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Sonam Kapoor gorged on street food while shooting 'Delhi-6'
Saturday, February 14, 2009
New Delhi, Golgappas, chhole bhature and non-vegetarian delicacies from popular eatery Karim's - star kid Sonam Kapoor gorged on all this and more while shooting for her forthcoming film "Delhi-6" in the capital.
"I'm quite a foodie and have a very Punjabi taste in terms of food. So when we were shooting in Delhi for the film, I used to eat a lot of golgappas, chhole bhature, dahi bhalle and meat from Karim's. Basically, I used to eat all the wrong things, but I loved that," Sonam told IANS over telephone from Mumbai.
In Rakeysh Omprakash Mehra's "Delhi-6", Sonam plays Bittu, an aspiring singer who lives in a conservative family in the crowded Chandni Chowk area and has a desire to break free from the typical Indian societal norms.
The one-film-old actress says a good amount of preparation went behind her character in the film in which she stars opposite Abhishek Bachchan.
"One has to really prepare for the role he or she is portraying in a film. For 'Delhi-6', I had to work on my accent, body language, clothes, my expressions, the way I walked and a lot of other nitty-gritty stuff," she said.
Apart from Sonam's carefree Indian looks in the film, her performance in the hit peppy number "Masakalli", picturised on her and a dove, has been really appreciated.
"'Masakalli' is a beautiful song by A.R. Rahman and beautifully choreographed by Vaibhavi Merchant. Masakalli is the name of the dove in the film and it is very symbolic of my character. She nearly became my pet on the sets. She used to hop on to my head," said Sonam, who is actor Anil Kapoor's daughter.
Asked if she was a wee bit scared of the bird, she said: "I wasn't scared of Masakalli at all. She was just a small bird. How could it harm me?"
The song has become so popular that a lot of Sonam's friends have started calling her 'Masakalli' and she finds it "really sweet".
Talking of her co-star Abhishek, the actress says she had a "fabulous" time shooting with him.
"We share a great chemistry. He is young, but experienced enough and he guided me and helped me through scenes where I would get stuck. Besides, we had great fun on the sets.
"Every 10 days we used to have a dance party when we were shooting in Sambhar in Rajasthan. We used to have a DJ who used to play really bad Hindi songs from the 1980s and 90s and we used to dance all through the night," said Sonam.
Thanks to www.bollywoodworld.com
"I'm quite a foodie and have a very Punjabi taste in terms of food. So when we were shooting in Delhi for the film, I used to eat a lot of golgappas, chhole bhature, dahi bhalle and meat from Karim's. Basically, I used to eat all the wrong things, but I loved that," Sonam told IANS over telephone from Mumbai.
In Rakeysh Omprakash Mehra's "Delhi-6", Sonam plays Bittu, an aspiring singer who lives in a conservative family in the crowded Chandni Chowk area and has a desire to break free from the typical Indian societal norms.
The one-film-old actress says a good amount of preparation went behind her character in the film in which she stars opposite Abhishek Bachchan.
"One has to really prepare for the role he or she is portraying in a film. For 'Delhi-6', I had to work on my accent, body language, clothes, my expressions, the way I walked and a lot of other nitty-gritty stuff," she said.
Apart from Sonam's carefree Indian looks in the film, her performance in the hit peppy number "Masakalli", picturised on her and a dove, has been really appreciated.
"'Masakalli' is a beautiful song by A.R. Rahman and beautifully choreographed by Vaibhavi Merchant. Masakalli is the name of the dove in the film and it is very symbolic of my character. She nearly became my pet on the sets. She used to hop on to my head," said Sonam, who is actor Anil Kapoor's daughter.
Asked if she was a wee bit scared of the bird, she said: "I wasn't scared of Masakalli at all. She was just a small bird. How could it harm me?"
The song has become so popular that a lot of Sonam's friends have started calling her 'Masakalli' and she finds it "really sweet".
Talking of her co-star Abhishek, the actress says she had a "fabulous" time shooting with him.
"We share a great chemistry. He is young, but experienced enough and he guided me and helped me through scenes where I would get stuck. Besides, we had great fun on the sets.
