A list of puns related to "Baradwaj Rangan"
This interview was so wholesome lol. Idk y but i was smiling the whole time :") and loved what he said about pranav at the end there too. The interview also proves that mohanlal just lives in every character and his personality therefore is an amalgamation of all of them. Respect.
Now mammootty's turn!
https://youtu.be/RFQQGw5bJ_4
NOTE: I would recommend to watch The Eight Column Affair (YouTube) before you proceed to read this interview.
With Rajkumar Hirani as editor, Shiv Subramaniam as the lead and Nana Patekar in a knife-wielding cameo, this short won the National Award for Best Short Fiction Film.
A conversation director Sriram Raghavan about his diploma film, which explores the idea of news “coming alive” when an athlete featured on the front page of a newspaper falls for a model-pretty tennis player featured on the last page. He has to cross through various newspaper headline-hurdles to get to the girl.
‘The Eight Column Affair’ is one of the best illustrations of the race-against-time concept I’ve seen. Because a newspaper literally “expires” at the end of the day and a new edition takes its place. So our hero’s “race against time” becomes literal. I had no idea Shiv Subramaniam had acted in something so long ago. It was fun to see him as the athlete.
The last semester at FTII, we had to do our diploma films. We had to draw a lot, and it turned out I had to shoot first. I had to think of a story and screenplay in a month. I used to sit at the FTII library, reading. I came upon an interview where Wendy Toye - a dancer, stage and film director - spoke about her ambition of doing a stage musical set in a newspaper. I used to dabble in journalism a bit, and that set me off. The front-page photo and the last-page photo wanting to meet, and what happens in between…
What is that Georges Franju quote in the beginning? “It needs only a little imagination for our most habitual actions to become charged with a disquieting significance…”
I’d seen Franju’s movie Eyes Without a Face and loved it. I had read this quote in an interview . I thought it’s a nice, cool thing to put at the beginning of my film, and it also supported the crazy concept of ours. Those days I was just discovering French cinema and was completely enamoured by the French New Wave and all that.
What exactly were the New Wave influences?
I think it’s a ragtag kind of thing. Truffaut, Chabrol, Rohmer and Godard… We were watching the New Wave films 25 years later, but they were still so fresh and liberating in terms of how they used cinema grammar and told stories that didn’t conform to any set Hollywood pattern. While at the Institute, one was influenced by everything one saw. It was a whole lot of conscious and subconscious stuff. There is one sequence wi
... keep reading on reddit ➡Also, there’s a comment on the video where they point out how Baddy addresses her as “Kangana Runout” AHAHAH link
Can mainstream Hindi cinema defend itself against the charge that it is creatively bankrupt?
Someone I know once said he watched Hindi films only for the actresses. He said his wife at home had packed on the pounds after her multiple pregnancies and bore no resemblance to the person he married. His eyes needed the relief, he said. He still loved his wife, but he loved the actresses too - those willowy creatures that exist only in Bombay studios and in the imagination, looking like they’ve just emerged from a spa treatment, pancaked and lipsticked even when facing the most ghastly on-screen tragedies.
I asked him what he’d say if his wife admitted to something along similar lines. What if she said, for instance, that she loved Shah Rukh Khan because her eyes needed the relief after her beer-gut blob of a husband? He shrugged and smiled and said it was okay - because that’s what movies are for, to extricate ourselves from reality. Besides, at the end of the day, they had to return to each other anyway. It’s licenced cheating.
Like most mainstream movie industries around the world, ours is primarily a temple to the gods and goddesses of the screen. The only thing the masses want and need is to be blessed with their presence. Whether the film itself is original or derivative, inspired or plagiarized - no one really cares. If it entertains and if the stars look spectacular, it’s good. Otherwise bad.
In fact, a crafty lawyer in a billowing black robe could construct a solid argument that the Bollywood schlockmeisters who shamelessly rip off Hollywood are actually doing the masses a service because:
They keep track of the latest international releases
They select the ones that are successful, thus separating the wheat from the arty-farty chaff
They repackage these hits in Indian clothing, with masala and songs and dances and comedy and extremely good-looking faces and bodies, thus ensuring entertainment for everyone
As to the allegation that all of this is fine and it’s just that no one’s taking permission from Hollywood, the lawyer could counter as follows. (Just retrieve from your mind’s database a thunderous courtroom scene from any old Hindi film and go along.)
