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8585
|
dbpedia
|
1
| 2 |
https://blog.eisenschmiede.com/posts/install-python-modules-in-autopkg-context/
|
en
|
Install Python Modules in Autopkg Context
|
https://blog.eisenschmiede.com/
|
https://blog.eisenschmiede.com/
|
[] |
[] |
[] |
[
"",
""
] | null |
[] | null |
When you start using AutoPKG’s custom processor you may encounter python errors about missing libraries or modules. The worst offender is probably the requests module which get’s used often in custom processors:
% autopkg run com.gitlab.autopkg.some.recipe Processing com.gitlab.autopkg.some.recipe... WARNING: /Users/marcel/Library/AutoPkg/RecipeRepos/com.gitlab.autopkg.some.recipe/PostProcessors/SomeCustomProcessor.py: No module named 'requests' If you would install the module simply via the ususal way e.g. pip3 install requests the problem would persist. The reason why is, that AutoPKG uses it’s own python binary and a custom location for libraries and modules.
|
en
|
Blog - eisenschmiede.com
|
https://blog.eisenschmiede.com/posts/install-python-modules-in-autopkg-context/
|
When you start using AutoPKG’s custom processor you may encounter python errors about missing libraries or modules. The worst offender is probably the requests module which get’s used often in custom processors:
If you would install the module simply via the ususal way e.g. pip3 install requests the problem would persist. The reason why is, that AutoPKG uses it’s own python binary and a custom location for libraries and modules.
Custom AutoPKG python binary in the System Library folder⌗
The binary is located under /Library/AutoPkg/Python3/Python.framework/Versions/Current/bin/python3. So the path for modules and the python library is /Library/AutoPkg/Python3/Python.framework/Versions/Current/lib/python3.7. Custom installed modules get installed under /Library/AutoPkg/Python3/Python.framework/Versions/Current/lib/python3.7/site-packages/.
Simply use the AutoPKG’s pip binary!⌗
To install modules in the right location you don’t need to move files or folders by hand (nor should you fiddle in these locations anyawy if you are not firm with python’s structure).
You can simply use the included pip binary to install modules. Remember to use sudo since you need root privileges to add files to the System Library:
|
|||
8585
|
dbpedia
|
2
| 54 |
https://almenscorner.io/automate-app-packaging-updating-and-distribution/
|
en
|
Automate app packaging, updating and distribution with Azure DevOps, AutoPkg and Munki
|
[
"https://almenscorner.io/content/images/size/w300/2023/08/almenscorner-1.png",
"https://almenscorner.io/content/images/size/w100/2023/08/IMG_0023--2-.png",
"https://almenscorner.io/content/images/size/w300/2021/10/autopkg-1.png 300w, /content/images/size/w600/2021/10/autopkg-1.png 600w, /content/images/size/w1000/2021/10/autopkg-1.png 1000w, /content/images/size/w2000/2021/10/autopkg-1.png 2000w",
"https://almenscorner.io/content/images/2021/10/autopkg.png",
"https://almenscorner.io/content/images/2021/10/Screenshot-2021-10-18-at-17.17.08.png",
"https://almenscorner.io/content/images/2021/10/Screenshot-2021-10-18-at-20.29.40.png",
"https://almenscorner.io/content/images/2021/10/Screenshot-2021-10-18-at-20.36.02.png",
"https://almenscorner.io/content/images/2021/10/Screenshot-2021-10-18-at-20.23.47.png",
"https://almenscorner.io/content/images/2021/10/Screenshot-2021-10-18-at-20.20.00.png",
"https://almenscorner.io/content/images/2021/10/Screenshot-2021-10-18-at-20.56.17.png",
"https://almenscorner.io/content/images/2021/10/Screenshot-2021-10-18-at-21.01.50.png",
"https://almenscorner.io/content/images/2021/10/Screenshot-2021-10-18-at-20.51.25.png",
"https://almenscorner.io/content/images/2021/10/Screenshot-2021-10-18-at-21.07.29.png",
"https://almenscorner.io/content/images/2021/10/Screenshot-2021-10-18-at-21.11.09.png",
"https://almenscorner.io/content/images/2021/10/Screenshot-2021-10-18-at-21.17.05.png",
"https://almenscorner.io/content/images/size/w600/2024/03/_59028bba-9bae-49d3-ac9c-91d39df16767.jpeg",
"https://almenscorner.io/content/images/size/w600/2024/02/Screenshot-2024-02-20-at-11.48.27.png",
"https://almenscorner.io/content/images/size/w600/2023/08/intuneuploader.jpg",
"https://almenscorner.io/content/images/size/w600/2023/06/mountains-valley-scenery-digital-art-4k-wallpaper-uhdpaper.com-457@0@f.jpg",
"https://almenscorner.io/content/images/size/w600/2022/09/mmglogo.png",
"https://almenscorner.io/content/images/size/w600/2022/01/logicapp.png"
] |
[] |
[] |
[
""
] | null |
[
"Tobias Almen"
] |
2021-10-19T11:43:41+00:00
|
Today, we're going to setup AutoPkg to run on Azure DevOps with a hosted macOS agent to run our Pipeline to automatically update packages and add new packages easier.
|
en
|
almen's Intune corner
|
https://almenscorner.io/automate-app-packaging-updating-and-distribution/
|
In my last post, I said that would probably be the last Munki related post in a while but I couldn't resist myself.
So far, we have implemented Munki with MEM and setup a pipeline in Azure DevOps to automatically sync our changes to the Munki repository. While this is great and significantly improves the package handling, you still have the manual step where you download the app, import to Munki, modify etc. And the same goes for every update that comes after that, on top of that, keeping track of all the updates. It is a time-consuming task and I bet you'd rather put that time to use elsewhere.
Today, we're going to setup AutoPkg to run on Azure DevOps with a hosted macOS agent to run our Pipeline to automatically update packages and add new packages easier.
AutoPkg
AutoPkg is a framework that automates the tasks usually performed manually in regards of app packaging and distribution, the steps are defined in a "recipe" in YAML or PLIST format and run automatically instead of manually doing each step.
There are a number of recipe repositories out there from which you can pick the packages you want to deploy, the awesome thing is that there are ".munki" recipes. These are prepared to be used in combination with Munki to get them into the repository. If you're not familiar with AutoPkg, I encourage you to read more here.
We are going to use AutoPkg's repo, you can find a list of available repos here.
To get all of this to run in Azure DevOps, I'm using a script which first was created by Facebook's CPE team and modified by Gusto's CPE team. Big thank you to these great guys for doing the heavy lifting. I have modified the script from Gusto to run in Azure DevOps instead of GitHub Actions and to use a Teams Webhook instead of Slack.
This setup is heavily based on Gusto's project.
Workflow
What does the flow look like?
It starts with the admin creating the recipes which then pushes them to the AutoPkg repo
AutoPkg Pipeline runs once a day and performs the following steps
checks out the latest version of our AutoPkg recipe overrides
Installs Python requirements
Installs Munki and AutoPkg
Checks out the Munki repository
Runs my version of Gusto's autopkg_tools.py, successful builds are then pushed in to the Munki repository
Build information is sent to a Teams channel
Admin creates a PR to merge the new/updated apps branch to the main branch
If the PR is approved and merged, the Munki Pipeline kicks off and the new/updated app is synced to the Munki repo, if not, no action is taken
One thing to note here is that each package is downloaded every time the pipeline runs.
This workflow is tightly integrated with the previous post on setting up a pipeline in Azure DevOps to sync changes to the Munki repository to the Azure Storage Account. If you want to set this up, you should read that post first as we'll set this up within the same project.
Setting it all up
So, let's begin creating our repository, pipeline and add some recipes!
Open the Azure DevOps portal and open your Munki project
Browse to Repos in the left navigation bar
At the top, click on your repo name, then click New repository
Provide a Name and click Create
Create a folder on your device that we'll push to Azure DevOps
Open the Terminal app
Clone my GitHub repo which contains all required files by running,
git clone https://github.com/almenscorner/AutoPkgAzureDevOps.git
Copy all files from the clone to the folder you created earlier
Cd to the same folder
Run the following commands,
git init git remote add origin https://{AzureDevOpsOrgName}@dev.azure.com/{AzureDevOpsOrgName}/{AzureDevOpsPojectName}/_git/{AzureDevOpsRepoName} git add --all git commit -m 'initial commit' git push origin HEAD:main # if you do not have a personal access token you must provide one now
After the above steps is done, you now have a structure like below. In the cloned repo, I have added Firefox as an example. Next we'll create our own override and push that back to the Azure DevOps repo.
Note: If you want to add other AutoPkg repos, remember to add them to repo_list.txt
Let's create the Pipeline
Browse to Pipelines and click New pipeline
On Where is your code? choose Azure Repos Git and select your AutoPkg repo, this should automatically find the YAML file
Before you save, edit the variables and add your environments parameters. For reference, this is my config,
variables: OVERRIDESEXISTS: False DEVOPS_ORGNAME: "almensdevops" AUTOPKG_REPO_NAME: "AutoPkg" MUNKI_DEVOPS_PROJECT: "Munki" MUNKI_DEVOPS_REPO_NAME: "Munki" MUNKI_REPO: $(Build.SourcesDirectory)/$(MUNKI_DEVOPS_REPO_NAME)/AzureBlob OVERRIDES_DIR: $(Build.SourcesDirectory)/$(AUTOPKG_REPO_NAME)/overrides REPO_DIR: $(Build.SourcesDirectory)/$(AUTOPKG_REPO_NAME)
Once you've provided your paramters, save the pipeline
If you don't want the pipeline to run every time main branch is updated, you have to turn off Continuous Integration as this is enabled by default
The pipeline is configured to run on a schedule with cron, feel free to edit this to fit your needs,
schedules: - cron: 00 7 * * 1-5 branches: include: - main
Now we have to give our AutoPkg pipeline permissions to the Azure DevOps Munki repo.
In Azure DevOps, go to Project settings, repositories and click on your Munki repo
Browse to Security, under Pipeline permissions, click + and choose your AutoPkg pipeline, also give the "{ProjectName} Build Service (OrgName)" Create Branch permissions as this will be done by the script
Create package overrides
Install AutoPkg on your device by downloading it from AutoPkg's GitHub
When installed, point AutoPkg override folder to the overrides in your repo folder by running the following command,
defaults write com.github.autopkg RECIPE_OVERRIDE_DIRS /path/to/overrides
Next add AutoPkg's repo by running,
autopkg repo-add https://github.com/autopkg/recipes
You can get a list of recipes in the repo by running,
autopkg list-recipes #it is also possible to search using: autopkg search "appName"
Find a recipe for an app you wish to test adding to your repo, then run
autopkg make-override {AppName}.munki.recipe
you will get an output like the below,
% autopkg make-override GoogleChromePkg.munki.recipe Override file saved to /Users/tobias/Documents/AlmensGit/AutoPkg/overrides/GoogleChromePkg.munki.recipe
Looking inside the created override you can see the following keys,
<key>DOWNLOAD_URL</key> <string>https://dl.google.com/chrome/mac/stable/accept_tos%3Dhttps%253A%252F%252Fwww.google.com%252Fintl%252Fen_ph%252Fchrome%252Fterms%252F%26_and_accept_tos%3Dhttps%253A%252F%252Fpolicies.google.com%252Fterms/googlechrome.pkg</string> <key>MUNKI_REPO_SUBDIR</key> <string>apps/Google</string> <key>NAME</key> <string>GoogleChrome</string> <key>pkginfo</key>
One reference to Munki is MUNKI_REPO_SUBDIR, this key specifies where in the /pkgs folder in the Munki repo this app should be placed, digging deeper we have more Munki parametes under pkginfo
<key>blocking_applications</key> <array> <string>Google Chrome</string> </array> <key>catalogs</key> <array> <string>testing</string> </array> <key>description</key> <string>Chrome is a fast, simple, and secure web browser, built for the modern web.</string> <key>developer</key> <string>Google</string> <key>display_name</key> <string>Google Chrome</string> <key>name</key> <string>%NAME%</string> <key>unattended_install</key> <true/>
Per default, most apps will be placed in a catalog called "testing". If you want to change this you can just edit this file and save it. If you want to do it via Terminal you can use the following command, this is only an example but gives you an idea,
plutil -replace Input.pkginfo.catalogs -xml "<array><string>import</string></array>" /path/to/App.munki.recipe
Once you have your overrides push the changes to the Azure DevOps repo,
git add --all git commit -m 'added "appname" git push origin HEAD:main
You now have an override for the app you chose
If you want messages on builds in Teams, the script is prepared to use a Teams Webhook. The message sent looks like below, this makes it easy to keep an eye on when something is updated or added. There's also buttons on the card to quickly create Pull Requests.
If you wish to use this, create a Webhook in Teams, and add it as a secret variable to your pipeline by,
Browsing to Pipelines and click the three dots at the end of your AutoPkg pipeline and choose Edit
Click Variables at the top right, then click +
Provide the name TEAMS_WEBHOOK, paste your webhook in the Value field, tick the box Keep this value secret and then click Ok
Let's test the pipeline by kicking of a manual run, Browse to Pipelines, click on the AutoPkg pipeline and at the top right, click Run pipeline and then Run
The pipeline will now download and prepare packages for everything you added in overrides. It also uses hjuutilainen's VirusTotalAnalyzer
To add the app to Munki, you have to create a Pull Request to merge the changes into the main branch. This is a manual step because I want some level of control before the app is imported. Open your Munki repo and go to Branches. Under all, you can see that the AutoPkg pipeline created a branch for the app that was pushed.
To merge the branch and thereby adding it to Munki, browse to Pull requests, click New pull request, choose the new app branch and click Create. To merge the changes, click Complete at the top right. I like to delete the branch at merge to keep it clean. You could also click "Create Pull request" on the card in Teams if you set up the Webhook.
If you have setup the Munki pipeline according to my previous post, it will now run and sync the app to the Munki repo on Azure Storage.
And there we go, the app is now imported to Munki. If you pull down changes to your device on the Munki repo and open MunkiAdmin, you can now see the app and edit it like you normally would. Since the AutoPkg pipeline runs daily you will automatically get updates to the packages added using this method, so you don't have to do it manually.
To add new apps, all you have to do is create a new override, commit it and then merge the changes in the Munki Repo! ☺️
Next time, we are looking at auto promoting packages from the "testing" catalog to build update rings and automatically push to groups of users until we reach production.
|
|||||
8585
|
dbpedia
|
2
| 9 |
https://forum.bigfix.com/t/autopkg-integration-for-mac-os-x/11590
|
en
|
AutoPkg Integration for Mac OS X
|
[
"https://github.githubassets.com/favicons/favicon.svg",
"https://opengraph.githubassets.com/7cdf36419eeae31d4347c0956a9d6e4f40a50a6f07a2f16cf9c3b1d9f7b2639a/CLCMacTeam/AutoPkgBESEngine"
] |
[] |
[] |
[
""
] | null |
[] |
2014-11-06T15:56:18+00:00
|
I’ve been working on a set of Python tools to help integrate BigFix with the AutoPkg project (autopkg · GitHub) for OS X. This allows for the automatic creation and importing of software deployment tasks.
|
en
|
BigFix Forum
|
https://forum.bigfix.com/t/autopkg-integration-for-mac-os-x/11590
|
I guess one question I have is what the integration process was like. Did the REST API make this trivial, or was there something more you wish it did (or you wish Bigfix did)?
The integration wasn’t difficult, it was just a matter of building a BES xml file based on the software recipe and pulling the information for relevance from the software installer.
I would say that BigFix is far from ideal when it comes to software deployment. Software installers on any platform are usually of a particular format or follow a standard, but using BigFix you are required to constantly repeat yourself in writing action script to perform the installation. This tool helps, but I’d still like to see more advanced software deployment tools from IBM.
Probably close to 1000 unique tasks generated over the past year of running it, with recipes for about 100 different of software packages. Obviously some software is updated much more frequently than others but I’ve found it to be useful even for software packages that rarely get updated.
All the recipes are stored in git repositories, which gives you easy version tracking, collaboration and everything else git offers. It is also easier to share content with other organizations because of the way AutoPkg is structured to allow for overriding and linking recipes together.
Just for further clarification, this means hansen_m created approximately 100 recipes for 100 different software packages that tell the AutoPkgBESEngine how to create BES Installation tasks for the software the recipe is for. When AutoPkg runs, it kicks off the creation of the installation task if and only if a new version exists. Over 1000 tasks for unique versions of these 100 different software packages were created with absolutely no effort outside of creating the recipes themselves. (and debugging them)
|
|||||
8585
|
dbpedia
|
2
| 8 |
https://groups.google.com/g/munki-discuss/c/xapas_bA9LE
|
en
|
Pkginfo for Managed-python3
|
[
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"https://lh3.googleusercontent.com/a-/ALV-UjXGP7P3-o_MudMMs8fhL5c51FWcPmcxcVLTpN9iOTwRS0vVeufK=s40-c",
"https://lh3.googleusercontent.com/a-/ALV-UjVl-SzPNhQmH5w6byDkdpQwpsIuKRPiqNrxUYoAzT1LC5c_qbqO=s40-c",
"https://lh3.googleusercontent.com/a-/ALV-UjWDrbAFe2Cjo21BkIuXIipKhl52POgVoKkWMuo59-gyifCWBls=s40-c",
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"https://lh3.googleusercontent.com/a-/ALV-UjU0RKaUSOReYWOMz8pKdoOdxxjni0foHASCV9Kikghj_Bi81T87vQ=s40-c"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
//www.gstatic.com/images/branding/product/1x/groups_32dp.png
|
https://groups.google.com/g/munki-discuss/c/xapas_bA9LE
|
* Processing manifest item Managed-Python3 for update
Looking for detail for: Managed-Python3, version latest...
Considering 1 items with name Managed-Python3 from catalog testing
Considering item Managed-Python3, version 3.10.2.80694 with minimum os version required 10.5.0
Our OS version is 11.7
Found Managed-Python3, version 3.10.2.80694 in catalog testing
* Processing manifest item Managed-Python3 for install
Looking for detail for: Managed-Python3, version latest...
Considering 1 items with name Managed-Python3 from catalog testing
Considering item Managed-Python3, version 3.10.2.80694 with minimum os version required 10.5.0
Our OS version is 11.7
Found Managed-Python3, version 3.10.2.80694 in catalog testing
Managed-Python3 version 3.10.2.80694 (or newer) is already installed.
Looking for updates for: Managed-Python3
Looking for updates for: Managed-Python3-3.10.2.80694
Looking for updates for: Managed-Python3--3.10.2.80694
This is as I described. Managed Software Centre has the install button greyed out underneath it says 'Installed'. I just added it to a manifest for a second Mac also running macOS 12.6 and Munki and it shows the same result. :( This second Mac has absolutely never run this particular installer pkg. The second Mac whilst Managed Software Centre says the same thing shows fewer entries in the log output in Terminal.
|
||||||
8585
|
dbpedia
|
1
| 3 |
https://en.wikipedia.org/wiki/Autopackage
|
en
|
Autopackage
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
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"https://upload.wikimedia.org/wikipedia/commons/thumb/7/74/Autopackage-logo.png/120px-Autopackage-logo.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/e/ea/Autopackage_ready_to_install_software.png/220px-Autopackage_ready_to_install_software.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/44/Autopackage_installing_software.png/250px-Autopackage_installing_software.png",
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"https://upload.wikimedia.org/wikipedia/commons/thumb/3/31/Free_and_open-source_software_logo_%282009%29.svg/16px-Free_and_open-source_software_logo_%282009%29.svg.png",
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"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2005-05-14T12:01:14+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Autopackage
|
Linux package management system
AutopackageOriginal author(s)Mike HearnDeveloper(s)Jan Niklas HasseInitial releaseAround 2002; 22 years ago ( )Stable release
1.4.2[1] / May 24, 2009; 15 years ago ( )
Written inBash, C, C++ and PythonOperating systemLinuxTypePackage management systemLicenseGNU Lesser General Public LicenseWebsiteautopackage.org at the Wayback Machine (archive index)
Autopackage at Google Project Hosting
Autopackage is a free computer package management system aimed at making it simple to create a package that can be installed on all Linux distributions, created by Mike Hearn around 2002.
In August 2010, Listaller and Autopackage announced that the projects will merge.[2]
Projects such as aMSN and Inkscape offered an Autopackage installer, and Freecode offered content submitters a field to put the URL of Autopackages. The list of available packages is very limited, and most program versions are obsolete (for example, the most recent Autopackage of GIMP is 2.2.6, even though GIMP is now at version 2.8.2, as of August 2012).[3][4]
Methodology
[edit]
Autopackage was designed for installing binary, or pre-compiled, versions of non-core applications such as word processors, web browsers, and personal computer games, rather than core libraries and applications such as operating system shells. Concept of autopackage was to "improve" Linux to a desktop platform, with stable binary interfaces comparable to Windows and MacOS.[5]
Autopackage is not intended to provide installation of core applications and libraries for compatibility reasons. Using Autopackage to distribute non-core libraries is something of a thorny issue. On the one hand distributing them via Autopackage allows installation on a greater range of systems, on the other hand there can be conflicts with native package dependencies.
Autopackage is intended as a complementary system to a distribution's usual packaging system, such as RPM and deb. Unlike these formats, Autopackage verifies dependencies by checking for the presence of deployed files, rather than querying a database of installed packages. This simplifies the design requirements for autopackage by relying on available resources, rather than necessitating tracking all the package choices of all targeted distributions.[6]
Programs that use autopackage must also be relocatable, meaning they must be installable to varying directories with a single binary. This enables an autopackage to be installed by a non-root user in the user's home directory.
Package format
[edit]
Autopackage packages are indicated by the .package extension. They are executable bash scripts, and can be installed by running them. Files in an Autopackage archive are not easily extracted by anything other than Autopackage itself as the internal format must be parsed in order to determine file layout and other issues.[7]
Autopackage programs are installed to hard-coded system paths, which may conflict with existing packages installed by other means, thus leading to corruption. This can usually be remedied by uninstalling an older version of a package being installed with Autopackage.
The Autopackage files can also be installed and removed using the Listaller toolset.[8] Listaller simply includes the Autopackage packages into its own package container format and handles Autopackage like any other Listaller package file.
See also
[edit]
Free and open-source software portal
AppImage
Flatpak
Listaller
Package management system
Bundle (software distribution)
Linux package formats
List of software package management systems
References
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https://maclabs.jazzace.ca/2018/06/17/checking-web-pages-with-autopkg.html
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Anthony’s Mac Labs Blog
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2018-06-17T00:00:00
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Anthony’s Mac Labs Blog : Anthony Reimer’s blog for Mac Admins that shares what he’s learned recently
| null |
Posted 2018 June 17
As I detailed in my previous post, I noticed (by chance) that an Apple Support Article that was important to system administrators had changed significantly. A number of presentations at the MacAD.UK conference in February (including mine) quoted this Article. Apparently, it had changed 18 days before I discovered the change[1]. The timing of this update wasn’t aligned with any particular OS or security update, so it’s no wonder it took a while to find. Still, it seemed like there should be a way to automatically check on an Article like that one so that it doesn’t sit there unnoticed by the community.
What tools do I use as a Mac Administrator to check for updates? Well, there’s Apple’s Software Update (soon to be moved from the Mac App Store back to System Preferences). Apple also has an RSS Feed for Developers that mentions OS releases but there’s nothing for Support Articles. There’s always the Mac Admins Slack and Twitter, of course, but that is not at all systematic. So my mind went to the tool that I use to check on software updates not covered by Apple’s mechanisms: AutoPkg. Could the URLDownloader processor also be used to check for updates to web pages? The answer, I found out, was “Yes, but….” Let me take you through my process. (This is also partially meant as a tutorial for people learning to write AutoPkg recipes, so apologies to readers fluent in this area for the depth of detail.) If you’re OK with spoilers, you can follow along with the finished recipe.
Building the Recipe
The goal was for the recipe user to specify the ID for the Article (e.g., HT208020 for the article I mentioned off the top) and have AutoPkg do the rest. This is similar to the approach Nate Felton used when developing his AppleSupportDownloadInfoProvider custom processor, only that the page was what we wanted to download, not a link within the page (hence, no need for a custom processor). AutoPkg would then retain a copy of the Article such that, when the next update came, the user could then compare the changes because they had both files in hand.
So the first test was to see if the URLDownloader processor would actually save the page/item if it URL wasn’t pointing to an installer or a disk image or an archive of some sort. Happily, the answer was yes. The URL format for Apple Support Articles is such that the kind of file being saved is not specified by an extension, so the file that URLDownloader cached did not have an extension on it either. No matter; a quick examination determined that it was HTML. When I viewed the cached file in a web browser, it wasn’t nearly as pretty as the normal Apple version[2], but the content was clearly there. As is my normal process in developing recipes, I then ran it again and the recipe correctly determined that there had been no changes since the last run. Success! This could work!
Next was the task of archiving a copy in some way. I noticed that there was a “Published Date” at the bottom of each Article. I’ve used URLTextSearcher before to find specific links on a page, so I used it to find that date, which would always follow the words “Published Date:”. Strangely, the date wasn’t in the format displayed on the page—Javascript modified it for output—but it was completely consistent. The HTML block that I would need to locate looked like this:
<div itemProp="dateModified" class="mod-date"><span>Published Date:</span> <span itemProp="dateModified">Thu May 10 15:53:48 GMT 2018</span></div>
I simplified that search such that I took just enough of the markup before the date to make certain I found the right string. Using trial and error the power of regular expressions, I captured that date, but I also used a trick I picked up from someone else’s recipe (I think it was in the main AutoPkg recipes repo) to assign different parts of the string to different variables. So my re_pattern looked like this:
itemProp="dateModified">(?P<version>[^:]*):(?P<mm>..):.. ... (?P<yr>....)
That would assign all of the date string up to the first colon (e.g., Thu May 10 15) to version, the minutes of the timestamp to mm, and the four-digit year to yr.[3] I then used those variables to build an output filename more to my liking. (I could have just captured the whole date+timestamp and used it as is, but I wanted the year first and I wanted it to say UTC not GMT, being the pedant that I am.)
A subtle detail here: Normally, I would provide URLTextSearcher a URL for a web page. I could certainly have had AutoPkg download this page redundantly to perform the search for the date+timestamp, but I decided to see if using a local reference (file:///) would work. It did. In addition to eliminating a redundant download, this method accounts for the rare instance when the page might change in the split second between the two calls to fetch the page.
I used the Copier processor to move the downloaded file to a directory that the recipe user specified in the Input dict, renaming the file with the Article Number, formatted date+time information, and an .html extension. Since I was trying to avoid using a custom processor (particularly since I can’t code in Python… yet), I just documented in the recipe description that the path should exist (since the recipe could fail otherwise).
Enhancements
I now had a working recipe as far as I could tell. I chose to add two more features:
Users must specify the language and country using the LANG input variable.
Rather than assume that users would want the article that gets served to their country (which is what you get when you omit that information from the URL), I made users specify it. My bet is that en-us will always be the first article updated, so I wanted users to be able to specify that. Also, if they wanted to track more than one language-country combination, they could override it more than once and track both versions this way. Because of this, I added the language-country code to the filename of the page we saved. I made en-us the default, which will meet most user’s needs.
In order to avoid redundant copying of the file when it hasn’t changed, I added the StopProcessingIf processor.
This is, admittedly, a minor efficiency in this case, since the file is so small, but I do this in all my .ds recipes and decided to be consistent.
Because there was no precedent for this, I did question whether I should invent a new recipe type or even whether I should split the recipe such that the copying occurred in a separate child recipe. I determined that most people who would use the recipe would want to archive a copy of the article and that there was no post-processing of the file (save for the filename), so I kept it all as a .download recipe. For those who didn’t want to retain an archived copy, I carefully placed an EndOfCheckPhase processor just before copying the file so that running the recipe using autopkg run --check would avoid the copy entirely.
Yes, but…
I received very positive feedback on Twitter after I announced the existence of this recipe. So it was all the more painful to have to walk this back a bit a few days later. You see, a scheduled run of my recipe reported a change in HT208020 a few days later, even though the Published Date remained the same. I confirmed that the content you would see in a browser had not changed. So what did? Items in the page header. Things like the page’s “Helpful” rating, the expiry date for the cookie that Apple leaves behind, and any updates Apple may have made to their Javascript code in the interim. Sigh.
The most robust solution would be to compare only the content inside the body, perhaps even completely stripped of markup. That would require a custom processor that would (1) use URLDownloader or similar code to grab the current version, (2) if it reported that there was a new version, perform a comparison of the body contents with a past version that was stored somewhere in the cache, and (3) report back via the download_changed variable whether the Article’s content had truly changed or not. This is not a level of complexity that interests me right now. If someone else wishes to write that processor and maintain it, I’ll happily update my recipe to use your processor—or you could just steal learn from my recipe and write your own to work with your processor; I’m OK either way.
The good news is that the recipe as written will simply overwrite the Article, since the date+timestamp for Published Date hasn’t changed. So if you are being notified when the recipe downloads a “new” copy (e.g., using AutoPkgr), you can just check your directory of archived articles; if there isn’t an additional file with a different date in the filename in that directory, the content wasn’t updated. At this point, I’m willing to live with that limitation.
A More General Recipe
Along with this blog post, I’m also releasing a new recipe, webpages.download, that is generalized for any web page. Based on what you’ve read above, you’ll understand why it will work best with static web pages where the header or injected scripts won’t change. The site you’re visting now is one where it will work well, as it is developed using Jekyll (a static site generator) on GitHub Pages. The default Input values should work as a faux-RSS feed for my blog posts, but you are of course welcome to override them with pages you want to track. I did some text massaging of the date in that one using a shared processor, so you’ll need to add Elliot Jordan’s homebysix-recipes to your RecipesRepo in addition to mine (jazzace-recipes) in order to run it.
Upcoming Presentation
If you want to learn more about AutoPkg, especially if you have dabbled with AutoPkgr but haven’t delved into writing recipes or using AutoPkg at the command line, I’ll be giving a presentation at the 2018 Mac Admins Conference at Penn State on just that topic. This is the conference where I found my professional peer group; I cannot recommend it highly enough. Please approach me and say, “Hi,” if you are there.
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http://indy.cs.concordia.ca/auto/
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AUTO
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[
""
] | null |
[
"Pankaj Kamthan"
] | null | null |
SOFTWARE FOR CONTINUATION AND BIFURCATION PROBLEMS IN ORDINARY DIFFERENTIAL EQUATIONS
This is the Home Page of the AUTO Web Site, established in January 1996.
ANNOUNCEMENTS
[November 30, 2019] Version 0.8 of AUTO-07p is available at GitHub.
[January 1, 2011] Version 0.8 of AUTO-07p is available at SourceForge.
INTRODUCTION
AUTO is a software for continuation and bifurcation problems in ordinary differential equations, originally developed by Eusebius Doedel, with subsequent major contribution by several people, including Alan Champneys, Fabio Dercole, Thomas Fairgrieve, Yuri Kuznetsov, Bart Oldeman, Randy Paffenroth, Bjorn Sandstede, Xianjun Wang, and Chenghai Zhang.
AUTO can do a limited bifurcation analysis of algebraic systems of the form
f(u,p) = 0, f,u in Rn
and of systems of ordinary differential equations of the form
u'(t) = f(u(t),p), f,u in Rn
subject to initial conditions, boundary conditions, and integral constraints. Here p denotes one or more parameters. AUTO can also do certain continuation and evolution computations for parabolic PDEs. It also includes the software HOMCONT for the bifurcation analysis of homoclinic orbits. AUTO is quite fast and can benefit from multiple processors; therefore it is applicable to rather large systems of differential equations.
For further information and details, see the AUTO Documentation.
AUTO STATUS/EVOLUTION
The following table represents the historical evolution in the development of AUTO in a chronological order.
AUTO AVAILABILITY/DISTRIBUTION
The AUTO package is available for UNIX/Linux-based computers.
AUTO-07P
AUTO-07p is the successor to both AUTO97 and AUTO2000.
It includes new plotting utilities, namely PyPlaut and Plaut04. It also contains many of the features of AUTO2000, including the Python CLUI, some parallelization, dynamic memory allocation, and the ability to use user equation files written in C. The overall performance has improved, especially for systems where the Jacobian matrix is sparse.
AUTO-07p is written in Fortran. At least a Fortran 90 compiler is required to compile AUTO-07p. One such compiler is the freely downloadable GNU Fortran 95 compiler (gfortran). Gfortran ships with most current Linux distributions.
Distribution: Download at GitHub.
AUTO DOCUMENTATION
The AUTO distribution include a copy of the AUTO Manual in LATEX, PostScript, and Portable Document Format (PDF).
AUTO APPLICATIONS
AUTO has been used in many scientific and engineering applications. A sample of applications can be found by searching on the Web for "bifurcation software AUTO".
RELATED SOFTWARE
Other software directly or indirectly related to AUTO includes DSTool, PyDSTool, XPPAUT, Content, MatCont, and DDE-BifTool.
RELATED LECTURE NOTES
Lecture Notes on Numerical Analysis of Nonlinear Equations. By Eusebius Doedel. Last Modified: Spring 2010.
CONTACT/FEEDBACK
If you have any comments, questions, or suggestions, please let us know by mailing "doedel at cse dot concordia dot ca" with "Subject: AUTO Related." An enquiry should include full name and affiliation.
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https://carpentries-incubator.github.io/python_packaging/instructor/03-building-and-installing.html
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Python Packaging: Building and Installing Packages using setuptools
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"https://carpentries-incubator.github.io/python_packaging/assets/images/incubator-logo.svg",
"https://carpentries-incubator.github.io/python_packaging/assets/images/incubator-logo-sm.svg"
] |
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""
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2023-07-04T00:00:00
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../apple-touch-icon.png
| null |
Building and Installing Packages using setuptools
Last updated on 2024-04-16 | Edit this page
Estimated time: 20 minutes
Introduction
In the first lesson, we showed how to use the PYTHONPATH environment variable to enable us to import our modules and packages from anywhere on our system. There are a few disadvantages to this method:
If we have two different versions of a package on our system at once, it can be tedious to manually update PYTHONPATH whenever we want to switch between them.
If we have multiple Python environments on our system (using tools such as venv or conda), setting PYTHONPATH will affect all of them. This can lead to unexpected dependency conflicts that can be very hard to debug.
If we share our software with others and require them to update their own PYTHONPATH, they will need to install any requirements for our package separately, which can be error prone.
It would be preferable if we could install our package using pip, the same way that we would normally install external Python packages. However, if we enter the top level directory of our project and try the following:
BASH
$ cd /path/to/my/workspace/epi_models $ python3 -m pip install .
We get the following error:
OUTPUT
ERROR: Directory '.' is not installable. Neither 'setup.py' nor 'pyproject.toml' found.
In order to make our project installable, we need to add the either the file pyproject.toml or setup.py to our project. For modern Python projects, it is recommended to write only pyproject.toml. This was introduced by PEP 517, PEP 518 and PEP 621 as a standard way to define a Python project, and all tools that build, install, and publish Python packages are expected to use it.
What issetup.py?
setup.py serves a similar role to pyproject.toml, but it is no longer recommended for use. The lesson on the history of build tools explains how it works and why the community has moved away from it.
By making our project pip-installable, we’ll also make it very easy to publish our packages on public repositories – this will be covered in our lesson on package publishing. After publishing our work, our users will be able to download and install our package using pip from any machine of their chocie!
To begin, we’ll introduce the concept of a ‘Python environment’, and how these can help us manage our workflows.
Managing Python Environments
When working with Python, it can sometimes be beneficial to install packages to an isolated environment instead of installing them globally. Usually, this is done to manage competing dependencies:
Project B might depend upon Project A, but may have been written to use version 1.0.
Project C might also depend upon Project A, but may instead only work with version 2.0.
If we install Project A globally and choose version 2.0, then Project B will not work. Similarly, if we choose version 1.0, Project C will not work.
A good way to handle these sorts of conflicts is to instead use virtual environments for each project. A number of tools have been developed to manage virtual environments, such as venv, which is a standard built-in Python tool, and conda, which is a powerful third-party tool. We’ll focus on venv here, but both tools work similarly.
Callout
You can pip install packages into a conda virtual environment, so much of the advice in this lesson will still apply if you prefer to use conda.
If we’re using Linux, we can find which Python environment we’re using by calling:
BASH
$ which python3
If we’re using the default system environment, the result is something like the following:
OUTPUT
/usr/bin/python3
To create a new virtual environment using venv, we can call:
BASH
$ python3 -m venv /path/to/my/env
This will create a new directory at the location /path/to/my/env. Note that this can be a relative path, so just calling python3 -m venv myenv will create the virtual environment in the directory ./myenv. We can then ‘activate’ the virtual environment using:
BASH
$ source /path/to/my/env/bin/activate
Checking which Python we’re running should now give a different result:
BASH
$ which python3
OUTPUT
/path/to/my/env/bin/python3
If we now install a new package, it will be installed within our new virtual environment instead of being installed to the system libraries. For example:
BASH
$ python3 -m pip install numpy
We should now find NumPy installed at the following location (note that the Python version may not match yours):
BASH
$ ls /path/to/my/env/lib/python3.8/site-packages/numpy
site-packages is a standard location to store installed Python packages. We can see this by analysing Python’s import path:
PYTHON
>>> import sys >>> print(sys.path)
['', '/usr/lib/python38.zip', '/usr/lib/python3.8', '/usr/lib/python3.8/lib-dynload', '/path/to/my/env/lib/python3.8/site-packages']
If we no longer wish to use this virtual environment, we can return to the system environment by calling:
BASH
$ deactivate
Virtual environments are very useful when we’re testing our code, as they allow us to create a fresh Python environment without any of the installed packages we normally use in our work. This will be important later when we add dependencies to our package, as this allows us to test whether our users will be able to install and run our code properly using a fresh environment.
An Overview of TOML files
pyproject.toml is a TOML file, which stands for ‘Tom’s Obvious Minimal Langauge’ (named for its developer, Thomas Preston-Werner, who cofounded GitHub). There are many configuration file formats in common usage, such as YAML, JSON, and INI, but the Python community chose TOML as it provides some benefits over the competition:
Designed to be human writable and human readable.
Can map unambiguously to a hash table (a dict in Python).
It has a formal specification, so has an unambiguous set of rules.
A TOML file contains a series of key = value pairs, which may be grouped into sections using a header enclosed in square brackets, such as [section name]. The values are typed, unlike some other formats where all values are strings. The available types are strings, integers, floats, booleans, and dates. It is possible to store lists of values in arrays, or store a series of key-value pairs in tables. For example:
TOML
# file: mytoml.toml int_val = 5 float_val = 0.5 string_val = "hello world" bool_val = true date_val = 2023-01-01T08:00:00 array = [1, 2, 3] inline_table = {key = "value"} # Section headings allow us to define tables over # multiple lines [header_table] name = "John" dob = 2002-03-05 # We can define subtables using dot notation [header_table.subtable] foo = "bar"
We can read this using the toml library in Python:
BASH
$ python3 -m pip install toml
PYTHON
>>> import toml >>> with open("mytoml.toml", "r") as f: ... data = toml.load(f) >>> print(data)
The result is a dictionary object, with TOML types converted to their corresponding Python types:
{ 'int_val': 5, 'float_val': 0.5, 'string_val': 'hello world', 'bool_val': True, 'date_val': datetime.datetime(2023, 1, 1, 8, 0), 'array': [1, 2, 3], 'inline_table': {'key': 'value'}, 'header_table': { 'name': 'John', 'dob': datetime.date(2002, 3, 5), 'subtable': { 'foo': 'bar' } } }
Callout
Since Python 3.11, tomllib is part of Python’s standard library. It works the same as above, but you’ll need to import tomllib instead of toml.
Installing our package with pyproject.toml
First, we will show how to write a relatively minimal pyproject.toml file so that we can install our projects using pip. We will then cover some additional tricks that can be achieved with this file:
Use alternative directory structures
Include any data files needed by our code
Generate an executable so that our scripts can be run directly from the command line
Configure our development tools.
To make our package pip-installable, we should add the file pyproject.toml to the top-level epi_models directory:
📁 epi_models
|
|____📜 pyproject.toml
|____📦 epi_models
|
|____📜 __init__.py
|____📜 __main__.py
|
|____📁 models
| |
| |____📜 __init__.py
| |____📜 SIR.py
| |____📜 SEIR.py
| |____📜 SIS.py
| |____📜 utils.py
|
|____📁 plotting
|
|____📜 __init__.py
|____📜 plot_SIR.py
|____📜 plot_SEIR.py
|____📜 plot_SIS.py
The first section in our pyproject.toml file should specify which build system we wish to use, and additionally specify any version requirements for packages used to build our code. This is necessary to avoid a circular dependecy problem that occurred with earlier Python build systems, in which the user had to run an install program to determine the project’s dependencies, but needed to already have the correct build tool installed to run the install program – see the lesson on historical build tools for more detail. We will choose to use setuptools, which requires the following:
requires is set to a list of strings, each of which names a dependency of the build system and (optionally) its minimum version. This uses the same version syntax as pip.
build-backend is set to a sub-module of setuptools which implements the PEP 517 build interface.
With our build system determined, we can add some metadata that defines our project. At a minimum, we should specify the name of the package, its version, and our dependencies:
That’s all we need! We’ll discuss versioning in our lesson on publishing. With this done, we can install our package using:
BASH
$ python3 -m pip install .
This will automatically download and install our dependencies, and our package will be importable regardless of which directory we’re in.
The installed package can be found in the directory /path/to/my/env/lib/python3.8/site-packages/epi_models along with a new directory, epi_models-0.1.0.dist-info, which simply contains metadata describing our project. If we look inside our installed package, we’ll see that our files have been copied, and there is also a __pycache__ directory:
BASH
$ ls /path/to/my/env/lib/python3.8/site-packages/epi_models
__init__.py __main__.py models plotting __pycache__
The __pycache__ directory contains Python bytecode, which is a lower-level version of Python that is understood by the Python Virtual Machine (PVM). All of our Python code is converted to bytecode when it is run or imported, and by pre-compiling our package it can be imported much faster. If we look into the directories models and plotting, we’ll see those have been compiled to bytecode too.
If we wish to uninstall, we may call:
BASH
$ python3 -m pip uninstall epi_models
We can also create an ‘editable install’, in which any changes we make to our code are instantly recognised by any codes importing it – this mode can be very useful when developing our code, especially when working on documentation or tests.
BASH
$ python3 -m pip install -e . $ # Or... $ python3 -m pip install --editable .
Callout
The ability to create editable installs from a pyproject.toml-only build was standardised in PEP 660, and only recently implemented in pip. You may need to upgrade to use this feature:
BASH
$ python3 -m pip install --upgrade pip
There are many other options we can add to our pyproject.toml to better describe our project. PEP 621 defines a minimum list of possible metadata that all build tools should support, so we’ll stick to that list. Each build tool will also define synonyms for some metadata entries, and additional tool-specific metadata. Some of the recommended core metadata keys are described below:
TOML
# file: pyproject.toml [project] # name: String, REQUIRED name = "my_project" # version: String, REQUIRED # Should follow PEP 440 rules # Can be provided dynamically, see the lesson on publishing version = "1.2.3" # description: String # A simple summary of the project description = "My wonderful Python package" # readme: String # Full description of the project. # Should be the path to your README file, relative to pyproject.toml readme = "README.md" # requires-python: String # The Python version required by the project requires-python = ">=3.8" # license: Table # The license of your project. # Can be provided as a file or a text description. # Discussed in the lesson on publishing license = {file = "LICENSE.md"} # or... license = {text = "BDS 3-Clause License"} # authors: Array of Tables # Can also be called 'maintainers'. # Each entry can have a name and/or an email authors = [ {name = "My Name", email = "my.email@email.net"}, {name = "My Friend", email = "their.email@email.net"}, ] # urls: Table # Should describe where to find useful info for your project urls = {source = "github.com/MyProfile/my_project", documentation = "my_project.readthedocs.io/en/latest"} # dependencies: Array of Strings # A list of requirements for our package dependencies = [ "numpy >= 1.20", "pyyaml", ]
Note that some of the longer tables in our TOML file can be written using non-inline tables if it improved readability:
TOML
[project.urls] Source = "github.com/MyProfile/my_project", Documentation = "my_project.readthedocs.io/en/latest",
Alternative Directory Structures
setuptools provides some additional tools to help us install our package if they use a different layout to the ‘flat’ layout we covered so far. A popular alternative layout is the src-layout:
📁 epi_models
|
|____📜 pyproject.toml
|____📁 src
|
|____📦 epi_models
|
|____📜 __init__.py
|____📜 __main__.py
|____📁 models
|____📁 plotting
The main benefit of this choice is that setuptools won’t accidentally bundle any utility modules stored in the top-level directory with our package. It can also be neater when one project contains multiple packages. Note that directories and files with special names are excluded by default regardless of which layout we choose, such as test/, docs/, and setup.py.
We can also disable automatic package discovery and explicitly list the packages we wish to install:
TOML
# file: pyproject.toml [tool.setuptools] packages = ["my_package", "my_other_package"]
Note that this is not part of the PEP 621 standard, and therefore instead of being listed under the [project] header, it is a method specific to setuptools. Finally, we may set up custom package discovery:
TOML
# file: pyproject.toml [tool.setuptools.packages.find] where = ["my_directory"] include = ["my_package", "my_other_package"] exclude = ["my_package.tests*"]
However, for ease of use, it is recommended to stick to either the flat layout or the src layout.
Package Data
Sometimes our code requires some non-.py files in order to function properly, but these would not be picked up by automatic package discovery. For example, the project may store default input data in .json files. These could be included with your package by adding the following to pyproject.toml:
TOML
# file: pyproject.toml [tool.setuptools.package-data] epi_models = ["*.json"]
Note that this would grab only .json files in the top-level directory of our project. To include data files from all packages and sub-packages, we should instead write:
TOML
# file: pyproject.toml [tool.setuptools.package-data] "*" = ["*.json"]
Installing Scripts
If our package contains any scripts and/or a __main__.py file, we can run those from anywhere on our system after installation:
BASH
$ python3 -m epi_models $ python3 -m epi_models.plotting.plot_SIR
With a little extra work, we can also install a simplified interface that doesn’t require python3 -m in front. This is how tools like pip can be invoked using two possible methods:
BASH
$ python3 -m pip # Invoke with python $ pip # Invoke via console-scripts entrypoint
This can be achieved by adding a table scripts under the [project] header:
TOML
# file: pyproject.toml [project] scripts = {epi_models = "epi_models.__main__:main"} # Alternative form: [project.scripts] epi_models = "epi_models.__main__:main"
This syntax means that we should create a console script epi_models, and that running it should call the function main() from the file epi_models/__main__.py. This will require a slight modification to our __main__.py file. All that’s necessary is to move everything from the script into a function main() that takes no arguments, and then to call main() at the bottom of the script:
PYTHON
# file: main.py def main(): # Put the __main__ script here... main()
This will allow us to run our package as a script directly from the command line
BASH
$ python3 -m pip install . $ epi_models --help
Note that we’ll still be able to run our code using the longer form:
BASH
$ python3 -m epi_models --help
If we have multiple scripts in our package, these can all be given invidual console scripts. However, these will also need to have a function name as an entry point:
TOML
# file: pyproject.toml [project.scripts] epi_models = "epi_models.__main__:main" epi_models_sir = "epi_models.plotting.plot_SIR:main"
So how do these scripts work? When we activate a virtual environment, a new entry is added to our PATH environment variable linking to /path/to/my/env/bin/:
BASH
PATH = "/path/to/my/env/bin:${PATH}"
After installing our console scripts, we can find a new file in this directory with the name we assigned to it. For example, /path/to/my/env/bin/epi_models:
PYTHON
#!/path/to/my/env/bin/python3 # -*- coding: utf-8 -*- import re import sys from epi_models.__main__ import main if __name__ == '__main__': sys.argv[0] = re.sub(r'(-script\.pyw|\.exe)?$', '', sys.argv[0]) sys.exit(main())
Installing our project has automatically created a new Python file that can be run as a command line script due to the hash-bang (#!) on the top line, and all it does it import our main function and run it. As it’s contained with the bin/ directory of our Python environment, it’s available for use as long we’re using that environment, but as soon as we call deactivate, it is removed from our PATH.
Setting Dependency Versions
Earlier, when setting dependencies in our pyproject.toml, we chose to specify a minimum requirement for numpy, but not for pyyaml:
This indicates that pip should install any version of numpy greater than 1.20, but that any version of pyyaml will do. If our installed numpy version is less than 1.20, or if it isn’t installed at all, pip will upgrade to the latest version that’s compatible with the rest of our installed packages and our Python version. We’ll cover software versioning in more detail in the lesson on publishing, but now we’ll simply cover some ways to specify which software versions we need:
TOML
"numpy >= 1.20" # Must be at least 1.20 "numpy > 1.20" # Must be greater than 1.20 "numpy == 1.20" # Must be exactly 1.20 "numpy <= 1.20" # Must be 1.20 at most "numpy < 1.20" # Must be less than 1.20 "numpy == 1.*" # Must be any version 1
If we separate our clauses with commas, we can combine these requirements:
TOML
# At least 1.20, less than 1.22, and not the release 1.21.3 "numpy => 1.20, < 1.22, != 1.21.3"
A useful shorthand is the ‘compatible release’ clause:
TOML
"numpy ~= 1.20" # Must be a release compatible with 1.20
This is equivalent to:
TOML
"numpy >= 1.20, == 1.*"
That is, we require anything which is version 1, provided it’s greater than 1.20. This would include version 1.25, but exlude version 2.0. We’ll come back to this later when we discuss publishing.
Optional Dependencies
Sometimes we might have dependencies that only make sense for certain kind of user. For example, a developer of our library might need any libraries we use to run unit tests or build documentation, but an end user would not. These can be added as optional-dependencies:
These dependencies can be installed by adding the name of each optional dependency group in square brackets after telling pip what we want to install:
BASH
$ pip install .[test] # Include testing dependencies $ pip install .[doc] # Include documentation dependencies $ pip install .[test,doc] # Include all dependencies
|
||||||
8585
|
dbpedia
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2
| 14 |
https://medium.com/%40nickuzmenkov/build-your-first-python-package-and-automate-it-74053ed1f535
|
en
|
Build your first python package… and automate it!
|
[
"https://miro.medium.com/v2/resize:fill:64:64/1*dmbNkD5D-u45r44go_cf0g.png",
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[] |
[] |
[
""
] | null |
[
"Nick Kuzmenkov",
"medium.com"
] |
2021-11-27T08:04:13.433000+00:00
|
But let’s take a peek at a few steps ahead. Now having your very own piece of software, you have to maintain it, e.g. release bug fixes and/or some new helpful features. Each time you implement a new…
|
en
|
https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
|
Medium
|
https://medium.com/@nickuzmenkov/build-your-first-python-package-and-automate-it-74053ed1f535
|
Building your first open-source package is so much fun, even if it’s just a learning side-project.
But let’s take a peek at a few steps ahead. Now having your very own piece of software, you have to maintain it, e.g. release bug fixes and/or some new helpful features. Each time you implement a new idea or fix something, you have to make sure that the upcoming changes won’t break the code. And when you’re done, you have to rebuild the package and redeploy it. The longer this takes, the greater the chances you start asking yourself: is there a way to automate this routine?
This question is so common, that there are two special terms referring to it: CI (Continuous Integration) and CD (Continuous deployment). Those are rarely meant standalone, so you would see them both throughout like this: CI/CD.
The former relates to automated developing routine (e.g. testing, maintaining code style, etc.), and the latter relates to automated deployment. A proper CI/CD, being a nice feature for a small solo project, turns out to be a must-have for long-running team projects.
Here I’ll show you just one simple way for setting up CI/CD for your python package with automated tests, code style checks, and deployment. Furthermore, it’s built into version control and has a pretty web interface like this:
What I’m talking about is BitBucket pipelines — a powerful yet easy-to-use CI/CD tool. If you’re interested only in automation, just go straight to section 3.
You will need some basic knowledge of git, and also BitBucket, PyPI, and TestPyPI accounts.
1. Setup your repository
First things first. Go to BitBucket and make sure your two-step authentication is on: go to “Personal settings” — “Security” — “Two-step verification”. If this page looks like this:
you are ready to go for the next steps. If not, do not worry — just follow the instructions on the page. Two-step verification will keep your account as safe as possible, and it is also required to enable pipelines.
