV). This was the true life story of supermodel Gia Carangi, a sensitive wild child who was both brazen and needy and who had a difficult time handling professional success and the deaths of people who were close to her. Carangi became involved with drugs and because of her needle-using habits she became, at the tender age of 26, one of the first celebrities to die of AIDS. Jolie’s performance in Gia (1998) (TV) again garnered a Golden Globe
Award and another Emmy nomination, and she additionally earned a SAG Award. Angelina got a major break in 1999 when she won a leading role in the successful feature The Bone Collector (1999), starring alongside Denzel Washington. In that same year, Jolie gave a tour de force performance in Girl, Interrupted (1999) playing opposite Winona Ryder. The movie was a true story of women who spent time in a psychiatric hospital. Jolie’s role was reminiscent of Jack Nicholson’s character in One Flew Over the Cuckoo’s Nest (1975), the role which won Nicholson his first Oscar. Unlike “Cuckoo”, “Girl” was a small film that received mixed reviews and barely made money at the box office. But when it came time to give out awards, Jolie won the triple crown - “Girl” propelled her to win the Golden Globe Award, the SAG Award and the Academy Award for best leading actress in a supporting role. With her new-found prominence, Jolie began to get in-depth attention from the press. Jolie has stated that she now plans to spend most of her time in humanitarian efforts, to be financed by her actress salary. She devotes one third of her income to savings, one third to living expenses and one third to charity.
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The Leagend of HIndi Cinema
imanshu Rai is among one of the pioneers of Indian cinema. He is renowned as the founder of the Bombay Talkies in the year 1934. Rai was related with numerous movies, like Goddess in 1922, The Light of Asia in 1925, Siraj in 1926, A Throw of Dice in 1928, and Karma in 1933. Himanshu Rai was married to actress Devika Rani. Himansu Rai had a law degree and was in England to study for the Bar, when Niranjan Pal, a highly talented playwright, offered him roles in his plays. Most notable amongst his dramas was The Goddess. In this, Pal had written the screenplay for Light of Asia based on the poem of the same name by Edwin Arnold.
The life of Gautama Buddha was deemed by Rai an interesting subject and he took the script to Emelka Film Company of Munich. In 1925, Light of Asia, featuring Himansu Rai as the Buddha and Sita Devi as Princess Gopa, was released; the film had a German technical crew, Franz Osten (director), Bertl Schultes (assistant director), Willi Kiermier and Josef Wirsching (cameramen). The film was extremely successful in the Continent, and the initially halfhearted response in London was turned around by the Royal Command performance organized by Rai and others. However, in India, the film was a failure. Audiences
did not accept the slower pace and lack of melodrama in the film, the very features that won the film accolades abroad. Rai was praised for his solemn calm and controlled style while Sita Devi`s meditative and balanced way of acting came in for applause. This film had Himansu Rai in the lead role of Shiraz, the potter`s son who later designs the Taj Mahal. The story was a historically-inaccurate account of Mumtaz Mahal and Shah Jahan, but the movie was a success. A joint production with British Instructional Films Limited, London, the film was made by Himansu Rai and the German, headed by Franz
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Osten as director. Spectacle was by no means missing in this film. The Maharaja of Mysore lent 50 elephants and the grandeur of the gathering at Saint Chishti`s tomb in Pushkar added to the success of the film. It was during this film that Himansu Rai and Devika Rani fell in love, and married once the film was complete. The introduction of sound prompted Rai to study the technicalities of the procedure and he got the chance to do so in Germany during UFA`s first sound film The Blue Angel. The Depression led to a crisis in the film industry worldwide and sounded the death knell of joint ventures. In 1933, Himansu Rai launched Karma, the studio`s first sound film.1934 - Bombay Talkies was also launched. This was a joint stock company with a distinguished Board of Directors - F.E. Dinshaw, Sir Chimanlal Setalvad, Sir Chunilal B. Mehta, Sir Richard Temple, Sir Pheroze Sethna, Sir Sohrabji Pochkhanawala, and Sir Cowasji Jehangir. Franz Osten directed all Bombay Talkies films of the 30s, and Niranjan Pal joined the team as writer. Devika Rani starred in this highly successful thriller. Khorshed Minocher-Homji, renamed Saraswati Devi, composed the music while
her sister (renamed Chandraprabha) acted in the film. They were conservative Parsis and many of their community surrounded the Imperial Cinema in protest. Rather than posing a problem, this act provided a lot of publicity to the studio and the film. This was Ashok Kumar`s debut film. Then in the same year was Achchut Kanya, which starred Ashok Kumar and Devika Rani that was hailed as a masterpiece. The true-to-life dialogues, Saraswatidevi`s music contributed to the success but it was Devika Rani`s luminous performance that stole the show. The Times of India described hers as a performance never seen equalled on the Indian screen. Some of Himansu Rai`s other films include- Punar Milan (1940) ,Jhoola, Naya Sansar (1941 ), This was the first Indian film on journalists and newspapers. Kismet (1943), The film was a successful thriller. Both Naya Sansar and Kismet established new genres in film-making. However, in 1954 Bombay Talkies closed down. With Himansu Rai`s death in May 1940, Devika Rani had control. She chose Amiya Chatterjee and S. Mukherjee to act as independent producers. C
Didn’t call off my wedding:
Singer Miley Cyrus is tired of all the gossip that is surrounding her relationship with fiance Liam Hemsworth and says she hasn’t cancelled her wedding plans. The couple got engaged last May. It was earlier reported that Hemsworth cheated on Cyrus with actress January Jones during the Oscar party. Later it was also said that he was angry at her for giving more time to her career than him and the couple has called off their marriage. Cyrus, 20, has blasted the news on Twitter, reports mirror.co.uk. She tweeted: “I am so sick of LA. And sick of the lies that come with it. I didn’t call off my wedding. Taking a break from social media.” C
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Demi, Ashton heading for 190 mn pounds divorce?