"Every 10 days we used to have a dance party when we were shooting in Sambhar in Rajasthan. We used to have a DJ who used to play really bad Hindi songs from the 1980s and 90s and we used to dance all through the night," said Sonam.
Thanks to www.bollywoodworld.com
New Thums Up ad will have two Akshay Kumars
New Delhi, Action star Akshay Kumar will have the pulses racing in his latest Thums Up ad, in which he plays two characters - each leaping into the air to grab a bottle of the soft drink.
"The new campaign comes with loads of action, adventure, drama and humour. This time, my fans are sure to have double the fun," said Akshay, the brand ambassador of Thums Up, in a statement released here Thursday.
Shot by Australian director Jon Gwyther in Sydney, the advertisement will see the two avatars of the actor competing with each other to be the first one to grab the bottle of the soft drink without letting their feet touch the ground.
While, the first avatar will be shown to be an intense character, the other will be a fun loving person.
On big screen, the actor portrayed a double role for the first time in the 1997 movie "Aflatoon".
Thanks to www.bollywoodworld.com
Slumdog, Rahman sweep Oscar nominations
Friday, January 23, 2009
New Delhi: After bagging four Golden Globes and 11 BAFTA nominations, Slumdog Millionaire, Danny Boyle's rag-to-riches story about the coming of age of a Mumbai slum child has bagged 10 Oscar nominations this year.
Slumdog has been nominated for Best Adapted Screenplay (Simon Beaufoy), Best Picture, Best Original Score (A R Rahman), Best Song (One each for Jai Ho and O Saya), Best editing, Best Sound Mixing (Resul Pookutty), Best Sound Editing (Resul Pookutty), Best Cinematography and Best Director (Danny Boyle) at the Oscars.
Slumdog Millionare has already bagged four coveted Golden Globes and multiple Bafta nominations.
The nominations were announced at the Academy of Motion Picture Arts and Sciences' Samuel Goldwyn Theatre by Oscar-winning actor Forest Whitaker. The awards will be announced on February 22 at Hollywood's Kodak Theatre.
"It's unbelievable. We've got 10 nominations and three are extraordinarily special because they are for A R Rahman who is not here because he's working on Dilli 6 in Chennai right now," said Danny Boyle at a press conference organised in Mumbai.
Thanks to www.ibnlive.in.com
Movie Review - Raaz 2 The Mystery Continues
In a brilliantly executed shot, Kangana casually looks for some pills in her cloak, while her image in the mirror is standing still.
Raaz-The Mystery Continues is filled with several such spooky moments – some work, some don’t. Bhatt camps’ sequel to the surprise 2001 hit Raaz has no relation whatsoever to the Bipasha Basu-Dino Morea flick. Except that both films are essentially murder mysteries with some edge-of-the-seat moments.
Random suicides in an obscure North Indian village go unreported till a model in Mumbai develops similar tendencies. Kangana Ranaut plays the troubled supermodel (oh no, not again!) Nandita who is dating news anchor Yash (played by a confident Adhyayan Suman) who happens to be a atheist, a non-believer. RTMC takes time to find its bearings. After a shocking opening sequence, the plot shifts to the customary Bollywood love angle, with couple of melodious numbers thrown in. Due to its particularly long first half the writers take a while to get to the real point.
But the action picks up soon. Enter Prithvi (Emraan Hashmi) – a mysterious painter who is hooked onto guzzling beer and painting Nandita’s pictures. Based on his premonitions Prithvi starts painting Nandita’s future. After a few near-fatal incidents Nandita starts believing Prithvi and despite Yash’s disapproval, goes out to unravel the Raaz. Turns out, there are some strange links connecting the suicides to all the three protagonists.
A gripping narrative:
Much like comedy, watching a horror flick also requires some suspension of disbelief. RTMC is a clever blend of superstition, mythology with social maladies and religious politics. The plot flows like a thriller - filled with enough twists and turns to keep you engaged. The makers have clearly kept a mass audience in mind. Because without getting too melodramatic, the narrative packs in a number of crowd pleasing, emotional sequences. This emotional link is handled competently in the climax which may not be as scary as expected but certainly not funny either.