Once you’ve done, go ahead and create a repository. You can fill the form like this:
Think of “Project” as a folder to store similar repositories. If you don’t have any existing projects, type whatever you would like to call it, so BitBucket can create one for you.
Once created, go to the “Branches” page, click on “Create branch”, and name it “develop”. We will separate the concerns using the master branch as a release branch and keep all the development inside the develop branch.
Go ahead to the repository main page, click on “Repository settings”, and find a section called “Pipelines”. Go to “Settings” in that section and toggle the “Enable Pipelines” switch:
Our pipelines will need TestPyPI and PyPI credentials to deploy your packages, but you should never keep them as plain text inside the repository. Thankfully, BitBucket has a solution for this: secret variables.
From the same page, go to “Repository variables” and add four secured variables: PYPI_USERNAME, PYPI_PASSWORD, TEST_PYPI_USERNAME, and TEST_PYPI_PASSWORD:
Now go to the “Workflow” — “Branching model” section and set the development branch to develop, and the production branch to master.
2. Setup your package
Now it’s time to clone your repository and add in some code. Firstly check out the develop branch:
Now you need to initialize the project file structure. Go ahead and create those files and folders one by one:
Feel free to pick your own names for files and folders as long as you keep them consistent throughout the project. However, do not rename files under the root directory. Those are named by convention, so renaming them would break some features and make your code much less readable.
Next place your package under the autodeploy_template directory. If your package is split into multiple files, just copy all of them. I will place in a placeholder class named BarCounter with a single count method which simply shows a progress bar:
After you’re done, mention all the classes, functions, and variables from all the module files in the __init__.py:
We would usually like to cover the code with tests to make sure any time you add a new feature or fix something, you won’t break something else. If you have a unittest ready, copy it into tests/test.py, if not, just leave it blank for now.
Writing tests is somehow boring yet very important part of your project. The sooner you set up proper testing, the more time you save in future.
Now updateREADME.md to make your package’s homepage nice and pretty:
Another important part is the license. If you’re deploying your package for learning purposes, an MIT license is a good choice. It grants full access to your code to anyone who finds it useful without any warranties from your side. If you find that’s true, copy this to LICENSE.txt file and add your name and surname:
Our setup script will produce some extra files which should not pollute our commits. Place these three lines at the bottom of the .gitignore file to exclude build artifacts from version control:
Now the most important part: the setup.py file. It configures all your package’s contents and all sorts of auxiliary information. Though it seems complicated at first, it turns out to be pretty straightforward:
Let’s quickly look through the main parameters:
the name is how your package would be named in PyPI: pip install <name>;
the packages is a list of folders containing python files. It is also how you reference your package when you import it: from <package>.<file> import <Any>;
the version typically starts from 0.1.0 and increments each time you make a new release. By convention you increment the last digit each time you make a bug fix, the second digit — each time you add a new feature (e.g. BarCounter now accepts bar length parameter), and the third digit only when you make a backward-incompatible change (e.g. BarCounter is renamed to ProgressBarCounter);
the install_requires is a list of the package dependencies. Make sure you list all the dependencies with the versions used (e.g. tqdm>=4.62.0 means your package requires tqdm version 4.62.0 or newer).
If manually listing all the dependencies seems annoying, pipreqs is a great tool to automate it. Just install it pip install pipreqs and run pipreqs . (note the dot at the end) inside the project directory. Unlike pip freeze > requirements.txt, which lists all the packages installed, this command would list only those packages that are used inside .py files in the current or subsequent directories saving you a lot of time.
That’s it! Now, all we have to do is to test the installation. Firstly make sure setuptools, wheel, and twine packages are installed and up to date. Then create a source distribution and the wheels, and then run checks:
If you feel confused about the terms source distribution and wheel format, don’t worry, I don’t know much about it either. It’s just two ways to build the package so that twine can publish it to the python package index and pip can handle its download and installation.
Once the checks have passed, push your changes to develop branch: git commit -am 'initial version' && git push.
3. Setup the pipelines
At this point at some other tutorials you would probably see the next line: twine upload dist/*. And that’s OK, but we want the magic of automation.
So go ahead and create bitbucket-pipelines.yml file in the root directory with the very first step in it:
If you’re not familiar with the YAML format, it’s very similar to JSON: both can be read into python dict and hold serialized dicts. Unlike JSONs, YAML files don’t have any braces. A colon represents a key-value pair, strings can be placed both with and without quotation marks, sequence elements are marked with hyphens.
The first key is pipelines, followed by the key default storing a sequence of operations, or steps. All steps defined in the default section will be applied to every single commit pushed to origin. BitBucket then copies your repository to a remote server and runs each step in a separate Docker container.
Docker is arguably the most powerful tool for virtual environments. Unlike virtualenv (or similar tools) it not only creates a local version of python with all its dependencies but also places your project folder into a virtual machine (called container) starting from scratch each time you run your code. This prevents all system-related inconsistency and makes sure your code runs equally on any machine.
Let’s breakdown the step contents:
the name is a string with a step summary. It can be whatever you wish as long as all step names are unique;
the image is a name of a Docker image to pull from Docker Hub public image storage. The convention is <image_name>:<version>-<type>. If you need to run only python and pip commands, then python-slim is the best option. Here we use python-slim version 3.9;
the script is a sequence of bash commands to run within that step. Here we simply run tests.py file and exit with error code 1 if tests were unsuccessful;
But enough talking. Make a commit, push it, go to the repository main page, click on “Pipelines” and see the magic!
Congrats on your first successful pipeline!
Let’s go ahead and add another step with code style and linting checks:
Here we use flake8 for linting and black for code style checks. Notice that this step depends on corresponding libraries which aren’t built-in. We provide the caches: pip instruction to make pipelines run faster. All the rest is the same.
Once again, make a commit and push it.
As long as we’ve set up the CI part, let’s focus on CD. Add these two final steps to the end of your bitbucket-pipelines.yml file:
Notice that instead of going on in the default section we add another: branches: master. This means that all the subsequent steps will only apply to new commits in the master branch. As long as we don’t deploy our package from any branch except master, that is exactly what we want!
First copy the previous two steps (tests and codestyle) from the default section and add two other: Test PyPI and PyPI. These steps are a bit more complex, so I won’t cover them in detail.
Make sure your complete pipeline looks like this:
Once you’ve pushed the changes to develop, we’re ready to deploy. Merge your develop branch with master (either via git merge or a pull request). Go to the pipelines of the last merge commit.
Notice the two new steps in the pipeline. But wait, why weren’t they executed straight after the previous ones? It’s because we provided the trigger: manual instructions preventing it from running without your permission.
Go ahead and click on the “Deploy” button. After this step executes, go to TestPyPI and make sure the new package has popped up in your profile:
Great! We now can test the package by installing it (make sure you add the --index-url instruction):
Fine, our package is installable and works as expected. But remember that anything deployed to TestPyPI doesn’t affect the real index. So once you are ready return to the repository and click on the second “Deploy” button to deploy it. After it finishes, your project can be installed simply by pip install autodeploy-template.
Further reading
Oh! It’s been quite a lot to do at once. If you’ve followed me along all the way here, it makes me happy. The full project code is available at BitBucket.
Actually, CI/CD is a very complex topic both in terms of concepts and technologies involved. We’ve only touched some of the core concepts and tools and there’s still much, much more you can learn about it!
Here are some links for further reading:
|
||||
8585
|
dbpedia
|
0
| 76 |
https://wiki.ubuntu.com/QATeam/AutomatedTesting/Hackfest
|
en
|
QATeam/AutomatedTesting/Hackfest
|
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"https://wiki.ubuntu.com/moin_static198/light/img/icon_smile.png"
] |
[] |
[] |
[
""
] | null |
[] | null | null |
The automated tests we are aiming for will always be run whenever a package is updated or its dependencies change. This should help a lot in ensuring that the functionality we need is always there. Write a test, make sure stuff works forever.
What are the automated testing technologies in use?
Autopkg
Autopkg tests are run at build time automatically by the buildbots for the package. The goal of these tests is to provide system and integration testing to guarantee basic functionality. You can see the live output of the current autopkg tests here.
Autopilot
These tests are written in python using the autopilot framework. The goal of these tests is to provide higher level application and functional testing. The tests are written in python and can be user executed or scripted via a test runner such as UTAH or jenkins to run and publish results automatically.
Preparing yourself
If you want to get started, check out this overview page, the Autopkg documentation (Spanish), and the Autopilot documentation. If you have a bit of a background in programming or scripting, you will find it easy to follow along and get started.
Launchpad
Before you begin make sure you have a launchpad profile, and your machine is setup to work with bzr and launchpad. This tutorial will make sure you are all set.
Autopkg
It's quite straight-forward to get started and set up. Simply run these commands and you should be ready to go:
sudo apt-get install qemu-utils kvm eatmydata bzr bzr branch lp:auto-package-testing cd auto-package-testing ./bin/prepare-testbed -r utopic amd64
Note: if you use a different architecture, feel free to change amd64 to something different.
Autopilot
Install autopilot:
sudo add-apt-repository ppa:autopilot/ppa sudo apt-get update && sudo apt-get install python-autopilot
Give me something to work on!
You're all set, read the docs, feel ready to go? Perfect! We have a list of tests we're looking for autopkg tests. You can simply assign one to yourself, get started and ask questions on IRC if you should get stuck.
For autopilot, have a look at the project site, and the work items indentified. Anything that doesn't already show someone as working on is yours Assign it to yourself, geet started, and show up on IRC to ask questions and participate. We'll help you get your branches merged quickly.
Let's make Ubuntu better, let's ensure stuff always works, let's do it together!
Notes for reviewers
|
||||||||
8585
|
dbpedia
|
0
| 21 |
https://www.jamf.com/resources/videos/zero-touch-packaging-and-patch-management-with-patchbot/
|
en
|
Zero-touch packaging and patch management with PatchBot
|
[
"https://resources.jamf.com/images/logos/jamf-one-color-dark-for-print-css.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
This is a presentation for those who are interested in using the Jamf Pro API to automate workflows.
|
en
|
/apple-touch-icon-57x57.png
|
https://www.jamf.com/resources/videos/zero-touch-packaging-and-patch-management-with-patchbot/
|
This is a presentation for those who are interested in using the Jamf Pro API to automate workflows.
This is a presentation for those who are interested in using the Jamf Pro API to automate workflows. If you have a well set-up MDM then the biggest challenge you can be left with is keeping all the packages up to date in your MDM and your fleet properly patched. Every new application you install at enrollment or offer in Self Service just makes the task harder. In a high-security environment such as a finance company like the Suncorp Group, it is not only challenging but vital. At Suncorp I have leveraged AutoPkg, the Jamf patch management system, and Jamf API to build a total solution where almost all of my applications are automatically patched on my fleet without me touching a thing. Patch levels across the fleet have gone from woeful to good in a period of six months. I will explain the basics of AutoPkg and writing custom processors in Python for AutoPkg. I will show how I used further Python to send reports to Microsoft Teams. Finally I will show how patches are moved from test to production using Python and AutoPkg. I will also elaborate some of the lessons learnt engineering the whole system and what I plan for the future. (All the code is available on Github.)
|
|||||
8585
|
dbpedia
|
2
| 38 |
https://ask.replit.com/t/when-the-name-of-the-package-does-not-match-the-name-of-the-imported-module-the-wrong-package-is-installed/73527
|
en
|
When the name of the package does not match the name of the imported module, the wrong package is installed
|
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] |
[] |
[] |
[
""
] | null |
[
"system Closed"
] |
2023-10-12T19:30:52+00:00
|
Bug description:
When the name of the package does not match the name of the imported module, the wrong package is installed.
It is possible to manually install the correct package, but the code editor keeps showing th…
|
en
|
Replit Ask
|
https://ask.replit.com/t/when-the-name-of-the-package-does-not-match-the-name-of-the-imported-module-the-wrong-package-is-installed/73527
|
It is possible to manually install the correct package, but the code editor keeps showing the red wiggle. For example, after running the following in the shell, the code shown below works, but the red wiggle is still visible:
pip uninstall anvil pip uninstall anvil-uplink pip install anvil-uplink
Expected vs Current Behavior:
The correct package should be installed.
The red wiggle should disappear when the import succeeds.
Steps to reproduce:
Create a new python repl, add the following code and run:
import anvil import anvil.server print(anvil) print(anvil.server)
Bug appears at this link: https://replit.com/@stenci/InbornWealthyGigabyte#main.py
Browser/OS/Device: Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/117.0.0.0 Safari/537.36
Replit Profile: https://replit.com/@stenci
Hello, auto-importing is an intended feature of UPM (Universal Package Manager). In python specifically, these guessed imports may be wrong, so you should tell it which package to import.
Example:
import pygame #upm package(pygame-ce)
Related:
It is usually best to disable import guessing in the packager configuration in .replit file, but unfortunately this is currently broken because of a bug.
|
|||||
8585
|
dbpedia
|
3
| 1 |
https://docs.veracode.com/r/About_auto_packaging
|
en
|
About auto-packaging
|
[
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"https://docs.veracode.com/img/Veracode_Docs_Logo_Dark_Mode.svg"
] |
[] |
[] |
[
""
] | null |
[] |
2024-08-08T19:40:14+00:00
|
Veracode auto-packaging automates the process of packaging your projects for Static Analysis and Software Composition Analysis (SCA) upload and scan. By automating packaging, you can reduce the burden on your teams to correctly package projects manually, while also ensuring more accurate and consistent scan results.
|
en
|
/img/veracode-favicon.png
|
https://docs.veracode.com/r/About_auto_packaging
|
Veracode auto-packaging automates the process of packaging your projects for Static Analysis and Software Composition Analysis (SCA) upload and scan. By automating packaging, you can reduce the burden on your teams to correctly package projects manually, while also ensuring more accurate and consistent scan results.
Saves time and effort, compared to manual packaging, by eliminating manual steps, such as gathering files and dependencies, configuring build settings, and packaging artifacts.
Ensures a consistent build process across different environments and platforms. This reduces the risk of discrepancies or errors that can occur when developers manually change the build configurations or there are variations across the configurations.
Reduces human errors that can occur when developers package projects manually. This improves the accuracy and reliability of the generated artifacts, which ensures that the Static Analysis results are accurate.
Enables scalability by facilitating the rapid and efficient generation of artifacts for analysis across multiple code repositories, projects, or teams. This scalability is essential for organizations managing large and complex codebases.
Reduces the time and resources developers spend securing their code, which allows them to focus on writing new code, implementing features, or addressing critical issues. Developers can increase their productivity and accelerate the time-to-market for software products and updates.
The auto-packager runs on your repository to package your projects into artifacts (archive files) that you can upload to the Veracode Platform. To correctly package a project for Static Analysis or SCA upload and scan, the auto-packager automatically detects the required components and configurations for each supported language.
The auto-packager packages your projects into archive files, such as ZIP, JAR, WAR or EAR, called artifacts. During the packaging process, the auto-packager might create multiple artifacts that it includes in the final artifacts. For example, multiple DLL files inside the final ZIP file. The final artifacts are the complete, packaged archive files that you can upload to Veracode and scan separately.
The following table lists examples of the filename format of the final artifacts for each supported language.
Artifact languageLanguage tagLanguage suffix tagExample filename.NET assembliesdotnetNoneveracode-auto-pack-Web-dotnet.zip.NET with JavaScriptdotnetjsveracode-auto-pack-Web-dotnet-js.zipAndroidNoneNoneThe gradle.build file defines the filenames of Java artifacts.COBOLcobolNoneveracode-auto-pack-EnterpriseCOBOLv6.3-cobol.zipC/C++ Linuxc_cppNoneveracode-auto-pack-CppProjectLibsAndExecutables-c_cpp.zipC/C++ WindowsmsvcNoneveracode-auto-pack-$(SolutionName)-msvc.zipDart and FlutterNoneNoneThe project configuration for Flutter Android or Xcode defines the filenames.GogoNoneveracode-auto-pack-evil-app-go.zipiOS with Xarchiveiosxcarchiveveracode-auto-pack-duckduckgo-ios-xcarchive.zipiOS with CocoaPodsiospodfileveracode-auto-pack-signal-ios-podfile.zipJava with GradleNoneNoneDefined by your gradle.build file.Java with MavenNoneNoneDefined by your pom.xml file.JavaScriptjsNoneveracode-auto-pack-NodeGoat-js.zipKotlinNoneNoneThe filenames of Java artifacts are defined by your gradle.build file.PerlperlNoneveracode-auto-pack-bugzilla-perl.zipPHPphpNoneveracode-auto-pack-captainhook-php.zipPythonpythonNoneveracode-auto-pack-dvsa-python.zipReact NativejsNoneveracode-auto-pack-convene-js.zipRubyrubyNoneveracode-auto-pack-railsgoat-ruby.zipScalaNoneNoneThe filenames of Java artifacts are defined by your SBT build properties.
Auto-packaging is integrated with the following products:
Veracode CLI to integrate auto-packaging in your development environment.
Veracode GitHub Workflow Integration to automate repo scanning with GitHub Actions. The auto-packager only supports Java, JavaScript, Python, Go, Scala, Kotlin, React Native, and Android repositories.
Veracode Azure DevOps Workflow Integration to automate repo scanning using user's pipelines. The auto-packager supports Java, .NET, JavaScript, Python, Go, Kotlin, and React Native projects.
Veracode Scan for JetBrains to auto-package applications, scan, and remediate findings in JetBrains IDEs.
Veracode Scan for VS Code to auto-package applications, scan, and remediate findings in VS Code.
You can integrate the auto-packager with your local build environment or CI/CD. For example, to add auto-packaging to your build pipelines, you could add the CLI command veracode package to your development toolchains or build scripts.
You might need to install one or more of the following tools in your environment:
A build automation tool that defines build scripts or configurations that specify how to manage dependencies, compile source code, and package code as artifacts.
A dependency management system to effectively handle project dependencies.
A compiler that builds source code into executable code.
If the auto-packager does not support specific versions, or it relies on a version supported by your packager manager, the Versions column shows Not applicable.
LanguageVersionsPackage managers.NET.NET 6, 7, or 8.
.NET Framework 4.6 - 4.8.
Not supported: MAUIAllAndroidA JDK version that you have tested to build your project.GradleCOBOLCOBOL-74, COBOL-85, COBOL-2002Not ApplicableC/C++ LinuxCentOS and Red Hat Enterprise 5-9, openSUSE 10-15Not ApplicableC/C++ WindowsC/C++ (32-bit/64-bit)Not ApplicableDart and FlutterDart 3.3 and earlier / Flutter 3.19 and earlierPubGo1.14 - 1.22Go ModulesiOSNot applicableAllJava (select from the Package managers column)A JDK version that you have tested to build your project.Gradle, MavenJavaScript and TypeScriptNot applicableNPM, YarnKotlinA JDK version that you have tested to build your project.Gradle, MavenPerl5.xNot ApplicablePHPNot applicableComposerPythonNot applicablePip, Pipenv, setuptools, virtualenvReact NativeNot applicableNPM, Yarn, BowerRuby on RailsRuby 2.4 or greaterBundlerScalaA JDK version that you have tested to build your project.Gradle, Maven, sbt
Under each supported language, the Veracode CLI commands and output examples demonstrate the packaging process when you run the veracode package command. You can use the auto-packager with various integrations, but the CLI output examples help you visualize the packaging process. All examples assume the location of the CLI executable is in your PATH. You might see different output in your environment.
Before you can run the auto-packager, you must meet the following requirements:
Your environment must have:
A supported version of .NET.
PATH environment variable that points to the dotnet or msbuild command.
Your projects must:
Contain at least one syntactically correct .csproj file.
Compile successfully without errors.
The auto-packager completes the following steps, as shown in the example command output.
Recursively searches your repo for all .csproj submodules.
To publish an SDK-style project, runs the following command:
dotnet publish -c Debug -p:UseAppHost=false -p:SatelliteResourceLanguages='en' -p:WasmEnableWebcil=false -p:BlazorEnableCompression=false
To publish a .NET Framework project, runs a command similar to the following:
msbuild Project.csproj /p:TargetFrameworkVersion=v4.5.2 /p:WebPublishMethod="FileSystem" /p:PublishProvider=FileSystem /p:LastUsedBuildConfiguration=Debug /p:LastUsedPlatform=Any CPU /p:SiteUrlToLaunchAfterPublish=false /p:LaunchSiteAfterPublish=false /p:ExcludeApp_Data=true /p:PrecompileBeforePublish=true /p:DeleteExistingFiles=true /p:EnableUpdateable=false /p:DebugSymbols=true /p:WDPMergeOption="CreateSeparateAssembly" /p:UseFixedNames=true /p:UseMerge=false /p:DeployOnBuild=true
Filters out any test projects.
Packages the published project and saves the artifacts of your packaged project in the specified --output location.
veracode package --source path/to/project/bobs-used-bookstore-sample --output verascan --trust
Packager initiated...
Verifying source project language ...
Packaging DOTNET artifacts for DotNetPackager project 'Bookstore.Data'. Publish successful.
Packaging DOTNET artifacts for DotNetPackager project 'Bookstore.Web'. Publish successful.
Project Bookstore.Web zipped and saved to: path\to\verascan\veracode-auto-pack-Bookstore.Web-dotnet.zip
DotNet project Bookstore.Web JavaScript packaged to: path\to\verascan\veracode-auto-pack-Bookstore.Web-dotnet-js.zip
Packaging DOTNET artifacts for DotNetPackager project 'Bookstore.Cdk'. Publish successful.
Project Bookstore.Cdk zipped and saved to: path\to\verascan\veracode-auto-pack-Bookstore.Cdk-dotnet.zip
Packaging DOTNET artifacts for DotNetPackager project 'Bookstore.Domain'. Publish successful.
Successfully created 3 artifact(s).
Created DotNet artifacts for DotNetPackager project.
Total time taken to complete command: 11.656s
Before you can run the auto-packager, you must meet the following requirements:
Your environment must have:
Correct Java or Kotlin version present in the environment for packaging the application.
Correct Android SDK version present in the environment for packaging the application.
Other dependencies installed based on the repository dependency.
The auto-packager completes the following steps, as shown in the example command output.
To build a Gradle project, runs the command gradlew clean build -x test
Copies the artifacts of your packaged project to the specified --output location.
veracode package --source path/to/project/sunflower --output verascan --trust
Packaging code for project sunflowe. Please wait; this may take a while...
Verifying source project language ...
Copying Java artifacts for GradlePackager project.
Copied artifact: path/to/verascan/app-benchmark.apk.
Copied artifact: path/to/verascan/app-debug.apk.
Copied artifact: path/to/verascan/macrobenchmark-benchmark.apk.
Successfully created 3 artifact(s).
Created Java artifacts for GradlePackager project.
Total time taken to complete command: 1m35.117s
Before you can run the auto-packager, you must meet the following requirements:
Your COBOL programs must be in UTF-8 encoded files with one of the following extensions: .cob, .cbl, .cobol, or .pco.
Your COBOL copybooks must be in UTF-8 encoded .cpy files. Veracode recommends you include all copybooks to generate the best scan results.
The auto-packager completes the following steps, as shown in the example command output.
Finds all the files matching the required extensions and packages them in a ZIP archive (artifact).
Copies the artifacts of your packaged project to the specified --output location.
veracode package --source path/to/project/EnterpriseCOBOLv6.3 --output verascan --trust
Packaging code for project EnterpriseCOBOLv6.3. Please wait; this may take a while...
Verifying source project language ...
[GenericPackagerCobol] Packaging succeeded for the path path/to/project/EnterpriseCOBOLv6.3
Successfully created 1 artifact(s).
Created Cobol artifacts for GenericPackagerCobol project.
Total time taken to complete command: 3.802s
Before you can run the auto-packager, you must meet the following requirements:
All project files and libraries have been compiled with debug information defined in the packaging guidelines.
Auto-packaging must run on supported Linux OS architecture and distribution.
For efficient packaging, all binaries and libraries have been collected in a single folder.
The auto-packager completes the following steps, as shown in the example command output.
Detects a Veracode-supported Linux OS architecture. If it does not detect a supported architecture, the auto-packager throws an error and exits packaging.
Detects a Veracode-supported Linux OS distribution.
Searches the prebuilt binary directory to find scan-supported binary files, then archives them in a single artifact.
veracode package --source path/to/project/CppProjectLibsAndExecutables --output verascan --trust
Packaging code for project CppProjectLibsAndExecutables. Please wait; this may take a while...
Verifying source project language ...
C/CPP project CppProjectLibsAndExecutables packaged to: /path/to/verascan/veracode-auto-pack-CppProjectLibsAndExecutables-c_cpp.zip
Successfully created 1 artifact(s).
Created CPlusPlus artifacts for GenericPackagerCPP project.
Total time taken to complete command: 37.257s
Before you can run the auto-packager, you must meet the following requirements:
The project must contain at least one .sln file that is configured to build at least one supported C++ project. A supported C++ project is defined by a .vcxproj file where the following are true:
Defines a supported project configuration:
Targets a supported platform (x64 or Win32)
Builds a supported binary (ConfigurationType is Application or DynamicLibrary)
Is not a test Native Unit Test project or Google Unit Test project.
msbuild command is available in the environment.
Code can compile without errors.
The auto-packager completes the following steps, as shown in the example command output.
Searches the project directories to find supported .sln files. The search stops at each directory level where it finds supported files.
For each .sln file found:
Determines the solution configuration to use to build the top-level projects. If available, it uses the first solution configuration listed in the solution that has a supported project platform for a top-level C++ project, configured as a debug build.
Determines the supported top-level C++ projects for that solution configuration. A top-level C++ project is a C++ project that is not a dependency of any other project configured to build for that solution configuration.
Builds each supported top-level C++ project using compiler and linker settings required for Veracode to analyze Windows C/C++ applications:
<ItemDefinitionGroup>
<ClCompile>
<DebugInformationFormat>ProgramDatabase</DebugInformationFormat>
<Optimization>Disabled</Optimization>
<BasicRuntimeChecks>Default</BasicRuntimeChecks>
<BufferSecurityCheck>false</BufferSecurityCheck>
</ClCompile>
<Link>
<LinkIncremental>false</LinkIncremental>
<GenerateDebugInformation>true</GenerateDebugInformation>
<ProgramDatabaseFile>$(OutDir)$(TargetName).pdb</ProgramDatabaseFile>
</Link>
</ItemDefinitionGroup>
Creates an archive for each solution named veracode-auto-pack-$(SolutionName)-msvc.zip. Each archive contains a $(ProjectName) directory with all .exe, .dll, and .pdb build artifacts for each top-level project build target of the solution.
veracode package --source path/to/project/example-cpp-windows --output verascan --trust
Packaging code for project example-cpp-windows. Please wait; this may take a while...
Verifying source project language ...
Packaging Windows C/C++ artifacts for WinCppPackager publish path 'C:\Users\...\AppData\Local\Temp\2766238912731991934'. MSBuild commands successfully completed.
Windows solution WS_AllSource packaged to: path\to\verascan\veracode-auto-pack-WS_AllSource-msvc.zip
Packaging Windows C/C++ artifacts for WinCppPackager publish path 'C:\Users\...\AppData\Local\Temp\7662002083651398436'. MSBuild commands successfully completed.
Windows solution allPepPCIF packaged to: path\to\verascan\veracode-auto-pack-allPepPCIF-msvc.zip
Successfully created 2 artifact(s).
Created Windows C/C++ artifacts for WinCppPackager project.
Total time taken to complete command: 3m38.473s
Before you can run the auto-packager, you must meet the following requirements:
To ensure that Flutter installs successfully and validates all platform tools, successfully run flutter doctor.
To generate an iOS Archive file, the project must be able to run the command: flutter build ipa --debug
To generate an Android APK file, the project must be able to run the command: flutter build apk --debug
The auto-packager completes the following steps, as shown in the example command output.
Gathers APK and IPA files.
Copies the artifacts of your packaged project to the specified --output location.
veracode package --source path/to/project/flutter-wonderous-app --output verascan --trust
Packaging code for project flutter-wonderous-app. Please wait; this may take a while...
Verifying source project language ...
Copying artifacts for Dart Flutter for FlutterPackager project.
Copied artifact: path/to/verascan/app-debug.apk.
Successfully created 1 artifact(s).
Created Dart artifacts for FlutterPackager project.
Total time taken to complete command: 54.731s
Before you can run the auto-packager, you must meet the following requirements:
Your environment must have a supported version of Go.
Your projects must:
Support Go Modules.
Contain a go.sum file and a go.mod file.
Compile successfully without errors.
The auto-packager completes the following steps, as shown in the example command output.
To build and package a project, including the source code and the vendor folder, runs the command go mod vendor.
Copies the artifacts of your packaged project to the specified --output location.
veracode package --source path/to/project/sftpgo --output verascan --trust
Please ensure your project builds successfully without any errors.
Packaging code for project sftpgo. Please wait; this may take a while...
Verifying source project language ...
Packaging GO artifacts for GoModulesPackager project 'sftpgo'. go mod vendor successful.
Go project sftpgo packaged to: path/to/verascan/veracode-auto-pack-sftpgo-go.zip
Successfully created 1 artifact(s).
Created GoLang artifacts for GoModulesPackager project.
Total time taken to complete command: 15.776s
Before you can run the auto-packager, you must meet the following requirements:
Your environment must have:
Xcode and the xcodebuild command-line tool installed.
gen-ir installed. For example:
# Add the brew tap to your local machine
brew tap veracode/tap
# Install the tool
brew install gen-ir
pod installed, if your projects use CocoaPods or third party tools.
Your projects must compile successfully without errors.
The auto-packager completes the following steps, as shown in the example command output.
Checks that the podfile or podfile.lock files are present.
Runs the command pod install.
Checks that the .xcworkspace or .xcodeproj files are present.
To build and package the project, runs:
xcodebuild clean archive -PROJECT/WORKSPACE filePath -scheme SRCCLR_IOS_SCHEME -destination SRCCLR_IOS_DESTINATION -configuration SRCCLR_IOS_CONFIGURATION -archivePath projectName.xcarchive DEBUG_INFORMATION_FORMAT=dwarf-with-dsym ENABLE_BITCODE=NO
The SRCCLR values are optional environment variables you can use to customize the xcodebuild archive command.
Runs gen-ir on the artifact of your packaged project and the log files.
Saves the artifact in the specified --output location.
veracode package --source https://github.com/signalapp/Signal-iOS --type repo --output verascan --trust
Packager initiated...
Verifying source project language ...
Packaging iOS artifacts for IOSPackager project 'MyProject'.
iOS Project MyProject zipped and saved to: path/to/verascan/veracode-auto-pack-MyProject-ios-xcarchive.zip
Successfully created 1 artifact(s).
Created IOS artifacts for IOSPackager project.
Total time taken to complete command: 9.001s
Before you can run the auto-packager, you must meet the following requirements:
Your environment must have:
A JDK version that you tested to successfully compile your application.
Access to a gradlew command that points to the correct JAVA_HOME directory. If gradlew is not available, ensure the correct Gradle version is installed.
Your projects must:
Have the correct build.gradle file.
Compile successfully without errors.
The auto-packager completes the following steps, as shown in the example command output.
To build the Gradle project and package it as a JAR file, runs the command gradlew clean build -x test.
Copies the artifact of your packaged project to the specified --output location.
veracode package --source path/to/project/example-java-gradle --output verascan --trust
Packager initiated...
Verifying source project language ...
Copying Java artifacts for GradlePackager project.
Copied artifact: path/to/verascan/example-java-gradle-1.0-SNAPSHOT.jar.
Successfully created 1 artifact(s).
Created Java artifacts for GradlePackager project.
Total time taken to complete command: 7.174s
Before you can run the auto-packager, you must meet the following requirements:
Your environment must have:
A JDK version that you tested to successfully compile your application.
Access to a mvn command that points to the correct JAVA_HOME directory.
Your projects must:
Have the correct pom.xml file.
Compile successfully without errors.
The auto-packager completes the following steps, as shown in the example command output.
To build and package the Maven project, runs the command mvn clean package.
Copies the artifact, such as JAR, WAR, EAR, of your packaged project to the specified --output location.
veracode package --source path/to/project/example-java-maven --output verascan --trust
Packager initiated...
Verifying source project language ...
Copying Java artifacts for Maven project.
Copied artifact: path/to/verascan/example-java-maven-1.0-SNAPSHOT.jar.
Successfully created 1 artifact(s).
Created Java artifacts for Maven project.
Total time taken to complete command: 6.799s
Before you can run the auto-packager, you must meet the following requirements:
Your environment must have:
The NPM or Yarn package manager installed.
The correct Node, NPM, or Yarn version to package the project.
Your projects must:
Be able to resolve all dependencies with commands npm install or yarn install.
Have the correct package.json file.
Compile successfully without errors.
The auto-packager completes the following steps, as shown in the example command output.
To build and package the project, runs one of the following commands:
For NPM, runs the command npm install.
For Yarn, runs the command yarn install.
Copies the artifact of your packaged project to the specified --output location.
veracode package --source path/to/project/example-javascript --output verascan --trust
Packager initiated...
Verifying source project language ...
Packaging Javascript artifacts for NPM project.
Project example-javascript packaged to path/to/veracsan/veracode-auto-pack-example-javascript-js.zip.
Successfully created 1 artifact(s).
Created Javascript artifacts for NPM project.
Total time taken to complete command: 3.296s
Before you can run the auto-packager, you must meet the following requirements:
Your environment must have:
The correct Kotlin version for your projects.
The Maven or Gradle package manager installed.
A Java version that your packager manager requires.
Your projects must:
Have the correct pom.xml, build.gradle, or build.gradle.kts file.
Compile successfully without errors.
The auto-packager completes the steps shown in the following example command output.
Verifies that your project language is supported.
Uses Gradle to builds and packages the project.
Copies the artifacts of your packaged project to the specified --output location.
veracode package --source path/to/project/kotlin-server-side-sample/gradle --output verascan --trust
Packager initiated...
Verifying source project language ...
Copying Java artifacts for GradlePackager project.
Copied artifact: path/to/verascan/demo-0.0.1-SNAPSHOT-plain.jar.
Copied artifact: path/to/verascan/demo-0.0.1-SNAPSHOT.jar.
Successfully created 2 artifact(s).
Created Java artifacts for GradlePackager project.
Total time taken to complete command: 8.632s
Before you can run the auto-packager, you must meet the following requirements:
Your Perl project must be a version 5.x
Your project must contain at least one file with the following extensions: of .pl, .pm, .plx, .pl5, or .cgi
The auto-packager completes the following steps, as shown in the example command output.
Finds all the files matching the required extensions and packages them in a ZIP archive (artifact).
Copies the artifacts of your packaged project to the specified --output location.
veracode package --source path/to/project/bugzilla --output verascan --trust
Packaging code for project bugzilla. Please wait; this may take a while...
Verifying source project language ...
Packaging code for project bugzilla. Please wait; this may take a while...
Verifying source project language ...
[GenericPackagerPerl] Packaging succeeded for the path path/to/project/bugzilla.
Successfully created 1 artifact(s).
Created Perl artifacts for GenericPackagerPerl project.
Total time taken to complete command: 9.965s
Before you can run the auto-packager, you must meet the following requirements:
Your environment must have:
Correct PHP version for your projects.
Composer dependency manager installed.
Your projects must:
Have the correct PHP composer.json file.
Compile successfully without errors.
The auto-packager completes the following steps, as shown in the example command output.
To build and package the project source code and lock file with Composer, runs the command composer install.
Saves the artifacts of your packaged project in the specified --output location.
veracode package --source path/to/project/example-php --output verascan --trust
Packager initiated...
Validating output path ...
Packaging PHP artifacts for Composer project.
Project captainhook zipped and saved to path/to/verascan/veracode-auto-pack-captainhook-php.zip.
Packaging PHP artifacts for Composer project.
Project template-integration zipped and saved to path/to/verascan/veracode-auto-pack-template-integration-php.zip.
Successfully created 2 artifact(s).
Created PHP artifacts for Composer project.
Total time taken to complete command: 3.62s
Before you can run the auto-packager, you must meet the following requirements:
Your environment must have:
The correct pip and Python or pyenv version for packaging your project are installed.
A package manager configuration file with the required settings to resolve all dependencies.
Your projects must compile successfully without errors.
The auto-packager completes the following steps, as shown in the example command output.
To resolve all third party dependencies and generate the lock file, PIP install, runs the command pip install -r requirements.txt.
Packages the project source code, lock file, and vendor folder.
Saves the artifact of your packaged project to the specified --output location.
veracode package --source path/to/project/example-python --output verascan --trust
Packager initiated...
Verifying source project language ...
Packaging Python artifacts for PIP project.
Project example-python zipped and saved to path/to/verascan/veracode-auto-pack-example-python-python.zip.
Successfully created 1 artifact(s).
Created Python artifacts for PIP project.
Total time taken to complete command: 14.359s
Before you can run the auto-packager, you must meet the following requirements:
Your environment must have:
Correct version of Node, NPM, or Yarn for your projects.
NPM or Yarn installation resolves all dependencies.
Have the correct package.json file.
Package.json file has the React Native version as a dependency.
The auto-packager completes the following steps, as shown in the example command output.
For NPM applications, runs the npm install command.
For Yarn applications, runs the yarn install command.
For Expo build, runs the expo start command.
veracode package --source path/to/project/example-javascript-yarn --output verascan --trust
Packaging code for project example-javascript-yarn. Please wait; this may take a while...
Verifying source project language ...
Packaging Javascript artifacts for Yarn project.
JavaScript project example-javascript-yarn packaged to: path/to/verascan/veracode-auto-pack-example-javascript-yarn-js.zip
Successfully created 1 artifact(s).
Created Javascript artifacts for Yarn project.
Total time taken to complete command: 1m9.13s
Before you can run the auto-packager, you must meet the following requirements:
Your environment must have:
The Bundler package manager installed with the correct Ruby version.
The Veracode packager gemfile installed. This gemfile handles pre-processing of Rails projects for Static Analysis.
The ability to run the command bundle install
Your projects must compile successfully without errors.
Optionally, to test your configured environment, run the command rails server.
The auto-packager completes the following steps, as shown in the example command output.
To configure the vendor path, runs the command bundle config --local path vendor.
Runs the command bundle install without development and test: bundle install --without development test.
To check for the Rails installation, runs the command bundle info rails. If Rails is not installed, the auto-packager assumes it is not a Rails project and exits.
To install the Veracode packager gem, runs the command bundle add veracode.
To package your project using the Veracode packager gem, runs the command bundle exec veracode.
Saves the artifact of your packaged project to the specified --output location.
veracode package --source path/to/project/rails --output verascan --trust
Packager initialized...
Verifying source project language ...
Packaging Ruby artifacts for RubyPackager project 'veracode-rails-20240321225855.zip'.
ArtifactPath: /rails/tmp/veracode-rails-20240321225855.zip
ValidatedSource: /rails
ValidatedOutput: /rails/verascan
Project name: rails
44824469 bytes written to destination file. Path: /rails/verascan/rails.zip
temporary zip file deleted. Path: /rails/tmp/veracode-rails-20240321225855.zip
Successfully created 1 artifact(s).
Created Ruby artifacts for RubyPackager project.
Total time taken to complete command: 1m27.428s
Before you can run the auto-packager, you must meet the following requirements:
Your environment must have:
A JDK version that you have tested to successfully package your application.
The Maven, Gradle, or sbt package manager installed with the correct Java version.
Your projects must:
Have the correct pom.xml, build.gradle, or build.sbt file.
Compile successfully without errors.
The auto-packager completes the following steps, as shown in the example command output.
Runs the sbt assembly command sbt clean assembly. This command assists in creating a JAR file with dependencies in non-Spring projects, which improves SCA scanning.
If sbt assembly fails, runs the sbt package command sbt clean package.
Copies the artifacts of your packaged application to the specified --output location.
veracode package --source path/to/project/packSample/zio-quill --output verascan --trust
Packager initiated...
Verifying source project language ...
Copying Java artifacts for SbtPackager project.
Copied artifact: path/to/verascan/quill-cassandra_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-cassandra-monix_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-cassandra-pekko_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-cassandra-zio_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-codegen_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-codegen-jdbc_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-codegen-tests_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-core_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-doobie_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-engine_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-jdbc_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-jdbc-monix_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-jdbc-test-h2_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-jdbc-test-mysql_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-jdbc-test-oracle_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-jdbc-test-postgres_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-jdbc-test-sqlite_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-jdbc-test-sqlserver_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-jdbc-zio_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-monix_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-orientdb_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-spark_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-sql_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-sql-test_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-util_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill-zio_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/quill_2.13-4.8.2+3-d2965801-SNAPSHOT.jar.
Copied artifact: path/to/verascan/zio-quill-docs_2.12-4.8.2+3-d2965801-SNAPSHOT.jar.
Successfully created 28 artifact(s).
Created Java artifacts for SbtPackager project.
Total time taken to complete command: 45.428s
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https://jfrog.com/help/r/jfrog-artifactory-documentation/upload-authenticated-pypi-packages-to-jfrog-artifactory
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JFrog Help Center
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https://jfrog.com/help/favicon.ico
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8585
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dbpedia
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https://community.spiceworks.com/t/free-cheap-or-open-source-mac-management/539691
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en
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Free, cheap or open source Mac Management
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2016-11-11T16:11:56+00:00
|
I know we already have a generic Mac management software thread going, but I wanted to start another one dedicated to free, cheap and/or open source solutions. I think almost everyone would agree that Jamf Pro (formerly …
|
en
|
Spiceworks Community
|
https://community.spiceworks.com/t/free-cheap-or-open-source-mac-management/539691
|
I know we already have a generic Mac management software thread going, but I wanted to start another one dedicated to free, cheap and/or open source solutions. I think almost everyone would agree that Jamf Pro (formerly Casper Suite) is the way to go if you can afford it, but of course that isn’t always an option.
In others threads it has been said that you can accomplish the same management as Jamf Pro with a combination of open source and competing tools so I wanted to see if we can set out to do just that. Obviously it won’t have the same easy management from a single control panel, but I’m sure for a lot of people having the functionality at all will make dealing with multiple admin screens worthwhile.
I’ll keep the top post updated with any additional tools that are suggested. Maybe this will even be worthy of becoming a sticky post by the time we’re done so new readers can easily find it in the future.
Definition of free, cheap and/or open source:
Things like Apple Remote Desktop and macOS Server would qualify since they are less than $100 for the pair. Meraki Systems Manager would also qualify for this discussion since it is free for up to 100 devices and would be useful in many smaller companies.
So what do y’all say, anyone interested in helping me come up with this blueprint? I’d love to hear your experiences with tools like these.
I’ll add any additional tools y’all suggest and will organize these and make notes if we all come to any sort of consensus on specific products.
Of course I didn’t come up with this list on my own. Credit where it is due:
https://www.reddit.com/r/macsysadmin
• Apple Remote Desktop: $70
• macOS Server: $20
• Munki: Free (open source)
Managed software installation for OS X.
https://www.munki.org
• MunkiAdmin: Free (open source)
MunkiAdmin is a GUI for managing munki repositories. It is written with Objective-C and uses in-memory Core Data store as a backend.
http://hjuutilainen.github.io/munkiadmin/
• MunkiWebAdmin 2: Free (open source)
A web-based administration tool for Munki.
• Munki Enroll
A set of scripts to automatically enroll clients in Munki, allowing for a very flexible manifest structure
• Munkireport-php: Free (open source)
Reporting client for Munki. Quick overview of your mac fleet with a dashboard. Get reports on many features (hardware types, disk usage, etc).
http://munkireport.github.io/munkireport-php/
• Sal: Free (open source)
Sal is a highly customizable and extensible reporting solution for Munki.
• Simian: Free (open source), runs on Google App Engine
Simian is an enterprise-class Mac OS X software deployment solution. Google App Engine hosted server, with a client powered by the Munki open-source project.
• MacPatch: Free (open source)
MacPatch simplifies the act of patching and installing software on Mac OS X based systems. The client relies on using the built-in software update application for patching the Mac OS X system updates and it’s own scan and patch engine for custom patches.
• Deploy Studio: Free
Image. Deploy. Configure.
http://www.deploystudio.com
• Imagr: Free (open source)
Imaging without the need for macOS Server.
https://www.imagr.io
• BSDPy: Free (open source)
BSDPy is a platform-independent Apple NetBoot (BSDP) service for organizations that have a need for Apple Mac NetBoot functionality but that lack the ability to support OS X server in order to implement it.
• NetSUS: Free (open source)
The NetBoot/SUS/LP server allows you to host an internal software update server (SUS), a NetBoot server, and a LDAP Proxy server all on the same Linux system.
• Reposado: Free (open source)
Host Apple Software Updates on the hardware and OS of your choice.
• Margarita: Free (open source)
Margarita is a web interface to reposado, the Apple Software Update replication and catalog management tool.
• AutoDMG: Free (open source)
AutoDMG takes an OS X installer and builds a system image, suitable for deployment with Imagr, DeployStudio, Absolute Manage, Casper, and other asr-based tools.
• AutoPkg: Free (open source)
AutoPkg is an automation framework for OS X software packaging and distribution, oriented towards the tasks one would normally perform manually to prepare third-party software for mass deployment to managed clients.
• AutoPkgr: Free (open source)
AutoPkgr is a free Mac app that makes it easy to install and configure AutoPkg.
• Crypt 2: Free (open source)
Crypt 2 is an authorization plugin that will enforce FileVault 2, and then submit it to an instance of Crypt Server.
• Cauliflower Vest: Free (open source), runs on Google App Engine
Cauliflower Vest is a recovery key escrow solution. The project initially started with end-to-end Mac OS X FileVault 2 support, and later added support for BitLocker (Windows), LUKS (Linux), and Duplicity. The goal of this project is to streamline cross-platform enterprise management of disk encryption technologies.
• Santa: Free (open source)
Santa is a binary whitelisting/blacklisting system for macOS. It consists of a kernel extension that monitors for executions, a userland daemon that makes execution decisions based on the contents of a SQLite database, a GUI agent that notifies the user in case of a block decision and a command-line utility for managing the system and synchronizing the database with a server.
• Centrify Express: Free
Centralize administration of Mac OS X systems with best-in-class Active Directory integration.
• NoMAD
NoMAD allows all the functionality you would want from a Mac bound to Active Directory, without having to actually bind to AD.
Centrify | Find Centrify Products, Pricing, and Contact Info https://www.nomad.menu
• MicroMDM: Free (open source)
MicroMDM is a project which provides an open source Mobile Device Management server for Apple devices. Our goal is to create a performant and extensible device management solution for enterprise and education.
https://micromdm.io
• ProfileCreator: Free (open source)
macOS application to create configuration profiles.
https://micromdm.io GitHub - ProfileCreator/ProfileCreator: macOS app to create standard or customized configuration profiles.
------------- REMOVED ----------------
No longer free as of 1/31/17: Instant Systems Manager Free 30-day trials | Cisco Meraki Blog
• Meraki Systems Manager - Free for 100 devices
Cisco Meraki Systems Manager offers a full, enterprise-class suite of options for mobile device management (MDM). Systems Manager can be used to manage up to 100 devices without purchasing a license, but licensing is available to increase this limit.
https://meraki.cisco.com/products/systems-manager/
Ok …but you’ve got your options jumbled.
As well, the “-a” option is connected to/a subset of the list (“-l”) option. And the output of -la shows as no different from -l
From the manpage for softwareupdate:
-d | --download Each update specified by args is downloaded but not installed. <b>The values of args are the same as for the --install command</b>.
Updates are downloaded and verified prior to install when using the -i (or --install) option, so there’s probably little need to specify downloading it first as that will happen anyway. If you wanted to postpone the install then you’d want to leave out the -i option but that’s not what you’ve shown.
-l | --list List **all** available updates
You probably want -i -a (install all available updates) or -r (install recommended updates)
Any who !
Austin8413, Jumpcloud looks interesting, but shows as being free only for 10 users (but no info given about devices). Since you mentioned it here specifically in relation to MDM, could you please share some info about how many devices are permitted with the 10 free users ? Thanks ! (Given that the limit for the free Meraki MDM is 100 devices).
|
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dbpedia
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https://pypi.org/project/deep-translator/
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[
""
] | null |
[] |
2023-06-28T19:55:20+00:00
|
A flexible free and unlimited python tool to translate between different languages in a simple way using multiple translators
|
en
|
/static/images/favicon.35549fe8.ico
|
PyPI
|
https://pypi.org/project/deep-translator/
|
Translation for humans
A flexible FREE and UNLIMITED tool to translate between different languages in a simple way using multiple translators.
Free software: MIT license
Documentation: https://deep-translator.readthedocs.io.
Swagger API: https://deep-translator-api.azurewebsites.net/docs.
Motivation
I needed to translate a text using python. It was hard to find a simple way to do it. There are other libraries that can be used for this task, but most of them are buggy, not free, limited, not supported anymore or complex to use.
Therefore, I decided to build this simple tool. It is 100% free, unlimited, easy to use and provides support for all languages.
Basically, my goal was to integrate support for multiple famous translators in this tool.
When you should use it
If you want to translate text using python
If you want to translate from a file
If you want to get translations from many sources and not only one
If you want to automate translations
If you want to use ChatGpt for translations
If you want to compare different translations
If you want to detect language automatically
Why you should use it
It’s the only python tool that integrates many translators
Multi language support
Support for ChatGpt (version >= 1.11.0)
Supports batch translation
High level of abstraction
Automatic language detection
Easy to use and extend
Support for most famous universal translators
Stable and maintained regularly
The API is very easy to use
Proxy integration is supported
Features
Support for google translate
Support for the microsoft translator (version >= 1.3.5)
Support for Pons translator
Support for the Linguee translator
Support for the Mymemory translator
Support for the Yandex translator (version >= 1.2.1)
Support for the QcriTranslator translator (version >= 1.2.4)
Support for the DeeplTranslator translator (version >= 1.2.5)
Support for the Papago translator (version >= 1.4.4)
Support for the Libre translator
Support for ChatGpt
Support for proxy usage
Automatic single language detection
Batch language detection
Translate directly from a text file
Translate docx files (version >= 1.9.4)
Translate PDF files (version >= 1.9.4)
Get multiple translation for a word
Automate the translation of different paragraphs in different languages
Translate directly from terminal (version >= 1.1.0)
Installation
Install the stable release:
$ pip install -U deep-translator$ poetry add deep-translator# for poetry usage
take a look at the docs if you want to install from source.
Also, you can install extras if you want support for specific use case. For example, translating Docx and PDF files
$ pip install deep-translator[docx]# add support for docx translation $ pip install deep-translator[pdf]# add support for pdf translation $ pip install deep-translator[ai]# add support for ChatGpt $ poetry add deep-translator --extras"docx pdf ai"# for poetry usage
Quick Start
from deep_translator import GoogleTranslator# Use any translator you like, in this example GoogleTranslatortranslated = GoogleTranslator(source='auto', target='de').translate("keep it up, you are awesome") # output -> Weiter so, du bist großartig
or using proxies:
from deep_translator import GoogleTranslatorproxies_example = { "https": "34.195.196.27:8080", "http": "34.195.196.27:8080"}translated = GoogleTranslator(source='auto', target='de', proxies=proxies_example).translate("keep it up, you are awesome") # output -> Weiter so, du bist großartig
or even directly from terminal:
$ deep-translator --source"en" --target"de" --text"hello world" or shorter $ dt -tg de -txt"hello world"
Usage
In this section, demos on how to use all different integrated translators in this tool are provided.
Imports
from deep_translator import (GoogleTranslator, ChatGptTranslator, MicrosoftTranslator, PonsTranslator, LingueeTranslator, MyMemoryTranslator, YandexTranslator, PapagoTranslator, DeeplTranslator, QcriTranslator, single_detection, batch_detection)
Check Supported Languages
# default return type is a listlangs_list = GoogleTranslator().get_supported_languages() # output: [arabic, french, english etc...]# alternatively, you can the dictionary containing languages mapped to their abbreviationlangs_dict = GoogleTranslator().get_supported_languages(as_dict=True) # output: {arabic: ar, french: fr, english:en etc...}
Language Detection
Single Text Detection
lang = single_detection('bonjour la vie', api_key='your_api_key')print(lang) # output: fr
Batch Detection
lang = batch_detection(['bonjour la vie', 'hello world'], api_key='your_api_key')print(lang) # output: [fr, en]
Google Translate
text = 'happy coding'
You can use automatic language detection to detect the source language:
translated = GoogleTranslator(source='auto', target='de').translate(text=text)
You can pass languages by name or by abbreviation:
translated = GoogleTranslator(source='auto', target='german').translate(text=text)# Alternatively, you can pass languages by their abbreviation:translated = GoogleTranslator(source='en', target='de').translate(text=text)
You can also reuse the Translator class and change/update its properties.
