Film: ‘Bhoomi’; Director: Omung Kumar; Starring: Sanjay Dutt, Aditi Rao Hydari, Sharad Kelkar, Shekhar Suman; Rating: ****
“Jadd se ya dhadh se?” Sanjay Dutt plays a cruel KBC with his daughter’s rapist, offering to either kill or castrate him.
The pleading begging rapist takes the knife and plunges it into his pants.
I squirmed , as I was meant to. Bhoomi a film about a father and daughter’s revenge on her wrongdoers set in the seamier side of the city of the Taj Mahal, is not an easy film to view. Just because it stars Sanjay Dutt, don’t expect him to rise Phoenix-like to the occasion. With remarkable disregard for his larger-than-strife image, Sanjay Dutt plays an aging caring doting father who is a helpless mute entity in the case to fight his daughter’s violators.
The rape-revenge motif has been done so much to death I wondered why we need another film on the theme. But “Bhoomi” has plenty of surprises to offer. It never lets the very beautiful Aditi Rao play the victim-card eventhough she is violated humiliated and vilified repeatedly. Yet she stands tall and dignified. This could be because Aditi Rao in the film’s titlular role is just so frigging ethereal. Her makeup-free scrubbed and honest face conveys hurt, suppressed anger and hastily dismissed bewilderment. She is a treat to watch.
Put her on screen with Dutt and you have magic. Scenes such as the one where she tells her broken dad it’s time to rise above the tragedy, are pitch-perfect in their shrill yearnings, neither overstating nor trivializing the very grim issue of rape.
Sanjay Dutt though a little wheezy and out of rhythm, is heartrendingly avuncular.His breakdown in the courtroom is so raw and unrehearsed it washes away all cynicism. He seems so protective of his “Betu” and so shattered by her violation that we tend to forgive the film’s absolute absence of novelty. A parent grieving over a daughter’s rape is not just familiar territory it is also a territory that threatens to explode under the weight of overstatement in our cinema.
With rather unnecessary detailing Bhoomi charts out the daughter’s rape. Shot in a ramshackle single theatre ironically named Bhagwan Talkies, the gangrape is filmed against a backdrop of a film being screened within the film. In this way we are reminded of how cinema is responsible for an increase in sex crimes. (more)
The story is repositioned to the trenches of World War I
“Wonder Woman! All the world’s waiting for you,” rang the theme song to the classic 1970s television show as one-time Miss World America, Lynda Carter, transformed into the star-spangled superhero. Yet while gun-toting raccoons headline today’s superhero movies, the world has waited a long time for its most famous female superhero to receive a dedicated film.
Female superheroes have been confined to sidekick roles (Black Widow is the highest profile Avenger without her own movie) or relegated to TV (where Jessica Jones and Supergirl kick ass on a weekly basis). Gal Gadot as Wonder Woman is the first major female-led superhero movie – and as a hero, her antecedents reach back to the suffragettes.
Model Sonika’s death case: Actor Vikram charged with culpable homicide
As historian Jill Lepore details in The Secret History of Wonder Woman, the formative years of Wonder Woman’s creator, psychologist William Moulton Marston, took place against the backdrop of the suffragette movement. As a freshman, he had heard Emmeline Pankhurst speak when she visited Harvard in 1911.
An advocate for women’s rights, Marston would later describe the “blood-curdling masculinity” of comic books as their “worst offence”. His remedy? To create a “feminine character with all the strength of Superman plus all the allure of a good and beautiful woman”. So in October 1941, All Star Comics introduced Wonder Woman, “to whom the problems and feats of men are mere child’s play”. Read more
Powerful innards of Smartron’s ‘all-rounder’ smartphone are failed by its many software glitches
Domestic information technology (IT) start-up Smartron, which counts Indian cricket legend Sachin Ramesh Tendulkar and former Motorola Mobility Chief Executive Sanjay Jha among its investors, recently launched the srt.phone smartphone, “inspired by the dependable traits of Tendulkar”.
