If there’s one film that will immediately launch a heated debate between boys and girls, it is Ek Main Aur Ekk Tu. [[http://www.youtube.com/watch?v=aSR4OqSxP1U]] Imran Khan plays the role of Rahul, a 25-year-old nice guy who has recently lost his job as an architect in Las Vegas and whose only real ambition in life is to please his parents. The parents, played by supremely-talented actors Boman Irani and Ratna Pathak-Shah, are a business couple who love their only son and have provided him a luxurious life. They are, however, perfectly comfortable with imposing their views on him and almost blackmailing him into doing things that would help their business and social lives. Kareena Kapoor plays Riana, a 27-year-old unemployed hairstylist who is so eccentric she can bring light into anyone’s life with just a single smile. Her family is the exact opposite of Rahul’s. Everyone, including a senile granny, is crazy; so crazy that Riana’s by-mistake marriage with Rahul and its annulment are dinner table conversation. The pair, in their Christmas night drunken revelry, end up marrying each other, only to wake up the next morning and realise what an awful mistake they have made. Rahul knows Riana is never going to fit into his life – or the one his parents expect of him – and Riana, who has jumped from one relationship into another since she was 15, just wants to be alone. But it’s Christmas time, and all official work is on hold. So, Rahul and Riana are man and wife until the Americans roll back into work mode. In that one week, they become best friends. Reminded of What Happens In Vegas, right? [[http://www.youtube.com/watch?v=YJGAsbcfuRs]] Well what happens in Vegas stays in Vegas because that’s not what happens in EMAET; he falls in love with her but she does not and that is that! Here comes the point of contention between men and women: Kapoor, who is a natural at playing the character of an irresistibly adorable girl (Geet in Jab We Met) who is free as the wind, plays it phenomenally well in EMAET as well. And Khan, taken in by her charm, construes what she believes are friendly gestures as romantic overtures. Every girl and boy who have ever been close friends have, at least once, had this conversation. And that is what makes the film so real. They are made for each other – her strengths are his weaknesses and vice versa but, as is common in real life, that isn’t enough. They have their lives and their goals, and sometimes the time is just not right for love. Every loving gesture that a woman makes is not supposed to be interpreted as an advance for romance. In short, this is a boy-meets-girl story that has a happy ending, but not the one we are used to seeing. The film, despite being too reminiscent of Jab We Met and Anjaana Anjaani, holds its own. Khan, who I believe should consider a career in something else because of his absolute lack of entertainment ability, is surprisingly good in the film. This is probably his only film that I have walked out of feeling thoroughly entertained. And though most of the credit for that goes to Kapoor, Khan deserves some too – at least for looking the part that he has played. Overall, this is a film I recommend to everyone for a nice, soft romantic comedy night out. And if you’re a girl, take with you a male friend who you fear might be falling for you!

This post was originally published on the Wall Street Journal. To read more by Tom Wright, click here.  ______________________________________________ Showing a Pakistani army general watching a courtesan dancing? Using shots of Karachi airport without permission? Or generally portraying Pakistan in a bad light? Whatever the reasons for Pakistan’s decision to ban Agent Vinod, the latest Khan-Kapoor offering, most of us will have to wait for Friday to see what the fuss is about. [[http://www.youtube.com/watch?v=KLQmV7Tpd_Y]] If earlier bans are anything to go by, it’s probably a storm in a teacup, more indicative of the parlous state of India-Pakistan relations than the content of what looks to be a pretty lightweight action flick. An officer from Pakistan’s Inter-Services Intelligence Directorate military spy agency said he had no knowledge of the ban, reported widely by Indian media today. He denied there was a military  intelligence presence on Pakistan’s film censorship body, as reported by the Indian media. Despite mistrust of India, many Pakistanis love Bollywood and billboards across the country feature the big Indian stars. Yet scores of films from India get banned each year, including Dirty Picture (too lewd), Tere Bin Laden (might annoy Islamists) and now Agent Vinod (unclear). One could guess (admittedly without yet seeing the film) that Agent Vinod likely caricatures Pakistan in some way or other (Ms Kapoor plays a Pakistani in the film). On the other hand, it’s equally likely that Pakistan’s censor board is too prickly about these things. Tere Bin Laden, an oddball comedy which starred Pakistani singer-turned actor Ali Zafar, was widely praised by critics. The ban in Pakistan looked like kowtowing to extremists. Criticism of the armed forces is off-limits in Pakistan. Last year, the military itself produced a drama called “Beyond the Call of Duty,” which featured real soldiers and saccharine story lines about Pakistan’s war against the Taliban. Agent Vinod apparently doesn’t follow that script. [[http://www.youtube.com/watch?v=lw7xdgV-kP0&ob=av3e]] ------------------------------------------------------------------------------------------------------ [poll id="131"]

I must begin by lamenting the fact that I blew off most of the Pakistan versus Bangladesh World T20 match to go watch Madhur Bhandarkar’s Heroine. Yes, the emphasis is on Bhandarkar, not lady lovable Kareena Kapoor. I have been a Bhandarkar fan since Page 3 and, with Fashion, he demonstrated to an extent that he was capable of working with bigger names like Priyanka Chopra. However, the director is really just a star of multiplex cinemas and disappoints with Heroine. When you make a film with a super-duper star like Kareena Kapoor, everything else must also match the glamour and grandeur she naturally brings to the film. Heroine fails to do so. The production value – considering a front face of perhaps Bollywood’s most celebrated female actor of the time – is pretty low. The writing is terrible and the script leaves a lot to be desired, including a real climax. The film’s aura (thanks to some skillful publicity) was bigger than the film itself ─  something that doesn’t suit Bhandarkar whose previous films have not relied on publicity to become the hits that they are. Mahi Arora (Kareena) is shown to be a superstar – though I found her only a struggling starlet, not a superstar – who keeps making one after another wrong decision. The pill-popping and alcoholism do nothing to establish her character as a reigning queen, because that is not the way any of the top-tier Bollywood heroines live. Mahi’s heart is in the right place but her mind, of which she doesn’t seem to have enough, is not. The audiences should thank God that miss straight face Aishwarya Rai Bachchan was replaced by Kareena, who is absolutely fantastic in the film. I can say with certainty that no other female actor could have fit the role and done it as brilliantly as she has. With her harrowing eyes and ghostly white complexion, Kareena is every bit the lost soul in a cruel world that refuses to wait until she finds her feet. While Kareena was supposed to bring the sex quotient in the film, it is Arjun Rampal who does. He doesn’t do much in terms of acting, but then again when has he ever? However, that’s never bad news for us women. Divya Dutta is great in her role as a shrewd public relations executive and, together with Kareena, adds a lot of colour to an otherwise bland film. In the film’s defence, it is not a rip-off of Fashion as so many commentators have said pre- and post-film. There may be some glimpses but the films are actually quite different. For one, Fashion was a lot bolder than Heroine. In Fashion, Bhandarkar bared it all, but in Heroine, he seems a little more careful about not crossing certain lines. The film, for instance, has a character designed along the lines of cricketer Yuvraj Singh (played well by Randeep Hooda) but has no characters to portray the roles that the three Khans and Karan Johar play in the Indian film industry. A Bollywood film can never be complete without mentioning them as they are undoubtedly the most influential people in the industry. There are also some great shots as Bhandarkar is very good with symbolism. My favourite part was when Mahi goes to attend the funeral of a senior female actor Shagufta Rizvi (played by Helen), whom she often goes to for solace, and media-men and women descend on her like bloodthirsty hawks. Her white scarf is snatched away and journalists think nothing of walking over it in trying to get a sound bite out of Mahi. In the end, I will say only this: if you are going to employ the sort of publicity for your film that Karan Johar or Yash Chopra do, you must make sure that your film also has the look and feel of the grand dreamland that they create in their films. Otherwise, it feels like something is amiss and that’s what I felt as I walked out from the cinema after watching Heroine. PHOTOS: PUBLICITY Read more by Zainab here or follow her on Twitter @zainabimam Join us on Facebook  and Twitter for blog updates and more!

