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Samir Karnik, the director of Chaar Din Ki Chandni has lashed out at critics in a recent press conference. He not only abused the "critics who are not qualified to write reviews," but also threatened to beat them up.
The director, who was seen in a visibly bad mood, wonders who gives critics the permission to write when they don't have knowledge about films. "They are brainwashing people's mind and they should not be allowed to do so. They have got some personal vendetta and they should be banned."
"Saale pata nahi kaun inko critic bana deta hai. In kutton ko to likne ki ijaazat bhi nahi deni chahiye. Mere saamne aa gaye to thok dalungo saalon ko," (I don't know who authorises them to be critics. These people should not be allowed to write), he says.
He goes on to add, "We conduct press shows in a hope that critics would say nice things about our film, but it's only a false hope."
The director is also upset about the fact that some critics watch free shows of the film and still write unpleasant things about him. "From now on, I won't conduct press shows. If they want to watch, they can spend their own money. Popcorn bhi mera khaate hai, aur likhte bhi mere baare mein hain. Sharam nahi aati," (They eat my popcorn, and write against me. Aren't they ashamed?), says a fuming Karnik.
Samir Karnik has also directed Kyun! Ho Gaya Na..., Nanhe Jaisalmer, Heroes, Vaada Raha and Yamla Pagla Deewana.
Samir Karnik also doubts the veracity of award functions. He says that while Yamla Pagla Deewana was a success at box office, he didn't get a single nomination for the film. "My film was not nominated because I didn't pay money to them. Are kisko doon ye to batao. Ajeeb Ajeeb nomination hain. Kuch to de dete, ek audiography ka nomination to de dete. I swear, mujhe pata chale kisko paise dene hai, to main de daloon. Poora system, poora desh bika hua hai. (Somebody should tell me who should I give money to. They did not give me a single nomination)."
Tweeple react to Samir Karnik's comments @pvijay: Samir Karnik wonderfully epitomises the Indian mainstream film industry of today. Take a bow, dude! :)
@AnOddYellow: Did Samir Karnik even watch his own film... stop abusing critics for doing their job !
@AniGuha: Interesting point Samir Karnik makes in that video. "There is Jeeturaaj." I have been wondering too: Who is Jeeturaaj?
@MaaNey: How can someone invest money into a script like Char din ki Chandni? I can do better jokes in my sleep. Shame on you Samir Karnik!!
Sujoy Ghosh's Vidya Balan starrer Kahaani is a captivating thriller from commencement to conclusion, Vidya Balan proves her worth yet again by single handedly carrying the film forward on her firm shoulders. Stupendous, take a bow, Sujoy Ghosh, feel critics.
"Come to think of it, the Hindi film industry is branded for creating movies from a male perspective. The women's stories are not really exemplified conscientiously. But, out of the blue, the souk of women-centric flicks is fast turning out to be a bankable genre. Kahaani is a commanding story, has an authoritative central character, has several dominant and thought-provoking moments, which makes it an all-persuasive film," writes Taran Adarsh, Bollywood Hungama.
"Kahaani is a captivating recount from its commencement to conclusion. Sujoy has fashioned enough scenes around the plot that keep the viewer on the edge. Besides, fragments of tongue in cheek humor pop up when you least anticipate to liven up the solemn plot. Yet, the storyteller never deviates from the fundamental somber premise. His attempt in infusing drama and pace in the narrative makes the movie accessible to the mainstream spectators. Just one itsy bitsy snag: Had the culmination been lucidly elucidated in a more simplistic fashion for the common man to decipher, the film would have created an even stronger impact," says Adarsh.
"Kahaani is not an ordinary thrill-a-minute film about a search for a missing person. It's a lot more. Bringing a virgin vitality to the suspense drama, the film strikes a captivating balance between realism in art and the art of courting realism, without losing the entertainment quotient," writes Subhash K Jha, IANS.
"From the moment Vidya lands in Kolkata, the colour, vibrancy, bustle and jostle that are peculiar to Kolkata assail your senses. It's a claustrophobic yet liberating world of intrigue and deception. A pungent flavour of anxiety and stress qualify the narration from frame one," continues Jha.
"Goddess Durga’s analogy is central to the film’s theme and the protagonist, played flawlessly by Balan, as she sheds her vulnerabilities to draw in on her inner strength or shakti to bring the perpetrators to justice," writes Bindu Suresh Rai, Emirates 24/7.
