A lull till the Baahubali and Bajrangi Bhaijaan storm subsides, so time for another edition of This & That:
The news of the week is writer Jyoti Kapoor taking her intellectual property claim against Kunal Kohli, up to the Supreme Court and winning. She struck a blow for all exploited screenwriters.
There is a dispute between those who think Baahubali CGI matches Hollywood standards, and those who don’t believe it.
There is also a dispute on whether painting a tattoo on a sleeping woman is as creepy as stalking… the hero does that in Baahubali.
The dispute about how authentic the Maratha look is in Sanjay Leela Bhansali will go on till the film releases and after.
The ad with Kangana Ranaut striding a lipstick must be one of the corniest ever.
Watching the commercials in cinemas one draws the conclusion that Katrina Kaif does the worst ads.
The meme about Salman Khan as Bajrangi saying he never lies, and the judge asking, “Who was driving that night?” is mean and funny.
It is brave of Ajay Devgn to do the Hindi version of Drishyam, knowing that he won’t get to flex his muscles.
The grapevine has it that Kangana Ranaut wants to cut down on her acting assignments, because she wants to direct. That’s brave too.
Strangest news in a long time—Vidya Balan to play Charlie Chaplin in a film. Huh?
Two Southern actresses Shriya Saran and Asin who had almost disappeared, are back in Drishyam and All Is Well, respectively. Bollywood seldom gives actresses a second chance.
That Richa Chadda and Radhika Apte are making their way up the Bollywood ladder is heartening—sometimes, Bollywood does recognize talent, even if it is belated.
Somebody commenting in the cinema—let Nawaz come in he will make things in (Bajrangi Bhaijaan) better. Even Nawazuddin Siddiqui must never have imagined that he will get a devoted fan following like that.
Rishi Kapoor’s make-up—a closely guarded look so far—in Kapoor & Sons cost more than the budget of a small film. He will be unrecognizable!
It’s good to see so many theatre actors making their way into mainstream cinema… and then bringing more value to plays when they return to the stage.