Saturday, 30 November 2013
Friday, 29 November 2013
Thirty years after Sadma, Kamal Haasan, Sridevi may star together again
Kamal Haasan is penning a film script
for his former co-star Sridevi that could pair up the actors once again.
The 1983 film Sadma was one of Sridevi's and her co-star Kamal Haasan's biggest hits. And looks like history could soon repeat itself.
According to sources, almost after three decades Kamal Haasan is writing a film script that could star him and Sridevi together once again.
According to sources, almost after three decades Kamal Haasan is writing a film script that could star him and Sridevi together once again.
A source said, "Filmmakers along the years have wanted to cast them together. Unfortunately, it never worked out. After Sridevi made her comeback, Kamal has now taken things into his own hands."
Kamal Haasan confirmed the news and said, "Yes, I want to work with Sridevi. I'm writing a script for her, so that both of us can act in the film." And incidentally, Sridevi already knows of Kamal Haasan's plans. A friend of the actress said, "She knows about this script. In fact when Kamal was in Mumbai recently, he had informed Sridevi about it. The actress is looking forward to the film."
From Titanic to Revolutionary Road
“When you’re known, you have maybe 15 minutes to make people accept that
you are the character you are supposed to be,” Catherine Deneuve was
quoted as saying in the Sydney Morning Herald last Saturday.
But Revolutionary Road is a film that prompts the question: Does an audience member ever truly forget that they are watching a star play a character? Why do I single out Revolutionary Road, besides the fact that it airs at 9.30pm this Saturday on SBS ONE? Because it is impossible not to see Leonardo DiCaprio and Kate Winslet playing off each other up on screen without thinking of Titanic – even if they are all grown up now compared to back then. After all, Titanic was massively popular, smashing box office records when it was released in Australia and remaining the biggest ever hit for a dozen years until Avatar came along in 2009.
[ Full schedule: SBS ONE: Sandy George Presents... ]
Attaching much-admired internationally known actors to a project often triggers financing and is an invaluable marketing hook. But once the audience is sitting in the seats watching them pretend to be a fictional character, surely Sandra Bullock and George Clooney in Gravity, for example, remain Sandra Bullock and George Clooney. Ditto Cate Blanchett in Blue Jasmine.
It is not just clearly remembering the actor’s other performances that can make it hard to believe they’re now someone else – DiCaprio is not just burned into my brain as Jack in Titanic but also as Romeo and Jay Gatsby in two Baz Luhrmann films – but also because of the way that aspects of their personal life swirl around.
In the case of Revolutionary Road, for example, here is a film about hopes and dreams and expectations and marriage, which Winslet had to beg Sam Mendes to direct when he was her husband – and now they are no longer married. If while watching the film the mind is suspiciously working overtime to process exactly why Winslet connected with the book, undoubtedly it is a distraction.
Actually, perhaps the bigger question is: Do audiences ever truly forget at all that they are watching actors? Is that back-of-the-mind complicity just part of the experience?
Deneuve is implying that it is a bigger challenge for known actors to become new characters and my follow-up question to the famous French actress would be: What are the key tricks of the trade? Many film critics assert that it is emotional connection between characters and audiences that ultimately distinguishes great films. Emotional connection, in this context, might be thrills and spills in the case of an action film, or grief in the case of a very black drama. I’d like to know if she agrees.
But Revolutionary Road is a film that prompts the question: Does an audience member ever truly forget that they are watching a star play a character? Why do I single out Revolutionary Road, besides the fact that it airs at 9.30pm this Saturday on SBS ONE? Because it is impossible not to see Leonardo DiCaprio and Kate Winslet playing off each other up on screen without thinking of Titanic – even if they are all grown up now compared to back then. After all, Titanic was massively popular, smashing box office records when it was released in Australia and remaining the biggest ever hit for a dozen years until Avatar came along in 2009.
[ Full schedule: SBS ONE: Sandy George Presents... ]
Attaching much-admired internationally known actors to a project often triggers financing and is an invaluable marketing hook. But once the audience is sitting in the seats watching them pretend to be a fictional character, surely Sandra Bullock and George Clooney in Gravity, for example, remain Sandra Bullock and George Clooney. Ditto Cate Blanchett in Blue Jasmine.
It is not just clearly remembering the actor’s other performances that can make it hard to believe they’re now someone else – DiCaprio is not just burned into my brain as Jack in Titanic but also as Romeo and Jay Gatsby in two Baz Luhrmann films – but also because of the way that aspects of their personal life swirl around.