Talaash, as the name suggests, is a film in which people are looking for answers. It has some obvious searches like why did the car end up in water? Who is the killer? And then there are the subtly and beautifully embedded intrinsic quests of a father in search of reconciliation with himself, not really by self-flagellation but by being silent. Or a wife in search of her husband whom she lost to a tragic accident in their lives. I am disappointed in myself, because it took me over an hour to realise where I had seen Talaash before. I hadn’t seen it before, I had read it. Talaash is very heavily inspired by, one of my all-time favourite books called, ‘The Fallen’ by T Jefferson Parker. I am disappointed because it took me that long to visualise scenes from my favourite book. On my Twitter query to her, director of Talaash, Reema Kagti has denied having read the book which effectively means it’s a mere coincidence, albeit a huge one that almost two thirds of the story and some scenes are a straight lift from the aforementioned book. Nonetheless, while I am in talaash of this answer, there is nothing wrong even if it is heavily inspired from the book. Talaash is an almost epic mastery of storytelling. Almost because in the end it leaves you with your mouth open and mind confused about whether to love the climax or not. It leaves you questioning your beliefs. If you can believe the twist in the climax, then you will leave the theatre thinking that you have seen one of the best films ever. If not, like I did not, then you will struggle to consider Talaash an all-time great, instead, it will become an almost classic for you too. If you put the belief factor aside, you will realise that throughout the film there were cues for you to understand what was happening, but you did not because you were involved in the side tracks too much. Director Reema Kagti has shown tremendous aptitude of the grip on screenplay and visual treatment. Giving Talaash after Honey Moon Travels shows the versatility in her ability. She commands your attention throughout the movie and your eyes are like magnets to the screen. The attention to detail and sensitive treatment are the pillars Talaash is standing on. Rani’s look is ruffled - her eyes have dark circles and her face is freckled because she doesn’t have time to focus on her physical appearance. Aamir is playing his age - something a certain other Khan needs to learn from. He is a cop of high repute but there is no over the top praising by his team members like the entry of SRK in Jab Tak Hai Jaan. Instead there is a simple ‘bohot suna hai sir aapke baaray mein, maza aaye ga aap ke saath kaam kar ke’ (I have heard a lot about you, sir; it will be fun working with you) which is enough to establish his work ethic. On the downside, Kareena Kapoor looks too classy to be a low end prostitute. A downgraded look, if not a different actress, would have really helped. If we act overly critical, we can also question the honesty of genuine interest of the entire police force to solve a high profile case, which isn’t generally a reality. Talaash demands big efforts from the cast and they deliver. It’s great to see a vintage Rani Mukherjee performance. A perfect reminder of why she was a Film Fare worthy actress not long ago. Even though, far away from a glamorous look, she comes off as strangely hot in her sari clad housewife look. Charming indeed and much needed after a disastrous Aiyya. Her confrontation scene with Aamir on the road is really good and her helplessness in front of her psychiatrist is expressed beautifully. Nawazuddin Siddiqui is having the best year of his life. With Kahaani, Gangs of Wasseypur and now Talaash, looks like his struggling days are over. His portrayal of Taimur is nothing short of brilliant. This is one actor I would want to see more and more in every film. Kareena Kapoor is good, minus the unfitting perfect Hindi accent unlike other prostitutes shown in the film. Even if we ignore that, it still cannot be called a Kareena film as her other performances are far stronger. Raj Kumar Yadav is also impressive once again. I am now eagerly waiting for his ‘Shahid’. Subrat Dutta is a star too, even though in a much smaller role. Having said as much, the film belongs to Aamir Khan and why wouldn’t it? This is his second venture with Excel Entertainment after the era defining Dil Chahta Hai and he has delivered another masterpiece for them. The perfectionist that he is, Khan has given one of his best performances to date. His self-inflicted pain is obvious on his face. His eyes communicate his tiredness, his face communicates his regret. The best scene of the film, in which he is reliving the tragedy of his life and how he could have changed the whole event, is one of the best ever created on cinema. When he was happy to see his wife enjoying a senseless movie, the audience felt his relief. When he cried, people on either side of me in the theatre cried; definitely the best performance of the year. Even better than Paan Singh Tomar and Gangs of Wasseypur. If you plan on watching Talaash, make sure you don’t miss any part of it. Every minute is important. Don’t text, don’t tweet and don’t take toilet breaks. Talaash is no joke; its serious business! PHOTOS: PUBLICITY Read more by Sami here, or follow him on Twitter @SamiSaayer

Reading that Dabangg 2 had made close to Rs150 crore in less than 14 days perked up my interest. After all, I wondered, what would it take for a film to become one of the highest grossing Bollywood films of all times? With enormous curiosity and an absolutely open mind (I haven’t seen its prequel, Dabangg.) I marched into a near-packed theatre armed with a bucket of popcorn. The first kidnapping sequence reminded me of senseless south Indian action films which are omnipresent on movie channels these days. The mindless violence and a desperate attempt at comedy already began to irritate my sensitive taste. I concluded long before the film ended that Dabangg 2 was crass, idiotic and senseless. I couldn’t believe the amount of money AK Productions had made by putting out a product that is way lower than substandard. But, what does this say about the audience? No sooner had I made my conclusion than I realised that I was trying to put the wrong lid on the bottle. The film was just perfect in its place. I was the wrong audience for it. The film is for Salman Khan fans; they want to see him beat up the bad men, romance the heroine and have emotional encounters with other character actors. Dabangg 2 is Salman Khan and Salman Khan is Dabangg 2. There is no room for a director, a screenplay writer, a story writer or a dialogue writer in the entire project. No one would care about whether Salman’s dialogue made sense, as long as it was said in a characteristic Salman type of way. No one would care about the twists and turns the story would take (there is no story line, to begin with!) as long as Salman was in it. And, no one would care about the authenticity or plausibility of the plot because Salman was the only reality! Of course, not to forget the ever important presence of "item songs" so our Salman bhai can take a break from his fights. Most songs that adorn this title are an insult to poetry and are the worst form of sleaze. Dabangg 2 is a tight slap across the faces of those Bollywood film makers who claimed that Indian audiences (at large) are mature enough to accept and adore intelligent movies with a well-thought out story line and decent dialogues. This film is a clear indication of what the audiences want. In an era where audiences rule and filmmakers want to give them what they want, most of the money in the industry will surely go into making such films in the future. I might be a prude, bordering on being a snob. Well, then that is who I am. People like me hope and pray silently that films that are made for us are given as much financial resources (while I feel my Rs180 was wasted on Dabangg 2.) Here's a call for attention to our minority community of avid film watchers - we need intelligent and entertaining films! Read more by Raksha here or follow her on Twitter @Raksha_Kumar

Our skin constantly sheds dead cells without us even knowing. Usually these cells are not visible to us, as they are very minute. However, there are some dead cells which are annoyingly visible and we see them in the form of dandruff. As you know, dandruff is the shedding of dead skin cells from the scalp at an excessively fast rate. Many of us have faced issues with regards to this natural nuisance. So, how can one effectively eradicate dandruff? Here are a few tips: Getting the right shampoo Just because Kareena Kapoor endorses a particular brand, does not mean that shampoo will work for you too. While mild dandruff may be controlled by regularly shampooing the scalp with a mild shampoo, suitable for regular use; washing your scalp with a strong shampoo can cause it to dry up and this can in turn, make the condition even worse. Hence, choosing the right shampoo is the most significant task and you are likely to have to go through a trial-and-error process until you find a shampoo that  suits your hair the most. Right way of shampooing While shampooing, remember to wash your scalp twice. The first wash will clean the dandruff present in your hair and the second will help medicate the scalp and prevent scaling. Moreover, after using an anti-dandruff shampoo, which may contain harmful chemicals that tend to leave the scalp dry, always make sure that you use a conditioning shampoo. Also, remember to condition your hair with a strong conditioner in order to nourish and moisturise the scalp. Natural modes of treatment Having said that, regular shampooing may not always help. In such cases you can try natural treatments, which might not give  immediate results, but will prove to be beneficial in the long run. Moreover, unlike most chemical based anti-dandruff shampoos, home remedies do not affect the scalp harshly.

• Mix some camphor in coconut oil. Apply this oil to your scalp everyday, making sure to massage the roots with your fingertips. This can show remarkable results.

• You can also apply lemon juice mixed with sugar on to your scalp. Then, expose your hair to the sun for five to six hours and let the juice dry. When this is done, wash your hair with a mild shampoo. Although this may sound difficult, it can efficiently solve your dandruff problem to a great extent.

• Another home remedy is to mix lemon juice in coconut oil. Apply this mixture on your hair and massage it deep into the scalp. Continue this regularly for a few days. It will help reduce the dandruff and will add shine to your hair!

