'Haunted': Go, get spooked!

With 'Haunted', Bhatt merges the deadly combo of horror with 3D effectively. It's an absorbing and gripping edge of the seat horror film that keeps the mercury rising in those 2.15 hours. This movie is not for the faint-hearted.

REVIEW

After a series of films belonging to diverse genres, like 'Ghulam' [action drama], 'Kasoor' [suspense thriller], 'Raaz' [horror] and 'Awara Pagal Deewana' [action/comedy], Vikram Bhatt has finally found his calling with a genre that not many storytellers would venture into -- horror. Like his previous films, '1920' and 'Shaapit', 'Haunted' sells the most basic emotion, fear, but the question is, do the thrills and chills send your adrenaline rushing? Is 'Haunted' daunting enough? And does it succeed in giving you those heebie-jeebies that you associate with horror movies?

For Bhatt, it all began with 'Raaz'. He gave the audience a taste of classy, spine chilling horror experience with that film and after a gap of almost six years revisited the genre with 1920 and 'Shaapit'. After a trilogy of spooky films and comprehending the genre better, the film-maker delivers yet another scare fest that ranks amongst his most accomplished works so far.

What really sets 'Haunted' apart from films of its ilk, even those attempted by Bhatt, is the fact that it never takes the tried-and-tested route or resorts to clichés while narrating the tale of a haunted mansion. In fact, there are times when one feels that Bhatt is taking the easy route of getting back to the comfort zone with some worn out sequences, but the goings-on, all of a sudden, take a 360 degree turn and enter a zone we could've never envisioned. And this happens not once or twice, but several times in the storyline. Sure, 'Haunted' packs in spooky effects aplenty like the lights going off in the haunted mansion, creaky doors, the evil spirit jumping from nowhere et al that makes a desi horror film 'comprehensive' in the true sense. But, at the same time, Bhatt uses silence to a chilling effect. Also, the plot has been well situated in the desi milieu thanks to the neat and intelligent writing by writer Amin Hajee. Bhatt and the writer's trump card is the merging of the new technology with old-fashioned beliefs and values that a wide chunk of Indians still adhere to, despite the fast-changing times.

Another prime reason why 'Haunted' stays with you is, well, watching the story unfold in 3D. It claims to be India's first Stereoscopic 3D film and it better live up to it, right? After all, we have watched 3D films and also 2D-converted-to-3D films unfold on the Hindi screen rapidly, post 'Avatar'. Though not at par with what the West has to offer, 'Haunted' definitely takes a leap by Indian standards. The technology adds a new dimension to this horror film.

Now let's look at the flipside. If the writing is smart and wicked at most times, it gives away at a few places as well. Especially when [spoiler alert] the hero goes back in time and romances the heroine. The entire dance and song sequence in the middle of the night is outrageous and despicable simply because when you have fatality staring at you in your face, you just cannot dance and sing. It takes away the gravity of the goings-on. Actually, 'Haunted' would've made a greater impact had it been a songless film, since the songs act as an encumbrance in an otherwise almost perfect fare.

Besides, the rape sequence seems very tame by today's standards. In fact, the physical attacks were depicted far more illustratively in 'The Entity' and also in the Tabu starrer 'Hawa'.

Review: 'Luv Ka The End'

In 'Luv Ka The End', the 18-year-old seeks revenge, when she realizes that her boyfriend has a hidden agenda. Nope, the damsel in distress doesn't take the route embarked upon by the offended parties in 'The Other Side of Midnight' [adapted in Bollywood as 'Oh Bewafaa'], 'Return To Eden' [remade as 'Khoon Bhari Maang'] or 'The Hand That Rocks The Cradle' [rehashed as 'Khal Nayikaa']. In 'Luv Ka The End', the revenge doesn't border on blood and gore, but is tilted towards the fun quotient and you can't help but smile as the girlfriend and her two friends take the guy to the cleaners. Actually, it's a chick flick with attitude, an anti rom-com.

