Media needs sensationalism: Amitabh Bachchan

The actor sees things from a journalist's point of view

Amitabh Bachchan plays Vijay Harshvardhan Malik, the owner of a news channel in Ram Gopal Varma's Rann. Buzz18 spoke to the actor on what he thinks of media today, and how he felt being on the other side for a change. Excerpts...

What is your relationship with the media?

Media is the conscience of society - we need a watchdog. There were some misunderstandings in my relationship with the media earlier on. It was assumed during the Emergency, that it was I who was responsible for the ban on the press. This was absolutely incongruous and had no meaning at all. But somehow because of that,the media then banned me.

How did you get cordial again?

I had a very famous accident on the sets of Coolie, thereafter the media wrote some wonderful things to encourage me to fight back. And I felt it was extremely generous and sweet of them to have done that, and we restarted our relationship.

Was the media very tough when you were a politician?

A very senior columnist a great mind – they wrote just before I was going to fight the election, I was going to get the pasting of my life, that it was a joke I was entering politics. But when I won, I had great admiration for the fact that he wrote in his column that he were wrong and I was right. This is something you don't find very often – media accepting their mistake. Whenever they make a mistake, it (corrigendum) is very minuscule hidden somewhere at the corner of the paper.

Acting as a mediaperson, what insight did you gain from preparing and delivering the role?

It's a very difficult job. One has to constantly deal with one's conscience and the competition. All of you (media) are believing that you're No.1 and you fight for it. You don't hesitate to repeat the questions even if the novelty is gone. I love the spirit. What I also enjoy is that there are so many youngsters inthe media – people who are 40 years younger than me. I don't know where you get your knowledge from, where you come from, where you get the energy! In the last 10 years, things have changed. I haven't seen anything like this before.

You're the owner of a news channel in Rann. Do you think the electronic medium is the future?

The print media is not going to die. Every morning, I feel a vacuum if the paper has not arrived. In the evening, there's a vacuum for a newschannel. There's a sense of camaraderie between the two media – they even borrow headlines from each other.

On sensationalism….

Media will need sensationalism. Even when you're driving on a road, you're not interested in seeing a beggar. It's more attractive to watch an accident and the injured. It's human nature.

So, what is highlighted in Rann?

The film is just about that – maintaining a balance, maintain the purity and integrity and not run a business. It is about the growth of media. The same person you have trained is now doing a new business down the road – and better.

Did you feel the media overdid things during Abhishek and Aishwarya Rai's wedding?

No, it is media's right to do so.

Can media affect an actor?

There was a time when we said, 'media cannot make or break an actor's career'. Today, you can. But if you (one paper or channel) decide to boycott an actor, I don't see the others doing it.

REVIEW: Harishchandrachi Factory

The film works because it is funny and simple
By Shweta Parande . Buzz18 Jan 22, 2010

Writer, director and theatre personality Paresh Mokashi's Harishchandrachi Factory might be out of the Oscar race, but the film is an absolute delight to watch, all thanks to the storytelling technique used.

Mokashi could've easily succumbed to making a documentary style biopic based on Dadasaheb (Dhundiraj) Phalke's life, a man credited with being the father of Indian cinema. Instead, the director goes in for ample doses of subtle humour used at the right moments to make the film amusing for the audience – much in the same way a story is narrated to a wide-eyed child. And none of it is fiction, as all incidents have been taken from the stalwart's life.

Harishchandrachi Factory begins with showing the early life of Phalke (played by Nandu Madhav). He's shut down his printing press, and becomes a local magician to earn a living. It is after one such magic show in a chawl, when the soon-to-be filmmaker chances upon a film screening in town – a place mostly frequented by the white.

Phalke watches the proceedings inside in wonder with his young son – what he later addresses as "a play on screen" or "moving images". Having been an art and architecture student and run a photo studio once, (shut down due to some funny rumours) Phalke has a decent understanding of the art and craft of images.

Curious to learn the new "moving" form, he takes big risks, selling off his valuables to watch more movies and buy books on the subject. And soon, he takes the biggest risk and embarks on a journey to London, to meet up with filmmakers and learn the craft.