Growing up, I always noticed that romantic comedies, also known as ‘rom-coms’, mostly circled around a single theme: boy and girl spot each other, possibly kickoff at loggerheads, realise the attraction somewhere in between, fight the world, win the battle and unite in the midst of song and dance - or more popularly known as ‘Happily Ever After’.  Although Hollywood evolved and began to produce rom-coms based on what happens after the lovey-dovey couple get together, Bollywood continued to shy away from such storylines until fairly recently. Chalte Chalte and Saathiya were among the first movies to depict the topic of post-marriage matters and hence, both films were considered to be slightly more intense than the usual light viewing of Bollywood rom-coms. However, the movies paved the way for the industry to venture into producing more films on similar themes. With time, another element seemed to emerge – that of two strong individuals instead of one being the damsel in distress, as seen historically. This breakthrough led to movies like Break Ke Baad and Yeh Jawaani Hai Deewani, to name the more recent ones. Gori Tere Pyaar Mein is a bit of both these themes and although the movie’s glamour factors are purely its two leads – Imran Khan and Kareena Kapoor Khan - and of course, the banner that produced it – Karan Johar – the production and story itself are quite simple. The movie centres around two urbane people with opposing mentalities. Dia, played by Kareena Kapoor Khan, is a modern day strong-headed environmentalist with unalterable beliefs, whose focus is to improve life for the less -fortunate. [embed width="620"]http://www.dailymotion.com/video/x14kvzl_gori-tere-pyaar-mein-official-trailer-2013_fun[/embed] On the other hand, Sriram Venkat, played by Imran Khan, is a whimsical, non-ambitious, flirtatious boy who works on and off in his father’s company. His life revolves around material things and he is well described by Dia as “shallow” [but] “not as emotionless as he portrays”. [embed width="620"]http://www.dailymotion.com/video/x15rmux_tooh-hd-video-song-gori-tere-pyaar-mein-2013-imran-khan-kareena-kapoor_music[/embed] Although the chemistry between the lead characters may come across as almost on-existent, one does get the impression that this depiction is intentional. The characters are meant to share a very individualistic and independent relationship so much so that Sriram almost considers their relationship to be casual, only to find out that Dia thinks it to be more serious; although she agrees with him that it should not change their personalities. Until of course, the attraction fizzles out and reality bites. While the first half revolves around them trying to make sense of a relationship, without compromising their extremely developed personalities and beliefs, the second half of the movie is dedicated to Sriram looking for Dia in a remote village with a motive to win her back. To say that the movie is not dramatic would be a misnomer since it has its fair share of dramatic moments such as the runaway groom and the heart-broken lover singing at his lost love’s wedding, among others. [embed width="620"]http://www.dailymotion.com/video/x16gsol_chingam-chabake-official-hd-new-item-song-2013-gori-tere-pyaar-mein-imran-khan-kareena-kapoor_music[/embed] However, what the movie and its story must be commended on is its mild underscoring of nuances in relationships – moving on yet holding on, differences in knowing each other and future plans, re-evaluating the bond and reasons for friction over the slightest things. And of course, the most important and rarely talked about subject – who decides the way forward in a relationship and is it always mutual? Although the bigger story continued to be ‘Will he win her back?’ these were all touched upon through mere dialogues and certain scenes. The movie does not have memorable songs although they provide light listening while they play; nor does it boast extravagant settings or remarkable dialogue. However, it has two strong supporting cast members –Shraddha Kapoor as Vasudha who played Sriram’s rebound and Anupam Kher as the corrupt tax collector in the village to which Dia moved to after her break-up with Sriram. [embed width="620"]http://www.dailymotion.com/video/x16mm2b_naina-hd-video-song-gori-tere-pyaar-mein-2013-imran-khan-kareena-kapoor_music[/embed] Yet, the movie has its moments where the viewer cannot help but guffaw out loud and most of the credit for comic relief goes to Imran Khan and Anupam Kher. For some, it may also be the crab that Sriram ‘adopted’ instead of eating it in a restaurant, to show his love for Dia and her cause. [caption id="" align="alignnone" width="600"] Kareena Kapoor Khan plays an 'NGO-type' in Gori Tere Pyar Mein. Photo: Facebook page Gori Tere Pyar Mein[/caption] Overall, the movie provides light entertainment and a fun watch, with some moments that may replay in the head later.

Remember the last argument that you had with your husband? The one in which you were both on the way to a party and you had to hurriedly blink back your tears and wipe away the mascara streaks running down your face? You had almost reached the venue and you had both been arguing the entire way. But what happened as you made your way into your friend’s house? Your husband put his arm around your waist, you both donned your ‘we-are-so-happy smiles’ and you made the rounds as if there was not a wrinkle in your seemingly perfect married life. This is not simply your reaction. This is what most couples do, and would do, in the same situation. Why? Simply because we all think that matters like marriage, relationships, divorces and so forth are no one else’s business but our own. However, as much as we like to keep our lives as private as possible and as picture-perfect as possible, very few of us allow this basic right to those around us. All of us have friends, relatives and people in our social circle who have a personal story that is different from what we believe is an acceptable one in the society. Someone may have an unhappy relationship, someone may be seeking a divorce from an abusive marriage, someone may be re-marrying after widowhood or someone may be in a situation that is completely unconceivable for us. Most of the time, it does not affect us, at least not directly, but we do end up changing our attitude towards that particular person based on that one aspect of their life. We become the self-appointed moral police. And this is not limited to those in our immediate circle only. A few days ago when the news of Hrithik Roshan’s separation from his wife of 17 years, Suzanne Khan, became public knowledge people went berserk in their reactions, claiming that this break-up broke their hearts. https://twitter.com/TOIEntertain/status/412101453881155584 https://twitter.com/hSunnee/status/411825051940687872 We assumed that they were happy together and hence, we declared that they should not have split up. Are we their marriage counsellors? Are we their close friends? Did we know what was actually happening between them as a couple? No, right? Then, what authority do we have to question or lament their separation? Let me take you back in time. Remember when Saif Ali Khan got married to Amrita Singh? People could not stop talking about how he – a young, dashing 21-year-old went and married Amrita Singh – a woman 13 years his senior. How are we to know what motivated him to get married to her? Who are we to judge whether it was the right decision or the wrong one? It was their life. The same people lamented their break-up when it happened (of course, punctuated by the expected ‘I-told-you-so’). And more recently, when Saif Ali Khan married Kareena Kapoor, people were up in arms again because he had ‘dared’ to marry a girl 10 years his junior this time! My question is: how does it affect us who the poor guy marries and who he doesn’t? At least Hrithik Roshan and Saif Ali Khan are both, public figures, accustomed to the intrusion of paparazzi and fans. But unfortunately, we do not even spare the common individuals around us from our daily dose of judgement and interference. Why are we so inept at letting people lead their own lives and minding our own business? Especially when we expect and want the same from them? I have always found it ironic, not to mention mirthlessly humorous when people claim to be disgusted when their acquaintances share issues from their personal life and yet, the same people are often willing to bribe domestic servants for information, hack each other’s computers and engage in endless gossip about matters that do not concern them. After all, we are familiar with that nosy neighbour who keeps an eye on the comings and goings of everyone in the neighbourhood. I often fail to understand why we do this? Do we have too much time on our hands? Are we so unhappy with our own lives that we need to find and dissect the ‘wrongs’ in the lives of others? Is it simply a vicious cycle of being criticised mercilessly and hence, turning our criticism on others? Perhaps, it is a mix of everything. But personally, I feel that it has more to do with the vicious cycle of criticism that makes us so intolerant towards others. We do not accept people who are even remotely different from us. We condemn homosexuals, transgenders and unfortunately, even disabled people around us, simply because they happen to be different from us. We call ourselves progressive because we have resorted to a 21^st century lifestyle where girls and boys can study together and be friends. We have become adept in the use of technology and gadgets. But let’s face it – our mind-sets have hardly evolved from the conformist-thought processes which lead us to question and condemn divorce, extramarital relations, widowhood and homosexuality. None of these may be the most preferable option or even the most praiseworthy. But unless we understand the context of the situation that forces people to make these decisions, unless we know for sure that we would not take the same actions if faced with the same circumstances, we cannot and should not intrude in other people’s personal matters. Simply put: we should not judge.

