#RanveerSingh

[spookypeacephantom]

[luxshine]

I found I have a few old drag pics I forgot to post! Silly me! Here are Bala and Bikram from Gunday, after having raided a certain someone's dressing room. They sure do look pretty!

[mynameshouldvebeenmeera]

Film-Lootera (2013), Director-Vikramaditya Motwane

[magicandstories]

just watched rocky aur rani and omg ranveer is such a himbo

the outfits were on point. the car skit. the romance. AHHH

i highly recommend watching it i was wheezing.

[lexaitaliano]

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[nomorenightingaless]

Ranveer singh in dil dhadakne do is so bbg💖🥰🤩💗✨️✨️

[ronaldofandom]

Seeing all this love for Rocky Rani is making my heart smile.

Rocky is the greenest of green flags. Karan Johar hit the nail on its head with this one.

The movie deserved to do twice the 350 Cr that it did.

[desimoviereviews]

Bajirao Mastani: The Plight of the Cheating Husband

Follow me on Instagram: @thatguyanesejournalist

Let’s talk about Sanjay Leela Bhansali’s Bajirao Mastani.

Bajirao is a Hindu Peshwa (minister to the king of the Maratha empire) who falls in love with Mastani, a Muslim warrior princess, while married to his wife Kashibai. The movie centers around Bajirao and Mastani’s interfaith relationship and the opposition against it from Bajirao’s conservative Hindu family.

I would like to start off this post by saying I support polygamy/polyamory, just not in the way it’s presented here. Let’s call it like it is: Bajirao and Mastani’s relationship would be cute as hell if he wasn’t cheating on his wife. I’d like to give Mastani the benefit of the doubt and say she initially didn’t know Bajirao was married, but I don’t think that would’ve stopped her since she still accepted his condition that Kashi will always remain his first wife.

One thing I admire the film for doing is creating sympathy for Kashibai, especially in her and Bajirao’s last scene together in her bedchambers (one of my favorite scenes in the film). She didn’t ask for much, but ended up expecting very little from her husband in the loyalty department.

I’ll be honest, though, I adored Mastani’s character. She was strong and independent, even fighting side-by-side with Bajirao in the war. She wanted a man, but didn’t necessarily need one. While I don’t agree with her going all the way to Pune for him, Mastani clearly showed that she’s determined to get what she wants and will find multiple methods to achieve it.

Plot aside, I absolutely loved the movie. Not only were there two strong female characters that I felt were well-developed as the movie went on, but the dialogue is on a different level of poetic and impactful at the same time. It makes you cry (or was it just me?) when mixed with the grand visuals and subtle but emotionally moving acting performances. Here are some of my favorite lines/moments:

“I cherish your every offering, be it an anklet or a son.” - Mastani

“Perhaps you forget that idols in temples are often adorned in green and saffron sheets cover the purest Sufi tombs. Where is the thought of color and religion then?” - Mastani

The scene where Mastani fights people in Mastani Mahal, holding her son in one hand and a sword in the other (makes me think of the Goddess Durga)

The entire ending where Bajirao is fighting his inner demons in the river (one of the most visually meaningful/cinematic scenes I’ve seen)

To me, there are no misses on the soundtrack, which was composed by Bhansali and Sanchit Balhara. In fact, I had a hard time curating the song suggestion list but I decided to pick the songs I ended up drifting towards.

Mohe Rang Do Laal (it gives me "Kaahe Chhed Mohe" vibes, Deepika's dance in this song is very graceful imo)

Aaj Ibaadat

Aayat

The movie is 158 minutes long (2 hours and 38 minutes). Stream it here, grab a snack, and enjoy!

If you like (or don’t like) this format of blog posts, let me know in the comments!