(Notice that this is important for performance too, since instantiating new objects is expensive)
# let's say first you need to translate from auto to germanmy_translator = GoogleTranslator(source='auto', target='german')result = my_translator.translate(text=text)print(f"Translation using source = {my_translator.source} and target = {my_translator.target} -> {result}")# let's say later you want to reuse the class but your target is french now# This is the best practice and how you should use deep-translator.# Please don't over-instantiate translator objects without a good reason, otherwise you will run into performance issuesmy_translator.target = 'fr' # this will override the target 'german' passed previouslyresult = my_translator.translate(text=text)print(f"Translation using source = {my_translator.source} and target = {my_translator.target} -> {result}")# you can also update the source language as wellmy_translator.source = 'en' # this will override the source 'auto' passed previouslyresult = my_translator.translate(text=text)print(f"Translation using source = {my_translator.source} and target = {my_translator.target} -> {result}")
Translate batch of texts
texts = ["hallo welt", "guten morgen"]# the translate_sentences function is deprecated, use the translate_batch function insteadtranslated = GoogleTranslator('de', 'en').translate_batch(texts)
Translate from a file:
translated = GoogleTranslator(source='auto', target='german').translate_file('path/to/file')
Mymemory Translator
Simple translation
text = 'Keep it up. You are awesome'translated = MyMemoryTranslator(source='auto', target='french').translate(text)
Translate batch of texts
texts = ["hallo welt", "guten morgen"]# the translate_sentences function is deprecated, use the translate_batch function insteadtranslated = MyMemoryTranslator('de', 'en').translate_batch(texts)
Translate from file
path = "your_file.txt"translated = MyMemoryTranslator(source='en', target='fr').translate_file(path)
DeeplTranslator
Simple translation
text = 'Keep it up. You are awesome'translated = DeeplTranslator(api_key="your_api_key", source="en", target="en", use_free_api=True).translate(text)
Translate batch of texts
texts = ["hallo welt", "guten morgen"]# the translate_sentences function is deprecated, use the translate_batch function insteadtranslated = DeeplTranslator("your_api_key").translate_batch(texts)
QcriTranslator
Check languages
# as a propertyprint("language pairs: ", QcriTranslator("your_api_key").languages)
Check domains
# as a propertyprint("domains: ", QcriTranslator("your_api_key").domains)
Text translation
text = 'Education is great'translated = QcriTranslator("your_api_key").translate(source='en', target='ar', domain="news", text=text)# output -> التعليم هو عظيم# see docs for batch translation and more.
Yandex Translator
Language detection
lang = YandexTranslator('your_api_key').detect('Hallo, Welt')print(f"language detected: {lang}") # output -> language detected: 'de'
Text translation
# with auto detection | meaning provide only the target language and let yandex detect the sourcetranslated = YandexTranslator('your_api_key').translate(source="auto", target="en", text='Hallo, Welt')print(f"translated text: {translated}") # output -> translated text: Hello world# provide source and target language explicitlytranslated = YandexTranslator('your_api_key').translate(source="de", target="en", text='Hallo, Welt')print(f"translated text: {translated}") # output -> translated text: Hello world
File translation
translated = YandexTranslator('your_api_key').translate_file(source="auto", target="en", path="path_to_your_file")
Batch translation
translated = YandexTranslator('your_api_key').translate_batch(source="auto", target="de", batch=["hello world", "happy coding"])
Microsoft Translator
Required and optional attributes
There are two required attributes, namely “api_key” (string) and “target” (string or list). Attribute “source” is optional. Also, Microsoft API accepts a number of other optional attributes, you can find them here: https://docs.microsoft.com/azure/cognitive-services/translator/reference/v3-0-translate You can simply add them after the required attributes, see the example.
text = 'happy coding'translated = MicrosoftTranslator(api_key='some-key', target='de').translate(text=text)translated_two_targets = MicrosoftTranslator(api_key='some-key', target=['de', 'ru']).translate(text=text)translated_with_optional_attr = MicrosoftTranslator(api_key='some-key', target='de', textType='html']).translate(text=text)
You can pass languages by name or by abbreviation:
translated = MicrosoftTranslator(api_key='some-key', target='german').translate(text=text)# Alternatively, you can pass languages by their abbreviation:translated = MicrosoftTranslator(api_key='some-key', target='de').translate(text=text)
Translate batch of texts
texts = ["hallo welt", "guten morgen"]translated = MicrosoftTranslator(api_key='some-key', target='english').translate_batch(texts)
Translate from a file:
translated = MicrosoftTranslator(api_key='some-key', target='german').translate_file('path/to/file')
ChatGpt Translator
Required and optional attributes
There are two required attributes, namely “api_key” (string) and “target” (string or list). Attribute “source” is optional.
You can provide your api key as an argument or you can export it as an env var e.g. export OPENAI_API_KEY=”your_key”
text = 'happy coding'translated = ChatGptTranslator(api_key='your_key', target='german').translate(text=text)
Translate batch of texts
texts = ["hallo welt", "guten morgen"]translated = ChatGptTranslator(api_key='some-key', target='english').translate_batch(texts)
Translate from a file:
translated = ChatGptTranslator(api_key='some-key', target='german').translate_file('path/to/file')
Papago Translator
text = 'happy coding'translated = PapagoTranslator(client_id='your_client_id', secret_key='your_secret_key', source='en', target='ko').translate(text=text) # output: 행복한 부호화
Libre Translator
text = 'laufen'translated = LibreTranslator(source='auto', target='en', base_url = 'https://libretranslate.com/', api_key = 'your_api_key').translate(text=text) # output: run
You can pass languages by name or by abbreviation:
translated = LibreTranslator(source='german', target='english').translate(text=text)# Alternatively, you can pass languages by their abbreviation:translated = LibreTranslator(source='de', target='en').translate(text=text)
Translate batch of texts
texts = ["hallo welt", "guten morgen"]translated = LibreTranslator(source='auto', target='en').translate_batch(texts)
Translate from a file:
translated = LibreTranslator(source='auto', target='en').translate_file('path/to/file')
BaiduTranslator
Simple translation
text = 'Hello world'translated = BaiduTranslator(appid="your-appid", appkey="your-appkey" source="en", target="zh").translate(text)
Translate batch of texts
texts = ["Hello world", "How are you?"]translated = BaiduTranslator(appid="your-appid", appkey="your-appkey" source="en", target="zh").translate_batch(texts)
Translate from a file:
translated = BaiduTranslator(appid="your-appid", appkey="your-appkey" source="en", target="zh").translate_file('path/to/file')
BaiduTranslator
Simple translation
text = 'Hello world'translated = BaiduTranslator(appid="your-appid", appkey="your-appkey" source="en", target="zh").translate(text)
Translate batch of texts
texts = ["Hello world", "How are you?"]translated = BaiduTranslator(appid="your-appid", appkey="your-appkey" source="en", target="zh").translate_batch(texts)
Translate from a file:
translated = BaiduTranslator(appid="your-appid", appkey="your-appkey" source="en", target="zh").translate_file('path/to/file')
Proxy usage
deep-translator provides out of the box usage of proxies. Just define your proxies config as a dictionary and pass it to the corresponding translator. Below is an example using the GoogleTranslator, but this feature can be used with all supported translators.
from deep_translator import GoogleTranslator# define your proxy configs:proxies_example = { "https": "your https proxy", # example: 34.195.196.27:8080 "http": "your http proxy if available"}translated = GoogleTranslator(source='auto', target='de', proxies=proxies_example).translate("this package is awesome")
File Translation
Deep-translator (version >= 1.9.4) supports not only text file translation, but docx and PDF files too. However, you need to install deep-translator using the specific extras.
For docx translation:
pip install deep-translator[docx]
For PDF translation:
pip install deep-translator[pdf]
Usage from Terminal
Deep-translator supports a series of command line arguments for quick and simple access to the translators directly in your console.
For a list of available translators:
$ deep-translator list
To translate a string or line of text:
$ deep_translator google --source"english" --target"german" --text"happy coding"
Alternate short option names, along with using language abbreviations:
$ deep_translator google -src"en" -tgt"de" -txt"happy coding"
Finally, to retrieve a list of available languages for a given translator:
$ deep-translator languages google
Tests
Developers can install the development version of deep-translator and execute unit tests to verify functionality. For more information on doing this, see the contribution guidelines
Help
If you are facing any problems, please feel free to open an issue. Additionally, you can make contact with the author for further information/questions.
Do you like deep-translator? You can always help the development of this project by:
Following on github and/or twitter
Promote the project (ex: by giving it a star on github)
Watch the github repo for new releases
Tweet about the package
Help others with issues on github
Create issues and pull requests
Sponsor the project
Next Steps
Take a look in the examples folder for more :) Contributions are always welcome. Read the Contribution guidelines Here
Credits
Many thanks to @KirillSklyarenko for his work on integrating the microsoft translator
License
MIT license
Copyright (c) 2020-present, Nidhal Baccouri
Swagger UI
deep-translator offers an api server for easy integration with other applications. Non python applications can communicate with the api directly and leverage the features of deep-translator
Access the api here: https://deep-translator-api.azurewebsites.net/docs
The Translator++ mobile app
You can download and try the app on play store https://play.google.com/store/apps/details?id=org.translator.translator&hl=en_US&gl=US
After developing the deep-translator, I realized how cool this would be if I can use it as an app on my mobile phone. Sure, there is google translate, pons and linguee apps etc.. but isn’t it cooler to make an app where all these translators are integrated?
Long story short, I started working on the app. I decided to use the kivy framework since I wanted to code in python and to develop a cross platform app. I open sourced the Translator++ app on my github too. Feel free to take a look at the code or make a pull request ;)
I published the first release on google play store on 02-08-2020
Here are some screenshots:
Phone
Tablet:
Website & Desktop app
Currently, there are propositions for a website and/or desktop app based on deep-translator. You can follow the issue here: https://github.com/nidhaloff/deep-translator/issues/144
|
||||
8585
|
dbpedia
|
3
| 42 |
https://checkmarx.com/blog/automatic-execution-of-code-upon-package-download-on-python-package-manager/
|
en
|
Automatic Execution of Code Upon Package Download on Python Package Manager
|
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] |
[] |
[] |
[
""
] | null |
[
"Yehuda Gelb"
] |
2022-08-26T10:00:00+00:00
|
A worrying feature in pip/PyPi allows code to automatically run when developers are merely downloading a package. Also, this feature is alarming due to the fact that a great deal of the malicious packages we are finding in the wild use this feature of code execution upon installation to achieve higher infection rates.
|
en
|
Checkmarx
|
https://checkmarx.com/blog/automatic-execution-of-code-upon-package-download-on-python-package-manager/
|
Automatic code execution is triggered upon downloading approximately one third of the packages on PyPi.
A worrying feature in pip/PyPi allows code to automatically run when developers are merely downloading a package. Also, this feature is alarming due to the fact that a great deal of the malicious packages we are finding in the wild use this feature of code execution upon installation to achieve higher infection rates.
It is important that python developers understand that package downloading can expose them to an increased risk of a supply chain attack.
Intro
When executing the well-known “pip install <package_name>” command, users may expect code to be run on their machine as part of the installation process. One source of such code usually resides in the setup.py file of python packages.
When a python package is installed, pip, python’s package manager, tries to collect and process the metadata of this package, such as its version and the dependencies it needs in order to work properly. This process occurs automatically in the background by pip running the main setup.py script that comes as part of the package structure.
setup.py example
The purpose of setup.py is to provide a data structure for the package manager to understand how to handle the package.
However, the setup.py file is still a regular python script that can contain any code the developer of the package would like. An attacker who understands this process can plant malicious code in the setup.py file, which would then execute automatically during the package’s installation. In fact, much of the malicious packages we are detecting contain malicious code in the setup.py file.
What if we just download the package rather than install it?
In addition to the “install” command, pip provides several more options, among them is the “download” command. This command is intended to allow users to download packages’ files without the need to install them.
There could be various reasons someone would need this. For example, a developer may want to look into the package’s code before using it. A user may want or need to perform a security check, or perhaps even observe the setup.py file for any anomalies.
As it turns out, executing the command “Pip download <package_name>” will run the setup.py file, as well as any potentially malicious code contained within it. It may surprise you, but this behavior is not a bug but rather a feature in the pip design. Users who intentionally only download a package do not expect code to run on their system automatically.
As a matter of fact, this concern was expressed in an issue from 2014 on the pypa project https://github.com/pypa/pip/issues/1884, yet it was not addressed, and the issue continues to exist to this day.
The .whl file type
Python wheels are essentially .whl files that are part of the Python ecosystem and bring various performance benefits to the package installation process. But that is not the only thing that wheels bring to the table. In the past, when python code was built into a package, the result would be a tar.gz file that would then be published to the PyPi platform. tar.gz files include the setup.py file which is run upon download and installation.
But suppose you’ve recently tried downloading or installing a Python package using pip. In that case, you may have noticed Python supplying you with a .whl file. The reason for this is when developers build a python package using, for example, the “pip -m build” command, in newer pip versions, pip automatically tries to create a secondary .whl file in addition to the tar.gz file, which is then published together to the Python Package manager platform. When a user downloads or installs this package, PIP will by default deliver the .whl file to the user’s machine. The way wheels work cuts the setup.py execution out of the equation.
Why is the setup.py still relevant?
Even though pip defaults to using wheels instead of tar.gz files, malicious actors can still intentionally publish python packages without a .whl file. When a user downloads a python package from PyPi, pip will preferentially use the .whl file, but will fall back to the tar.gz file if the .whl file is lacking.
Is there anything you can do about this?
Currently, there are actions users can take to prevent automatic execution upon package download. One action is checking the package file contents at https://pypi.org/project/<package>/#files and observing if a .whl file is present. If there is a .whl file, the user can feel confident they will receive the .whl file, and no code will be executed on their machine.
If there is only a tar.gz present, a user can use a safe method of download such as working directly with PyPi’s “simple” API: https://pypi.org/simple/<package-name>/. For example, when using the package listed above, prp1, a user can download it from the following link https://pypi.org/simple/prp1/.
Conclusion
Code execution upon installation is one of the features attackers use the most in open-source attacks. Developers opting to download, instead of installing packages, are reasonably expecting that no code will run on the machine upon downloading the files. However, PyPi includes a feature allowing just that—code execution on the user’s machine when all that was requested was a file download.
It is possible to protect yourselves from suspicious package by following the steps detailed above.
As always, we are releasing similar blogs to help keep the open source ecosystem safe and raise the awareness of python developers to this issue so they can avoid unwanted consequences.
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How to automatically install required packages from a Python script as necessary?
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2017-09-26T06:52:21
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Is there anything in Python or Linux what basically instructs the system to "install whatever is necessary". Basically I find it annoying to install python packages for each new script/sy...
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https://cdn.sstatic.net/Sites/stackoverflow/Img/favicon.ico?v=ec617d715196
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Stack Overflow
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https://stackoverflow.com/questions/46419607/how-to-automatically-install-required-packages-from-a-python-script-as-necessary
|
Let's assume that your Python script is example.py:
import os import time import sys import fnmatch import requests import urllib.request from bs4 import BeautifulSoup from multiprocessing.dummy import Pool as ThreadPool print('test')
You can use pipreqs to automatically generate a requirements.txt file based on the import statements that the Python script(s) contain. To use pipreqs, assuming that you are in the directory where example.py is located:
pip install pipreqs pipreqs .
It will generate the following requirements.txt file:
requests==2.23.0 beautifulsoup4==4.9.1
which you can install with:
pip install -r requirements.txt
You can use setuptools to install dependencies automatically when you install your custom project on a new machine. Requirements file works just fine if all you want to do is to install a few PyPI packages.
Here is a nice comparison between the two. From the same link you can see that if your project has two dependent packages A and B, all you have to include in your setp.py file is a line
install_requires=[ 'A', 'B' ]
Of course, setuptools can do much more. You can include setups for external libraries (say C files), non PyPI dependencies, etc. The documentation gives a detailed overview on installing dependencies. There is also a really good tutorial on getting started with python packaging.
From their example, a typical setup.py file would look like this.
from setuptools import setup setup(name='funniest', version='0.1', description='The funniest joke in the world', url='http://github.com/storborg/funniest', author='Flying Circus', author_email='[email protected]', license='MIT', packages=['funniest'], install_requires=[ 'markdown', ], zip_safe=False)
In conclusion, it is so simple to get started with setuptools. This package can make it fairly easy to migrate your code to a new machine.
Automatic requirements.txt updating approach
I'm not really sure about auto installing what is necessary, but it you stop on using requirements.txt, there are 3 approaches:
Generate requirements.txt after development, when we want to deploy it. It is performed by pip freeze > requirements.txt or pipreqs for less messy result.
Add every module to requirements.txt manually after each install.
Install manager that will handle requirements.txt updates for us.
There are many answers for the 1-st option on stackoverflow, the 2-d option is self-explanatory, so I would like to describe the 3-d approach. There is a library called to-requirements.txt. To install it type this:
pip install to-requirements.txt # Pip install to requirements.txt
If you read the whole command at once you would see, what it does. After installing you should setup it. Run:
requirements-txt setup
It overrides the pip scripts so that each pip install or pip uninstall updates the requirements.txt file of your project automatically with required versions of packages. The overriding is made safely, so that after uninstalling this package the pip will behave ordinary.
And you could customize the way it works. For example, disable it globally and activate it only for the required directories, activate it only for git repositories, or allow / disallow to create requirements.txt file if it does not exist.
Links:
Documentation - https://requirements-txt.readthedocs.io/en/latest/
GitHub - https://github.com/VoIlAlex/requirements-txt
PyPI - https://pypi.org/project/to-requirements.txt/
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https://groups.google.com/g/autopkg-discuss/c/40SMK8cSl74
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Conditional PkgCopier
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https://groups.google.com/g/autopkg-discuss/c/40SMK8cSl74
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Anthony Reimer
unread,
to autopkg...@googlegroups.com
I am working on some new recipes that feed AutoPkg packages into my DeployStudio repo using the PkgCopier processor. The only problem with my recipes is that it will always copy the package to my DS repo, even if no updated package is generated. The PkgCreator process helpfully outputs a variable (new_pkg_request) that could be used to avoid superfluous copying. For reference, I have a couple of those recipes in my GitHub repo:
https://github.com/jazzace/AutoPkg-recipes
My guess is that the best way to solve this would be to write a new processor that has that feature, but I don't know Python. So, Pythonistas out there: how hard would this processor be to write? I'm willing to make this my first Python project if it is a good project to learn the language.
Anthony Reimer
University of Calgary
Timothy Sutton
unread,
to autopkg...@googlegroups.com
The PkgCopier was written mainly for the purpose of copying a package out of an installer or bundle (think Flash Player), rather than copying a result to a final destination, so there wasn't a consideration for it to look for existing packages first.
It's good you picked up on the 'new_package_request' output variable. Take a look at the StopProcessingIf processor:
https://github.com/autopkg/autopkg/blob/f37212bd9780896c4d4d80af1a13bca1fb1aae6c/Code/autopkglib/StopProcessingIf.py#L29-L35
This processor stops processing the recipe any further if the NSPredicate evaluates to true. This is the same underlying mechanism for Munki's conditional_items in manifests.
StopProcessingIf is the only core AutoPkg processor that implements any conditional logic, which we're pretty wary about encouraging. However, it's still there and works for situations like this.
So, by adding StopProcessingIf before your PkgCopier processor, we can stop this recipe from going any further, and we didn't need to write a custom processor:
https://gist.github.com/timsutton/d834f81feaa4d1190573#file-firefox-ds-plist-L37-L45
Below that recipe file in the gist is the output of me running autopkg a second time to a temporary repo location.
For what it's worth, you could probably also just use the Copier processor here instead, but the result is the same if you're just copying package files.
Tim
> --
> You received this message because you are subscribed to the Google Groups "autopkg-discuss" group.
> To unsubscribe from this group and stop receiving emails from it, send an email to autopkg-discu...@googlegroups.com.
> For more options, visit https://groups.google.com/d/optout.
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Auto Package download for TeXLive
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2013-04-24T14:19:53
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I use MiKTeX on Windows and quite satisfied with it. Recently I started switching all my tasks toward open-source alternatives, and in the course I would love to use Linux. In Linux TeXLive is avai...
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https://cdn.sstatic.net/Sites/tex/Img/favicon.ico?v=91427af8e60a
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TeX - LaTeX Stack Exchange
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https://tex.stackexchange.com/questions/110501/auto-package-download-for-texlive
|
While in MiKTeX an installation process is automatically triggered if you have, say, \usepackage{beamer} in a document preamble without the corresponding package installed, there is no such feature on TeX Live.
The last statement is not true actually, as pointed out by wasteofspace in the comments there is the texliveonfly package that implements the on demand installation in TeX Live 2010 and later. I never tested it and don't know if it has drawbacks.
However, if you install the full (or almost full) TeX Live collection of packages (~2400) you will not need to add new packages, a periodic tlmgr update -all will take care of everything, including the installation of packages added to the TeX Live collection after you first full installation. This feature is explained in the tlmgr manual.
Analogously, if a package has been added to a collection on the server that is also installed locally, it will be added to the local installation. This is called auto-install and is announced as such when using the option --list. This auto-installation can be suppressed using the option --no-auto-install
The manual has lots of info on useful commands and it is a recommended reading for every user.
The downside is of course that you need the full set of packages installed in your machine, which may be a problem if you don't have enough free space. If you really can't spare 2GB from your HD, it is also possible to install TeX Live in a, say, 4GB USB key and live happily ever after :)
Everything I just wrote requires that you install TeX Live with one the methods described here. If you decide to use the TeX packages from your distro you are forced to follow their update policy, which is different for different distros
texliveonfly
As mentioned in comments, there is a TeX Live package called texliveonfly which you can use with texliveonfly filename.tex, and it will automatically downloaded the right TeX Live packages.
This also works for packages for which the LaTeX package name and the TeX Live package name don't match (for example the LaTeX rubikrotation package is contained in the rubik TeX Live package), and it also takes package dependencies into account.
Usage
Installing It is a Python script so it requires Python to be installed. You can then install it like usually with tlmgr install texliveonfly. If you have to use sudo tlmgr here, you will have to use sudo texliveonfly later.
Running If you go in your terminal to the directory of your filename.tex file, you can run it with texliveonfly filename.tex.
Other compilers At the moment it uses pdflatex by default, but you can configure it to run with other compiler engines by using the --compiler (or -c) flag, so like texliveonfly --compiler=lualatex filename.tex.
Compiler flags You can pass flags for the compiler you use to texliveonfly using the --arguments (or -a) flag, so for example if you previously used latexmk -shell-escape -pdf filename.tex then you now use texliveonfly --compiler=latexmk --arguments='-shell-escape -pdf' filename.tex.
Known problems
There are some cases of missing packages which fail with a non-standard error message, for example babel when it's missing languages, in which case texliveonfly doesn't download them. At the moment the following packages are known to have to be installed manually: (please edit if you find more)
Babel languages, for example for european languages install the collection-langeuropean package
Biblatex styles, e.g. for the nature style you need the biblatex-nature package
fontenc encodings, e.g. to get t2aenc.def you need the cyrillic package, and to get the ly1enc.def you need the ly1 package.
Packages involved when using the minted package, which are minted fvextra upquote lineno xstring framed caption (thanks to pablgonz for testing)
When running external programs like texcount in your LaTeX file, texliveonfly does not detect that you need the texcount package.
When giving options to texliveonfly, for example for a different compiler, it sometimes hangs for no apparent reason when installing packages. You can most probably work around it by first running texliveonfly without options, so texliveonfly main.tex (so it will download the packages) and then running whatever you wanted to, for example latexmk main.tex.
Background
Essentially texliveonfly is a build tool like latexmk (which is a Perl script), it wraps the TeX engine. Note however that you can chain them with texliveonfly --compiler=latexmk filename.tex.
It is a python script which works by trying to run your LaTeX file, and if it fails because a package is missing it will try to install that package.
Besides on ctan.org/pkg/texliveonfly you can view the source at ctan.org/tex-archive/support/texliveonfly or on latex.org/forum
PS I tested this on Arch Linux 4.19.4 and on Travis CI (Ubuntu 14.04).
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Chapter 3. Packaging Python 3 RPMs
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Chapter 3. Packaging Python 3 RPMs | Red Hat Documentation
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https://docs.redhat.com/en/documentation/red_hat_enterprise_linux/9/html/installing_and_using_dynamic_programming_languages/assembly_packaging-python-3-rpms_installing-and-using-dynamic-programming-languages
|
download PDF
You can install Python packages on your system either from the upstream PyPI repository using the pip installer, or using the DNF package manager. DNF uses the RPM package format, which offers more downstream control over the software.
The packaging format of native Python packages is defined by Python Packaging Authority (PyPA) Specifications. Most Python projects use the distutils or setuptools utilities for packaging, and defined package information in the setup.py file. However, possibilities of creating native Python packages have evolved over time. For more information about emerging packaging standards, see pyproject-rpm-macros.
This chapter describes how to package a Python project that uses setup.py into an RPM package. This approach provides the following advantages compared to native Python packages:
Dependencies on Python and non-Python packages are possible and strictly enforced by the DNF package manager.
You can cryptographically sign the packages. With cryptographic signing, you can verify, integrate, and test content of RPM packages with the rest of the operating system.
You can execute tests during the build process.
3.1. SPEC file description for a Python package
A SPEC file contains instructions that the rpmbuild utility uses to build an RPM. The instructions are included in a series of sections. A SPEC file has two main parts in which the sections are defined:
Preamble (contains a series of metadata items that are used in the Body)
Body (contains the main part of the instructions)
An RPM SPEC file for Python projects has some specifics compared to non-Python RPM SPEC files.
Important
A name of any RPM package of a Python library must always include the python3-, python3.11-, or python3.12- prefix.
Other specifics are shown in the following SPEC file example for the python3*-pello package. For description of such specifics, see the notes below the example.
An example SPEC file for the pello program written in Python
%global python3_pkgversion 3.11 1 Name: python-pello 2 Version: 1.0.2 Release: 1%{?dist} Summary: Example Python library License: MIT URL: https://github.com/fedora-python/Pello Source: %{url}/archive/v%{version}/Pello-%{version}.tar.gz BuildArch: noarch BuildRequires: python%{python3_pkgversion}-devel 3 # Build dependencies needed to be specified manually BuildRequires: python%{python3_pkgversion}-setuptools # Test dependencies needed to be specified manually # Also runtime dependencies need to be BuildRequired manually to run tests during build BuildRequires: python%{python3_pkgversion}-pytest >= 3 %global _description %{expand: Pello is an example package with an executable that prints Hello World! on the command line.} %description %_description %package -n python%{python3_pkgversion}-pello 4 Summary: %{summary} %description -n python%{python3_pkgversion}-pello %_description %prep %autosetup -p1 -n Pello-%{version} %build # The macro only supported projects with setup.py %py3_build 5 %install # The macro only supported projects with setup.py %py3_install %check 6 %{pytest} # Note that there is no %%files section for the unversioned python module %files -n python%{python3_pkgversion}-pello %doc README.md %license LICENSE.txt %{_bindir}/pello_greeting # The library files needed to be listed manually %{python3_sitelib}/pello/ # The metadata files needed to be listed manually %{python3_sitelib}/Pello-*.egg-info/
1
By defining the python3_pkgversion macro, you set which Python version this package will be built for. To build for the default Python version 3.9, either set the macro to its default value 3 or remove the line entirely.
2
When packaging a Python project into RPM, always add the python- prefix to the original name of the project. The original name here is pello and, therefore, the name of the Source RPM (SRPM) is python-pello.
3
BuildRequires specifies what packages are required to build and test this package. In BuildRequires, always include items providing tools necessary for building Python packages: python3-devel (or python3.11-devel or python3.12-devel) and the relevant projects needed by the specific software that you package, for example, python3-setuptools (or python3.11-setuptools or python3.12-setuptools) or the runtime and testing dependencies needed to run the tests in the %check section.
4
When choosing a name for the binary RPM (the package that users will be able to install), add a versioned Python prefix. Use the python3- prefix for the default Python 3.9, the python3.11- prefix for Python 3.11, or the python3.12- prefix for Python 3.12. You can use the %{python3_pkgversion} macro, which evaluates to 3 for the default Python version 3.9 unless you set it to an explicit version, for example, 3.11 (see footnote 1).
5
The %py3_build and %py3_install macros run the setup.py build and setup.py install commands, respectively, with additional arguments to specify installation locations, the interpreter to use, and other details.
6
The %check section should run the tests of the packaged project. The exact command depends on the project itself, but it is possible to use the %pytest macro to run the pytest command in an RPM-friendly way.
3.2. Common macros for Python 3 RPMs
In a SPEC file, always use the macros that are described in the following Macros for Python 3 RPMs table rather than hardcoding their values. You can redefine which Python 3 version is used in these macros by defining the python3_pkgversion macro on top of your SPEC file (see Section 3.1, “SPEC file description for a Python package”). If you define the python3_pkgversion macro, the values of the macros described in the following table will reflect the specified Python 3 version.
Table 3.1. Macros for Python 3 RPMsMacroNormal DefinitionDescription
Additional resources
Python macros in upstream documentation
3.3. Using automatically generated dependencies for Python RPMs
The following procedure describes how to use automatically generated dependencies when packaging a Python project as an RPM.
Prerequisites
A SPEC file for the RPM exists. For more information, see SPEC file description for a Python package.
Procedure
Make sure that one of the following directories containing upstream-provided metadata is included in the resulting RPM:
.dist-info
.egg-info
The RPM build process automatically generates virtual pythonX.Ydist provides from these directories, for example:
python3.9dist(pello)
The Python dependency generator then reads the upstream metadata and generates runtime requirements for each RPM package using the generated pythonX.Ydist virtual provides. For example, a generated requirements tag might look as follows:
Requires: python3.9dist(requests)
Inspect the generated requires.
To remove some of the generated requires, use one of the following approaches:
Modify the upstream-provided metadata in the %prep section of the SPEC file.
Use automatic filtering of dependencies described in the upstream documentation.
To disable the automatic dependency generator, include the %{?python_disable_dependency_generator} macro above the main package’s %description declaration.
Additional resources
Automatically generated dependencies
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Chapter 3. Packaging Python 3 RPMs
|
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Chapter 3. Packaging Python 3 RPMs | Red Hat Documentation
|
https://docs.redhat.com/en/documentation/red_hat_enterprise_linux/9/html/installing_and_using_dynamic_programming_languages/assembly_packaging-python-3-rpms_installing-and-using-dynamic-programming-languages
|
download PDF
You can install Python packages on your system either from the upstream PyPI repository using the pip installer, or using the DNF package manager. DNF uses the RPM package format, which offers more downstream control over the software.
The packaging format of native Python packages is defined by Python Packaging Authority (PyPA) Specifications. Most Python projects use the distutils or setuptools utilities for packaging, and defined package information in the setup.py file. However, possibilities of creating native Python packages have evolved over time. For more information about emerging packaging standards, see pyproject-rpm-macros.
This chapter describes how to package a Python project that uses setup.py into an RPM package. This approach provides the following advantages compared to native Python packages:
Dependencies on Python and non-Python packages are possible and strictly enforced by the DNF package manager.
You can cryptographically sign the packages. With cryptographic signing, you can verify, integrate, and test content of RPM packages with the rest of the operating system.
You can execute tests during the build process.
3.1. SPEC file description for a Python package
A SPEC file contains instructions that the rpmbuild utility uses to build an RPM. The instructions are included in a series of sections. A SPEC file has two main parts in which the sections are defined:
Preamble (contains a series of metadata items that are used in the Body)
Body (contains the main part of the instructions)
An RPM SPEC file for Python projects has some specifics compared to non-Python RPM SPEC files.
Important
A name of any RPM package of a Python library must always include the python3-, python3.11-, or python3.12- prefix.
Other specifics are shown in the following SPEC file example for the python3*-pello package. For description of such specifics, see the notes below the example.
An example SPEC file for the pello program written in Python
%global python3_pkgversion 3.11 1 Name: python-pello 2 Version: 1.0.2 Release: 1%{?dist} Summary: Example Python library License: MIT URL: https://github.com/fedora-python/Pello Source: %{url}/archive/v%{version}/Pello-%{version}.tar.gz BuildArch: noarch BuildRequires: python%{python3_pkgversion}-devel 3 # Build dependencies needed to be specified manually BuildRequires: python%{python3_pkgversion}-setuptools # Test dependencies needed to be specified manually # Also runtime dependencies need to be BuildRequired manually to run tests during build BuildRequires: python%{python3_pkgversion}-pytest >= 3 %global _description %{expand: Pello is an example package with an executable that prints Hello World! on the command line.} %description %_description %package -n python%{python3_pkgversion}-pello 4 Summary: %{summary} %description -n python%{python3_pkgversion}-pello %_description %prep %autosetup -p1 -n Pello-%{version} %build # The macro only supported projects with setup.py %py3_build 5 %install # The macro only supported projects with setup.py %py3_install %check 6 %{pytest} # Note that there is no %%files section for the unversioned python module %files -n python%{python3_pkgversion}-pello %doc README.md %license LICENSE.txt %{_bindir}/pello_greeting # The library files needed to be listed manually %{python3_sitelib}/pello/ # The metadata files needed to be listed manually %{python3_sitelib}/Pello-*.egg-info/
1
By defining the python3_pkgversion macro, you set which Python version this package will be built for. To build for the default Python version 3.9, either set the macro to its default value 3 or remove the line entirely.
2
When packaging a Python project into RPM, always add the python- prefix to the original name of the project. The original name here is pello and, therefore, the name of the Source RPM (SRPM) is python-pello.
3
BuildRequires specifies what packages are required to build and test this package. In BuildRequires, always include items providing tools necessary for building Python packages: python3-devel (or python3.11-devel or python3.12-devel) and the relevant projects needed by the specific software that you package, for example, python3-setuptools (or python3.11-setuptools or python3.12-setuptools) or the runtime and testing dependencies needed to run the tests in the %check section.
4
When choosing a name for the binary RPM (the package that users will be able to install), add a versioned Python prefix. Use the python3- prefix for the default Python 3.9, the python3.11- prefix for Python 3.11, or the python3.12- prefix for Python 3.12. You can use the %{python3_pkgversion} macro, which evaluates to 3 for the default Python version 3.9 unless you set it to an explicit version, for example, 3.11 (see footnote 1).
5
The %py3_build and %py3_install macros run the setup.py build and setup.py install commands, respectively, with additional arguments to specify installation locations, the interpreter to use, and other details.
6
The %check section should run the tests of the packaged project. The exact command depends on the project itself, but it is possible to use the %pytest macro to run the pytest command in an RPM-friendly way.
3.2. Common macros for Python 3 RPMs
In a SPEC file, always use the macros that are described in the following Macros for Python 3 RPMs table rather than hardcoding their values. You can redefine which Python 3 version is used in these macros by defining the python3_pkgversion macro on top of your SPEC file (see Section 3.1, “SPEC file description for a Python package”). If you define the python3_pkgversion macro, the values of the macros described in the following table will reflect the specified Python 3 version.
Table 3.1. Macros for Python 3 RPMsMacroNormal DefinitionDescription
Additional resources
Python macros in upstream documentation
3.3. Using automatically generated dependencies for Python RPMs
The following procedure describes how to use automatically generated dependencies when packaging a Python project as an RPM.
Prerequisites
A SPEC file for the RPM exists. For more information, see SPEC file description for a Python package.
Procedure
Make sure that one of the following directories containing upstream-provided metadata is included in the resulting RPM:
.dist-info
.egg-info
The RPM build process automatically generates virtual pythonX.Ydist provides from these directories, for example:
python3.9dist(pello)
The Python dependency generator then reads the upstream metadata and generates runtime requirements for each RPM package using the generated pythonX.Ydist virtual provides. For example, a generated requirements tag might look as follows:
Requires: python3.9dist(requests)
Inspect the generated requires.
To remove some of the generated requires, use one of the following approaches:
Modify the upstream-provided metadata in the %prep section of the SPEC file.
Use automatic filtering of dependencies described in the upstream documentation.
To disable the automatic dependency generator, include the %{?python_disable_dependency_generator} macro above the main package’s %description declaration.
Additional resources
Automatically generated dependencies
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https://managingosx.wordpress.com/category/python/
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Python – Managing OS X
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2023-07-20T03:40:17-07:00
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Posts about Python written by GregN
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https://s1.wp.com/i/favicon.ico
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Managing OS X
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https://managingosx.wordpress.com/category/python/
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Overview
Here are some early notes on making and restoring a High Sierra deployment image to an iMac Pro.
“Wait, I thought imaging was dead! Especially imaging the iMac Pro with Secure Boot!” you may be thinking. My reply: “We’ll see, won’t we?” It’s early days here: we’re experimenting. Our experiments might lead to dead ends, or they might lead to useful results.
Continue reading “Early notes on deploying images to iMac Pro” →
If you will be attending my session at MacADUK 2017, you might find it useful to have copies of the sample Python code and scripts I’ll be talking about and demonstrating.
I’ve set up a GitHub repo. The sample code is basically complete, but I might make some minor changes over the next several days.
You can download the code samples here: https://github.com/gregneagle/macaduk2017/archive/master.zip
or if you are familiar with Git, you can clone them locally:
git clone https://github.com/gregneagle/macaduk2017.git
Hope to see you in London!
Like many people tasked with managing OS X/macOS machines, I use VMware Fusion to do a lot of testing. Fusion enables me to test in various versions of OS X, and to easily make changes and revert to a prior state. It’s a great tool.
For some of the testing I do, it’s important to be able to quickly and easily build a VM that is configured just like the “real” machines I manage. There are a few way to do that. Since we build our machines by booting into a NetBoot image and using Graham Gilbert’s excellent Imagr (https://github.com/grahamgilbert/imagr) to restore an image, it’s great that we can also boot Fusion VMs from a NetBoot image.
Continue reading “Stupid Tricks with createOSXinstallPkg and VMware Fusion” →
A few days ago I made a simple tool for building packages available: munkipkg.
https://github.com/munki/munki-pkg
I got many comments and suggestions for additional features and all sorts of cool additions. Some have even been added to the tool already. But I would like to keep munkipkg a pretty simple, basic tool.
The Luggage (https://github.com/unixorn/luggage) has been around for a while; if munkipkg is too simple for your needs, please have look at that.
I also suggested to several people that if they had more complex needs than munkipkg could handle, it might make more sense to use autopkg, which supports very complex, customizable workflows.
I could tell by the awkward silence that my suggestion was confusing to some — that they had trouble grokking how to use autopkg to build packages “from scratch”, using files and scripts on the local disk.
So I created a GitHub repo demonstrating how to use autopkg in this manner. It’s here: https://github.com/gregneagle/autopkg-packaging-demo
munkipkg comes with three demo package projects. Two of the packages install files, the third is a “payload-free” package that simply runs a script when installed. The autopkg-packaging-demo duplicates these packages, but uses autopkg to build them instead of munkipkg.
(One could also imagine building these packages using either tool: the payload and scripts directories would be the same — in other words, you could have both a build-info.plist for munkipkg and a recipe for autopkg in the same package project directory.)
Assuming you have autopkg installed, you can `git clone` the repo, or download and expand the zip file, and run the autopkg recipes within.
I hope this clears up some confusion, and sparks some new ideas!
https://github.com/munki/munki-pkg
munkipkg is a simple tool for building packages in a consistent, repeatable manner from source files and scripts in a project directory.
Files, scripts, and metadata are stored in a way that is easy to track and manage using a version control system like git.
Another tool that solves a similar problem is Joe Block’s The Luggage (https://github.com/unixorn/luggage). If you are happily using The Luggage, you can probably safely ignore this tool.
Though this tool may eventually be added to the set of tools installed with the Munki command-line tools, it’s not currently tied to Munki and can be run completely standalone.
Learn more here.
This post is based on a column I wrote for MacTech magazine in 2012. MacTech used to make older columns available online, but they haven’t done that for the past several years for some reason.
I’m planning to go through my older columns and dust off and republish some that I think are still relevant or useful.
Recently, we built a command-line tool using Python and the PyObjC bridge to control display mirroring.
PyObjC supports a lot of OS X frameworks “out-of-the-box”, and accessing them from Python can be as simple as:
include CoreFoundation
But what if the problem you want to solve requires a framework that isn’t included with the PyObjC bindings? In turns out that you can create your own bindings. In this post we’ll explore this aspect of working with Python and OS X frameworks.
OUR SAMPLE PROBLEM
In my organization, we sometimes have a need to set displays to a certain ColorSync profile. The ColorSync profile to use for a given display is a per-user preference, so if you need to set it for all users of a machine, you can’t just manually set it while logged in as one user and call it good.
If you are managing display profiles for a group of machines, or a conference room machine that has network logins, you need a way to manage display profiles for all users. Using MCX or doing some defaults scripting might come to mind. Let’s look at that possibility.
Continue reading “Accessing More Frameworks with Python” →
This post is based on a column I wrote for MacTech magazine in 2012. MacTech used to make older columns available online, but they haven’t done that for the past several years for some reason.
I’m planning to go through my older columns and dust off and republish some that I think are still relevant or useful.
Cocoa-Python, also referred to as PyObjC, is a set of Python modules and glue code that allow Python programmers to access many of Apple’s Cocoa frameworks. This allows you to do many things from Python scripting that might otherwise require compiling code in C/Objective-C. To access the Cocoa frameworks, you import them by name, just as you might import a regular Python module.
A quick example: the CoreFoundation framework contains methods to work with user preferences, a bit like the /usr/bin/defaults tool. We can use the CFPreferencesCopyAppValue function in Python simply by importing CoreFoundation, and then calling it like we would a function from a “regular” Python module:
#!/usr/bin/python import CoreFoundation print CoreFoundation.CFPreferencesCopyAppValue( "HomePage", "com.apple.Safari")
If you run the above code, it will print the current home page you have set in Safari. We’ve successfully used an OS X framework from Python!
Continue reading “Command-line tools via Python and Cocoa” →
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Vertex AI: Use autopackaging to fine tune Bert with Hugging Face on Vertex AI Training
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en
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Google Codelabs
|
https://codelabs.developers.google.com/vertex-training-autopkg
|
1. Overview
In this lab, you'll learn how to run a custom training job on Vertex AI Training with the autopackaging feature. Custom training jobs on Vertex AI use containers. If you do not want to build your own image, you can use auotpackaging, which will build a custom Docker image based on your code, push the image to Container Registry, and start a CustomJob based on the image.
What you learn
You'll learn how to:
Use local mode to test your code.
Configure and launch a custom training job with autopackaging.
The total cost to run this lab on Google Cloud is about $2.
2. Use Case Overview
Using libraries from Hugging Face, you'll fine tune a Bert model on the IMDB dataset. The model will predict whether a movie review are positive or negative. The dataset will be downloaded from the Hugging Face datasets library, and the Bert model from the Hugging Face transformers library.
3. Intro to Vertex AI
This lab uses the newest AI product offering available on Google Cloud. Vertex AI integrates the ML offerings across Google Cloud into a seamless development experience. Previously, models trained with AutoML and custom models were accessible via separate services. The new offering combines both into a single API, along with other new products. You can also migrate existing projects to Vertex AI. If you have any feedback, please see the support page.
Vertex AI includes many different products to support end-to-end ML workflows. This lab will focus on Training and Workbench.
4. Set up your environment
You'll need a Google Cloud Platform project with billing enabled to run this codelab. To create a project, follow the instructions here.
Step 1: Enable the Compute Engine API
Navigate to Compute Engine and select Enable if it isn't already enabled.
Step 2: Enable the Vertex AI API
Navigate to the Vertex AI section of your Cloud Console and click Enable Vertex AI API.
Step 3: Enable the Container Registry API
Navigate to the Container Registry and select Enable if it isn't already. You'll use this to create a container for your custom training job.
Step 4: Create a Vertex AI Workbench instance
From the Vertex AI section of your Cloud Console, click on Workbench:
From there, click MANAGED NOTEBOOKS:
Then select NEW NOTEBOOK.
Give your notebook a name, and then click Advanced Settings.
Under Advanced Settings, enable idle shutdown and set the number of minutes to 60. This means your notebook will shutdown automatically when not in use so you don't incur unnecessary costs.
You can leave all of the other advanced settings as is.
Next, click Create.
Once the instance has been created, select Open JupyterLab.
The first time you use a new instance, you'll be asked to authenticate.
5. Write training code
To start, from the Launcher menu, open a Terminal window in your notebook instance:
Create a new directory called autopkg-codelab and cd into it.
mkdir autopkg-codelab cd autopkg-codelab
From your Terminal, run the following to create a directory for the training code and a Python file where you'll add the code:
mkdir trainer touch trainer/task.py
You should now have the following in your autopkg-codelab/ directory:
+ trainer/ + task.py
Next, open the task.py file you just created and copy the code below.
import argparse import tensorflow as tf from datasets import load_dataset from transformers import AutoTokenizer from transformers import TFAutoModelForSequenceClassification CHECKPOINT = "bert-base-cased" def get_args(): '''Parses args.''' parser = argparse.ArgumentParser() parser.add_argument( '--epochs', required=False, default=3, type=int, help='number of epochs') parser.add_argument( '--job_dir', required=True, type=str, help='bucket to store saved model, include gs://') args = parser.parse_args() return args def create_datasets(): '''Creates a tf.data.Dataset for train and evaluation.''' raw_datasets = load_dataset('imdb') tokenizer = AutoTokenizer.from_pretrained(CHECKPOINT) tokenized_datasets = raw_datasets.map((lambda examples: tokenize_function(examples, tokenizer)), batched=True) # To speed up training, we use only a portion of the data. # Use full_train_dataset and full_eval_dataset if you want to train on all the data. small_train_dataset = tokenized_datasets['train'].shuffle(seed=42).select(range(1000)) small_eval_dataset = tokenized_datasets['test'].shuffle(seed=42).select(range(1000)) full_train_dataset = tokenized_datasets['train'] full_eval_dataset = tokenized_datasets['test'] tf_train_dataset = small_train_dataset.remove_columns(['text']).with_format("tensorflow") tf_eval_dataset = small_eval_dataset.remove_columns(['text']).with_format("tensorflow") train_features = {x: tf_train_dataset[x] for x in tokenizer.model_input_names} train_tf_dataset = tf.data.Dataset.from_tensor_slices((train_features, tf_train_dataset["label"])) train_tf_dataset = train_tf_dataset.shuffle(len(tf_train_dataset)).batch(8) eval_features = {x: tf_eval_dataset[x] for x in tokenizer.model_input_names} eval_tf_dataset = tf.data.Dataset.from_tensor_slices((eval_features, tf_eval_dataset["label"])) eval_tf_dataset = eval_tf_dataset.batch(8) return train_tf_dataset, eval_tf_dataset def tokenize_function(examples, tokenizer): '''Tokenizes text examples.''' return tokenizer(examples['text'], padding='max_length', truncation=True) def main(): args = get_args() train_tf_dataset, eval_tf_dataset = create_datasets() model = TFAutoModelForSequenceClassification.from_pretrained(CHECKPOINT, num_labels=2) model.compile( optimizer=tf.keras.optimizers.Adam(learning_rate=0.01), loss=tf.keras.losses.SparseCategoricalCrossentropy(from_logits=True), metrics=tf.metrics.SparseCategoricalAccuracy(), ) model.fit(train_tf_dataset, validation_data=eval_tf_dataset, epochs=args.epochs) model.save(f'{args.job_dir}/model_output') if __name__ == "__main__": main()
A few things to note about the code:
CHECKPOINT is the model we want to fine tune. In this case, we use Bert.
The TFAutoModelForSequenceClassification method will load the specified language model architecture + weights in TensorFlow and add a classification head on top with randomly initialized weights. In this case, we have a binary classification problem (positive or negative) so we specify num_labels=2 for this classifier.
6. Containerize and run training code locally
You can use the gcloud ai custom-jobs local-run command to build a Docker container image based on your training code and run the image as a container on your local machine. Running a container locally executes your training code in a similar way to how it runs on Vertex AI Training, and can help you debug problems with your code before you perform custom training on Vertex AI.
In our training job, we'll export our trained model to a Cloud Storage Bucket. From your Terminal, run the following to define an env variable for your project, making sure to replace your-cloud-project with the ID of your project:
PROJECT_ID='your-cloud-project'
Then, create a bucket. If you have an existing bucket, feel free to use that instead.
BUCKET_NAME="gs://${PROJECT_ID}-bucket" gsutil mb -l us-central1 $BUCKET_NAME
When we run the custom training job on Vertex AI Training, we'll make use of a GPU. But since we did not specify our Workbench instance with GPUs, we'll use a CPU based image for local testing. In this example, we use a Vertex AI Training pre-built container.
Run the following to set the URI of a Docker image to use as the base of the container.
BASE_CPU_IMAGE=us-docker.pkg.dev/vertex-ai/training/tf-cpu.2-7:latest
Then set a name for the resulting Docker image built by the local run command.
OUTPUT_IMAGE=$PROJECT_ID-local-package-cpu:latest
Our training code uses the Hugging Face datasets and transformers libraries. These libraries are not included in the image we have selected as our base image, so we will need to provide them as requirements. To do this, we will create a requirements.txt file in our autopkg-codelab directory.
Ensure you are in the autopkg-codelab directory and type the following in your terminal.
touch requirements.txt
You should now have the following in your autopkg-codelab directory:
+ requirements.txt + trainer/ + task.py
Open up the requirements file and paste in the following
datasets==1.18.2 transformers==4.16.2
Finally, execute the gcloud ai custom-jobs local-run command to kick of training on our Workbench managed instance.
gcloud ai custom-jobs local-run \ --executor-image-uri=$BASE_CPU_IMAGE \ --python-module=trainer.task \ --output-image-uri=$OUTPUT_IMAGE \ -- \ --job_dir=$BUCKET_NAME
You should see the Docker image being built. The dependencies we added to the requirements.txt file will be pip installed. This may take a few minutes to complete the first time you execute this command. Once the image is built, thetask.py file will start running and you'll see the model training. You should see something like this:
Because we are not using a GPU locally, model training will take a long time. You can Ctrl+c and cancel local training instead of waiting for the job to complete.
Note that if you wanted to do further testing, you can also directly run the image built above, without repackaging.
gcloud beta ai custom-jobs local-run \ --executor-image-uri=$OUTPUT_IMAGE \ -- \ --job_dir=$BUCKET_NAME \ --epochs=1
7. Create a custom job
Now that we have tested out local mode, we'll use the autopackaging feature to launch our custom training job on Vertex AI Training. With a single command, this feature will:
Build a custom Docker image based on your code.
Push the image to Container Registry.
Start a CustomJob based on the image.
Return to the terminal and cd up one level above your autopkg-codelab directory.
+ autopkg-codelab + requirements.txt + trainer/ + task.py
Specify the Vertex AI Training pre-built TensorFlow GPU image as the base image for the custom training job.
BASE_GPU_IMAGE=us-docker.pkg.dev/vertex-ai/training/tf-gpu.2-7:latest
Next, execute the gcloud ai custom-jobs create command. First, this command will build a custom Docker image based on the training code. The base image is the Vertex AI Training pre-built container we set as BASE_GPU_IMAGE. The autopackaging feature will then pip install the datasets and transformers libraries as specified in our requirements.txt file.
gcloud ai custom-jobs create \ --region=us-central1 \ --display-name=fine_tune_bert \ --args=--job_dir=$BUCKET_NAME \ --worker-pool-spec=machine-type=n1-standard-4,replica-count=1,accelerator-type=NVIDIA_TESLA_V100,executor-image-uri=$BASE_GPU_IMAGE,local-package-path=autopkg-codelab,python-module=trainer.task
Let's take a look at the worker-pool-spec argument. This defines the worker pool configuration used by the custom job. You can specify multiple worker pool specs in order to create a custom job with multiple worker pools for distributed training. In this example, we only specify a single worker pool, as our training code is not configured for distributed training.