Does its plotline ring a bell? Oh yes, it does! Recall 'John Tucker Must Die' and also 'Mean Girls'. In fact, 'Luv Ka The End' goes to the extent of borrowing the tagline of 'John Tucker Must Die': "Don't get mad. Get even". If you've watched those two films, you can't help but draw parallels, but if you haven't, don't sweat. 'Luv Ka The End' provides lotsa fun in those 2 hours as you watch the spurned lover seek retribution and settle scores.

But hold on... This film talks to a different audience completely. It's targeted at a generation that generally lacks focus, don't really understand the gravity of the situation and is least bothered about the repercussions. The situations, therefore, may appear self-indulgent and slipshod at times, but hey, let's not behave like elderly school masters while watching this flick. Place yourself in their [the 14 to 20 age group] shoes and enjoy this madcap ride.

First-time director Bumpy packs just about everything that you expect in a teen flick: A stud, pretty girl, hot babe, street smart friends, nerd, horny portly guy, gym rat ... this film is packed with wacky and nutty characters. But these are characters you also relate to in real life. It could be your world. Or your friends, class mates, neighbours... even those you are faintly acquainted with. You also relate to it because it's not heavy duty stuff. The language spoken is everyday kinds, unfussy and untailored. What makes it even more interesting is the fact that it's a story of vengeance which occurs in a single night. That explains why the viewer gets no time to think, since the incidents unravel at lightning speed.

Review: 'Love U... Mr. Kalakaar!'

We continue to borrow from films made in the 1970s and 1980s: A good-looking couple falls in love, the family doesn't approve of their relationship, they face obstacles, the lovers adhere to the conditions set by the family, love triumphs in the end... The template remains the same, only the faces change.

When you have Rajshri producing a film with a similar plot, they integrate Indian values, tradition and culture in the script effortlessly. The characters often talk of Bhartiya parampara and sanskriti.

'Love U... Mr. Kalakaar!' isn't directed by Sooraj R. Barjatya, but first-time director S. Manasvi seems under the strong influence of Sooraj's movies. It's good to follow the footsteps of one of the most successful directors of our times, but the problem with 'Love U... Mr. Kalakaar!' is that it tries too hard, but doesn't quite reach there. Like all Rajshri movies, this film is syrupy sweet, which looks so unreal and dreamlike in today's times. Though the film is set in 2011, it looks as if the characters live in 1980s simply because this one's too old-fashioned and behind the times.

The plot is beaten to death. The drama isn't persuasive enough. The emotions fail to strike a chord. Sure, a few moments are worth appreciating, but one swallow does not a summer make.

'Love U... Mr. Kalakaar!' is about Sahil [Tusshar], a cartoonist, an artist, an orphan, while Ritu [Amrita Rao] is a management trainee, whose works in her millionaire father's [Ram Kapoor] organization. Sahil and Ritu are drawn towards each other. But Ritu's father believes that artists don't make responsible husbands. They are ruled by their hearts and therefore, cannot survive in this manipulative world. The father eventually agrees to their relationship, but sets a pre-condition: Sahil will have to prove himself worthy.

There's nothing in 'Love U... Mr. Kalakaar!' that you haven't watched before. The only difference being, the director takes the love affair to the Board Room. The hero has to show results [profits] in three months, else the prospective father-in-law would drop him like a hot potato. The hero accepts the challenge, albeit reluctantly. No prizes for guessing what happens in the end.

Review: 'Ragini MMS'

Take an interesting concept. Make it within a stipulated budget, not exceeding Rs 2 cr/Rs 3 cr. Spend a good amount on its marketing. Create ample awareness. Chances are you might find the pot of gold at the end of the rainbow. Ekta Kapoor has been doing this successfully. Recall 'Love Sex Aur Dhokha'. Now 'Ragini MMS', which has been made at a shoestring budget of Rs 1 cr [or slightly more] in two versions - Hindi and Telugu.