"Kahaani is a thriller which you just cannot miss. Sujoy Ghosh goes about unraveling the mystery of Vidya Bagchi's (Vidya Balan) missing husband with such neat detailing that the trump card he reveals in the end is like a swift blow to the Solar Plexus. It catches you unawares and leaves you short of breath. Stupendous. Take a bow, Sujoy Ghosh," says Martin D'Souza, Glamsham.com.
Performances "This is indeed a favorable moment for a Hindi movie heroine, unlike in times of yore. She is being looked up to as an actor with strengths, limitations, failures and accomplishments. She is geared up to conduct experiments, equipped to explore uncharted territories. This also goes for one of the most proficient actresses of our times, Vidya Balan. The famed actress has persistently ambled the untrodden path vis-a-vis her choice of movies, Paa, Ishqiya, No One Killed Jessica, The Dirty Picture and now Kahaani...," says Adarsh.
"If, after The Dirty Picture you still needed convincing that you will miss a leading 'hero' in this one, get ready for another punch in the jaw. Once again, a 'pregnant' Vidya, ironically displays more 'male ornaments' (excuse the watering down) than most heroes. She takes on her role with power and pride. Living out of a suitcase, amongst strangers, she takes on the soul of the city. Her performance leaves you in awe of an actress, who walks through her role as easily as a stroll down Chowranghee Lane. And even that is perfected as a pregnant waddle, add to it her disheveled look and eyes dark with anguish," says Madhureeta Mukherjee, TOI.
"Balan is as usual in crackling form, but it is the array of other characters who make the film come alive. Parambrata Chatterjee is perfect as young Rana, who is half in love with Mrs Bagchi, and is her willing accomplice in breaking into offices and interrogating/charming informers. Nawazuddin plays an IB officer with gusto, abusing, smoking, throwing attitude around. Dhritiman Chatterjee, all stiff upper lip, is the IB chief (or commander in chief, we are told). My favourite though is Bob Biswas (actor Saswata Chatterjee), the moonfaced hit man masquerading as an LIC agent. All the cliches are there - the seedy motel owner, the cheerfully bumbling police officer, the smiling urchins. but used to good effect," writes Kaveree Bamzai, India Today.
"Vidya Balan’s performance will be applauded as she manages the highly intense breakdown scenes as well as the chirpy playful ones with the same ease and excellence. Her companion, assistant and committed to being obedient cop played by Parambrata Chattopadhyay is a strong contender for Best Supporting trophies and might attract curious character roles in Bollywood. Regrettably, Nawazuddin Siddique’s arrogant agent role doesn’t lend him an intimidating or even an abominable image to break into being a regular baddie in Hindi films. That said, it was refreshing that his character was consistently harsh and brash and didn’t have a hidden golden heart unlike most similar characters in other films. A special callout needs to be made for the deliciously devilish contract killer Bob Biswas played by Saswata Chatterjee (the one wearing spectacles in the top picture) who is easily the most terrifying of all in this film," writes Kunal Guha, Yahoo.
Cinematography "The cinematography is strictly average and it doesn’t really contribute or take away from any scene. The background score however blends well and that is why you can hardly distinguish it in many crucial scenes. But the Ekla Cholo Re by Amitabh Bachchan isn’t any more than a publicity stunt and doesn’t fill up your senses or anything. Hope he doesn’t use it to lull his granddaughter to sleep," adds Guha.
Direction "Sujoy, with the skills of a master storyteller, amalgamates a human story in a thriller format. There is a certain uninhibited genuineness in Sujoy's direction. Besides, the writing is outstanding [story: Sujoy Ghosh, Advaita Kala; additional screenplay: Suresh Nair, Nikhil Vyas]; one seldom witnesses such aptitude and deliberation to specifications. Without doubt, Sujoy gives it his best shot with gleaming sincerity. Positioned alongside an intimidating environment of Kolkata's tapered side streets and constricted alleyways, the setting is ahead of credence in its realism," feels Adarsh about Ghosh's direction.
"Sujoy Ghosh, whose earlier films gave us no clue of the ingenuity that he displays here with such ostensible casualness, cuts the footage with razor sharp economy, leaving no sign of the surgery involved in leaving behind scenes and putting together a tale that pays homage to Hitchcock even while it tilts its topi to the detective films of Satyajit Ray," says Jha.
