Showing posts with label Box Office. Show all posts
Showing posts with label Box Office. Show all posts
Saturday, 5 March 2016
Saturday, 27 February 2016
NEERJA Total Box Office Collection
Day1 Fri 4.70
Day2 Sat 7.60
Day3 Sun 9.71
Day4 Mon 3.70
Day5 Tue 3.41
Day6 Wed 3.14
Day7 Thu 3.06
Day8 Fri 3.15
Total Net 38.47
TOTAL GROS APROX 54.96
Day2 Sat 7.60
Day3 Sun 9.71
Day4 Mon 3.70
Day5 Tue 3.41
Day6 Wed 3.14
Day7 Thu 3.06
Day8 Fri 3.15
Total Net 38.47
TOTAL GROS APROX 54.96
Wednesday, 17 February 2016
Tuesday, 16 February 2016
Saturday, 13 February 2016
Sanam Re beats Fitoor at the Box-Office
Feb 13 2016 6:23pm
This Friday saw the release of two Bollywood films viz. Sanam Re and Fitoor. While the first featuring Pulkit Samrat, Yami Gautam and Urvashi Rautela marked Divya Khosla Kumar's second directorial venture, the latter which featured Katrina Kaif, Aditya Roy Kapur and Tabu was an adaptation of the classic novel 'Great Expectations' by Charles Dickens. However, both films revolved around the central theme of love and with Valentine's Day round the corner, we decided to analyze which one of them would have an edge over the other at the box office.
Music: Music always plays an important role in assisting a film's promotions prior to its release. In the case of Sanam Re, that is backed by the music giant T-Series, the film boasts of a soundtrack that has been topping charts since its release. On the other hand, Fitoor featured just a couple of track that caught on with the audience.
Screen Count: Once released, the fate of a film depends not just on critics reviews and the audience verdict but also on the visibility it gets. Here Sanam Re was at a distinct advantage with the film releasing across 2030 screens in India, promising over 7000 shows! However, Fitoor released across 1225 screens considerably lesser than its competitor.
Studio backing: Another factor that plays an important role in aiding a film's overall success is the studio name attached with it. While both the new releases had big names viz. T-Series and UTV Disney attached to it, Sanam Re had an upper hand with the last two releases from T-Series (Airlift and Hate Story 3) working well at the box- office setting the pace for its newer releases.
Star quotient: Obviously a big name being attached to a film, especially in its cast, does boost its overall likeability. However, for Fitoor, Katrina Kaif's star power seemed somewhat diminished. Compounding this was the fact that Aditya Roy Kapur's last release Daawat-E-Ishq was a rather forgettable affair, proving the adage that a star is only worth his last release is true.
Budget: When calculating the profitability of a film what needs to be looked at is the cumulative budget of the making of the film. In case of Sanam Re, the film was made on a rather controlled budget; hence the return on investment rate will be higher when compared to Fitoor, which was made on a considerably higher budget. Sanam Re hence is a far more profitable venture.
While these five points were paramount in giving Sanam Re an advantage, what further helped the film was the fact that it featured stunning visuals and good on screen chemistry between the lead pair. Besides this,Fitoor that was an adaptation of 'Great Expectations' did little to resemble the story from the novel, turning out to be more of a slow art film. On the whole, Sanam Re has collected Rs. 5.04 cr on opening day collection while, Fitoor earn Rs. 3.61 cr in the same time period. The weekend and lifetime collections ofSanam Re should also be higher than Fitoor.
Music: Music always plays an important role in assisting a film's promotions prior to its release. In the case of Sanam Re, that is backed by the music giant T-Series, the film boasts of a soundtrack that has been topping charts since its release. On the other hand, Fitoor featured just a couple of track that caught on with the audience.
Screen Count: Once released, the fate of a film depends not just on critics reviews and the audience verdict but also on the visibility it gets. Here Sanam Re was at a distinct advantage with the film releasing across 2030 screens in India, promising over 7000 shows! However, Fitoor released across 1225 screens considerably lesser than its competitor.
Studio backing: Another factor that plays an important role in aiding a film's overall success is the studio name attached with it. While both the new releases had big names viz. T-Series and UTV Disney attached to it, Sanam Re had an upper hand with the last two releases from T-Series (Airlift and Hate Story 3) working well at the box- office setting the pace for its newer releases.