Ekta's new offering is making noise for the right and wrong reasons...The stand-off between the real Ragini and Ekta, angry locals pulling down hoardings of this film, even blackening the faces of the lead pair on its posters, usage of a popular song from 'Jewel Thief', censors finding a few scenes very explicit, the threesome party hosted by Ekta a few days ago...'Ragini MMS' is the most discussed film of recent times.

The horror genre hasn't been tapped to the fullest in India. Most horror films made in Bollywood are just not petrifying enough to make you break into a cold sweat. What works in favor of 'Ragini MMS' is the fact that first-time director Pavan Kirpalani chooses a scandalous, real-life story and garnishes it with sex and horror. It can't get more lethal than that. It works with those with an appetite for horror films and also with those who love titillation and skin show.

Like 'Love Sex Aur Dhokha', 'Ragini MMS' has been shot as if in real time, in an unconventional way. The film is voyeuristic in nature. It's like watching the footage on a handycam and getting those thrills. But, of course, not all of 'Ragini MMS' is sex and scandal. There's a 'third person' watching the act as well, plus there's a story behind this haunted mansion. However, it's terrifying enough to make you jump on your seat. Let me call it a creepy, spine-chilling date movie!

The movie teases the viewers at different points as the sequence of events unravel. Scenes remain silent and still; not for long though, but long enough to make you fret. There are ample blood curdling moments and also sequences that spice up the proceedings. It's a voyeuristic experience for the viewer. It's like the guy in the movie bugging the place and showing you his personal encounters.

Review: 'Shagird'

'Shagird', directed by the talented Tigmanshu Dhulia, is not the stereotypical film on cops and gangsters; nor can you draw parallels with any film from the past. The twists in this film are hard to foretell... therein lies its strength.

Nana Patekar, the protagonist, has portrayed a wide variety of roles in his illustrious career, including the role of an encounter specialist in 'Ab Tak 56', which he handled so magnificently. But 'Shagird' is different from that film or films of its ilk because unlike most films, which project the protagonist as holier than thou, with spotless reputation, Nana's character in 'Shagird' isn't white, isn't grey either, it's charcoal black. This top cop is more corrupt than the minister in the film and even beats him in those vicious games. That, coupled with the manner Tigmanshu has handled the subject material, makes 'Shagird' a notch above the ordinary experience.

'Shagird' also works because it never takes the tried and tested route as far as the written material is concerned. It's devoid of clichés. In fact, the gritty drama may raise eyebrows since it stuns and startles you constantly. The concept - of how power corrupts people who have access to it - is extremely well handled with lots of twists woven in the tale, right till the end. In fact, even when the film is about to conclude, a shocking twist catches you unaware. It's not over till it's over... Unpredictability is clearly its USP.

This gritty cop drama takes place in the city of Delhi in the life of two Delhi Crime Branch officers - Hanumant Singh [Nana Patekar], a veteran officer, whose tactics and ethics are more than a little bit questionable and his shagird, Mohit [Mohit Ahlawat], a junior officer who has his own principles. Hanumant Singh and Bunty Bhaiya [Anurag Kashyap] work for powerful politician Rajmani Singh [Zakir Hussain], who rules the state with utmost unfair means. The film also stars Rimi Sen, a television journalist, who gets kidnapped by terrorists and who demand the release of their men from Indian prisons as ransom.

You realize 'Shagird' isn't the usual chor-police tale at its commencement itself. Besides, like I pointed out at the outset, the film never attempts to be like 'Khakee', 'Sehar' or 'Ab Tak 56', though the commonality in all these films is that each of them gives a microscopic view of the lives of the cops. Given the genre of the film, 'Shagird' could've transformed into a violent, dark film full of blood and gore, but it doesn't. Sure, there's violence, but the director ensures that Nana's character has a lighter side to him, which does the trick. Even when he's talking to the minister who has ordered his [Nana] killing, the conversation, though serious in nature, is laced with subtle humor.

