Once Upon a Time in Mumbaai Again
ADVT.
ADVT.
Wednesday, 31 July 2013
Rashami Desai gets mobbed at Khajuraho
Rashami Desai gets mobbed at Khajuraho
Rashami Desai was recently in Khajuraho for a friend's wedding. She took a flight to Bhopal and then it was an eight-hour road journey thanks to the bad condition of the roads
When the TV actress finally reached Khajuraho she was exhausted. But she had to keep up appearances at the wedding reception as all the guests made a beeline for her.
She says, `At one point, I thought the stage would break as there were so many people on the dais with the bridal couple
When the TV actress finally reached Khajuraho she was exhausted. But she had to keep up appearances at the wedding reception as all the guests made a beeline for her.
She says, `At one point, I thought the stage would break as there were so many people on the dais with the bridal couple
Is Randeep doing a Charles Sobhraj here?
Is Randeep doing a Charles Sobhraj here?
While Randeep Hooda calls his next film a biopic on Charles Sobhraj, producer Pooja Bhatt argues otherwise
Randeep Hooda may have gone to town talking about his upcoming film - which he says is a biopic of Charles Sobhraj. But the film's producer Pooja Bhatt has us in for a mighty surprise after claiming her project is not a biopic at all.
While she accepts that Randeep's character in the film is called Charles, she insisted that the basic premise has nothing to do with the serial conman.
Even when the film was announced, it was widely reported to be a biopic on Sobhraj. Even a while back, Adil Hussain had told a correspondent from this paper that he was to play the cop, Amod Kanth, who had arrested Sobhraj after he escaped from the Tihar Jail. Then, why is Bhatt suddenly claiming otherwise?
Randeep Hooda may have gone to town talking about his upcoming film - which he says is a biopic of Charles Sobhraj. But the film's producer Pooja Bhatt has us in for a mighty surprise after claiming her project is not a biopic at all.
While she accepts that Randeep's character in the film is called Charles, she insisted that the basic premise has nothing to do with the serial conman.
Even when the film was announced, it was widely reported to be a biopic on Sobhraj. Even a while back, Adil Hussain had told a correspondent from this paper that he was to play the cop, Amod Kanth, who had arrested Sobhraj after he escaped from the Tihar Jail. Then, why is Bhatt suddenly claiming otherwise?
The director of the film, Prawaal Raman too seems to be toeing his producer's line. In a recent interview, he stated that the film was not Sobhraj's biopic and that the narrative was from Kanth's viewpoint.
A source from the film's sets in Udaipur, where Randeep and co-star Richa Chadda are currently shooting, says, `From whatever portions we have shot, it is clear that the film has resemblances to Sobhraj's life. According to the script, we will try and portray certain aspects from his romantic relationships as well.`
Says Bhatt, `It is not Sobhraj's biopic. The entire film focusses on his infamous jailbreak. The episode is part of the public domain and I purchased the rights to the story from the then-Delhi DCP, Kanth.`
On why his lead actor claimed the film was a biopic in 'No time for love' (HitList, July 16), Bhatt argues, `An actor cannot be the spokesperson for a director or producer.
Randeep's character is called Charles but we are going to put a disclaimer in the beginning about the film being fictional. I cannot clear each and every report that comes out and I am fine with any confusion on whether it is biopic or not.`
Courtesy: Mid-Day.com
I'm shocked, We welcome a Porn Star and frown at India's own daughter: Poonam
I'm shocked, We welcome a Porn Star and frown at India's own daughter: Poonam
Chronic shocker Poonam Pandey is now in shock. A political party has been pulling down the posters of her debut film Nasha.
Poonam is a little hurt. `This has hurt me. I don't normally allow myself to get affected. But I never expected I'd be targeted this way for my first film. It has made me nervous.