There’s also a split second full-bodied nude shot of Kangana when she is thrown out of the bath tub. But it is executed with utmost aesthetic value.
Competent performances:
Most of RTMC’s appeal lies in its performances and Mohit Suri’s direction. Suri whose track record includes Zeher, Who Lamhe, Kalyug and the underrated Awarapan, achieves a stable balance of romance, horror and mystery without letting one overpower the other.
Kangana Ranaut is in top form. Despite her somewhat predictable histrionics, she delivers a controlled performance, rarely going over the top. She looks gorgeous in every frame and seems to have worked on toning down that distinct accent of hers. Her dialogue delivery has finally come out of the Gangster mode.
Adhyayan Suman is surprisingly pleasant in front of the camera. Though his dialogue delivery reminds you of his motormouth father, RTMC is a huge improvement over his disastrous debut. Saddled with a complex part, he displays an ability to pull off a gray character quite well. Though he definitely needs a better designer, a haircut and a dance instructor. As a pair the visible age difference robs Kangana and Adhyayan of any chemistry. But the supposedly real life lovers smooch on more than one occasion in the film.
That’s some achievement for Suman in a film that stars the serial-kisser Hashmi.
Emraan –Mass hero in the making:
Which brings me to Emraan Hashmi. For an actor with average looks and limited talent, Emraan has shown consistent growth from Footpath to his last Jannat. I saw RTMC in a Mumbai single screen and his entry was greeted with loud cheer and whistles. In his Mahi number Emraan drives the frontbenchers into a frenzy. Perhaps there is no bigger barometer for an actor’s star power. Despite a one-dimensional role he is fantastic in every scene.
Now here’s the surprise. I an really beautiful moment when Nandita and Prithvi talk about their hidden fears, there is a spark of attraction, but our man doesn’t kiss.
There’s also a surprise cameo in the climax in the form of a ghost. But I won’t spoil the surprise.
Good soundtrack, plush production values:
RTMC has brilliant music. Chances are you are already in love with the album, but some of the situational tracks register an even stronger impact on screen. Though I wonder why the remix video currently playing on channels wasn’t used in the film.
Mohit also ventures into master RGV’s territory by creating shock value with camera angles and sound effects. But some of his attempts to spook you come out unstuck, unlike Varma’s Phoonk and Bhoot. In terms of look, Bhatts go easy on their trademark cost-cutting, as the film boasts of good production values.
Not a Ramsay scare fest:
Vikram Bhatt’s Raaz, is like a polished Ramsay flick. The horror in RTMC is slightly more on the metaphysical side. But because of this the scary quotient never reaches the levels of the prequel. So you might find yourself screaming less than you did in that Raaz.
Mainstream Bollywood has largely ignored horror as a genre. Which is why even average plagiarised spook fests like Phoonk and 1920 find acceptance. RTMC is not the greatest or the most original of horror films. But after last weeks’ unintentionally horrifying attempt at Chandigarh meets China brand of humour – this is a genuinely sincere horror film.
Verdict: Even if RTMC doesn’t scare the daylights of you, it will definitely engross you. Paisa vasool entertainment.
Thanks to www.bollywoodcelebritynews.com
Raaz-The Mystery Continues is filled with several such spooky moments – some work, some don’t. Bhatt camps’ sequel to the surprise 2001 hit Raaz has no relation whatsoever to the Bipasha Basu-Dino Morea flick. Except that both films are essentially murder mysteries with some edge-of-the-seat moments.
Random suicides in an obscure North Indian village go unreported till a model in Mumbai develops similar tendencies. Kangana Ranaut plays the troubled supermodel (oh no, not again!) Nandita who is dating news anchor Yash (played by a confident Adhyayan Suman) who happens to be a atheist, a non-believer. RTMC takes time to find its bearings. After a shocking opening sequence, the plot shifts to the customary Bollywood love angle, with couple of melodious numbers thrown in. Due to its particularly long first half the writers take a while to get to the real point.