On the flipside, the entire kidnap drama looks far from convincing. What makes it even more far-fetched is the identity of the person who actually formulates the kidnapping drama. Ideally, when you decide to embark on the path of realism in a film, why this need to get formulaic all of a sudden? Barring this aspect and a few loose ends here and there, 'Shagird' is an exciting fare with a sting.

'Shagird' keeps you engaged because of its super-smart screenplay. Besides, Tigmanshu is an efficient storyteller and he makes sure he narrates the story adroitly. The fight for survival and domination - only there are no winners in this competition - is depicted with expertise here. Tigmanshu's choice of actors for pivotal parts needs to be lauded as well. Sure, Nana and Zakir Hussain have years of experience to their credit, but casting [director] Anurag Kashyap and Mohit Ahlawat in meaty roles must've been a challenge of sorts. Fortunately, both deliver well.

Nana's attitude is just right for the role he essays. The look and the dialect make you disregard the fact that you're watching an actor enact the role of a cop on screen. The character seems straight out of life and that goes for his performance too. In fact, I'd go to the extent of saying that this is amongst Nana's compelling performances. Zakir Hussain is first-rate. He enacts the role of a conniving and shrewd politician with gusto. Mohit Ahlawat springs a surprise. Those who had written him off might rub their eyes in disbelief after watching his convincing act. Anurag Kashyap is equally believable as the gangster. Rimmi Sen makes her presence felt in this male-dominated fare. Vishwajeet Pradhan and Khan Jahangir Khan pitch in commendable performances. Virendra Saxena is efficient, as always.

The cinematography is up to the mark. The stunts and chase sequences deserve a mention, especially the chase at the start and also in the climax.

On the whole, 'Shagird' is a powerful film with an equally power-packed screenplay.

Source: Bollywood Hungama

Review: 'Stanley Ka Dabba'

If you think 'Stanley Ka Dabba' bears any resemblance to 'Taare Zameen Par', you are mistaken. The film goes into a zone that no Hindi film has ever explored earlier. The two films are as diverse as oranges and peaches in terms of content. But like 'Taare Zameen Par', 'Stanley Ka Dabba' also makes a stunning impact on the viewer.

Film-maker Amole Gupte is passionate about cinema with kids as the central characters, which is very evident from the stories he wants us to hear. He chooses to get into their little world, depict their joys, sorrows, concerns... It was evident in 'Taare Zameen Par' [written by Gupte, besides being the creative director] and now in 'Stanley Ka Dabba' [written and directed by Gupte]. Like 'Taare Zameen Par', 'Stanley Ka Dabba' is a slice-of-life film about school kids, it makes you appreciate friendship, besides exploring the relationship that kids share with their teachers. Yet, 'Stanley Ka Dabba' delves deeper. It talks of tiffins and recess breaks and how an orphan's life undergoes a sea-change when confronted by a selfish, cold-blooded teacher, only because the orphan can't afford a lunch box to school.

Simplistic, honest and sensitively told, 'Stanley Ka Dabba' takes you back to your school days. It's unlike any other film you may've watched in the past. It's an uncomplicated film that moves you with its sheer simplicity and unfussiness. Told through the eyes of a 9-year-old kid and filmed extensively inside a classroom, 'Stanley Ka Dabba' moves you on several occasions, especially towards its thought-provoking finale.

Here's a small film with a big heart. A remarkable film with a rock-solid script, this heart-warming experience should not be missed at any cost. A cinematic gem!

He arrives in school much before any of his classmates to drum away his blues on empty benches. He stuffs himself with water instead of the nutritious food that his schoolmates relish during the lunch break. He covers up for his lack of social rank with the finesse of the most seasoned diplomat. He's Stanley [Partho].

Stanley loves to be amongst friends and win the appreciation of his peers and colleagues. He uses his sparkling wit and innocent wisdom to astound everyone around him. At times spinning a yarn amongst friends about his mother's flight, while on occasion conjuring some heartfelt poetry to impress the lovely English teacher, Rosy Miss [Divya Dutta].