Here are some of the key fields of this spec:
machine-type (Required): The type of the machine. Click here for supported types.
replica-count: The number of worker replicas to use for this worker pool, by default the value is 1.
accelerator-type: The type of GPUs. Click here for supported types. In this example, we specified one NVIDIA Tesla V100 GPU.
accelerator-count: The number of GPUs for each VM in the worker pool to use, by default the value is 1.
executor-image-uri: The URI of a container image that will run the provided package. This is set to our base image.
local-package-path: The local path of a folder that contains training code.
python-module: The Python module name to run within the provided package.
Similar to when you ran the local command, you will see the Docker image being built and then the training job kick off. Except instead of seeing the output of the training job, you'll see the following message confirming that your training job has launched. Note that the first time you run the custom-jobs create command, it may take a few minutes for the image to be built and pushed.
Return to the Vertex AI Training section of the cloud console and under CUSTOM JOBS you should see your job running.
The job will take around 20 minutes to complete.
Once complete, you should see the following saved model artifacts in the model_output directory in your bucket.
🎉 Congratulations! 🎉
You've learned how to use Vertex AI to:
Containerize and run training code locally
Submit training jobs to Vertex AI Training with autopackaging
To learn more about different parts of Vertex AI, check out the documentation.
8. Cleanup
Because we configured the notebook to time out after 60 idle minutes, we don't need to worry about shutting the instance down. If you would like to manually shut down the instance, click the Stop button on the Vertex AI Workbench section of the console. If you'd like to delete the notebook entirely, click the Delete button.
To delete the Storage Bucket, using the Navigation menu in your Cloud Console, browse to Storage, select your bucket, and click Delete:
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dbpedia
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https://setuptools.pypa.io/en/latest/userguide/package_discovery.html
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en
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setuptools 72.2.0.post20240814 documentation
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"https://setuptools.pypa.io/en/latest/_static/logo.svg"
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""
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[] | null |
en
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../_static/logo-symbol-only.svg
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src-layout¶
The project should contain a src directory under the project root and all modules and packages meant for distribution are placed inside this directory:
project_root_directory ├── pyproject.toml # AND/OR setup.cfg, setup.py ├── ... └── src/ └── mypkg/ ├── __init__.py ├── ... ├── module.py ├── subpkg1/ │ ├── __init__.py │ ├── ... │ └── module1.py └── subpkg2/ ├── __init__.py ├── ... └── module2.py
This layout is very handy when you wish to use automatic discovery, since you don’t have to worry about other Python files or folders in your project root being distributed by mistake. In some circumstances it can be also less error-prone for testing or when using PEP 420-style packages. On the other hand you cannot rely on the implicit PYTHONPATH=. to fire up the Python REPL and play with your package (you will need an editable install to be able to do that).
flat-layout¶
(also known as “adhoc”)
The package folder(s) are placed directly under the project root:
project_root_directory ├── pyproject.toml # AND/OR setup.cfg, setup.py ├── ... └── mypkg/ ├── __init__.py ├── ... ├── module.py ├── subpkg1/ │ ├── __init__.py │ ├── ... │ └── module1.py └── subpkg2/ ├── __init__.py ├── ... └── module2.py
This layout is very practical for using the REPL, but in some situations it can be more error-prone (e.g. during tests or if you have a bunch of folders or Python files hanging around your project root).
To avoid confusion, file and folder names that are used by popular tools (or that correspond to well-known conventions, such as distributing documentation alongside the project code) are automatically filtered out in the case of flat-layout:
Reserved package names
Reserved top-level module names
Warning
If you are using auto-discovery with flat-layout, setuptools will refuse to create distribution archives with multiple top-level packages or modules.
This is done to prevent common errors such as accidentally publishing code not meant for distribution (e.g. maintenance-related scripts).
Users that purposefully want to create multi-package distributions are advised to use Custom discovery or the src-layout.
There is also a handy variation of the flat-layout for utilities/libraries that can be implemented with a single Python file:
single-module distribution¶
A standalone module is placed directly under the project root, instead of inside a package folder:
project_root_directory ├── pyproject.toml # AND/OR setup.cfg, setup.py ├── ... └── single_file_lib.py
Finding simple packages¶
Let’s start with the first tool. find: (find_packages()) takes a source directory and two lists of package name patterns to exclude and include, and then returns a list of str representing the packages it could find. To use it, consider the following directory:
mypkg ├── pyproject.toml # AND/OR setup.cfg, setup.py └── src ├── pkg1 │ └── __init__.py ├── pkg2 │ └── __init__.py ├── additional │ └── __init__.py └── pkg └── namespace └── __init__.py
To have setuptools to automatically include packages found in src that start with the name pkg and not additional:
setup.cfg
[options] packages=find: package_dir= =src [options.packages.find] where=src include=pkg* # alternatively: `exclude = additional*`
Note
pkg does not contain an __init__.py file, therefore pkg.namespace is ignored by find: (see find_namespace: below).
setup.py
setup( # ... packages=find_packages( where='src', include=['pkg*'], # alternatively: `exclude=['additional*']` ), package_dir={"": "src"} # ... )
Note
pkg does not contain an __init__.py file, therefore pkg.namespace is ignored by find_packages() (see find_namespace_packages() below).
pyproject.toml
[tool.setuptools.packages.find] where=["src"] include=["pkg*"]# alternatively: `exclude = ["additional*"]` namespaces=false
Note
When using tool.setuptools.packages.find in pyproject.toml, setuptools will consider implicit namespaces by default when scanning your project directory. To avoid pkg.namespace from being added to your package list you can set namespaces = false. This will prevent any folder without an __init__.py file from being scanned.
Important
include and exclude accept strings representing glob patterns. These patterns should match the full name of the Python module (as if it was written in an import statement).
For example if you have util pattern, it will match util/__init__.py but not util/files/__init__.py.
The fact that the parent package is matched by the pattern will not dictate if the submodule will be included or excluded from the distribution. You will need to explicitly add a wildcard (e.g. util*) if you want the pattern to also match submodules.
Finding namespace packages¶
setuptools provides find_namespace: (find_namespace_packages()) which behaves similarly to find: but works with namespace packages.
Before diving in, it is important to have a good understanding of what namespace packages are. Here is a quick recap.
When you have two packages organized as follows:
/Users/Desktop/timmins/foo/__init__.py /Library/timmins/bar/__init__.py
If both Desktop and Library are on your PYTHONPATH, then a namespace package called timmins will be created automatically for you when you invoke the import mechanism, allowing you to accomplish the following:
>>> import timmins.foo >>> import timmins.bar
as if there is only one timmins on your system. The two packages can then be distributed separately and installed individually without affecting the other one.
Now, suppose you decide to package the foo part for distribution and start by creating a project directory organized as follows:
foo ├── pyproject.toml # AND/OR setup.cfg, setup.py └── src └── timmins └── foo └── __init__.py
If you want the timmins.foo to be automatically included in the distribution, then you will need to specify:
setup.cfg
[options] package_dir= =src packages=find_namespace: [options.packages.find] where=src
find: won’t work because timmins doesn’t contain __init__.py directly, instead, you have to use find_namespace:.
You can think of find_namespace: as identical to find: except it would count a directory as a package even if it doesn’t contain __init__.py file directly.
setup.py
setup( # ... packages=find_namespace_packages(where='src'), package_dir={"": "src"} # ... )
When you use find_packages(), all directories without an __init__.py file will be ignored. On the other hand, find_namespace_packages() will scan all directories.
pyproject.toml
[tool.setuptools.packages.find] where=["src"]
When using tool.setuptools.packages.find in pyproject.toml, setuptools will consider implicit namespaces by default when scanning your project directory.
After installing the package distribution, timmins.foo would become available to your interpreter.
Warning
Please have in mind that find_namespace: (setup.cfg), find_namespace_packages() (setup.py) and find (pyproject.toml) will scan all folders that you have in your project directory if you use a flat-layout.
If used naïvely, this might result in unwanted files being added to your final wheel. For example, with a project directory organized as follows:
foo ├── docs │ └── conf.py ├── timmins │ └── foo │ └── __init__.py └── tests └── tests_foo └── __init__.py
final users will end up installing not only timmins.foo, but also docs and tests.tests_foo.
A simple way to fix this is to adopt the aforementioned src-layout, or make sure to properly configure the include and/or exclude accordingly.
Tip
After building your package, you can have a look if all the files are correct (nothing missing or extra), by running the following commands:
tar tf dist/*.tar.gz unzip -l dist/*.whl
This requires the tar and unzip to be installed in your OS. On Windows you can also use a GUI program such as 7zip.
pkg_resource style namespace package¶
This is the method setuptools directly supports. Starting with the same layout, there are two pieces you need to add to it. First, an __init__.py file directly under your namespace package directory that contains the following:
__import__("pkg_resources").declare_namespace(__name__)
And the namespace_packages keyword in your setup.cfg or setup.py:
setup.cfg
[options] namespace_packages=timmins
setup.py
setup( # ... namespace_packages=['timmins'] )
And your directory should look like this
foo ├── pyproject.toml# AND/OR setup.cfg, setup.py └── src └── timmins ├── __init__.py └── foo └── __init__.py
Repeat the same for other packages and you can achieve the same result as the previous section.
|
||||||
8585
|
dbpedia
|
3
| 39 |
https://www.sphinx-doc.org/en/master/usage/extensions/autodoc.html
|
en
|
sphinx.ext.autodoc – Include documentation from docstrings — Sphinx documentation
|
[
"https://www.sphinx-doc.org/en/master/_static/sphinx-logo.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
../../_static/favicon.svg
|
https://www.sphinx-doc.org/en/master/usage/extensions/autodoc.html
|
These work exactly like autoclass etc., but do not offer the options used for automatic member documentation.
autodata and autoattribute support the annotation option. The option controls how the value of variable is shown. If specified without arguments, only the name of the variable will be printed, and its value is not shown:
.. autodata:: CD_DRIVE :annotation:
If the option specified with arguments, it is printed after the name as a value of the variable:
.. autodata:: CD_DRIVE :annotation: = your CD device name
By default, without annotation option, Sphinx tries to obtain the value of the variable and print it after the name.
The no-value option can be used instead of a blank annotation to show the type hint but not the value:
.. autodata:: CD_DRIVE :no-value:
If both the annotation and no-value options are used, no-value has no effect.
For module data members and class attributes, documentation can either be put into a comment with special formatting (using a #: to start the comment instead of just #), or in a docstring after the definition. Comments need to be either on a line of their own before the definition, or immediately after the assignment on the same line. The latter form is restricted to one line only.
This means that in the following class definition, all attributes can be autodocumented:
class Foo: """Docstring for class Foo.""" #: Doc comment for class attribute Foo.bar. #: It can have multiple lines. bar = 1 flox = 1.5 #: Doc comment for Foo.flox. One line only. baz = 2 """Docstring for class attribute Foo.baz.""" def __init__(self): #: Doc comment for instance attribute qux. self.qux = 3 self.spam = 4 """Docstring for instance attribute spam."""
Changed in version 0.6: autodata and autoattribute can now extract docstrings.
Changed in version 1.1: Comment docs are now allowed on the same line after an assignment.
Changed in version 1.2: autodata and autoattribute have an annotation option.
Changed in version 2.0: autodecorator added.
Changed in version 2.1: autoproperty added.
Changed in version 3.4: autodata and autoattribute now have a no-value option.
Note
If you document decorated functions or methods, keep in mind that autodoc retrieves its docstrings by importing the module and inspecting the __doc__ attribute of the given function or method. That means that if a decorator replaces the decorated function with another, it must copy the original __doc__ to the new function.
This value controls whether the types of undocumented parameters and return values are documented when autodoc_typehints is set to description.
The default value is "all", meaning that types are documented for all parameters and return values, whether they are documented or not.
When set to "documented", types will only be documented for a parameter or a return value that is already documented by the docstring.
With "documented_params", parameter types will only be annotated if the parameter is documented in the docstring. The return type is always annotated (except if it is None).
Added in version 4.0.
Added in version 5.0: New option 'documented_params' is added.
A dictionary for users defined type aliases that maps a type name to the full-qualified object name. It is used to keep type aliases not evaluated in the document. Defaults to empty ({}).
The type aliases are only available if your program enables Postponed Evaluation of Annotations (PEP 563) feature via from __future__ import annotations.
For example, there is code using a type alias:
from __future__ import annotations AliasType = Union[List[Dict[Tuple[int, str], Set[int]]], Tuple[str, List[str]]] def f() -> AliasType: ...
If autodoc_type_aliases is not set, autodoc will generate internal mark-up from this code as following:
.. py:function:: f() -> Union[List[Dict[Tuple[int, str], Set[int]]], Tuple[str, List[str]]] ...
If you set autodoc_type_aliases as {'AliasType': 'your.module.AliasType'}, it generates the following document internally:
.. py:function:: f() -> your.module.AliasType: ...
Added in version 3.3.
|
||||||
correct_starring_00069
|
FactBench
|
1
| 58 |
https://www.redchillies.com/10-years-of-om-shanti-om-5-reasons-why-it-was-one-of-the-most-iconic-films-of-the-decade
|
en
|
10 Years of ‘Om Shanti Om’: 5 reasons why it was one of the most iconic films of the decade! – Red Chillies Entertainment
|
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[] |
[
""
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en
|
https://www.redchillies.com/10-years-of-om-shanti-om-5-reasons-why-it-was-one-of-the-most-iconic-films-of-the-decade
|
‘Om Shanti Om’, which released in the year 2007, celebrates its 10 year anniversary today. The film, which starred Shah Rukh Khan, marked the debut of Deepika Padukone and directorial debut of Farah Khan. With a plot that paid tribute to classic Bollywood films and a song that brought together the who’s who of Bollywood, ‘Om Shanti Om’ garnered critical acclaim and box-office success. Here are five reasons why ‘Om Shanti Om’ was one of the most iconic films of the decade:
Timeless Entertainer
‘Om Shanti Om’ has all the ingredients of a blockbuster film: Romance, drama, action, comedy, entertainment, melodies and more. The film has stood the test of time because it beautifully weaved these magical elements together.
Timeless Romance
Om and Shanti’s romance is the stuff fairy tales are made of! Their love transcends time and space and makes us believe in true love!
Timeless Tunes
Composed by Vishal-Shekhar, the film’s music is still etched in people’s hearts. From the mesmerizing ‘Aankhon Mein Teri’ to the foot-tapping ‘Dard-e-Disco’, ‘Om Shanti Om’ is truly a landmark album.
Timeless Drama
Bollywood blockbusters are incomplete without a pinch of drama. For Om Shanti Om, Farah Khan roped in the inimitable Kirron Kher for the job.
Timeless Comedy
Timeless comedies are those that make you laugh even when you have watched the scene before /heard the joke before! ‘Om Shanti Om’ easily is a timeless comedy because of its fresh brand of humor.
|
|||||||
correct_starring_00069
|
FactBench
|
3
| 41 |
https://www.are.na/tj-freda/movie-titles-_4twvjgaakm
|
en
|
Are.na
|
https://images.are.na/eyJidWNrZXQiOiJhcmVuYV9pbWFnZXMiLCJrZXkiOiIyNTgwNjY1Ny9vcmlnaW5hbF80N2VkYjMwNDJmYmM0NzRkNTA3NWY2MTFlNmVkODU1Mi5wbmciLCJlZGl0cyI6eyJyZXNpemUiOnsid2lkdGgiOjEyMDAsImhlaWdodCI6MTIwMCwiZml0IjoiaW5zaWRlIiwid2l0aG91dEVubGFyZ2VtZW50Ijp0cnVlfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sImpwZWciOnsicXVhbGl0eSI6NjV9LCJyb3RhdGUiOm51bGx9fQ==?bc=0
|
https://images.are.na/eyJidWNrZXQiOiJhcmVuYV9pbWFnZXMiLCJrZXkiOiIyNTgwNjY1Ny9vcmlnaW5hbF80N2VkYjMwNDJmYmM0NzRkNTA3NWY2MTFlNmVkODU1Mi5wbmciLCJlZGl0cyI6eyJyZXNpemUiOnsid2lkdGgiOjEyMDAsImhlaWdodCI6MTIwMCwiZml0IjoiaW5zaWRlIiwid2l0aG91dEVubGFyZ2VtZW50Ijp0cnVlfSwid2VicCI6eyJxdWFsaXR5Ijo2NX0sImpwZWciOnsicXVhbGl0eSI6NjV9LCJyb3RhdGUiOm51bGx9fQ==?bc=0
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[] |
[] |
[] |
[
""
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Are.na is a platform for connecting ideas and building knowledge
|
en
|
/favicon.svg
|
Are.na
|
https://www.are.na/tj-freda/movie-titles-_4twvjgaakm
|
This channel appears in
Example Channel, Example Channel, Example Channel, Example Channel, Example Channel, Example Channel, Example Channel, Example Channel, Example Channel, Example Channel, Example Channel, Example Channel
|
||
correct_starring_00069
|
FactBench
|
0
| 14 |
https://search.library.wisc.edu/catalog/9910059059102121
|
en
|
Madison Libraries
|
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[] |
[] |
[
""
] | null |
[] | null |
en
| null |
A romantic saga of a boy next door, Om Prakesh Makhija, who works as a junior artiste in bollywood in the 70's. He is madly [in] love with the superstar of that time, Shantipriya. His dreams and aspirations to become a superstar and be with his lady love are thwarted as he witnesses the brutal murder of his beloved Shantipriya by a mercenary producer Mukesh Mehra. Om Prakash dies trying to save his Shanti. But destiny has something else in store when 'Om Prakash' a junior artiste returns as 'Om Kapoor' the superstar of 2007!! His journey of rediscovering himself, his past life and avenging the death of his beloved is the story of 'Om Shanti Om!'
|
|||||||
correct_starring_00069
|
FactBench
|
3
| 16 |
https://dejareviewer.com/2016/08/16/movies-with-the-movie-in-the-title/
|
en
|
Movies with ‘The Movie’ in the Title
|
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[
"Robert Lockard",
"the Deja Reviewer →"
] |
2016-08-16T00:00:00
|
It seems almost passé to include “The Movie” in a movie title. We all know that you’re making a movie. You don’t need to literally spell it out for us. But some movies over the years have seen it necessary to do so. And we’re going to explore why certain movies have or have not…
|
en
|
Deja Reviewer
|
https://dejareviewer.com/2016/08/16/movies-with-the-movie-in-the-title/
|
It seems almost passé to include “The Movie” in a movie title. We all know that you’re making a movie. You don’t need to literally spell it out for us. But some movies over the years have seen it necessary to do so. And we’re going to explore why certain movies have or have not used “The Movie” in their titles.
And at the end I’ll share two final example of films from the same series that helped me form a theory about why “The Movie” is no longer necessary. Let’s get this “The Movie” discussion in motion!
Comic Books Then and Now
“The Movie” is only necessary when you have an established intellectual property that people recognize in one format, and it is now being transformed into a film. Comic books are a great example of this. 1966’s Batman: The Movie was the progenitor of the modern superhero film. A lot of people prefer to ignore its place atop the pantheon of comic book movies, but its wonderfully ridiculous tone makes an enjoyable comedy, even if it doesn’t take its source material seriously at all. Superman: The Movie came more than a decade later. Neither of these films actually has “The Movie” on their title screens. It’s just on the box art and marketing for the films.
The thing is, Superman: The Movie deserves its name because “The Movie” signifies that it is the definitive take on the character of Superman in a film. And that is absolutely true. Christopher Reeve’s portrayal of Superman is (and probably always will be) the best. Everyone else who has come after him has been a reaction to his brilliant performance. Interestingly enough, Alexander and Ilya Salkind went on to produce Supergirl and Santa Claus: The Movie, so they weren’t exactly consistent in their use of “The Movie” in their film titles.
Batman: The Movie, on the other hand, is nowhere near the most iconic take on the Dark Knight. The film is a farce. A funny one, mind you, but still a farce. More definitive versions of Batman came with 1989’s Batman and 2008’s The Dark Knight. Batman: The Movie may not be the film by which all other Batman films are judged, but it wasn’t really trying to be. It was simply the first attempt to translate the style of a comic book into a film, complete with “Biff” and “Pow” words showing up on screen when characters get punched or kicked. So in that case, it was just trying to announce that it was a silly comic put to film. And it succeeded in the attempt.
Since 1989, very few comic book movies have actually used “The Movie” in their titles. The only one that comes to mind is 1990’s Teenage Mutant Ninja Turtles. I distinctly remember the VHS copy of that film had “THE MOVIE” under the title to underscore the fact that it was not the cartoon show… even though the design of the title in the film mirrors the one used in the old cartoon show.
All of the other Turtles movies have wisely avoided any reference to “Movie” in their titles. Once the first film breaks the mold and shows that it’s more than its comic book and animated TV show roots, its sequels, reboots, and reimaginings are free to coast in its wake.
X-Men, Spider-Man, V for Vendetta, Watchmen, Iron Man, and other comic book adaptations are also free to build on the goodwill of the original Batman and Superman films that came before them and leave off any reference to “The Movie” in their titles because people already understand that they’re watching a movie, not reading a comic book.
Action Figures
Comic book films are good vehicles for selling action figures, but action figures don’t always have be inspired by a film. Sometimes they inspire action-packed movies. The Transformers: The Movie is an animated film that debuted 30 years ago in the middle of the original TV series’ four-season run. And the whole purpose of that show was to sell the preexisting toys. But it somehow managed to offer memorable characters and fun stories and even became a beloved childhood memory to many people because there was more in it than meets the eye.
The clumsily titled The Transformers: The Movie wasn’t exactly a box-office smash, but it paved the way for 1987’s G.I. Joe: The Movie, which I would argue is a brilliant film. Both of those films got the live-action treatment more than two decades later in the forms of 2007’s Transformers and 2009’s G.I. Joe: The Rise of Cobra, as well as their sequels. Again, neither of those live-action films had to say they were movies in their titles because the precedent had already been set.
Also, in 2014 we got the surprisingly fantastic The Lego Movie, which had no business being as great as it was. It’s probably the most iconic way to make a movie about toys, right up there with the Toy Story films. The Lego Batman Movie is coming up in 2017, so it looks like the Dark Knight is returning to his old ways. Let’s hope it’s a teensy bit less campy than Batman: The Movie.
TV Shows
We sometimes see TV show-based films using “The Movie” in their titles to avoid confusion. These include:
Twilight Zone: The Movie
Mighty Morphin Power Rangers: The Movie
Mystery Science Theater 3000: The Movie
Hannah Montana: The Movie
Angry Video Game Nerd: The Movie (which is based on an Internet video series, but close enough)
Absolutely Fabulous: The Movie
Other films add to their TV show titles, like
Twin Peaks: Fire Walk with Me
Kids in the Hall: Brain Candy
X-Files: Fight the Future
South Park: Bigger, Longer & Uncut
The film version of Police Squad comes up with a creative title that references the sadly short-lived TV show it is based on: The Naked Gun: From the Files of Police Squad. When Firefly got the big-screen treatment, writer/director Joss Whedon gave it the more specific name of Serenity, which is the name of the Firefly-class starship featured in the TV show, rather than calling it Firefly: Serenity or Firefly: The Movie.
But the most popular thing to do seems to be to just leave the title alone and let it speak for itself. Can you imagine The Fugitive being called The Fugitive: The Movie? That would just sound terrible. The same thing goes for these TV-shows-turned-films:
The Untouchables
The Beverly Hillbillies
George of the Jungle
The Avengers (1998)
Sex in the City
The A-Team
Land of the Lost
The Green Hornet
The Dukes of Hazzard
Not all of those films are great, but at least they had the good sense to leave “The Movie” off their titles and just trust that audiences are smart enough to tell the difference between the show and the movie. They all learned from The Transformers: The Movie.
Saturday Night Live
Let’s get a little more specific and talk about multiple movies inspired by a single TV show. Films based on Saturday Night Live skits usually have pretty straightforward names, like The Blues Brothers, Wayne’s World, A Night at the Roxbury, Superstar, and The Ladies Man. But the one that stands apart from the rest is, appropriately, It’s Pat… The Movie. It’s Pat is the rare movie that is just about universally hated by everyone who’s actually taken the time to see it. It’s the lowest-rated entry in the collection of SNL movies for good reason.
Cartoons
Animated films based on cartoon TV shows are a mixed bag when it comes to their titles. Some fit a nice mold by having “The Movie” at the end of their title, like Jetsons: The Movie and Tom and Jerry: The Movie, and Hey Arnold! The Movie. But most of them do something a little different, putting “The” and “Movie” on opposite sides of the full title:
The PowerPuff Girls Movie
The Wild Thornberrys Movie
The Lizzie McGuire Movie
The Simpsons Movie
The Peanuts Movie
The SpongeBob SquarePants Movie
The SpongeBob Movie: Sponge Out of Water
Shawn the Sheep Movie
The Care Bears movies mostly fit this pattern with The Care Bears Movie and Care Bears Movie II: A New Generation while the Rugrats movie titles are bit of both with a third category thrown in at the end:
The Rugrats Movie
Ragrats in Paris: The Movie
Rugrats Go Wild
Here are a few other animated films that take the Rugrats Go Wild approach and do something different with the titles of the animated series they’re based on:
The Chipmunk Adventure
Duck Tales: Treasure of the Lost Lamp
Batman: Mask of the Phantasm
Beavis and Butt-head Do America
Plus, I know it’s not a cartoon, but Pee-Wee’s Playhouse is about as close to a cartoon as live action gets. And Pee-Wee’s Big Adventure is no less zany than that TV show.
First of Its Kind
While we’re on the topic of animated films, let’s be sure to mention the ones based on Pokémon:
Pokémon: The First Movie – Mewtwo Strikes Back
Pokémon: The Movie 2000 – The Power of One
Pokémon 3: The Movie
Pokémon 4: The Movie
Pokémon managed to get away with audaciously calling its first film “The First Movie” because the popularity of the video game and TV series it spawned virtually guaranteed its box-office success. Plus, they had already basically completed the second film when the first one was released.
If you want to see an example of this strategy backfiring, look no further than Doug’s 1st Movie. Not even Disney could dig its way out of the hole it dug for itself with that flop.
Here are a few other animated movies that are either similar to Pokémon or based on a video game:
Digimon: The Movie
Yu-Gi-Oh!: The Movie
The Angry Birds Movie
Okay, This Is Getting Ridiculous
Let’s end with some funny entries that make a point of ridiculing their own existence.
Aqua Teen Hunger Force Colon Movie Film for Theaters is the insanely long title of the “movie film” based on Aqua Teen Hunger Force. I just love that they spell out the colon and where the film is meant to be shown. It treats its audience like a bunch of numbskulls, and I personally thoroughly enjoyed it.
Another Adult Swim show (Tim and Eric Awesome Show, Great Job!) got a sizable budget increase to make Tim and Eric’s Billion Dollar Movie.
I never watched much of Drawn Together, but how can anyone not think that The Drawn Together Movie: The Movie! is hilarious? They combine the two main ways of putting “The Movie” in a title, and the result is glorious to behold.
An Alan Smithee Film: Burn Baby Burn has a fascinating backstory because apparently the director was trying to make a commentary on studio meddling and filmmakers wanting to take their names off of projects to protect their integrity. The problem is that life imitated art, and the director was so frustrated with the resulting film that he actually took his name off the project, and An Alan Smithee Film: Burn Baby Burn’s directing credit went to… Alan Smithee!
Just one more. During the end credits of Bill & Ted’s Bogus Journey, newspaper headlines are flying by, showing the Wyld Stallyns’ exploits. At one point, a Hollywood magazine excitedly announces the production of “Bill & Ted: The Movie!” How meta.
Star Trek: The Movie
In conclusion, there are two films that sum up the trend of adding “The Movie” to film titles:
1979’s Star Trek: The Motion Picture
2009’s Star Trek
Both of those films launched new Star Trek film series. The earlier one felt the need to add gravitas to its title by appending it not with the standard “The Movie,” but the much loftier sounding “The Motion Picture.” Why say something quick when you can draw it out and make it as long as possible? The latter Star Trek film, however, wastes no time telling you what it is. And the differing approach of their titles lends itself to the two films’ diverging paces. One takes its time while the other is anxious to get where it’s going as quickly as possible.
Perhaps audiences’ desire for faster-paced entertainment is the reason we don’t see many movies that take the time to add “The Movie” to their titles anymore. That’s my theory.
This is the Deja Reviewer bidding you farewell until we meet again.
|
|||||
correct_starring_00069
|
FactBench
|
0
| 43 |
https://www.republicworld.com/entertainment/bollywood/this-actor-suggested-farah-khan-to-consider-deepika-for-om-shanti-om
|
en
|
Did you know this actor suggested Farah Khan to consider Deepika for 'Om Shanti Om'?
|
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[] |
[] |
[
"Deepika Padukone",
"deepika padukone trivia",
"deepika padukone news",
"deepika padukone's movies"
] | null |
[
"Riddhi Adsul",
"Republic World",
"www.facebook.com"
] |
2020-07-13T12:57:42+05:30
|
en
|
../../favicon.ico
|
Republic World
|
https://www.republicworld.com/entertainment/bollywood/this-actor-suggested-farah-khan-to-consider-deepika-for-om-shanti-om
| ||||||
correct_starring_00069
|
FactBench
|
1
| 19 |
https://www.cinestaan.com/movies/om-shanti-om-10327/cast-crew
|
en
|
Om Shanti Om (2007) Cast - Actor, Actress, Director, Producer, Music Director
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[] | null |
Directed by Farah Khan, Hindi movie Om Shanti Om stars and in the lead role. Know the full star cast of Om Shanti Om film like producer, music director, singers, writer and others only at Cinestaan.
|
/apple-touch-icon.png
|
Cinestaan
|
https://www.cinestaan.com/movies/om-shanti-om-10327/cast-crew
|
Om Shanti Om Cast & Crew
Welcome to the complete cast and crew page for Om Shanti Om (2007) on Cinestaan.com. Here you will find the full list of cast and crew who have worked on Om Shanti Om (2007). You can also view the crew by department using the drop-down menu. If you are aware of any name that ought to be here but is not, please get in touch with Cinestaan.com using the Feedback link at the bottom of this page.
|
|||||
correct_starring_00069
|
FactBench
|
2
| 60 |
https://www.curetoday.com/view/beverly-hills-90210-actress-shannen-doherty-dies-from-breast-cancer
|
en
|
Beverly Hills, 90210 Actress Shannen Doherty Dies From Breast Cancer
|
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[] |
[] |
[
"shannen doherty",
"beverly hills 90210",
"breast cancer",
"charmed"
] | null |
[
"Darlene Dobkowski, MA"
] |
2024-07-14T13:38:01.896000+00:00
|
Actress Shannen Doherty has been open about her experience with breast cancer over the last few years as a way to help other people.
|
en
|
/favicon.ico
|
Curetoday
|
https://www.curetoday.com/view/beverly-hills-90210-actress-shannen-doherty-dies-from-breast-cancer
|
Shannen Doherty, actress known for her roles on “Beverly Hills, 90210” and “Charmed,” among others, has died at the age of 53 from breast cancer.
Doherty received her first diagnosis of breast cancer in 2015, then again in 2017 after she was in remission. In recent years, she has reported that the disease metastasized to her brain and then her bones.
“It is with a heavy heart that I confirm the passing of actress Shannen Doherty,” Leslie Sloane, her longtime publicist, confirmed in a statement to PEOPLE magazine on July 14. “On Saturday, July 13, she lost her battle with cancer after many years of fighting the disease. The devoted daughter, sister, aunt and friend was surrounded by her loved ones as well as her dog, Bowie. The family asks for their privacy at this time so they can grieve in peace.”
Throughout her career, she appeared in approximately 20 films and 40 television shows. Doherty’s career started in 1982 on several shows like “Little House on the Prairie” and “Father Murphy.” Her first major film role was in the movie “Heathers” in 1988.
Doherty played the role of Brenda Walsh in the original “Beverly Hills, 90210” in October 1990, which she left in 1994. She played the role again during several guest appearances for the show’s reboot, “90210” in 2008. She also played the role of Prue Halliwell in the show “Charmed,” in addition to directing several episodes.
According to a story on E! News, she opened up about her experience with cancer as a way to inspire others.
“I want to be a beacon of light for other people, or at least somebody that people can relate to, and that we can have an honest conversation and talk about how hard it is,” Doherty said in an interview with ABC News. “I do want to be raw and honest about it.”
Several of her costars and colleagues have commented on Doherty’s death on social media.
Eric West wrote on X, formerly Twitter, “My heart is broken. It was a pleasure to meet Shannen Doherty while filming our movie Fortress a little over 2 years ago! She was full of warm energy and positive vibes. So young. So talented. May she rest well.”
“I’m so sad to hear this news,” Katie Couric wrote on Facebook.
|
||||
correct_starring_00069
|
FactBench
|
0
| 79 |
https://dontcallitbollywood.com/2017/09/24/om-shanti-om-mini-review-everything-is-fake-but-the-feelings/
|
en
|
Om Shanti Om Mini-Review, Everything is Fake But the Feelings
|
http://img.youtube.com/vi/r2P77K98lT0/0.jpg
|
http://img.youtube.com/vi/r2P77K98lT0/0.jpg
|
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2017-09-24T00:00:00
|
Well, my view counts are down! Stupid bad Hindi new releases, ruining my blog. Anyway, in a painfully obvious attempt to woo readers, I am putting up a tiny quickie review of one of the big hits of the past that I haven't happened to cover before. Om Shanti Om! I watched Om Shanti Om…
|
en
|
https://s1.wp.com/i/favicon.ico
|
dontcallitbollywood
|
https://dontcallitbollywood.com/2017/09/24/om-shanti-om-mini-review-everything-is-fake-but-the-feelings/
|
Well, my view counts are down! Stupid bad Hindi new releases, ruining my blog. Anyway, in a painfully obvious attempt to woo readers, I am putting up a tiny quickie review of one of the big hits of the past that I haven’t happened to cover before. Om Shanti Om!
I watched Om Shanti Om in theaters right before I left town for Thanksgiving. And essentially that whole holiday was just about me and my sister (who also saw it right before leaving town) talking about how wonderful this movie was. And then it came out on DVD, I bought the big fancy special edition case, and literally carried it with me everywhere for about a year. Just in case I had an Om Shanti Om emergency.
It’s just the happiest film! It’s like Rasa theory-plus. Rasa theory says that there should be a variety of emotions and moods in any work of art. Om Shanti Om takes that and ramps it up to a thousand. Without somehow falling over into being too much. Or too little, there is no sense of cynicism here, they sincerely believe in this plot.
Have you heard of the emotions study they did with children? I don’t actually remember what they were studying, but for some reason they wanted a bunch of small children to feel a variety of different emotions in rapid succession. So they showed them ET, which was the best Hollywood option for that. But in Indian film, there are SO MANY OPTIONS. And Om Shanti Om is definitely high on the list.
What makes it so good, and so unique, is the mixture of silly and serious with no holding back on either. Main Hoon Na already tried this out, we had the over the top fight scenes, the silly Boman Irani jokes, and the completely serious family drama. But Om Shanti Om went even farther, in both directions.
The opening is completely silly, and joyful, inserting Shahrukh as an enthusiastic extra to the “Om Shanti Om” song sequence in Karz. And the silliness continues, Kirron Kher as his filmi mother, Shreyas Talpade as his ridiculously supportive friend. But when it has to get serious, it does.
One of the best sequences is the Mother India one, when Shahrukh rushes in to save movie star Deepika when a stunt goes wrong and she is trapped in the fire. The moment when he risks his life to save her is filmed completely “straight”. He is brave and heroic and strides out of the fire with her in his arms. But right before that is a wall breaking moment of the director mentioning Mother India and trying to get the actor to rush in and save Deepika just like Sunil saved Nargis. And right after, as soon as Deepika has been taken away, Shahrukh turns back to comedy, jumping around and trying to put out the fire on his arm.
As the film goes on, the moments of tragedy and comedy mix more and more. And it begins to be clear that this is actually the theme of the film. The movie world is a place of happiness and silliness and fantasy. But underneath it can be tragedy.
The “Jag Suna” and “Agar Main Kahoon” songs work as perfect companion pieces to each other in this way. “Agar Main Kahoon” (clearly inspired by “You Were Meant for Me” from Singin’ in the Rain) shows how sometimes “movie magic” intersects with real magic. And pales in front of it, Shahrukh and Deepika having tea in wine glasses has a lot more magic to it than all the backdrops and special lighting on all the soundstages. But the lighting and soundstages are there to help them find a place outside that feels as special as they feel right now inside.
And then there’s “Jag Suna”. Now, Shahrukh is filled with misery. A second earlier it was funny, he was sneaking onto a set to meet Deepika. And then he finds out she is married and his heart breaks. It’s mostly in his performance, his face sells his misery. But then he walks out into a storm, falling leaves, blowing wind, etc. The environment is reflecting his feelings, just like almost always in films, until we see that it isn’t actually the environment. There is a camera on a crane, a big fan blowing leaves, it’s all fake!
What makes it really brilliant is that we go from seeing Shahrukh in the fake sad environment to seeing him a whole series of other fake representations. A billboard of Deepika, a glass music box, sitting on a soundstage, in front of a fake mansion. Culminating in a fake Holi celebration. But the point is, we can see that the world he is in may be fake, but his feelings are real.
That’s the beauty of this film. Everything is fake but the feelings, which makes the feelings feeling so much more real.
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https://bollywood.fandom.com/wiki/Om_Shanti_Om
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Om Shanti Om
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2024-07-03T16:38:30+00:00
|
Om Shanti Om (Hindi: ओम शान्ति ओम) is a 2007 Bollywood musical film directed and published in 2023 choreographed by tejas . It stars shashikanth and Deepika Padukone in the lead roles as the protagonists while chidanand ,karthik raja and Kirron Kher feature in supporting roles. Ankitha is the...
|
en
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/skins-ucp/mw139/common/favicon.ico
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Bollywood Wiki
|
https://bollywood.fandom.com/wiki/Om_Shanti_Om
|
Om Shanti Om (Hindi: ओम शान्ति ओम) is a 2007 Bollywood musical film directed and published in 2023
choreographed by tejas . It stars shashikanth and Deepika Padukone in the lead roles as the protagonists while chidanand ,karthik raja and Kirron Kher feature in supporting roles. Ankitha is the antagonist in the movie. More than forty two well-known Bollywood stars appear in the course of the film, including thirty of them (not including the stars of the film) in one song alone.
Story[]
Protagonist Om Prakash Makhija (Shahrukh Khan) is a junior artist in the 1970s Bollywood film industry. He and his friend Pappu (Shreyas Talpade) are trying to succeed as leading actors. Om's mother, Bela Makhija (Kirron Kher), herself a junior artist, inspires and encourages her son to become a success. He is in love with the film actress Shanti Priya (Deepika Padukone).
One evening, Om views the premiere of Shanti Priya's film Dreamy Girl, claiming he is the actor Manoj Kumar. Here, scenes from older Bollywood films are used to form the scenes seen by Om on screen. He is shown fantasizing himself as its lead and catching Shanti Priya's eye before Dreamy Girl begins and during its display. Later that night, Om becomes drunk and describes his vision of himself as a famous, wealthy film star to Pappu and some local children. During his speech, references are made to the Law of Attraction, creating an axiom that recurs throughout the story.
On another occasion, during a shooting of a film wherein Om is acting as a scene-extra, he notices Shanti trapped in the middle of a fire scene where the fire has escaped control. When the lead actor of the film fails to save her, Om saves her instead and they become friends. He initially attempts to overawe her by pretending that he is the lead and producer of his own films, but ultimately confesses and finds the attempt unnecessary. That night, Om invites Shanti to a film set, where Om, assisted by Pappu, uses props and several backgrounds to create fantastic backgrounds against which develops a romantic song sequence.
The following day, Om tries to talk to Shanti on the set of a film, but is almost ignored. He follows her into a dressing-room, where he, unseen except by the viewer, overhears her argument with the film's producer Mukesh Mehra (Arjun Rampal) about a recent promise of Mukesh's to marry a businessman's daughter in return for funding of a film. It is here revealed that Shanti is secretly married to Mukesh, and that Shanti is pregnant with Mukesh's child. Mukesh insists that his relationship with Shanti be kept secret, arguing that its revelation will spoil his plans, but Shanti demands that they marry in public. Mukesh relents when she reveals her pregnancy. Om leaves, disappointed, and remains miserable for some days.
One night, Om notices Mukesh escorting Shanti to the set of their planned film Om Shanti Om. Inside, Mukesh tells Shanti that he will cancel the film, reveal their marriage to the public, and have a grand wedding in the spectacular set, but contradicts himself by blaming her for his loss of the film and its revenue, igniting a fire in the set, and leaving her imprisoned inside it. Om attempts to rescue her, but is attacked by Mukesh's men. When they leave him, Om enters the set, but is prevented by an explosion from rescuing Shanti. Om, having been fatally injured and propelled by the explosion into a road, is hit by a car owned by Rajesh Kapoor (Javed Sheikh), a well-known actor who is taking his wife (Asawari Joshi) to a hospital for the birth of their child. Rajesh Kapoor then takes Om to the hospital with them, but Om dies of his injuries. Moments later, a son is born to Rajesh Kapoor, who is named Om and implied to be Om Prakash's reincarnation. The film then cuts to the younger Om's adulthood, wherein he is a popular movie star and lives an extravagant, luxurious life. He experiences pyrophobia and appears overall to be a younger, more impatient, brusquer, and less emotionally mature version of his previous self. It is shown through some scenes that he subconsciously inherits Om Prakash's memories.
Having been introduced to Om Kapoor, his lifestyle, and his nickname of "O.K.", viewers see him becoming aware of Om Prakash's memories when his film crew use the site of Om Prakash's death as the setting of his new film. Here, O.K. sees images of Mukesh's argument with Shanti Priya, which vanish when he is disturbed by a crewmember. Later, O.K. is awarded 'Best Actor' during a ceremony featuring both existing and fictional Bollywood films and film stars (listed below). When making a speech of acceptance for this award, O.K. unexpectedly recalls the drunken speech Om Prakash had made to Pappu, and makes it to the assembly who have awarded him. Pappu, seeing this broadcast on television, is convinced to share Bela's conviction that O.K. and Om Prakash are the same man. At a celebration of his award (again featuring numerous Bollywood film stars, and accompanied by a song whose refrain is the film's title), O.K. is introduced by his father to Mukesh Mehra, who has been producing films in Hollywood for thirty years. Upon seeing him, O.K. becomes aware of all of Om Prakash's memories. He conceals his knowledge of Mukesh's past, but later reunites with Bela and Pappu. He then conspires with them to avenge Shanti Priya's death by terrifying Mukesh into confessing his role therein.
As a disguise and framework for this plan, O.K. convince Mukesh to recreate Om Shanti Om, altering the plot to fit their designs. It is then shown that the central part of their scheme consists of convincing Mukesh that Shanti Priya's ghost is haunting him, thereby frightening him into revealing his role in Shanti's death. To achieve this, they hold auditions for an actress who resembles Shanti Priya to the extent that seeing her unexpectedly appear and seem to vanish will startle Mukesh. They find an actress named Sandhiya ("Sandy" for short), who is a huge fan of O.K., though she is very clumsy but her resemblance to Shanti is uncanny. O.K. and his co-conspirators train Sandy to represent Shanti's ghost, but achieve no success, on account of her clumsiness, until they have told her the entirety of their plans and the reason thereof. Thereafter the filming begins. Throughout the film shootings, O.K. and his friends arrange incidents, some involving brief appearances by Sandy, that frighten Mukesh, arrange the situation itself to remind him of his crime, and exacerbate his fear almost to insanity in their (chiefly O.K.'s) conversations with him. Their plan goes awry when Mukesh investigates their arrangements and begins to suspect that they are deceiving him. During the music launch of the film, O.K. taunts Mukesh by revealing the extent to which he knows the story of Shanti Priya's death, in the process implying that his film's plot imitates that story. Toward the end of this scene, Mukesh pursues Sandy and sees that she is capable of bleeding, persuading him that she is not a ghost.
After the celebration, O.K. and Mukesh confront each other with their knowledge of each other's actions. They are interrupted when a figure whom they think to be Sandy appears on the nearby stairwell and reveals that Mukesh had returned to the burning film set after its explosion, found Shanti dying but not dead, and buried her in the center of the set, beneath its chandelier. Mukesh himself is killed when an identical chandelier, located in the same position, falls onto him, having come loose during the celebration. Moments later, Pappu and Sandy join O.K., whereupon O.K. realises that the figure who challenged Mukesh is Shanti Priya's ghost. As he realises this, the ghost smiles and runs up the stairwell and then disappears. Om Kapoor and Sandy walk hand and hand together towards the door, ending the spectacular film of Om Shanti Om.
Cast[]
Shahrukh Khan ... Om Prakash Makhija/Om Kapoor
Deepika Padukone ... Shanti Priya/Sandhya
Arjun Rampal ... Mukesh Mehra "Mike"
Shreyas Talpade ... Pappu Master
Kirron Kher ... Bela Makhija
Javed Sheikh ... Rajesh Kapoor
Bindu Desai ... Kamini
Asawari Joshi ... Lovely Kapoor
Yuvika Chaudhary ... Dolly
Shawar Ali ... Shawar
Girija Sarangi ... Taxi Driver
Special appearances during the song "Deewangi Deewangi" (in alphabetical order) by:
Aftab Shivdasani
Amrita Arora
Arbaaz Khan
Bobby Deol
Dharmendra
Dino Morea
Govinda
Jeetendra
Juhi Chawla
Kajol
Karisma Kapoor
Lara Dutta
Malaika Arora
Mithun Chakraborty
Preity Zinta
Priyanka Chopra
Rani Mukerji
Rekha
Ritesh Deshmukh
Saif Ali Khan
Salman Khan
Sanjay Dutt
Shabana Azmi
Shilpa Shetty
Sunil Shetty
Tabu
Tusshar Kapoor
Urmila Matondkar
Vidya Balan
Zayed Khan
Other Special appearances (in alphabetical order) by:
|
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https://paridhipuri.substack.com/p/bollywood-mythmaking-in-om-shanti
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en
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Bollywood Mythmaking in Om Shanti Om
|
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"Paridhi Puri"
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2023-02-15T07:37:24+00:00
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How Farah Khan's magnum opus explores stardom, the business of movies and parasocial relationships in a prescient gaze of meta genius
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en
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https://substackcdn.com/image/fetch/f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2Fa70c462b-da6e-4e47-9324-cec7c13820f7%2Ffavicon.ico
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https://paridhipuri.substack.com/p/bollywood-mythmaking-in-om-shanti
|
Om Shanti Om, very fittingly, begins with the eponymous song from Karz (1980) being shot by its director Subhash Ghai (erstwhile known for making cameos in his own films). We see Om Prakash Makhija — a fan with big dreams cheering for Rishi Kapoor as he dances. A junior artist with dreams of stardom, he has an epiphany — and suddenly it's Om in Rishi's shoes, dancing to ‘Om Shanti Om’ and belting out the lyrics as a youth icon. He is flanked (in a moment of meta-genius) by the film’s director Farah Khan in an uncredited appearance as they rib each other about both of them being nobodies, in the big-wig world of Bollywood. This sets the template for what's to follow — the audience is informed immediately that the line between reel and real is blurred in the world of this film.
Om Shanti Om, in essence, is built on contradictions. It’s a story about Bollywood's biggest self-made superstar essaying the role of a reincarnated star kid to fulfill his dreams. It's a story of an actress in a role of a lifetime that would prove extremely prescient of her own stardom to follow. It celebrates and reviles show business, calls out its corrupt institutions — and unites multiple generations of stars as they dance to a single once-in-a-lifetime tune. The thing about the film that makes it stand out so distinctly among a plethora of masala, massy films is how exceedingly clever it is. In building this mythology about Bollywood, its machinations and the waking dreams of artists, Farah Khan weaves a three hour showcase delectably filled with tributes to yesteryear maestros, heady camp, and frames that reference stories told and untold. The film straddles the past and the present, breaks the border between reality and fiction — and the consequent genre anarchy that blends comedy, drama, horror and romance is something pop culture still swears by, fifteen years on. Simply speaking, it's a massive fucking feast.
Myths are traditional stories passed down from generations, a ubiquitous record of our history and culture, while simultaneously asking us to confront questions about its authenticity and origin. This is true about Bollywood too — the lore and legend surrounding people and events — are they hearsay? Have they undergone historical revisionism, evolved into something farther away from the truth, or were they just a rumor to begin with? This article explores the myths pieced together in the film — how it is inextricably linked to the careers of its creators, the zeal with which it serenades Bollywood as the proverbial main character, how the exalted soundtrack functions as a key narrative device, and its engagement with the concepts of fandom as well as parasocial relationships in an extremely revelatory way.
I cannot write about Om Shanti Om without talking about my personal relationship with Bollywood, and how the memories of the film shaped my attachment to cinema in more than one way. The film released in 2007, a year I consider sacrosanct for Bollywood as a film industry — umpteen film releases that made their mark on popular culture and have immense recall value. For me, a then six year old, it marks my earliest burgeoning memories of consuming cinema — I remember my school taking my entire class of first graders to watch Taare Zameen Par in the theaters; the time my father took me to watch Chak De India! twice and my family rented a DVD of Welcome — to the time we bought a pirated CD of Jab We Met, which I watched so many times as a six year old that I would recite the entire film, with dialogues, to my mother, who would delight at my mimicry of Geet. My impromptu dance sessions in the rain to ‘Barso Re’ from Guru, to the time I watched Bhool Bhulaiyaa with my cousins shivering in terror back in my maternal grandmother's place in Amritsar, Punjab — the year is extremely formative to my identity as a cinema and pop culture aficionado. It is then fitting that Om Shanti Om is a film characterized by its passionate love for Bollywood as an entity — its history, the talent it has birthed, and the masses of fans who worship their screen idols.
"itni shiddat se maine tumhe paane ki koshish ki hai, ki har zarre ne mujhe tumse milaane ki saazish ki hai..”(1)
The story of Om Shanti Om begins with Farah Khan. Born in a family that worked in the industry, Khan started out as a choreographer when the veteran Saroj Khan walked out of Jo Jeeta Wahi Sikandar (1992) — thus starting the butterfly effect that would give us evergreen cinematic moments in songs like ‘Chhaiya Chhaiya’, ‘Ek Pal Ka Jeena’, ‘Ruk Jaa O Dil Deewane’ and ‘Sheela ki Jawaani’ to name a few. During her time as a choreographer for the Andrew Lloyd Webber musical Bombay Dreams (2002), Khan was dismayed by the "clichéd and outdated version" of the Indian film industry it presented, and wanted something which was more authentic and larger-than-life at the same time — and she was the perfect person to do it, in more ways than one.
Khan became a household name in the country as her oft imitated & celebrated choreography became synonymous with the actors essaying them in the memory of the public. In the process, she also established pivotal relationships with various figures — since she at some point, worked with most of them as a choreographer. It is here, in her decade-long career as a choreographer before she made her debut as a director with Main Hoon Na (2004) — that the seeds of the epic showcase that is ‘Deewangi Deewangi’ were sown. Chief amongst them is the relationship that struck on the sets of Kabhi Haan Kabhi Naa (1994) — an actor who, in the words of author Shrayana Bhattacharya in her book Desperately Seeking Shah Rukh, "—that [Shah Rukh] was india’s first post liberalization superstar, but he was liberalization. As India turned the corner into a new millennium, Shah Rukh’s face was plastered everywhere." The new hero had arrived on the block.
In Shahrukh's seventeen year long career on the silver screen before he made Om Shanti Om, he shaped our modern understanding of the dichotomy between star and actor. Ranveer Singh, in an interview with Film Companion stated, "[Shah Rukh] is a pioneer, he has made Indian entertainment what it is, such is his contribution. He made award shows, live shows, advertising, film promotions. He is the benchmark, the norm, he defines it." Shahrukh's charm as an extremely affable, charismatic 'movie star' who was raised in a middle class family with no connections to the industry and managed to build an empire for himself — made him different from his peers, whose ascent can be attributed, in some part, to nepotism. A self made man, his expression of love reigned supreme across generations while he conquered the box office, year after year, collecting awards and adoration alike.