Bollywood star, Rani Mukherji and the head honcho of Yash Raj Films (YRF), Aditya Chopra tied the knot on the April 21, 2014. While my interest level in their nuptials is dismally low, I can’t help but be revolted by the reaction of fans across the country. While some are ecstatic, others feel she could have done better. The comments floating around on Twitter and Facebook range from being congratulatory to being downright discourteous and boorish. There were media reports of Uday Chopra being attacked by Twitterati and having read some of the tweets, I am appalled and disconcerted at the crudeness on display. Here are some tweets, I came across: https://twitter.com/Dreamer_Taniya/status/458539490098036736 https://twitter.com/coolfunnytshirt/status/458493259850219520 https://twitter.com/shivillex/statuses/458497774343163904 https://twitter.com/rkxsaurabh/status/458837701555277824 https://twitter.com/ROFL_India/statuses/458496548519698432 https://twitter.com/BathManReturns/statuses/458497455483797504 Criticism of an actor’s work is certainly justified; as the audience, we have the power to either break or make an artist’s career. We have the right to demand value for our money by way of quality films. But one can’t help but wonder what drives people to indulge in personal attacks? How are insensitive comments about an individual’s personal life posted with the sole aim of humiliating the star on a public forum justified? This phenomenon is not limited to the subcontinent alone but South Asians seem to be disproportionately interested in matters that are not their concern and do not hesitate while expressing their unsolicited opinions. Given that buying a ticket to a movie entitles the viewers to watch a movie, it definitely does not give us the right to pry into a performer’s personal life and make unsavoury remarks that have the potential to hurt sentiments. Various stars like Shahrukh Khan, who deserted his Twitter account for months, and Imran Khan, who deleted his Twitter account altogether, have been bullied online by trolls. Anushka Sharma was on the receiving end of public ridicule post her appearance on Karan Johar’s chat show earlier this year for her alleged ‘lip surgery’. My Facebook feed had individuals sharing jokes and having a good laugh at her expense. Since there are no shortcuts to success, these actors invest a lot of hard work to maintain their star status. It’s preposterous that the public, who possibly do not have the ambition and more importantly the talent to reach such heights, are impertinent enough to post rude and unwarranted personal remarks in a brazen attempt to insult the celebrity in question. Online forums offer anonymity and that emboldens people to misbehave while hiding behind a pseudonym. But off late, I’ve come to realise that people have no qualms about behaving in a reprehensible manner even whilst using their actual identity! It’s quite likely that there’s a category of people who feel the need to degrade others to feel good about themselves in order to elevate their self-worth. The fact that they have the power to publically embarrass a celebrity probably exhilarates them. Whatever the case maybe, it’s inconceivable that internet trolls are so emotionally stunted that they do not realise the psychological ramifications of their words. Perhaps deriving sadistic pleasure is the driving force behind such behaviour. Whether trolls are beyond reform is debatable but it would be prudent to pause and think before callously posting vicious tweets or comments online. How embarrassed would you feel if someone left a nasty comment on your Facebook page for everyone to read? Despite repeated humiliation, movie stars are courageous enough to face the camera and audiences alike. So let’s cut them some slack, shall we? It is difficult to wrap one’s head around the unhealthy curiosity levels regarding a celebrity’s life. Details like who stars marry, date or go on vacations with, the names of their new born babies, speculation about their marriages and rumours about pregnancy are not our concern. There are distasteful photographs of Kareena Kapoor and Vidya Balan where the photographers have zoomed in to draw the viewer’s attention to the actresses ‘bloated’ bellies. The paparazzi culture has gained ground in India because there’s a demand for it. How stars cope with this constant intrusion is beyond my comprehension, but the question in my mind is why do we need to know every minute detail of an artist’s life, details that have no bearing on our existence whatsoever?

For this particular blog, I just want to focus on talent in Pakistan and its impact on brand building. Brands have become ubiquitous in Pakistan. Our ability to promote brands on TV, mobiles, hoardings, talk show coffee cups and so on has allowed organisations to simplify the process of building brand awareness, as long as you are willing to spend the cash. And there is clearly no dearth of advertisement cash in Pakistan. But whether you drive down Shahrah-e-Faisal or Lahore Defence Boulevard, after a mile of watching hoarding after hoarding with beautiful women staring down at you, the brand message gets easily lost. In fact, on a given fortunate day you could have Kareena or Katrina selling you everything from Chinese mobile phones to 3G networks, shampoos, noodles, teas, colas … and you would start wondering who is selling who? More cynically, how many of these Bollywood girls come to Pakistan to use our ghee every day and dip our cookies in their teacups? In all of this, what is the role of marketers and organisations? In a mature regulated economy, the most critical aspect of brand building will always be marked by ‘consumer trust’ and the credibility of your claims. However, in Pakistan, trust is secondary to the all-important ‘consumer awareness’. Hence, establishing credibility of emerging local brands very challenging and many marketers rely totally on driving awareness mostly through TV with celebrity endorsements. In mature markets, such as the UK, consumer watchdogs play a huge role in policing and reporting malpractices. In Pakistan, despite regulations, it is difficult for consumers to authenticate product performance and quality claims. And driven by the rapidly changing market situations, and in hope of staying top-of-mind against more established brands, marketers are forced to frequently change their brand messages, hoping that something ‘new’ would stick! Hence, what matters more is the ‘recall’ of the claims, rather than true belief in them. So what you stated in January last year about your products may be very different from what you say about it six months later. It really boils down to pricing strategy to create a consumer-brand relationship and relevance and, hence, you see a lot of dependence on visible price points to create sustained relationships. Admittedly this is not such a huge challenge for international brands, imported in by multinationals, if you bring a Starbucks or Dove to Pakistan, your job is far less tedious and way more glamorous. Ironically, I don’t think the young Pakistani marketers are wrong in their belief and focus on high profile campaigns rather than the value of brands. That is actually what they are coached and how their organisation leaders reward them, without realising that they are actually hurting the talent development as well as the long term health of their organisation. The six step checklist for brand builders In a short checklist I have stated a six step approach to brand building, very relevant and imperative for new brands, particularly in emerging markets. This checklist is simply a reinforcement of what most marketers are taught about building branding in schools and should always be part of the essential toolkit:

1. Always start with identifying your current and potential consumers based on their lifestyles and psychographics. Demographics are a small subset of the complete consumer profile.
2. Understand your consumer’s need-states. Quantitative studies are not sufficient, conduct consumer diaries and ethnographies for a deeper, better understanding.
3. Our goal is to create ‘loyalty’ and not just awareness. These days awareness can be driven without brand managers, by a half-decent ad agency with access to media funds.
4. Spend days writing and rewriting a succinct ad brief. The minimum a brief must clearly state is the consumer need-states and how your brand benefit satisfies those needs. Also make sure it considers or builds on the last ad brief. Ask for a brief review and get feedback from both marketers around you, including the ones at the agency.
5. Take risks with big, original creative ideas. Test drive them, if possible, don’t just research concept boards. Copying other ad templates or celebrity endorsements might give you visibility but poor brand uniqueness and loyalty.
6. Your media strategy should be tailor-made to your consumer profile. Focus on it! Being a little bit on every possible medium is not always the best way to maximise Return on Investment (ROI) on your media spend.

Saif Ali Khan’s re-entry was a success back in the early 2000s. The hero who had fallen flat in the 90s was seen in a completely new light in movies like Rehnaa Hai Terre Dil Mein, Dil Chahta Hai, Hum Tum, Salam Namaste, Kal Ho Na Ho, Race and Love Aaj Kal etcetera. And in movies like Omkara and the likes, he overshadowed anyone else who may have been in the film with him.  Unfortunately, nowadays I feel Saif Ali Khan’s performance is a bleak reminder of the hero he was in the 90s – none of the movies he is doing have any nostalgic value or cinematic value nor have they brought in good business; examples being Humshakals and Bullet Raja. On the contrary, Govinda, who was seen in a negative role in Kill Dil recently, has re-launched himself with a bang, with critics applauding his work. This time, in the movie Happy Ending, Govinda is all set to play for the front-row audience. After all, he’s the king of comedy. Let’s see if they both, Govinda and Saif, got their share of brownies this time! [embed width="620"]http://www.dailymotion.com/video/x27lxrt_happy-ending-2014-hindi-movie-official-trailer-%E1%B4%B4%E1%B4%B0_shortfilms#from=embediframe[/embed] Happy Ending is based on the life of a writer called Yudi (Saif Ali Khan), who published his last book five and a half years ago which turned out to be a major hit. Unfortunately, after that, he couldn’t publish any book and making ends meet became a task. His stardom, as a writer, starts to fade away and then enters a new romantic author in the limelight of the literary world called Aanchal (Ileana D’Cruz). Aanchal gets everything that Yudi once had as an upcoming writer. Soon after, Armaan (Govinda) comes into Yudi’s life. Armaan is the superstar of Bollywood and wants Yudi to write a fresh script (copy of multiple Hollywood blockbusters) for him. Having no other choice, Yudi accepts his offer and starts to alter his lifestyle and terms. The rest of the movie is the journey of how Yudi, as a writer and a person, learns how to end some things and start new things. Performances wise, Saif stands tall and delivers a dependable performance. One can easily recall the comfort he had in the movies Cocktail and Love Aaj Kal. Govinda, as always, is hilarious and owns every scene he is featured in. Nachcho Saaray G Phaar Kay is a song of the film that provided the perfect entertainment to the audience and credit for that goes solely to Govinda. It wouldn’t be wrong to say that if given a good script and the opportunity of outdoing himself, Govinda can still be in the race of the most entertaining actors in the industry. Kalki Koechlin is a revelation, she looks adorable, highly irritating and fits her role perfectly. Ileana is okay too; in fact, she is improving as an actress and is able to handle serious roles quite well. [embed width="620"]http://www.dailymotion.com/video/x28elez_g-phaad-ke-official-full-song-video-happy-ending-govinda-saif-ali-khan-ileana_music[/embed] Ranvir Shorey, who plays Saif’s best friend, delivered some good performance. Some of his scenes are truly amazing, especially, (spoiler alert) the scene where his wife tells him that she’s pregnant. There are some surprise packages in the movie like appearances by Kareena Kapoor and Preity Zinta. Preity has an extended role and she looks good but the fact that she is ageing is pretty obvious. The dialogues are fresh, some of which require reading between the lines, but they go along with the mood of the movie. Content wise, Happy Ending will make you feel ‘happy’ at the ‘end’ of the movie. It’s an entertaining romantic comedy with a few hummable songs. I would rate it a 3.5 out of five on the basis of decent performances, a good script, nice music and lightness of the theme. And no, it’s not based on the American TV show, Californication, which most people think it is.