There are teachers like the pungent Science Madam, Ms Iyer [Divya Jagdale], whose rigid beliefs smother Stanley's innovative science experiment with all the contempt at her disposal. Then there is the gluttonous Hindi master, Verma Sir [Amole Gupte], who emerges as the catalyst in helping the boys bond for Stanley's dignity and rightful place in the school.

'404' breaks clichés of horror genre, a must watch!

In one word, stunning! That's the impact of Prawaal Raman's supernatural thriller. No creaking doors, no Dolby-driven demoniacal sound effects, no half-naked girls running around with banshee shrieks and provocative protests, none of the trappings of the horror genre. And yet "404" is one of the most terrifying movie experiences in recent times.

Leaving behind the gross audio and visual excesses of the horror genre, "404" creates a universe of subdued and muted terror within the normal milieu.

The music never rises to a crescendo even as the narrative peaks to an all-time high of smothered terror. "404" is the most natural supernatural thriller you are likely to see in Hindi. The excesses of the genre are quietly set aside for a tone of narration that constantly favours understatement.

Raman is not new to the supernatural-horror genre. In "Darna Mana Hai" and its sequel "Darna Zaroori Hai", he never got it so right. In "404", he goes for the jugular and clamps a terror-band around your throat with the fear of the unknown stalking the mind rather than the film's physical landscape.

It isn't easy to create a sense of foreboding from within the intangible places in the characters' mind and heart. From the first frame when the film opens at a medical college in a quaint hill station - ah terror in tranquility, that's one cliché from the horror genre you don't mind - the narrative, generates a feeling of darkness and danger lurking in the imposing corridors. And yet the film is never gloomy or dull in mood or visuals. Maybe it's the luscious art work.

More likely, it is just intelligent writing rather than cheap and gimmicky horror tactics that are usually applied to the genre.

The smartly-written screenplay about a doughty medical student who befriends the boy who killed himself in the same room has echoic shades of Kiran Rao's "Dhobi Ghat", which had the painter Aamir Khan moving into the house of a woman who commits suicide. "Dhobi Ghat" romanticized the link between the present and past.

Review: 'Kucch Luv Jaisaa'

'Kucch Luv Jaisaa', directed by Barnali Ray Shukla, depicts an odd couple. The woman is a bored housewife, while the guy is on the run. They share nothing in common. But opposites attract... Interesting idea, isn't it? In fact, a lot of people who lead a boring, monotonous existence might identify with this thought. Unfortunately, 'Kucch Luv Jaisaa' just doesn't turn out as exciting as the one-line concept. It loses the plot after a promising start.

What could've been an amusing, at times dramatic, but relatable fare that looks at the sensitive relationship between a married couple and also between a married woman and a gangster fails to deliver due to a messy screenplay that only gets bizarre and boring as it progresses. In fact, the sequence of events become uninteresting and tedious after a point and what makes it worse is the fact that there's no remedy in sight. There's nothing to salvage the film... not even the performances from its lead actors.

It's 29 February and is Mrs. Madhu Saxena's [Shifaali Shah] birthday. It comes once in four years and her husband has forgotten her birthday. Her husband [Sumit Raghavan] has been taking her for granted and her marriage is getting into a fatigue zone. She has two options; she can choose to sulk or reinvent herself. She chooses the latter. And she meets Raghav [Rahul Bose].

Raghav is a criminal on the run. Today is also Raghav's birthday and he is choosing this day to make a life-changing decision. He wants to marry the woman he loves [Neetu Chandra], but fate has other plans. A casual conversation between Madhu and Raghav ensues; she mistakes him for a detective and Raghav takes this cue. He continues to pretend he is one. The remaining story is about Madhu and Raghav coming to terms with certain truths.

Bipasha pays for excess baggage at airport

Arriving from London, Bipasha Basu was Thursday asked to cough up Rs.12,000 for excess baggage by the Customs at the Mumbai airport.

Customs officials said Bipasha was not detained but simply asked to pay for excess baggage.