Om Shanti Om feels like a decadent tribute to Shahrukh himself. He's the proverbial superstar Om Prakash yearns to be, a stark contrast to the likes of Om Kapoor — the legions of young 'nepo babies' who debuted in films because they'd famous surnames. His audience stretches from those gathered outside Kapoor's home (a real life parallel to the throngs who come everyday outside Khan’s home, Mannat) and those listening to Prakash give a speech holding a broken liquor bottle. It's extremely interesting how the film uses Shahrukh's celebrity as an asset — Farah knows we're in on the joke, it's visible when Om Kapoor is nominated for Best Actor multiple times for doing the repetitive romance movies — a misnomer associated with Khan's filmography in real life — here he is, with the same dialogue, the same signature step, replete with the tune of Kuch Kuch Hota Hai playing as interchangeable heroines come and swoon for him.
When Om Kapoor finally wins the Filmfare and begins delivering his speech — he's finally met with echoes of his past self, in another lifetime. We know that poor junior artist Om Prakash had to die and be born as a ‘star kid’ to achieve his dreams — a bleak and somber reality of the business that has no love for people who don't have godfathers or famous surnames. But the scene is not nihilistic, it is a beautiful irony. Here stands before you, one of the greatest showmen Indian cinema ever had. In that moment, delivering the "kehte hai, agar kisi cheez ko dil se chaaho, to poori kaaynat use tumse milaane ki koshish me lag jaati hai.."(2) stands not just Om Kapoor, or Om Prakash finally living his dream — it is as much Shahrukh Khan, the young Delhi boy who came from a middle class home, and broke every barometer of what success means in a competitive industry like that of entertainment.
This moment uniquely reminds me of Michelle Yeoh's multiverse characters in Everything Everywhere All at Once. The film is such a love letter to her decades worth of career — like this tweet here explains, her being envious of a life where she could’ve been a glamorous star is ironic. It's the same case with Michael Keaton in Birdman or (The Unexpected Virtue of Ignorance) — an aging star who's haunted by the spectre of his superhero past, wondering if the success he achieved when he was young would be the peak of his life & all he'll be known for. Keaton gives an extraordinary performance, but it is heightened further because the audience knows of his past as Batman. We look at these movies as myth making — the actor is the lore, and their truths evolve — an alternate universe here, a different time period there. This furthers my belief that biopics are rarely the creative vehicle to honor an artist’s body of work, when you see aforementioned films starring characters so deeply imbued in their legacies, a testament to their careers as much as a profession of it.
Now, about the face that launched a thousand ships. The moment Deepika Padukone is first seen on celluloid is just sheer legend — as ‘Ajab Si’ plays and she walks the red carpet, it is Om as much as it is the cine-goers who were captivated by her in real life. Merely 20 years old when she was cast, Padukone had the envious, lavish debut upcoming actors can only dream of — and the rawness of her craft is so perfectly mirrored by Sandy’s attempts to replicate Shantipriya’s persona as the former fumbles trying to dress up as her, in her attempts to learn her yesteryear dialogues, as well as cultivate the aura she had. It is an actor following in the steps of who came before them, but it is also prophetic of Padukone's career trajectory and stardom — her highs and lows, the way she stormed our screens, box office, and the brickbats she got along the way. While Padukone’s portrayal of Shantipriya made her a household name, it was the role of Sandy, which she essays in the second half of the film that speaks volumes about her journey as an actor herself. In her own words,“I had never been to a film set, didn't know how to say dialogues and basics about body language. It gives me goosebumps thinking, without knowing whether I will deliver or not, but Farah and SRK trusted me. They literally hand held me through the entire process."
Was the film and her performance(s) emblematic of the future career to follow? I ponder upon this and ask Akanksha Akella, a 22 year old lawyer and long time fan of Padukone, to which she says, "In a way, yes, it was a role prescient to her superstardom. I don't think Farah, the audience or even Deepika herself were able to gauge her acting capabilities with Om Shanti Om, but everyone knew she had ‘star quality’ since Day One. It's also a key factor as to why Deepika, and others like Kareena or Katrina have such longevity career-wise, while newer actors fade away quickly from the screen these days." While Padukone was dubbed by voiceover artist Mona Ghosh Shetty, this star quality that Farah spotted and banked on held a gravitas that was pitch perfect for her as she essayed the role of Shantipriya, a female superstar in the 70s with the moniker of the 'Dreamy Girl' — a wink, wink reference to Hema Malini, the actual Dream Girl of that era. Akella tells me, "You look at legends like Rekha, Waheeda Rehman, Asha Parekh and Hema Malini praising Deepika, and the one thing that is commonly mentioned by all of them is how graceful Deepika is on screen. While some people might continue to debate her acting as Shantipriya, one thing that is unanimous is how she perfected the body language of the '70s-80s superstar'. It is visible in her wave, in her eyebrow lift, in her smile, in her confusion, the way she pulls out her hand for Om to shake, and multiple instances throughout the film."
“Hamne teen cameras lagaye hai, Ek Satyajit Ray angle, Ek Bimal Roy angle aur ek Guru Dutt angle ekdum shadows mein”
“Ek Manmohan Desai angle laga do, kaam aayega” (3)
In her research on narrative interpretation in modern day audiences, culture scholar Margaret Mackey talks about “the kind of border play around texts in which stepping in and out of the diegetic world is a prime activity.” This is extremely apparent in the fluidity of the film’s treatment of life and art. A brilliant scene underscored by postmodern art–life intersections is in the sequence during the song ‘Dastaan-e-Om Shanti Om’ when Sandy, as Shantipriya, is trying to scare Mukesh, who tries to follow her in vain. As the camera pans out, we see the real ghost of Shantipriya look at them — she is the audience of her own life. Shanti’s presence in the song chronicling her story blurs the border between time, characters and existence.
Every sequence in Om Shanti Om rankles with the sense of high octane drama — the melodramatic mother figurative of old-school nostalgia, who tells Om that she competed with Madhubala herself for the role of Anarkali in Mughal-E-Azam (1960), the hero's sidekick played by Shreyas Talpade with gentle perfection, and the characters flitting between locations that feel like sets even when they aren't. Even the site of Shanti’s eventual death is inspired from the burnt ruins of the Colaba landmark, Mukesh Mills, which is both a popular Bollywood shoot location, and infamous for being haunted. Shantipriya’s story itself reminds one of the mysterious demise of ‘90s actress Divya Bharti. In the book The Making of Om Shanti Om by Mushtaq Sheikh, a screenwriter of the film, Farah is quoted as saying, “What works in our favour is that as Indians we have a ready reference to context memory when it comes to Bollywood. We have a song for every mood, a line for every situation, and it's all from a movie. It's this intimacy, this nostalgia that is used to create a parallel history of Bollywood. History is a huge part of this movie, it's not just a blast from the past..the movie has also made history with the brethren of the film industry pitching in with zest.”
The film’s meta structure allows for intertextuality, consisting of references to films, real life events, as well as the participation of renowned Bollywood celebrities through various cameos. When Om is told that the only word he has in a movie is the word 'Bhaago' — he proceeds to shout it in a myriad of ways, to attract maximum screen attention — a scene that reminds me of the Satyajit Ray story Patol Babu (hello, CBSE kids). The scene is about the male hero saving Shanti's damsel in distress character from a fire — but when things go awry, it's Om who jumps into the fire and saves her — a nod to the on-set accident during the production of Mother India (1957), when Sunil Dutt saved Nargis in a similar fashion. When Shanti thanks Om for saving her life, Om tells her, "Dosti ka ek asool hai madam, no sorry, no thank you - ye kisi film ka dialogue hai"(4) — she laughs and asks him if he writes dialogues too; while in the background we see a young Sooraj Barjatya overhearing the exchange — it is implied he writes it down for his maiden film, Maine Pyaar Kiya (1989). This is an excellent example of how a lot of scenes in the film serve as foreshadowing and build on the myth of real life incidents that make Bollywood the starry-eyed business it is.
In her research paper on Intertextuality in Om Shanti Om, Sudha Shastri explains, “The first impression left on the viewer by such interaction is the thrill of recognition because no other Bollywood movie until now has borrowed so diversely or eclectically or with utter disdain of ontological borders." While it begins with a scene from Karz, Om Shanti Om is also hugely inspired by Bimal Roy's Madhumati (1958), with textual references to it peppered throughout the film. One of the most joyous parts about this film is the clear influence of Dilip Kumar's performance on Shah Rukh — his own tribute to an artist he was extremely close to, and considered the spiritual successor of, in public memory. Eram Agha writes about the similarities between these Muslim superstars, separated by generations — even Shah Rukh Khan’s mother, Fatima Lateef, believed her son would be the next Dilip Kumar.
It is a truth universally acknowledged that Om Shanti Om has a brilliant soundtrack. The music elevates the consciousness of the film and relays new information, crucial character subtexts, and is hugely responsible for recreating the glamour and vibe of the ‘70s. Vishal-Shekhar were at the helm, with the duo creating a hundred tunes, out of which Farah selected about four. Mushtaq Sheikh further writes in The Making of Om Shanti Om that the secret is that she looks at the song from two levels — the director’s perspective, and the layman’s perspective. Clearly, it works.
In ‘Dhoom Taana’, the first big ‘heroine’ song of Padukone's career, Farah Khan introduces her lavishly, in a status and splendor befitting the aura of a superstar. Intertwined with scenes from real movies from that era — Karle Pyaar Karle (1970), Tadap Ye Din Raat Ki (1966), Sab Janoon Re Tori Batiyaan (1977), Dhal Gaya Din (1970) — she transports us back into that universe, as we watch it from the lens of her One True Stan, Om Prakash. Om, sitting in that theatre, imagines himself being the hero romancing Shanti onscreen— a page from ‘Vo Ladki Hai Kahaan’ in Dil Chahta Hai (2001). This euphoria of parasocial romance is at immediate odds with ‘Jag Soona Soona Lage’, where after discovering Shanti and Mukesh's undisclosed marriage and her being pregnant, Om falls into unending despair — his sense of isolation and despondence emblematic of the storm and rain raging around him, as his unrequited love goes unanswered.
In ‘Dard-e-Disco’, Farah turns the table by having Shahrukh's Om Kapoor be the object of desire in a conventional item song. Javed Akhtar’s legendary lyrics need no introduction — ‘San Francisco’ and ‘Pichle Mahine ki Chhabis’ being rhymed with ‘Dard-e-Disco’ — the entire song is poking fun at the gibberish, nonsensical meaning of the item songs that grace popular Bollywood movies, as confirmed by himself. In the process, the actor is surrounded by women fawning over him as the camera eyes his body lasciviously. Like most item songs in Indian movies, Dard-e-Disco was the fixture of the film’s marketing campaign. Vimla, who was in sixth grade when the film released, echoes this, "I remember that the promotional cycle was very heavy on SRK's new look, the abs and a newcomer in the industry, Deepika Padukone." As someone who watched it during its original run, she tells me about the audience reaction, “Watching it in a theater was a unique experience because since I was young and hadn't watched a lot of classics the movie references, I missed a lot of crumbs but the general euphoria of Dhoom Taana is infectious. Deepika's entry got a huge response. And of course, Deewangi Deewangi got everyone hooting and hollering with every celebrity appearance. When people say that Bollywood doesn't make movies like it used to, they're more often than not, referring to Om Shanti Om.”
The Filmfare Award ceremony in Om Shanti Om is probably the most real those awards have ever been — further enhanced by the fact that Farah Khan actually shot the red carpet interview montage in the film at a real life Filmfare Awards show — she stood there with her own camera and asked actors to deliver dialogues that she dictated. I like how the second half of the film takes us closer to the establishment, the status quo of the industry that Om Prakash yearns to participate in. It's a joyous swirl of irony and parody -—when Amitabh Bachchan is asked about Om Kapoor, he replies “Who is he?”, taking a leaf from real life rumors of beef between the actors then. Similarly, OK’s female co-stars (and Sanjay Kapoor) repeat that they are not involved with each other, as Shabana Azmi says she has come to strike.
People often joke that ‘Deewangi Deewangi is the last time Bollywood came together (except, you know, Ambani weddings) — it's true, the song does an extremely potent job in the world building of the film. With artists starring as thinly-veiled versions of themselves, the lines between what's real and what's fictional is blurred again — Om Kapoor and Kajol do their signature Kuch Kuch Hota Hai greeting, he dances with Dharmendra and Rekha — legends who came before him, and his contemporaries like Salman Khan, Rani Mukherjee and Priety Zinta. It's a commemoration of generations of the industry as they come to herald Om Kapoor — but we, as the audience, see Shah Rukh as the one being celebrated.
All is not well though. The film never shies away from showing the dark underbelly of the industry, and even the evil 'cliches' it applies to characters like Mukesh has a lot of real life relevance to it. Om is told by Pappu that he won’t be able to become a star with a surname like Makhija — and how he needs to change it to something like Kapoor, Kumar or Khanna, a lesson drawn from real life figures who ruled celluloid in that era, but also emblematic of the industry’s casteism. Shanti is harassed by her fellow male co-star, and the junior artists discuss how it was Mukesh who gave her a break in the film business, when she was only sixteen. This feels prescient, but also points out how much of an open secret the rampant exploitation of young girls in show business is. Even in a post #MeToo world, where show business likes to pretend that abusers like Harvey Weinstein have been exposed, the sad reality is that multiple predators are welcomed back with open arms and provided multiple opportunities. This includes Farah’s own brother, Sajid Khan, who is being given a proper redemption storyline on the most popular reality show in the country. Mukesh dons a new personality and becomes Mike, finds new opportunities as a Hollywood honcho, and his actions go unpunished for three decades.
“Mai nahi believe karungi Om? Pachhas maale ki building se jab tum jump maarke pairon pe khade hote ho jaate ho, mai believe karti hu. Sau Gundon ko akele maarke heroine ko bachaate ho to bhi mai believe karti hu..Hawa mein udte ho, paani pe daurte ho, ye sab mai believe karti hu. Fir tumne kaise soch liya mai ye believe nahi karungi..” (5)
A despondent Om Kapoor, resigned to his fate, tells Sandy — "Om Shanti ki kahaani meri zindagi ki sachchai hai." He knows his story is too far-fetched to be true — but he also knows that to play Shanti, Sandy will have to understand, if not believe, his truth and the consequent pain first. When Sandy says those lines above — on how she's spent her life reliving the fantastical things Om has done on screen — and if she believes him when he jumps from a fifty floor building, or when he walks on water and beats up a hundred goons to save his heroine — why wouldn't she believe him now? I think this moment, more than anything, sums up what the film stands for me.
Parasocial relationship refers to a relationship that a person imagines having with another person whom they do not actually know. Much of the film is a mediation of the fact that we, as fans, do not know the inner lives of our favorite celebrities, but we still love them anyway. Modern fan culture has broadened its impact due to the rise of social media, cultivated public personas and internet created forums ranging from creating fanfiction to discussing how much our idol's stylist sucks. The semantics of Om Shanti Om, however, use the crutch of a fan-idol relationship to explore the familiar tropes of romance, justice, and legacy.
I asked Anushka Bidani, a fourth year student at Ashoka University currently working on her thesis on fandom culture, about her insights on this fan-artist dynamic. "It is not a very typical romantic relationship where they're both on an equal plane of reality — Om's perspective imagines Shanti as a sublime object foremost. His relationship with her (introduced to us in the scene where he rants to Shanti's hoarding by the bridge) is to keep her on a pedestal, almost akin to going to a temple and praying to God — he won't get any response but actualizes it as a safe space." In her research essay 'Discourses of Hindi film Fandom and the Confluence of the Popular, the Public, and the Political', Sreya Mitra writes, “In the context of popular Indian cinema, the star–fan relationship thus has been defined in terms of veneration and, consequently, hyperbolic excess—"excess, hyperbole and even obsession…Commitment and 'excessive' admiration are integral to [Indian] fandom."
The adoration and veneration Om has for Shanti is clear in the first moment of intimacy they share, in the song Ajab Si. When the song plays in the two instances in the film, the fan/artist relationship is reversed. In the first half of the film, Om Prakash yearns to attend the premiere of his idol, and in a stroke of luck, has a thread of his shirt stuck in her dress (a callback to ‘Yeh Ladka Hai Allah’ from Kabhi Khushi Kabhi Gham) — one of the most recognisable moments from the film. In the second instance, it's Sandy, a huge Om Kapoor fan, who wants to audition for the role of Shantipriya just so she can meet him. Both the sequences mirror each other — the intimacy of meeting your idol for the first time, the dumbstruck reaction, the ‘If I loved you any less, I would be able to talk about it more’. These respective parasocial relationships evolve into friendship, which then grows to a classic romance — but the devotion associated with fandom is visible in every action of our protagonists.
The song ‘Main Agar Kahoon' is parasocial fantasy at its finest — the showcase of a man who dreams of becoming a movie superstar, falling in love with the top heroine of the era, as they spend time together. It's undercut by scenes of them enacting the romance — the highlight reel includes Om and Shanti transformed into the couple in the snow globe, as he serenades her with lyrics like ‘tum huye meherbaan toh hai yeh daastaan / ab tumhara mera hai ek hai caravan / tum jahaan main vahaan’ (6). The song is extremely reminiscent of ‘City of Stars’ of La La Land (2016). As fans and snow machines are turned on to dazzle Shanti — moonlight intrudes at them, a film projector runs, and the entire world (the set) believes in Om’s love for her.
Writer and scholar Ziauddin Sardar profoundly states that the consumption of Hindi cinema is intrinsically linked to the popularity of its stars, with the latter functioning as the focal point of the cinematic experience. There was a palpable craze surrounding the release of the film, writer Raghav Choudhary reflects, “During [the release of] OSO, I first heard the phrase "tickets in black" because everything was sold out for the first week or two. That was the first time I saw the superstardom of Shah Rukh Khan, how people were paying 2x, 3x price to go watch the movie.” To mark the fifteenth anniversary of the film in November 2022, Khan Fan Club SRK Universe organized free screenings across several Indian cities. I talked to Shubhangi Singh, a final year student at JNU about her experience at one of those fan screenings: "I have some regrets in life and one of the bigger ones was choosing to watch Saawariya over Om Shanti Om when they first came out in theaters, until November 2022 when it got re-released. Watching it on the big screen was quite literally a dream which I never thought would come true. My love and appreciation for the movie grew tenfold." One can’t help but compare this mass euphoria to the release of the latest SRK-Deepika project, Pathaan, which marks their fourth collaboration and became the highest grossing Bollywood film, in just two weeks. This is following in the footsteps of Chennai Express (2013) and Happy New Year (2014), which set massive box office records of their own. Clearly, if the multiverse is true, Om and Shanti are meant to be, in every reality.
What separates Om from legions of fans is that he loves Shanti as a person, not just as a pretty face on celluloid, or a myth that is forgotten. In one of his impassioned speeches to her hoarding on a bridge, he tells her how he would love her even if she was not a superstar, but just a 'super' junior artist. When she asks him if he ever gets sad, he replies 'whenever I'm sad, I watch your movie.' Bidani further elaborates on her reading of the film's ideas about connecting fandom with the reincarnation aspect, "What I find really interesting about the second half of the film, is that there's relatively no evidence of who Shantipriya was, or her memory or legacy; but just because a single fan exists, Shantipriya also lives on. It seems a very pertinent idea in the film too, as long as a fan is alive, the artist's legacy can never truly die."
"Mai apni Shanti ko bacha nahi saka but usse insaaf zaroor dilaunga"(7)— Om's quest for justice for Shanti directs him to make a film with Mukesh, as he actively plans to gaslight him into accepting his culpability in her death. When the denouement of the film arrives, the stage is set for Mukesh to confess, until it is revealed that he knows about Sandy role-playing her. This is until the spirit of the real Shanti arrives at the scene, and recounts key details from the day of her murder nobody alive could possibly know. A scene-by-scene recreation of the time the set was burned follows, and Om finally confronts his fear of fire to save his love. "Isi Jhoomar ke neeche milegi Shanti Ki Laash", as the said Jhoomar falls down, killing Mukesh.
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correct_starring_00069
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FactBench
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2
| 37 |
https://www.tennessean.com/picture-gallery/news/local/2024/07/12/nashville-then-the-filming-of-robert-altmans-nashville-in-1974/74351517007/
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en
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Nashville Then: The filming of Robert Altman's 'Nashville' movie in 1974
|
[
"https://www.gannett-cdn.com/appservices/universal-web/universal/icons/icon-instagram_24.png"
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[] |
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[
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[
"Richard Rogers"
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2024-07-12T00:00:00
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Film director Robert Altman spent up to seven weeks in July and August of 1974 to shoot his "Nashville" movie, which climaxed at Centennial Park.
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en
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https://www.tennessean.com/picture-gallery/news/local/2024/07/12/nashville-then-the-filming-of-robert-altmans-nashville-in-1974/74351517007/
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36 PHOTOS
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correct_starring_00069
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FactBench
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1
| 74 |
https://expresselevatortohell.com/2014/08/19/om-shanti-om-2007-review/
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en
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‘Om Shanti Om’ (2007): A Deeper Analysis of Reincarnation
|
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[
"The Celtic Predator",
"Express Elevator to Hell"
] |
2014-08-19T00:00:00
|
Directed by: Farah Khan || Produced by: Shahrukh Khan, Gauri Khan Screenplay by: Farah Khan, Mayur Puri, Mushtaq Sheikh || Starring: Shahrukh Khan, Deepika Padukone, Arjun Rampal, Kirron Kher, Shreyas Talpade, Yuvika Chaudhary, Bindu Desai, Nitesh Pandey Music by: Vishal-Shekhar, Sandeep Chowta || Cinematography: V. Manikandan || Edited by: Shirish Kunder || Country: India ||…
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en
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https://s1.wp.com/i/favicon.ico
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Express Elevator to Hell
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https://expresselevatortohell.com/2014/08/19/om-shanti-om-2007-review/
|
Directed by: Farah Khan || Produced by: Shahrukh Khan, Gauri Khan
Screenplay by: Farah Khan, Mayur Puri, Mushtaq Sheikh || Starring: Shahrukh Khan, Deepika Padukone, Arjun Rampal, Kirron Kher, Shreyas Talpade, Yuvika Chaudhary, Bindu Desai, Nitesh Pandey
Music by: Vishal-Shekhar, Sandeep Chowta || Cinematography: V. Manikandan || Edited by: Shirish Kunder || Country: India || Language: Hindi
Running Time: 169 minutes
Though current Bollywood pop culture is dominated by Aamir Khan (e.g Lagaan [2001] Ghajini [2008], 3 Idiots [2009], Dhoom 3 [2013], etc), whose films consistently sweep the South Asian box office with at least one megahit every year, it’s important to remember he’s not the only King Khan out there. Shah Rukh Khan (SRK) remains in the commercial spotlight with a never-ending string of cornball but irreverently fun sing-along fests that are hard to dislike.
Om Shanti Om is notable among other recent Shah Rhuhk Khan flicks for its director, its self-awareness, and its box office success upon release. Om Shanti Om was the highest grossing Hindi film of all time (not adjusted for inflation) until Aamir Khan’s Ghajini came out the next year (which was then further displaced by Aamir’s 3 Idiots in 2009), further emphasizing the increasing box office power of these Bollywood hits as they become bigger in scope, their budgets expand, and their content and cinematography become more Westernized. Om Shanti Om (OSO) was also directed by female filmmaker Farah Khan, which is notable no matter where you are in the global movie business; her screenplay, which endows this film with both cinematic and cultural self-awareness, is unique for a mainstream Hindi film. To be sure, OSO is still hopelessly silly, over-acted, and melodramatic to a fault like most Bollywood hits; the main difference here that makes OSO more of an interesting enigma is its level of introspection toward its parent Bollywood film industry.
Much like David Lynch’s Mulholland Drive (2001) or Federico Fellini’s 8 1/2 (1963), Om Shanti Om is one of those movies about movies. It follows the path of a young aspiring actor (or “junior level artist,” as the script calls him) who dreams of one day becoming a Bollywood superstar. Our hero is called Om Prakash Makhija, played by SRK in what is probably the most ironic casting choice of the decade. SRK is one of the definitive international icons of Bollywood, and has arguably had more of a hand in shaping modern Hindi cinema than any other Indian superstar; having him act as one of his countless wannabe-fans is as awesome a self-aware wink to the audience as one can get. However, the real charm of SRK’s star persona in this role is how he fits into this larger narrative analysis of Bollywood and South Asian celebrity. The film makes countless satirical references to other mainstream Hindi blockbusters, pokes fun at ridiculous Bollywood cliches and romantic genre tropes, and even takes time to laugh at itself and its superstar in the process. The film’s self-awareness goes a long way toward affirming its intelligent story, as well as making you laugh with the movie rather than at it like one does with many Hindi melodramas.
OSO is also a broader commentary on the interplay between stardom and fan obsession in India, including the often frivolous, obsessive nature of superstar adoration in general. Writer-director Farah Khan conjoins this analysis with other Bollywood tropes like Indian obsessions with caste and social status, and how Bollywood’s move stars are often an extension of that. For the uninitiated, many of Bollywood’s most influential stars are based on family “film clans” that creepily resemble the (in many ways still rigid) caste system that many Hindi movies openly criticize. SRK’s presence here as the man who is limited by his family background of “junior artists,” only to die, then later be reincarnated as the superstar with whom we’re all familiar, is eerily fitting given how Khan is a unique success story in real-life, not having any notable family industry connections of which to speak.
Om Shanti Om is that rare blockbuster that has brains to match its glamour. It still has that airbrushed, clean-cut studio look and feel that guaranteed its acceptance by the masses, and is as goofy as most Bollywood hits; still, this film has a sense of humor to back up that silliness, and a self-awareness to make you take it seriously. There isn’t much about the star power here that’s terribly interesting besides SRK’s embodiment of the millions of fans who want to be him — Deepika Padukone smiles a lot and looks very pretty, but doesn’t do more than your average forgettable Bollywood female lead; Arjun Rampal is a serviceable caricature as the main villain, and everyone else fits into their slots accordingly. On the surface, Om Shanti Om doesn’t look all that different from most other Bollywood films and, if you’re unfamiliar with the context, its endless series of cameos will go way over your head; but for those reading between the lines and the fun song numbers, there’s a conscious cinematic mind here that gives us a good deal more than standard, mindless blockbuster fare.
—————————————————————————————————————————————————————————————–
SUMMARY & RECOMMENDATION: In terms of screenwriting, Farah Khan’s got game. Her ability to turn the film’s cinematic lens on both itself and its native industry is impressive, especially when it turns out to be this entertaining and self-deprecating. Shah Rukh Khan’s turn as an aspiring wannabe is both amusing and oddly fitting given the material, Khan’s inherent likability, and his own rise through the industry. The soundtrack is standard Bollywood fare, which means it’s above-average music.
— However… the rest of the cast are nothing special, and it’s particularly disappointing that Farah Khan didn’t go much outside the box with regards to Padukone’s character. The film remains goofy to a fault, even when taking into account its self-awareness. Though Om Shanti Om is “slim” for a Hindi movie at 169 minutes, there’s still no reason for the film to be this long.
—> RECOMMENDED
? “Hey, Mikey!” —- the most annoying greeting since Joe Pantoliano’s “Lenny!” in Momento (2000).
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https://www.indiatvnews.com/entertainment/celebrities/katrina-kaif-s-birthday-special-6-action-films-of-the-actress-to-watch-out-for-2024-07-15-941859
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en
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Katrina Kaif's Birthday Special: 6 action films of the actress to watch out for
|
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[
"Katrina Kaif",
"Birthday Special - Katrina Kaif",
"Birthday",
"Action Thriller",
"Vicky Kaushal",
"Action-Thriller films",
"Action films"
] | null |
[
"Kristina Das",
"Image Source : IMDB",
"www.facebook.com",
"India TV News Desk",
"India TV News"
] |
2024-07-15T00:00:00
|
Katrina Kaif has played different kinds of roles in various films so far. Her acting skills in action films have been commendable. On her special day, let's have a look at the 6 best action films of the actress which have gained appreciation.
|
en
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https://static.indiatvnews.com/favicon.ico
|
https://www.indiatvnews.com/entertainment/celebrities/katrina-kaif-s-birthday-special-6-action-films-of-the-actress-to-watch-out-for-2024-07-15-941859
|
Bollywood actress, Katrina Kaif, married to actor Vicky Kaushal has become a household name in the film industry for a long time. She is extremely gorgeous and hard-working. In 2003, Katrina made her film debut with the movie 'Boom'. Now, on July 16, Katrina will be celebrating her 41st birthday.
Till now, the actress has appeared in several films and played cameo roles in some movies too. She enjoyed her first success with David Dhawan's directorial 'Maine Pyaar Kyun Kiya' alongside Salman Khan. Katrina is quite famous for her acting and dancing skills.
So, today on the actress's birthday let us have a look at some of the amazing action films of which she has been a part.
1. Ek Tha Tiger (2012):
This action-thriller film was directed by Kabir Khan. The film featured Salman Khan, Katrina Kaif, Ranvir Shorey, Roshan Seth and others in prominent roles. Katrina played the role of a British-Indian college student and also a secret ISI agent, who stole information from Kidwai's research. On the other hand, Salman Khan played the role of a RAW agent.
2. Dhoom 3 (2013):
Katrina Kaif in 'Dhoom 3' played the role of Samar's love, the character played by Aamir Khan. It was yet another action-thriller movie in the actress's list which did quite well on the box office.
3. Bang Bang (2014):
Siddharth Anand's directorial 'Bang Bang' portrayed the role of Katrina as Harleen Sahni, a bank receptionist, living a simple life with her mother. Whereas Hrithik Roshan who stars opposite of the actress played the role of a thief, Rajveer Nanda. Her life takes a turn after she falls in love with Rajveer and they both experience a series of escapades.
4. Phantom (2015):
This 2015 released action-thriller film directed by Kabir Khan showed Katrina Kaif and Saif Ali Khan in lead roles. She played the role of a former R&AW Agent, Nawaz while Saif was Captain Daniyal Khan in the movie. The story revolved around Daniyal and Nawaz who set on a journey to kill the people who were involved in the 26/11 attack.
5. Tiger Zinda Hai (2017):
It was the second part of the series of 'Tiger Series'. Tiger Zinda Hai marked the collaboration of Salman Khan and Katrina Kaif for another time. In this movie, the actress plays a Pakistani spy event who comes together with RAW Agent, Avinash 'Tiger', role played by Salman Khan to save the nurses being held hostage by a group of terrorists.
6. Tiger 3 (2023):
Maneesh Sharma's directed 'Tiger 3' is the third instalment in the Tiger franchise. Along with Salman Khan and Katrina Kaif, Emraan Hashmi, Ranvir Shorey, Riddhi Dogra and others play an important role. Katrina is an ISI agent and the ex-wife of Avinash 'Tiger' (Salman Khan) in the movie. This was one other action-thriller film added to the actress's action movie list.
|
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correct_starring_00069
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FactBench
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1
| 23 |
https://www.famousbirthdays.com/movies/om-shanti-om.html
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en
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Om Shanti Om - Cast, Ages, Trivia
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[
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[] | null |
Learn about Om Shanti Om: discover its actor ranked by popularity, see when it released, view trivia, and more.
|
en
|
/favicon.ico
|
Famous Birthdays
|
https://www.famousbirthdays.com/movies/om-shanti-om.html
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About
Indian Hindi-language romantic comedy about an aspiring actor in the 1970s who dies and is reincarnated in the present day. He must solve the mystery of his death and connect with the love of his life.
Trivia
The film received several accolades, including 12 nominations at the 53rd Filmfare Awards. It won for Best Female Debut and Best Special Effects.
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correct_starring_00069
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FactBench
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2
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https://www.nbcnews.com/news/obituaries/shannen-doherty-star-beverly-hills-90210-charmed-dies-53-rcna88376
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en
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Shannen Doherty, star of 'Beverly Hills, 90210' and 'Charmed,' dies at 53
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[
"Ethan Sacks"
] |
2024-07-14T13:45:05+00:00
|
Shannen Doherty, a child actor who became one of the biggest stars of the 1990s as a student on the high school drama “Beverly Hills, 90210,” died Saturday after facing breast cancer for several years.
|
en
|
https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/nbcnews/all-other-sizes-PNG.ico/favicon.ico
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NBC News
|
https://www.nbcnews.com/news/obituaries/shannen-doherty-star-beverly-hills-90210-charmed-dies-53-rcna88376
|
Shannen Doherty, a child actor who became one of the biggest stars of the 1990s as a student on the high school drama “Beverly Hills, 90210,” died Saturday after facing breast cancer for several years.
“It is with a heavy heart that I confirm the passing of actress Shannen Doherty. On Saturday, July 13, she lost her battle with cancer after many years of fighting the disease,” said Doherty’s publicist Leslie Sloane.
She was 53.
Doherty was first diagnosed with breast cancer in 2015, but she went into remission two years later. That reprieve wouldn’t last. In February 2020, court documents in a lawsuit Doherty filed against her insurance company over damage to her home said she was “dying” of Stage 4 breast cancer, which metastasized to the point of being incurable.
“It’s a bitter pill to swallow in a lot of ways,” Doherty said on ABC’s “Good Morning America” at the time. “There are definitely days where I say, ‘Why me?’ And then I go, ‘Well, why not me? Who else besides me deserves this?’ None of us do.”
In June 2023, she shared an emotional post on Instagram revealing that her cancer had spread to her brain at the beginning of the year.“On January 5th, my scan showed Mets in my brain,” Doherty captioned a video of her receiving radiation.
“My fear is obvious. I am extremely claustrophobic and there was a lot going on in my life,” said Doherty. “But that fear…. The turmoil….. the timing of it all…. This is what cancer can look like.”
Born on April 12, 1971, in Memphis, Tennessee, to a mother who owned a beauty salon and a father who worked in a bank, Doherty didn’t take long to get to Hollywood. It happened by the time she was 10, when she made her acting debut on the short-lived series “Father Murphy” just three years after her family moved to Los Angeles.
Series producer Michael Landon noticed the fledgling actor and cast her on his hit show “Little House on the Prairie” the following year as Laura Ingalls Wilder’s adopted daughter for an 18-episode run.
That exposure led to a succession of roles, including a three-year turn (1986-88) on the Wilford Brimley family drama “Our House” as one of the leads and a starring turn in the 1989 high school dark comedy “Heathers.”
Her biggest break, however, would come the following year with the arrival of “Beverly Hills, 90210,” the role she would be linked to for the rest of her life. Doherty, then 19, became a superstar in the early ’90s playing the straitlaced but short-tempered Brenda Walsh as the show became a guilty pleasure for a generation.Things, however, didn’t always go according to script for Doherty. The actor developed a reputation for being difficult to work with on the set — purportedly feuding with cast and crew members, especially with co-star Jennie Garth. The headlines in celebrity glossies and breathless reports on the entertainment news shows made her as infamous as she was famous.
“She became a metaphorical reality-TV star before there were actual reality-TV stars,” said Robert Thompson, director of the Bleier Center for Television and Popular Culture at Syracuse University. “It was as if the real Shannen Doherty, and you can put six sets of quotation marks around the word ‘real,’ had two shows playing in parallel.”
Doherty left the show after its fourth season; most of the show’s other leads, including Garth, lasted another six seasons.
“The best thing that ever could have happened to me was I got off ‘90210’ when I did,” Doherty told Entertainment Weekly in 2008. “It let me find a little bit of peace and discover who I was as a person. Not the person who the press made me out to be because I’d had a few bad experiences in my personal life, and I was struggling to figure out a bad husband or a bad boyfriend and I was doing it under the spotlight, so I wasn’t reacting well to any of it. I really wasn’t. And I know that.”Doherty's co-star Jason Priestley took to social media to express sadness at news of her death, saying she was "a force of nature and I will miss her."
There would be a few more movie roles in the middle of the decade, including in director Kevin Smith’s R-rated comedy “Mallrats,” but her career didn’t show the promise it did just a few years earlier. That is, until she reconciled and reunited with “90210” producer Aaron Spelling to land a starring role in the popular supernatural soap opera “Charmed,” alongside Alyssa Milano and Holly Marie Combs. Playing a witch seemed to rekindle the magic she enjoyed earlier — at least for the three seasons she stayed on before once again leaving prior the show’s run ending. She directed three of the final episodes in which she appeared.Doherty’s “Charmed” co-star Milano issued a statement following news of her death.
“It’s no secret that Shannen and I had a complicated relationship, but at its core was someone I deeply respected and was in awe of,” Milano said. “She was a talented actress, beloved by many and the world is less without her. My condolences to all who loved her.”
At the beginning of the 21st century, she jumped from one short-lived television series to another, and by 2006, she had moved into real reality television, hosting the series “Breaking Up With Shannen Doherty,” in which she helped participants end their toxic relationships.That seemed to be a subject Doherty knew well, coming off two divorces: Her marriage to Ashley Hamilton, son of actor George Hamilton, in 1993 ended in divorce in 1994; the other to Rick Salomon ended in a 2002 annulment nine months after the wedding. In April 2023, Doherty filed for divorce from her third husband, photographer Kurt Iswarienko, whom she married in 2011.
By friends’ accounts, though, Doherty mellowed in middle age. She would reprise her signature role of Brenda Walsh twice: for an extended guest-starring turn on the 2008 reboot “90210” and in a 2019 dramedy, “BH90210,” in which the original cast returned to play fictional versions of themselves as they attempted to revisit their hit show.“It was not only that was she never able to escape the gravitational pull of that role, but that she kept going back to it of her own free will,” Thompson said.
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correct_starring_00069
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FactBench
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0
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https://enderkay.wordpress.com/2010/02/04/recap-om-shanti-om/
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en
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[Recap] Om Shanti Om (India, 2007)
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2010-02-04T00:00:00
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Director: Farah Khan Writer: Farah Khan Cast: Shah Rukh Khan, Arjun Rampal, Deepika Padukone, Shreyas Talpade, Kirron Kher Language: Hindi Runtime: 169 minutes (2 hours 49 minutes) Get ready for the ride of this life and the next! Gorgeous leads? Check. Intense passion? Check. Anguish? Check. A long death scene? Check. Reincarnation? Check. Random song…
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en
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https://s1.wp.com/i/favicon.ico
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Addiction is a Beautiful Thing
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https://enderkay.wordpress.com/2010/02/04/recap-om-shanti-om/
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2010 February 4 at 12:28 am
Director: Farah Khan
Writer: Farah Khan
Cast: Shah Rukh Khan, Arjun Rampal, Deepika Padukone, Shreyas Talpade, Kirron Kher
Language: Hindi
Runtime: 169 minutes (2 hours 49 minutes)
Get ready for the ride of this life and the next!
Gorgeous leads? Check.
Intense passion? Check.
Anguish? Check.
A long death scene? Check.
Reincarnation? Check.
Random song with no point whatsoever? Check.
Song detailing the entire plot, just in case you forgot? Check.
Gratuitous manflesh? Check.
Complete ridiculousness? Check.
Awesomesauce? Ohhhhhhhhhhh yeah.
Welcome to Om Shanti Om.
Song of the Day
Om Shanti Om OST – Ajab Si. This is the song playing when Om first meets Shanti. [download]
We begin our tale 30 years ago at RC Studios, Mumbai.
Om Prakash Makhija (Shah Rukh Khan) is an extra on the set of a current movie being filmed. Although he’s merely an extra, he dreams of being more, and frequently imagines himself in the place of the stars.
Om’s buddy Pappu (Shreyas Talpade) has faith that Om will one day become a superstar. He has everything it takes, after all–“style, hairstyle, grace, face, talent!” There’s only one thing holding him back–his name! With a name like “Om Prakash Makhija,” he’ll never be a star.
Om and Pappu idolize Rajesh Kapoor (although they love to mock him with hand gestures), the studio’s biggest star (played by Javed Sheikh). Pappu tells Om that if he only had a last name like Kapoor, he would be a star overnight.
The only problem is, Om’s mother (Kirron Kher) doesn’t agree.
Mom: “I ask you, what is wrong with your name? Om stands for the Lord, and Prakash for Light, and..”
Om: “And Makhija! Makhija stands for shooing a fly away!”
(I have no idea if it really means that or not, since I don’t speak Hindi. Can anyone confirm? Either way, it’s funny.)
Mom (whose name is Bela, but I’ll just call her “Mom”) has faith that Om will one day be a star, but Om isn’t so sure. He’s convinced that he’ll die a Junior Artist, just like his father.
Whenever he’s upset, Om goes to talk to his “girlfriend,” Shantipriya (Deepika Padukone). Only she isn’t his girlfriend so much as an unattainable actress, and when he talks to her, he’s really talking to a rather large billboard of her.
Om dreams of being able to stand proudly next to Shanti, and firmly believes that he’ll meet her one day.
Pappu and Om’s mother are intensely amused by Om’s obsession, but they humor him. Mom praises Shanti’s beauty and tells Om that she’d be delighted to have such a daughter-in-law.
Mom ties a red thread (blessed by a sage) around Om’s wrist to grant him luck, and Pappu informs him that Shanti’s new movie is premiering that night. They decide to go to the premiere in the hopes that tonight might be the night that Om gets to meet her.
When Shanti appears, Om is so struck by her beauty that he can’t stop himself from reaching out to try to touch her.
As he reaches out, the thread tied by his mother gets caught on Shanti’s sari. He follows her as if in a dream until she finally notices and turns around. When she frees him with a smile, Om practically faints in joy. Shanti smiles wider to see his reaction, then continues inside.
Despite their brief interlude, Om worries that he’ll never see her again. However, Pappu, being the awesome friend that he is, has pickpocketed some tickets to the movie.
These tickets had been given to Manoj Kumar, another famous actor, so the two impersonate him in order to get in. (I have no idea who he is, but my Indian friends do, and they all laughed hysterically at their impersonations.) (And according to Wikipedia, Manoj Kumar filed a lawsuit for the film’s depiction of him. It was settled out of court.)
In the theatre, Om can barely pay attention to the movie, so entranced is he by Shanti sitting in the balcony.
And then, one of the best songs everrrrr.
The film premiering that night takes a lot of vintage footage and adds it to the scenes so that Shanti appears to be interacting with actors of the era. It’s pretty well done, actually.
Of course, Om imagines himself in the movie with Shanti as well, and there’s plenty of gratuitous shirtlessness on his part. (Harem boy! Gambler! Backgammon player! PIRATE! Shah Rukh Khan hams it up as no one else can.)
(The song includes such a mix of eras that I have to wonder what the actual movie is supposed to be about, but I’ll let it slide for the awesome factor.)
Om gets so involved in his fantasies that he gets up and begins to dance. Half of the audience loves it and cheers, while the other half boos at him. Shanti watches everything with amusement, and Om blows her air kisses as he is dragged out by security.
Afterwards, Om and Pappu get drunk and hang out with some local children. They quote Shanti’s movie and fantasize about what the future will be like when they’re big stars.
Om: “Today Rajesh Kapoor owns this bungalow, but one day it will be mine… I will live in style! I will have 15-16 imported cars, 50-60 servants will be around me! I will have a luxurious bedroom, just like the ones we see in the movies, with a round bed! And you know, Pappu, as soon as I will wake up in the morning, before my feet even touch the smooth marble floor, a servant will slip velvety slippers under them. The other one will be waiting on me with a silk dressing gown, and the third one will be standing there to serve fresh fruit juice.”
Pappu is drunkenly moved, and tells Om that he will definitely win the Filmfare award soon, but to first accept his “Bottle Award.” Om does so happily, and recites a speech he has prepared for the occasion:
Om: “Ladies and gentlemen, I have wanted you so much and so badly it’s true that the entire universe has conspired for me to get you…. They say, if you want something with all your heart, then the universe will work in every way possible to help you get it. Today, you all have given me everything that I wanted. Thank you very much. I feel like the king of the world! Thank you for making me believe that, just like in our films, in life too, finally, in the end, everything is okay. ‘Happy Ending.’ And if it is not happy, then it is not ‘the end,’ my friends! The film is not over yet!”
Pappu and the children are moved and clap enthusiastically, but the man trying to sleep near them isn’t so amused. He chases them off, and Pappu and Om run, laughing all the way.
Om returns home, still drunk, and accidentally wakes up his mother. Happily, he tells her:
Om: “You always tell me that you have a dream for me, to reach for the stars and the moon. Tonight I went for the stars and beyond. I almost lived my dream. I even touched it, with my own two hands.”
Mom is pleased, then yells at him to go to sleep. (Hah.)
The next day, Om and Pappu show up to the set. They’re extras yet again, and Om only has one speaking line–when the field is set on fire, he has to yell “Run!”
The director is in a bad mood that morning because Shanti refuses to film without speaking to the producer. Desperate, they call the producer, Mukesh Mehra (Arjun Rampal). Within minutes, Mukesh has convinced Shanti to do the shoot, and he promptly leaves.
The scene requires Shanti to run around in the flaming field, yelling for the hero. Unfortunately, the hero is a bit of a pansy and refuses to jump into the fire. Things get out of control, and soon Shanti is trapped in the flaming field.
Seeing that no one is coming to Shanti’s rescue, Om runs through the flames himself. Pulling her to him, he picks her up and carries her out of harm’s way. (I’m amused at how a clear path suddenly opened, but whatever.)
Rushed off to safety, Shanti looks back to see Om practically fainting with happiness again.
Afterwards, Pappu is bandaging Om’s back from where his clothing caught on fire, and he yells at Om for putting himself in danger.
Om: “Pappu, I did not think at that time. All I could see was Shanti trapped in that fire, helpless. And you know, if need be, I will jump in that fire again and again! Not once but a hundred times, a thousand times, to save Shanti! Because nothing is more precious to me than Shanti’s life. My life, my dreams, nothing matters!”
Shanti has come over to thank him, and overhears everything. When Om finally turns around, he’s so shocked to see her that he can’t even formulate any words to reply to her thanks. She asks his name, and he can only think:
Om: “My name is something which is always connected to Shanti. Om, before Shanti, and Om, after Shanti.”
(I guess this is some sort of prayer? Again, my ignorance shows.)
Luckily, Pappu steps in to tell her his name. When Shanti mentions that Om looks familiar, Pappu then goes a hundred steps further and makes up some story about how Om is a huge star in South India–Omaswami Shantinatahan. (HAHAHA.) Poor Om is so confused that he can barely keep up.
The next day, Pappu and Om have staged a huge fake film set to impress Shanti. It’s comedy gold, involving a red leather cowboy outfit, multiple pairs of sunglasses, “flying,” and a giant stuffed tiger. Shanti is enchanted as Om shows off for her.
Afterwards, Shanti comes over to greet Om, who pretends he hasn’t noticed her. They talk pleasantly, and Om begins to chatter on about how much he loves filming–the lights, the sets, the costumes, the autographs. He asks Shanti what her favourite part is, to which she replies, “Pack up.” Overhearing this, the extras who have been helping Om out all freak out and pack up the “set.”
Embarrassed, Om admits that he’s lied to Shanti. He maintains that he had no choice, since she’s a star and he’s just a junior artist, but Shanti is shocked at this. He jumped in the fire for her, after all–he’s definitely a hero. Shanti tells him that she’d do anything to repay him, so Om excitedly asks for an evening together.
That night, a veiled girl comes to him and tells him that Shanti won’t meet with him. Om is upset and angrily rants about how Shanti has broken his heart. Then the girl lifts her shroud to reveal her identity–it’s Shanti! (As if we didn’t already know, haha.)
Shanti comes bearing a gift for Om. It’s a snow globe music box, and its tune segues into the next song.
Om takes Shanti out, serenading her as they play with various movie sets.
“I have found you, but it seems I have lost myself.
l want to tell you but then how do l tell?
ln any language that is known l can’t find the words
To tell you what you mean to me.”
This whole sequence reminds me of Singin’ In the Rain, for obvious reasons.
Afterwards, Om and Shanti stroll cheerfully down the street. When Om tells her that it feels as if heaven is at his feet, Shanti jokingly asks if he ever gets sad. He replies that he doesn’t; and even if he does, all he has to do is watch one of her films. After, all, she’s the Shanti that everyone loves, so how could anyone be sad when watching her?
Shanti doesn’t see things the same way, however.
Shanti: “Sometimes the love of the entire world is not enough. Sometimes getting love from that one person is what counts.”
Om: “You will get that love, Shanti. All you have to do is reach out for it. [offerring his hand, then retracting it] You will get whatever you want. You deserve all the happiness in the world. All you have to do is ask. And then see, happiness will follow you around.”
Shanti is skeptical, but she thanks him, and decides that she will reach for her happiness.
Om, being sweet and naive, innocently believes that she’s talking about him, and he spends the next few days as happy as a fool.
One day, Om goes to visit Shanti on the set of her movie, but she completely ignores him as she walks to her destination, preoccupied.
Om follows her into the building with all of the makeup rooms, hiding in an abandoned one when the security guards come by.
The empty room happens to be next to Shanti’s dressing room, and Om can hear Shanti yelling at someone. Climbing up to a vent in the wall, Om can see that the person Shanti is talking to is none other than Mukesh, the producer.
Shanti confronts Mukesh about a magazine article stating that he’s marrying the daughter of Harsh Mittal (a businessman). Mukesh argues that he’s letting the rumors go because Mittal has invested tons of money into their projects, but Shanti has focused on the marriage issue–how will he be able to get married, when he’s already married to her?
Om is stunned as Shanti continues. It’s revealed that she and Mukesh have been married for two years already, but that he’s been hiding their relationship because the public would never accept a married heroine. Shanti doesn’t care–all she wants is to be accepted as Mukesh’s wife.
Mukesh won’t have any of her nonsense and tells her that they’ll reveal their relationship after her film Om Shanti Om is finished. Shanti tells him that it won’t be possible to wait that long, however, and drops a bomb on him–she’s pregnant. Om and Mukesh are both stunned by this. Mukesh appears to be thrilled by this news, but Om sinks into a daze. Leaving the building, he wanders through other sets (which conveniently have wind machines and fake rain to complete the anguished hero montage) unseeing.
For the next several days, Om isn’t himself, trying to come to terms with this new information. He suffers in silence, his heart shattered.
“Neither do l live.. nor do l die.
A dream when destroyed makes your world a void.
Your love is not yours anymore.
Your life is a barren core.”
Eventually, he wanders back to Shanti’s billboard and assures her that he’s happy as long as she is happy.
Om: “But assure Mr. Mehra that I am letting him go only for you. But if I ever happen to meet him again in any other lifetime, he better watch out!”
Trying to snap him out of it, Pappu gets Om a job on another movie. They’re extras again, and as they dance, Om sees Shanti pulling up. She smiles at him, but he pretends not to see her.
Unable to stop thinking of Shanti, Om hangs out at the set of her new movie, Om Shanti Om. Filming has not yet begun, so the set is deserted.
When Mukesh and Shanti drive up, however, Om hides himself away inside, unwilling to be seen.
Shanti has no interest in seeing the set, but her attitude changes when Mukesh tells her that they’ll hold their wedding there. He goes into detail, telling her about the fountain filled with champagne and the orchestra and how they’ll be married under the great chandelier. Om can’t take it anymore and quietly leaves.
Shanti is thrilled, and apologizes to Mukesh for not having trusted him. Mukesh is sorry that she had trusted him too. Confused by this statement, Shanti gives him a sharp look, growing alarmed as he continues.
Mukesh: “If you had not, then I couldn’t have dreamed this big! But I did! I dreamed of being the biggest and most powerful producer in this industry. And now, this dream is so big that I can break your trust, but I can’t break this dream!”
Shanti is alarmed as Mukesh blames her for ruining everything, and her alarm grows into fear as she realizes that Mukesh means to kill her. Throwing down his lighter, Mukesh sets fire to the set.
Mukesh calmly walks out as the flames spread, locking the door behind him, and Shanti bangs on it in panic.
Outside the set, Om witnesses Mukesh leaving while Shanti is still trapped inside. Panicking, he tries to open the locked door, but is beaten up by Mukesh’s thugs. Shanti can only watch, helpless, as her hero is beaten.
Om is determined to save her, and when the thugs leave him for unconscious, he breaks the window with a rock. The sudden influx of oxygen makes the flames rage even more, but Om rushes into the building to look for Shanti. They cry out to each other, but an explosion expels Om outside onto the road near the set, where he stands up in time to watch the explosion consume the building.
Immediately afterwards, he’s hit by a car.