I knew I wouldn't be welcomed with open arms into cinema. I've no godfather, no support from the industry. But I didn't expect to be welcomed in this way. What have I done that is so scandalous?`
Tongue-in-cheek, Poonam lashes out at the hypocrisy of showbiz. `I don't think I've ever crossed limits. I've always said more than I've done. I've seen so many posters and hoardings that are far more suggestive than mine. My posters have nothing scandalous in them. I haven't shown my private parts. `
Poonam is a little hurt. `This has hurt me. I don't normally allow myself to get affected. But I never expected I'd be targeted this way for my first film. It has made me nervous.
I knew I wouldn't be welcomed with open arms into cinema. I've no godfather, no support from the industry. But I didn't expect to be welcomed in this way. What have I done that is so scandalous?`
Tongue-in-cheek, Poonam lashes out at the hypocrisy of showbiz. `I don't think I've ever crossed limits. I've always said more than I've done. I've seen so many posters and hoardings that are far more suggestive than mine. My posters have nothing scandalous in them. I haven't shown my private parts. `
Poonam admits she is nervous because of the negative attention. `People in this country give so much respect to a hardcore porn actress from abroad. Whereas I have never done anything that can be considered pornographic.
Mere jaisi bechari si lakdi ko target kiya jaa rahi hai. I have never crossed limits. Nasha is not a porn film. It's a proper mainstream Hindi film. Of course since I star in it there's skin show. But that apart there is a lot to take away from the film. `
Poonam feels targeted. `Why me? I just feel some elements are trying to cash in on my popularity.
The doughty devil-may-care Mumbai girl maintains the image and the individual are the same. `What you see and read of me on the internet is what I am. It isn't as if me and my team sat down and scripted an entirely different Poonam Pandey for the public. Main aisi hi hoon. It isn't as if I become a different person at home. To my parent's dismay, I am the same at home and in public. `
She laughs heartily. `My parents don't like the way I conduct myself. Though I've been born and brought up in Mumbai, we're from a conservative Brahmin family. My behaviour is quite shocking to my family. Lekin main kya karoon? This is the way I am. `
Poonam admits there is a team working on her audacious image. `But as far twitter is concerned I deal with all the questions, controversies and crises all by myself. I like to stay connected to the world on twitter. Mere ko pataa chalta hai ke log mere bare mein kya bol raha hai. `
Poonam's journey into being an internet icon began when during the 2011 World Cup she spunkily vowed to streak if India won.
Recalling her initiation into super-notoriety Poonam laughs, `That was quite something. I never expected to get so much attention for it. That incident brought me into the limelight. But it went out of hand. I had 20-25 criminal cases against me.
It took me a huge amount of effort to extricate myself from all the trouble. But you know what? It was worth it. That one incident got me more attention than I ever imagined. `
The image of the bold brassy rebel does get out of hand sometimes. `There are some people who like to attack me constantly. But it's okay. It's their way of getting attention. Most people on the internet love me and my pictures. Life is more or less fine. There are some spoilsports. `
Poonam candidly admits she loves all publicity, good or bad. `Log mere bare mein achcha bole yah bura bole lekin bole toh sahi. For me all publicity is good publicity. Unfortunately my parents don't agree. They don't approve of the things I say and do.
They are embarrassed by my image. Every day when I go home after work I wonder if they've seen or read something more about me that has upset them. It's a constant conflict. But they've now come to terms with what I am. `
Poonam says her family has given up on her. `They know, yeh ladki sudhregi nahin. You know what? I enjoy all the controversies. I love being in the news. I take everything positively. `
Post 'Chak De', Shilpa hit a low phase after big films shelved
Post 'Chak De', Shilpa hit a low phase after big films shelved
Actress Shilpa Shukla, who played Bindiya Naik in Shah Rukh Khan starrer 'Chak De India', says she was professionally devastated when her big films did not materialise post the success of the hockey movie
"There was a phase, even after 'Chak De India', when professional frustrations like films getting shelved or delayed would take a toll on me.
I had signed on many big films with big production houses but due to recession and 26/11 attacks, those projects couldn't take off," Shilpa told. "I was frustrated. But I still kept hopes, thinking I would get good offers," she added.
The 31-year-old revealed that she had got a big project offer from UTV Motion Pictures but later the part was given to an A-list actress.
