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Yash Raj Hits Rock Bottom With Bank Chor

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Bank Chor

Starring: Vivek Anand  Oberoi, Riteish Deshmukh, RheaChakraborty,Vikram Thapa, Sahil Vaid, Bhuvan Arora

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Directed by Bumpy

Rating: 0 stars

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God promise, I tried hard to laugh at this silly concoction about three bumbling bank robbers, or Bank Chors(pronounced to rhyme with an ugly cussword in Hindi) who willy-nilly end up as heroes.

And we end up feeling like the biggest chutiyas(eexcuse the language) in the world.

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As the film closed with  footage of Aamir Khan in Dhoom 3, and Rs2,000  notes began to rain  down from the sky I  willy-nilly ended up  cursing myself for being such a diligent movie buff , always there faithfully watching evaluating….Is this kind of faith one should have in our cinema when a reputed production house spews such garbage in the hope of raising a few laughs?

Indeed the first 20 minutes of Bank Chor is so inept clumsy and mis-directed , with the camera moving through the trapped characters like a lost Alsatian  which can’t find its way back to its owners, I wondered if it was a delayed April Fools’s joke where producerAditya Chopra would suddenly show up on screen and announce, ‘Fooled you, my dear viewers. Here’s the real film now.’

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Alas, this IS the real film. What you see is what you get. Run out of the theatre, don’t bother about the ticket money(though admittedly, the money could’ve been used to feed the starving children I saw outside the theatre)…just run while you still have time. This is  not only the worst film ever produced by Yash Raj, it wears its stupidity proudly on its sleeve, parading its grotesque sense of humour as though the joke was on us.

It probably is. Considering the audiences’ complicity in the absurd plot is taken for granted. But let’s be fair. The second-half of this ramshackle  tongue-in-shriek tribute to the Dhoom series  is a marked improvement on  the first-half. Why and how? Well, without giving away the ingenious plot(as one of the minor character said, ismein itnisarcastic hone ki kya zaroorat hai?) let’s just say the first-half hasRitesh Deshmukh fooling around with his two outcaste colleagues played by Vikram Thapa and Sahil Vaid(interesting, this Vaid chap).

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Curiously a  lot of the intended  humour in the bloated unkempt  banter is targeted at the Delhi-Mumbai divide. Characters trapped in the bank where heist makes for cinematic waste, take great pride in pointing out their place of origin, as though the place where they came from justified their level of  heightened idiocy.

Even the villain,an interesting bloke  as played by theatre actorBhuvan Arora, sprouting Urdu diatribe lets us know he is fromFaizabad.

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Having figured put where all the characters come from I am still  wondering where this film’s plot originates from. It tries so hard to be smart and sassy, it trips over itself in trying to be extra-clever. If you succeed  in sticking it out to the end you will witness the finale’s grand twist, so ridiculous and unconvincing it feels like a last-ditch effort to get our attention.

Too exhausted to feel sorry for the actors, I can only feel a sense of unmitigated annoyance at Riteish Deshmukh’s self-deprecatory humour. During the end-credits we see him tell his two co-stars that they don’t have the ‘auqat’ of even a Riteish Deshmukh. Ha ha.

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Bank Chor  reveals  its auqat early in its narration when the talentedVivek Oberoi playing a  scowling  CBI officer barges into the bank held up by the three clumsy chors and comes out without hurting  a hair on their body. The  unforgivably brainless goings-on could be stopped any time. But they goes on and on, skipping  and hopping from one painfully contrived smart-ass episode to another.

This  is film that THINKS itself incredibly clever and cocky.  In actuality it is just a woefully tacky Dhoom ripoff with characters who seem to have watched the dubbed Bhojpuri version of Oceans 11 at least 11 times.

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Deshmukh’s character believes in Vaastu. He should point us to the nearest exit door before catastrophe strikes us down.

It will take me a long time to get over Bank Chor.

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Rakesh Roshan: “Everything I  Know  About Acting & Direction, I Learnt From K Vishwanathji”

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Rakesh Roshan

The  mighty moviemaker K Vishwanath who  was to Telugu cinema what  Satyajit Ray  was  to Bengali cinema,  passed  away on February 2,leaving behind a luminous  legacy.

