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Film

Follow me, Like me, please…

M writes on how films use Social Media to create a (mostly false) hype about how good their product is.

We are socially connected with our friends, colleagues, acquaintance and many strangers. These strangers could be anyone: a stalker, an innocent bystander, a brand prowling on your activities and at times, it could be Bollywood. Social Media has been actively used to promote films and ‘engage’ audiences more than ever. This fad started almost two years ago, when filmmakers decided to jump on the Stay Connected bandwagon that picked up momentum almost overnight in our country.

This created opportunities for small mom-and-pop shops to mushroom under the title of Social Media Experts and make quick bucks. Many of them managed to swindle the brands first, and then the filmmakers.  Here’s how this works:  once the agency is hired, the objective is defined – ‘X’ number of fans on Social Media  Portals must be achieved. Then the agency, which works with a vendor, goes all out to ensure that the fan base amplifies daily. The release date of the film arrives and the agency gets paid if they keep its promise.

But how does the agency keep its promise? The vendor hires people to create fake profiles and accounts to ‘Like’ or ‘Follow’ the film page. Of course, there are also some real people who interact with these accounts, but fake profiles are required to fulfil the commitment. This method of ‘engaging’ with the audience is widely used across the fraternity, and constantly enhanced.

Agency services are not limited to merely increasing the fan base. Some agencies, at an additional cost, provide the option of ‘deleting’ negative interactions from Social Media and Video Streaming Sites. When the film fails to please a user, which happens a lot these days, he or she is most likely to leave a negative comment on the film’s page. Now, in a democracy, with Freedom of Speech and all that jazz, this is quite understandable. But it is not acceptable to the filmmaker. So all negative comments are summarily executed the moment they are out.

Sometimes, I feel that filmmakers have their delicate brains wrapped in bubble wrap, to protect themselves from harsh realities. It’s actually quite simple. If you work hard on your product, you should release it with confidence and let the feedback flow. If people hate it, take the hate and make a better film next time. The more you try to protect your film, the more irate your audience becomes.

One particular film star, an A-lister who hasn’t tasted success in a while, was completely anal about the reviews of his film. His film was released during Diwali and the marketing teams, after delegating work to the Social Media Agency with strict instructions to remove every negative comment the moment it was published, were on a long break.  The film was touted as a big ticket release owing especially to its special effects.

Bas, the film released and the floodgates opened. The flow of negative reviews was something beyond anybody’s control. The film star was pissed off and a special meeting was called, despite everyone’s holiday. After an hour of futile brainstorming on how to control the damage, a very creative idea was touted: “Team, use your BBM/WhatsApp and personal Social Media accounts to promote the film.” Of course, 20 positive remarks were easily outnumbered by the thousands of highly negative ones, and the final verdict was a ton of unhappiness all around.

The latest innovation in seeding positivity amongst filmgoers takes deviousness to the next level. Agencies ‘gratify’ users who already have a large following to promote a film. These users then regularly talk about the film and how entertaining it is. The followers give credit to their reviews and fall prey to the hype. So the next time you see a first-rate review of a crappy film in your newsfeed, don’t be fooled. It’s time you review who you follow.

Sharp as a tack and sitting on more hot scoops than she knows what to do with, M is a media professional with an eye on entertainment.

(Picture courtesy blog.iwearyourshirt.com)

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Film

The Bollywood Book Club

Bollywood has been a good adapter – so many of our films come from classics by foreign or Indian authors.
by M | M@themetrognome.in

Life of Pi releases later this week, and it looks good. This got me thinking, how many books-to-films success stories does Bollywood have?  There are a few exceptions like Anurag Basu, who take a roundabout turn to inspiration – some portions of Barfi! were copied from the English film The Notebook, that was based on a novel of the same name by Nicholas Sparks.

Bollywood has largely been an early adapter. The first full-length feature film, Raja Harishchandra (1913) was adapted from the folklore and legends of the Ramayana and Mahabharata.  Many have since then followed suit – Dil Diya Dard Liya (starring Dilip Kumar and Waheeda Rehman) was inspired by Emily Brönte’s classic Wuthering Heights. Dev Anand’s Tere Mere Sapne was based on The Citadel, a novel by AJ Cronin. Angoor, starring Sanjeev Kumar and Deven Verma, was based on Shakespeare’s The Comedy Of Errors.

And while there have been several instances where filmmakers have failed to give credit to the author or even announce that their film is based on a book, most recent filmmakers have honestly included the name of the author in the opening or closing credits of their films. They even do some PR around the film’s release. Sanjay Leela Bhansali did this for Saawariya (based on Fyodor Dostoevsky′s White Nights) and Vishal Bharadwaj for Maqbool, Omkara, and The Blue Umbrella; the former two are based on Shakespeare’s Macbeth and Othello respectively, and the latter is a short story by Ruskin Bond.

Many times, you will also feel that the book has been wasted on the film; cases in point are Aisha, a bad adaptation of Emma or The Namesake, a film by Mira Nair and a book by Jhumpa Lahiri. But these have been few and far between.