Shukla said she wanted to play Boxing champion Mary Kom on silver screen but it couldn't happen and a film titled 'Junction' with Abhay Deol also could not see the light of the day. "Though I was devastated but I never left the ray of hope, kept trying.
I kept saying to myself all this will get over soon. I think the industry needs to be little more compassionate and giving," she said. Now Shilpa is looking forward to her forthcoming project 'B.A Pass' where she plays a seductress.
"There was a phase, even after 'Chak De India', when professional frustrations like films getting shelved or delayed would take a toll on me.
I had signed on many big films with big production houses but due to recession and 26/11 attacks, those projects couldn't take off," Shilpa told. "I was frustrated. But I still kept hopes, thinking I would get good offers," she added.
The 31-year-old revealed that she had got a big project offer from UTV Motion Pictures but later the part was given to an A-list actress.
Shukla said she wanted to play Boxing champion Mary Kom on silver screen but it couldn't happen and a film titled 'Junction' with Abhay Deol also could not see the light of the day. "Though I was devastated but I never left the ray of hope, kept trying.
I kept saying to myself all this will get over soon. I think the industry needs to be little more compassionate and giving," she said. Now Shilpa is looking forward to her forthcoming project 'B.A Pass' where she plays a seductress.
The film talks about male prostitution and Shilpa will be seen as Sarika Aunty in the movie. "I really wanted a role that was meaningful and had a complete life," she said. She has previously played a Pakistani school girl in 'Khamosh Pani', a hockey player in 'Chak De India', and a pickpocket in 'Bhindi Baazaar Inc'.
Debutant director Ajay Bahl's screenplay is based on Mohan Sikka's steamy short story 'Railway Aunty' from the 2009 anthology Delhi Noir. An erotic human drama, 'B.A Pass' will unfold the story of a small town boy who comes to Delhi to finish his college, but soon, is seduced by a mysterious married woman.
"The film represents a lot of people. It shows the pressure that the youth has to go through to earn quick money and while doing that they don't know what is right and wrong," she said. 'B.A Pass' releases in theatres on June 21.
Richa Chadda was asked to be 'B.A. Pass' Sarika 'Aunty' before Shilpa
Richa Chadda was asked to be 'B.A. Pass' Sarika 'Aunty' before Shilpa
Actress Shilpa Shukla was always the first choice for "B.A. Pass". Director Ajay Bahl wasn't sure if she would have taken it up after a debut like "Chak De! India", and that's when he approached Richa Chadda. But the deal was eventually sealed with Shilpa.
"I always had Shilpa in my mind, but she was established by then. Before approaching Shilpa, I approached Richa as she was raw, " Bahl told.
"At the same time, Richa was offered 'Gangs Of Wasseypur' and she told me about it. I asked her to go ahead with 'Gangs...' as it was a huge break for her. Then things fell in place and I approached Shilpa, " he added.
In between, Shipla was also appproached for "Gangs Of Wasseypur", which went on to receive critical acclaim at national and international platforms. But she chose to do "B.A. Pass".
"I always had Shilpa in my mind, but she was established by then. Before approaching Shilpa, I approached Richa as she was raw, " Bahl told.
"At the same time, Richa was offered 'Gangs Of Wasseypur' and she told me about it. I asked her to go ahead with 'Gangs...' as it was a huge break for her. Then things fell in place and I approached Shilpa, " he added.
In between, Shipla was also appproached for "Gangs Of Wasseypur", which went on to receive critical acclaim at national and international platforms. But she chose to do "B.A. Pass".
"I was offered 'Gangs Of Wasseypur', but I was not prepared at that point of time. Then eventually I did 'B.A. Pass' and Richa did 'Gangs Of Wasseypur', " she said.
Shilpa has shot several bold scenes for the movie, and admits, "I can't limit myself as an actress".
"I liked the script and I was convinced and took the challenge of this character which is completely different from me, " she said.
"B.A. Pass" is an erotic human drama, also featuring Shadab Kamal in the lead.