A few days ago, whilst looking for a flat in Delhi, I approached a broker. With a pleasant smile on his face, the 27-year-old real estate agent ushered me into his two-room office. After I explained my requirements he asked me my name in a serious vein, as though everything depended on my reply.

“Sapan Kapoor,” I said. “This is good.” “But what is in a name?” I asked.

“Hum Muhammadans ko ghar nahi dete hein.” (We do not rent out to followers of Muhammad (pbuh))

“Dharmantaran se rashtraantaran” (Conversion of nationality through religious conversion)

“She (Kareena) is a celebrity. The youth try to emulate celebrities. They think if she can do so, why not us?”

“The youth is influenced and attracted by people like Kareena, who at the time of her marriage had claimed that she would not embrace Islam and will not drop her surname, but only add ‘Khan’. However, she is seen practicing various Muslim rituals and she is leading a dual life. She should completely embrace Islam for this dual behaviour is affecting the youth.”

“Bhule bhatke jo bhai gaye hain, unko wapas layenge. Who log apne aap nahin gaye, unko loot kar, lalach de kar le kar gaye… Abhi chor pakda gaya hai. Mera maal chor ke paas hai. Aur yeh duniya jaanti hai. Mein apna maal wapas loonga, yeh kaunsi badi baat hai?” (We will bring back our brothers who have lost their way. They did not go on their own; they were robbed; tempted into leaving… Now the thief has been caught and the world knows my belongings are with the thief. I will retrieve my belongings. So why is this such a big issue?)

“16 Hindu women who married Muslim men posing as Hindus have approached us for ghar wapsi. We have already reconverted two. One has also been remarried.”

“Do you realise you have an evil government?” “Hmm...” “Why did you guys vote for such people?”

After successfully objectifying women in the ‘100 glorious years of Indian cinema’, Bollywood now recognises its part in influencing commoners, what till now has been ‘a bad influence’. It took Bollywood God knows how many Jyoti Singhs to realise what a mess their sexist approach in cinema has caused in populous India. I feel sorry for them. I feel sorry that our neighbours are in trouble; our fellow women are not safe. But at the moment, I’m more concerned about how all this affects Pakistan. Our cinema is going through an interesting phase of its revival, but the same sexist approach has come to trouble us too. Recent series of item numbers in almost every newly released and upcoming Lollywood movie are examples of this approach. You don’t have to be a conservative to understand why an item number is offensive and insulting to a woman. It offends me because: 1. We, women, are not ‘items’ or ‘objects’; we are as human as any gender. 2. Women are not Munnis or Sheilas or Billis (their Pakistani counterpart). 3. Women are not “gutka (tobacco) available for chewing”. 4. We do not go around flaunting our “jawan (young) bodies”. [embed width="620"]http://www.dailymotion.com/video/x25fdm0_billi-song-mehwish-hayat-na-maloom-afraad_music[/embed] I am a liberal who defended Humaima Malick’s right to do the song Namak Paare – because it fitted the role of a bar dancer – as much as I defended Fawad Khan’s right to do a shirtless scene in Khoobsurat. I love Sonam Kapoor and Vidya Balan for their choice of women-centric films, like Dirty Picture. But the makers of unnecessary item numbers are those ‘hypocrite liberals’ who never consider us women as equal to them and use women as ‘objects’ to attract audiences. Some recent examples are the item songs in Pakistani movies Karachi se Lahore, Jalaibee and the not too old, Na Maloom Afraad. Karachi se Lahore released its teaser on March 21, 2015. What is sad and sickening is that the 14-second teaser only includes glimpses of Ayesha Omar as an item girl and ends with the title poster of the film. [embed width="620"]http://www.dailymotion.com/video/x2k4b69_ayesha-omar-item-song-in-movie-karachi-se-lahore_shortfilms#from=embediframe[/embed] What a great way to tease the crowd… Right? It seems that the purpose of the teaser was to tell the world that Bulbulay’s Khoobsurat has a bellybutton too. Jalaibee, on the other hand, can be defended by the fact that they showed decent clothing in an item song. Recently, Pakistani heartthrob Hamza Ali Abbasi was quoted as saying:

“I am tremendously proud of Zhalay Sarhadi for not taking her clothes off in her performance in the film. Proud of Yasir Jaswal for not going along with the emerging trend of revealing ‘item numbers’ in Pakistan films.”

“Tere aangan mein hi chamke gi meri ye shookh jawani” (Only in your backyard will my enticing youth shine)

“Gutka main hun chaba le, Baaja main hun baja” (Chew me as I am tobacco and blow me as I am a trumpet)

“The choreography is similar across most (item) songs: one semi-clad women getting leered at by several men, being objectified for the consumption of men and talked of as some kind of dish.”

“It (item song) is an unequal sexuality, where one is the subject and the other, the object. The woman is naked, the man fully dressed. There is no mutuality. The woman sells and the man consumes.”

The infamous TV show host Aamir Liaquat Hussain has decided to expand into the fashion world by launching his own lawn brand called ‘Aanchal’, becoming the second religious figure (after Junaid Jamshed) to introduce women’s clothing. [caption id="" align="alignnone" width="600"] Photo: Aanchal Lawn Facebook page[/caption] Though it is unsurprising to see public figures from various backgrounds introduce their own clothing brand, the public’s response to his new venture was rather startling. Some of the women whom I shared this news with reacted in the following ways:

“What? No way!” “OMG! I can’t stop laughing!” “I will never buy it.” “I would rather die than buy his lawn.”

“I was already doing the kurta range for men, you must be aware of that. But I have always had a large female following and I have always been a creative man. That’s all there is to it.”