Conclusion "On the whole, Kahaani works big time because Vidya Balan makes it come alive. It is several notches above the stuff we've been subjected to in the past. The movie triumphs in evoking emotions. You experience compassion, resentment, defenselessness and triumph at a variety of stages. A wonderful movie-going experience, you come out feeling a sense of pride, pleasure and fulfillment after having watched Kahaani. Just do not miss it. Hugely recommended!" concludes Adarsh.
Celebs on Kahaani
@Sophie_Choudry: #Kahaani is truly brilliant!Ammi Shotti Bolchi!So proud of @sujoy_g! Balan is outstanding.The entire cast superb!Massive congrats 2 the team
@ranvirshorey: 'Kahaani' seems to be a great way to celebrate women's day. All week. #fb
@iamsrk: @sujoy_g all the best sujoy and the team of kahaani. Korbo...lorbo....jeetbo.....inshallah allah
@Riteishd: A big day 4 my friend sujoy_g .So proud of him that his film #KAHAANI is getting critical acclaim frm all corners-A must watch this weekend.
@Tarunmansukhani: Just saw KAHAANI. If there ever was a film which is a must watch.... Then THIS IS IT!!
Tigmanshu Dhulia's Paan Singh Tomar is yet another masterstroke from a consummate raconteur. Irrfan, an actor of standing, essays the character with aplomb. However, the second half of the film is slow, feel critics.
"Paan Singh Tomar, a film helmed by Tigmanshu Dhulia, has taken a really lonooooong time to hit the screens, but despite the holdup, the film remains as pertinent and relevant in today's times as it was when Dhulia envisioned it," writes Taran Adarsh, Bollywood Hungama.
"As a cinematic experience, Tigmanshu takes us into the world of Paan Singh Tomar and enlightens us the reasons that impelled a sportsman to take law in his hands. That itself is its USP, for this is no typical vendetta fare. It is a factual account of a sportsman who brought honor to the country, but felt betrayed when he needed the country the most. In fact, Tigmanshu calls this cinematic endeavor a tribute to the sportsmen who won medals for the nation, but never got their due during the sunset of their lives. An incredible film, no doubt, but falls short of being memorable as the plot becomes another vendetta fare at some stage in the concluding reels," Adarsh adds.
"There are many such remarkable scenes in Dhulia's film -- a compelling biopic about a natural sportsman and an Indian steeplechase champion from a village in Madhya Pradesh, who upon retiring became a notorious dacoit (or a rebel as Tomar reminds us towards the beginning of the film. 'Dacoits are found in the parliament,' he says with a nearly straight face)," writes Aseem Chhabra, Rediff.
"Dhulia, who worked with Shekhar Kapur in the seminal Bandit Queen, enters the crevices of the badlands of Chambal river and makes you understand how bandits are born. But he also brings out the camaraderie of the jawans and the gentle humour of a unit are rather well brought out. The beauty of the movie is that it blends the personal with the larger social truths. Tomar may have been running in Tokyo but back home in his village, his family must suffer the same oppression and humiliation as others," writes Avijit Ghosh, TOI.
Direction "Tigmanshu Dhulia’s direction is very good. He has created the atmosphere of the village beautifully and has extracted very good work from his cast. However, the basic problem of the second half of the drama is something even his narration is not able to surmount. There’s not much scope for music (Abhishek Ray) but the songs in the background go well with the mood of the drama. Sandeep Chowta Projects’ background music is effective. Aseem Mishra’s cinematography is superb. Action scenes, composed by Kaushal-Moses, are appropriate. Sets (by Dhananjay Mondal) are nice. Aarti Bajaj’s editing is crisp," writes Komal Nahta, koimoi.com.
"An intelligent filmmaker, Tigmanshu Dhulia yet again shows his perfection at the art. He has surely created a niche for himself as a filmmaker, who adds certain elements to the film that make it believable. For instance, since the flick is set in 50s, the director puts a scene where the radio station makes a mention of a cancer-stricken Nargis Dutt. What adds to the glee is- though dragged at certain portions, the movie never loses momentum, thanks to the extremely captivating dialogues and performances," reports dailybhaskar.com.