"While her baggage was being checked, some items were found in excess. Hence she was charged customs duty for the items," Commissioner of Customs (Airport) P.M. Govande told us.

"She was not detained, just made to pay a duty, like anyone else who carries baggage in excess," he added.

Bipasha agreed that she had gone overboard with her shopping and hence had to pay for the excess items she was carrying.

"It was a routine check and many others were being checked as well. I paid Rs.12,000 as tax against some personal goods. I think the Customs is doing an excellent job," Bipasha said in a statement.

On May 18, Minissha Lamba was detained at the airport for 16 hours by the customs department for carrying undeclared jewellery worth nearly Rs.50 lakh.

She was intercepted while crossing the Green Channel at the Chhatrapati Shivaji International Airport. She was reportedly returning from the Cannes International Films Festival.

Arshad Warsi finds sequels risky, but excited about 'Ishqiya 2'

Arshad Warsi has worked in a couple of movie sequels and finds them risky, but at the same time he is very excited about the second instalment of 'Ishqiya' because he finds the role of a rustic guy challenging.

"Finally, it is decided that the sequel of 'Ishqiya' is being made. I'm quite happy about that. 'Ishqiya' is way tougher than 'Dhamaal' or 'Golmaal' because that's a character that speaks in a different dialect," Arshad told us.

"It's completely somebody else. I've not played such a character before. So speaking in that language, behaving that way, body language, colour and attitude - everything is very different. So, it's exciting and a lot of fun," he said.

The film will go on floors end of this year.

"I haven't heard the script yet. I've been told that it's really good and I have full faith in Vishal (Bhardwaj) and Abhishek (Chaubey), so the script will definitely be nice," said the 43-year-old.

'Ishqiya', which has bagged four National Awards, was released in January 2010 and it also starred Vidya Balan and Naseeruddin Shah in pivotal roles. The film was directed by Abhishek Chaubey and was produced by Vishal Bhardwaj.

In 'Ishqiya', Arshad essayed Babban, who is hot-blooded, lustful and scoffs at the idea of true romantic love.

Earlier, Arshad worked in the 'Golmaal' franchise, now he will be seen in 'Dhamaal' sequel set to release in June and then part three of 'Lage Raho Munnabhai' releasing later this year.

Although Arshad is being a part of so many sequels, the actor, who started his Bollywood career in 1996 with the film 'Tere Mere Sapne', doesn't enjoy being a part of them.

"I feel I'm stuck with the sequels. New things are better. Sequels are big risks. The expectations are way high because you have already put a benchmark for yourself, now you are competing with yourself and at the same time, you can't overdo. You have to still be in the same zone and still make people like it," said Arshad.

"For me, I don't like doing sequels, I like doing different things. It's like eating the same food every day. It's monotonous for me," he added.

So will he continue doing sequels?

"I'll continue doing them. For me, there is an easy demarcation. There is one kind of work, that people like to see me in and then there is work that I want to do. So I satisfy myself as well as the people. 'Dhamaal', 'Golmaal', 'Munna Bhai...', all these I know people like to see me in, so I'll keep doing these, as long as they make it," he said.

"Films like 'Saher' and 'Ishqiya', I'll keep doing those because I like them," he added.

Look who's helping Ranbir

Tired of beta Ranbir's rumoured link-ups, it's mamma Neetu who's now apparently playing love guru!

Tinselville's abuzz with loose talk about actor Ranbir Kapoor being on a dating spree. And while rumours of his alleged link-ups with one babe after another are providing enough fodder to keep the gossip-mongers busy, Ranbir himself is least bothered about them.

The actor, insist his friends, has instead decided to let the rumours die a natural death, and has immersed himself completely into work. But another source reveals that this was actually on the advice of papa Rishi Kapoor and mom Neetu.

While the Sr Kapoors have never interfered in Ranbir's personal life or doled out the kind of advice most filmi parents are known to give their kids, this time around, apparently mom Neetu's had to step into the picture. According to sources, Neetu has always been a hands-on-mom, but never over-protective.