Defence Lawyer: Milord! While making Mr & Mrs 55, did Guru Dutt sign a contract that allowed him access to the barebones plot of Come Live With Me? Did Raj Kapoor ring up Frank Capra before he decided to remake It Happened One Night as Chori Chori? (And what an apt t
... keep reading on reddit ➡An Old interview with K Jo by Baradwaj Rangan -
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It wouldn’t be a stretch to say that we’ve never seen a filmmaker like Karan Johar. It isn’t just the films, those unabashed celebrations of very pretty people in very pretty locations shedding very pretty tears as they get their very pretty hearts broken. It’s the way he has positioned himself outside his films, like you can ask him anything, like he’ll tell you everything. Interviewing him feels like catching up with a friend over a beer — a friend who’s flown you first-class to a biergarten in Amsterdam. It’s a bit surreal. But it doesn’t feel like an act. It feels real. Of course, the problem with talking to someone whose life is such an open book is that everyone’s read the story. Many of the anecdotes are familiar. You know he’s been through therapy. You know he was the only kid in his South Bombay neighbourhood who watched Hindi films. You know his new film, Ae Dil Hai Mushkil , is based on his experiences with unrequited love. But maybe you don’t know that he hates being called KJo. Or Uncle. Or Sir.
So what does your mother call you?
Karan. My college friends call me Karu, which is the worst. Only in our country can we make a short form for a short name. But otherwise, I’ve never had a pet name all my life. But now, in official meetings, someone will call me KJo. And I’ll judge that person in my head. Just call me Karan. You have some kids who will come through family friends and work in the company [Dharma Productions]. You cross a certain age and you are Uncle. And — pardon my French — but I’ll f*** you if you’re going to call me Uncle.
Is it vanity?
I think so. It’s not like I think I’m a beauty queen. But I feel that if I am called Uncle, my thoughts have to constantly be relevant. It’s not the reminder about my age. It’s the formality. I can’t function with it.
Ae Dil**… is a wall-to-wall homage to older films and music. Did it bother you that these references might go over the heads of this younger generation you talk about?**
I knew some of it would. But I was hoping the emotional core of the film would tide it through. I
... keep reading on reddit ➡I feel for him. I really do. I feel for all musicians whose compositions have been Tanishk Bagchi-ised, which is the music world’s equivalent of reheating leftover food and serving it with a bit of newfangled garnish. Imagine coming home from school, hungry. You want a quick bite. You ask your mother what’s for tiffin. She reheats a roti she made the previous day, smooths some peri peri sauce over it, and presents it with a flourish: Paratha 2.0. Now you know why composers get angry. They knead the dough, stand in the hot kitchen, making sure the tawa is just warm enough… And Tanishk Bagchi says, “Dude, just get a microwave!”
And today, there’s a very strong commercial reason, too. Had T-Series released an original composition (and not a remix), they would have had to wait for it to catch on — and who knows how long that would take in a generation that prefers takeouts and the microwave to sweating it out in the kitchen. Another thing: the built-in controversy factor around the song makes it even more of a must-hear. Just look at the numbers for AR Rahman’s 99 Songs jukebox versus ‘Masakali 2.0’: the former has some 60,000 views, the latter is now at some 14 million views. What about the original ‘Masakali’ video, uploaded by T-series? It’s got some 21.5 million views, but that’s since 2011. Any doubts that ‘2.0’ will shoot past those numbers?
Some excerpts
Nitesh Tiwari’s Chhichhore feels like a drawing-board version of 3 Idiots, as though its script was assembled from the crumpled balls of paper Rajkumar Hirani and team tossed on the floor while brainstorming for their blockbuster. I’m no great fan of that movie, but this one’s worse. I couldn’t even get past the awful framing device of a teen (named Raghav) who attempts suicide because he fails to clear the JEE. (With the clumsy staging, you see the suicide attempt coming from a mile away.) So the boy’s father calls his college friends and makes them tell the boy tales that show how they were losers too, and that they masturbated a lot, and also cheated in sports and hardly attended class (apart from the stray library visit), and so “all izz well” if you don’t crack the exams right away, because there is always a next time.