Each year Hollywood and Bollywood releases movies that shake the box office and create a buzz among the audiences. Knowing the unpredictable audience, some do well while others don’t. Here are some of the movies that will hit cinemas this Eidul Fitr. Ant Man [caption id="" align="alignnone" width="407"] Photo: IMDb[/caption] This year you will bear witness the rise of a rather different kind of a Marvel Comics superhero – Ant Man. Directed by Peyton Reed, the movie stars Paul Rudd as Scott Lang, who finds a suit that gives him extra strength, but shrinks him in size of an ant. Rudd is a criminal and finding the suit gives him a chance to begin a new life of fighting crimes. Moreover, the fate of the world also hangs over his tiny shoulders. Also starring in Ant Man are Evangeline Lilly as Hope van Dyne, and Corey Stoll as Darren Cross/Yellow Jacket, the movie’s antagonist. [embed width="620"]http://www.dailymotion.com/video/x2mne60[/embed] Irrational Man [caption id="" align="alignnone" width="393"] Photo: IMDb[/caption] Emma Stone, Joaquin Phoenix, and Jamie Blackley will appear in Woody Allen’s recent production, Irrational Man. The storyline revolves around Abe Lucas (Joaquin Phoenix) who engulfs himself in a certain life crisis that compels him to question his life’s purpose and goals. With much thoughts circling in his mind, Abe meets Jill Pollard (Emma Stone) who adds some tranquillity in his life. Abe, a philosophy professor, easily entangles in existential issues while Jill, who is also his student, is the only person who can understand Abe’s predicaments. This is one mystery drama – with a touch of romance and philosophy – you do not want to miss if you are into philosophical stories. With Stone in the cast on this philosophically charged movie, Irrational Man might turn out to be a good watch. [embed width="620"]http://www.dailymotion.com/video/x2ph6ye[/embed] Mr Holmes [caption id="" align="alignnone" width="422"] Photo: IMDb[/caption] Any movie starring Ian McKellen – who plays the role of Sherlock Holmes – is bound to be an interesting watch because of his years of acting experience and because of the fact that he is one of the finest actors Hollywood has ever produced. This might be a delight for all Holmes’ fans for McKellen will add much maturity and charisma in this character. The story will take viewers to 1947, when Sherlock Holmes, 93, is living a peaceful post-retirement life in Sussex. Mr Holmes has a different story to tell, different from the previous Sherlock Holmes movies because of the absence of Mr Watson, Holmes’ trusty sidekick and companion. However, Watson does something that compels Holmes to travel to Japan and various other places to find answers to the questions connected to a case Holmes wishes to solve. Viewers will see flashbacks of Holmes’ past that will reconnect the dots. Watson might be in those flashbacks to add more mystery into Holmes’ present life in 1947. Bill Condon (director of the Twilight Saga: Breaking Dawn Part 1 and 2, and Dreamgirls) is the director and brains behind Mr Holmes which is destined to do well. This is simply because of McKellen’s lead role and because viewers get to see more introspection and dialogue – and you can bet that when McKellen speaks, the audience listens. [embed width="620"]http://www.dailymotion.com/video/x2wuxqc_mr-holmes-official-trailer-2015_shortfilms[/embed] Bajrangi Bhaijaan [caption id="" align="alignnone" width="498"] Photo: Bajrangi Bhaijaan Facebook page[/caption] Each year, Bollywood releases a Salman Khan movie on Eid that smashes box office records. This year, Salman will be playing the role of Pavan Kumar Chaturvedi and Bajrangi Bhaijaan in Bajrangi Bhaijaan. Some reports claim that Salman is playing a double role. The story connects with Pakistan as Bhaijaan meets a mute girl from Pakistan who is lost in India and cannot find her way back. Bhaijaan takes the responsibility to take the girl back to her country. Also starring the movie is Kareena Kapoor as Rasika. The anxiously-waited movie is directed by Kabir Khan (Kabul Express, New York) and is produced by Salman Khan and Rockline Venkatesh. The movie is already surrounding controversy by Hindu extremist groups who are opposing its release, and not to forget the case Amjab Sabri has filed against Adnan Sami for remaking one of their qawwalis. Whatever the case is, Bajrangi Bhaijaan will become a hit because of Salman’s huge fan following in the subcontinent. We just hope it isn’t banned from screening in Pakistan. [embed width="620"]http://www.dailymotion.com/video/x2rtqx9[/embed] Pixels [caption id="" align="alignnone" width="416"] Photo: IMDb[/caption] Adam Sandler will be appearing with his comical expressions in Pixels, a comedy movie with a touch of sci-fi produced by Columbia Pictures. The movie stars Sandler as Sam Brenner, Kevin James as President Will Cooper, Josh Gad as Ludlow Lamonsoff, the infamous Peter Dinklage as Eddie Plant, and Ashley Benson as Lady Lisa. The movie is an action, comedy and sci-fi animation movie in which viewers will relive the classic arcade games of the past as they come to life to invade humans. The movie begins in 1982 when NASA sends a shuttle into orbit in search of extra-terrestrial life. Enclosed in the shuttle are items, one of them is a video of all classic arcade games the humans have created including Centipede, Donkey Kong, and PacMan. Aliens comprehend it as a message of war and use these games to create their weapons to attack Earth. To save Earth, President Cooper asks his old friend, Sam to assemble a team and defeat these games. Will he be able to save Earth? Who will be part of his team? And what inventive ways will he use, are questions that will certainly increase your curiosity. Directed by Chris Columbus (director of Home Alone 1 and 2, Mrs Doubtfire, Fantastic Four), this is one movie will definitely take us on a trip to our arcade days. [embed width="620"]http://www.dailymotion.com/video/x2jtmss[/embed] Although all these movies have some special attribute attached to them, I am looking forward to the release of Mr Holmes, and yes, all because of watching McKellen in a role which he has never performed before and a role which, in my opinion, he was destined to play in a movie.

I have to admit, I went to watch Bajrangi Bhaijaan (BB) with a lot of prejudice. I am not a big fan of Kabir Khan and have not liked Kareena Kapoor’s acting in any other movie than Jab We Met. I am not a Salman Khan fan either and despite that, I watch all his Eid releases on the first day. [embed width="620"]http://www.dailymotion.com/video/x2rtqx9[/embed] I had four hypotheses before going to the theatre and I had made an outline of the review I was going to write. Generally it’s a set template for a Kabir and Salman film. Nonetheless, my predetermined conclusion of BB being a mediocre film was proven wrong; it is far from a mediocre film. But first, the hypotheses. Kareena Kapoor will be unnecessary in the film – proven to be true [caption id="" align="alignnone" width="599"] Photo: Bajrangi Bhaijaan Facebook page[/caption] Not just Kareena, the entire subplot of Salman’s love interest was completely unnecessary. In the first half, a good 20 minutes were spent on establishing the love story between Salman and Kareena. As the film lasted 163 minutes, cutting 15 minutes and a song could have made the edit sharper and more gripping. The role could have been played by any actress. Salman could have been a married or single man in the film. It would not have had any impact on the final outcome. Nawazuddin Siddiqui will be brilliant – proven to be true And boy was he fantastic. His introductory sequence is a straight lift from Pakistan’s very own Chaand Nawab, and as it turns out, his character is actually called Chaand Nawab. Nawaz comes on screen only in the second half of the movie and takes the burden of carrying the film on his gifted shoulders. His chemistry with Salman is something seen very rarely between male leads of a film. Immaculately timed, comical, perfect body language, and expressive eyes. I am not going to say more, but if someone is selling t-shirts saying “I heart Nawazuddin Siddiqui”, I am ready to send my credit card details. Salman Khan will not be able to emote as per the requirements of the role – partially proven to be true. [caption id="" align="alignnone" width="595"] Photo: Bajrangi Bhaijaan Facebook page[/caption] Salman as an actor has limitations, we all know that. But have those precincts ever made any difference? No. Salman is not a method actor. He will never be Nasseerudin Shah or Aamir Khan. I only watch Salman’s movies to see whether he performed better than his previous films or not. In BB, however, the actor has put in a genuine effort to emote and get into the skin of the role. This is one of the best performances of bhai’s career, if not the best. His demeanour as a simple villager is at point and his performance towards the second half of the film is extraordinary. He has a very powerful scene in the first half at a brothel, where he struggled to convince on the emotions, but still did better than his previous films. BB has no over the top action sequences, choreography, shirtless scenes, or romantic songs. It is heavily dependent on the lead actor. Funnily enough, despite all the limitations, Salman has succeeded. I was unable to picture any other actor playing Bajrangi. BB did not need an actor, it needed Salman Khan, the star, to deliver and so he did. The good thing is that Salman is not the only superstar in the film. The other is Harshaali Malhotra, the child playing Shahida; very cute, charming, and convincing. It was a challenging role as she plays a mute girl, and she really showed her competence despite the presence of some big names in the film. [caption id="" align="alignnone" width="400"] Photo: Bajrangi Bhaijaan Facebook page[/caption] Kabir Khan is just a glorified director, slightly more intelligent than Farah Khan – proven to be wrong This is where I was completely wrong. The problem I have had with other Kabir films is that they were made on the pretence of being intelligent and logical social dramas, which in reality they were not. Be it New York or Ek Tha Tiger, they were more intellectualt than Farah Khan, Prabhudeva and Rohit Shetty films, which made the masses (read Salman Khan fans) feel that they are watching intellectual cinema. This strategy resulted in a big commercial success for Kabir, but this still does not mean that these films were good. BB is different. Kabir has been vigilant about sense and aesthetics, rather than just looking for a way to appeal to the masses. This could be a transition for Kabir, from a successful director to a good director. He has been helped a great deal by Vijayendra Prasad’s story and a capable production design team headed by Rajnish Hedao. Prasad has brought an original story with a lot of room to attract cine-goers. Hedao’s team – well known for PK, Rockstar and 3 Idiots – already has vast experience of multi-location shoots. BB spreads across various cities and weather changes, and keeping this in mind, production design and art direction is always tough for such films. Add to it the complexity of showing Pakistan without being in Pakistan. Credit goes to Kabir for utilising the resources at hand in the best possible way. I also feel that Kabir should be applauded for getting the best out of the cameo appearances by different actors. For instance, Om Puri in a beautiful warm sequence, Adnan Sami Khan as an exuberant qawwal, the actor playing a Pakistan army officer at the border and many others in small roles. [caption id="" align="alignnone" width="599"] Photo: Bajrangi Bhaijaan Facebook page[/caption] Lastly, Kabir has done a remarkable job in treating the screenplay the way it deserves to be treated. He knew when to take creative liberty in the best interest of the film (armies of both countries being lenient on borders etc.) and knew when to make things look realistic (tunnels at the border, Samjhauta express, Shahid Afridi etc.). He could have done better with the duration of the climax though, by eliminating some unnecessary emotional manipulations. Bajrangi Bhaijaan is not an anti-Pakistan film. The filmmakers have tried to be as reasonable as possible without ruining the story requirements. They have shown good and bad on both sides of the border. The film also touched upon the religious divide and has shown Muslims as the more accommodating amongst both the religions. What it does communicate strongly is the secular message of modern India. It’s a possibility that it will be a lesser commercial success than Kick or Ek Tha Tiger. That being said, Bajrangi Bhaijaan is not a typical Salman Khan film. It is not a typical Kabir Khan film. But is definitely worth watching.