Rajesh Kapoor’s extremely pregnant wife has gone into labor, and they are rushing to the hospital when they accidentally hit Om. Concerned, they put him in the car as well and continue to the hospital.
Despite the doctors’ best efforts, Om lies dying on their table, visions of Shanti passing before his eyes. (I really don’t know where all of the blood on his chest is coming from when there are no visible wounds in that area, or why the doctors can’t keep him clean, but we’ll let it go for the sake of the scene.)
Rajesh’s wife has a son, and they greet him with joy. Rajesh’s joy is tempered a bit, however, when he hears that the man he had brought in has died. His manager tries to tell him that it’s not his fault and that he’ll handle everything, but Rajesh still feels guilty.
And with that, Om Prakash Makhija dies.
30 years later, it is superstar Om Kapoor’s birthday. The only son of Rajesh Kapoor and an actor in his own right, he is as spoiled as they come.
As we are introduced to Om Kapoor (known as OK to his fans), Om Makhija’s voice is overlayed, describing Om’s future life as a superstar. Only now, what was merely a fantasy is reality. (By the way, I freaking love his house. The blue of those hallways calls to me.)
On OK’s wrist is a scar in the shape of the “om” tattoo that Om had, clearly showing us that Om has been reincarnated. As if we couldn’t tell already.
OK is notorious for always being late to the set of his films and putting as little effort into his acting as possible. He doesn’t care, though, feeling entitled due to his superstar status. This makes things hard on the people he works with and causes a lot of delays, but he has no concern for anyone but himself.
On the set of his current movie, his character has become blind, deaf, and mute in addition to losing both of his hands. Upset with this, OK decides that there should be a dream sequence item song to express the pain of the hero at the impending marriage of his love.
This item song is probably the most glorious thing I’ve ever seen in Bollywood (or anywhere else, for that matter), and there are no words to adequately describe it.
Basically, it’s fanservice for Shah Rukh Khan fans. Gratuitous shirtlessness (with that body, I’d be shirtless all the time too), a plethora of foreign (blonde) backup dancers, tight jeans, hip thrusting, sweat, rain, a waterfall, SRK splashing himself in a pool of water, someone literally THROWING A BUCKET OF WATER ON HIM.. Basically, I feel like I’m watching a softcore porn. (And I love every minute of it.)
At the end of the song, it’s revealed that OK is mysteriously afraid of fire. His phobia is so bad that he has an anxiety attack and faints when the special effects begin.
As he leaves the set after his attack, he’s accosted by his mother from his previous life, who is convinced that he’s her son and has been following him to all of his sets. There to restrain her is a much older Pappu (and sadly no longer as adorable), who is much more realistic. He admits that OK looks like Om, but that they can’t possible be the same person.
Back home, OK is so shaken by the fire incident that he tells his manager that he’s going to stop filming his current movie and move on to his next one, which is about superheroes. His manager reluctantly says that he’ll be able to stop the current movie, but that it’ll be hard for the crew of the superhero movie to create the set in such short notice. Hearing this, OK tells him that they should just shoot on a real location instead. (How is that easier? Don’t they have to scope it out first and stuff? Stretching my belief a bit much, but okay.)
The next bit is so random that, while it doesn’t do much for the plot, I have to include it here. OK is so peeved with his manager that he takes the thermometer he’s been holding and tells his manager to shove it up his nose. Repeatedly. In a ridiculously childish way. I LOL’d.
A few days later, OK’s manager takes him to the location of the new superhero movie. He tells OK that this location used to be a movie studio, but that it mysteriously caught fire and burned to the ground. OK doesn’t think this sounds like a good idea, but he keeps driving anyway.
When they get there, OK is struck with a sense of deja vu. Looking at the ruined buildings, he hears voices from his past life, and is visibly disturbed. He also mysteriously knows where the makeup rooms are, which surprises the crew.
Before the shoot, OK wanders around the ruins. Walking up to the building where Shanti burned to death, he suddenly gets a vision of that day and hurries back to his own set, completely freaked out.
As he finishes filming a scene for his movie, it suddenly begins to rain, and OK seeks shelter in the building with the makeup rooms. He hears something inside the building and decides to go investigate, thinking it’s one of the crew members.
As he wanders, the building ceases the be rundown, and the lights turn back on. OK is confused, and wanders into Shanti’s old makeup room.
There, he witnesses again the argument between Mukesh and Shanti, only without sound. He also sees himself watching from the vents, and his mind is completely blown. When his assistant comes to find him, he is shocked to see that the room he’s in is completely filled with junk.
Later, he goes to the old fountain and finds the now-broken snowglobe music box that Shanti had given him.
Soon, it’s the Filmfare Awards. OK is nominated for two films (both of which are parodies of his previous films, Phir Bhi Dil Hai Hindustani and Main Hoon Na, and featuring music from Kabhi Khushi Kabhie Gham).
As expected, he wins, and as he begins to walk up to give his acceptance speech, memories of the drunken “bottle award” night from his past life wash over him. Accepting the award, it’s as if his words don’t belong to him, and he recites the speech he’d originally given on that night, a strange expression on his face.
Everyone is astounded at this moving speech coming from him, and Pappu, watching at home, realizes that it’s his friend.
(Side note, but I love how pissed off Abishek Bachchan is that he didn’t win.)
At the afterparty, OK is in a strange mood. He reflects to his father that everything might have been different if he wasn’t OK, but just some guy named Om. He promises to try hard to be a better actor and a better son. Moved, Rajesh tells him that there’s a surprise for him..
And then the celebrity cameos begin. (Look at the girl behind SRK in the second picture. She has priceless expressions throughout the entire song.)
(For the full list of stars appearing in the “Deewangi Deewangi” number, as well as my general thoughts on it, see my commentary at the end. It’s not essential to the plot, but it’s tons of fun.)
In the middle of celebrating, OK sees a now-grey Mukesh enter the room. Rajesh greets his old pal warmly, but OK feels a growing sense of hatred and anguish as memories from his past life come flooding back. Overcome with emotion, he can’t bring himself to greet Mukesh with any warmth, and barely manages to shake the other man’s hand when they are introduced.
Now that his memories have come back, Om returns to his mother’s house. She’s overjoyed to see him, and they both cry tears of joy to be reunited. Pappu has come as well, and the old friends embrace tearfully. Om assures them both that he won’t leave them again.
Om wants to go to the authorities about Shanti’s death, but Pappu tells him that no one will believe his story. Om won’t admit defeat, however, and is determined that he will avenge Shanti’s death.
With this aim in mind, Om meets with Mukesh. He’s decided to revive the failed Om Shanti Om project.
Mukesh, it turns out, went to Hollywood after Shanti disappeared, receiving four times the price of the studio from the insurance company, marrying Harsh Mittal’s daughter, and getting a new studio as a dowry. Mukesh appears a bit suspicious that Om knows all of this, but Om affects an unconcerned demeanor and allays his suspicions.
Om casually asks what happened to the old star of Om Shanti Om. When Mukesh tells him that she’d simply disappeared, Om insinuates that he must not have looked very hard for her if she managed to disappear like that. Mukesh is a little offended, but he lets it slide.
Om insists that he must do Om Shanti Om, so Mukesh leaves him in charge of finding a new heroine while he’s in America the next month.
Om accepts the challenge, and holds open auditions for the role.
The girls auditioning for the role all leave a lot to be desired, and Om and Pappu despair of being able to find their Shanti stand-in. Over a week has passed, and Mushek will be returning any day now. They’re running out of time.
After the auditions one day, a girl wanders into the studio, declaring that she wants to audition, but only as an excuse to meet OK–she’s his biggest fan! The men wave her off, but she trips in the dark and they have to turn the light on to help her up.
When her face comes into the light, Om is shocked to see Shanti’s exact double in front of him. The girl is Sandhya, or Sandy for short, and she’s so thrilled to meet him that she faints into his arms.
Om’s mother and stylists throw themselves into transforming Sandy into Shanti, but they have a long way to go. Sandy is klutzy and ditsy, with little natural grace. With no idea how much is riding on her ability to become Shanti, she thinks of it like a game and doesn’t try very hard. She also continues to faint in Om’s presence.
Om eventually gets fed up with Sandy’s inability to be like Shanti, and he yells at her to try harder. Pappu is upset with Om’s reaction and informs him that he should tell Sandy the truth so that she knows exactly what is expected of her.
Reluctantly, Om takes Sandy aside one night and tells her his story, and Sandy is moved to tears by his tale. Not only does she believe him (she’s his biggest fan, after all), she’ll do everything in her power to help him.
Finally, they appear to have achieved success. Sandy is becoming more and more like Shanti, and Om is confident they can pull off his scheme.
When Mukesh returns from the States, OK takes him to the set for the traditional blessing of the project. Mukesh is reluctant, but OK talks him into it, and they head to the site of the old studio. Mukesh is not thrilled at this prospect, but OK informs him, “An unfinished story should always start from the point where we left it, right?”
OK introduces his fellow cast to the press, and, surprisingly, the lead actress is not Sandy. Instead, the lead actress is Dolly, a bubble with a mother, Kamini (Bindu), intent on making her baby a star.
Mukesh is immediately attracted to Dolly, stroking her arm sensually as he helps her to the stage. Om observes this with satisfaction and some disgust.
As they walk to the set, Om’s mother (disguised even further with bushy eyebrows) attacks Mukesh, warning him that “she” is waiting for him. When asked who “she” is, she replies, “Shantiiiiiiiiiiiii!”
Inside, Mukesh is shocked to see that the set has been entirely restored. It’s apparent that not only are they going to have the opening ceremony here, they’re going to film the movie here as well.
The coconut-breaking ceremony begins, and Om hands Mukesh the coconut. It must be broken in one go, he reminds Mukesh, otherwise it’s considered to be bad luck. Mukesh calmly throws down the coconut…which doesn’t break. Annoyed, he tries a few more times, until Om takes it from him. Behind his back, Om switches the coconut for a different one, throwing this one himself–and it breaks cleanly in two. Mukesh is visibly disturbed by this, but doesn’t say anything.
Next, Om decides that they should offer a prayer for the previous actress of the film, stating that he believes that wherever she is, she’s watching over them right now. He calls Dolly up to light the incense in front of Shanti’s portait, which is rigged to burst into flames at the push of a button.
Except, the wires have come undone, and Dolly lights the incense with no ill effect. Mukesh is relieved, but Om is concerned. Luckily, the portrait then lights on fire…only, no one pushed the button this time.
Filming begins the next day. While Dolly is shooting a scene, Om sends Mukesh a text message from Dolly’s phone, telling him to meet her in her dressing room. Seeing that Dolly’s mother (played by the awesome Bindu) has gone missing, Om follows her into the makeup building, trying to keep her from interrupting Mukesh.
Mukesh enters Dolly’s dressing room, which is now Dolly’s, and saunters over to the woman seated there. Suddenly, she turns around, and Mukesh is shocked to see Shanti instead of Dolly. Hearing his shriek, Om comes to investigate. Om enters the room to show Mukesh that no one is there, and Mukesh is visibly shaken.
As they leave, however, Sandy peeks out from the window of the neighbouring dressing room. (They must have built a door or something, because there’s no other way she could disappear from the other room.)
A few weeks later, Om and Mukesh are sitting in a theatre, previewing the scenes that have been filmed. The scene played is an exact reenactment of the last argument between Mukesh and Shanti, but Mukesh shows no reaction. Until Shanti shows up, that is. Spliced in with the regular reel are scenes of Sandy, dressed as Shanti, glaring at the camera. Mukesh is seriously freaked out, so Om replays an undoctored reel to make him think that it’s all his imagination.
Mukesh is so disturbed that he decides to go back to America. This is not according to Om’s plan, so he hurriedly makes up the excuse that the music launch is coming up soon and that the film’s producer isn’t allowed to miss it. Mukesh promises that he’ll be there.
Pappu and Sandy are uncertain about this term of events. The music launch was supposed to be weeks from then, and Sandy’s not sure she’s ready to proceed with the next part of the plan. Om talks them into it, however, and they promise to do their best.
However, Mukesh is suspicious and goes to the projection room to inspect the reel. Seeing Shanti’s face on the reel, he’s relieved to know he isn’t insane, and also determined not to lose to Om.
The day of the music launch arrives, and Mukesh arrives, confident. The song sequence being filmed is basically a rundown of the entire plot, designed to tell Om’s story. Mukesh doesn’t notice at first and simply watches, with perhaps a niggling suspicion in the back of his mind.
As they film, Sandy wanders the halls dressed as Shanti, appearing in random balconies. Mukesh tries to chase her down, but she’s always ahead of him, and he can’t find her.
Giving up, he returns to watching the filming, and gradually begins to realize that the story unfolding in front of him is an exact reenactment of that fateful night 30 years ago.
At one point, Sandy insinuates herself into the dance along with all of the other masked dancers. As she twirls past Mukesh, she removes her mask, glaring at him, then twirls away. Unfortunately, she later loses her mask. Seeing this, Mukesh chases her again.
Chasing Sandy down the hallways, Mukesh is triumphant when he sees her cut herself on a candleabra. As he pursues her into the lobby, the chandelier falls down, and a piece of it hits him in the head and knocks him out.
When he comes to, everyone is gone except Om.
Om confronts him about his sins, describing everything in perfect detail. In spite of this, Mukesh is convinced that there’s no way Om could really know. After all, everything happened before he was born, right?
Om reveals that he had, in fact, been there and seen everything. Mukesh does not believe him, but Om continues–he died with Shanti that night, but he was reborn to avenge her.
Watching from their monitor room, Pappu and the manager send Sandy to go fulfill her role. Sandy is afraid, but she prepares to go.
Downstairs, Mukesh declares that he knows about the duplicate Shanti. Pappu and the manager freak out and try to stop her, but the door is jammed and they can’t get out.
Mukesh continues–who would believe such a crazy story? Besides, Shanti’s body had never been recovered.
Suddenly, Sandy appears behind them. She declares that she has evidence that will put him away for sure. Om yells at Sandy to stop it and hide, that Mukesh knows the truth, but she remains.
Sandy: You will have to listen, Mukesh, and listen carefully. You came back that night. After the fire died down, you came back, Mukesh.
Mukesh: Yes I did, so what?
Sandy: To put away my dead body! [But] I wasn’t dead Mukesh. I was still breathing.
Mukesh: How do you know all of this?
Sandy: But you buried me alive!
Mukesh: How do you know all of this?!
Sandy: Under this chandelier.
Mukesh is so disturbed by her knowledge of his deeds that he draws his gun to shoot her.
Mukesh: Who are you?!
Sandy: The court needs proof, and they will get proof, Mukesh!
Mukesh: They will not get anything!
Sandy: Right under this chandelier they will find Shanti’s dead body!
Mukesh: I said shut up! There is nothing there!
Sandy: You are going to pay for your sins, Mukesh. You are going to die!
As Mukesh prepares to shoot, Om leaps at him, and they fall to the ground, knocking over some candles and setting fire to the curtains. While Om is paralyzed by his fear of fire, Mukesh is immediately up, brandishing a candelabera with which to attack Sandy.
Panicking and determined to save Sandy, Om seizes the discarded gun and shoots Mukesh in the leg, while Sandy calmly watches.
She stops him from killing Mukesh, however. He’s destined to die, but not by Om’s hand. Confused, Om follows her gaze to the chandelier. Mukesh follows their gazes as well, his eyes widening in realization. He screams as the chandelier comes crashing down, killing him.
Om and Sandy stare at each other across the debris, a sad smile playing on Sandy’s face.
But Om realizes it isn’t Sandy when the real Sandy comes bursting through the door moments later, followed by Pappu and the manager. Shocked, he turns to look at the other girl, realizing that it’s Shanti. He flashes back to all of the mysterious occurrences on the set, realizing that Shanti has been helping him the whole time. She continues to smile sadly at him as she walks away, and he watches her go with teary eyes.
Sandy runs to Om, apologizing for not being able to do her part. Om comforts her, then watches Shanti run up the staircase, fading into nothing as she enters the light.
Thoughts & Criticisms
(This is my “La la la, no one can change my mind about this movie~” face.)
I. LOVE. This. Movie.
The first time I saw it, my friend had just come back from a summer in India, her suitcase packed with Bollywood DVDs. Out of all of the films she could have chosen to show me, this is the one she picked. Within 10 minutes, it was obvious why.
This film takes all the usual Bollywood cliches and uses them to full, ridiculous advantage. With great skill, it somehow manages to both cheerfully mock and pay homage to everything people love and hate about Bollywood. Om Shanti Om doesn’t just tiptoe the line between retarded and amazing, it does cartwheels and backflips on it. It’s so confident in its story and the skill of everyone involved in the production that it doesn’t get bogged down in trying to achieve perfection, but simply concentrates on telling its tale.
Also, it’s entirely possible that I’m in love with Pappu. Well, the younger version of him. He’s much less enthusiastic as a 60-something than as a 20/30-something, which is completely understandable. I mean, if my best (and possibly only) friend died tragically, I’d probably lose some of my enthusiasm for life too. Still, Young Pappu is so adorable that I can’t help but smile whenever I see him.
So, based solely on this movie, I now ADORE Shreyas Talpade. Seriously, he is so darling as Pappu. He took what could have been a generic throw-away character and infused him with enough life to make him memorable. I always love it when that happens, and I love it even more when said character is goofy and adorable.
Since we’re talking about the actors, I just have to say that Shah Rukh Khan OWNS this film. Which is good, since he’s the star. His amazing talent to ham it up and then turn around and deliver on the angst factor in the same scene is something I can’t imagine anyone else being able to do so brilliantly. I just love watching him. (And if you don’t, there’s probably something wrong with you. I’ve yet to meet anyone who doesn’t like SRK.)
Deepika Padukone is incredibly charming in her debut role as well. She made it quite easy to believe that they were two completely different people who just happen to look the same. Besides, the camera obviously loves her. (I think I took more caps of her than of anyone else, because she’s just so PRETTY.) It’s hard to believe that she was only 21 when this was filmed. (That’s MY age! I feel inadequate, haha.)
Arjun Rampal is an actor I’ve only seen once before, in the 2006 remake of the classic Don. He was superb at playing the villain there, and he’s excellent here too. I loved to hate him. Mukesh is so delightfully evil, it made his eventual downfall all the more sweet. Love it.
And I can’t talk about the actors without mentioning Kirron Kher. She was fantastic as the melodramatic mother, which is always a role that borders on obnoxious. Still, she took Bela Makhija and made her lovable, and I appreciated that.
Of course, not having grown up with Bollywood, there are a lot of in-jokes and references I don’t get. But the ones I do get are FANTASTIC.
Like during the Filmfare Awards, both of Om’s films directly reference previous films that Shah Rukh Khan has done. I laughed SO HARD, especially when I realized what song was playing (I’m pretty sure it’s “Suraj Hua Maddham” from Kabhi Khushi Kabhie Gham, but it’s hard to tell since the segment was so short).
Also, “Deewangi Deewangi” is a song filled with blatant star cameos. Most of them are people Shah Rukh Khan has made films with, but some of them are just stars. (I think. It’s highly possible and likely I’ve just never seen the movies with them.)
For instance, the moment when Kajol appears is amazing, and their chemistry definitely lights up the screen even for the brief moments they’re together.
And a random tangent which most of you probably won’t get:
Preity Zinta reminds me of Jang Nara, only better. Her moment during “Deewangi Deewangi” is distinctly reminiscent of My Love Patzzi (to me, anyway). In fact, I might’ve liked that drama better if it had starred Preity Zinta and Shah Rukh Khan. (If you don’t know the Korean drama I’m talking about, you can go here, here, here, and here to check out a highly entertaining debate we had on Dramabeans about it.)
This song is ridiculously long, but it’s so much fun to pick out the star cameos that you don’t mind. Plus, you can have a dance party on your couch while you’re waiting! I even have distinct memories of dancing to this at various college parties. (I also have a lot of international friends, though, so my experience isn’t typical.)
Below, in alphabetical order, are the celebrities who had cameos in the film. Those marked with an asterisk (*) did NOT appear in “Deewangi Deewangi.”
Abishek Bachchan *
Aftab Shivdasani
Akshay Kumar *
Amisha Patel *
Amitabh Bachchan *
Amrita Arora
Arbaaz Khan
Arshad Warsi *
Bappi Lahiri *
Bipasha Basu *
Bobby Deol
Chunkey Pandey *
Dharmendra
Dia Mirza *
Dino Morea
Farah Khan *
Feroz Khan *
Gauri Khan *
Govinda
Hrithik Roshan *
Jeetendra
Juhi Chawla
Karan Johar *
Kajol
Karisma Kapoor
Koena Mitra *
Lara Dutta
Mayur Puri *
Malaika Arora
Mithun Chakraborty
Preity Zinta
Priyanka Chopra
Rakesh Roshan *
Rani Mukherji
Rekha
Rishi Kapoor *
Riteish Deshmukh
Saif Ali Khan
Salman Khan
Sanjay Dutt
Shabana Azmi *
Subhash Ghai *
Shilpa Shetty
Sunil Shetty
Tabu
Tusshar Kapoor
Urmila Matondkar
Vidya Balan
Vishal Dadlani *
Zayed Khan
I recognize almost all of the names, but a lot of them I wouldn’t be able to recognize by sight. Some of you may have better luck.. Just think of it as a scavenger hunt while you’re watching.
Moving on.
Most of the problems I have with this movie are tiny things. I mentioned some of them in the recap, like the mysterious blood on Om’s dying body, or the era-hopping song in Shanti’s movie, or how Sandy managed to escape from one makeup room to the next without Mushek noticing, or the fact that everyone just LEFT after Mushek had been hit by the chandelier the first time (why did no one call an ambulance?). They’re not major issues, just tiny things I noticed. Because I like to nitpick, regardless of how much I love a movie. There are, in fact, NO movies that are safe from my nitpicking eye. If there’s a tiny fault, I will find it, sometimes even glossing over the much more major faults.
One thing I noticed, which I wouldn’t necessarily go so far as to call a “problem,” is that the second part of the movie feels much shorter than the first part. This is odd because the first past, pre-reincarnation, is actually shorter than the second part. I’m not sure why this is, but it’s something I noticed as I was taking screencaps. I’d always assumed that reincarnation happened in the exact middle of the movie, but it most certainly doesn’t.
But anyway.
Basically, this movie is amazing. It’s fun, interesting, beautifully directed, and full of awesome. Everyone I’ve ever shown it to has loved it, even if they don’t know or care anything about Bollywood. (It’s next on my list to show my mother. I bet she’d appreciate it.)
Still, while you can enjoy this movie no matter when you watch it, it’s probably best to save it until you’ve seen some more Bollywood films first. That way you can better appreciate the references strewn throughout it and the craftsmanship required to create something so over-the-top that still manages to feel real. (Real emotion-wise, not plot-wise. I don’t exactly believe in reincarnation and ghosts and random musical numbers, after all.)
Also, the ending credits are awesome.
(As a side note, I took over 1200 screenshots of this movie. Do you know how difficult it is to weed down from 1200+ pictures? Very difficult.)
|
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correct_starring_00069
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1
| 54 |
https://www.moviebuff.com/om-shanti-om
|
en
|
Om Shanti Om on Moviebuff.com
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[] |
[] |
[
""
] | null |
[] | null |
Release Date: 09 Nov 2007. Om Shanti Om is directed by Farah Khan, and stars Arjun Rampal, Deepika Padukone and Shah Rukh Khan.
|
Moviebuff.com
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https://www.moviebuff.com/om-shanti-om
| |||||
correct_starring_00069
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FactBench
|
2
| 56 |
https://www.statesman.com/story/news/state/2024/07/11/shining-shelley-duvall-actress-dead-fort-worth-texas-native/74366121007/
|
en
|
Shelley Duvall, lead actress in 'The Shining' and Texas native, dies at 75
|
[
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] |
[] |
[] |
[
""
] | null |
[
"Austin American-Statesman",
"Brandi D. Addison"
] |
2024-07-11T00:00:00
|
Shelley Duvall, the lead actress in the famous horror movie 'The Shining' and a Fort Worth native, died in her sleep Thursday.
|
en
|
Lubbock Avalanche-Journal
|
https://www.statesman.com/story/news/state/2024/07/11/shining-shelley-duvall-actress-dead-fort-worth-texas-native/74366121007/
|
Iconic actress and Texas native Shelley Duvall died Thursday, just four days after her 75th birthday.
Duvall died in her sleep from complications related to diabetes at her home in Blanco, Dan Gilroy, her life partner since 1989, told The Hollywood Reporter.
“My dear, sweet, wonderful life partner and friend left us. Too much suffering lately, now she’s free. Fly away, beautiful Shelley,” Gilroy told the entertainment news organization.
What films did Shelley Duvall act in?
Duvall's first role was in Robert Altman's "Brewster McCloud," a 1970 movie shot in Houston. She went on to appear in several of Altman's films, including the period Western "McCabe & Mrs. Miller" (1971), the crime drama "Thieves Like Us" (1974), the ensemble musical comedy "Nashville" (1975), and the Western "Buffalo Bill and the Indians, or Sitting Bull's History Lesson" (1976). She also played Olive Oyl alongside Robin Williams in Altman's live-action feature "Popeye" (1980).
Her performance in Altman's psychological thriller "3 Women" (1977) won her the Best Actress Award at the 1977 Cannes Film Festival, a Los Angeles Film Critics Association Award and a BAFTA Award nomination in the same category.
Duvall is perhaps most famous for her role as Wendy Torrance in Stanley Kubrick's critically acclaimed 1980 horror movie "The Shining."
She also produced children's TV series, including "Faerie Tale Theatre" (1982-1987) and "Shelley Duvall's Bedtime Stories" (1992).
How long did Shelley Duvall live in Texas?
Duvall was born in Fort Worth in 1949 and moved to various cities within the state before settling in Houston at 5 years old. She graduated from Houston's Waltrip High School and attended South Texas Junior College.
According to a 1977 article in Boca Raton News, Duvall had never left Texas prior to Altman's offer to cast her in "Brewster McCloud."
She moved to Los Angeles to pursue her career in the 1970s, but after the 1994 Northridge earthquake, she relocated to the Hill Country town of Blanco.
Where is Blanco, Texas?
|
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correct_starring_00069
|
FactBench
|
1
| 0 |
https://en.wikipedia.org/wiki/Om_Shanti_Om
|
en
|
Om Shanti Om
|
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[
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[
"Contributors to Wikimedia projects"
] |
2006-06-30T22:27:35+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Om_Shanti_Om
|
2007 film directed by Farah Khan
For other uses, see Om Shanti Om (disambiguation).
Om Shanti OmDirected byFarah KhanWritten byScreenplay:
Farah Khan
Mushtaq Shiekh
Dialogues:
Mayur PuriStory byFarah KhanProduced byGauri KhanStarringShah Rukh Khan
Deepika Padukone
Shreyas Talpade
Kirron Kher
Arjun RampalCinematographyV. ManikandanEdited byShirish KunderMusic bySongs:
Vishal–Shekhar
Score:
Sandeep Chowta
Production
company
Distributed byEros International
Release date
Running time
171 minutesCountryIndiaLanguageHindiBudget₹40 crore[1][2]Box office₹152 crore[3][4][5]
Om Shanti Om (transl. literally to Om Shanti Om[a]) is a 2007 Indian romantic fantasy film written and directed by Farah Khan, co-written by Mayur Puri and Mushtaq Shiekh, and produced by Gauri Khan under Red Chillies Entertainment. The film stars Shah Rukh Khan, Deepika Padukone (in her Hindi-film debut), Shreyas Talpade, Kirron Kher, and Arjun Rampal. The story follows Om Prakash Makhija (Khan), an obscure 1970s actor, who dies in a suspicious on-set fire involving his crush, well-known yesteryears superstar Shanti Priya (Padukone), and is reincarnated in the present day as superstar Om Kapoor, seeking to exact revenge on the perpretrator, Shanti's husband and powerful producer Mukesh Mehra (Rampal).
Om Shanti Om was produced on a budget of ₹40 crore (US$9.67 million). Farah Khan wrote the film while directing the musical Bombay Dreams (2002), which was based on the Indian film industry. The film eventually began production after its leads were cast, with its title being derived from a song from Subhash Ghai's Karz (1980). The soundtrack was composed by Vishal–Shekhar, with lyrics written by Javed Akhtar. The background score was performed by Sandeep Chowta. The album was a critical and commercial success, becoming the highest-selling album of the year in India. The film is notable for its cameo appearances from Indian film celebrities in several sequences and songs.
Om Shanti Om released on 9 November 2007, co-inciding with Diwali, by Eros International. It received positive reviews from critics, with praise for its story, screenplay, soundtrack, production design, costumes, and performances of the cast. The film grossed ₹152 crore (US$36.76 million) worldwide, becoming the highest-grossing Hindi film of 2007 and the highest-grossing Hindi film ever at the time of its release.
At the 55th National Film Awards, Om Shanti Om won Best Production Design and at the 53rd Filmfare Awards, it received a leading 13 nominations, including Best Film, Best Director, Best Actor (Khan), Best Actress (Padukone), and Best Supporting Actor (Talpade). It won for Best Female Debut (Padukone) and Best Special Effects.[6]
Plot[edit]
In 1977, Om Prakash Makhija is a junior artist who dreams of becoming an actor. He lives with his widowed mother Bela and close friend Pappu Master in a small chawl in Mumbai. Om is in love with the renowned and glamorous actress, Shantipriya, often expressing his feelings in front of her film poster. One night, he sneaks into the premiere of one of Shanti's films, Dreamy Girl, along with Pappu in disguise and makes an impression on her. Later that night, a drunk Om gives an emotional speech to Pappu and a group of kids while pretending to accept an award.
Om and Pappu take minor roles in films at R.C. Studios, a production studio owned by Mukesh Mehra, a successful yet egotistical producer who launched Shanti. During a shoot, Shanti gets trapped in a fire that grows out of control but is rescued by Om. The two subsequently become friends. Om initially lies to Shanti that he is a popular Tamil film actor to impress her, but ultimately tells her the truth upon seeing her genuine fondness for him. With Pappu's help, Shanti and Om spend an evening together.
Things take a turn when Om overhears a heated argument between Shanti and Mukesh; they have been married for two years but kept it secret from the public for the sake of their careers. Shanti is livid when she learns that Mukesh plans to marry the daughter of the main distributor for his upcoming film, Om Shanti Om. She reveals to Mukesh that she is pregnant with his child, much to his seeming joy. Om is heartbroken and avoids Shanti.
A few days later, Mukesh takes Shanti to the future set of Om Shanti Om. He claims he will cancel its production and instead have a grand wedding ceremony there, making his and Shanti's marriage public. Om goes to meet Shanti for the last time but is dejected upon seeing her with Mukesh. Mukesh then reveals his true plan to kill Shanti and their unborn child to protect his career from scandal. He sets fire to the set and locks her inside. As Mukesh leaves, Om spots Shanti in the flames and attempts to rescue her but is severely beaten by Mukesh's guards. After they leave, Om manages to break into the set and finds Shanti, but is thrown out of the building by an explosion before he can reach her. The set burns down with Shanti inside. Om is devastated at the sight and is accidentally hit by the car of famous actor Rajesh Kapoor, whose pregnant wife Lovely is in labor.
Rajesh brings Om along to the hospital, but he succumbs to his injuries and dies while still reminiscing about Shanti. Rajesh's assistant Nasser asks the surgeon to keep this a secret from Om's family. Moments later, Rajesh and Lovely are blessed with a baby boy named Om Kapoor.
30 years later, Om Kapoor "O.K." is a talented, yet arrogant actor like his father. He lives Om Prakash's dream life but suffers from pyrophobia. O.K. often comes across Bela, who believes him to be her son and desperately tries to convince him to come back home, but he dismisses her as crazy. An aged Pappu tries to make Bela understand that O.K. is someone else but she pays no heed to him.
O.K. and his assistant, Anwar Sheikh, drive to the abandoned R.C. Studios for a film shoot. Anwar explains that the studio burnt down in a mysterious fire accident decades earlier. O.K. recognizes the area and experiences vivid flashbacks to Om Prakash's memories, much to his confusion. That night, O.K. wins the Filmfare Award for Best Actor and delivers Om's drunken speech to Pappu, who realizes that his friend was reborn upon watching it on TV. During a grand party thrown for his success, O.K. meets Mukesh and fully remembers his previous life as Om Prakash. Mukesh, now known as "Mike", works in Hollywood and wishes to make a film with him. Later that night, Om shares an emotional reunion with Bela and Pappu. The three plan to avenge Shanti's death by making Mukesh confess his crime.
Om convinces Mukesh to resume the filming of Om Shanti Om at the same ruined R.C. Studios. He auditions actresses to find Shanti's look-alike and ends up coming across Sandhya aka Sandy,[b] a ditzy, but devoted fan of Om who is an exact doppelgänger of Shanti. He hires Sandy without revealing his plan but gets angry when she struggles to act properly. On Pappu's advice, Om reveals the truth to Sandy, who promises to help him.
At the inauguration ceremony of Om Shanti Om, Om introduces Mukesh to Dolly, who will be playing the film's heroine. Bela scares Mukesh in the disguise of an old witch, and Om and Pappu try to light Shanti's photograph on fire to remind him of his crime. Although it doesn't work, the photograph is supernaturally lit by fire, which disturbs Mukesh. He is later lured into a make-up room by "Dolly", only to find Sandy dressed as Shanti. After seeing Shanti in the preview footage of Om Shanti Om, Mukesh decides to return to the US. Om persuades him to stay and finish production, though is forced to speed up the plan.
Mukesh gets suspicious when he finds film reels of Sandy in Om Shanti Om. During the music launch, in the form of a masquerade ball, Om tells the story of Shanti's life, indirectly warning Mukesh he knows the truth. However, Sandy ends up revealing her ruse after cutting her arm in front of Mukesh, revealing she isn't a ghost. He chases her but is knocked unconscious by a falling chandelier.
After Mukesh regains consciousness in the empty studio, Om confronts him over Shanti's murder. Mukesh has caught on to the plan, taunting that neither Om nor his "duplicate Shanti" can convict him since there is no proof. Pappu and Anwar then try to stop Sandy from going to the scene but are trapped by a jammed door. Sandy confronts Mukesh, despite Om urging her to leave. She reveals that after the fire died down, Mukesh returned to the set and discovered that Shanti was still alive, so he buried her underneath the chandelier; Shanti's corpse would be found there, which is proof of her murder. Mukesh is shocked at how she knows this and attempts to shoot her but Om attacks him. During their fight, a fire breaks out on the set again but Om conquers his fear to defeat Mukesh. Sandy stops Om from killing Mukesh, who is crushed to death by the chandelier.
Pappu, Anwar, and Sandy arrive. Om realizes that the woman with him is actually Shanti's ghost, who was also responsible for the unexplained aids in his plan. With her death now avenged, Om and Shanti bid each other a tearful goodbye, and he reunites with Sandy while Shanti runs up the stairs and disappears.
Cast[edit]
Shah Rukh Khan in a dual role as
Om Prakash Makhija a.k.a. Om
Om Kapoor a.k.a. O.K.
Deepika Padukone in a dual role as
Shanti Priya
Sandhya "Sandy" Bansal
Arjun Rampal as Mukesh "Mike" Mehra (Shanti's husband)
Shreyas Talpade as Pappu Master (Om's best friend)
Kirron Kher as Bella Makhija (Om's mother)
Javed Sheikh as Rajesh Kapoor (O.K.'s father)
Asavari Joshi as Lovely Kapoor (O.K.'s mother)
Yuvika Chaudhary as Dolly Arora (O.K.'s heroine in the movie-within-a-movie Om Shanti Om)
Bindu Desai as Kamini Arora (Dolly's mother)
Nitesh Pandey as Anwar Sheikh (O.K.'s assistant)
Vishal Dadlani as the Director of Mohabbat Man
Haresh Hingorani as Faizan ‘F’ Khan (director of Om Shanti Om)
Naseer Abdullah as Naseer (Rajesh's assistant)
Suresh Chatwal as Suresh (Om's friend)
Manikandan Velayutham as the Director of Mind It
Mayur Puri as the Director of Apahij Pyar
Sanjiv Chawla as the Producer of Apahij Pyar
Priya Patil as Natasha (O.K.'s heroine in Apahij Pyar)
Vikram Sahu as O.K.'s doctor
Suhas Khandke as Om's surgeon
Sharad as Mukesh's guard
Yaseen as Mukesh's guard
Farah Khan as the woman who makes fun of Om
Cameo appearances[edit]
Subhash Ghai as himself
Rishi Kapoor as himself and had a song cameo
Akshay Kumar as himself
Abhishek Bachchan as himself
Satish Shah as Partho Roy (film director)
Karan Johar as himself
Aarti Gupta Surendranath
Malaika Arora Khan as O.K.'s heroine in Mohabbat Man
Amitabh Bachchan as himself
Ameesha Patel as O.K.'s heroine in Phir Bhi Dil Hai N.R.I.
Bipasha Basu as herself
Bappi Lahiri as himself
Chunky Pandey as himself
Dia Mirza as O.K.'s heroine in Main Bhi Hoon Na
Feroz Khan as himself
Hrithik Roshan as himself
Kajol as herself
Karisma Kapoor as herself
Koena Mitra as herself
Preity Zinta as herself
Rakesh Roshan as himself
Rani Mukerji as herself
Sanjay Dutt as himself
Sanjay Kapoor as himself
Shabana Azmi as herself
Yash Chopra as himself
"Deewangi Deewangi" song[edit]
31 Bollywood film actors appeared in cameo appearances for the song "Deewangi Deewangi". Other actors were also supposed to play cameos, including Fardeen Khan, who was arrested in Dubai over a drug case. Dev Anand refused as he always played lead roles in his career. Madhuri Dixit declined due to the promotional activities of Aaja Nachle (2007). Ajay Devgn declined due to his friend Arjun Rampal playing the villainous role in the film. Dilip Kumar and Saira Banu didn't appear in the song, despite plans to include them. Amitabh Bachchan declined due to his son Abhishek Bachchan's wedding to Aishwarya Rai, while Aamir Khan declined due to Taare Zameen Par (2007) on his pending editing. Farah had wanted the three Khans to appear together in a film. Rekha, who appears in the song, carried out 2 days of rehearsal for it. All those who appeared for the song received gifts, including a Blackberry phone and a Tag Heuer watch.[7] The participants are listed below :
Rani Mukerji
Zayed Khan
Vidya Balan
Jeetendra
Tusshar Kapoor
Priyanka Chopra
Shilpa Shetty
Dharmendra
Shabana Azmi
Urmila Matondkar
Karishma Kapoor
Arbaaz Khan
Malaika Arora
Dino Morea
Amrita Arora
Juhi Chawla
Aftab Shivdasani
Tabu
Govinda
Mithun Chakraborty
Kajol
Bobby Deol
Preity Zinta
Rekha
Riteish Deshmukh
Salman Khan
Saif Ali Khan
Sanjay Dutt
Lara Dutta
Suniel Shetty
Production[edit]
Development[edit]
In 2002, Farah Khan worked as a choreographer for the musical Bombay Dreams in London, which she felt presented a "clichéd and outdated version" of the Indian film industry.[8] She thought that the musical would not be successful if released in India.[8] She instead thought of a new story, writing her initial thoughts about the subject on Andrew Lloyd Webber's letterhead while staying in his house.[9] Later in 2006, Farah began to work on her next project, which was tentatively titled Happy New Year. Amid speculations that Shah Rukh Khan would star in Happy New Year, the actor rejected the first draft of the film, upon which Farah's husband and editor Shirish Kunder reminded her of the story she had conceived while in London.[7] Happy New Year, which was to mark Deepika Padukone's Hindi debut, was put on hiatus and revived more than 8 years later under the same title.[10]
Farah completed writing the first script of Om Shanti Om within two weeks.[7][c] She set the first half in the 1970s as she felt the Hindi films made during that period were much more influential than those made in other periods, particularly the 1980s, which she felt was a period when "the worst movies were made". She also included many references to the 1970s, which were also prevalent in films of that time. She said, "Everything in the first half is about the 70s—such as the mother who overacts, mouthing clichéd dialogues. Then there are cabarets, badminton and other stuff popular during that era."[8] Shah Rukh's costumes were designed by Karan Johar, while Manish Malhotra designed Padukone's costumes. The rest of the cast had their costumes designed by Sanjeev Mulchandani.[11]
In addition to directing the film, Farah co-wrote the story with Mayur Puri and Mushtaq Shiekh. She was also the film's choreographer. Puri wrote the screenplay and dialogues.[12] He completed the writing process in two months and rewrote the film's second half.[13] Puri created the screenplay by writing his natural reaction to the characters as scenarios. He knew that despite being part of a crowd, junior artists do not want to be recognised as such, ruins their chances of landing a leading role in future. This was used in a sequence involving Shah Rukh and Talpade, who play junior artists. Puri blended different genres together in Om Shanti Om, which he felt was challenging. He used his personal memories from childhood for creating the 1970s.[14] Shirish Kunder was the editor, while V. Manikandan was the cinematographer.[12]
Sabu Cyril was the film's production designer. Sabu was first offered the Mani Ratnam-directed Guru (2007) at a time when Om Shanti Om was being planned, but ultimately chosen the latter due to his earlier commitment to Farah for her future project.[15] Farah used two particular dialogues in the film: "When you want something badly, the whole universe conspires to give to you" and "In the end everything will be ok and if its not ok its not the end". These were used as Khan felt that it reflected her philosophy in her life.[16] Farah stated that the film's opening scene was her most favourite in it.[17] In 2008, Puri felt his most favourite dialogue from the ones he wrote would be the Filmfare Awards speech.[14] The film's title derives from the eponymous song from the film Karz (1980).[18] Om is a Hindu mantra; Om Shanti Om roughly translates to "Peace Be With You".[19][20]
The film opens with the grandeur shot of the most famous songs of Karz that is Om Shanti Om featuring Rishi Kapoor and SRK as a junior film artist standing in the crowd.[21]
Casting[edit]
Shah Rukh was cast as the lead; he gained six packs for a song sequence.[22] He felt Om Shanti Om was a "happy film".[23]
Farah was advised by Malaika Arora to cast Padukone as the female lead, who was suggested by Wendell Rodricks, under whom Padukone was working.[24] She was cast without a screen test.[25] Khan felt that she was "a beautiful, classic Indian beauty" who fit the role of an actor of the 1970s.[8] She was excited at the prospect of working with Shah Rukh and said, "I've grown up watching [Shah Rukh] and always admired him so much. To get to work with him ... is quite wonderful. It was also fantastic that Farah showed faith in my talent and cast me opposite him."[26]
In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language.[27] Her character was modelled after Malini and nicknamed Dreamy Girl after her the latter's nickname as Dream Girl.[28] Rampal was approached by both Khan and Shah Rukh at the latter's New Year's Eve party. Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him. With persuasion from Shah Rukh, he agreed. Rampal wore a mustache in the film which was suggested by Shah Rukh.[7] Shreyas Talpade played a supporting role as the best friend of Khan's character. After the release of Iqbal (2005) and completing the filming of Dor, Talpade, who attended the same gym as Khan, was called for a narration of what would be Om Shanti Om. He agreed to do the role.[29]
Kirron Kher, Bindu and Javed Sheikh also appear in the film.[30] A further red carpet scene featuring a number of actors making guest appearances, including R. Madhavan and Farhan Akhtar as well as Prem Chopra, Shakti Kapoor and Vidhu Vinod Chopra was deleted from the film.[31]
Principal photography[edit]
Om Shanti Om was made on a budget of ₹40 crore.[2] The first scene to be filmed was one where Talpade's character tells Shah Rukh's character that he will be a hero; Shah Rukh was an hour late for filming.[29] Farah was pregnant with triplets while filming and experienced difficulties while shooting, she would constantly vomit while directing the film.[32] The film was shot entirely in sync sound; Farah dismissed rumours of Padukone's voice being dubbed.[33] In 2015, however, Mona Ghosh Shetty admitted to have dubbed for Padukone in the film.[34] The fake fight scene involving a stuffed tiger was inspired by a similar scene in the film Tarzan 303.[7] Old cars owned by actors Rajesh Khanna and Hema Malini were used for filming for authenticity.[35]
A number of references to real life was also filmed, including a scene in which Om rescues Shanti from a fire, which was a spoof of Sunil Dutt rescuing Nargis from a fire on the sets of Mother India (1957). For a shot involving a Filmfare Awards ceremony, Khan stood on the red carpet of an actual Filmfare Award ceremony and requested actors to dictate dialogues as she stated. The song "Deewangi Deewangi" was shot over a period of six days.[7] The song "Dhoom Taana" has digitally altered guest appearances, which included Sunil Dutt from Amrapali (1966), Rajesh Khanna from Sachaa Jhutha (1970) and Jeetendra from Jay Vejay (1977).[36] Farah wanted to film Shakira for filming a special appearance had made her commit a few days for the role. Due to the uncertainty of her dates, the idea was scrapped.[35]
In February 2007, a filming schedule was completed in Film City. It was then reported that filming would move outdoors after Shah Rukh completed filming for Kaun Banega Crorepati.[37] In October 2007, Abhishek Bachchan finished filming for his cameo appearance; he shot between 10 and 2 in the night for his screen time of about one and a half minutes.[38] Filming of the last sequence and the end-credit song was done in Film City.[39] Farah continued the tradition of featuring an end-credits song beginning with Main Hoon Na (2004).[40]
Om Shanti Om was produced by Shah Rukh's wife Gauri Khan under their Red Chillies Entertainment banner. While Marching Ants handled the publicity design, Gauri was the presenter. Shyam Kaushal, Amar Shetty and Shah Rukh were the action directors.[12] The film's final reel length was 4013.94 ft (1223.45 m).[12]
Music[edit]
Main article: Om Shanti Om (soundtrack)
The film score was composed by Sandeep Chowta while the original songs featured in Om Shanti Om were composed by the duo Vishal–Shekhar with lyrics by Javed Akhtar, Kumaar and Vishal Dadlani. One song was composed by Pyarelal of the Laxmikant-Pyarelal duo.[41] The vocals are provided by KK, Sukhwinder Singh, Marianne, Nisha, Caralisa Monteiro, Shaan, Udit Narayan, Shreya Ghoshal, Sunidhi Chauhan, Rahul Saxena, Sonu Nigam, Rahat Fateh Ali Khan, Richa Sharma, Abhijeet Bhattacharya, DJ Aqeel, DJ G, Kiran Karnath, Jackie V, Nikhil Chinapa, DJ Nawed and Zoheb.[42] Trade reports predicted the album to be commercially successful even before its release.[43] The soundtrack album of Om Shanti Om was released on 18 September 2007 on CD,[44] and was the highest-selling music album of the year in India, with sales of around 2 million units.[45][46]
Release[edit]
Theatrical[edit]
Screening and statics[edit]
Om Shanti Om created a record of sorts by going in for an unheard of 2000 prints (worldwide) release. This was the highest number of prints (including digital) for any Indian movie at the time of its release.[47]
Pre-sale records[edit]
Om Shanti Om set another record for registered pre-advance booking of 18,000 tickets in a chain of theatres in Delhi a few days before the advance booking was to start.[48] A special screening was conducted for Bollywood actors.[49] Red Chillies Entertainment had reportedly sold the world rights for the film to Eros International for an amount between Rs. 720–750 million. Baba Films, a production and distribution company, had offered a record Rs. 110 million for the rights to the Mumbai Circuit, surpassing the highest amount ever paid for the territory. As a marketing strategy, Amul advertised Shah Rukh.[50]
Home media[edit]
In the United Kingdom, the film was watched by 750,000 viewers on Channel 4 in 2010. This made it the year's most-watched foreign-language film on UK television, above the Japanese anime film Spirited Away and German animated film The Little Polar Bear.[51]
Legal issue[edit]
Manoj Kumar planned to sue the makers of Om Shanti Om for showing his body double in bad taste.[52] Kumar added, "Are the Mumbai police so stupid that they can't recognise Manoj Kumar and lathicharge him in the '70s when he was a star?".[53] Later, in a press conference, Shahrukh Khan and director Farah Khan accepted their mistake and apologised for the matter.[54] Farah Khan even offered to cut the scene which Manoj Kumar felt was hurtful, but Kumar refused on grounds that, as Farah had stated, "I [Farah Khan] am like his daughter. He said, 'Betiyaan maafi nahi maangti' (Daughters don't ask for forgiveness). I told him that he could've called me and scolded me."[54] Later, Kumar said that though this incident was hurtful to him, he wishes to forgive, ignore, and move on, saying that he prefers to "see Ram in everyone and ignore the Ravana."[55]
Before the film's television premiere on Sony TV, Manoj Kumar filed for a stay on the television release, at civil court in Mumbai. On 8 August 2008, he won permanent injunction on the scenes in Om Shanti Om that lampooned him. The court ordered the producers and Sony Entertainment Television, to edit the Manoj Kumar look-alike scenes before showing the film on the channel on 10 August 2008. It also ordered that the film could not be shown in any media—TV, DVD or Internet—without the scene being deleted.[56][57]
Plagiarism allegations[edit]
On 7 August 2008, before its television release, scriptwriter Ajay Monga moved the Bombay High Court alleging that the basic storyline of the film was lifted from a film script he had emailed to Shah Rukh Khan in 2006. According to the petition, "Monga, along with one more writer Hemant Hegde, had registered the script with the Cine Writers Association (CWA) in September 2005. In January 2008, Cine Writers Association (CWA) rejected Monga's appeal at a special Executive Committee meeting. Thereafter, he approached the court to stay the film's screening on television. Though, on 6 August the court rejected Monga's plea for seeking a stay on the television telecast, it directed all the respondents including Shahrukh Khan, Farah Khan, Red Chillies Entertainment, Gauri Khan (director Red Chillies) and film's co-writer Mushtaq Sheikh, to file their say by the next hearing on 29 September 2008.[58][59] In November 2008, the Film Writers' association sent a communication to Red Chillies and Ajay Monga that it had found similarities in Om Shanti Om and Monga's script. The similarities were more than mere coincidences according to Sooni Taraporewala who chaired a special committee that has investigated the case on behalf of the Film Writers' association.[60]
Another allegation of plagiarism came from Rinki Bhattacharya, daughter of late Bimal Roy, who directed Madhumati (1958). She threatened legal action against Red Chillies Entertainment and the producer-director of Om Shanti Om, as she felt that the film's second half was similar to Madhumati, also a rebirth saga.[58][61]
Reception[edit]
Box office[edit]
Om Shanti Om opened across 1100 cinemas in 3000 prints worldwide.[62] The film's net gross (after deducting entertainment tax) was ₹794 million (US$19.2 million) in India.[63] The film collected $2.62 million in the United Kingdom, $3.6 million in North America,[64] and $3.93 million collectively from the rest of the world, which resulted in total overseas collections of $10,150,000,[2][65] the fourth largest of all time as of 2010.[65] As a result of these collections, a worldwide gross of ₹150 crore (US$36.28 million) was accumulated.[66]
Critical response[edit]
On the review aggregator website Rotten Tomatoes, 79% of 19 critics' reviews are positive, with an average rating of 7.21/10.[67]
India[edit]
Om Shanti Om was received positively by Indian film critics.[68][69][70] Taran Adarsh of Bollywood Hungama gave it four stars out of five and writes, "Om Shanti Om is Bollywood masala in its truest form and also, at its best" but notes, "the second half could've been crisper".[71] Khalid Mohamed of Hindustan Times gave the film four stars out of five and appreciated the performances, observing how Rampal is "consistently first-rate as the suave villain" while Padukone is "fantastic, so surprisingly assured that you marvel at her poised debut". He notes that "the enterprise belongs to Shah Rukh Khan, who tackles comedy, high drama and action with his signature style—spontaneous and intuitively intelligent. Six-pack or no-packs, he's the entertainer of the year in this valentine to the movies."[72]
Nikhat Kazmi of The Times of India gave the film three and a half stars out of five and writes, "Farah Khan's re-birth saga literally makes an art of retro and paints the seventies pop culture in Andy Warholish strokes". She called it an "unabashed tribute" to Karz.[73] Raja Sen of Rediff.com gave it three and a half stars out of five and applauded the performances of Shah Rukh, Padukone and Talpade. He writes, "Om Shanti Om is an exultant, heady, joyous film reveling in Bollywood, and as at most parties where the bubbly flows free, there is much silly giggling and tremendous immaturity." He criticised the dialogues and excessive cameos in the film.[74]
Rajeev Masand of News18 gave the film three stars out of five and writes, "Unpretentious and completely transparent in its intentions, Om Shanti Om is an entertainer in the true sense of the word, mixing up genre elements like comedy, drama, action and emotion to create a heady broth of Manmohan Desai-style exaggerated entertainment." He compliments the dialogues "which so cleverly incorporates Bollywood's oldest clichés into these characters' everyday parlance."[75] A commentator for Indo-Asian News Service felt that Shah Rukh's acting was repetitive and writes, "He needs to curtail his unwarranted superstar mannerisms even in a total masala film like Om Shanti Om", while complimenting the performances of Padukone, Rampal and Talpade.[69]
Sudish Kamnath of The Hindu stated that the film is "an unabashed celebration of willing suspension of disbelief, calling it a "light-hearted tribute to Hindi cinema the way we know it and love it". He praised the performances of Shah Rukh, Padukone and Talpade, while criticising Rampal and Kher. He also praised the various spoofs, especially the ones directed at Manoj Kumar, Sanjay Leela Bhansali and Abhishek Bachchan.[76] Writing for SantaBanta.com, Subhash K. Jha gave it one star out of five and criticised the spoofs "which keeps swinging from homage to imitation with infuriating artifice", writing, "The mood is one of patronizing and condescension rather than genuine admiration for an era that's gone with the wind".[77]
International[edit]
Tajpal Rathore of BBC gave it 4 out of 5 stars as well and stated, "Both a homage to and parody of Hindi Films, this cinematic feast delivered straight from the heart of the film industry will have you glued to your seats till the end."[78] Mark Medley of National Post gave 3 stars and stated, "The film is a mess for all the right reasons; elements of comedy, drama, romance, action and the supernatural are packed in. But really, the plot is just a vehicle to get from one song-and-dance number to the next."[79] AOL gave the film 3 out of 5 stars stating, "The movie consists of all the elements that are essentially called the 'navratnas' of Indian cinema – from joy to grief to romance to revenge. And she mixes these well to cook up a potboiler, which is sure to be a runaway hit."[80]
Accolades[edit]
Award Date of ceremony[d] Category Recipient(s) and nominee(s) Result Ref. Asian Film Awards 17 March 2008 Best Actress Deepika Padukone Nominated [81]
[82] Best Composer Vishal–Shekhar Won Asia Pacific Screen Awards 11 November 2008 Best Feature Film Om Shanti Om Nominated [83]
[84] CAAMFest 13–23 March 2008 Best Narrative Won [85]
[86] Filmfare Awards 16 February 2008 Best Film Nominated [87]
[88] Best Director Farah Khan Nominated Best Actor Shah Rukh Khan Nominated Best Actress Deepika Padukone Nominated Best Female Debut Won Best Supporting Actor Shreyas Talpade Nominated Best Music Director Vishal–Shekhar Nominated Best Lyricist Javed Akhtar for "Main Agar Kahoon" Nominated Vishal Dadlani for "Ajab Si" Nominated Best Playback Singer KK for "Ajab Si" Nominated Sonu Nigam for "Main Agar Kahoon" Nominated Best Special Effects Red Chillies VFX Won International Indian Film Academy Awards 6–8 June 2008 Best Film Om Shanti Om Nominated [89]
[90] Best Director Farah Khan Nominated Best Actor Shah Rukh Khan Nominated Best Actress Deepika Padukone Nominated Star Debut of the Year Won Best Supporting Actor Shreyas Talpade Nominated Best Villain Arjun Rampal Nominated Best Lyrics Javed Akhtar for "Main Agar Kahoon" Won Best Art Direction Sabu Cyril Won Best Costume Design Team Won Best Makeup Team Won Best Special Effects Team Won National Film Awards 21 October 2009 Best Art Direction Sabu Cyril Won [91] Neuchâtel International Fantastic Film Festival 1 July 2008 – 6 July 2008 Mad Movies Om Shanti Om Won [92] Producers Guild Film Awards 30 March 2008 Best Performance in a Negative Role Arjun Rampal Nominated [93]
[94]
[95]
[96] Best Debut (Female) Deepika Padukone Won Best Lyricist KK for "Ajab Si" Nominated Best Music Vishal–Shekhar Nominated Best Lyrics Vishal Dadlani for "Ajab Si" Nominated Best Re-Recording Kuldeep Sood Nominated Best Choreography Farah Khan Won Best Costume Design Karan Johar Won Best Editing Shirish Kunder Nominated Best Art Director Sabu Cyril Nominated Best Special Effects Red Chillies VFX Won Screen Awards 23 January 2008 Best Film Om Shanti Om Nominated [97]
[87] Best Director Farah Khan Nominated Best Actor in a Negative Role Arjun Rampal Nominated Best Male Playback Singer KK for "Ajab Si" Nominated Best Background Music Vishal–Shekhar Nominated Best Special Effects Red Chillies VFX Nominated Best Art Direction Sabu Cyril Nominated Best Choreography Farah Khan Won Most Promising Newcomer Deepika Padukone Won Best Pair of the Year Shah Rukh Khan & Deepika Padukone Won Stardust Awards 26 January 2008 Superstar of Tomorrow-Female Deepika Padukone Nominated [98]
[99] Breakthrough Performance-Male Shreyas Talpade Won Best Actor in a Negative Role Arjun Rampal Won Star of the Year-Male Shah Rukh Khan Nominated Dream Director Farah Khan Won Best Film Om Shanti Om Nominated Zee Cine Awards 26 April 2008 Nominated [100]
[101] Best Actor Shah Rukh Khan Nominated Best Actress Deepika Padukone Nominated Best Director Farah Khan Nominated Best Actor in a Supporting Role Shreyas Talpade Nominated Best Actor in a Negative Role Arjun Rampal Won Most Popular Track of the Year "Dard-e-Disco" Nominated Best Male Playback Singer KK for "Ajab Si" Nominated Sonu Nigam for "Main Agar Kahoon" Nominated Best Lyricist Javed Akhtar for "Main Agar Kahoon" Nominated Best Music Director Vishal–Shekhar Nominated Most Promising Debut Deepika Padukone Won Best Choreography Farah Khan Won Best Costume Design Karan Johar Won Best VFX Red Chillies VFX Won
Impact[edit]
Nina Davuluri's talent for Miss America 2014 was a Hindi Film fusion dance choreographed by Nakul Dev Mahajan and performed to Dhoom Taana. It was the first time Indian film ever appeared on the Miss America stage and Davuluri is the first Indian American to win the competition.[102][103][104][105][106]
In Japan in 2017, Om Shanti Om was remade into a musical, performed by the all-female troupe Takarazuka Revue, titled Oomu Shanti Oumu.[107][108]
A book, titled The Making of Om Shanti Om written by Mushtaq Sheikh, was released after the release of the film. The book gives an insight into the production and happenings behind the camera of the film.[109][110]
See also[edit]
Reincarnation in popular culture
Further reading[edit]
Shiekh, Mushtaq (2008). The Making Of Om Shanti Om. Om Books International. ISBN 978-8187108368.