"The division of fact and fiction becomes another vital scripting dilemma in such films. Too much reality and you sweep out the drama and the thrill. So director Dhulia sprinkles just the right amount of winning moments and even the slower sequences have something to bite on. Some of the memorable ones include Paan’s cue for love-making: luring his kids out of the house with some lemon juice to allow him enough privacy to get intimate with his wife (Mahie Gill). Then, Paan’s irrepressible gluttony that manifests itself intermittently makes for charming scenes like the one where he completes a race and instantly walks off track to attack a bunch of bananas," writes Kunal Guha for Yahoo.
Weak second half "The lone aspect that weighs the film downward is the fact that the narrative totters in the middle of the second hour, when the story doesn't really move frontward. Of course, one also comprehends that when you attempt a biopic, you have to stay true to the incidents that transpired in that person's life, but a cinematic adaptation can exclude a few episodes that aren't too imperative. Tigmanshu could've done that. Having said that, I'd like to add that PAAN SINGH TOMAR is yet another masterstroke from a consummate raconteur. The film seizes your attention for most parts and as you exit the screening, it's with a heavy heart, with a tinge of melancholy, which only indicates that the storyteller has succeeded in engaging your interest to something he wished to emphasize on," feels Adarsh.
"Dhulia gets it right all the time. But the transformation is too quick to be believable, my only problem with Paan Singh Tomar. Forgivable when pitted against the film as a whole. The length could have been worked upon too. Dialogue, as is true for most Dhulia films, is the strongest point of this one too," says Blessy Chettiar, DNA.
Cinematography "The cinematography [Aseem Mishra] is truly attention-grabbing, while the editing [Aarti Bajaj] is razor-sharp. The background score [Sandeep Chowta] is most appropriate. It augments the impact of numerous sequences," says Adarsh.
Performances "Irrfan, an actor of standing, essays the character with aplomb. Very evidently, the actor has trained rigorously with steeplechase coaches, since the role requires him to partake in this sport. At the same time, the role must have been physically and psychologically demanding and I yearn to affirm that Irrfan appears remarkably forceful in this complex part," writes Adarsh.
"Mahie Gill is an incredible talent and it comes to the fore yet again in this film. Two more actors who leave a solid impression are Vipin Sharma and Rajendra Gupta. Both excel in their respective characters. Nawazuddin Siddiqui sparkles in a brief role. Imran Hasnee is first-rate. The actor enacting the role of Paan Singh Tomar's son is effective. Brijendra Kala is fantastic as the news-reporter," adds Adarsh.
"Irrfan Khan lives the role of Paan Singh Tomar. He does a swell job, first as the athlete and then as the dacoit. Mahie Gill is extremely natural as Paan Singh’s wife. Zakir Hussain is good in a role (Inspector Rathore) that gives him limited scope. Vipin Sharma is natural as Major Masand. As the sports coach, Rajendra Gupta is endearing. Khan Jahangir Khan acts ably as Bhanwar Singh. Brijendra Kala is first-rate as the journalist. Imran Hasnee (as Matadeen, brother of Paan Singh), Swapnil Kotriwal (as Hanumantha Singh, son of Paan Singh) and Nawazuddin Siddiqui (as Gopi) lend excellent support as do Sitaram Panchal (as Ramcharan), Ravi Sah (as Balram, nephew of Paan Singh Tomar), Bano (as Paan Singh’s mother) and Rajeev Gupta (as the corrupt police officer). The rest of the cast also puts up a good show," writes Nahta.
"The movie works because Irffan makes Paan Singh Tomar come alive as an athlete, as a husband and as a dacoit. This is a flawless performance from a consummate actor. As his wife, Gill comes up with a rare restrained performance. There is humour as well a delicate intensity in the romantic scenes between the two. Dhulia gets great work from the remainder of the cast. The camerawork, especially of the ravines and the river, is excellent," writes Ghosh.
Conclusion "On the whole, Paan Singh Tomar shatters the standard rules of this genre. Besides, the film makes you cognizant that serious cinema can be uniformly delightful, like any other enthralling entertainer. If this variety of cinema allures you then chances are that you will take pleasure in watching Paan Singh Tomar. Recommended!" Concludes Taran Adarsh.
"Gritty and power packed Paan Singh Tomar is a tribute to the unsung heroes of sports in India. Dhulia’s direction and Irrfan’s integrity will make Paan Singh Tomar among the best movies of recent time," says Chettiar.
"On the whole, Paan Singh Tomar does not have the commercial ingredients to score at the box-office. Had the second half been more weighty, it could have worked reasonably well but with the post interval portion looking like a routine dacoit drama, that won’t be possible," sums up Nahta.