[spookypeacephantom]

[bollyicons]

ananya panday as tanya icons | mine ❣️

[veerojaskhanna]

Review: Rocky Aur Rani Kii Prem Kahaani

It’s been a while since I saw a solid, sumptuous ‘hindi picture’ — the kind that makes you whistle in the seats, out-sing the sound system, and dance in the aisles. I walked into Rocky Aur Rani kii Prem Kahaani expecting anything but that, since the promos had convinced me that Karan Johar had taken a sharp left into the David Dhawan school of filmmaking. Much to my surprise, the film delivered on all those characteristics, and delivered something even those ‘hindi pictures’ rarely do - it was up to date. It’s always interesting to see a filmmaker take a look back his(or her) own filmography, and see what they felt they need to change; Sooraj Barjatya had done it with Uunchai just last year, and failed miserably. Unfortunately, more often than not, this relook starts off with great gumption and falls prey to habit somewhere along the way. We are all victims of habit, hoping to transform into better, more mature, more self aware people. Johar uses this transformation as a narrative trope in this film, and maneuvers it with a lightness of touch that hints at his own self awareness. He challenges a lot of the problems his earlier films had(fatphobia, misogyny, homophobia). A replay of the “keh diya na, bas keh diya” quip from K3G had me and several others in my audi wolf-whistling. Through the film, we see transformations — characters explaining their mistakes, promising to reform, and changing into better people. In his older films, this transformation was spurred on by astronomical difficulty - in K3G, Shah Rukh Khan had go into a ten-year-log exile before Amitabh Bachchan would ask a for forgiveness with fairly gaslight-ey undercurrents; in My Name is Khan, it took a hurricane for Kajol to realise her love for Shah Rukh Khan and apologise. But though delayed, those transformations were always instant. Here, it’s simple - a monologue may unveil hidden reservoirs of confidence in characters, but they undergo full arcs before they can express themselves freely, making transformations seem neither arbitrary or abrupt. Beware though, because by the time Rani delivers speech number eight(I counted) to a character about how they must break free of the patriarchy, I was ready to throw hands. The self-referencing is also turned into a narrative trope (you can spot a reference a minute). There are countless callbacks to old films and old songs - my favourites being a callback to Abhi Na Jao Chhodkar from Hum Dono, which left me as full of awe as when Pankaj Kapur had used it in Mausam; and a character announcing her freedom by singing Aaj Phir Jeene Ki Tamanna Hai from Guide. It made me so happy that after years of self-referencing himself in films like I Hate Luv Storys, Shaandaar and Dostana, Karan Johar has learnt the difference between winking and wanking at us. The references serve a purpose beyond pure nostalgia. The older ones invoke a softer, more romantic time, without dating the film. Even the newer, more light-hearted references serve a purpose - the use of Aaja Meri Gaadi Mein Baith Ja adds to Rocky’s West Delhi/Greater Gurgaon persona. I found myself chuckling at the use of Meri Pyaari Bindu from Padosan in the Namit Das track. The only reference they could have done without was the use of Suno Suno Miss Chatterjee in a romantic moment which needed more softness, and less foot-tapping. This invoking of the past is reflected in the writing as well - the characters don’t converse with each other. they speak in dialogue. Characters say things like “Nazar kharab aapki aur pardah kare hum?” and “Aapne mujhe sanskaar nahin diye, ahankar diya hai”. They have so much swagger, you can taste them. The showdowns in the film are satisfyingly melodramatic, and one would expect no less - characters are engaged in such over-the-top conflict that the skies thunder in disapproval. Unfortunately though, the same drama was missing in the songs. Tum Kya Mile and Ve Kamleya are beautiful melodies(even if terrifyingly banal in their arrangement), but Dhindora Baaje Re, which plays out as a pivot for the story just pre-climax was upsettingly underwhelming and insipid. It may not have worked in Pritam’s favour that we hear his music in the same sitting as some of the most memorable tunes from Hindi films. As for the performances, they were just outstanding - Ranveer and Alia both pull off two very difficult things - Ranveer plays an outlandish, uncouth, near repulsive character while endearing us to him, and Alia shows us both her condescention/amusement at Rocky and her endearment to him. I think Ranveer will get more praise for his character - it’s the kind of character that shouts out at you to tell you how well the actor is acting, but Alia does a better job — Rani is put in situations which call for ‘dialoguebaazi’ but nothing seems contrived or put-on. I was particularly impressed by a scene where she comes up with a solution for a problem in Rocky’s family business, but does so without the magic-wand waving of a Hrishikesh Mukherjee character. Instead, she plays the line with an undercurrent of surprise - as though she came upon the answer by accident. As for the million dollar question - do the leads share chemistry? The answer is a resounding YES. They share chemistry, and more importantly, comfort. It’s not the electric kind(like SRK-Kajol in all those other KJo films or Ranbir-Anuska in Ae Dil). Alia and Ranveer just fit. They share an easy comfort with each other, and we understand that they are meant to be with each other, because they make each other happy, and sometimes, it’s just that simple. The supporting cast is also stellar - Shabana Azmi, Tota Roy Chaudhury, Churni Ganguly, Aamir Bashir, Kshitee Jog and Anjali Anand are such fun. I did, however want to check on Dharmendra, who seemed like the light was going to go out of his eyes any minute. Jaya Bachchan seemed to be borrowing her mannerisms from Chacha Choudhary comics and Amrish Puri, trembling in anger and staring into the distance while delivering heavy duty dialogues. The film does justify this bigness and melodrama to a great extent though. There are no normal locations, normal clothes and normal people in this world, only magic. Johar’s idea of a chandni chowk akhara is laughable, but the colours are so vibrant and the lights so bright that you go along for the ride. Why complain about the lack of realism when you are being treated to some of the most beautiful people and places on film? There are enough things to complain about - the bengali family was annoyingly free of fault(something I’m sure all the Bhadralok had no problem with); I found the Shabana-Dharmendra track unconvincing and problematic, even though it was charming; and the Dhindora Baaje Re sequence was a bit too flashy for my liking - but all in all, Rocky Aur Rani is the best thing I did with three hours in my day, and I left the cinema hall with my heartbeat thudding in my ears, my soul nourished and my love for hindi cinema replenished.

