Singam

Singam Hindi Movie is a most awaited Ajay Devgan Movie of 2011 directed by Rohit Shetty, produced by Reliance Big Pictures starring Ajay Devgan, Kajal Aggarwal, Prakash Raj, and Ashok Saraf in lead roles.Ajay Devgn’s ‘Singham’ to release in Tamil Nadu & Kerela

The Suriya-starrer superhit movie 'Singam' is all set to speak in Hindi. But with Ajay Devgan replacing the south Indian star.

Hayat Shaikh of Odyssey Media & Entertainment Pvt Ltd.will present Ajay Devgan when he finally returns back to his forte-- action flicks, with the much-awaited ‘Singham’, which releases on 22 July, 2011.

This film is directed by Rohit Shetty and stars southern siren Kaajal Aggarwal in the lead. The Action-Romance is produced by Reliance Entertainment Ltd is planning a series of promotions for ‘Singham’ in the state where Tamil cinema rules and is confident that it will be able to attract audiences for this special film inspired by a south-Indian blockbuster.

The screenplay has been written by YunusSejawal, while Sajid- Farhad has written the diaylogues. The music is by National Award winning music directors Ajay-Atul who are known for their music in Marathi films.

Talking about the latest acquisition, Hayat Shaikh of Odyssey Media & Entertainment Pvt Ltd.says, 'Odyssey Media & Entertainment Pvt Ltd.is happy to associate with superstar Ajay Devgan as he makes a comeback as an action hero after a long time. We are confident that the film viewers in Kerala &Tamil Naidu will be happy to flock the theatres to watch the remake of the blockbuster south Indian hit and also to watch Ajay Devgan in action. We are doing everything to promote the film well and working closely with Reliance Entertainment and Devgan’s Production House.'

Hayat’s success story spells out big ticket films such as ‘Dabangg’, ‘I Hate Love Storys’, ‘Khatta Meetha’, ‘Aakrosh’, ‘Crook’, ‘Jhootha Hi Sahi’, ‘Help‘, ‘Hello Darling’, ‘Resident Evil After Life’ and ‘Break Ke Baad’.

In South Mr.Hayat Shaikh has released Director Hari's Vengai in South and Raghava Lawrence Starring Kanchana..Muni 2 in NSC areas on July 22nd

Bollywood Singam Release on 22nd July 2011

Hindi Film Singham Release Date 22nd July
Singam Film Remake in Bollywood
Ajay Devgn in Singam Hindi Movie News

Singham Hindi Movie Cast and Crew:

Cast: Ajay Devgn, Kajal Aggarwal, Prakash Raj, Ashok Saraf
Sachin Khedekar, Sonali Kulkarni, Anant Jog, Vijay Patkar,
Jayant Sawarkar, Ashok Samarth, Kishore Nandlaskar, Ravindra Berde, Hemu Adhikari, Agasthya Dhanorkar, Suchitra Bandekar, Suhasini Deshpande, Meghna Vaidya, Pradeep Welankar
Director: Rohit Shetty
Music: Ajay Gogavale, Atul Gogavale
Sound: Rakesh Ranjan
Cinematography: Dudley
Editing: Steven H. Bernard
Art Direction: Narendra Rahurikar
Screenplay: Yunus Sajawal
Dialogue: Farhad, Sajid (1)
Action Direction: Jai Singh Nijjar
Choreography: Ganesh Acharya

Double Dhamaal

It's the season of sequels! After last week's Bheja Fry 2, which got a thanda response, all eyes were on Double Dhamaal, the sequel to 2007's comedy Dhamaal. With obvious comparisons in tow, Double Dhamaal manages to create just a stir and No Dhamaal, forget it being Double.

The movie is like a circus show, where various artists don different avatars, hit each other, fall down, make funny faces and do other amusing things with the sole aim to make you laugh. Sometimes they hit the Bull's eye, sometimes they don't. Similar is the case with Double Dhamaal, where various characters struggle to perk up the movie, succeed in some scenes but fail on the whole.

Director Indra Kumar, with wacky comedies like Ishq and Dil to his name, which were marked with some beautiful emotional and romantic moments, has tried to meet his fans' sky-high hopes in Double Dhamaal with an ensemble star cast, foreign locales and some mad-cap and adult humour, which definitely makes you giggle but strictly in some parts. Unfortunately, the man ended up making another mindless comedy, which is not at all 'hatke.'

What to say about the writers, must admit that they have done their homework well (read getting inspired by recent Bollywood comedies) as the movie exploits the sexual and adult humour to the core. So, be ready for some 'balls' and 'marbles' rolled at you and don't get zapped if the names of characters sound like popular expletives!

Talking about the story-line, first half looks quite clichéd and predictable, in the way Sanjay Dutt plans to fool the four boys and then they decide to take revenge. Post intermission, the plot begins to show some signs of twists in the tale but all that comes to the fore is usual jokes, typical funny situations and over the top scenes, which begin to irritate you after some time. However, the movie can boast of a few scenes that will definitely tickle your funny bone - gorilla scene, coat hanging scene and the spoofs on Guzaarish, Taare Zameen Par and Wanted, deserve a mention here.

Double Dhamaal begins where Dhamaal ends. The four friends of Dhamaal are back with Double Dhamaal - Roy (Riteish Deshmukh), Boman (Ashish Choudhary), Adi (Arshad Warsi) and Manav (Jaaved Jaafrey) are leading a life of paupers after donating all of their money to the orphanage. They meet the supah rich Kabir (Sanjay Dutt) and the two sexy ladies - Kia (Kangana) and Kamini (Mallika Sherawat) and that ignites their desire to lead a luxurious life. And soon, begins the mad race to become rich, richer and richest - a race that's marked with silly ramblings, mistaken identities, disguises and lots of tamasha.