Presented and distributed by Bharat Shah, the movie is slated to release July 12.
What helped Shilpa Shukla to play seductress
What helped Shilpa Shukla to play seductress
"Chak De! India" fame actress Shilpa Shukla, who will be seen as a seductress in forthcoming film "B.A. Pass", says her theatre experience helped her a lot while preparing for her character in the film.
Directed by Ajay Bahl, "B.A. Pass" is said to be based on one of the stories, The Railway Aunty by Mohan Sikka, from the book "Delhi Noir". The film talks about male prostitution and Shilpa will be seen as Sarika Aunty in the movie.
"To relate (with that character) directly was difficult for me, but since we keep on doing theatre, so we have a sense of observing (others). Like somebody crossing the road or a young boy sitting in the car and an aunty driving... by watching all this we tend to construct a fictional story in our mind. So, such glimpses were there in my mind," Shilpa said here in an interview.
An erotic human drama "B.A. Pass" will unfold the story of a small town boy who comes to Delhi to finish his college, but soon he is seduced by a mysterious married woman.
Shilpa said the film is close to reality and highlights the pressure on today's youth.
Directed by Ajay Bahl, "B.A. Pass" is said to be based on one of the stories, The Railway Aunty by Mohan Sikka, from the book "Delhi Noir". The film talks about male prostitution and Shilpa will be seen as Sarika Aunty in the movie.
"To relate (with that character) directly was difficult for me, but since we keep on doing theatre, so we have a sense of observing (others). Like somebody crossing the road or a young boy sitting in the car and an aunty driving... by watching all this we tend to construct a fictional story in our mind. So, such glimpses were there in my mind," Shilpa said here in an interview.
An erotic human drama "B.A. Pass" will unfold the story of a small town boy who comes to Delhi to finish his college, but soon he is seduced by a mysterious married woman.
Shilpa said the film is close to reality and highlights the pressure on today's youth.
"We need to be sensitive specially towards youth. The film's story is of one Mukesh, but it represents a lot of people," said the actress last seen in the 2011 release "Bhindi Baazaar Inc."
"It represents the pressure that the youth has to go through to earn quick money" and while doing that "they don't come to know about right and wrong".
On being asked why she chose to make her comeback with such a bold character, Shilpa said: "I did the film because for me, it was a way of making people
Movie Review: Sonam and Dhanush shine in 'Raanjhanaa'
Movie Review: Sonam and Dhanush shine in 'Raanjhanaa'
Starring Dhanush, Sonam Kapoor, Abhay Deol, Swara Bhaskara, Mohammed Zeeshan Ayyub
Directed by Aanand L. Rai
Rating: * * * *
This enormously-enriching film about the pain of love has four heroes: Dhanush, Sonam Kapoor, A R Rahman's music and the city of Varanasi. Not necessarily in that order. But then 'orderly conduct' is hardly a given in a film about raging unrequited love.
He loves her to death. Cross his heart and hope to die. And it's their wedding day. But they're not getting married to one another. As he returns exhausted from messing up her marriage to another man, the slumbering band-baaja wallahs at his own wedding hasten awake and begin playing a wedding song wearily.
It's a brilliant defiant moment defining the contradictions and savage ironies of romantic associations.
Raanjhanaa tells us, it is not so cool to fall in love. Unless you're ready to slither on the ground for love, if the need arises.
Ever wondered why we FALL and not rise in love? Just looking at Aanand Rai's unforgettable dazzling and non-derivative take on unrequited love set amidst the bustling river-bank politics of Varanasi, we know all over again that love can kill your spirit, soul, selfesteem and finally your physical presence as well.
Directed by Aanand L. Rai
Rating: * * * *
This enormously-enriching film about the pain of love has four heroes: Dhanush, Sonam Kapoor, A R Rahman's music and the city of Varanasi. Not necessarily in that order. But then 'orderly conduct' is hardly a given in a film about raging unrequited love.