But the action picks up soon. Enter Prithvi (Emraan Hashmi) – a mysterious painter who is hooked onto guzzling beer and painting Nandita’s pictures. Based on his premonitions Prithvi starts painting Nandita’s future. After a few near-fatal incidents Nandita starts believing Prithvi and despite Yash’s disapproval, goes out to unravel the Raaz. Turns out, there are some strange links connecting the suicides to all the three protagonists.
A gripping narrative:
Much like comedy, watching a horror flick also requires some suspension of disbelief. RTMC is a clever blend of superstition, mythology with social maladies and religious politics. The plot flows like a thriller - filled with enough twists and turns to keep you engaged. The makers have clearly kept a mass audience in mind. Because without getting too melodramatic, the narrative packs in a number of crowd pleasing, emotional sequences. This emotional link is handled competently in the climax which may not be as scary as expected but certainly not funny either.
There’s also a split second full-bodied nude shot of Kangana when she is thrown out of the bath tub. But it is executed with utmost aesthetic value.
Competent performances:
Most of RTMC’s appeal lies in its performances and Mohit Suri’s direction. Suri whose track record includes Zeher, Who Lamhe, Kalyug and the underrated Awarapan, achieves a stable balance of romance, horror and mystery without letting one overpower the other.
Kangana Ranaut is in top form. Despite her somewhat predictable histrionics, she delivers a controlled performance, rarely going over the top. She looks gorgeous in every frame and seems to have worked on toning down that distinct accent of hers. Her dialogue delivery has finally come out of the Gangster mode.
Adhyayan Suman is surprisingly pleasant in front of the camera. Though his dialogue delivery reminds you of his motormouth father, RTMC is a huge improvement over his disastrous debut. Saddled with a complex part, he displays an ability to pull off a gray character quite well. Though he definitely needs a better designer, a haircut and a dance instructor. As a pair the visible age difference robs Kangana and Adhyayan of any chemistry. But the supposedly real life lovers smooch on more than one occasion in the film.
That’s some achievement for Suman in a film that stars the serial-kisser Hashmi.
Emraan –Mass hero in the making:
Which brings me to Emraan Hashmi. For an actor with average looks and limited talent, Emraan has shown consistent growth from Footpath to his last Jannat. I saw RTMC in a Mumbai single screen and his entry was greeted with loud cheer and whistles. In his Mahi number Emraan drives the frontbenchers into a frenzy. Perhaps there is no bigger barometer for an actor’s star power. Despite a one-dimensional role he is fantastic in every scene.
Now here’s the surprise. I an really beautiful moment when Nandita and Prithvi talk about their hidden fears, there is a spark of attraction, but our man doesn’t kiss.
There’s also a surprise cameo in the climax in the form of a ghost. But I won’t spoil the surprise.
Good soundtrack, plush production values:
RTMC has brilliant music. Chances are you are already in love with the album, but some of the situational tracks register an even stronger impact on screen. Though I wonder why the remix video currently playing on channels wasn’t used in the film.
Mohit also ventures into master RGV’s territory by creating shock value with camera angles and sound effects. But some of his attempts to spook you come out unstuck, unlike Varma’s Phoonk and Bhoot. In terms of look, Bhatts go easy on their trademark cost-cutting, as the film boasts of good production values.
Not a Ramsay scare fest:
Vikram Bhatt’s Raaz, is like a polished Ramsay flick. The horror in RTMC is slightly more on the metaphysical side. But because of this the scary quotient never reaches the levels of the prequel. So you might find yourself screaming less than you did in that Raaz.
Mainstream Bollywood has largely ignored horror as a genre. Which is why even average plagiarised spook fests like Phoonk and 1920 find acceptance. RTMC is not the greatest or the most original of horror films. But after last weeks’ unintentionally horrifying attempt at Chandigarh meets China brand of humour – this is a genuinely sincere horror film.
Verdict: Even if RTMC doesn’t scare the daylights of you, it will definitely engross you. Paisa vasool entertainment.
Thanks to www.bollywoodcelebritynews.com
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