[edit]
References[edit]
[edit]
Bollywood portal
India portal
Film portal
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correct_starring_00069
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FactBench
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0
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https://www.youtube.com/live/I4BZ7ubn1fU%3Ft%3D2818s
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en
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YouTube
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[
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Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.
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https://www.youtube.com/s/desktop/060ac52e/img/logos/favicon.ico
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https://www.youtube.com/undefined
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correct_starring_00069
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FactBench
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2
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https://www.pbs.org/wgbh/masterpiece/specialfeatures/annika-7-things-to-know-about-nicola-walker/
|
en
|
7 Things to Know About Annika Actress Nicola Walker
|
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[
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2022-10-13T21:16:06+00:00
|
Discover some intriguing facts about the Annika star including what attracted her to acting and other hidden talents.
|
en
|
Masterpiece
|
https://www.pbs.org/wgbh/masterpiece/specialfeatures/annika-7-things-to-know-about-nicola-walker/
|
7 Things to Know About Nicola Walker
Nicola Walker has a legion of fans who admire the caliber of her work in TV series like Annika and Unforgotten on MASTERPIECE on PBS, Last Tango in Halifax, The Split, and Spooks. You may not need more reasons to love her, but we’ve got seven to consider anyway! Delightfully witty, insightful about the characters she portrays, and really just genuinely charming, Nicola Walker would make a terrific BFF—and has one of her own you’d never suspect.
1.
She’s Inhabited Annika Strandhed for 7 Years Already
Before Annika came to TV on MASTERPIECE, it was a popular radio drama called Annika Stranded, (pun intended), airing 31 episodes on BBC Radio 4 between 2013 and 2020. Walker told 15-minute stories in monologues as Annika Strandhed of the Oslo Boat Patrol, single parent to a son. With the television series, we shift to Glasgow and teenage daughter, Morgan.
“Our brilliant writer, Nick [Walker, no relation] came up with a really good way of holding onto this very intimate relationship you had with Annika on the radio, that she’s, you know, she’s in your ear. And on television, he’s using breaking the fourth wall to maintain that intimacy,” says Walker (the actor). “You are with me throughout the case. I’m not just talking for the sake of it. I need you to listen to me and I bounce ideas off you.”
2.
She Got into Acting to Meet Boys
The actor confesses that part of the reason she got into acting was for a chance to speak with boys. “I was 13 and went to an all-girls school,” she tells the MASTERPIECE Studio podcast. “How do you meet boys? I tried one [ballet] class and got thrown out because I kept talking and they kept saying I should be talking with my body not with my mouth. They told me there were drama classes upstairs, so I thought I’d be more suited to that.”
3.
She’s Got Pipes!
Walker has demonstrated her singing abilities a few times in her TV and film career, including in Unforgotten, River, and memorably, Four Weddings and a Funeral. The latter was her first film credit in 1994; she played the somewhat irritating folk singer tapping the tambourine and attempting Barry Manilow’s Can’t Smile Without You. With Unforgotten, it was the very first episode as the series launched, with the character of DCI Cassie Stuart endearingly tormenting partner Sunny Khan by singing lyrics from Bobby Hebb’s 1963 hit, “Sunn-ny, yesterday my life was full of pa-ai-inn…”
4.
She Has a Pal from the Great British Bake Off
It’s true—Nicola Walker and British comedian/presenter Sue Perkins are fast friends. They met at Cambridge University when Walker was 19. “In my first week, she was…to be my college mother, look after my moral welfare,” Walker jokes with the MASTERPICE Studio podcast. “She kept me sane. She got me involved with Footlights [comedy society], saying, you know, come and try to do some sketches. …Cambridge is a frightening place to arrive at. …Meeting Sue was perfect because she just opened up this world. I met fantastic people who all wanted to write their own stuff and perform it. And some of it was awful, terrible, dreadfully unfunny, but some of it was glorious.”
5.
She’s Terrified of Revealing Spoilers When Interviewed
Walker jests about a specific anxiety she experiences during press interviews: Giving plot points away. To quell the fear, she often brings a note along, reminding herself not to divulge any details that would ruin the experience for viewers. “You have no idea! There’s a sort of buzzing in my body, because there’s a part of me that thinks I’m going to tell you who the killer is,” she tells the News & Star (UK). “The worst ones are where they put you on the television, and it’s live, and I get this awful sort of nightmare feeling that I’m just going to blurt it!
6.
She Plays Cops, But Seldom Reads Crime Fiction
Walker told the BBC Radio 4 podcast, A Good Read, that she doesn’t often read crime fiction. “I can’t because I spend my whole time working out who the killer is. Lots of readers do, but after years of playing detectives, I’m pretty good, in terms of looking at it as a script, at seeing where [things] are going…what the dramatic arc is.”
7.
Her Work Has Been Recognized with Award Nominations and Wins
While the actor claims she’s not often recognized on the street, her work has certainly been acknowledged. Walker has over a dozen nominations to date from the British Academy Film Awards (BAFTA), British Press Guild Awards, and the Drama Desk Awards, among others for roles in A View from the Bridge, River, Unforgotten, and Last Tango in Halifax. In 2013, she brought home the coveted Olivier Award, Britain’s most prestigious stage honor; it was for Best Actress in a Supporting Role in the play about a math genius, Curious Incident of the Dog in the Night Time. The drama, adapted from Mark Haddon’s bestselling novel, was nominated in eight categories that year and won in seven.
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https://bollywood.fandom.com/wiki/Om_Shanti_Om
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en
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Om Shanti Om
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2024-07-03T16:38:30+00:00
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Om Shanti Om (Hindi: ओम शान्ति ओम) is a 2007 Bollywood musical film directed and published in 2023 choreographed by tejas . It stars shashikanth and Deepika Padukone in the lead roles as the protagonists while chidanand ,karthik raja and Kirron Kher feature in supporting roles. Ankitha is the...
|
en
|
/skins-ucp/mw139/common/favicon.ico
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Bollywood Wiki
|
https://bollywood.fandom.com/wiki/Om_Shanti_Om
|
Om Shanti Om (Hindi: ओम शान्ति ओम) is a 2007 Bollywood musical film directed and published in 2023
choreographed by tejas . It stars shashikanth and Deepika Padukone in the lead roles as the protagonists while chidanand ,karthik raja and Kirron Kher feature in supporting roles. Ankitha is the antagonist in the movie. More than forty two well-known Bollywood stars appear in the course of the film, including thirty of them (not including the stars of the film) in one song alone.
Story[]
Protagonist Om Prakash Makhija (Shahrukh Khan) is a junior artist in the 1970s Bollywood film industry. He and his friend Pappu (Shreyas Talpade) are trying to succeed as leading actors. Om's mother, Bela Makhija (Kirron Kher), herself a junior artist, inspires and encourages her son to become a success. He is in love with the film actress Shanti Priya (Deepika Padukone).
One evening, Om views the premiere of Shanti Priya's film Dreamy Girl, claiming he is the actor Manoj Kumar. Here, scenes from older Bollywood films are used to form the scenes seen by Om on screen. He is shown fantasizing himself as its lead and catching Shanti Priya's eye before Dreamy Girl begins and during its display. Later that night, Om becomes drunk and describes his vision of himself as a famous, wealthy film star to Pappu and some local children. During his speech, references are made to the Law of Attraction, creating an axiom that recurs throughout the story.
On another occasion, during a shooting of a film wherein Om is acting as a scene-extra, he notices Shanti trapped in the middle of a fire scene where the fire has escaped control. When the lead actor of the film fails to save her, Om saves her instead and they become friends. He initially attempts to overawe her by pretending that he is the lead and producer of his own films, but ultimately confesses and finds the attempt unnecessary. That night, Om invites Shanti to a film set, where Om, assisted by Pappu, uses props and several backgrounds to create fantastic backgrounds against which develops a romantic song sequence.
The following day, Om tries to talk to Shanti on the set of a film, but is almost ignored. He follows her into a dressing-room, where he, unseen except by the viewer, overhears her argument with the film's producer Mukesh Mehra (Arjun Rampal) about a recent promise of Mukesh's to marry a businessman's daughter in return for funding of a film. It is here revealed that Shanti is secretly married to Mukesh, and that Shanti is pregnant with Mukesh's child. Mukesh insists that his relationship with Shanti be kept secret, arguing that its revelation will spoil his plans, but Shanti demands that they marry in public. Mukesh relents when she reveals her pregnancy. Om leaves, disappointed, and remains miserable for some days.
One night, Om notices Mukesh escorting Shanti to the set of their planned film Om Shanti Om. Inside, Mukesh tells Shanti that he will cancel the film, reveal their marriage to the public, and have a grand wedding in the spectacular set, but contradicts himself by blaming her for his loss of the film and its revenue, igniting a fire in the set, and leaving her imprisoned inside it. Om attempts to rescue her, but is attacked by Mukesh's men. When they leave him, Om enters the set, but is prevented by an explosion from rescuing Shanti. Om, having been fatally injured and propelled by the explosion into a road, is hit by a car owned by Rajesh Kapoor (Javed Sheikh), a well-known actor who is taking his wife (Asawari Joshi) to a hospital for the birth of their child. Rajesh Kapoor then takes Om to the hospital with them, but Om dies of his injuries. Moments later, a son is born to Rajesh Kapoor, who is named Om and implied to be Om Prakash's reincarnation. The film then cuts to the younger Om's adulthood, wherein he is a popular movie star and lives an extravagant, luxurious life. He experiences pyrophobia and appears overall to be a younger, more impatient, brusquer, and less emotionally mature version of his previous self. It is shown through some scenes that he subconsciously inherits Om Prakash's memories.
Having been introduced to Om Kapoor, his lifestyle, and his nickname of "O.K.", viewers see him becoming aware of Om Prakash's memories when his film crew use the site of Om Prakash's death as the setting of his new film. Here, O.K. sees images of Mukesh's argument with Shanti Priya, which vanish when he is disturbed by a crewmember. Later, O.K. is awarded 'Best Actor' during a ceremony featuring both existing and fictional Bollywood films and film stars (listed below). When making a speech of acceptance for this award, O.K. unexpectedly recalls the drunken speech Om Prakash had made to Pappu, and makes it to the assembly who have awarded him. Pappu, seeing this broadcast on television, is convinced to share Bela's conviction that O.K. and Om Prakash are the same man. At a celebration of his award (again featuring numerous Bollywood film stars, and accompanied by a song whose refrain is the film's title), O.K. is introduced by his father to Mukesh Mehra, who has been producing films in Hollywood for thirty years. Upon seeing him, O.K. becomes aware of all of Om Prakash's memories. He conceals his knowledge of Mukesh's past, but later reunites with Bela and Pappu. He then conspires with them to avenge Shanti Priya's death by terrifying Mukesh into confessing his role therein.
As a disguise and framework for this plan, O.K. convince Mukesh to recreate Om Shanti Om, altering the plot to fit their designs. It is then shown that the central part of their scheme consists of convincing Mukesh that Shanti Priya's ghost is haunting him, thereby frightening him into revealing his role in Shanti's death. To achieve this, they hold auditions for an actress who resembles Shanti Priya to the extent that seeing her unexpectedly appear and seem to vanish will startle Mukesh. They find an actress named Sandhiya ("Sandy" for short), who is a huge fan of O.K., though she is very clumsy but her resemblance to Shanti is uncanny. O.K. and his co-conspirators train Sandy to represent Shanti's ghost, but achieve no success, on account of her clumsiness, until they have told her the entirety of their plans and the reason thereof. Thereafter the filming begins. Throughout the film shootings, O.K. and his friends arrange incidents, some involving brief appearances by Sandy, that frighten Mukesh, arrange the situation itself to remind him of his crime, and exacerbate his fear almost to insanity in their (chiefly O.K.'s) conversations with him. Their plan goes awry when Mukesh investigates their arrangements and begins to suspect that they are deceiving him. During the music launch of the film, O.K. taunts Mukesh by revealing the extent to which he knows the story of Shanti Priya's death, in the process implying that his film's plot imitates that story. Toward the end of this scene, Mukesh pursues Sandy and sees that she is capable of bleeding, persuading him that she is not a ghost.
After the celebration, O.K. and Mukesh confront each other with their knowledge of each other's actions. They are interrupted when a figure whom they think to be Sandy appears on the nearby stairwell and reveals that Mukesh had returned to the burning film set after its explosion, found Shanti dying but not dead, and buried her in the center of the set, beneath its chandelier. Mukesh himself is killed when an identical chandelier, located in the same position, falls onto him, having come loose during the celebration. Moments later, Pappu and Sandy join O.K., whereupon O.K. realises that the figure who challenged Mukesh is Shanti Priya's ghost. As he realises this, the ghost smiles and runs up the stairwell and then disappears. Om Kapoor and Sandy walk hand and hand together towards the door, ending the spectacular film of Om Shanti Om.
Cast[]
Shahrukh Khan ... Om Prakash Makhija/Om Kapoor
Deepika Padukone ... Shanti Priya/Sandhya
Arjun Rampal ... Mukesh Mehra "Mike"
Shreyas Talpade ... Pappu Master
Kirron Kher ... Bela Makhija
Javed Sheikh ... Rajesh Kapoor
Bindu Desai ... Kamini
Asawari Joshi ... Lovely Kapoor
Yuvika Chaudhary ... Dolly
Shawar Ali ... Shawar
Girija Sarangi ... Taxi Driver
Special appearances during the song "Deewangi Deewangi" (in alphabetical order) by:
Aftab Shivdasani
Amrita Arora
Arbaaz Khan
Bobby Deol
Dharmendra
Dino Morea
Govinda
Jeetendra
Juhi Chawla
Kajol
Karisma Kapoor
Lara Dutta
Malaika Arora
Mithun Chakraborty
Preity Zinta
Priyanka Chopra
Rani Mukerji
Rekha
Ritesh Deshmukh
Saif Ali Khan
Salman Khan
Sanjay Dutt
Shabana Azmi
Shilpa Shetty
Sunil Shetty
Tabu
Tusshar Kapoor
Urmila Matondkar
Vidya Balan
Zayed Khan
Other Special appearances (in alphabetical order) by:
|
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2
| 17 |
https://www.businessinsider.com/every-actress-who-played-voiced-harley-quinn-movie-tv-shows-2020-1
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en
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Every actress who has ever played Harley Quinn
|
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2020-02-06T15:41:35+00:00
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Margot Robbie is reprising her role as the "clown princess of crime" in "Birds of Prey," but many other actresses have played the antiheroine.
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en
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/public/assets/BI/US/favicons/apple-touch-icon-192x192.png?v=2023-11
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Business Insider
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https://www.businessinsider.com/every-actress-who-played-voiced-harley-quinn-movie-tv-shows-2020-1
|
This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? .
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Arleen Sorkin was the inspiration for Harley Quinn, and played her in the 1992 TV show "Batman: The Animated Series."
The character's creator, Paul Dini, was inspired to create Harley Quinn (a "Harlequin-like" accomplice to The Joker) after watching his college friend, Arleen Sorkin, play a clown in a surreal scene from the soap opera "Days of Our Lives." In the clip, her character appears as a flamboyant, roller-skating court jester.
"I thought, Maybe there should be a girl [working with the Joker]," Dini told Vulture. "And I thought, Should the girl be like a tough street thug? Or like a hench-person or something? And then suddenly the idea of someone funny kind of struck me."
She went on to originate the role in the first season of 1992's "Batman: The Animated Series," and reprised it in eight more shows and video games. Her own nasally, sing-song Brooklyn accent served as the basis for the iconic Harley Quinn voice that virtually all other actresses who voice the character try to emulate.
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Mia Sara was the first live-action version of the character in the 2002 TV series "Birds of Prey."
Mia Sara, who's best known for playing Sloane Peters in "Ferris Bueller's Day Off," also played the character in "Birds of Prey" — the 2002 TV series, not the upcoming movie.
In the character's first live-action appearance, Harley returned to her original job as a psychiatrist and used the position to help herself become Gotham's newest crime lord.
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Hynden Walch voiced Harley after Arleen Sorkin, starting with 2004's "The Batman."
In "The Batman," Walch's Harley was the host of a romance talk show and joined the Joker after Bruce Wayne canceled her show.
The actress returned to voice the character in 2014's "Assault on Arkham," in which Harley Quinn is tasked with retrieving a USB drive with important information from a Gotham mental hospital.
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Tara Strong has played the character 33 times in various TV shows, animated movies, and video games.
When it comes to playing Harley Quinn, Tara Strong has run the gambit. Since first taking on the role in 2015's "DC Super Hero Girls," she has voiced the character 33 times. Strong even cosplayed as Harley at San Diego Comic-Con in 2016.
Strong has longstanding ties to the DC Universe, having voiced Batgirl in various projects from 1997 to 2016.
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Grey Delisle voiced the character in 2008's "Lego Batman: The Videogame."
In the game, her version of Harley Quinn was equipped with both a mallet and a handgun, and (unlike the heroes in "Lego Batman") could open doors.
DeLisle has also played Selina Kyle/Catwoman and Wonder Woman in other DC media over the years.
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Janyse Jaud was Harley in the 2013 motion comic series "Batman: Black and White."
Harley Quinn briefly appeared in the 2017 motion comic series, "Batman: Black and White," to protest that she and the Joker were innocent during her time as a prisoner in Arkham Asylum.
Jaud also played Catwoman in the series.
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Meghan Strange played the character in one episode in "Batman: The Brave and the Bold."
Strange's Harley was a 1920s flapper who appeared in one episode of "Batman: The Brave and the Bold." In the episode, Harley appeared to help Joker rob Gotham's Museum of Comedy.
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Laura Bailey's version of Harley appeared in "Lego Batman: The Movie - DC Superheroes Unite."
Bailey took over the role from Grey DeLisle, voicing her in both the Lego Batman videogame sequel, "Lego Batman 2: DC Super Heroes," and the 2013 movie "Lego Batman: The Movie — DC Super Heroes Unite."
Her Harley has the ability to use her mallet as a boomerang.
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Kang Ji-Young played Harley Quinn in the 2017 anime film "DC Super Heroes vs. Eagle Talon."
In a 2017 anime-style Justice League movie, "DC Super Heroes vs. Eagle Talon," South Korean actress Kang Ji Young voiced Harley Quinn.
In doing so, she became the first and only woman of color to have played the character in her nearly 30-year existence.
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Melissa Rauch voiced her in the 2017 animated film "Batman and Harley Quinn."
Batman and Harley Quinn reluctantly team up in the 2017 animated film, "Batman and Harley Quinn," and viewers might recognize the voice behind the antiheroine — she's played by Melissa Rauch, who was Bernadette Rostenkowski in "The Big Bang Theory."
"I love that Harley is a badass and, beyond that, that she uses her humor as another weapon in her arsenal," Rauch told Empire Magazine. "She knows just how to diffuse a situation with her humor, and how to incite a situation with her sarcasm. It's a dream role."
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Laura Post played Harley Quinn in the 2017 Telltale Batman game "Batman: The Enemy Within."
Harley Quinn was introduced in the second episode of Telltale Games' Batman series: "Batman: The Enemy Within."
Post's version of the character has black diamonds painted over her eyes and is more of an independent mobster than the Joker's confidant.
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Comedian Jenny Slate was Harley in 2017's "The Lego Batman Movie."
The former "Saturday Night Live" star is no stranger to voice work, having appeared in movies like "The Secret Life of Pets" and "Zootopia."
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Sirena Irwin voiced Dr. Harleen Quinzel in the 2017 movie "Batman vs. Two-Face."
Known for playing characters like Lady Fish and Mom in "Spongebob Squarepants," Irwin played the character as the professional psychiatrist she was before joining the Joker.
In "Batman vs. Two-Face," Dr. Harleen Quinzel becomes involved when Gotham District Attorney Harvey Dent is accidentally transformed into the villain Two-Face during a laboratory accident.
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Margot Rubin voiced the character in the 2019 film "The Lego Movie 2: The Second Part."
Her name might sound similar to "Birds of Prey" actress, Margot Robbie, but voice actress Margot Rubin took over Jenny Slate's Lego Harley Quinn role in "The Lego Movie 2: The Second Part."
In a reference to "Suicide Squad," Quinn tells main character Emmett (Chris Pratt) that his plan to rescue his girlfriend is a "suicide mission."
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Kaley Cuoco played Harley Quinn in the 2019 animated web series "Harley Quinn."
Rauch isn't the only "Big Bang Theory" actress to play Harley Quinn. In 2019, Kaley Cuoco (who played Penny on the popular CBS show) voiced the titular character in Adult Swim's 2019 "Harley Quinn" adult animated web series.
"I've perfected certain looks and facial expressions over the years, so this [role] in a way was harder — also because I'm voicing someone as iconic as Harley," Cuoco said in an interview with Digital Spy.
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Margot Robbie will reprise her "Suicide Squad" role in the 2020 film "Birds of Prey."
Robbie has arguably become the most recognizable Harley Quinn actress, largely because she was the first to play her in a live-action movie (2016's "Suicide Squad").
The actress became very involved with the character's future in the current DC cinematic universe, pitching a Harley "girl gang" movie that grew into this year's "Birds of Prey." In the film, she teams up with several female superheroes to take down a Gotham crime lord.
"While I was researching Harley, I was devouring the comics. I became kind of obsessed with them at some point," Robbie said in an interview with Variety. "Harley has this unpredictable nature that means she could react in any way to any situation, which as an actor is just a gift. Between all those things, I really just fell in love with her."
Read the original article on INSIDER. Copyright 2020.
Follow INSIDER on Facebook.
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| 9 |
https://www.redchillies.com/10-years-of-om-shanti-om-5-reasons-why-it-was-one-of-the-most-iconic-films-of-the-decade
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en
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10 Years of ‘Om Shanti Om’: 5 reasons why it was one of the most iconic films of the decade! – Red Chillies Entertainment
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https://www.redchillies.com/10-years-of-om-shanti-om-5-reasons-why-it-was-one-of-the-most-iconic-films-of-the-decade
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‘Om Shanti Om’, which released in the year 2007, celebrates its 10 year anniversary today. The film, which starred Shah Rukh Khan, marked the debut of Deepika Padukone and directorial debut of Farah Khan. With a plot that paid tribute to classic Bollywood films and a song that brought together the who’s who of Bollywood, ‘Om Shanti Om’ garnered critical acclaim and box-office success. Here are five reasons why ‘Om Shanti Om’ was one of the most iconic films of the decade:
Timeless Entertainer
‘Om Shanti Om’ has all the ingredients of a blockbuster film: Romance, drama, action, comedy, entertainment, melodies and more. The film has stood the test of time because it beautifully weaved these magical elements together.
Timeless Romance
Om and Shanti’s romance is the stuff fairy tales are made of! Their love transcends time and space and makes us believe in true love!
Timeless Tunes
Composed by Vishal-Shekhar, the film’s music is still etched in people’s hearts. From the mesmerizing ‘Aankhon Mein Teri’ to the foot-tapping ‘Dard-e-Disco’, ‘Om Shanti Om’ is truly a landmark album.
Timeless Drama
Bollywood blockbusters are incomplete without a pinch of drama. For Om Shanti Om, Farah Khan roped in the inimitable Kirron Kher for the job.
Timeless Comedy
Timeless comedies are those that make you laugh even when you have watched the scene before /heard the joke before! ‘Om Shanti Om’ easily is a timeless comedy because of its fresh brand of humor.
|
|||||||
correct_starring_00069
|
FactBench
|
0
| 75 |
https://www.dailymotion.com/video/x7t3olw
|
en
|
Dailymotion
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
//static1.dmcdn.net/neon-ssr/prod/favicons/apple-icon-precomposed.a966d521999d793bdfcbe436bb56dad4.png
|
https://www.dailymotion.com/video/x7t3olw
| |||||||
correct_starring_00069
|
FactBench
|
2
| 83 |
https://www.instagram.com/tomhanks/%3Fhl%3Den
|
en
|
Login • Instagram
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Welcome back to Instagram. Sign in to check out what your friends, family & interests have been capturing & sharing around the world.
|
en
|
https://www.instagram.com/accounts/login/
| |||||||
correct_starring_00069
|
FactBench
|
1
| 39 |
https://www.rottentomatoes.com/m/om_shanti_om/reviews
|
en
|
Om Shanti Om - Movie Reviews
|
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Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. The definitive site for Reviews, Trailers, Showtimes, and Tickets
|
en
|
https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
|
Rotten Tomatoes
|
https://www.rottentomatoes.com/m/om_shanti_om/reviews
|
OM SHANTI OM pokes fun at the Bollywood masala formula and is at times quite entertaining, but overall it gets carried away by the same shortcomings and was never able to win me over completely.
Full Review | Original Score: 6/10 | Jul 7, 2022
The idea of watching a massively-promoted Diwali release is to come out of the theatre feeling entertained. And for just that alone, Om Shanti Om definitely scores.
Full Review | Original Score: 3.5/5 | May 1, 2015
Are we complaining? Not really, because the film's meant to be mad, mindless and zany. And we are meant to be happy, headless and nostalgic.
Full Review | Original Score: 3.5/5 | May 1, 2015
Of the cast, Arjun Rampal is consistently first-rate as the suave villain. And Deepika Padukone is fantastic, so surprisingly assured that you marvel at her poised debut.
Full Review | Original Score: 4/5 | May 1, 2015
The film lacks creativity in the second half, failing to bring its reincarnation tale to a satisfactory conclusion.
Full Review | May 1, 2015
It's entertaining in the way that a good musical comedy, whether it's Singing in the Rain, or Hairspray, is entertaining. Full of color, energy, and unpretentious confidence.
Full Review | Original Score: 7/10 | May 1, 2015
At almost three hours long the film drags a bit, but you'll have more fun at Om Shanti Om than most of the Hollywood movies released today. Watching it, you can't help but smile.
Full Review | Original Score: 3/5 | May 1, 2015
Om Shanti Om is a light-hearted tribute to Hindi cinema the way we know it and love it, in spite of its flaws, improvisation and implausibility.
Full Review | May 1, 2015
Once you decide to suspend all belief in logic from the preposterous proceedings, there is much to enjoy in this witty and inventive camp entertainer.
Full Review | Original Score: 4/5 | Nov 24, 2007
If you like Bollywood for essentially what it is, you'll love this. If you don't like Bollywood, this may answer a lot of questions, and likely leave you with a smirk on your face regardless.
Full Review | Original Score: 4/5 | Nov 24, 2007
|
||||
correct_starring_00069
|
FactBench
|
0
| 22 |
https://expresselevatortohell.com/2014/08/19/om-shanti-om-2007-review/
|
en
|
‘Om Shanti Om’ (2007): A Deeper Analysis of Reincarnation
|
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[
"The Celtic Predator",
"Express Elevator to Hell"
] |
2014-08-19T00:00:00
|
Directed by: Farah Khan || Produced by: Shahrukh Khan, Gauri Khan Screenplay by: Farah Khan, Mayur Puri, Mushtaq Sheikh || Starring: Shahrukh Khan, Deepika Padukone, Arjun Rampal, Kirron Kher, Shreyas Talpade, Yuvika Chaudhary, Bindu Desai, Nitesh Pandey Music by: Vishal-Shekhar, Sandeep Chowta || Cinematography: V. Manikandan || Edited by: Shirish Kunder || Country: India ||…
|
en
|
https://s1.wp.com/i/favicon.ico
|
Express Elevator to Hell
|
https://expresselevatortohell.com/2014/08/19/om-shanti-om-2007-review/
|
Directed by: Farah Khan || Produced by: Shahrukh Khan, Gauri Khan
Screenplay by: Farah Khan, Mayur Puri, Mushtaq Sheikh || Starring: Shahrukh Khan, Deepika Padukone, Arjun Rampal, Kirron Kher, Shreyas Talpade, Yuvika Chaudhary, Bindu Desai, Nitesh Pandey
Music by: Vishal-Shekhar, Sandeep Chowta || Cinematography: V. Manikandan || Edited by: Shirish Kunder || Country: India || Language: Hindi
Running Time: 169 minutes
Though current Bollywood pop culture is dominated by Aamir Khan (e.g Lagaan [2001] Ghajini [2008], 3 Idiots [2009], Dhoom 3 [2013], etc), whose films consistently sweep the South Asian box office with at least one megahit every year, it’s important to remember he’s not the only King Khan out there. Shah Rukh Khan (SRK) remains in the commercial spotlight with a never-ending string of cornball but irreverently fun sing-along fests that are hard to dislike.
Om Shanti Om is notable among other recent Shah Rhuhk Khan flicks for its director, its self-awareness, and its box office success upon release. Om Shanti Om was the highest grossing Hindi film of all time (not adjusted for inflation) until Aamir Khan’s Ghajini came out the next year (which was then further displaced by Aamir’s 3 Idiots in 2009), further emphasizing the increasing box office power of these Bollywood hits as they become bigger in scope, their budgets expand, and their content and cinematography become more Westernized. Om Shanti Om (OSO) was also directed by female filmmaker Farah Khan, which is notable no matter where you are in the global movie business; her screenplay, which endows this film with both cinematic and cultural self-awareness, is unique for a mainstream Hindi film. To be sure, OSO is still hopelessly silly, over-acted, and melodramatic to a fault like most Bollywood hits; the main difference here that makes OSO more of an interesting enigma is its level of introspection toward its parent Bollywood film industry.
Much like David Lynch’s Mulholland Drive (2001) or Federico Fellini’s 8 1/2 (1963), Om Shanti Om is one of those movies about movies. It follows the path of a young aspiring actor (or “junior level artist,” as the script calls him) who dreams of one day becoming a Bollywood superstar. Our hero is called Om Prakash Makhija, played by SRK in what is probably the most ironic casting choice of the decade. SRK is one of the definitive international icons of Bollywood, and has arguably had more of a hand in shaping modern Hindi cinema than any other Indian superstar; having him act as one of his countless wannabe-fans is as awesome a self-aware wink to the audience as one can get. However, the real charm of SRK’s star persona in this role is how he fits into this larger narrative analysis of Bollywood and South Asian celebrity. The film makes countless satirical references to other mainstream Hindi blockbusters, pokes fun at ridiculous Bollywood cliches and romantic genre tropes, and even takes time to laugh at itself and its superstar in the process. The film’s self-awareness goes a long way toward affirming its intelligent story, as well as making you laugh with the movie rather than at it like one does with many Hindi melodramas.
OSO is also a broader commentary on the interplay between stardom and fan obsession in India, including the often frivolous, obsessive nature of superstar adoration in general. Writer-director Farah Khan conjoins this analysis with other Bollywood tropes like Indian obsessions with caste and social status, and how Bollywood’s move stars are often an extension of that. For the uninitiated, many of Bollywood’s most influential stars are based on family “film clans” that creepily resemble the (in many ways still rigid) caste system that many Hindi movies openly criticize. SRK’s presence here as the man who is limited by his family background of “junior artists,” only to die, then later be reincarnated as the superstar with whom we’re all familiar, is eerily fitting given how Khan is a unique success story in real-life, not having any notable family industry connections of which to speak.
Om Shanti Om is that rare blockbuster that has brains to match its glamour. It still has that airbrushed, clean-cut studio look and feel that guaranteed its acceptance by the masses, and is as goofy as most Bollywood hits; still, this film has a sense of humor to back up that silliness, and a self-awareness to make you take it seriously. There isn’t much about the star power here that’s terribly interesting besides SRK’s embodiment of the millions of fans who want to be him — Deepika Padukone smiles a lot and looks very pretty, but doesn’t do more than your average forgettable Bollywood female lead; Arjun Rampal is a serviceable caricature as the main villain, and everyone else fits into their slots accordingly. On the surface, Om Shanti Om doesn’t look all that different from most other Bollywood films and, if you’re unfamiliar with the context, its endless series of cameos will go way over your head; but for those reading between the lines and the fun song numbers, there’s a conscious cinematic mind here that gives us a good deal more than standard, mindless blockbuster fare.
—————————————————————————————————————————————————————————————–
SUMMARY & RECOMMENDATION: In terms of screenwriting, Farah Khan’s got game. Her ability to turn the film’s cinematic lens on both itself and its native industry is impressive, especially when it turns out to be this entertaining and self-deprecating. Shah Rukh Khan’s turn as an aspiring wannabe is both amusing and oddly fitting given the material, Khan’s inherent likability, and his own rise through the industry. The soundtrack is standard Bollywood fare, which means it’s above-average music.
— However… the rest of the cast are nothing special, and it’s particularly disappointing that Farah Khan didn’t go much outside the box with regards to Padukone’s character. The film remains goofy to a fault, even when taking into account its self-awareness. Though Om Shanti Om is “slim” for a Hindi movie at 169 minutes, there’s still no reason for the film to be this long.
—> RECOMMENDED
? “Hey, Mikey!” —- the most annoying greeting since Joe Pantoliano’s “Lenny!” in Momento (2000).
|
||||
correct_starring_00069
|
FactBench
|
3
| 2 |
https://forum.wordreference.com/threads/the-name-of-a-movie-or-the-title-of-a-movie.3379624/
|
en
|
the name of a movie or the title of a movie
|
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[
""
] | null |
[
"RU Russian",
"Packard Senior Member USA"
] |
2017-10-16T20:22:28+02:00
|
Hi everyone,
Could you tell me which one sounds more natural: the name of a movie or the title of a movie?
|
en
|
WordReference Forums
|
https://forum.wordreference.com/threads/the-name-of-a-movie-or-the-title-of-a-movie.3379624/
|
Please give us the complete sentence, with some context, so we have a specific situation to discuss.
There are hundreds of sites where you can ask the name of a particular movie if you don't remember the name .
In my opinion, Title of a movie means the name of a movie. It's an official language.
What is the working title of the movie. But I don't think a layman like me will use this word.
Wait for the natives to reply.
Let's say, I am looking at the movie's poster. Is that what I see there the name of a movie or the title of a movie?
Actually, I thought that it's a set phrase and it doesn't depend on the context.
Let's say, I am looking at the movie's poster. Is that what I see there the name of a movie or the title of a movie?
Actually, I thought that it's a set phrase and it doesn't depend on the context.
That's obviously is the TITLE for me. Wait for the valuable inputs from the native speakers.
These are interchangeable. I agree that "title" is the proper word, and we probably should say "title" but we're just as likely to say "Hey, what was the name of that movie?" We do the same with books.
I went to a few movie review sites. Surprisingly they never use the word "title" or "name" within any of the sites.
They have lists to check.
Reviews, Great Movies; Now Playing.
When you click one of the movies the review comes up and it lists:
Cast, Director, Studio, Writer, Cinematographer, Release Date.
But no where does "title" or "name" appear.
And thinking back a conversation might play out like this (again with no "name" or "title":
Do you want to see a movie tonight?
What's playing?
The Foreigner.
Who's in it?
Jackie Chan.
Sounds great; when is it playing?
I went to a few movie review sites. Surprisingly they never use the word "title" or "name" within any of the sites.
They have lists to check.
Reviews, Great Movies; Now Playing.
When you click one of the movies the review comes up and it lists:
Cast, Director, Studio, Writer, Cinematographer, Release Date.
But no where does "title" or "name" appear.
And thinking back a conversation might play out like this (again with no "name" or "title":
Do you want to see a movie tonight?
What's playing?
The Foreigner.
Who's in it?
Jackie Chan.
Sounds great; when is it playing?
It is because the name or the title is at top of the page in block letters. Even if it is not there , how would you get the list without typing the name.
It is because the name or the title is at top of the page in block letters. Even if it is not there , how would you get the list without typing the name.
I was jut pointing out that the "title" or "name" is rarely used in reference to a movie.
What is the name of the movie you saw last night. (sounds stilted)
What is the title of the movie you saw last night. (also sounds stilted)
What movie did you see last night? (sounds colloquial; not stilted)
I was jut pointing out that the "title" or "name" is rarely used in reference to a movie.
Hi Packard, what about this context for example? Does it sound unnatural to say title or name? If so, how would you rephrase it?
There was this movie I loved when I was a teenager, I saw it in Hungarian. I'd love to watch it again. Just wondering what the title/name could be in English, because sometimes it's not translated literally.
|
|||||
correct_starring_00069
|
FactBench
|
0
| 34 |
https://www.austinchronicle.com/search/keywords:Kirron%2BKher/sort:4/
|
en
|
Archives: Search for "Kirron Kher"
|
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[] |
[] |
[
""
] | null |
[] | null |
en
|
/apple-icon-57x57.png?v=3
| null |
Action Replayy
This Bollywood film mixes science fiction and romantic comedy.
"...Aishwarya Rai, Randhir Kapoor, Om Puri, Neha Dhupia and Kirron Kher. Not reviewed at press time. This Bollywood film..."
Om Shanti Om
Via a tale of reincarnation, this new Bollywood movie offers a tribute to the Hindi spectacles of the Seventies.
"...by: Farah Khan. Starring: Shah Rukh Khan, Arjun Rampal, Kirron Kher and Shreyas Talpade. Not screened in advance for..."
|
||||||
correct_starring_00069
|
FactBench
|
1
| 78 |
https://www.airtel.in/blog/entertainment/om-shanti-om-movie-2007-hindi/
|
en
|
Om Shanti Om Movie 2007 (Hindi) – Online Review, Cast, OTT, Collection, Film Summary
|
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[
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[
"Ranjan Acharya"
] |
2024-05-09T11:10:27+00:00
|
Released in 2007, Om Shanti Om is a vibrant homage to the Hindi film industry, blending elements of romance, revenge, and reincarnation with a glitzy portrayal of Bollywood from the 1970s.
|
en
|
Airtel
|
https://www.airtel.in/blog/entertainment/om-shanti-om-movie-2007-hindi/
|
Released in 2007, Om Shanti Om is a vibrant homage to the Hindi film industry, blending elements of romance, revenge, and reincarnation with a glitzy portrayal of Bollywood from the 1970s.
Directed by Farah Khan and produced under the banner of Red Chillies Entertainment, the movie is known for its extravagant production, memorable music, and a heart-touching narrative that travels across decades.
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Cast and Crew Members of Om Shanti Om Movie (Hindi)
Om Shanti Om boasts a stellar cast led by Shah Rukh Khan, who plays a dual role as Om Prakash Makhija and Om Kapoor and marks the stunning debut of Deepika Padukone as Shanti Priya. Supporting roles are admirably filled by Kirron Kher, Shreyas Talpade, and Arjun Rampal. Farah Khan’s direction provides the film with its characteristic flair, and the music by Vishal-Shekhar remains evergreen, contributing significantly to the film’s enduring appeal.
Brief Story Summary of Om Shanti Om Movie (Hindi) 2007
The film starts in the 1970s Bollywood era, where Om Prakash Makhija, a junior film artist, dreams of stardom and winning the heart of actress Shanti Priya. After a tragic incident where Shanti is murdered and Om dies while trying to save her, Om is reincarnated as Om Kapoor, a popular film star of the 2000s. The past and present collide as Om Kapoor regains his memories and seeks to avenge Shanti’s death, leading to a dramatic and thrilling conclusion.
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Online Film Review & Rating of Om Shanti Om Movie (Hindi)
Critically and commercially successful, Om Shanti Om has been praised for its inventive storytelling and the strong performances of its cast. Online reviews often highlight the film’s clever mix of drama, comedy, and suspense, with ratings consistently high across various platforms. It is celebrated not just as a film but as a grand spectacle that pays tribute to the magic of movies.
Om Shanti Om Movie 2007 OTT Platform – Where to Watch
For those looking to experience or revisit this Bollywood extravaganza, Om Shanti Om is available on multiple OTT platforms such as Netflix and Apple TV. This accessibility allows new generations and global audiences to enjoy the film’s elaborate sets, catchy music, and captivating performances.
Box Office Collection and Budget of Om Shanti Om Movie (Hindi)
The movie was made with a considerable budget of Rs 40 crore (as per Box Office India), primarily due to its large sets, extensive costumes, and detailed period recreations. It paid off handsomely at the box office, grossing over ₹150 crores worldwide, making it one of the top earners of that year and further solidifying Shah Rukh Khan’s status as a global superstar.
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Om Shanti Om Movie 2007 Release and Awards
Om Shanti Om was released during Diwali 2007, which added to its allure and box office draw. It won several awards, including accolades for its art direction, visual effects, and music. The film also earned nominations in major categories like Best Actor and Best Director at various award functions, specifically, the Best Female Debut and Best Special Effects trophies at the Filmfare Awards.
Production, Filming, and Songs of Om Shanti Om Movie (Hindi)
The production of Om Shanti Om was a massive undertaking. It involved recreating the Bollywood of the 1970s, complete with the era’s iconic fashion, classic cars, and film sets. The filming process was a spectacle, with large dance sequences and dramatic scenes that captured the essence of old and new Bollywood. The soundtrack of the film, featuring hits like Dard-E-Disco, Ajab Si, and the titular track Om Shanti Om, became anthems of the year and played a crucial role in the film’s narrative and mood setting.
Frequently Asked Questions about Om Shanti Om Movie
– Where can I watch Om Shanti Om?
You can stream Om Shanti Om on Netflix and Apple TV.
– Who designed the costumes for Om Shanti Om?
Manish Malhotra, Karan Johar, and Sanjeev Mulchandani were behind the film’s acclaimed costume design.
– What are the major themes in Om Shanti Om?
The film explores themes of reincarnation, justice, and the eternal allure of cinema.
Om Shanti Om remains a beloved milestone in Hindi cinema, combining the charm of 1970s Bollywood with contemporary storytelling techniques. Its celebration of the film industry, through a tale of love and vengeance, has enchanted audiences worldwide, making it a must-watch for multiple kinds of audiences.
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FactBench
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2
| 95 |
https://www.forbes.com/sites/jimclash/2016/03/16/interview-actress-tina-louise-on-upcoming-film-tapestry-more/
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en
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Interview: Actress Tina Louise On Upcoming Film 'Tapestry', More
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"Jim Clash"
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2016-03-16T00:00:00
|
In the first part of our interview with actress Tina Louise, we discussed men’s irrational fear of beautiful women, her work as a member of the Academy of Motion Picture Arts and Science, her own biggest fear and how she deals with it and her serious accident last summer. Here [...]
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en
|
Forbes
|
https://www.forbes.com/sites/jimclash/2016/03/16/interview-actress-tina-louise-on-upcoming-film-tapestry-more/
|
In the first part of our interview with actress Tina Louise, we discussed men’s irrational fear of beautiful women, her work as a member of the Academy of Motion Picture Arts and Science, her own biggest fear and how she deals with it and her serious accident last summer. Here in part two, Louise, who has worked with actors including Katharine Ross, Robert Ryan, Jack Lord and Vic Morrow, opens up about her favorite career moment, the necessity of volunteer work, her about-to-be-released film Tapestry, and more.
Jim Clash: As an actress, what are some of your best memories?
Tina Louise: Tina Louise: My favorite experience was my first film, God’s Little Acre, directed by Anthony Mann. I came from the stage and had never done a movie. It was months of going for auditions, my partner not showing up, sitting in the lobby of the Warwick Hotel for an hourbefore finding out that I actually had to call up [laughs]. The
producer read with me, which was fabulous because it was a scene with Ty Ty, the father. And, like the producer, he was much older. Later, I kept reading about all the well-known actresses in California that could have the part. But I got the screen test, and the role!
JC: You won a Golden Globe for that movie at what, all of 25 years of age?
TL: It was incredible. The movie ended up in the Venice Film Festival. I went abroad. There were all these people around taking care of me. I didn’t have to worry about anything. We sat in the theater, and I got bright red roses [laughs]. I'm saying, "Why did you give me roses? You should give them to the writer, the director – somebody else."
JC: If you could offer your younger self some advice now, what would it be?
TL: Find something else to contribute to society besides loving what you do so much. To get involved [in your career] to the point it becomes so agonizing to lose something - somebody wanted you, somebody didn’t want you - we all need more in life. We need to contribute. That’s more balanced. I have lectured at the school around the corner from PS 59 – older kids, 16 and 17 - and told them that. I think people in the arts need to be told they should help make someone else’s life better. It’s not just children and teens that need help and mentoring. There are a lot of older people who can’t read.
JC: What can you tell us about Tapestry, your movie expected to debut this spring?
TL: The story is of a family that’s falling apart. My character is in the center. Stephen Baldwin plays my son. His character works in one of those high-pressure offices – a Glengarry, Glen Ross situation. He gets fired, becomes despondent. He’s got a family and little children. My job is to try to bring them all together. There is also an illness involved. I haven’t seen the final yet, so I don’t know what happens – we totally improvised the ending. But it was a great character part, and I loved it.
JC: What’s next for Tina Louise?
TL: That’s a good question. I turn down things I don’t want because I enjoy the birth of films. Plus I manage to keep pretty busy. I love being alive. I’m not in a hurry to do something else – I want to see this through. The way we are as actors is it’s like giving birth. I’m giving birth now. It comes out, and then you have to see. In life, it is the experience in everything, whether it works out the way you want or not. The experience of Tapestry has been incredibly good. I’m cool. Now I just need to have the baby [laughs].
JC: Hopefully, it will be easier than the birth of your daughter Caprice.
TL: I was 18 hours in labor! The doctor came by in the early morning and said, “You’ve got a long way to go.” She wasn’t born until 5:21 p.m. But it was a wonderful experience.