He loves her to death. Cross his heart and hope to die. And it's their wedding day. But they're not getting married to one another. As he returns exhausted from messing up her marriage to another man, the slumbering band-baaja wallahs at his own wedding hasten awake and begin playing a wedding song wearily.
It's a brilliant defiant moment defining the contradictions and savage ironies of romantic associations.
Raanjhanaa tells us, it is not so cool to fall in love. Unless you're ready to slither on the ground for love, if the need arises.
Ever wondered why we FALL and not rise in love? Just looking at Aanand Rai's unforgettable dazzling and non-derivative take on unrequited love set amidst the bustling river-bank politics of Varanasi, we know all over again that love can kill your spirit, soul, selfesteem and finally your physical presence as well.
Towards the end when the film's obsessive Majnu has lost everything, there is one of the many powerfully-written scenes where the very-talented Swara Bhaskara playing a loud aggressively besotted suitor-in-waiting tells her on-screen Soutan, `That isn't my man dying inside. My man would never be spitting blood. `
Angry, aggressive, passionate, temperamental, moody and quite simply majestic Raanjhanaa is an opulent epic seductive raging and rippling ode to love. The script (written by Himanshu Sharma) journeys from the lover-boy Kundan's childhood when he first sees his object of adoration doing her namaaz, and follows him to adulthood, much in the same way as he follows Zoya around with.
In seductive spirals of song-filled rhapsody we see Kundan pursuing his lady-love through the robust gallis and mohallahs of Varanasi.
It's a beautifully charted journey, much less foul-mouthed and belligerent than Habib Faisal's Ishaqzaade and far more mature and relevant than Ayan Mukerjee's Yeh Jawaani Hai Deewani, and made vastly enjoyable by the director's confident and unhurried control over his lover's uncontrollable passion. It's as though Rai knows that the heart is more prone to betrayal than redemption.
The film celebrates the pain of heartbrokenness. She slaps him? That's fine. He loves her all the more for it. She turns his proposal down? That's okay. He'll do it again. . . and. . . again. It's the protagonist's single-mindedness that navigates this enchanting love story through a series of circumstances that make Kundan look as brazen as they make destiny look cruel.
Throughout Kundan's self-destructive odyssey into the heart's darkest regions we are made privy into his agony and ecstacy. We know exactly how his heart beats. Maybe partly because it beats to the sound of A R Rahman's evocative songs.
We see Zoya just the way Kundan does: tall, creamy-complexioned, warm, seductive and unattainable. Dhanush as the worshipping lover-boy lets his face become the map of his heart.
So transparent are his feelings for the girl that every kind word or gesture from her brings a response of teary gratitude in his eyes.
This is not love as we see it in today's day and age. It is the kind of adoration that Radha had for Krishna. In many ways Raanjhanaa is a gender-reversed take on the Radha-Krishna myth that takes the adoring heroine-worshipping Varanasi boy through some exceptional unacceptable circumstances.
Towards the second movement of his extraordinarily well-crafted screenplay Aanand Rai takes Kundan's destiny to the Delhi University campus.
Bringing campus politics into a film about compulsive love may not seem like the easiest of marriages to implement. It is to Rai's credit that he doesn't lose hold of his characters' collective and individual destiny even while moving out of their home turf.
The characters dither, stray, falter and lose focus. The narrative never does. Rai's storytelling remains remarkable steady and pure. His affection for his characters doesn't colour his view of a rapidly-changing world where love and politics make bizarre but compatible bed-fellows.
To read the film's political overtures as an intrusion into the central romance is to interpret the life of love as being mono-chromatic. Aanand Rai's film embraces all the experiences, pain, anguish, sacrifice and selfishness of love. There is scarcely a single false note in this love liaison.
Hats off to Rai's actors for getting it right. Every performer including a bit-player like Rahul Shankliya whom the forlorn hero encounters at the river ghat, seems to have come into the picture knowing not only his or her own lines but everyone else's as well.
There is an air of unrehearsed preparedness in the way the actors pitch their characters. Dhanush's performance would go down in cinematic history as one of the most consistent and compelling portrayals of single-minded ardour.