Once in London, Phalke endears all and lands a job assisting pioneering filmmaker Cecil Hepworth. The learning process of the budding Indian filmmaker is shown in a fast-forward way, making it interesting and funny rather than just boring documentation of events.

Phalke returns home with a Williamson camera and lots of ideas in his head. After his first experiment, he zeroes in on the story of Raja Harishchandra for his first commercial feature.

And so the search begins for the cast and crew. And then the training, shooting and the difficulties that come with it. This part takes up most of the second half of the film, and is again dealt with in a hilarious way, not letting the viewer feel the tension and anxiety Phalke must've lived with in that gestation period of his career.

What it does reflect is his optimism and ability to turn an adverse situation to his favour. And also his dedication – like when his son is seriously ill and Phalke still goes and shoots him on a funeral pyre. Imagine what must have gone through the man's mind! And finally, the film gets made.

Phalke is shown as a gentle husband and father, and as a filmmaker too, he is determined but not too aggressive. And yet, one could use some marketing and film promotion techniques applied by Phalke.

What is heartening is that in whatever he does, Phalke has the full support of his two kids and his wife (played by Vibhavari Deshpande). In fact, in all their experiments, she's the one helping him shoot and develop the prints. Mokashi shows her seriousness in one funny role-reversal scene where she's busy in the dark room and her husband Phalke cooks dinner! But yes, in all his endeavours, the two kids and the wife (and the newborn) live his dream. He, too, does not let them down, not forgetting to let his wife know that she's the inspiration behind all this.

Mokashi efficiently portrays Phalke's undying passion to make the first film in India – his focus, acumen, tenacity, perseverance and sense of humour in sadness. The effective acting and dialogues only add to it. Nitin Desai's sets take us back to the era (1911–14).

In the end, it is amazing to know that Phalke chose to make his films in India and for its people, rejecting a lucrative career option in the UK.

Verdict: The film has not been treated in the Cinema Paradiso way. There's no tragedy although there are sacrifices. Paresh Mokashi simply shows us the four-year journey of a filmmaker from making his first film to creating an industry, which he would eventually go on to lead. A must watch.

Rating: 4/5
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MUSIC REVIEW: Ishqiya

Yet another outstanding album by filmmaker-composer Vishal Bhardwaj

Even though Vishal Bhardwaj has turned to filmmaking full-time, he has not let the composer in him take a back seat. He continues to score music for his films, and it's better that way. Only a filmmaker who also eats and breathes music will know what his best for the kind of films he makes. Bhardwaj's latest production, Ishqiya, also has the stamp of his brand of music. Let's check it out, song by song.

Dil To Bachcha Hai: This song in Rahat Fateh Ali Khan's voice is a mix of Latin and Sufi. Instantly likable, it has tremendous repeat value on your I-Pod. It also takes you back to the Raj Kapoor numbers of yesteryears. Pure nostalgia! And in the lyrics, which go - Dil aisa paaji bhi hoga and Dil sa koi kameena nahin - again a Vishal and Gulzar trademark is seen.

Ibn-E-Batuta: This Sukhwinder Singh and Mika song is already a hit. It's just the catchy, peppy number needed to lift your spirits up. This one's in the league of Dhan Te Nan and Fatak from Kaminey. The words, Horn bajake aa bagiyan mein remind you of lyrics of Dil Dance Maare from Tashan.

Ab Mujhe Koi Intezar Kaha: A Rekha Bhardwaj-sung ghazal complemented superbly with the instrumental accompaniments of an angrezi ballad. It should be interesting to see how this fits into a movie based in the traditional zone of Lucknow.

Badi Dheere Jali Raina: This semi-classical song has Rekha's soothing voice with wonderful use of the sitar, tabla and western instruments. Badi Dheere… wins your heart from the beginning. And more so with lyrics like Dard ne kabhi loriyan soonayeen toh, dard ne kabhi neend se jagaaya toh.

The Remixes:
Dil To Bachcha Hai (Rahat Fateh Ali Khan and Clinton Cerejo): It's an ordinary remix of the original and really adds nothing much to the turn table.

Ibn-E-Batuta (Sukhwinder Singh and Mika): It's the 'Nucleya Remix' version of this song will definitely help burn the dance floor.