Acto-director Rakesh Roshan  who had  the  rare honour of working  in four projects  with  Vishwanath recalls him with tremendous respect. “Everything I know  about acting and  direction I learnt from  him. He was  a stalwart , an institution, and so passionate about his work. I had the privilege  of being directed  by him in two films Aurat Aurat Aurat  and Shubh Kamna. He would show  his actors  exactly what he  wanted, down to the minutest gesture.His  understanding  of the medium was  extraordinary.”

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Rakesh Roshan remembers how  he  invited Vishwanath to make films for him. “I produced  two films that Vishwanathji directed. One  was Kaamchor, the other was Jaag Utha  Insaan.While the  first was  a runaway success, the second didn’t do well.”

Speaking on how Kaamchor happened Rakesh recalls, “Vishwanathji and I used to meet socially in Hyderabad.We  wanted to work together. But we had  no script.One evening when we met he  looked very depressed. When I asked him what was wrong, he  said his new release Shubodayam  (in Telugu) had  flopped. That  night I went to see Shobodayam  in  a theatre in Hyderabad. The  next morning I  told Vishwanathji, ‘We’ve  found our script’. I told him where  the  storytelling in Shubhodayam  had gone wrong.We corrected the script and that’s how Kaamchor  happened. Although the entire story revolved  around me,  it was Jaya Prada who benefited  from Kaamchor.”

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About the beautiful  Jaag Utha Insaan , Rakesh Roshan admits  bluntly, “It  flopped because  of miscasting. During those days Sridevi was known  in Hindi cinema as a glamorous heroine. We cast her as classical dancer. Mithun Chakraborty had  the image  of  Gun Master G-9 and  Disco Dancer.We cast him as  a downtrodden  underdog. I was  known  for Kaamchor and  other citybred characters,I was cast as a Brahmin pandit.With other actors Jaag Utha  Insaan would have been a superhit”

Rakesh met K Vishwanath six years  ago. “We were shooting for Krissh in Hyderabad. He came on  the set several  times. We  had so much to say to each other. After that we lost contact. He was  very very busy with many projects. K Vishwanathji lived  for his cinema.”

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As His Latest Work Faraaz Releases Today,  Hansal Mehta Speaks To Subhash  K Jha On The Exciting Times Ahead

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Faraaz

Hansal, Faraaz is  your fifteenth directorial  venture. How does it feel to have come so far  with so many  milestones behind you?

don’t count my films. Genuinely. Every film is a new beginning. Every film has its share of uncertainty and nerves. Perhaps it is also because of the choices I make. There is no scope for either complacency or me carrying a false sense of security. I’m not complaining,though. Living life on the edge keeps me going.

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I  consider  Faraaz to be  a part of your great trilogy on  the dynamics  of terrorism, after  Shahid and  Omerta…where do you see Faraaz  positioned  in your creative ambit?

Thank you , Subhash.Faraaz is a film I’m very, very proud of. It was a challenge to pull off, a tough journey but creatively a very satisfying one. As Rajkummar Rao told me after watching the film , the Trilogy is complete now. Time to explore new stories and new characters. And finish post-production for all the exciting things that we shot for over the past eighteen months.

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Out of curiosity which of your films  have given you  the most creative  satisfaction?

Almost every film Shahid onwards has been immensely satisfying , both in terms of process and the outcome. Save a couple that I need not name. But even those I own for all their flaws, failures, deficiencies and redeeming qualities. But Faraaz has been a great process. I’ve made so many new friends in this journey and found some of the most exciting colleagues that I’m proud to introduce through the film. Writers Raghav Kakkar and Kashyap Kapoor (who co-wrote the film with Ritesh Shah), Cinematographer Pratham Mehta, Sound Designer Mandar Kulkarni, Editor Amitesh Mukherjee, co-producers Sahil, Maz and Sakshi – all of whom have given their blood and sweat to make this film happen. And of course Anubhav Sinha one of my oldest friends in the industry who backed me in telling this story just the way I wanted it. So yes, Faraaz has been satisfying and also filled me with a deep sense of gratitude. I must have done something right, no?

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Of course. Faraaz has a lot of young new actors in it. Tell me  about the  process  of  casting in this film? It couldn’t have been easy since there are dozens  of faces?