Star quotient: Obviously a big name being attached to a film, especially in its cast, does boost its overall likeability. However, for Fitoor, Katrina Kaif's star power seemed somewhat diminished. Compounding this was the fact that Aditya Roy Kapur's last release Daawat-E-Ishq was a rather forgettable affair, proving the adage that a star is only worth his last release is true.
Budget: When calculating the profitability of a film what needs to be looked at is the cumulative budget of the making of the film. In case of Sanam Re, the film was made on a rather controlled budget; hence the return on investment rate will be higher when compared to Fitoor, which was made on a considerably higher budget. Sanam Re hence is a far more profitable venture.
While these five points were paramount in giving Sanam Re an advantage, what further helped the film was the fact that it featured stunning visuals and good on screen chemistry between the lead pair. Besides this,Fitoor that was an adaptation of 'Great Expectations' did little to resemble the story from the novel, turning out to be more of a slow art film. On the whole, Sanam Re has collected Rs. 5.04 cr on opening day collection while, Fitoor earn Rs. 3.61 cr in the same time period. The weekend and lifetime collections ofSanam Re should also be higher than Fitoor.
Friday, 12 February 2016
BOX Office update: Sanam Re opens better than Fitoor
Feb 12 2016 6:42pm
It's the Valentine's Day weekend and most of us have been planning something special for that one person. Well on the Bollywood front, the audience will be treated to a double dose of romance with the release of SANAM RE and FITOOR. While SANAM RE marks Divya Khosla Kumar's second directorial venture featuring Pulkit Samrat, Yami Gautam and Urvashi Rautela, FITOOR features Katrina Kaif and Aditya Roy Kapur. However the question of the moment is, which one of these two will emerge as the leader at the box office?
Reports suggest that SANAM RE that boasts of an engaging and catchy musical score has opened on a good note with occupancy rates being pegged at a strong 35-40% during morning shows. On the other hand, FITOOR despite featuring Katrina Kaif, Tabu and Aditya Roy Kapur, has opened on a sluggish note with an occupancy rate of 25-30%. Simultaneously, while reports about SANAM RE are awaited, the negative (highly critical) reviews that FITOOR received will certainly dent its overall collections.
On the whole, SANAM RE that is backed by the music giant T-Series and features good music is expected to fare well at the box-office. However, FITOOR, which is said to be an adaptation of the Charles Dickens novel Great Expectations has been a letdown and will have to rely on positive word of mouth to post decent box office figures.
Reports suggest that SANAM RE that boasts of an engaging and catchy musical score has opened on a good note with occupancy rates being pegged at a strong 35-40% during morning shows. On the other hand, FITOOR despite featuring Katrina Kaif, Tabu and Aditya Roy Kapur, has opened on a sluggish note with an occupancy rate of 25-30%. Simultaneously, while reports about SANAM RE are awaited, the negative (highly critical) reviews that FITOOR received will certainly dent its overall collections.
On the whole, SANAM RE that is backed by the music giant T-Series and features good music is expected to fare well at the box-office. However, FITOOR, which is said to be an adaptation of the Charles Dickens novel Great Expectations has been a letdown and will have to rely on positive word of mouth to post decent box office figures.
Movie Review: Sanam Re
Feb 12 2016 6:40pm
Divya Khosla Kumar's SANAM RE is a sweet romantic love story smeared with a cathartic tear that is the perfect recipe for the romantic air around the Valentine's Day. The fabulous music score, amazing locations and great picturization makes it a visual treat which doesn't let the slow pace affect the movie watching experience in any way.
Aakash (Pulkit Samrat) is an ambitious young man who's always rebuked by his boss. The circumstances take him back to his small home town amidst snowcapped hills. His dadaji (Rishi Kapoor), a photographer had been a strong influence on him during childhood but now he's old and Aakash's parents want to sell off the photo studio since there's no one to take care of it. The young confused man rediscovers the memories of his childhood love Shruti (Yami Gautam) whom he had dumped for a comfortable city life a few years ago. Circumstances make Aakash and Yami meet again the salubrious climate of Canada where they attend a Yoga Camp of a lady Yoga guru (Bharti Singh). The triangle is completed by gorgeous and sexy Mrs Pablo (Urvashi Rautela) who has to be won over by Aakash for professional reasons. The story moves forward and professional ambitions gradually get taken over by pure unadulterated love.