At the launch of srt.phone, the company claimed that the smartphone used the best antennas and other security features that made it an all-rounder. Indeed, Smartron has pleased investors with its manoeuvres to deliver solutions ranging from internet of things (IoT) to smartphones built specifically for Indian consumers. But how does the srt.phone fare against the claims of dependability and the inspiration it apparently draws from one of the tallest role models for India in recent times?
To find out, Business Standard took the device for a spin and tested its real-life performance. Here is an in-depth review of the srt.phone:
Watch the hands-on review here
The srt.phone offers a no-frills design, with rounded edges and curved sides. The smartphone might look appealing, but its polycarbonate built with metallic finish seems to somewhat spoil the experience. The plastic built is not loose or creaky – it fits perfectly on all sides and the matte touch adds to the aesthetics – but the pseudo metallic look was not necessary; it is way too prominent even at the first glance.
The front of the srt.phone is dominated by a 5.5-inch full-HD display protected with Gorilla Glass 3. There are three capacitive keys below the display, but these are without any sign or icon, just three flat dots. These dots acts are the home button and navigation keys. The earpiece along with sensors are placed neatly on the top, next to the front camera. (more)
Like his book, Tendulkar’s biopic is a nostalgic cruise through his career
As I walked out of the cinema hall after watching Sachin: A Billion Dreams, I wondered: Would I have thought differently of this biopic had I not known anything about the person it is based on? James Erskine’s documentary on one of the most celebrated cricketers in the world – one who has achieved a near-deific status in India – went along expected lines.
But was that because I, like many Indians and cricket followers around the world, already knew so much about Sachin Tendulkar? How would someone living under a rock for the last quarter of a century, and did not know who Tendulkar was, have liked it?
Sachin: A Billion Dreams starts off rather nicely, showing us a naughty curly-haired boy of seven or eight years living in Mumbai’s Bandra suburb, getting up to the usual seven-or-eight-year-old boy things like annoying his neighbours with pranks. The boy then receives a cricket bat as a gift from his elder sister, and this is where the story that most Indians and cricket followers already know begins.
This wasn’t the first time I was watching the celluloid adaptation of a story I already knew. I wasn’t, of course, expecting any suspense or plot twists, but I have been far more entertained by some of those other movies where I already knew what was going to happen, than I was by Sachin: A Billion Dreams. Maybe our man under the rock might think differently, but then a story still needs to be told properly, completely and honestly, and this is where Erskine’s attempt is found lacking. (more)
Baahubali: The Conclusion has so far collected over Rs 1,500 crore across the world
SS Rajamouli’s “Baahubali: The Conclusion” may be setting the box office on fire but superstar Salman Khan said he doesn’t get worried about the business of a film as he thinks every movie has its own destiny.
“Baahubali: The Beginning” released on July 10, 2015, a week before Salman’s “Bajrangi Bhaijaan”.
“Baahubali: The Conclusion”, which hit theatres on April 28, has so far collected over Rs 1,500 crore across the world.
“After ‘Baahubali: The Beginning’, we came up with “Bajrangi Bhaijaan”. Now after ‘Baahubali: The Conclusion’, we are coming up with ‘Tubelight’. There is a lot of pressure on the CEO of Salman Khan Films. I don’t get worried so much. It is a phenomenal success and it is amazing.
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“I have not seen the film but I will watch it. But it doesn’t matter (box office records) as I think every film has its own destiny. Lets see what the destiny of ‘Tubelight’ is and how much it earns,” Salman told reporters here at the trailer launch of “Tubelight”.
The “Dabangg” star on a lighter note further said, “They (referring to Rajamouli doing one film in four years) do one film in four years, I do two films in a year and the average is that much.”
Salman’s brother, actor Sohail Khan, who also stars in “Tubelight”, said it’s good if a movie sets a record at the box office.
“It’s lovely when a film does well commercially as it sets a yardstick (for other films). It’s nice that ‘Baahubali…’ did well,” Sohail said.