That was the challenge and the joy of making this film. I worked on the story during Chhalaang and I always knew that it would be a return to my indie roots for Faraaz. The film had to be made. And it needed fresh faces, bereft of image or trappings of stardom. A huge credit to Mukesh Chhabra who has a huge role to play in my filmography since Shahid. We constantly challenge each other and never ever give up. Casting is a process I really enjoy and finding the right talent to bring characters alive is something I thrive upon. Faraaz has an amazing ensemble. Right from Aditya Rawal , Zahan Kapoor, Juhi Babbar to every small character in the film including the officers, parents and the hostages this one is a triumph of honest casting , casting without an eye on profits, simply in service of the film, of the character.

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Faraaz is  about a terror attack in Bangladesh?how  do you respond to those who want to know, why Bangladesh?

In our research of this dastardly attack we realised that here was a story that had a larger message and something very universal to share. Misguided youth taking up violence in the name of religion or a parent’s love for her child or the unexpected bravery from an unlikely hero are themes that cannot be limited by borders, nationality or language. These stories must be told. They must transcend the limitations of perceived local relevance – particularly when our polarised times need such stories to be told to a larger audience.

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In 2020, your OTT series Scam 1992  proved to  b e game changer. Do you see Scam as a turning point  in your career?

I see Scam 1992 as an enabler. We did not expect its humongous success and to say it did not change things would be fake humility. It gave me back a lot of things I had lost in the years before it released. Including some money. And the courage to tell the stories I desperately wanted to. Also exceptional friends and collaborators like Sameer Nair and his Studio Applause.

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Your films  and your  attitude to cinema has always  been fearless. How  do you  cope with the  threat of growing intolerance in our society  vis a  vis your  convictions as a  filmmaker?

It is not new to me. Remember Dil Pe Mat Le Yaar in 2000? The only difference now is that then I was deeply affected by the intolerance to a point of self destruction. Now I channelise my despair and anger into telling relevant stories and through them taking on those who have made it a business to be intolerant.

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To Attend Siddharth-Kiara’s Destination Wedding, Karan Johar Preponed His Twins’s Birthday  Bash

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Siddharth-Kiara’s

For those  who are  wondering why Karan Johar hosted  the grand birthday party for his  twins Roohi and  Yash who will  turn 6 on 7 February,  six days in  advance  on 1  February  here is  why:  on the day of his twins’ birthday,  Karan  will be in Rajasthan attending the wedding celebrations of his dear friends  Siddharth Malhotra  and Kiara Advani who are  getting married on  February 6.

 Reveals   a friend close  to  Karan,  “Karan was in a dilemma. To him there is  nothing more important than his  children’s happiness.  How could he break their hearts by skipping  the most important day of their  lives? At the same time, how could he  not attend Siddharth and Kiara’s wedding ? They are  very close to him.”

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Karan did the best thing possible to resolve the situation:  he put the dilemma before his children Yash and Juhi who happily  agreed  to  have their party  a few days in advance so their ‘Dada’  could  attend  his friends’ wedding.

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The  Big Independence Day Clash To Be Averted?

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Animal and Sunny Deol’s  long-awaited Gadar 2

Sunny Deol, John Abraham  Ranbir  Kapoor  and the Covid Vaccine are all set to clash at the boxoffice this  Independence Day .

While the  Ranbir Kapoor starrer Animal and Sunny Deol’s  long-awaited Gadar sequel  are  both scheduled  for release  on August  11, John Abraham’s  Tariq  releases three days later on August 15.On the same day  Vivek(The Kashmir Files) also  releases  The Covid Vaccine.

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It looks  like  a crowded weekend, with one too many releases for audiences to  choose from.

Apparently  intense discussions are on among the  producers of the four  big films to see how the clutter can be  resolved.

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A  source close to the  development says, “Gadar 2 is the  right fit for the Independence Day weekend. But the producers of Animal  are in no mood to move  from August 13 . John  who is  a co-producer  on Tariq  and Vivek  Agnihotri with his Covid Vaccine  are also adamant  on coming on   August 15.The  Independence Day weekend is  a long  weekend. So let’s see…”

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