Divya Khosla Kumar has chosen some fantastic locations in Laddakh, Canada and Himachal Pradesh. It displays her heightened aesthetic appeal and a majestic sense for pristine romance. Sameer Arya's camerawork makes the stunning locations a veritable eye treat. The beautiful mountains, breathtaking lakes, virgin sea beaches, you shall see some of the best locations displayed in a movie in the recent times.
Chartbuster Music is the best highlight of SANAM RE. Each and every song is simply outstanding. And Divya has picturized the songs with a clean heart and humungous romance. 'Sanam Re', 'Hua Hai Aaj Pehli Baar', 'Ghazab Ka Hai Ye Din', 'Kya Tujhe Ab Dil Ye Bataaye', 'Tere Liye' and 'Tum Bin' are great tracks and add dollops of romance and passion during the Valentine's season. 'Humne Pee Rakhi Hai' is a rocking dance number which is made special by the crafty dance moves of the hot and happening Divya Khosla Kumar herself.
Pulkit Samrat excels in a role that required him to be subtle and emote when he's not expected to say anything. He's in great shape and looks every bit the romantic icon on the lines of Salman Khan, Rajesh Khanna etc. Yami Gautam looks deliriously pretty and a perfect girl from the mountains. She surprises with her intensity and intensity. Urvashi Rautela is the surprise packet of the film. She looks beautiful, acts well and adds a solid oomph quotient to the film which is one of the highlight of the film. Rishi Kapoor always surprises with his laid back genius. He's a delight as the old man who moves you immensely and leaves you with a smile.
Sanjeev Datta has written the story and screenplay while Husain Dalal and Sanjeev Datta have written the dialogues. The writing has an old world charm with brilliance of Urdu thrown in. Chandrasekhar Prajapati's editing is lackluster and the only weak point of the film. The pace could have been slightly quicker. Divya Khosla Kumar displays a lot of maturity in tackling a complex subject with a lot of heart. She's a director to watch out for.
On the whole SANAM RE boasts of great visuals and chart buster music which has been the hallmark of T Series. Even though the pace of the movie acts as deterrent at places, its target audience and the right release week (Valentine period) will see it through at the box office. Go get soaked in love. Now.
Aakash (Pulkit Samrat) is an ambitious young man who's always rebuked by his boss. The circumstances take him back to his small home town amidst snowcapped hills. His dadaji (Rishi Kapoor), a photographer had been a strong influence on him during childhood but now he's old and Aakash's parents want to sell off the photo studio since there's no one to take care of it. The young confused man rediscovers the memories of his childhood love Shruti (Yami Gautam) whom he had dumped for a comfortable city life a few years ago. Circumstances make Aakash and Yami meet again the salubrious climate of Canada where they attend a Yoga Camp of a lady Yoga guru (Bharti Singh). The triangle is completed by gorgeous and sexy Mrs Pablo (Urvashi Rautela) who has to be won over by Aakash for professional reasons. The story moves forward and professional ambitions gradually get taken over by pure unadulterated love.
Divya Khosla Kumar has chosen some fantastic locations in Laddakh, Canada and Himachal Pradesh. It displays her heightened aesthetic appeal and a majestic sense for pristine romance. Sameer Arya's camerawork makes the stunning locations a veritable eye treat. The beautiful mountains, breathtaking lakes, virgin sea beaches, you shall see some of the best locations displayed in a movie in the recent times.
Chartbuster Music is the best highlight of SANAM RE. Each and every song is simply outstanding. And Divya has picturized the songs with a clean heart and humungous romance. 'Sanam Re', 'Hua Hai Aaj Pehli Baar', 'Ghazab Ka Hai Ye Din', 'Kya Tujhe Ab Dil Ye Bataaye', 'Tere Liye' and 'Tum Bin' are great tracks and add dollops of romance and passion during the Valentine's season. 'Humne Pee Rakhi Hai' is a rocking dance number which is made special by the crafty dance moves of the hot and happening Divya Khosla Kumar herself.
Pulkit Samrat excels in a role that required him to be subtle and emote when he's not expected to say anything. He's in great shape and looks every bit the romantic icon on the lines of Salman Khan, Rajesh Khanna etc. Yami Gautam looks deliriously pretty and a perfect girl from the mountains. She surprises with her intensity and intensity. Urvashi Rautela is the surprise packet of the film. She looks beautiful, acts well and adds a solid oomph quotient to the film which is one of the highlight of the film. Rishi Kapoor always surprises with his laid back genius. He's a delight as the old man who moves you immensely and leaves you with a smile.