Over the past few years, Pakistan has witnessed a boom in its film and drama industry. This has come as a blessing for most young and struggling actors. Previously, our industry had a handful of skilled actors, the same faces, and barely any room for new talent, which proved to be quite mundane for the audience. Due to the mass awareness and globalisation, we’ve witnessed the mushrooming of numerous sitcoms starring new and fresh faces, such as Mawra Hocane, Osman Khalid Butt, Hareem Farooq, Adeel Hussain and the list goes on. It’s rather refreshing to see that directors and producers have taken it upon themselves to cast novel talent. At the same time, it’s a bit surprising that we still tend to overlook our local talent when it comes to certain brands. Adverts such as the Head and Shoulders one starring the infamous Saif Ali Khan and Kareena Kapoor and the Pantene ad starring Katrina Kaif run repeatedly on air. [embed width="620"]http://www.dailymotion.com/video/x233j67_karina-kapoor-and-saif-ali-khan-in-head-nd-shoulder-tvc_tv[/embed] [embed width="620"]http://www.dailymotion.com/video/x2isx2f[/embed] But the question is – why is it necessary to hire talent from international industries when our own industry has so much potential? Are our actors not talented enough or is it that their face won’t be commercial enough to rein in the success these brands are looking for? Not only is it unfair for our aspiring actors, but it’s also demoralising and demeaning for our industry. In essence, it sends out a message to our local actors that they are not good enough to be casted in local adverts, even though our actors have definitely stepped their game up and deserve every chance and right to be cast in such adverts. I could think of alternative actors who could take Saif Ali Khan’s and Kareena Kapoor’s place in a heartbeat. We’re quick to jump to accusations and abuses when it comes to banning certain movies, yet those same actors are the stars of certain adverts. In an attempt to stand up for our country, we chose to ban Saif Ali Khan’s movies in Pakistan, yet air his commercials on every channel, every hour – why the hypocrisy? We tend to place Bollywood actors on pedestals, and if one wants to do that, they have all the right to do it, but let’s not do it at the expense of our own actors and our industry. Maybe it’s time to change our star struck mind-set and give our talent the rights and opportunities they deserve.

Akshay Kumar is one of the most loved and sought after celebrity in Bollywood and this is why his movies do exceptionally well at the box office, irrespective of their script, subject, direction and content. Kumar paired with Prabhu Deva is a lethal combination, substantiated by 2012’s block buster Rowdy Rathore. This is why the audiences were desperately waiting for the Kumar starrer Singh is Bliing. [embed width="620"]http://www.dailymotion.com/video/x327onh_singh-is-bliing-hd-hindi-movie-trailer-2015-akshay-kumar_shortfilms[/embed] Kumar’s fans wondered if Singh is Bliing will be a blockbuster at the box office like his previous films? But will this movie be as entertaining as his previous endeavours? [caption id="" align="alignnone" width="600"] Photo: Singh is Bliing Facebook page[/caption] If you are too big of a Kumar fan, caution is advised before reading further, because even Kumar couldn't save Singh Is Bliing from doom. Singh is Bliing is about Raftaar Singh (Kumar) who lives in Bassi Patna, Punjab. Raftaar has a nonchalant attitude towards life but has a heart of gold. Raftaar’s father gives him two options; either marry his friend’s daughter, an overweight Sweety or work under his friend’s supervision in Goa. Raftaar picks the second option and leaves for Goa, where he meets Sara (Amy Jackson), daughter of a ‘mafia king’. Mark (Kay Kay Menon), a deranged thug, is thirsty of vengeance from Sara for she offended him in the past. The rest of the movie is hoopla of these very circumstances. No brownie points for guessing what happens along the way, can’t be called a Bollywood movie without a typical love story, can it? Insanity prevails throughout the movie without an ounce of innovation, except Kumar’s energetic Bhangra moves, of course. [caption id="" align="alignnone" width="600"] Singh is Bliing Facebook page[/caption] [caption id="" align="alignnone" width="508"] Photo: Singh is Bliing Facebook page[/caption] Amy Jackson doesn’t have dialogues in Hindi, none at all, but she manages to leave a mark. Her action sequences are very well executed. Lara Dutta plays a small role in the film, but looks breath taking in every shot, even in ghastly outfits. Menon is one of the finest talents in Bollywood but he is literally wasted in Singh is Bliing, the same way he was wasted in Drona. After Haider and Rahasya, this performance was a major let down from Menon. Don’t know if we should blame Menon or the script for it. The 54-year-old Rati Agnihotri plays Kumar’s mother’s role in the film and does justice to her role. Kareena Kapoor, Prabhu Deva and Sunny Leone are seen in cameo performances. Singh is Bliing is amongst those movies whose performance, script and logic don’t make any sense and perhaps are also not needed. Why? Because it’s supposed to be brainless comedy. Kumar performs all the absurd activities suavely, which is why the audience watches it despite its idiocy. [caption id="" align="alignnone" width="600"] Singh Is Bliing Facebook page[/caption] Prabhu Deva’s previous release was Action Jackson, which didn’t do well at the box office either. If Deva wants to keep making such senseless movies, he can perhaps cast only big stars, as only star-power can (perhaps) save such ridiculous movies from drowning. I was hoping may be the music of the film can help it from drowning but its not applause-worthy either, even though it suits the genre of the film. Singh Is Bliing is an attempt at slapstick humour and glorifying Singh-ness, but fails miserably. Those who are thinking it would be something similar or close to Singh is King – please refrain. The movie might just do well with the masses who don’t intend to exercise a single brain muscle. Those who intend to apply logic while watching movies, don’t bother. I would rate Singh Is Bliing 1.5 out of five.

2015 was a mixed bag of a year for Bollywood. On one hand, we saw a lot of new-age filmmakers come up with some really off-beat stuff, while on the other, we were subjected to some same old, regressive, masala films. The classic confusion that every movie critic faces in picking the top films of the year is whether to go with flicks that have Box Office tills ringing or go with movies that set one’s own heart fluttering. I have simply avoided the whole dilemma by including both. So without any further ado, here are the top five popular movies of the year: 1. Tanu Weds Manu Returns: Banno tera swagger is the sexiest! As the old age saying goes,

“Marriages are made in heaven, but so are thunder and lightening.”