"She has full faith in her children and believes that they have been brought up in a very cultured and refined manner. So, she's never had the need to advice Ranbir on his personal matters unless he asked for help," says the source. In fact, Neetu herself in the past has always maintained this. "I think Ranbir is matured and sensible enough to understand and sort out his own personal life. He knows we are always there for him, but we let him handle his own personal choices and we are proud of him too," she had said earlier.

However, with Ranbir getting linked with almost every new face, things are apparently getting uncomfortable on the home front too. "While Neetu knows that such link-ups are mostly untrue and just a part and parcel of being an actor, she did have a talk with Ranbir, asking him not to pay heed to such idle talk or let them fan it more and instead concentrate on his work," the source added.

What made Neetu step in this time was the pressures of having to keep denying talk of one girl after another being tagged as the next Kapoor bahu in her own circle of friends and family too.

"Things were getting a little out of control this time. So when they had a heart-to-heart chat with Ranbir, they advised him to just concentrate on his work and not let this affect his focus," added the source. And it seems like beta Ranbir has taken the advice rather seriously too. The star is now trying to lie low and instead concentrate on the shooting of Barfee, which is in itself no mean role.

Source: Aakanksha Naval-Shetye, DNA-Daily News & Analysis

Look, who attended SRK's party

Actor Aishwarya Rai-Bachchan was spotted at a party thrown by supposed frenemy, actor Shah Rukh Khan.

Badshah Shah Rukh Khan's house party at Mannat on Wednesday night was one rocking affair as B-Towners turned out in full attendance. And while present was the usual coterie of friends, what really caught everyone off guard was the presence of Abhishek Bachchan and wife Aishwarya Rai Bachchan.

While there's never been any open animosity between the Khan and the Bachchans, the two have apparently not been on friendly ground either. The ties had soured especially after Shah Rukh was left out of the guest list of the couple's wedding four years back. So, when the Bachchan couple drove in at around 3 am, there was a flurry of excited murmurs even amongst the guests present.

According to sources, the two stayed on for close to one-and-a-half hours, leaving at around 4.30, with good friend Goldie Behl. According to reports, Ash herself had a fall-out with SRK when apparently she was replaced by Rani Mukerji in 'Chalte Chalte', after her then boyfriend Salman Khan had a brawl with Shah Rukh on the sets of the film. The two have never worked together since and are known to have passed on projects that could star them together. But it seems the Khans and Bachchans finally seemed to have called it a truce.

An industry insider says that it was also the need of the hour and a smart thing to do irrespective of who'd extend the olive branch first. "Aishwarya had limited her choices of being paired against most top stars by alienating herself from most of them. Salman was out of question, and so was Aamir because of the common Salman connection. SRK too was out. But with SRK back in the picture, she has one more potential hero," the insider said.

There's, however, buzz that the Bachchans attended the do only because it was also to celebrate filmmaker Karan Johar's birthday. In either case, wonder now whether the new dosti will give takkar to the other Khan camp!

Source: Aakanksha Naval-Shetye, DNA-Daily News & Analysis

Bollywood has changed for the better: Juhi Chawla

There have been plenty of changes in Bollywood - people are more organised, there are more women in the industry and infrastructure has improved, says actor-filmmaker Juhi Chawla, who made her debut 25 years ago with 'Sultanat'.

"There have been plenty of changes in the industry and a lot of them are for the better. The technique and infrastructure have immensely improved; the number of women working in the industry has also increased. Earlier, it used to be just me and my mother on sets, but today we see women working as assistant directors, costume designers and what not," Juhi told us in an interview.

"People are more organised today. They have scripts ready before hand. In our time, it was not like that. The looks have also changed - earlier it was all traditional, while today they are more modern.

"I won't say content has changed or deteriorated or it has become superior; there are still good writers who write interesting stories," she added.

The 43-year-old actor has worked in about 90 films and has produced four movies. Comparing the two roles, Juhi says being a producer is a more daunting task than being an actor.