[bolllywoodhungama]

“Tota Roy Chowdhury’s character in Rocky Aur Rani Kii Prem Kahaani is borrowed from Karan Johar’s childhood,” reveals latter

In an interview, Karan Johar discusses the slurs he received in college for having an effeminate body language. 

Filmmaker Karan Johar has spoken up about being called names in college for having a lewd body language. The latest film Rocky Aur Rani Kii Prem Kahaani marked Johar's return to directing, and he claimed that the event has remained in his heart ever since.

Johar claimed that he was "very effeminate" as a child and used to dance in his room to Hindi songs in an interview with Film Companion. He claimed that his father, Yash Johar, frequently observed him dancing and clapping and felt it was "great".

When he entered college, things did, however, alter. He insisted, "No one told there was anything wrong at that time. So I grew up thinking (that) this is fine. Much later when you go to college you realise when you carry that through and do those moves, and people look at you and laugh."

Then Karan Johar said, "You're called all kinds of things. There are terms used and it's still in my heart because I grew up with that feeling that I was laughed at for my body language or way of being. Somewhere Tota's character is borrowed from my childhood. When he says ‘Hunar ka koi gender nahi hota (talent has no gender)’, I believe that."

Even though Karan didn't think it was a traumatic event, he did question why other people couldn't accept him for who he was while his own father did.

For the uninitiated, Tota Roy Chowdhury portrays Rani's father, a Kathak dancer who suffers humiliation since his profession is connected to femininity. Rocky's son Ranveer soon joins him and picks up Kathak, responding appropriately to those who made him feel bad. On "Dola Re Dola," Tota and Ranveer give a solid performance.

ALSO READ:

Rocky Aur Rani Kii Prem Kahaani Box Office Estimate Day 4: Collects Rs. 7 crores on Monday; passes the crucial ‘Khooni Monday’ test

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[rhaenys-queenofkhyrulzz]

are you really desi if you didn't try to dance this at some point?

[tatoomie]

he only does beach, and he only does protein powder

[famegala]

बॉलीवुड के रणवीर सिंह ने बोल्ड केयर कमर्शियल के लिए एडल्ट फिल्म स्टार जॉनी सिंस के साथ काम किया