Sanjeev Datta has written the story and screenplay while Husain Dalal and Sanjeev Datta have written the dialogues. The writing has an old world charm with brilliance of Urdu thrown in. Chandrasekhar Prajapati's editing is lackluster and the only weak point of the film. The pace could have been slightly quicker. Divya Khosla Kumar displays a lot of maturity in tackling a complex subject with a lot of heart. She's a director to watch out for.
On the whole SANAM RE boasts of great visuals and chart buster music which has been the hallmark of T Series. Even though the pace of the movie acts as deterrent at places, its target audience and the right release week (Valentine period) will see it through at the box office. Go get soaked in love. Now.
Movie Review: Deadpool (English)
Feb 11 2016 1:20pm
Over the past few years we have seen a rise in the number of superhero films. But this Friday promises to be a little different with the release of the much talked about and highly anticipated anti- superhero flick DEADPOOL. Going into the film, I had my apprehensions about the casting with Ryan Reynolds playing Deadpool, more so after unfortunately having to watch him in a green CGI suit in GREEN LANTERN. Another concern that I faced was the fact that while normal superhero films are pretty much run of the mill with good vanquishing evil and mutant/ superhero standing tall taking the moral high ground of being better than the rest, Deadpool is the quintessential anti-hero who cares two hoots about others, focusing on his own agenda albeit with a weird sense of humour. So the big question was, will Ryan Reynolds make Deadpool seem like another Green Lantern or will he manage to pull off the loved yet hated comic character? Let's analyze.
The film starts off with Reynolds' character Deadpool sitting in the back seat of a cab, driven by an Indian named Bhupinder, played by Karan Soni with the iconic Bollywood number 'Mera Joota hai Japani' from the film Shree 420 playing in the background. Although a rather disjointed start the film then picks up with Deadpool taking the viewer down memory lane with his flashbacks at crucial moments filling up the gap that seemed ominous about his past being unknown. What's interesting here is that while Reynolds' character Wade Winston Wilson (his original self-prior to undergoing treatment for cancer) is just another person, his alter ego Deadpool is able to break through the proverbial 'Fourth Wall'. In lay man's terms, while Wade doesn't realize that he is just an actor in a film, Deadpool does and is able to communicate to the audience directly. Thanks to this ability, Deadpool speaks directly to the viewers as though he is one of them.
Enter the flashback mode with the guy in the red suit briefing the viewer about the film's back story where Reynolds plays a skilled ex-special forces operative turned mercenary Wade Wilson, who falls head over heels in lust with Morena Baccarin who plays his hot girlfriend, Vanessa. However, their dream of living an idyllic sex filled life is shattered when they discovering that Wilson has cancer of the brain, lungs and prostrate (as though one wasn't enough). Forced into an unavoidable situation, Wade signs up to a rogue experiment that subjects him to accelerated testing (read torture treatment) that eventually bring out his healing powers. The lab is run by Francis/Ajax (Ed Skrein) who himself is a bit of a mutant, whose brutal experiments turn Wade into an ugly, indestructible and at times obnoxious pain in the ass Deadpool. However, with his good looks ruined due to the experimentation, Wade is bent on revenge. Things come to a head after Ajax kidnaps Vanessa. Meanwhile, Colossus (Stefan Kapicic) and Negasonic Teenage Warhead (Brianna Hildebrand) from the X-Men, try their best to convince Deadpool to join their team and become one of the good guys.
Coming to the performances, after watching Reynolds in and as GREEN LANTERN, the viewer's first thought was, why him! However, Reynolds surprises us as Deadpool with a spot on performance that quite literally more than makes up for his earlier misgivings as characters like Green Lantern, Hannible Cane (BLADE: TRINITY) and Nick Walker (RIPD). In fact the actor himself had stated that Deadpool will be the last comic book character he will ever portray though he is open to Deadpool sequels and/or cameos, a choice we approve. Morena Baccarin as Deadpool/ Wade Wilson's girlfriend Vanessa takes being the 'hot ass girlfriend' to the next level with her more than raunchy, scintillating act. Unfortunately, Ed Skrein as Ajax/ Francis Freeman does not impress, much like his character in TRANSPORTER REFUELED leaves a lot to be desired. For an arch nemesis to Deadpool, Ajax who himself is a mutant with super human strength and the ability to not feel pain is rather dry. Stefan Kapicic as Colossus and Brianna Hildebrand as Negasonic Teenage Warhead are limited to roles that play supporting characters coming across as more to set the premise to include Deadpool in the next X-MEN series. Gina Carano as Angel Dust, the mutant with insane strength, is pretty much there to kick Colossus' butt. However, she too fades away, with the film focusing totally on Deadpool.
