Aditya Chopra

Aditya Chopra is all set to direct his third directorial venture. Aditya, who had earlier directed the super hit films, Dilwale Dulhaniya Le Jayenge and Mohabbatein intends to pull of a casting coup of sorts with his third one.

If reports are to be believed, the film will have Shah Rukh Khan, Hrithik Roshan, Rani Mukherjee and Preity Zinta in the lead. The film will have a romantic backdrop with a hint of action, comedy and drama to it. Currently Aditya is working on the screenplay of this new project. Also, sources say that this mega budget film will be shot in locations like Switzerland, Greece, Australia and Dubai.

Well, seems like, with a stellar star cast, mega budget, beautiful locations and a successful director, this film is bound to be the next blockbuster from Yash Raj.

Do watch this space for more info about Aditya Chopra’s movie, and don’t forget to post your comments..

Akshay Kymar

Akshay Kumar churned out the maximum hits last year and is now charging more that 20 crores for a film. However ,trade analysts feel despite his achievements and consistency, Akshay is far behind Shah Rukh Khan ,but is still down to earth person still and is unperturbed by his success graph . Akhi feels that he has much more to conquer still and is hoping more hits this year.

But Akshay is not competing with the Khans or Amitacbh Bachchan any longer. After the success of “Bhool Bhulaiyaa” ,trade pundits are comparing him with the south Indian Superstar Rajnikanth . Bhool Bhulaiyaa’s script has been inspired from Rajni’s Chandramukhi released in 2005.

Rajni’s Shivaji- The boss has collected 15 crore’s and is said that Rajnikanth is charging 16 crores /film, post the success of Sivaji.

Similarly, After giving four hits in row –“ Heyy Babyy” ,”Namaste London” and “Bhool Bhuliaya” and “Welcome”, Akshay has hiked his price and signed the next film by Venus Records for 22 crore.

Akhi with his consistency has earned a Title called Hindi Film Hit Machine.

If last year was dedicated to comedies, 2008 will see him going back to his original genre-ACTION.

In Nikhil’s Advani’ new action –Adventure –comedy,”Chandni Chowk to China” which also happens to depict his Akhi’s life story, akhi will be seen in his Edge Of the sEat Stunts. The actor who was out of practice for more than 7 years ,trained in a form of Martial arts known as Wushu for film. the movie will cost Rs.100 crore and that makes it one of the costliest Hindi films so far.

So, let’s hope that our Akhi will maintain his success streak in 2008 and will also be a down to earth person inspite of his growing career and finance.

source:bollywoodpoint.com

It is because of them that so much of money is going into our treasury and that is really good for us too, But wonder if the government is making good use of it.

Although few of us had not even paid tax till now..

So here Presents the top Bollywood tax payers.

Top individual advance income taxpayers in Bollywood of 2007-2008 till December 31..

Akshay Kumar

Akshay Kumar- Rs 7 crore:Consecutive hits like Bhool Bhulaiya and Welcome have really added to the stunt man’s purse.

Aamir Khan

Aamir Khan-Rs 3 crore: Last year he paid around 6 crore.This time it has become
half the amount. Tax collectors however, are rejoicing with Taare Zameen Par’s
success. TZP has been a hit at the box office which is real good news for the
treasuery.

Shahrukh Khan

Shah Rukh Khan-27 Rs crore:Om Shanti Om and Chak De India, besides money earned from advertisements have enabled him to contribute so much.

Abhishek Bachchan

Abhishek Bachchan- Rs 3.7 crore Not many releases this year caused him to pay so less this time. Also, the man was busy with his newly wedded wife (Aishwarya Rai).

Himesh Reshammiya-Rs 2.5 crore: With more singing contracts in hand even his Tax payment has increased.

Amitabh Bachchan :-Rs 1.8 crore:Well this is actually surprising. Big B seems to be in almost all the movies and he is paying so less. Tax officials please look nto the matter.