Actor Demi Moore and her estranged husband Ashton Kutcher are likely to have a 190 million pounds divorce settlement after their outsidecourt talks failed. The duo separated in 2011 after six years of marriage when Kutcher was caught cheating on Moore on their wedding anniversary. He filed for divorce in November last year. They are yet to decide the monetary divisions between them. "Ashton made a lot of money after marrying Demi - a lot more than she made - but despite him becoming just as famous through her, he believes he doesn't owe her that much," nypost.com quoted a source as saying. Kutcher, 35, who is dating actress Mila Kunis, is being very difficult during settlement talks. "Ashton has been very difficult during the talks. You could even say he has been hostile. After over a year of attempting to reach a settlement, Demi is definitely ready to move on. It's hoped lawyers for both sides can reach a settlement this spring, otherwise the divorce will go into litigation and trial," a source said.C
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I feel the name Salman is lucky for me!
Which composer in Bollywood today, do you think, brings out the best in you as a singer? It will be hard to name one person. It is also a decade since I have been singing in the Bollywood and I believe that every composer has given great music. To name one will be unfair. SajidWajid, Pritam, Shankar Ehsaan Loy, Vishal Bharadwaj, Himesh Reshammiya have all come out with fantastic scores. Some of your biggest hits have been with Salman Khan. What is he like to work with? I share a very close bond with the Khan family, especially with Arbaaz bhai and Salman bhai. It is natural and thankfully my songs for Salman bhai have been huge hits. I feel the name Salman is lucky for me! My current international promoter who is doing this mammoth world tour is also named Salman! How essential is it for an actor to have an ear for music? It’s very important as in many instances it is the music and the songs which make the movie famous along with the story and the dialogues. You have a huge fan following. Have you ever considered getting in front of the camera and giving acting a shot? Now you have made me laugh! I am happy being a singer and not an actor. I do not have a desire to act as I am very content with my singing.
stad Fateh Ali Khan talks about his career and his connection with Salman Khan He is one of the most versatile and popular singers on the Bollywood circuit. However, Rahat Fateh Ali Khan’s repertoire is far deeper than his film hits. A child prodigy, he gave his first public performance at the age of 10 or 11 when he toured the UK with his famous uncle, the late Nusrat Fateh Ali Khan in 1985. He has come a long way since then, touring the world, collaborating with international artistes, giving music to acclaimed Hollywood hits and mentoring talent from India and Pakistan. It wouldn’t be wrong to say that with his language of qawwali and classical music, he has changed the language of films music as well. The good news for Rahat fans is that the maestro is coming back to the Middle East with a concert on April 4 at the Emirates Palace in Abu Dhabi. We caught up with the man himself on his music,
love for movies and the Salman Khan connection! You have come to the Middle East often for concerts. What makes this region so special for you as a performer? It is home away from home for me. This region has a lot of diversity; so many Indians and Pakistanis have been settled here for decades. Even the locals are extremely fond of our music. You have a large repertoire of hits. How do you select songs for a concert? I am often asked this question. I usually know the first and the last song, the rest depends on the reaction, demand and the mood of my audience. I interact with my audience a lot. Nothing is pre-planned but I do ensure that I sing all my latest songs. So at my concert in Abu Dhabi I will be singing some of my latest hits like Dagaabaz Re from Dabangg 2 and also Yeh Hulki Hulik Khumariaa from Son of Sardaar apart from immortal qawwalis.
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n RNI No. applied for n for private circulation only
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