As for the technical, the film keeps pace with intense action, unending rambling, flashback modes and witty dialogues. However, here too it does seem weak when it comes to the villains. Though the original comic book writers/creators Fabian Nicieza and Rob Liefeld along with the screenwriters Rhett Reese and Paul Wernick inject an uncanny brand of humor into DEADPOOL, applause goes to Tim Miller for his full length film directorial debut.
On the whole, DEADPOOL is one part origin story, one part love story and whole lot of ass kicking action with brilliant, sharp, witty cuss filled humor of gore and theatricality with spot on yet subtle references to pop culture which is unmatched in this genre. A definite must watch for all superhero fans.end
The film starts off with Reynolds' character Deadpool sitting in the back seat of a cab, driven by an Indian named Bhupinder, played by Karan Soni with the iconic Bollywood number 'Mera Joota hai Japani' from the film Shree 420 playing in the background. Although a rather disjointed start the film then picks up with Deadpool taking the viewer down memory lane with his flashbacks at crucial moments filling up the gap that seemed ominous about his past being unknown. What's interesting here is that while Reynolds' character Wade Winston Wilson (his original self-prior to undergoing treatment for cancer) is just another person, his alter ego Deadpool is able to break through the proverbial 'Fourth Wall'. In lay man's terms, while Wade doesn't realize that he is just an actor in a film, Deadpool does and is able to communicate to the audience directly. Thanks to this ability, Deadpool speaks directly to the viewers as though he is one of them.
Enter the flashback mode with the guy in the red suit briefing the viewer about the film's back story where Reynolds plays a skilled ex-special forces operative turned mercenary Wade Wilson, who falls head over heels in lust with Morena Baccarin who plays his hot girlfriend, Vanessa. However, their dream of living an idyllic sex filled life is shattered when they discovering that Wilson has cancer of the brain, lungs and prostrate (as though one wasn't enough). Forced into an unavoidable situation, Wade signs up to a rogue experiment that subjects him to accelerated testing (read torture treatment) that eventually bring out his healing powers. The lab is run by Francis/Ajax (Ed Skrein) who himself is a bit of a mutant, whose brutal experiments turn Wade into an ugly, indestructible and at times obnoxious pain in the ass Deadpool. However, with his good looks ruined due to the experimentation, Wade is bent on revenge. Things come to a head after Ajax kidnaps Vanessa. Meanwhile, Colossus (Stefan Kapicic) and Negasonic Teenage Warhead (Brianna Hildebrand) from the X-Men, try their best to convince Deadpool to join their team and become one of the good guys.
Coming to the performances, after watching Reynolds in and as GREEN LANTERN, the viewer's first thought was, why him! However, Reynolds surprises us as Deadpool with a spot on performance that quite literally more than makes up for his earlier misgivings as characters like Green Lantern, Hannible Cane (BLADE: TRINITY) and Nick Walker (RIPD). In fact the actor himself had stated that Deadpool will be the last comic book character he will ever portray though he is open to Deadpool sequels and/or cameos, a choice we approve. Morena Baccarin as Deadpool/ Wade Wilson's girlfriend Vanessa takes being the 'hot ass girlfriend' to the next level with her more than raunchy, scintillating act. Unfortunately, Ed Skrein as Ajax/ Francis Freeman does not impress, much like his character in TRANSPORTER REFUELED leaves a lot to be desired. For an arch nemesis to Deadpool, Ajax who himself is a mutant with super human strength and the ability to not feel pain is rather dry. Stefan Kapicic as Colossus and Brianna Hildebrand as Negasonic Teenage Warhead are limited to roles that play supporting characters coming across as more to set the premise to include Deadpool in the next X-MEN series. Gina Carano as Angel Dust, the mutant with insane strength, is pretty much there to kick Colossus' butt. However, she too fades away, with the film focusing totally on Deadpool.
As for the technical, the film keeps pace with intense action, unending rambling, flashback modes and witty dialogues. However, here too it does seem weak when it comes to the villains. Though the original comic book writers/creators Fabian Nicieza and Rob Liefeld along with the screenwriters Rhett Reese and Paul Wernick inject an uncanny brand of humor into DEADPOOL, applause goes to Tim Miller for his full length film directorial debut.