Ibn-E-Batuta (Sukhwinder Singh and Mika): Remixed by Jackie V, this version is also good. But nothing extraordinary.

Remixes apart, Ishqiya is yet another outstanding album by filmmaker-composer Vishal Bhardwaj, who simply knows what the heart likes to hear and feel. Adding to that, are Gulzar's lyrics – as usual, deep and with unheard of word combinations. And truly well trained voices make every song a treat to listen to. Go for it!

Rating: 3/5

Album: Ishqiya | Music: Vishal Bhardwaj | Lyrics: Gulzar | Record Label: T-Series | Mohan Vena: Pt Vishwamohan Bhatt | Guitars: Clinton Cerejo and Hitesh Sonik | Price: Rs 100/-.
By Shweta Parande for Buzz18.com

REVIEW: Pyaar Impossible

Priyanka Chopra lifts an average film a few notches up

Yash Raj Films' Pyaar Impossible adopts the beauty and the geek formula, but its director Jugal Hansraj does an average job of handling the subject.

It's no college love story, as has been projected in the promos. But the film does begin at university, with ample campus shots to make you feel sorry you went to one with less imposing buildings.

Uday Chopra is Abhay Sharma, a bespectacled geek, clad in boring trousers and shirts with a half-sleeves sweater and braces most of the time. Abhay is head over heels in love with the hottest babe on campus, Alisha (Priyanka Chopra).

Alisha is a spoilt brat of a girl, and after a particularly tipsy night in which she almost drowns (no prizes for guessing who saves her), the girl is out of college. Abhay's fantasy and he part ways.

Seven years later, Abhay is still single and still geeky – a replica of his dad (Anupam Kher). He is trying to sell new software he's built, which eventually gets stolen by a shrewd businessman Siddhu (Dino Morea). Siddhu is about to sell the software to a firm in Singapore, and our man Abhay lands up there to exercise his intellectual property rights.

No surprise that Abhay bumps into Alisha there who happens to be the company's PR official. But rather than taking her help to win his case, Abhay ends up being her nanny after finding out she's a divorced mom with a six-year-old kid, Tanya.

Sounds familiar? You bet. All the nanny and babysitter drama is straight out of so many English films, and you kinda don't know where the film is headed. At the same time, it's predictable.

Hum Aapke Hain Koun...!, and a kid in Pyaar Impossible just like Kuch Kuch Hota Hai – why can't two adults do it for themselves?)

The best moment of the film, though, is when Abhay is about to tell Alisha "everything", and the bell rings…. Kudos to Jugal and the actors for that.

But sadly, the humour in the film fails to generate any laughs. Surprising, since it's the 'Dhoom' Uday Chopra we have here.

Priyanka Chopra lifts an average film up several notches. Without her presence, the film is nothing. She is carrying it on her shoulders, almost – there are a few places where she looks bored and is getting on with it. But she seems fully in character and has truly matured as an actor, following up on a successful 2008 and a Kaminey in 2009.

Uday Chopra seems to fit in the role with ease, with his mannerisms and look almost perfect (except a strand of grey hair visible in his sideburns in one scene). In his effort to please his love Alisha, it almost seems like the actor Uday is trying his best to please the audience, who've more or less rejected him as a main lead (although loved him in roles like Dhoom).

Dino Morea is confident as the menacing Siddhu aka Varun Sanghvi. It would do him good to stick to negative roles.

The little girl who plays Priyanka's bratty kid Tanya is super cute and makes you smile. Also, with her eyes, she could pass on as Jugal Hansraj's daughter! Anupam Kher is good as Uday's father, but has more of a cameo than a full-fledged role.

But in the end, the film works only post interval, when the 'feel good' mood takes over. The parallel software story doesn't quite generate too much interest, although that's the reason Romeo meets Juliet again and wins her.

But what was refreshing was, the hero doesn't pull a face when he comes to know his love of seven years is divorced and has a kid. He simply accepts both. Not that he has a choice, but then there's a message there.

Verdict: There is nothing new in Pyaar Impossible. Watch it only if you don't mind a predictable story with a hot Priyanka Chopra, and some catchy music.

Rating: 2.5/5 (0.5 extra for Priyanka Chopra)

By Shweta Parande for Buzz18.com