Working hard and shedding out in crores is painful sometimes especially for these actors. Everything has its price, including stardom.

What say??

Do Comment on this..

Welcome to Shanti town, a.k.a Farah Khan’s filmi fudge-quake.

Is it homage to the zany anything-goes spirit of the Hindi potboilers from the 1970s? A kind of Manmohan Desai dolled up in the crispy, corny, catch-me-if-can-can spirit of the new millennium?

Or is this supposed to be a straight-off adaptation of Subhash Ghai’s "Karz"?

The hasina in this case is the much-awaited, much-hyped Deepika Padukone. A pretty face, sweet smile and an old-world charm… That’s about it.

The deewana is of course the irrepressible Shah Rukh Khan, who gets to slip into two eras, and never mind the aura. Farah, who’s a close ally and collaborator of the star, provides no breathing pace in this wheezy take on the infamous formulae of our commercial cinema.

Some of the film’s bona-fide comic romps come during awards functions when Subhash Ghai and Rishi Kapoor fight to give away an award, Abhishek Bachchan tries to hide a scowl or Akshay Kumar gets nominated for his umpteenth "Khiladi" film.

And yes, that title song with all the glorious screen kings and queens, parading in pirouetting pleasure, is nearly priceless in choreography and spirit.

But that’s about it.

Farah Khan’s agitated screenplay takes quivering pot shots at one and all, from the bombastic dialogues of the cinema of the 1970s, to Manoj Kumar and Rajesh Khanna to the infamous on screen mother, played here with delightful spoof by Kirron Kher – she talks in maudlin rhetoric and embraces clichés of maternity with unconditional ecstasy.

The same, alas, cannot be said about the spirit with which "Om Shanti Om" embraces the spirit of our cinema. The mood is one of patronising and condescension rather than genuine admiration for an era that’s gone with the wind.

Farah’s narrative careens between maudlinism and satire. It sometimes spoofs, sometimes tilts its hat to the films that came in the era of great aura and élan, the two qualities sorely lacking in this work of confounding kitsch.

There are some terrific moments of satire in the plot. The opening scene, in which junior artistes (Shah Rukh and Farah) cheer Rishi Kapoor as he jives on stage to the "Om Shanti Om" track in Subhash Ghai’s "Karz", is a masterly piece of homage to a way of cinema that’s gone-bye-bye.

Soon, however, Farah forgets the satirical mood of her narration, which keeps swinging from homage to imitation with artifice.

Often the devices that are used to generate nostalgic amusement in the first-half are deployed after interval in dead earnestness.

A song sequence in the first-half has Shah Rukh and his object of adoration Deepika riding a stationary car in a studio with back-projection simulating movement.

In the second-half the same device is used without any spoof when the second Shah Rukh, a spoilt bratty specimen of vivacious vanity, rides in the wilderness on the arch-villain Arjun Rampal’s limousine.

Rebirth, which would be considered fodder for 1970s’ style of suspend-your-disbelief cinema in the past, here becomes a matter of immense thematic propulsion.

The climax is an insult to all enthusiasts of traditional commercial cinema.

Bimal Roy’s "Madhumati" finds its nemesis in the hands of these fun-seekers.

Caught between the mawkish and the mockery, the film’s creator thinks smart-aleck one-liners are enough to sustain a three-hour feature film, "Om Shanti Om" barely survives its own arrogant self-regard, thanks to some genuinely entertaining moments provided by Shah Rukh.

His take-off on a South Indian masala matinee-idol in the scorching sun of a humid studio premise is first-rate. So are his expressions of not-so-furtive adoration for the rather pale heroine.

"Om Shanti Om" is like a cracker that fizzles before the promised sizzle occurs. The studio atmosphere where the junior-artiste and his buddy (Shreyas Talpade) hang out with self-conscious nonchalance would have made Guru Dutt smile.

Cast: Shah Rukh Khan, Shreyas Talpade, Deepika Padukone, Arjun Rampal, Kirron Kher
Writer-Director: Farah Khan