On the whole, DEADPOOL is one part origin story, one part love story and whole lot of ass kicking action with brilliant, sharp, witty cuss filled humor of gore and theatricality with spot on yet subtle references to pop culture which is unmatched in this genre. A definite must watch for all superhero fans.end
Movie Review: Fitoor
Feb 12 2016 1:14pm
Many films in Bollywood have been made based on classic novels. This week's release FITOOR too falls in the same category. The film's makers went on record to say that FITOOR is based on Charles Dickens' 'Great Expectations', the very novel that showcased forbidden love, betrayal and class struggles. With a starcast that boasts of the stunning Katrina Kaif and the hunky Aditya Roy Kapur, whether FITOOR lives upto the 'great expectations' or will it turn out to be a let-down, let's analyze.
FITOOR starts off with with the flashback that reflects the childhood of a young Kashmiri boy Noor Nizami and his 'blink-and-you-miss' tryst with a random stranger (Ajay Devgn), who turns out to be a certain Mirza Baig eventually. One of the days, when Noor accompanies his brother-in-law to Begam (Tabu)'s palace for some carpentry work, his young and innocent eyes fall on the eternally beautiful Firdaus Jaan Naqvi. Because, she takes a 'liking' for Noor's (torn) shoes, he gets hired as their stable's caretaker. Gradually, the duo start liking each other and each other's company. One day Noor comes looking out for Firdaus at her palace when Begum informs him that she has been sent away to London for education. The film then fast forwards a few years and now a grown up Noor (Aditya Roy Kapur) leaves his hometown to move to Delhi to build his career as an artist. As luck would have it, Noor meets Firdaus (Katrina Kaif) at a party and this time round, they try to 'complete' their 'incomplete' love. That's when Firdaus confesses to Noor that she will be soon getting married to an upcoming Pakistani politician Bilal (Rahul Bhatt). The level of obsession that Noor has for Firdaus reaches crazy heights. Will Noor let go of his childhood love Firdaus, will Firdaus have a change of heart and leave Bilal and get married to Noor or does the extremely protective Begam have a way different plan for Firdaus is what forms the rest of the film.
FITOOR's director Abhishek Kapoor (who is best known for his films like KAI PO CHE and ROCK ON), seems extremely confused in his narrative of FITOOR. While the film does have its moments under the sun, FITOOR turns out to be such a BIG disappointment for all those who really had 'great expectations' (no pun intended) from the film. The film is nothing but an amalgamation of senseless, confusing and disjointed screenplay (Supratik Sen, Abhishek Kapoor) and poor direction (Abhishek Kapoor). The screenplay is sorely disappointing, thus making the film look like an arthouse cinema featuring popular stars. What adds to the downfall of the film is also the odd pairing of Aditya Roy Kapur and Katrina Kaif, who lack the much needed chemistry to 'light up' a movie of this genre. After a point, the film's proceedings become way too difficult to comprehend. The makers of the film have focused on every minute detail of the visuals in the movie, however one wonders why they didn't do the same level of detailing in the screenplay. There are many scenes in the film that do no good to the film, but only land up confusing the viewers. Testimonials to this are in the form of Ajay Devgn's role in the film, and also the scene wherein Aditya reads a news article about a Begam spending a fortune on her heiress' wedding, whereas, the so-called 'wedding' never seems to take place in the movie. Despite all the flaws and shortcomings, one has to admit that the film looks extremely appealing visually.
As for the performances, even though it's the film's lead pair Aditya Roy Kapur and Katrina Kaif who carry the film on their 'able' shoulders, the confusing and lacklustre script acts as a speed breaker in their respective performances. Both, Aditya and Katrina seem to struggle in the film with their respective characters. Even though Tabu does a decent job, the explanation for her weird behaviour throughout the film comes in too late. Ajay Devgn and Lara Dutta are totally wasted in the film. Rahul Bhatt, Aditi Rao Hydari, Akshay Oberoi, Delbar Arya and others try their level best to help the film move forward.
The film's music (Amit Trivedi) is nothing to write about as only Fitoor title track and 'Pashmina' stands out. The film's background score is average. While the film's cinematography (Anay Goswamy) is outstanding, the film's editing (Deepa Bhatia) is decent. A special mention to the people behind the film's costumes. Though the film is only 2 hours and 11 minutes long, it feels like a never ending saga, due to its snail pace.