As for Sonam Kapoor, she is a complete revelation! In a born-again performance she sparkles and shines creating a kind of sunshine-girl who is so taken up with herself that she doesn't get the chance to see what affect she has on the other until it's too late.
Specially in the last half-hour when she must play out the murky game of politics Sonam comes to grips with the very complex emotions of her character and carries the role to a very dignified and fulfilling closure.
Swara Bhaskara as Dhanush's devoted ill-treated girl-pal and Mohammed Zeeshan Ayyub as his loyal friend, once again prove themselves natural-born scenestealers.
Raanjhanaa is a very simply-told story of a love so intense durable and destructive that it hurts. The inner turbulence, tumult and tensions of the central alliance evolves from the vibrancy of Varanasi, from each fluent note of Rahman's music, and from every pore of director Aanand Rai's transparent honest passionate treatment of that much-misunderstood emotion called love.
As I look back on this deeply-satisfying film I search for flaws. And I come up with one. Would anyone every want to fall in love with a girl so selfish she allows the man who worships her to be destroyed right in front of her eyes? Is love, then, only about giving and not expecting anything in return?
If Rai's remarkable love tale seems so richly sublime and vibrant it's partly because Sonam and Dhanush have submerged themselves into their characters until we see only their love. . . rather, his love.
Now we know why we fall never rise in love.
I don't see any reason to go mad about being a star: Varun Dhawan
I don't see any reason to go mad about being a star: Varun Dhawan
He's young, cute and sought-after. However, actor Varun Dhawan who has quite a few films as well as endorsements in his kitty says that stardom is not a very exciting thing for him
He tells CS, `My life has definitely changed after entering into films. Nonetheless, I don't see any reason to go mad about being a star.
I believe in doing my own work. I am proud to be an Indian and want to deliver the best for the masses.` The actor is now working hard on his upcoming film with Nargis Fakhri and Ileana D'Cruz.
`I am practising martial arts, which I have to perform in the film, ` he says. We hope your hardwork pays off, Varun!
He tells CS, `My life has definitely changed after entering into films. Nonetheless, I don't see any reason to go mad about being a star.
I believe in doing my own work. I am proud to be an Indian and want to deliver the best for the masses.` The actor is now working hard on his upcoming film with Nargis Fakhri and Ileana D'Cruz.
`I am practising martial arts, which I have to perform in the film, ` he says. We hope your hardwork pays off, Varun!
Already? Sushant wants to go home!
Already? Sushant wants to go home!
Sushant Singh Rajput longing to meet his family and friends who reside in Patna
The long ride from Patna to Mumbai is one trip Sushant Singh Rajput is unwilling to forget. Ever since the small town lad made his mark in Bollywood, Sushant apparently has been dying to visit his hometown
Sources say he has been longing to meet his family and friends who reside in Patna.
Finally, with his upcoming film Shuddh Desi Romance, the actor could be getting a chance to meet and greet his friends and introduce his co-stars to them as well.
The long ride from Patna to Mumbai is one trip Sushant Singh Rajput is unwilling to forget. Ever since the small town lad made his mark in Bollywood, Sushant apparently has been dying to visit his hometown
Sources say he has been longing to meet his family and friends who reside in Patna.
Finally, with his upcoming film Shuddh Desi Romance, the actor could be getting a chance to meet and greet his friends and introduce his co-stars to them as well.
A source says, `Ever since his first film, Sushant wanted to meet his folk back home. He hasn't been home since a while. He even requested the makers of his debut film to arrange for a promotional event there, which didn't happen. But the producers of his next film are sending the cast including Parineeti Chopra and Vaani Kapoor to Patna.`
Sushant's friends are apparently also waiting to meet the actors. `He is hoping to spend some quality time in his native town, ` adds the source.
