The trade pundits have been having a blast taking this movie down even though HT reports that MKBKM was VB’s highest first day earner. For a film with a 33 crore budget, a 21 crore opening weekend should, at worst, be called “average”. The film’s 5 day box office total stands at about 28 crores.
But the trade pundits are calling these figures “dull, dismal and abysmal”. Really? For a Vishal Bhardwaj film with an extremely off-beat subject, and a leading hero with no box office draw, how is recovering almost all of its budget during the first week so very bad? I remember they did a similar thing with Shanghai. They labeled it a flop before it even had a chance to breathe. I may not be a Matru fan, but I was heartbroken about Shanghai. (Okay, I’m being a bit melodramatic.)
Meanwhile, the same pundits are breathlessly promoting Table No. 21 as a hit, taking into account everything that might have affected its box office total from the “cold wave in the North” to the India-Pakistan cricket match. Yes, that film had a lower budget and it made back its costs during the first week but how is that so different from how Matru is doing?
I’m not saying the movie is a hit – even if it doesn’t make money back for its distributors (it did have a wide release and I’m sure that was not Vishal’s idea), the veritable glee with which the pundits are calling it a “disaster” is totally irresponsible. It creates an image that the film is terrible and was rejected outright, when it was not rejected at all by its intended audience.
Yes, it didn’t appeal to the aam junta but who the hell was expecting it to anyway? If you’re going to judge a Matru the way you judge a masala film then pundit-giri mubarak ho but you’re being a total douche.
I call sabotage and I think it’s part of the curse of becoming a “celebrated” hatke director. Whether it’s Prakash Jha, Dibakar Bannerjee or Vishal Bhardwaj, once they start signing bigger stars and get wider releases, it gives the trade all the opportunity to trash them before the weekend is even over. They drown out the voices of appreciation – voices that may have aided in getting more people into theaters since the lifeblood of movies like this is word of mouth.
YRF’s 3-Film Contracts
Can someone explain to me why YRF keeps luring in and corrupting talent that has no business wandering around its hallowed halls?
First it was Pradeep Sarkar. You only have to see the difference in the style of Parineeta and Laaga Chunri Mein Daag to understand how the “YRF touch” completely obliterates a director’s inherent, unique style (in Pradeep’s case, honed under Vidhu Vinod Chopra). I haven’t seen Lafangey Parindey but I’m willing to bet that the bold and authentic style we saw in Parineeta was missing from that as well. YRF totally candy-flossed LCMD, which had the potential to be a really interesting, dark film.
So Pradeep Sarkar, career sunk. Entered YRF, never to be seen again.
Recently I was discussing with Beth how Devika Bhagat, their in-house writer, is such a wrong fit for their style of filmmaking. She should be writing more stuff like Manorama Six Feet Under, on her own or in collaboration with someone like Kashyap – not trying to make sense of why Adi would drag her into writing films like Jab Tak Hai Jaan, Ladies Vs. Ricky Bahl or Bachna Ae Haseeno. Devika’s own style is so darkly sarcastic that it’s clear very little of her original voice survives in the final product which has invariably been Disney-fied (or YRF’d) to death. It’s a total mis-match.
So Devika Bhagat, who I imagine wanders the hallowed halls in a dazed state wondering how on earth she got in there. And is now plotting her escape.
Director No. 2
And now, there’s Dibakar Bannerjee.
Khosla Ka Ghosla, Oye Lucky Lucky Oye, Shanghai. Yeah just SCREAMS YRF doesn’t it? Not only does Adi lure them in, he lures them in for THREE FUCKING FILMS. (Just ask Pradeep Sarkar, who has clearly entered oblivion in search of the third film.) In other words, he keeps them there until they’ve been stripped of their original voice and become all YRF-y.
Why? Why would you even chase a guy like Dibakar who already has his own established voice and style and audience? Why not give breaks to new directors who have yet to develop their skills? And yes, I’m disappointed that Dibakar signed on the dotted line but I’m sure the YRF cushion is a hard thing to turn down for any creative person, no matter how off-beat.
I swear if Dibakar goes the Pradeep Sarkar way, someone needs to kidnap Adi and put him on a plane with a one-way ticket to Switzerland. Then KJo can merge Dharma with YRF and be done with it.
And let’s not even get into the actors. I’ve been waiting for Ranveer to jailbreak out of there forever. Now, Ayushmann has signed a 3-film contract as well. Ayushmann, the quintessential Yash Raj hero. I’m happy for him because no doubt he’s over the moon about it but what, exactly, is Adi trying to do? It’s one thing if your slate of films reflected the unique talents of these individuals. It’s another thing when you take them to the infamous 4th floor and brainwash them into becoming Adi-clones.
Yes I know. I REALLY don’t like what Adi is doing to YRF. And Band Baaja Baarat was a fluke – even Habib Faisal and Maneesh Sharma couldn’t escape the YRF Kool-aid.
Bollywood Bahu Woes
It’s bad enough they hijack our best films with their botoxed foreheads, duck lips, bad acting and crazy accents but must they infiltrate Bollywood’s most dynastic families as well?
After RanKat were spotted cozying around Manhattan over New Year’s, it became very clear that the Young Prince isn’t just fooling around with La Kaif, but is quite serious about her, seeing as it’s been what – 3 or 4 years that we’ve been hearing about their link up? I cannot tell you guys how sad I would be if Katrina became a Kapoor bahu. Probably even sadder than Salman.
The only way that would be a good thing is if they re-instated the tradition of not allowing their bahus to work after marriage. In which case I would say shaadi mubarak and godspeed. Otherwise, I would so be rooting for Neetu ji to morph into an evil saans from a Balaji teleserial, plotting with Bebo to bring Deepika back into his life.
Meanwhile, in the House of Chopra, Pam Aunty is clearly not watching enough Ekta Kapoor TV because: NARGIS & UDAY. Their denials about being together fool no one and if there’s anything worse than Katrina providing a ghar ka chirag for the Raj Kapoor dynasty, it’s Nargis Fakhri carrying forth the Chopra torch.
Saif Promotes Race 2 With Glowing Skin And Flowing Locks
He may not like being called a Nawab but he damn sure looks like one on the Race 2 promotional circuit. Our favorite Mr. Bebo is either basking in post-marital honeymoon-y glow or….um, he’s just that excited about Race 2 (draw your own conclusions).
He totally went all out in this grey suit and waistcoat number below, complete with handkerchief. And though he looks mighty handsome, you’d think he was on his way to meet the Queen of England rather than a bunch of weary Race 2 reporters.
Frankly, just make this the poster and call it a day. It might be a better promotional strategy than making awkward presscon statements like “Fevicol Se is a family item number” because a) what on earth is a FAMILY item number? b) even if such a thing existed, Fevicol Se isn’t it.
I’m not even gonna lie. I’m so looking forward to this film. The juxtaposition of the ultra-classy Nawab against the ultra-trashy Race 2 is too much to resist.
I Love NY
Meanwhile Sunny pa ji has apparently decided that age 56 is a good time to wear reindeer boxers and reinvent oneself as an NRI rom-com hero. I love how Kangna looks like she’s trying so hard NOT to be in this movie.
And what is going on with the comforter? And the socks? And the wig….oh, never mind.
Question of the Week
So Firstpost goes bananas every year after the Golden Globes & Oscars. This year they celebrated Why Aren’t We Like Hollywood Season by asking:
I don’t know. But there is definitely no hope of anyone ever being the equivalent of a Hollywood Aamir Khan.