On the whole, FITOOR is a huge letdown despite its great visuals, as it fails to connect emotionally. At the Box-Office, the movie will appeal only to a minuscule set of multiplex audience.
Many films in Bollywood have been made based on classic novels. This week's release FITOOR too falls in the same category. The film's makers went on record to say that FITOOR is based on Charles Dickens' 'Great Expectations', the very novel that showcased forbidden love, betrayal and class struggles. With a starcast that boasts of the stunning Katrina Kaif and the hunky Aditya Roy Kapur, whether FITOOR lives upto the 'great expectations' or will it turn out to be a let-down, let's analyze.
FITOOR starts off with with the flashback that reflects the childhood of a young Kashmiri boy Noor Nizami and his 'blink-and-you-miss' tryst with a random stranger (Ajay Devgn), who turns out to be a certain Mirza Baig eventually. One of the days, when Noor accompanies his brother-in-law to Begam (Tabu)'s palace for some carpentry work, his young and innocent eyes fall on the eternally beautiful Firdaus Jaan Naqvi. Because, she takes a 'liking' for Noor's (torn) shoes, he gets hired as their stable's caretaker. Gradually, the duo start liking each other and each other's company. One day Noor comes looking out for Firdaus at her palace when Begum informs him that she has been sent away to London for education. The film then fast forwards a few years and now a grown up Noor (Aditya Roy Kapur) leaves his hometown to move to Delhi to build his career as an artist. As luck would have it, Noor meets Firdaus (Katrina Kaif) at a party and this time round, they try to 'complete' their 'incomplete' love. That's when Firdaus confesses to Noor that she will be soon getting married to an upcoming Pakistani politician Bilal (Rahul Bhatt). The level of obsession that Noor has for Firdaus reaches crazy heights. Will Noor let go of his childhood love Firdaus, will Firdaus have a change of heart and leave Bilal and get married to Noor or does the extremely protective Begam have a way different plan for Firdaus is what forms the rest of the film.
FITOOR's director Abhishek Kapoor (who is best known for his films like KAI PO CHE and ROCK ON), seems extremely confused in his narrative of FITOOR. While the film does have its moments under the sun, FITOOR turns out to be such a BIG disappointment for all those who really had 'great expectations' (no pun intended) from the film. The film is nothing but an amalgamation of senseless, confusing and disjointed screenplay (Supratik Sen, Abhishek Kapoor) and poor direction (Abhishek Kapoor). The screenplay is sorely disappointing, thus making the film look like an arthouse cinema featuring popular stars. What adds to the downfall of the film is also the odd pairing of Aditya Roy Kapur and Katrina Kaif, who lack the much needed chemistry to 'light up' a movie of this genre. After a point, the film's proceedings become way too difficult to comprehend. The makers of the film have focused on every minute detail of the visuals in the movie, however one wonders why they didn't do the same level of detailing in the screenplay. There are many scenes in the film that do no good to the film, but only land up confusing the viewers. Testimonials to this are in the form of Ajay Devgn's role in the film, and also the scene wherein Aditya reads a news article about a Begam spending a fortune on her heiress' wedding, whereas, the so-called 'wedding' never seems to take place in the movie. Despite all the flaws and shortcomings, one has to admit that the film looks extremely appealing visually.
As for the performances, even though it's the film's lead pair Aditya Roy Kapur and Katrina Kaif who carry the film on their 'able' shoulders, the confusing and lacklustre script acts as a speed breaker in their respective performances. Both, Aditya and Katrina seem to struggle in the film with their respective characters. Even though Tabu does a decent job, the explanation for her weird behaviour throughout the film comes in too late. Ajay Devgn and Lara Dutta are totally wasted in the film. Rahul Bhatt, Aditi Rao Hydari, Akshay Oberoi, Delbar Arya and others try their level best to help the film move forward.
The film's music (Amit Trivedi) is nothing to write about as only Fitoor title track and 'Pashmina' stands out. The film's background score is average. While the film's cinematography (Anay Goswamy) is outstanding, the film's editing (Deepa Bhatia) is decent. A special mention to the people behind the film's costumes. Though the film is only 2 hours and 11 minutes long, it feels like a never ending saga, due to its snail pace.
On the whole, FITOOR is a huge letdown despite its great visuals, as it fails to connect emotionally. At the Box-Office, the movie will appeal only to a minuscule set of multiplex audience.
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