However, after shooting for almost 30 days, the actor was dropped from the comedy-drama amid rumours of 'unprofessional behaviour.' As per the latest reports, post-Kartik's exit from the movie, Bollywood actor Akshay Kumar is taken on board to play the lead role.
This is a long-delayed film by director Shekar Kapur who casted Hrithik Roshan in the lead role. The movie was officially announced in 2010 at the Cannes Film Festival. Later, reports suggested that Sushant Singh Rajput replaced Hrithik in the film. However, in 2016 the director announced the separation of SSR from the project. The lead of the film is still unknown. After the unfortunate death of Sushant, director said if the film ever gets made it will be a tribute to the late actor.
Dostana 2 In Hindi Movie
Another Sanjay Leela Bhansali film that got shelved is Inshallah. The movie was said to pair Salman Khan with Alia Bhatt, which was not meant to be a good pair. The movie was pushed in 2019 and still there is no news about it.
Dostana 2 is an upcoming bollywood comedy film directed by tarun mansukhani. it is the sequel to the 2008 film dostana which was a super hit. arjun rampal will be cast as a new addition into the series.john abraham will reprise his role from the previous movie and karan kamal the fresh face will be taking over abhishek bachchan role. reportedly ritesh deshmukh, shreyas talpade, and dino morea have also been signed for the film.
Good Luck Jerry is Janhvi Kapoor's upcoming black comedy film. The film also stars Deepak Dobriyal, Mita Vashisht, Neeraj Sood, and Sushant Singh in the supporting roles. It is a remake of the Tamil movie Kolamaavu Kokila. Director and writer Siddharth Sengupta has helmed the project and it was halted several times in Punjab due to the farmers protest. No confirmed release date of the film is announced yet.
Songs in pop Indian film, as metanarratives, allow the spectator to create meaning within the larger, scattered, melodramatic filmic space. Consequently, they provide insight into an otherwise incoherent narrative. At the level of the "real world," the popularity of a song from a film often determines the failure or success of the film, since its economic success is largely indebted to the "catchiness" of the tune. (3) If the radio replay of the song is successful, the film audience will repeatedly (sometimes as often as daily for the entire run!) go back to see the movie. Another significant point is that the actors in the films do not perform the songs (although there have been exceptions); rather, voices attributed to the songs are of well-known playback singers. Neepa Majumdar's insightful work on the connections between stardom and song sequences is worth mentioning here. She argues for a connection between the star system in Bollywood and the "song picturizations" that take place on-screen. (4) According to Majumdar, the very definition of the term song picturization renders meaning to the image "in the terms set out by the song" (167). In song picturization, then, resided the aural and visual pleasure that gave Hindi cinema its unique nature. The split between the singing voice and the performing body on-screen became the desired norm by the 1950s.
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