The film's spokesperson says, `Having come from Patna, he is emotionally tied to the city. We will take the final call soon.`
Movie Review: Don't miss 'Bhaag Milkha Bhaag' at any cost
Movie Review: Don't miss 'Bhaag Milkha Bhaag' at any cost
Starring Farhan Akhtar, Sonam Kapoor, Rebecca Breeds, Divya Dutta, Prakash Raj, Pavan Malhotra
Witten by Prasoon Joshi
Directed by Rakeysh Omprakash Mehra
Rating: * * * * *
History is created in several ways. One of them is cinema. And if Rakeysh Omprakash Mehra's Bhaag Milkha Bhaag seems like a near-flawless homage to the flying spirit of India's greatest runner it is partly because the story, so nimbly woven into a pastiche of drama emotion humour and pathos by Prasoon Joshi, is in no hurry to keep pace with the on-screen Milkha's breathless sprint.
Witten by Prasoon Joshi
Directed by Rakeysh Omprakash Mehra
Rating: * * * * *
History is created in several ways. One of them is cinema. And if Rakeysh Omprakash Mehra's Bhaag Milkha Bhaag seems like a near-flawless homage to the flying spirit of India's greatest runner it is partly because the story, so nimbly woven into a pastiche of drama emotion humour and pathos by Prasoon Joshi, is in no hurry to keep pace with the on-screen Milkha's breathless sprint.
The story of super-sprinter Milkha Singh unfolds in this exceptional bio-pic at its own volition. There's no effort here `to tell a story`, to create an impression or to whip up a dramatic storm to captivate audiences. The synergy in the storytelling seems subliminal.
Still, we the audience, fed week after week on mediocrity masquerading as cinema, are riveted to the story Milkha Singh for over 3 hours of playing-time?
How come? ! Well, to begin with it is Milkha Singh's own powerful life as India's superstar sportsperson that sweeps us into the bio-pic. Milkha was so poor he couldn't afford running shoes, and when he got them he didn't know how to run in them. When milk was offered in the army in exchange of running practice he grabbed it (the run and the milk) with both hands.
A victim of India's brutal Partition, Milkha's story was waiting to be told. Thankfully no one before Rakeysh Omprakash Mehra saw cinematic potential in Milkha's story.
If Milkha's story had to be told, the storyteller had to be a master craftsman, and one who doesn't waste space in self-congratulatory flourishes. Rakeysh Ompraksh Mehra reins in the drama.
With immense help from Prasoon Joshi, Mehra harnesses Milkha's life-story into an experience that is Pure Cinema and yet undiluted and uncompromised by the mandatory often silly illogical and idiotic semantics of mainstream commercial cinema.
The absolutely seamless editing (by P. Bharathi) is impressive. The film is very stylishly cut. But not at the cost of losing the saadgi, the innate ascetism of the sportsman-hero.
And yes, there are songs, heart-gamboling songs composed by Shankar-Ehsaan-Loy. But they are so effortlessly woven into Milkha's saga we don't see them as `song breaks`.
We see them as expressions of that innocent joy which springs out of Mehra's Milkha like milk from a cow's unconditionally nurturing udder.
And yes, this is as good a time as any to tell you, Farhan Akhtar dances the Bhangra as well as any Punjabi. Actually, he doesn't dance. He just flows with the rhythm. I've never seen any actor dance with such rhapsodic abundance. Neither have I seen any actor run like Farhan.
I don't know how fast Milka ran. But Farhan's Milkha doesn't fake it for even a second. When he runs, he really runs. When he stumbles and takes a fall we flinch and wince in our seats. Method acting? Farhan as Milkha takes us beyond that.
His body-language and emotion-expression as Milkha is so pitch-perfect (pun intended) we forget this is not the real Milkha in front of our eyes. Not since Balraj Sahni in Garam Hawa have we seen an actor vanish so effortlessly into his character. This is as real as it gets.
Farhan doesn't 'play' Milkha. The actor occupies Milkha, mind body and soul. There are episodes in this astonishingly well-structured bio-pic where Farhan's oneness with Milkha equals Ben Kingsley's empathy with Mahatma Gandhi.
In one sequence after a night of binging with a pretty Australian girl (Rebecca Breeds, pretty and amiable) Farhan stands in front of the mirror and slaps himself for messing up on the field.