Here’s our list of the best adaptations of books in Bollywood:

Guide: The RK Narayan classic was adapted with little difference, save for the end theatrics, for the silver screen. Dev Anand and Waheeda Raheman were brilliant in the film.

Black Friday: Undoubtedly Anurag Kashyap’s best work till date. S Hussain Zaidi’s book captures the essential details of the 1993 Bombay bomb blasts, and the actors in the film relive the characters from the book. The soundtrack by Indian Ocean is a hit!

Devdas:  Sarat Chandra Chatterjee’s masterpiece has been adapted to Hindi cinema four times over two centuries. The one to watch is Bimal Roy’s starring Dilip Kumar and Suchitra Sen.

Maqbool: Vishal Bhardwaj’s adaptation of Macbeth is very, very close to the original. The phenomenal cast of Pankaj Kapoor, Naseeruddin Shah, Om Puri and Tabu were all critically acclaimed for their performance.

Shatrang Ke Khiladi:  Adapted from Munshi Premchand′s story of the same name; the list would not be complete without Satyajit Ray’s work of art. This film was a nominee for the Golden Bear for Best Film at the 28th Berlin International Film Festival.

Note to readers: Chetan Bhagat was deliberately not included in this list. Don’t make me say why.

M is a media professional with an eye on entertainment.

(Picture courtesy www.santabanta.com)

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M

Will Bollywood ever get a Bond?

Or at least a super-successful series of spy movies? We’re not asking for much, if you really think about it.

by M | M@themetrognome.in

With James Bond’s 23rd instalment around the corner (releasing next week), I started to think – will Bollywood ever get its own series of good spy movies? We are the second largest film industry in the world, but we are still light years away from Hollywood in terms of owning a super-successful franchise that the world will watch.

I really don’t get why we haven’t been able to do it yet. We obviously have the talent – no, I am not counting Salman Khan or KJo – and we have reasonably good actors and directors. So why aren’t we there yet?

The last attempt at making a spy thriller was Agent Vinod. It was nowhere close to the savoir-faire and panache that even the less-thrilling Bond movies carry. Saif Ali Khan as an undercover agent was the worst casting choice made in the history of cinema. I know many who liked the young baddie more in the film.

A series of spy films might be too much to ask for at this point, but a few good ones that bring us to the edge of our seats would suffice. So, what does it take to make a spy thriller? Let’s break it down.

The James Bond series can be primarily credited to its creator, writer Ian Fleming. The compelling stories were adapted into gripping screenplays that captivated the audience. Fleming’s style of writing and a set of characters so well-defined and well-embedded  in the audiences’ minds, ensured that plotlines outside of the novels he wrote are still being explored – and Skyfall is a case in point. This simply means that James Bond is not about to holster the gun any time soon. Thank God for small mercies.

Lack of compelling stories keeps Bollywood from making good movies. Not. Recent whatever-you-call-it Student Of The Year proves this amply. We’ve already got great Indian spy stories that we have not tapped into – consider the magnificent detective series Feluda written by Satyajit Ray. The series of short novels and stories is a fascinating combination of Sherlock Holmes-style detection and Bond-like execution, and has all the ingredients for a Bollywood masala film – suspense, drama and action. There are a couple of films and telefilms based on detective Feluda, but these hardly translated into commercial success. These stories are denied of the distinction that they deserve and someone should re-visit them at the soonest.

Plus, the Bond films have the most admirable cast. All of the Bonds thus far –  Sean Connery, Pierce Brosnan, Roger Moore, Timothy Dalton and now Daniel Craig – have had one enduring quality each, and some were dreamier than others. M and Q, with Judi Dench playing the former and Desmond Llewelyn as the latter, have done a splendid job in each film. And what can be said about the Bond girls? With each film, they are just making temperatures soar higher. Even the bad guys are in a league of their own.

Okay, so Bollywood doesn’t have too many options for a James Bond-inspired character, but I would still think Akshay Kumar is worthy of a chance. And we have stacks of bombshells to play his lady, or we can always import them.

Is it the money that keeps us from replicating a successful formula? I don’t think so. Hindi film-makers are never shy of blatantly copying foreign films, even if it means bringing in the crew of The Matrix or The Terminator to reproduce the exact same scenes.  Ra One and Robot established that there is no scarcity of money in Bollywood. Bollywood films may seldom have a storyline, but exotic locations are exploited only for songs and dances and not on any pathbreaking scenes. Obviously, budget is not an issue for us.

I think the real problem is direction. I cannot remember the last Bollywood film that showcased the work of an outstanding director. The current crop of directors who film sequels largely comprises failed actors (Pooja Bhatt, who directed Jism 2) or directors who refuse to quit directing (Vikram Bhatt for everything he’s ever made). We can only come up with a Farhan Akhtar who would take up the challenge of directing a spy thriller and do a decent job of it.

Dear Bollywood, man up and get cracking. Give us meaty spies, let our adrenaline flow, entertain us, and in the bargain, get acclaimed for making good cinema. Of course you’ll make money, dummy!

 

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