"Being an actor is the easiest. Producers and directors have a lot more to do. They really have to be on their toes in order to get everything ready - from scripting to actual production work. It is a challenging task," she said.

"As an actor your job is just to listen to what is required from you and perform. There is so much more to it when it comes to production," she added, flashing her captivating smile.

Last seen in critically acclaimed 'I AM', Juhi's first commercial success came in 1988 with 'Qayamat Se Qayamat Tak' alongside Aamir Khan. After that there was no looking back for Juhi who went on to give hits like 'Darr', 'Hum Hain Rahi Pyaar Ke' and 'Ishq'.

After marriage with businessman Jai Mehta in 1998, the former beauty queen branched into arthouse cinema with '3 Deewarein'.

In 2000, she also started taking interest in the business side of showbiz by venturing into production with superstar Shah Rukh Khan and director Aziz Mirza - the trio formed Dreamz Unlimited and produced movies like 'Asoka', 'Phir Bhi Dil Hai Hindustani' and 'Chalte Chalte'.

Later she and Shah Rukh launched Red Chillies Entertainment. Juhi is also the co-owner of the Indian Premier League team Kolkata Knight Riders.

Experimental cinema has found a firm foothold in Bollywood, but Juhi is happy to see that masala films are still popular.

"One thing that I would say has not changed is that two-three percent of the films are still outstanding and interesting. The films with a lot of masala and dhamaal are big hits of the year, while some are average. That statistics has more or less remained the same," she said.

Does she think glamour is given more importance over good script in movies?

"Some directors and producers, who don't have the conviction to stay with their story and are unable to tell their story, tend to bend towards these things. It is believed that women in skimpy clothes will sell or involving an item number in the film will help, but others like Rajkumar Hirani, who believe in their subjects wouldn't require all that. Their films speak for themselves," she said.

The actress says that audiences are intelligent enough to understand what's worth watching.

"Audience is smart enough. They know when something is forced into the film; they themselves don't appreciate it.

"At the same time they would love to see pretty girls and lovely clothes, item numbers. But if it is not placed correctly people will reject it," she said.

Amitabh adopts 'A Capella' for 'Bbuddah...' song

After singing songs like "Rang barse" and "Main yahaan tu wahaan", Amitabh Bachchan has tried singing the title track of his forthcoming home production 'Bbuddah-Hoga Terra Baap' a Capella -- he has added vocal beats to create the sound of instruments.

Music director duo Vishal-Shekhar attempted to compose for the first time a number in 'a Capella' style, which means solo or a group singing without any instrumental sound.

"We wanted to try something new with this song. We did the basic setup and then Mr. Bachchan replaced every track with his voice. He recreated the sounds of approximately 10 to 12 instruments, from drum to bass to the snare to the chorus. In a nutshell, he did everything required to make a song!" Shekhar Ravijani said in a press statement.

When the duo approached Amitabh with the suggestion, the 63-year-old was apprehensive about it, but finally decided to go ahead.

Amitabh shared his experience on his blog a few days ago.

"So Shekhar, of Vishal and Shekhar, have composed something that caused each one that heard it, the goose phenomena. And now that it is done, comes the improbable part. They want me to sing it! And this is where things shall go horribly wrong.

"I am trying to resist this compulsion from them and find myself losing at the moment, but I know for sure that I will remain in that state and lose. May god help all the music purists in bearing up with me and for overlooking this great farce that is about to take place over the weekend," he had posted.

Produced by Viacom18 and AB Corp, 'Bbuddah-Hoga Terra Baap', releasing July 1, is written and directed by Puri Jagannath. It also features Hema Malini, Raveena Tandon, Sonu Sood, Sonal Chauhan, and southern actors Charmi and Prakash Raj.

Big B also recently recorded "Ekla cholo re" for Sujoy Ghosh's film 'Kahani'.

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Salman Khan won National Honour 2007: Rajiv Gandhi Award for his Outstanding achievement in entertainment