“Dil ka bhanwar kahe sun saathiya, chup na dupatte me tu o chhaliyaa”

The recently released Bollywood movie Airlift, based on the evacuation of Indians residing in Kuwait during the Gulf War of 1990, has won much acclaim in both India and Pakistan. Rightfully so, for its brilliant cinematography, outstanding performances by all the artists (especially Akshay Kumar who has steered away from typically playing romantic comedy or action roles) and its excellent screenplay. The tragic scenario of a war zone and how it can take away everything you have is depicted in a heart-rending manner, along with how man’s survival skills are put to the test. The apathy of many politicians and bureaucrats, as is expected in our part of the world even in times of such dire crisis, has been highlighted very well. India’s Ministry of External Affairs has issued a statement to the effect that this part of the film is untrue, even though the party in power back then was different from the current one as some critics have pointed out as well. The film also demonstrates how such situations ignite the sensitive or empathetic side of some people, not seen in them earlier. As an Indian, I must say that one of the Indian things that many Pakistanis, along with many other South Asians, do identify with is Bollywood. I remember back in 2003, I had gone with my family for a trip to Mauritius. While waiting in the lounge, we noticed Akshay Khanna there too, as did several others in the lounge. Interestingly, one of India’s pharmaceutical giants Mr Yusuf Hamied who runs the company Cipla was also present there. My father and I decided to take a stroll in the airport, as our flight was delayed and we stumbled upon a young Pakistani who asked us if there was any Bollywood hero at the airport, for he had heard something to that effect. I mistakenly told him that Akshay Kumar instead of Akshay Khanna was in the airline lounge. He thanked me and rushed to procure his autograph Later in 2006 some students from the Lahore Grammar School visited my school in Delhi (Modern School Vasant Vihar) in an exchange programme and even attended our student-organised farewell party for the batch that was to graduate. They danced to Bollywood songs, mouthing the lyrics with utmost ease. These instances constituted my initial exposition to the level of popularity that Bollywood enjoys in Pakistan. Later I learnt that Bollywood actresses such as Juhi Chawla and Kareena Kapoor had even done Pakistani television advertisements. Yes, Bollywood, like any other film industry, has produced the trashiest of films. Personally, I regret having watched the likes of Jhoom Barabar Jhoom and Ek Deewana Tha, but it has also produced many excellent films such as classics and other critically acclaimed films like Airlift. Apart from this, it has produced other light films that are fun to watch and overall aren’t bad at all. Bollywood has also been a symbol of Indian pluralism, even more than our cricket team. It has more appeal across the gender divide and provides opportunity to Anglo-Indians, such as Barry John, India’s tiny Jewish minority, those from certain provinces in India’s north-east where cricket isn’t particularly popular, for instance Danny Dengzoppa and even the Indians who are inherently Chinese, like Chang. A few Bollywood films have had very jingoistic or derogatory remarks towards Pakistanis as people, which is completely wrong. However, in most cases, the expression of a patriotic Indian sentiment and the presentation of an Indian narrative (be it in war movies or even any other genre), while being very critical of the Pakistani establishment, doesn’t translate into bigotry for the average Pakistani. This can be seen in movies such as Border which shows the hero saluting both the Indian and Pakistani flags and wishing for peace to prevail, as well as Gadar which shows the protagonist as willing to say ‘Pakistan Zindabad’ (but refusing to say ‘Hindustan Murdabad’). This movie also presents a Pakistani Muslim friend of his being of great help. Even the movie Phantom features Pakistani Muslims helping Indians in fighting terrorism without any incentives. Main Hoon Na showed Indian security forces combat Indian jingoists obstructing a peace initiative with Pakistan. Besides, many other movies like English Vinglish, Namaste London, London Dreams, Goal and several others have showcased friendships between those hailing from India and Pakistan among those settled overseas. The movies Filmistaan and Kya Dilli Kya Lahore have focused on the theme of peace and friendship between Indians and Pakistanis and both the movies are absolutely brilliant. Bajrangi Bhaijan, in fact, went to the other extreme in terms of trying to convince Indian Hindus to abandon any form of radicalism and embrace peace (overlooking the biases that it can subtly feed in Pakistani/non-Indian audiences) by exaggerating every practising Hindu character in India as casteist and Islamophobic. As a Hindu, this made me feel somewhat uncomfortable, although I know that the intention was not to offend. Equally, I must also emphasize that the Pakistani film Khuda ke Liye was highly acclaimed in India. I myself have watched that movie four times over, in spite of my reservations over some dialogues like one wherein the innocent Pakistani musician on being asked by an American official why all terrorists are Muslims even if the vice versa isn’t true, instead of rebutting the fallacious notion of terrorism being a Muslim monopoly, further goes on to describe all Muslims globally as a nation. And that too, he describes Muslims as being the only nation that has been subjected to injustice, as if no non-Muslim has ever faced injustice anywhere and as if to rationalize to a certain extent, though certainly not justified, terrorism. However, on the whole, the film offers a brilliant take against terrorism and religious autocracy. I even made it a point to show it to a devout Muslim gentleman who is an alumnus of the Deoband Madrasa and who comes to my home to teach me Urdu (a language that I wish to learn out of sheer interest), and he loved the movie overall too. Though, on the whole, the film offers a brilliant take against terrorism and religious autocracy. I even made it a point to show it to a devout Muslim gentleman who is an alumnus of the Deoband Madrasa and who comes to my home to teach me Urdu (a language that I wish to learn out of sheer interest), and he loved the movie overall too. Ramchand Pakistani and Bol were also acclaimed in India and again, rightly so in my opinion. I personally found the Pakistani movie Shararat (2003) pretty decent. From Pakistan, more than films, television serials have become a talking point in India and Zindagi, a channel showcasing Pakistani serials, has been a massive hit, as have been some serials in earlier times too. Pakistani comedians such as Shakeel Siddiqui and Umer Shareef have also won the hearts of many Indians. These films and serials have played a positive role in highlighting our similarities in leading day-to-day lives and dispelling prejudices about ‘the other’. For instance, a fellow Indian who had never travelled abroad and who didn’t go to a very elite school once related an incident to me. He saw a certain Pakistani serial depicting a jeans-wearing, married, working Pakistani woman with male friends which he had thought of as unimaginable, but the serial changed his perception for the better. Personally, I am not very optimistic about dialogue between the governments of India and Pakistan until some structural changes take place in governance patterns so that horrendous occurrences like the militant attacks at Gurdaspur and Pathankot do not keep recurring. But I do believe that person-to-person contact and cultural exchanges must be allowed to continue, as far as possible, for a brighter future. There are those creating obstacles in the same, like the Shiv Sena in India, but I believe that their goons do not represent the spirit of Mumbai. The spirit of Mumbai is better represented by the many Mumbaikars crowd-funding the medical treatment in a Mumbai hospital of a Pakistani girl Saba suffering from the Wilson’s disease. Similar humanity was exhibited by the Edhi Foundation in Pakistan, which took care of the disabled Indian girl Geeta. She was left behind in Pakistan and this particular Pakistani trust even constructed a Hindu temple for her. And yes, there’s also the Burney trust, which paid the ransom to Somali pirates for the release of Indians In fact, even in the context of the relatively recent controversy about Ghulam Ali’s concert; while the recent actions by Shiv Sena are undoubtedly condemnable, why overlook his numerous concerts in India over the years, or an invitation for a concert in Delhi by Chief Minister Arvind Kejriwal and Prime Minister Narendra Modi meeting him? Although I am not an uncritical admirer of Modi, I would like to point out his victory in the national elections with a vote-share of less than 40 per cent was a result of a very justifiable anti-incumbency sentiment. This was a result of Indians being upset over the increasing inflation and unemployment, coupled with him portraying an image of embracing religious pluralism, leading even a sizable number of Muslims to vote for him. However, over 60 per cent of Indians, irrespective of religion, did not vote for him but were not united on an alternative. This also reminds me of how Shiv Sainiks’ opposition to the movie My Name is Khan, owing to Shah Rukh Khan’s remark on Pakistani cricketers vis-à-vis the Indian Premier League, didn’t lead most Indians to boycott the film. The boycott calls from sections of the Hindu right for Haider and PK hardly had much impact either, though I appreciate them not resorting to vandalism on these occasions. My name is Khan proved to be a blockbuster, just like Indian films continue to be popular in Pakistan, despite the rants of some extremists. And yes, in this regard, the official ban of Haider in Pakistan came as a shock to me. It was screened in India peacefully, despite being very critical of human rights violations by rogue elements in the Indian security forces within Kashmir, which certainly deserve condemnation. Similar allegations exist regarding Pakistani security forces in Balochistan, levelled by the very same international human rights organisations that level them for their Indian counterparts. Believing only what we would like to in either case would be sheer confirmation bias. The film Haider, while primarily being critical of the Indian state machinery, also made some passing references critical of Pakistani policies, which led to its ban in Pakistan, but the criticism of those Pakistani policies is indeed genuinely advanced by Kashmiris on both sides of the LoC. I, for one, like very many other Indians, am a fan of Atif Aslam. The memory of a night in February 2008 will remain amongst my most pleasant ones. I had attended a certain concert of his in Ahmedabad with college friends. I am indeed glad Bollywood gave Rahat Fateh Ali Khan, Ali Zafar and Fawad Khan a chance to showcase their talent. Ali Zafar won me over when he was moved to tears over a question put forth to him. He was asked about the love he received from the people of India and Pakistan and what he makes of the hostility between the two countries. He gave a fitting response to a Pakistani actor when asked why he works in an enemy country. His reply is indeed worth pondering over, which was we should strive for less bloodshed and more music. Yes, indeed.