During the launch, Salman seemed emotional while talking about his other co-star, legendary actor Om Puri. (more)
The 53-year-old actor plays a US General posted in Afghanistan
Hollywood superstar Brad Pitt is in India to promote his latest film, the Netflix satire “War Machine”.
Bollywood star Shah Rukh Khan will be moderating a special chat session here with Pitt, in which the two actors will discuss the project.
In the movie, the 53-year-old actor plays a US General posted in Afghanistan.
Directed by David Michod, of “Animal Kingdom” fame, the Netflix Original film is inspired by the book “The Operators: The Wild & Terrifying Inside Story of America’s War in Afghanistan” by late journalist Michael Hastings.
An investment in the range of $60 million also makes it Netflix’s biggest-budget feature to date.
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Pitt’s character is loosely based on General Stanley A McChrystal, a retired United States Army general best-known for his command of Joint Special Operations Command (JSOC).
His last assignment was as Commander, International Security Assistance Force (ISAF) and Commander, US Forces Afghanistan.
Hastings’s blistering profile on McChrystal led to his firing by Obama.
Pitt’s company Plan B is also one of the producers of the film.
The first big-budget Hollywood movie on Netflix will be released on May 26.
Singer Sonu Nigam on Wednesday announced he will quit Twitter and has urged all “logical and sensible patriots” to do the same, following the suspension of singer Abhijeet Bhattacharya’s micro-blogging account.
“I quit Twitter today in defiance of this one sided sham,” Sonu Nigam tweeted.
He said: “One could disagree with Abhijeetda’s language but isn’t Shehla’s accusation that BJP has a sex racket, provocation enough to supporters?”
“If his account is deleted, why not her? And the other morons who hurl… abuses to every achiever?” he asked.
Twitter on Tuesday suspended the account of Abhijeet over sexist and offensive remarks, which stirred up a storm online.
In a series of tweets, Abhijeet abused some women users, particularly JNU student-activist Shehla Rashid, following which Twitter took the action.
When Shehla openly discussed about sex scandals involving BJP leaders, she was “abused by Abhijeet and hundreds of Sanghi trolls”.
In reply to her statement, Abhijeet had tweeted: “There is a rumour she took money in advance for two hours and didn’t satisfy the client. Big racket.”
All eyes were on Deepika Padukone with bated breath to see how she would turn up on her first red carpet appearance as a brand ambassador for Loreal at Cannes
she finally put her fashionable foot forward, she made sure to look like a million bucks.
Dressed in a dainty wine coloured net ensemble, designed by Marchesa Notte. She looked bold and classy as she strutted down the coveted red carpet.
Opening the 2017 Festival is French director Arnaud Desplechin’s Ismael’s Ghosts
The red carpet has been rolled out and the stars are taking their photo calls as the aristocracy of the film industry gathers at the Palais des Festivals in Cannes for the 70th annual film festival. From Afghanistan to Zambia, film makers, buyers, screenwriters, distributors, critics, academics and cineastes bunker down together for 12 days of communal cinematic consumption in dark rooms interspersed with heady business and critical discussion in the glare of the Mediterranean sunlight.
Opening the 2017 Festival is French director Arnaud Desplechin’s Ismael’s Ghosts, which is screening out of competition and kicks off a line up that includes 49 films from 29 countries, 12 of them by female directors.
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The festival groups its selection (invited from more than 1,000 submitted films) into a number of strands: “the Competition”; “Un Certain Regard”; “Director’s Fortnight” and “Critic’s Week” all of which have their own programme of films. Complementing these strands are special events such as “Midnight Screenings”, “Cannes at 70” screenings, “Cannes Classics” and “Out of Competition” screenings – including, this year, a new thriller from Roman Polanski.
Thierry Frémaux, the Festival’s artistic director, is in charge of selection – and this year his choice is characterised by a lower number of Hollywood films than usual. He has also gone for a more pronounced political tone in the films, on themes such as migration, sex trafficking and the refugee crisis. Another feature of this year’s selection is the screening of films financed by media streaming platforms, including Netflix and Amazon, and the inclusion of “cinematic” television dramas. Read more