As far as characters are concerned, you can say only they are the saving grace. While, Sanjay Dutt delivers what's expected - nothing more, nothing less, Arshad, is really asardar with his comic timing and dialogue delivery, Riteish once again takes the cake for his performance, specially for his outstanding mimicry. Aashish Choudhary is a revelation as sex-siren Barbara Horie and Do Do, though, he is just 'ok' as Boman. Jaaved Jaffrey will win your heart with his vulnerability, which creates some humorous moments. Mallika Sherawat is just a 'show piece,' a sexy one at that. We're wondering if she was funnier as the Hiss-torical Naagin or Kamini? Even the controversial and 'blink and you miss' bikini act and the anticipated item number 'Jalebi Bai' couldn't save her sinking character. Last but not the least, Kangana's character could have explored a lot more. The girl definitely has some comic sense, which if exploited well can work wonders.

Music (un)wise the film doesn't offer anything remarkable minus the 'Chal Kudiye' number by Mika, which might become a party-anthem for some days. 'Jalebi Bai,' which was being promoted as a competition to 'Shelia' and Munni, doesn't even come close to them. Rest of the songs are forgettable, and you will for sure! Anand Raj Anand has been better in the past.

On the whole, Double Dhamaal is a movie for those, who are in no mood to handle 'heavy duty' stuff and are looking out for just any movie to kill three hours with some under the belt humour. A statutory warning from us - A BIG tub of pop corn is a must! After all you deserve a treat for sitting through the movie!

Cat Caught King's

A Review of The King's Speech (2010)
At the 83rd Academy Awards, The King's Speech won the Academy Award for Best Picture, Best Director (Tom Hooper), Best Actor (Colin Firth), and Best Original Screenplay (David Seidler). The film had received twelve Oscar nominations, more than any other film. Besides the four categories it won, the film received nominations for Best Cinematography (Danny Cohen) and two for the supporting actors (Helena Bonham Carter and Geoffrey Rush), as well as two for its mise-en-scène: Art Direction and Costumes.

I am not sure how strongly the story of a stammering, early twentieth century Duke of York will appeal to audiences in Dhaka, but The King's Speech is a must-see for our local moviemakers. Natoks and non-FDC cinema in Bangladesh are usually similar dialogue-driven dramas. Therefore, a comparative analysis with The King's Speech is pertinent. This film has won the top award at the Producers' Guild and the Directors' Guild of America, the People's choice at the Toronto Film Festival, seven Golden Globes and has been nominated for twelve Oscars. Moreover, according to market data providers, Rentrak, it has grossed near about 100 million dollars and counting, in the US and through international markets.

Of course, the scale of this production is incomparable with the size of Bangladeshi productions, but the subject matter The King's Speech handles is of the nature that Bangladeshi filmmakers feel comfortable dealing in. Presupposing that the wily, know-it-all Bengali filmmaker receives this film positively, there may be many lessons to be learned from The King's Speech. The question I want to pose to them before I go ahead and review the film: Does the success of a drama depend on the bare rudiments? A formidable screenplay, some stellar acting, a picky director and, and: a knowledgeable team? Or, is there some mantra behind it?

The story of the The King's Speech is as thorough a look into the world of a stammerer as ever seen. The three character plot may seem rather linear, but it is perforated with subtext. Director Tom Cooper does a good job of executing the tension that writer David Seidler writes into the relationship between his Royal Highness, or Bertie, (Colin Firth) and his Australian speech therapist, Lionel Louge (Geoffery Rush). My one complaint about the script: the viewer has to suffer through too many of Bertie's excruciatingly agonizing failed orations. To call for empathy is alright, but the repeated pain inflicted on the audience needed to be curtailed.

In his screenplay, writer David Seidler in effect, creates three worlds-the early twentieth century time period; the protocol encrusted world of the Royalty and Lionel's world- where he is king and the Crown becomes a commoner. There is a reason behind his impudence: he supports that his unorthodox and controversial methods will work on the Duke, only if they behave as equals. The discomfort that this situation creates for the Duke, opens up a novel avenue for both textual and subtextual investigations on sociability in the monarchy. Also, as the relationship between patient and "doctor" grows, a unique friendship is explored.

Geoffery Rush, Colin Firth and Helena Bonham Carter's acting does justice to the script. Variety Magazine's Peter Debruge claims, in his September 4, 2010 article, that the big scenes are indisputably the monarch's. Yet, the therapist's stubbornness in choosing his way over the king's, has more onscreen visibility than the monarch's royal perseverance to deliver and finish a speech. The Duke of York does have the more emotional scenes, but, the memorable character sketch and performance is the therapist's. Geoffery Rush gets to play a delightfully independent persona and everything Rush does onscreen enriches the story. His every gesture, every deliberation brings us closer to this period piece.

We are reminded very early into the film that Lionel the therapist is a failed actor. This bit of information foreshadows the later revelation that he is also an actor, somewhat, in real life: he is not a certified practitioner. This foreshadowing illuminates Lionel's inner conflict and gives the goings-on of his mind as much importance as the conflicts in the title character's mind.

The props and sets have a distinct charateristic of their own. Every wall is rich and textured, every room borrows heavily from a particular palette and every character and every staging uses spaces to make them look like lived-in places. Tom Cooper and the director of photography, Danny Cohen, exploit the locations to a point of flaunting their baroque beauty. Actors are shown with ample headroom, they are often short-sided and the close-ups are shot with wide lenses giving the viewer a much wider, almost askew, angle of view behind the actor.