Why do the oldies want to return after their successful first innings?
Today with Grand Masti rocking the audiences in multiplexes in fashionable, hi-ticket sections of metro cities, sex comedies of this regressive, libidinous, racy, bawdy kind — surprisingly green lighted by the censors — have gone legit and been accepted as another fun form of mass entertainment.
The raging controversy over India’s Oscar entry.
Bollywood’s warring hotties announce a cease-fire, ending several silly, messy and childish spats played out in public. Is it for real, or Oscar-winning performances for self-publicity?
The pressures and challenges of providing more thrilling and exciting content than the first is no joke.
The score card on directorial seconds
Who is to blame when a film flops?
What is behind our fascination with horror films?
Touch or eye-to-eye bonding can never be replaced by silly, coded, corny, cryptic SMS —condensed tight and weirdly worded.
Indian society, post-globalisation may be wanting to make that critical, new-age, paradigm shift regarding morality, but still feel distinctly uncomfortable while discussing anything to do with sex.
Things are a bit different in the West. A recent report identifies five distinct mother categories: The Perfectionist; the Unpredictable; the Me first; the Complete; and the one that is winning, the Best Friend.
Perhaps more than any other film-maker, Yash Raj Chopra (Dhool Ka Phool to Daag, Kabhie Kabhie, Silsila and his last Jab Tak Hai
Parsing the raging controversy unleashed by Girish Karnad’s broadsides against V.S. Naipaul and the revered Gurudev.
Is Bollywood dumb, lazy or plain indifferent to physical or psychological differences and uses them as a convenient soft target for laughs or tears?
Happy everafter in holy matrimony, maybe. But sexy starlets divorce their fans when they hitch up.
Why do pop stars, movie divas and sports hunks drive us nuts?
Suddenly the traditional boy-meets-girl formula, accompanied by the attendant melodramatic hi-jinx, has given way to some semblance of realism in subject, story-telling and performance.
Are these films really the new cinema, worthy of the hype and celebration and the new directors really the new stars and trail-blazers offering pulsating, exciting, no-holds-barred, creative chutzpah that separates the real from the fluff?
We live in a cool, informal and let-it-all-hang-out-environment. Nothing is sacrosanct and irreverence towards buttoned-down conventions and established norms is the new popular mantra.
Sure, Bollywood is on the rise, but as a global force that instantly demands and gets respect, awe, admiration and attention, sorry folks, Hollywood is the real thing.