We never get to know these characters (played by genial actors like Varun Sharma, Naveen Polishetty and Tushar Pandey) beyond a single trait. We don’t feel the closeness we did in Dil Chahta Hai. We know they are friends because the screenplay (aided by a syrupy score) tells us they are friends, with Rajendra Kumar-era lines like: Aise kaam mein busy kya ho gaye ki doston ko bhool gaye… These aren’t just friends. They are (wait for it) “family“. We know this not because we sense this sentiment but because there’s actually a line that says “these aren’t just friends, they are family”. The second half morphs into a series of sports events, with a Jo Jeeta Wahi Sikandar flavour. Some of the slapstick made me laugh. But I was more amused by the doctor who pops out periodically, in the present-day portions, and keeps making grave pronouncements about Raghav’s health. Heck doc, like there’s any doubt about the boy’s fate. He’s listening to all these stories about masturbation. Of course, he will rise.
Full Refiew at : https://baradwajrangan.wordpress.com/2019/09/12/chhichhore-some-mild-amusement-cannot-redeem-a-slapdash-bunch-of-friendship-cliches/
He's the best critic in the country right now... How popular is he in his home state?
By and large, I trust Baradwaj Rangan's reviews. So I expect his top10 list of southern Indian cinema should also be a good starting point for those who want to start.
Do chime in below with your own views/top 10. Just remember, no spoilers.
I actually haven't read Rangan's reviews much, typically I stick to Masand or Chopra (who I think are great that giving an overview quickly, which is just detailed enough for people (who watch their videos) to handle), occasionally Rahul Desai as well if I want to hear someone be more 'creative' with their words. Seeing how all 3 of them gave Zero 1-2 stars, I initially made up my mind not to go see it. It seemed like an SRK film that was nothing like people expected, and fell prey to the second-half curse.
But I just read Rangan's review on Zero (giving it 3.5 stars) and he has a totally different take on it. It's literally like he stopped looking at it from a standpoint of expectation and just saw it for what it was. He noted that it was flawed, but that he saw the intention behind the absurdity of it and that he could almost intuit the point the creators were trying to make: that the film is trying to break out of the box, to give you a sense of imagination and to make a creative 'leap of faith.' He said that it doesn't always work, but he was appreciative of it after a while. So I don't know...I may just go see it now, at least I can know what to expect and temper myself a bit, and enjoy the performances for what they are.
I just wanted to add that with most reviews, I tend to read them a bit quickly - but this one almost forces you to slow down and digest it. I appreciated this review because it was so WELL written, so well thought out. I'd highly recommend you read it if you haven't:
https://www.filmcompanion.in/zero-review-baradwaj-rangan-this-very-literal-flight-of-fancy-is-the-years-most-audacious-love-story/
What do you think - does Rangan have a point?
Here are some excerpts from it, btw: > Zero is so weird, so out-there, so original that even Katrina Kaif is motivated into giving an actual performance. Babita is brittle, too. She’s abrasive with fans, and as self-absorbed as Bauua is.
>This is too scattered a screenplay to pin down the “unreliable narrator” trope on, but how else do you explain why Bauua’s height is pegged at 4’2” in one scene and 4’6” in another?
>The “logical” questions melt away because Rai and his writer, Himanshu Sharma, are in such firm control of the absurdity of it all. This is, after all, a film that opens like a Western, takes detours into the musical and the melodrama, before taking a jaw-dropping leap into sci-fi.
> Zero is all heart. It probably won’t work if y
... keep reading on reddit ➡http://www.filmcompanion.in/baradwaj-rangan-answers-questions-sridevi-movies/amp/
I recently ended up watching a few of Dhanush's interviews with FC .I thoroughly enjoyed d one with Baradwaj Rangan. Then happened to watch some of his interviews with kajol starting with Anupama.
I have to say I never knew Kajol is such a loud mouth . Absolutely annoying woman who just kept being disrespectful all d damn time. Always mocking him ,making fun of his voice or his speech . Oh god! It was weird . She definitely lacks basic manners . 🤦
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