In the case of Revolutionary Road, for example, here is a film about hopes and dreams and expectations and marriage, which Winslet had to beg Sam Mendes to direct when he was her husband – and now they are no longer married. If while watching the film the mind is suspiciously working overtime to process exactly why Winslet connected with the book, undoubtedly it is a distraction.
Actually, perhaps the bigger question is: Do audiences ever truly forget at all that they are watching actors? Is that back-of-the-mind complicity just part of the experience?
Deneuve is implying that it is a bigger challenge for known actors to become new characters and my follow-up question to the famous French actress would be: What are the key tricks of the trade? Many film critics assert that it is emotional connection between characters and audiences that ultimately distinguishes great films. Emotional connection, in this context, might be thrills and spills in the case of an action film, or grief in the case of a very black drama. I’d like to know if she agrees.
VEERAM -THALA AJITH-New Poster
Veeram ( is an upcoming Tamil action masala film directed by Siva and produced by Vijaya Productions. The film features Ajith Kumar and Tamannaah in the lead roles, while an ensemble supporting cast includes Vidharth, Santhanam, Pradeep Rawat and Abhinaya
amongst others. Pre-production work has been ongoing since December
2011, with the shoot ultimately starting in April 2013. The film is
expected to release on the mid-January of 2014.
VidiyumMunn-Best Thriller Film 2013
Jurassic World Will Take Place 22 Years After Jurassic Park
Colin Trevorrow isn’t a man who opens his mouth and gives away too much
information. In fact, last year he was so vague about his upcoming job
involving a major franchise that it led to Star Wars fans convincing themselves he’d been hired to helm Episode VII. In actuality, he was hired to helm the upcoming Jurassic World.
In keeping with his personality, he’s been tight-lipped about the plot
specifics, but he did take to Twitter earlier this week to clear up some
misconceptions.
Contrary to what you may have heard, Jurassic World will not be a reboot, at least not as you may think of the term. Instead, it will begin two plus decades after those raptors ate Muldoon. Here’s a look at the actual tweet in question…
So, what does that mean? Why is he unwilling to completely discard the term "reboot"? Well, if I had to guess, I would say Jurassic World will likely look to set up a universe with new faces and new characters that both links to the past but also allows for an entirely new group of films that will take most of their backstory from this specific entry. Let me give you an example. Rumors are raging that Chris Pratt may be hired to topline the movie. If all goes according to plan, Trevorrow will implement a link between Jurassic Park and this newest entry, but moving forward, Pratt will be the specific lynchpin, not Sam Neill. So, the larger Jurassic Park mythos will be involved, but future films will have their more overt link to this film rather than the original.
Considering what a classic it is, that might sound a bit obnoxious, but it’s been two decades since the first installment hit theaters. It’s really not a guarantee your average fourteen-year-old will have seen it. Plus, sometimes it’s better to make a hard right turn. I love Laura Dern to death (RIP Enlightened), but I’m not sure she should be the lead female this time around.
That being said, I hope to God Trevorrow and company figure out a way to incorporate the original score because it’s one of the best in the history of film. You can remind yourself of its awesomeness below…
Contrary to what you may have heard, Jurassic World will not be a reboot, at least not as you may think of the term. Instead, it will begin two plus decades after those raptors ate Muldoon. Here’s a look at the actual tweet in question…
@pfcbains916 Reboot is a strong word. This is a new sci-fi terror adventure set 22 years after the horrific events of Jurassic Park.
— Colin Trevorrow (@colintrevorrow) November 23, 2013
So, what does that mean? Why is he unwilling to completely discard the term "reboot"? Well, if I had to guess, I would say Jurassic World will likely look to set up a universe with new faces and new characters that both links to the past but also allows for an entirely new group of films that will take most of their backstory from this specific entry. Let me give you an example. Rumors are raging that Chris Pratt may be hired to topline the movie. If all goes according to plan, Trevorrow will implement a link between Jurassic Park and this newest entry, but moving forward, Pratt will be the specific lynchpin, not Sam Neill. So, the larger Jurassic Park mythos will be involved, but future films will have their more overt link to this film rather than the original.
Considering what a classic it is, that might sound a bit obnoxious, but it’s been two decades since the first installment hit theaters. It’s really not a guarantee your average fourteen-year-old will have seen it. Plus, sometimes it’s better to make a hard right turn. I love Laura Dern to death (RIP Enlightened), but I’m not sure she should be the lead female this time around.
That being said, I hope to God Trevorrow and company figure out a way to incorporate the original score because it’s one of the best in the history of film. You can remind yourself of its awesomeness below…
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