Each slap makes us flinch. These are not faked slaps. Farhan takes Milkha's pain embarrassment and self-abnegation on his chin.
Mehra's is not a simple sports-to-glory tale like Chariots Of Fire. This is not just a film about a sportsperson who brought untold glory to our country.
As told by Mehra Bhaag Milkha Bhaag is the story of an individual's journey from nullity to pinnacles of success in a world where politics and violence are constant reminders of how little an individual's aspirations matter in the larger often murkier scheme.
To compare it with Paan Singh Tomar would be akin to comparing the voices of Lata Mangeshkar and Asha Bhosle.
In Prasoon Joshi's interpretation of Milkha's amazing success-story, yearning is the cornerstone to achievement.
In 1947 when India became two nations we see little Milkha (Jabtej Singh, endearing) run for his life to escape the savage butchery that snatches away almost his entire family. (Only his dear sister, played wonderfully by Divya Dutt) remains. This is the Sholay massacre without a Gabbar to rationalize the evil. As we see it, Milkha never stopped running since the trauma of Partition.
The 'run' as a metaphor of life's expedient circumstances, runs through the narrative. Mehra's storytelling moves into crucial episodes in Milkha's life unannounced. The brilliant unsparing editor P Bharathi follows no predictable pattern. Yet, the editing is not selfconsciously elusive and mystifying as it was Anurag Basu's Barfi.
Happily the screen- time is as much taken up with Milkha's record-breaking achievements on the field, as it is with vignettes from his personal life.
There is a robust heartwarming romance between Milkha and the vessel-friendly kudi Biro (Sonam Kapoor, looking prettier than ever). Writer Joshi and director Mehra invest inexpressible warmth in the protagonist's courtship scenes. We've seen this kind of love blossom on Punjab's soil before. But it it still feels special and unique.
Farhan does the rest.
He gets tremendous support from other actors, specially Divya Dutta who is incomparably sincere as Milkha's supportive sister. Don't miss the sequence between the siblings where Milkha makes his sister wear his sports blazer. It wets eyes while transporting us into the Milkha innerworld.
Pavan Malhotra as Milkha's coach is as usual, first-rate. Really, this actor should be doing a lot more work!
But then, Indian filmmakers seldom have the vision and insight that Mehra invests into almost every moment of this unforgettable tale. There are no exaggerated dramatic flourishes here, no playing to the galleries.
Unlike other period films in recent times which have conveniently and lazily resorted to antiques, artifacts and vintage songs, 1950s in Bhaag Milkha Bhaag simply and effortlessly emerges from the character and his milieu.
Binod Pradhan's camera glides across Milkha's inner and outer world searching for a meeting point between the two worlds through visuals that suggest a comfortable kinship between feelings and their geopolitical counter-point. We often see Milkha on screen in situations where his emotional world is manifested in the interaction with the people around him.
Binod Pradhan's cinematography tells it like it is. There is a complex design to the seeming simplicity of this saga of a simple Sikh who would guzzle two cans of ghee on challenge and run to the winning post on feet mauled by jealous rivals.
Who said life could ever be easy for those who aspire to fly higher than the rest? The beautiful irony of Milkha Singh's life that this consummate bio-pic captures so ably, is that he really didn't aspire to anything. He ran simply because he had to.
The rest, as they say, is history. Rakeysh Mehra looks at this life of stunning serendipity with tremendous warmth, hope and longing.
Bhaag Milkha Bhaag is the kind of cinema that doesn't tempt us to share the protagonist's life with any false hopes. We the audience are driven into a desperate urge to share Milkha's life not only because he ran fast but because he wasn't afraid to stumble, falter and fall.
Ironically this film on Milkha rarely slips up, if ever.
At one point in an under-punctuated flashback we hear Milkha confide in his sweetheart that he would like the government to declare a national holiday in his honour.
I recommend a national holiday for the entire nation to go and see Run Milkha Run. It makes the other recent high-profile acclaimed films look hopelessly inadequate.
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