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correct_starring_00069
|
FactBench
|
0
| 63 |
https://www.newindianexpress.com/entertainment/hindi/2017/Nov/09/farah-khan-commemorates-10-years-of-om-shanti-om-1696433.html
|
en
|
Farah Khan commemorates 10 years of `Om Shanti Om`
|
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[
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[
"From our online archive",
"our online archive"
] |
2017-11-09T00:00:00
|
Choreographer and filmmaker Farah Khan is celebrating 10 years of ‘Om Shanti Om’, a film that introduced Deepika Padukone to the world.
|
en
|
/favicon.ico
|
The New Indian Express
|
https://www.newindianexpress.com/entertainment/hindi/2017/Nov/09/farah-khan-commemorates-10-years-of-om-shanti-om-1696433.html
|
Choreographer and filmmaker Farah Khan is celebrating 10 years of ‘Om Shanti Om’, a film that introduced Deepika Padukone to the world.
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correct_starring_00069
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FactBench
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3
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https://www.workingtitlefilms.com/
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en
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Working Title Films
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https://www.workingtitlefilms.com/
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correct_starring_00069
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FactBench
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2
| 94 |
https://www.theverge.com/2015/10/28/9623132/laura-bailey-halo-voice-actor-interview
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en
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How did you get that job: video game voice actress Laura Bailey
|
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[
"Andrew Webster"
] |
2015-10-28T00:00:00
|
'I can’t imagine doing anything else.'
|
en
|
/icons/favicon.ico
|
The Verge
|
https://www.theverge.com/2015/10/28/9623132/laura-bailey-halo-voice-actor-interview
|
Welcome to our series — How did you get that job? — where we run interviews with interesting people about their work and how they came to be doing it.
If you’ve played a video game in the last few years, you’ve probably heard Laura Bailey’s voice. After getting her start on Dragon Ball Z, she has since become one of the most prolific and established voice actors around. She’s worked on games like Persona 4, Skyrim, and World of Warcraft, and played characters in a huge range of anime, including shows like Bleach and Naruto. In 2014 alone she worked on more than 30 projects. This week you can hear her latest role, as Spartan Olympia Vale in Halo 5: Guardians; not only is she the character’s voice, but her body as well, through motion and facial capture.
Andrew Webster: How did you first get started in voice acting?
Laura Bailey: I started right out of high school. I was doing some theater, and one of the actors who was in the show with me was working on Dragon Ball Z, and asked if I would come in and audition. So I did, and ended up getting the part of Kid Trunks, in addition to a few smaller roles. And it all just kept going from there. I did my first video game about a year after I got cast in Dragon Ball Z, which was BloodRayne, and I did a lot of on-camera work for the first few years that I was voice acting. It wasn’t until I moved out to California that I really solely focused on voice acting and expanded in that world, because there is so much out here as far as that is concerned. There’s just a ton of cartoons being made, and a ton of video games being made, so you can work exclusively in voice acting and still have a substantial career.
Was voice acting something you even considered when you first thought about getting into acting?
"It felt like a dorm."
At the time I didn’t even know that it was a thing. I had always done crazy voices growing up, but when I wanted to be an actor all I knew that meant was film and TV and theater. So when I first got introduced to voice acting, it was like, "What is this crazy world and how am I actually doing this?" Now I can’t imagine doing anything else. It’s just such a cool industry to be a part of.
How has the industry changed since you first started? Have things gotten more professional as the industry has grown?
Well, when I first started I was in college, and [anime production company] Funimation was in its early days. It felt like a dorm when I was recording. I would show up in my pajamas and run around the halls and goof off almost as much as I recorded. Now, it’s very much a professional setting. It’s just my growth and the growth of the industry. So much of what I do now is games, and even in the past 10 years watching the evolution of this industry has been insane. It’s all moving toward motion capture, we’re filming a lot of what we’re doing as well as recording. A lot of the games I’m working on are focusing more on big story arcs and well-established, well-rounded characters, which wasn’t necessarily something that people were concerned about 10 years ago. But now gaming has become so huge that people are really starting to see it and want to experience it as a different form of entertainment. So they want those elements.
Spartan Vale from Halo 5
Is working on something interactive like a game different from a more straightforward show or movie?
It is, because depending on the game, you get to portray different aspects of a character based on player choices. The interesting thing about portraying a character in a video game often times is that you have to have an established idea of who this character is, but it has to be malleable, it has to be movable enough that when the player is making those choices, they still feel natural coming from out of that character that you’ve created. There’s definitely more room to grow in a video game, whereas in a cartoon or a show, you have your story arc, and this is where they’re going.
How do you manage so many roles? What’s the hardest part of doing all of these different characters?
It’s hard to constantly be trying to come up with something that you haven’t done before, but also not shying away from aspects of a character if it is something that you’ve done in the past. Some of the challenging stuff would be doing character voices that are more difficult, more stressful. Sometimes I’ll audition with a voice and go "Oh man, I hope I don’t get that audition." And sometimes it happens that I do get cast for four hours of recording in this voice that’s really painful. Thankfully, where I am now I’ve had more training and more experience with maintaining a voice for a longer amount of time, but back when I started I lost my voice just in the call backs, because it was so stressful.
Fetch in Infamous: First Light
One of the interesting things about voice acting is that, even once you’re well established, you still do smaller roles in addition to the bigger ones. Do you enjoy being able to do both?
I do. A lot of times in the smaller roles is where you can maybe play a bit more, and they’ll ask you to do voices that you haven’t done before. It’s fun, and you get to be in the room with a lot of other crazy personalities. I think everybody is just happy to be involved and to be working.
Is the community a small one? It seems that a lot of voice actors are friends.
It is a pretty small community of people. It’s crazy how many people are friends. I was just working on a game and my director was talking to someone in the booth, and all he had to say was "So you’re playing off of Laura in this" and she was like "Oh, okay I get it." We know based on being friends with somebody that, this is how they’re going to interpret this character. It’s so informative just knowing who the actor who plays it is because we all know each other so well.
Now that you’re well established, do you find yourself constantly auditioning for new roles, or do people approach you?
It’s a mix. I still audition like crazy, and I still don’t get cast like crazy. But there’s a ton of projects that come through that will contact me specifically, saying that they had me in mind for a character and would love to have me in to see what I do with it. And that’s really, really amazing. Every time it happens I’m blown away because for so long, what we do as actors is just audition professionally, that’s all we do, and we get so used to rejection that when you’re at a point where you can actually choose what you want to do, it’s really amazing.
"I still audition like crazy, and I still don’t get cast like crazy."
Does that make it difficult when you’re competing for jobs with your friends?
One of the best things about this industry is that it is still very friendly. Back when I was doing more film work, it was so competitive. You’d go in the audition room and none of the women spoke to each other, and everybody was eyeing each other across the room like "How dare you audition for this role." In this world, I’ll be auditioning for something and I’ll see a character description, and I’ll be like "I know that this isn’t right for me, but do you know who would knock this out of the park? Tara Platt. I bet she would sound amazing in this role." And I’ll text her.
Sometimes you’ll get an audition, and it’ll say a Jennifer Hale type of voice. And I’ve had friends email and say "I just got an audition that says a Laura Bailey type, did you audition for this and turn it down?" So that’s always a fun thing to see.
Have you ever auditioned for a role that was looking for a Laura Bailey type?
I have and a couple times I haven’t gotten it. For the most part, yeah if it says my name on there then usually my agent can call and be like "So did you actually want to see Laura?" But I’ve auditioned for things that asked for my voice and then I didn’t book the role, which is really funny.
What’s the experience like working on something as big as Halo 5? How does it compare to your roles on smaller games or shows?
The main difference is just the amount of people involved, and the amount of specifics that go into it. With Halo 5, we worked on this game for the last two years now, so it’s just been so specific, like "This is the scene we need, and it has to sound like this." There’s just a lot of people that know what their job is in that company, and want it presented in the right way because, with something like Halo that’s been around for 15 years, there’s a lot of lore and there’s a lot of world that’s already been established. The biggest challenge is making sure that it’s all in keeping with that, and that you’re staying true to what’s already established. With something smaller, we’re creating it on the fly in a world that hasn’t had that, so there’s a bit more freedom.
Chun-Li in Street Fighter IV
How does doing motion capture change how you approach a role?
You definitely become the character more, because you are creating all of the physicality as well as the vocal nuances. Any little physical tick that they have, or their walk, you’re establishing that. So you become a bit more attached to the character because of that. And with something like Halo, where Spartan Vale is actually my face, it feels even more personal because it’s basically me out there doing a full performance.
Do you have a favorite type of role, or a favorite specific character that you’ve portrayed?
My favorite type of role is the anti-hero, the type of character who is good in spite of themselves. Something like Fiona in Tales from the Borderlands is really fun to play, because she comes from this criminal, scoundrel background, but through the arc of the story you really get to see there’s so much more to her and there’s a lot more heart to the character than what you would actually expect. I like those well-rounded roles.
Verge Video: Meet the new face of Halo
|
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correct_starring_00069
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FactBench
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0
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https://dw007.wordpress.com/tag/lara-dutta/
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The Bolly Blog
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Posts about Lara Dutta written by dw007
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https://s1.wp.com/i/favicon.ico
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The Bolly Blog
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https://dw007.wordpress.com/tag/lara-dutta/
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Mumbai Se Aaya Mera Dost (2003)
Name: Mumbai Se Aaya Mera Dost
Starring:Abhishek Bachchan & Lara Dutta
Director: Apoorva Lakhi
Language: Hindi
Did I watch this recently?Yes
Review:
Before there was Dhoom, before there was Yuva, before there was Bunty aur Babli and before there was Guru – Abhishek Bachchan starred in Mumbai Se Aaya Mera Dost, a city boy returning to his rural town with a tv.
Mumbai Se Aaya Mera Dost story revolves around – not Abhishek, not Lara Dutta BUT the protagonist of this film is a TV. Don’t believe me! Read the below summary of the plot…
When Kanji (Abhishek Bachchan) returns to his rural community (which only recently received electricity) he brings with him a TV and a satellite dish. The rest of the movie then track the impact this TV has on the lives of the villagers – from the barber, to the local Priest and to the Landowner of the village. Villagers start to mimic the characters and scenes of movies in their everyday lives (often to considerable failure). Most villagers are pleased about the arrival of the TV, which has brought entertainment and interest to their lives, with the exception of the local priest as the villagers are not coming to the temple to give money as they are pre-occupied by the TV.
So the Priest, offended that the TV is taking all his villager’s time and money, goes to the local Landowner of the village to help get rid of the TV and the problem. The Landowner at first refuses to help until he finds out that the TV in the village is in fact bigger then the Landowners. This then sparks off a violent campaign to take down Abhishek, his family and the TV.
There is also a side romantic plot whereby Abhishek falls in love at first sight with the landowner’s sister Kesar – played by Lara Dutta. Although not a very special romance, it does have considerably steamy scenes and there is definete chemistry between Abhishek & Lara in this movie. I woul love to see another movie (other then Jhoom Barabar Jhoom) properly explore their chemistry, because i think its one of the few interesting things about this film.
The movie’s plot is unintersting and at times rediculous. It does have its few scenes that can be quite funny – like the villagers trying to do actions and scenes from some classic movies to a disasterous effect. But this is repeated so often in the film that too soon gets boring. There is also i’m sure a message about the impact of progress in rural town, but there are so many other films out there that do a better and more interesting job at addressing this issue.
Some more positive things to say about this film is Abhishek does a decent job as Kanji. He has certainly lost his wooden acting that plagued his earlier career by this stage, but unfortunately the screenplay makes you forget any great acting by Lara & Abhishek. Also on a more vapid note, Mumbai Se Aaya Mera Dost marks the beginning of the bearded/stubble Abhishek which has graced the screen for many years now and my personal Abhishek appearance favourite.
Another positive of this movie is the cinematography of Rajasthan. Watching the beautiful scenary of Rajasthan was certainly a strength of this film and viewers might feel the itch to visit Rajasthan after watching some of the scenes. Director Apoorva Lakhia (now known for his 2007 hit ‘Shootout at Lokhandwala’) both directed and wrote this film. I think of his as a decent director, but obviously he was the reason for the screenplay. He has obviously improved since then but his other movies Ek Ajnabee demonstrate he had room to improve before Shootout came along. Also some of his experience in the movie ‘Karma Sutra: A Tale of Love’ incorporated into the movie when he shows more shots of Lara’s cleavage then her face.
Overall Score: 1.5/5 Hairy Anil Kapoors – Mumbai Se Aaya Mera Dost marked the improvement in acting for Abhishek Bachchan, but even he could not save this incredibly boring film whose main protagonist was a television. Lara Dutta & Abhishek’s chemistry is the main highlight of this film as well as the beautiful cinematography of Rajasthan. Other then these points though, the film is an all round boring dud.
January 14, 2008 at 4:40 pm
Om Shanti Om (2007)
Name: Om Shanti Om
Starring:Shahrukh Khan, Deepika Padukone, Shreyas Talpade, Arjun Rampal & Kirron Kher
Special Appearances By: Malaika Arora, Rishi Kapoor, Subhash Ghai, Karan Johar, Amitabh Bachchan, Abhishek Bachchan, Hrithik Roshan, Rani Mukerji, Preity Zinta, Javed Sheik, Zayed Khan, Arbaaz Khan, Dino Morea, Ritesh Deshmukh, Aftab Shivdasani, Rekha, Shabana Azmi, Kajol, Priyanka Chopra, Shilpa Shetty, Lara Dutta, Vidya Balan, Tabu, Dharmendra, Amrita Arora, Juhi Chawla, Saif Ali Khan, Sanjay Dutt, Salman Khan, Dharmendra, Jeetendra, Tusshar Kapoor, Mithun Chakraborty, Karisma Kapoor, Urmila Matondkar, Sunil Shetty, Govinda, Bobby Deol, Shahwar Ali, Uvika Chaudry, Akshay Kumar, Bindu & Satish Shah
Director: Farah Khan
Language: Hindi
Did I watch this recently? Yes
Synopsis:
Taken straight from the OSO website in an attempt not to spoil anything too much.
He (Om) was a junior artist in the 70’s. She (Shanti) was a superstar of the 70’s. He was her biggest fan. She was his biggest inspiration.
He was madly in love. She was ready to give up everything she had for love. He felt betrayed in life. She felt betrayed in love.
… And then … started the saga of ‘Om Shanti Om‘.
For some love stories one lifetime is not enough…
Review:
Om Shanti Om is a bollywood film on bollywood. Layered with many delicious insider jokes for the avid bollywood watcher, Om Shanti Om makes hilarious fun at itself and the bollywood industry. It’s everything i personally love about Bollywood – multiple plot twists, emotional substance, great music, colour, scenes that make you totally involved in the film. Whether thats to whistle at the screen, laugh out loud, get up and dance or cry your heart out. Om Shanti Om is an involving tribute to the Masala genre. For any newbies ‘Masala’ is generally used to describe a mixture of all types of genres together in a movie – action, romance, drama, tragedy comedy etc. Masala genre was generally prevalent throughout the 1970s bollywood movies.
What do i think about Deepika Padukone – model turned bollywood actress? As a fan of Aishwarya Rai its hard for me to admit this – but Aishwarya eat your heart out! Deepika Padukone does such a brillant job at the dramatic, comedic and normal scenes that she not only makes it look easy, but you would never guess it was her first acting job! Unfortunately she didn’t have much of a role in the second half but for the scenes she was on she showed her ability to do different genres of acting. Can’t wait to see more with her in it! I hope she only goes from strength to strength like the other debutants this Diwali. They all deserve to become stars.
Shahrukh had his bobbly head movements, tearing eyed acting – but i can think of no better actor to play this part. He really gets the comedy and charisma of his character. Plus when i saw him dance in ‘Dard-E-Disco’ topless, i didn’t even care the lyrics were nonsensical and badly translated – ‘pain of disco’. Although the firefighter outfit all oiled up I found he more like an oiled up chicken then hotty. Watching Om Shanti Om I remember why I used to love Shahrukh when i see him in such fun movies like this – when he doesn’t take himself too seriously and has a comedic element to his character (Dilwale Dulhania Le Jayenge, Chalte Chalte, Kuch Kuch Hota Hai etc). Another favourite of the film was Kirron Kher – playing the over the top mother role with the realistic normal mother moments i can’t think of any other Older Bollywood Actress who could pull off both. She has great comic timing!
There have been a lot of comparisons between Saawariya & Om Shanti Om but i think its unfair to compare the two. Om Shanti Om will definetly be the commercial favourite because it caters to the wants of the masses. It makes people feel good and they enjoy their movie experience. Saawariya is not generally a movie for the masses due to its slow pace, elite technicalities and due to the type of story it is. Its not all wam, bam action and comedy – its more thinking then feeling from my own experience with both. I could be wrong – i have a hard time putting into words the issues with Saawariya.
Three main cautions for anyone about to see this film – chances are you won’t get all the jokes (because most of them are ‘insider’ jokes about the industry). If your an outsider/newbie to Bollywood the thing to remember is they are making fun of Bollywood so when you see over the top acting and silly scenes just remember that its on purpose. So sit back and just laugh at it. You won’t get the joke on all levels but you can probably get the generally gyst. If you do happen to pick up on what they mean with certain jokes and lines then you will be laughing your head off like I was in bits.
Second flaw that potentially could ruin people’s experiences of the film is that the plot makes absolutely no sense and lacks logic. There will be scenes when your head will say ‘what the hell! how can that happen’ or ‘I so don’t get how that even works’. But if you can suspend your belief and brain for 2.5 hours and just accept that this is a very unrealistic movie than it won’t bother you so much i’m sure. Especially if you have seen alot of 1970s films from Bollywood a lot of the plot twists or storylines will not be new to you.
Third is that the second half drags and is not nearly as fun as first half. There are scenes that i enjoyed in second half but it does lose its momentum.
Ok so my favourite scenes (without being too spoilery) – when 70s Shahrukh is fighting and doing the actions scenes for his movie involving the fight with the tiger and bad fight Choreography. I was killing myself laughing. Second favourite scene was the Filmfare Award scene, in particular Abhishek in Dhoom 5 clip. Third favourite scene was watching ‘Deewangi Deewangi’ song with all my favourite actors coming on (old and new) with people from my cinema whistling and cheering at their favourite actors.
Overall Score: 4.5/5 – My brain is telling me to give it 4/5 because it was such a silly entertainment movie it doesn’t deserve to get near 5 stars, but my heart is telling me I had such a fun time going to see it that it deserves to get 4.5 for being the most enjoyable film all year. Without a doubt has severe flaws, but if you don’t let them bug you and if you can realise they are always making fun of themselves you should have a positive viewing experience. Also if you a relative newbie to bollywood, might have to wait a while before you can understand the large referential comedy of Om Shanti Om.
Don’t get all the references to Bollywood? See an attached post for some of the found insider jokes, their explanations and order of appearances of Bollywood stars for Deewangi Deewangi song.
http://thebollyblog.com/2007/11/17/om-shanti-om-filmi-references/
November 17, 2007 at 6:26 pm
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https://www.rediff.com/movies/2007/nov/09oso.htm
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en
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Om Shanti Om: The Rediff Review
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Farah Khan's latest film is heavily flawed but still fun.
| null |
Hush up and lean closer to the screen, my curious friend. Because over the next few lines, I am going to tell you exactly what Om Shanti Om is. Exactly -- a word (if accurate) used rarely, but this boast is smug and self-assured, rather like Shah Rukh Khan's Om Kapoor. But hang on, we're getting way ahead of ourselves.
Â
So just what is OSO?
Â
Picture a Filmfare award function, minus the awards. Outside of the song-and-dance numbers and the gazillion commercial breaks, there is stock Bollywood tomfoolery. SRK [Images] mimics Aamir, Saif pretends to be Preity [Images], star kids dance to their father's songs, and much guard-down hilarity is had by an industry thriving on gossip and in-jokes.
Â
Om Shanti Om is a big-budget collection of these award-show skits, loosely tied together by a reincarnation story dhaaga. Bas. Told you I'd be exact.
Â
Also read: Review 2 | 3Â
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The aforementioned thread is plot-bare, woven from Manmohan Desai's most worn jumpers, and laced together with nostalgia and a complete, unashamed lack of subtlety. This is not the 70s as they were, but a celebration of the decade as old Hindi movies showed it to us, a world of Technicolor convertibles and flares and bling and outrageousness and hamming and tan-tan-ta-da background scores, all in a day's work.
Â
This is a big movie, well and truly in love with itself. And if you aren't into that sort of thing, if you pooh-pooh Koffee With Karan, and if you'd really rather watch a movie you have to think about, skip this. For the SRK-hater, the warning is doubly applicable. This is a celebration of the ultimate in self-achievement, Shah Rukh toasting his own indomitable Khan-do spirit.
Â
For the rest of us, this movie is a smile.
Â
Bollywood is bizarre and campy and over-the-top and unprofessional and snide and egotistical and sporadic and dynastic and facetious and utterly self-smitten, but -- without even going into the numerous positives -- that's just why we love it. That's the nasha of Mumbai's movies -- these unreal vehicles of escape soaring from cliche to cliche on superstar-wings -- and their madcap makers.
Â
Om Shanti Om is an exultant, heady, joyous film reveling in Bollywood, and as at most parties where the bubbly flows free, there is much silly giggling and tremendous immaturity. You'd do well do breathe in the filmi fumes, lift your own collar-tips upwards, and leave sense out of the equation. More cameos are written in than dialogues, so sit back and play spot-the-celeb. Or watch the Khan have a blast on screen.
Â
Make that the Khans. The King is all super and funny and awesomely sixpacked, but Queen Farah is one to be toasted, just for her sheer bindaas enthu. No gag is too obvious, no plotpoint too ludicrous and no cliche too overused -- in fact, the more overused the better, decides she. And if the result of her damn-the-detractors attitude is a magnificent scene with Shah Rukh wrestling a stuffed tiger and using all kinds of pussycat phrases with a thick Tamil accent, I say hats off.
Â
You really want to know the story? The story of this film? Please, go read another review.
Â
All I can say is that Khan lives, Khan dreams, Khan loves and Khan dies. In between -- as mustachioed cowboy and outlandish black-red costumed superhero -- Khan even flies. And that's all during a super-fun first half, while the second sadly tries to be a real movie. The latter could have sunk the movie, but despite it's total pointlessness, is pretty much salvaged by the songs. No, really. Talk about phrases you never think you'd write.
Â
Video: Shah Rukh rocks Mumbai
Â
Shah Rukh Khan [Images] is, well, you know who he is. He's the biggest movie star on the globe, and this film lets him cock a snook at all that megalomania. Here he plays both wistful junior artiste and bratty star-kid, and he has an absolute blast. This is a role that requires him to overact in almost every frame, which is far harder than it sounds. And because he's Shah Rukh Khan and there is love at the core of this film, he manages to bring credibility to the romance, heart to the joke. And that is no mean feat.
Â
The woman who catches his fancy -- and his lucky red thread in her dupatta -- is the extremely fortunate Deepika Padukone. The director uses her with great cunning, making her turn and smile while Shah Rukh does all the melting. She is used sparingly and constantly camouflaged, either by a situation which requires acting incompetence, deftly digitalised song sequences or a complete lack of fabric in the second half. I'm not claiming the 'find of the year' can't act; it's just that this film doesn't require her to. OSO needs for her to be a dreamy girl, and this she delivers on, dimpled smiles and all. There is effervescence and luminosity around this pretty girl, but art director Sabu Cyril and cinematographer Manikandan have some credit there.
Â
Shreyas Talpade is reliably top-notch in the first half, and cut-out of most of the second, where he ages like a TV soap character. Similar grey-streak aging is applied to Kirron Kher, playing a stock character. Javed Sheikh is interesting as romantic star Rajesh Kapoor, and Arjun Rampal [Images] is finally cast right. Among that much-discussed 31-celebrity dance, Tabu [Images] looks the most incredible. I wish Farah had done without the lookalikes, but paying off her debts to Subhash Ghai [Images] in the beginning kinda makes up for it.
Â
Farah, thanks. As someone who has to sit through a million movies, mostly suspect, week after week -- and to someone who has to toil through it and bear the tabloid attention -- this is a reminder of what we like about Bollywood, what makes it so special. Thanks also for reminding us of the number of people who work on a movie, and that spotboys aren't just young kids in half-pants. Ms Khan makes me want to take her out on the town and dance (I can't, but she'll make up for it) to dhinchak Bollywood songs all night. If you're reading this, Director Saheba, call me.
Â
Oh, and somebody please make Akshay Kumar's [Images] Return To Khiladi. That has blockbuster written all over it. Please?
Â
Rediff Rating:
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https://www.bobbytalkscinema.com/recentpost/Om-Shanti-Om-2007--its-insp-435
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BObbytalkscinema.com
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Om Shanti Om & its inspirations, Inspired Movies, Inspired Cinema, Bollywood Plagiarism, Plagiarism in Hindi Cinema, Copied Movies, Inspiration from World Cinema
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https://www.bobbytalkscinema.com/recentpost/Om-Shanti-Om-2007--its-insp-435
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A warm welcome to all friends with a loving invitation to read my personal expressions on movies, music, poetry and life.
Music, Movies and Books are like EARS and EYES to me, and if you also feel the same, then you are sure going to find many interesting articles in the different sections of the site worth your precious time and attention. If possible, do share your valuable comments and suggestions too, as they would be my guide for all the future projects and write-ups continuing on the path of learning.
Have a great day and enjoy the world of movies, music and poetry with BTC.
Cheers!
The articles on bobbytalkscinema.com are the personal views/expressions of Bobby Sing on cinema, music, books, poetry and life, written with no intention of hurting anyone in particular.
Respecting the sincere effort being made, please DO NOT COPY or reproduce any article/content without the required permissions.
However, you are free to share the selected article’s URL giving the due credits to the site and the writer with
HIS BLESSINGS
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https://omny.fm/shows/khandaan-a-bollywood-podcast/ep-33-om-shanti-om
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en
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Ep 33- Om Shanti Om - Khandaan- A Bollywood Podcast
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Episode 33 of the Khandaan podcast brings you one of our favorite movies, 2007’s Om Shanti Om. Directed by Farah Khan, this Shahrukh Khan-starrer was also Deepika Padukone’s debut film. Co-starring (Chowkidar) Kirron Kher as Maa, Shreyas Talpade as Fri...
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/_next/static/media/favicon-144x144.4df68316.png
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Episode 33 of the Khandaan podcast brings you one of our favorite movies, 2007’s Om Shanti Om. Directed by Farah Khan, this Shahrukh Khan-starrer was also Deepika Padukone’s debut film. Co-starring (Chowkidar) Kirron Kher as Maa, Shreyas Talpade as Friend, and all of Bollywood as backup, OSO is an homage to Hindi film. It should surprise nobody that co-hosts Asim, Amrita, and Sujoy love this film.
A Timeline:
01.00 Delhi Crime - the searing new Netflix series based on the Delhi Nirbhaya rape (and eventually murder)
04.45 Simmba - Asim has a few thoughts on Rohit Shetty’s oeuvre
14.00 Super Deluxe and the vagaries of distribution
25.30 Kalank songs
43.00 The Main Event: Om Shanti Om
Show notes:
Ranveer Singh's radioactive Pee Pants
Superwoman's Bollywood Rap songs
Kalank Title Track
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https://slate.com/human-interest/2017/06/actors-say-the-title-of-the-movie-theyre-in-the-video-compilation.html
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Actors say the title of the movie they’re in, the video compilation.
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2017-06-21T13:08:00+00:00
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“Dude, where’s my car?” is easy, but kudos to Nic Cage for “wild … at heart.”
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/favicon.ico
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Slate Magazine
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https://slate.com/human-interest/2017/06/actors-say-the-title-of-the-movie-theyre-in-the-video-compilation.html
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Did these actors get extra pay for actually saying the title of the movies in which they’re appearing? Are there at least high-fives on set when this happens? There should be. Especially when the title is a phrase that’s not so easy to sneak in. “Dude, where’s my car?” is a gimmie, but kudos, Nic Cage, for “wild … at heart.”
The compilation video above, featuring scenes from 150 films, was put together by an editor who calls himself Roman Holiday. It’s such silly fun watching a lot of fine—and some not-so-fine—actors doing their best to pretend they don’t know what they’ve just done. (Looking at you, Benedict Cumberbatch.)
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correct_starring_00069
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FactBench
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https://the-avocado.org/2022/07/13/wtf-asia-221-om-shanti-om-2007/
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en
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WTF ASIA 221: Om Shanti Om (2007) – The Avocado
|
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[] |
[
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2022-07-13T00:00:00
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When non-Indians think of Indian movies, I am guessing that masala movies are most likely to spring to mind. And, since I have not featured a masala movie in a while, I might as well feature one of the masala-est masalas ever. Available in Australia, Canada, France, the Netherlands, the United Kingdom, the United States, and perhaps a few other countries. Approximately…
|
en
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The Avocado
|
https://the-avocado.org/2022/07/13/wtf-asia-221-om-shanti-om-2007/
|
When non-Indians think of Indian movies, I am guessing that masala movies are most likely to spring to mind. And, since I have not featured a masala movie in a while, I might as well feature one of the masala-est masalas ever.
Available in Australia, Canada, France, the Netherlands, the United Kingdom, the United States, and perhaps a few other countries. Approximately 166-169 minutes.
Our story begins 30 years ago in 19…erm…1977.
And we are witnessing the filming of Karz…which would come out in 1980…what, did it take 3 years to produce? Well, anyways, they are filming the performance of the song Om Shanti Om and the star throws his jacket into the crowd of extras. A man catches it, but the woman next to him tries to take it. After a bit of a scuffle, the man gets it back and then fantasizes that he is on the stage as the lead.
Once the song is over, the woman wakes the man from his daydream, reminding him that it is Rishi Kapoor up on the stage, not him. He mocks her for acting like she is the film’s director and she replies that she would have him sacked if she were.
The actual director calls lunchbreak and the man tries to sneak off with the jacket, but a crew member spots him and takes it from him after lobbing a few insults his way. After the crew member leaves, the man’s friend walks up and tells him not to worry; what would drunkard costume man know about the worth of a future superstar? A future hero.
Om Prakash Makhija and Pappu Master are small-time actors. Om has dreams of becoming a Bollywood superstar, something that his small-time actor mother has encouraged. And Pappu Master…is his best friend, and enabler. Pappu says that Om has everything that it takes to be a superstar…except for an acceptable name. Makhija? That would never do. Maybe change it to Kapoor or Kiran or Kumar or Khanna.
Om is willing to change his name, but he knows that his mother would disapprove. Om stands for God. Prakash stands for light. And Makhija…stands for shooing the house flies away? Om tells her that he will never become a hero with Makhija as a name. Of course, she insists that her heart says he will, but he is certain that he will die as a junior artist if he keeps his name. Just like his father. And her.
Huh. Well, I checked IMDB and there are a total of three actors named Makhija on there. And Wikipedia gives me a fourth. And only one of them started acting before 2000. And are any of them heroes of the movies? I am siding with Om in this case. Anyways…
Om goes to the bridge to meet his girlfriend, Shanti. He tells her that he came back to her because she is his courage, his strength, his dream, his path, his destination. She knows that he is a good actor and he tells her that he wants to be a star only for her. Because, while she has millions of fans, no one can love her more than he does.
Yes, Om’s girlfriend is a billboard of a movie star and people are staring at him as he talks to it. But his mother and Pappu come around and…try not to make fun of him for it. Om and his mother make up, though they do not exactly settle the argument. Still, she ties a holy thread around his wrist, saying that it will fulfill his wish of meeting Shanti soon.
That night is the premiere of Shanti’s film Dreamy Girl. Om and Pappu manage to slip into the front of the crowd by the red carpet and see all of the stars walk into the theater. And here comes the girl of the moment, Shantipriya. Oh dear, she is not even looking in his general direction. But…a piece of her dress does get caught on the thread around his wrist, giving him the perfect excuse to follow her on the carpet. I am not sure how that happened or how he slipped past the security. Eventually, Shanti does turn around and, after briefly being surprised, separates the thread from her dress. It is only after she turns back around that security grabs Om. But she does turn around again to see him being dragged off. He smiles and she smiles back.
Pappu managed to snag a pair of tickets from actual actors, so he and Om manage to bluff their way inside the theater. But Om is not watching the movie at all, even when Shanti is on screen. He spends the time staring at the real Shanti up on the balcony. Is it even bright enough in there to see her well? In any case, Pappu notices him noticing her and tells him to stop lest they get noticed. So, Om actually watches the movie and is transfixed. And then he starts fantasizing about being in the movie.
And…eventually, Om cannot help himself. He starts dancing in the aisle. Pappu…joins him. The audience notices, including Shanti. And that is when security comes in. Om and Pappu try to evade them. All the while, Om is blowing kisses to Shanti, who finds it all amusing. Anyways, the two of them get thrown out.
Om and Pappu get drunk outside of the bungalow of Rajesh Kapoor, who is the star opposite Shanti in the movie. Om performs part of the movie in front of a group of kids, who seem impressed. He tells Pappu that he will buy this bungalow when he becomes a star, and live a life of indulgently decadent luxury. Them he…uh…gives an awards speech. Even the Bungalow guards are intrigued enough by his drunken rambling to sit down with Pappu and the kids. The only person not impressed was the guy trying to sleep outside the bungalow. It is he, not the security guards, who makes Om and Pappu run away.
Om tries to sneak back home, but his mother is awake. He apologizes for worrying her, saying that he will always return to her. So, she forgives him for coming back late…and drunk. But then she tells him to go to bed, as he has a shoot in the morning.
The next morning, Om and Pappu are made up as…erm…anyways, Om worries that the mustache was put on so tight that it might mess with his ability to say the dialogue. What is his dialogue anyways? Wouldn’t he have gotten the dialogue beforehand? Well, he goes up the assistant…director (or…I don’t know) to ask what the scene is and what his dialogues are. Oh, dialogues plural, now. The assistant director tells him that the field is on fire and Om’s dialogue is Run! Then the assistant director leaves, and Om is somehow in shock that that is all he gets. So, the two go after him and try to convince him to let Om say more. The assistant director says that the hero dialogue goes to the hero, Ricky Sandhu, not some rando extra.
Uh oh. There is a problem. Shanti (oh, she is on this movie) refuses to do the shoot until producer Mukesh Mehra arrives, and director Partho Roy is fuming. This makes sense to Om and Pappu, for Mukesh is the one who gave Shanti her first break when she was only sixteen. And how old is she no, oh Mukesh is here.
Om and Pappu are impressed. Om…says that they agreed to this movie only because Mukesh was involved. Sure. Anyways, Mukesh talks with Shanti and then tells Partho that the shoot can begin in ten minutes. Just finish the scene today. And then he leaves.
Shooting starts and Om is mugging like everyone’s business.
It is time for Ricky Sandhu’s Sanjoo to jump into the fire, but…he doesn’t want to. Meanwhile, the fire around Shanti is getting worse. And Partho refuses to cut. Both the assistant director and Om plead with Ricky to jump in, but he still refuses. He asks Om why he doesn’t do it if he is so concerned. So, he does.
Pappu is not particularly happy that Om was the one to go in to rescue Shanti. Surely someone else could have done it. But Om went and burned his back and what would Pappu have had to say to his mother had things been worse? Like…what if Om had got burns on that superstar face of his? Om says he doesn’t care if he had died in that fire. All he could think of at the time was that Shanti was in danger. And he would have jumped into the fire a thousand times because his dreams are nothing compared to Shanti’s life. He says all of this before realizing that Shanti is behind him. He eventually turns around and is in such shock that he cannot speak.
Shanti thanks him and tries to talk to him, but all of his totally romantic responses are all in his head as he just sputters in real life. Pappu has to save him, even holding is arm out to shake her hand. She says that Om looks familiar. Om is about to remind her about the movie premiere, but Pappu interrupts him and says that Om is a rising star of the South, and is destined to break into Bollywood as well. Shanti says that he has a fan up here already. Not a fan, Om says, a friend. Hey, that was almost a complete sentence. She thanks him again, but he tells her the rule of friendship: no sorry, no thank you. He just made that up, didn’t he? Did he?
Wait…what the hell is going on here? Did Om and Pappu really rope in a bunch of other people to PRETEND to be shooting a film with Om as the protagonist just when Shanti comes around to check? How were they able to do this when Om has a debt with the local café? Or is this a real film and he was just holding up shooting until she showed up?
Also, he wrestles a giant stuffed animal tiger and says in English naughty pussy naughty pussy naughty pussy who’s your daddy now.
After the “shooting” is done, Shanti comes over to Om and playfully asks for an autograph. And Om pretends that he had no idea that she was there. She tells him that he was really good. But Om says that this was nothing compared to his death scene…or scenes, as he dies four times in this film. He plays twins who both die before the intermission, are reborn afterwards, kill the villain, and then both die again. Shanti says that she has never heard someone speak so happily about dying, but Om says that he loves everything about shooting movies. He briefly worries that she is getting bored (he did this with her billboard as well), but she says that she isn’t.
Om asks Shanti what she likes about shooting and she says…pack up. And like that, the whole “crew” scrambles to pack up for the next shooting. They even take his vest. Okay, I think that I get it now. Om is just a bit player in a movie, but somehow held up shooting this scene so that he could pretend to be the star in front of Shanti. Or…something like that. Whatever the case, Om has to admit that he is just a junior artist. Shanti seems unphased by…whatever happened here, and reminds him that he jumped into the fire for her. That makes him a hero. She says that she will do anything for him…except for jump in a fire. So, he asks for…uh…oh, scene change.
That evening, Om and Pappu wait for Shanti to arrive…wait, did he ask for a date? Om worries that he had scared her off, but Pappu is certain that she will come. A woman in a burqa arrives to tell Om that Shanti is not coming. Om says that he is heartbroken and asks the woman to tell Shanti not to hurt anyone like this again. Oh, surprise, surprise. The woman is Shanti herself. Who could have guessed?
Om and Pappu somehow get into an argument over who was certain that she would come, but Shanti says that she had to come for the sake of their friendship. She points out that while he did not want her to thank him, he said nothing about gifts. She gives him a…snowglobe. And…is that the theme to Westworld? How many times has Ramin Djawadi seen this movie? In any case, they go to a…friend date…through various movie sets.
Erm…
It is very romantic, but there are hints that Shanti’s…desires…lie elsewhere, even if Om doesn’t notice.
Om leaves his movie shoot to see Shanti as she is leaving her movie shoot. But she is too wrapped up reading a magazine and walks right past him.
Om follows Shanti to another building, but a guard stops him outside. When the guard goes to greet someone else, Om sneaks inside and hides in some random room. And it just happens to be next to the room where Shanti is arguing with Mukesh…oh, hey, remember that guy? Yeah, well, Shanti shows him the magazine article showing that he is going to be getting married, and getting his father-in-law’s studios as dowry. Mukesh claims that these are rumors made possible by them being famous, and that this supposed father-in-law has invested four million rupees (transposing that into USD wouldn’t really help contextwise, but it is a lot of money for 1970s Indian movies) into his next movie where she is the star. The movie’s title is Om Shanti Om, by the way, just like that song from Karz.And he accuses her of holding up the shooting with her childish behavior. But Shanti asks Mukesh how he will be able to marry the investor’s daughter when he and Shanti have already been married for two years.
What?
Shanti wants to make their marriage public and display the vermilion, like her character had said in Dreamy Girl. Mukesh tells her that no one will invest a penny in a film starring an actress who is married…well, not in 1977. It will ruin both of their careers. So…why did they get secretly married in the first place? In any case, Mukesh promises to publicize it after this movie is finished. But Shanti says that everyone will know by then…because she is pregnant. Mukesh is surprised…but overjoyed. The two embrace. Having heard all of this, Om is heartbroken.
After a bout of pouting, Om goes back to the Dreamy Girl billboard and tells her that she did the right thing by choosing her happiness and should not think that she broke his heart. He is happy because she is happy. Also, he spared Mukesh only for her sake, but he won’t be so merciful if the two meet in another life.
He will continue doing bit parts in various films, but his heart is not in it.
One night, Om is wandering around the set of Om Shanti Om when Mukesh and Shanti arrive. Om sneaks inside the building and hides. Mukesh brings Shanti inside and reveals what he calls the wedding venue.
Mukesh starts to give her a tour of the biggest set of the biggest film in India. But then he tells her that there will be no shooting here; that it will be dismantled in a few days. Mukesh tells her that he was making the film only for her. Before the dismantling, they will have their wedding party here. Shanti is overjoyed. A despondent Om slips away.
No, wait. It is all a lie. Shanti had awoken in him the dream of becoming the richest man in the industry, and now her behavior is threatening that dream. Unwilling to return the 4 million rupees, he has instead decided to burn down the set for the insurance…with Shanti trapped inside.
Mukesh drives off to meet two goons and tells them to make sure that Shanti does not escape. Jesus, so Mukesh has accessories to this murder? They arrive and beat on Om some so that he cannot break in…but then they leave, so he breaks in.
An explosion knocks Om back outside. Badly beaten and burned, he rolls down a hill and onto a road. He is able to stand up and see the set explode once again until he gets hit by a car. Oh shit. It is Rajesh Kapoor and his wife. They take him to the hospital, where they were already heading, as she is in labor. The doctors try to save his life, but…he…dies.
WHAT??
There is 98 minutes left in this movie. And the two leads a DEAD?
Erm…uh…meanwhile, the Kapoors have a son. That’s nice, but Rajesh learns that the man whom they brought has died. Rajesh’s secretary Nasser, assures him that it was an accident and the man was already badly hurt before Rajesh hit him. Rajesh wonders about the man’s family, but Nasser promises to take care of everything. Does that mean informing the family or covering this up? Erm…sounds like the latter.
And…uh…
Okay, so we are in present day…2007…and that little baby is celebrating his 30th birthday. Meet superstar actor Om “OK” Kapoor.
Huh…so…not only did that baby grow up to look just like Om Makhija, he grew up with an acceptable actor name and with the life that Om Makhija dreamed of…
Is this the dream of a dying man?
Well, birthday boy Om Kapoor seems to have pulled a Tom Hardy and arrived to set four hours late. The director (who I guess is the son of the producer) tries to explain the scene, but Om is only partially paying attention. The scene calls for him to be unable to speak to the heroine of the movie. Also, he cannot see her because he is blind. And he is also deaf. And in a wheelchair. And lost both of his hands.
What the fish? Om tells the director) that this movie might get critical acclaim and awards, but this film will flop. Unless…there is a dance number to express the character’s pain. A disco dream sequence.
Uh…and the sequence stops when the fire in one of the scenes gets too high. Om gets a panic attack and takes a tumble. Om’s assistant Anwar yells at the director for having the bright idea of including fire in the first place. No matter, Om just asks to be taken home. Pack up!
Om is being escorted past the crowd to his car when an elderly woman grabs him, yelling that he is her long-lost son.
Om calls for security to take her away and he gets into the car, but she chases after the car. Apparently, she has done this a lot. Anwar tells him that she thinks he is her son. Om says that every mother in India thinks that he is her son. That is fine, but this is not. He tells the driver to speed up. Eventually, she cannot run anymore and almost falls to the ground until someone catches her.
So…this is a movie, yes, but it is above all a celebration of Bollywood, both past and 2007. It is both reverent salute and lighthearted parody. And just references all over the place. I cannot say that I got even a tenth of the references, but Karz was a real movie in 1980, there was a movie released in 1977 called Dream Girl, the field fire debacle was based on an accident that took place during the filming of 1957’s Mother India where the two actors involved got married soon after, and the tiger fight was inspired by 1971’s Tarzan 303. All sorts of other things as well, including celebrity impersonations. There is even the occasional CGI-ing of old actors being younger. It is not exactly Forrest Gump convincing, but it is not meant to be.
The movie also seems to be a bit of a commentary of the lead actor and his relationship with the industry. I do not really talk all that much about the individual actors in this series, but I feel like there would be no Om Shanti Om without Shah Rukh Khan. Yeah, sure, he is probably at least 12 years too old for the role, so what? This is all him. His charm. His extreme emotional physicality. And even though I had not really featured a movie starring him for four years, believe me when I say that he is a huge superstar. Or, at least he was until 2018, when his only movie of that year flopped and then he went on a semi-hiatus. He still has made cameos and guest appearances and is prepping for a comeback in 2023. We shall see. They do not call him “King Khan” for nothing.
Anyways, Shah Rukh Khan was huge in 2007. He had had the acting bug when he was young and started his career in TV in 1988, started his transition to movies in 1992 playing villains, and somehow transitioned to romantic roles in 1995. All without having any connection to the industry.
Farah Khan was born into a Bollywood family of sorts. Her mother’s two sisters were pretty famous actors. Meanwhile, her father was a producer who was pretty successful until he wasn’t…and he died broke. So, she knew that life in the industry is not always great. She also has a brother who is in the industry as well and…ahem…In any case, she started working as a movie choreographer in 1992, occasionally taking bit parts in the films. I am not sure if she and Shah Rukh met on a film in 1993 or earlier, but they became friends. Anyways, they worked on several movies together after that until 2004, when Farah wrote and directed a movie called Main Hoon Na. Shah Rukh Khan was cast as the lead and his wife Gauri was the producer of the movie. That movie made nearly six times its budget, so there was no way that he was not going to star in her next film. This one. She would make a couple of other movies later that were received okay, but she remained primarily a choreographer.
This movie is also the Bollywood debut of Deepika Padukone, who had been in a Kannada-language film the year before and…nothing else. A 33-year-old actor named Malaika Arora had been initially considered for the role of Shanti, but…something happened, and Farah Khan chose the 21-year-old Deepika to act opposite the near-42-year-old Shah Rukh. Farah Khan wanted the audience to see Shanti, not another superstar playing Shanti. If it makes you feel any better, Farah married the editor of Main Hoon Na who is 8 years young than her. Anyways, Deepika had the look, but apparently, her grasp of Hindi was atrocious. I guess that that is what happens when one is raised in the southern state of Karnataka. So, parts of her lines were dubbed over. And she still got criticized. But she has gotten better and has become a very outspoken celebrity. Huh…so maybe the story of Om is foreshadowing the future of Deepika Padukone herself.
I…cannot really talk about the story. I mean, there is a story there, but it is sort of window dressing. The two halves of it are like two sides of coin, with a bunch of obvious foreshadowing in the first part and overt callbacks in the second part. Now, it is easy to do that movie theory that the post-interval segment is merely the dream of dead man, but let’s say that it is as legitimate as everything else in the movie, which is not very. Om Makhija has big dreams, but his name is holding him back. Om Kapoor is living the life that Om Makhija had dreamed of, but his arrogance sometimes is a cover for his fear that his success is only due to being the son of a celebrity. Apparently, Farah came up with the idea for this movie while working on Andrew Lloyd Webber’s Bombay Dreams in 2004 and thought that the only way that this story of a boy from the slums could become a superstar was if he were reincarnated into the wealthy family.
Eesh. That seems like some gloomy cynicism. And, perhaps underneath the nostalgia and the loving odes is an undercurrent of anger and bitterness. An anger that that even death cannot kill. Om is reincarnated to fulfill the destiny that he deserved. Like Nux, he lives, he dies, he lives again.
How does Shah Rukh fit into this story? He had no connections to the industry, but his name is pretty common in Bollywood. That 1957 movie Mother India, for example, was directed by someone named Mehboob Khan, who had been in the industry since 1931.
And what about Farah Khan? She has memories of both success and failure in Bollywood, but has forged her own path. She is not just the director, but was integral to the writing. So, she was in charge of depicting directors ambiguously. They tend to be either full of themselves or completely over their heads. One of them is the son of the producer. Ahem. Speaking of producers, there had to be some reason for having Mukesh be such a villain (who goes off to Hollywood in the 1980s) who is married to the star.
Wait, who is the producer of this movie? Oh, right, Shah Rukh’s wife Gauri, who had been married to him since 1991.
Perhaps maybe feeling intimidated by younger rising stars, Shah Rukh Khan took pains to tone his body for this movie, particularly that “disco” scene. Farah Khan was…erm…not necessarily impressed. Every time she saw him with his shirt off, she got sick. Granted, the writer-director-choreographer was pregnant with triplets at the time, but every time?
Now…the story is nonsensical. It is not supposed to make sense in terms of logic. It is pure fantastical emotion. This movie is meta, this movie is unapologetically silly, this movie is romantic despite its romantic plot being completely undermined. If you are trying to find any sort of deeper insight into the movie industry in the past or the present, you won’t. And why would you expect to? It takes you on a ride that goes in somewhat unexpected directions, and you just go with it until the very much unexpected ending.
Most of all, this movie is a means to flex. If you read anything about this movie, then the main thing that you will read about is an eighteen-minute stretch of the movie that could theoretically have been excised. And you would have lost nothing from the story, but everything from the movie. And, perhaps the draw that both made it so expensive as well as so profitable. The first part of this segment is an awards ceremony that starts out with red carpet interviews of random Bollywood celebrities, then a ceremony where a couple of actors make fun of their personas and movies, and then…the afterparty. Oh, the afterparty. If you know nothing of Bollywood, you would still probably understand which of the people at this party are famous. This sequence, which includes a nearly nine-minute song and dance number, features THIRTY-ONE cameos from Bollywood stars. Some of whom had professional history with Shah Rukh Khan. Some…didn’t. Oh, and Malaika Arora was there as well. It is a lot.
Granted, there were limits to this flexing, which Farah Khan was pretty candid about later on. A few people whom she had wanted to take part did not take part for various reasons. Most notable to me was Aamir Khan. Farah had wanted him and Salman Khan to share the screen together so that the three superstar Khans would be there all at once. Salman has had a friendly rivalry with both of them, but Aamir’s relationship with Shah Rukh has been…a little prickly. Aamir claimed that he was too busy working on his own movie at the time, but would admit later on that he did not want to do it. Oh well. His movie did pretty good too, and on a much smaller budget. At least Farah Khan got…Salman…and…Sanjay Dutt? Sigh…fine…At least Fararh’s brother is not in the movie. Egads. In any case, I am not providing a screen shot of these sequences, as none can do them justice. It kind of portrays the Bollywood superstar community as a happy family. And maybe it was…if only for those nine minutes.
One thing that really did surprise me was the end credits. Most of it is actually kind of a sketch where the crew of the movie attends a red carpet ceremony for it. Limousines, bright lights, cheering crowds, for the entire crew. It is rather nice. Kind of the reverse of the ones with all of the actor cameos.
Then the sequence ends with director Farah Khan arriving on an autorickshaw and the whole thing is over. It is a slightly amusing gag, but is it supposed to say anything? Or is it merely the punchline to a 162-minute-long joke that starts where Farah plays the extra who tells Om that she would have sacked him had she been the director of Karz? Hmmm…
Anyways…this movie is silly fun and, if you have the time, you may have some silly fun as well.
WTF ASIA 222: Hers (Mongolia: 2017, approx. 83 minutes)
No Wikipedia
Available in Australia, Canada, the United Kingdom, the United States, and perhaps a few other countries.
WTF ASIA 223: K’na, The Dreamweaver (The Philippines: 2014, approx. 86 minutes)
No Wikipedia
Available in Australia, Canada, the United States, and perhaps a few other countries.
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correct_starring_00069
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FactBench
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0
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https://showmethecurry.com/more-to-life-than-curry/om-shanti-om-bollywood-movie-review.html
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en
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Om Shanti Om Bollywood Movie Review – ShowMeTheCurry.com
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2007-05-12T16:30:45-05:00
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I finally got around to watching the much anticipated (ok, maybe only for SRK fans) bollywood movie, “Om Shanti Om”, starring Shah Rukh Khan and newcomer, Deepika Padukone. Leave it to producer, Farah Khan, for coming up with movies with a slightly different feel to them. The movie has an impressive cast including Shreyas Talpade, Arjun Rampal, Kirron Kher, Yuvika Chaudary, Bindu, Jawed Sheikh, Satish Shah, Asawari Joshi, Nitish Pandey and Shawar Ali…not to mention about 31 other BIG bollywood names that show up in the title song.
I was a little late in seeing this movie and heard a host of different “reviews” from friends and family, ranging anywhere from “funny”, to “entertaining, but definitely a home-theatre watch”, to “fantastic!”, to “a copy of Karz”. Well, not having seen Karz, I was all set to enjoy the film. Did I mention I am a BIG SRK fan?
Well, first things first — SRK. Wow! I mean, a double Wow! This has got to be the first movie (after Dil Se) that Shah Rukh throws his shirt to the wind. And believe it or not, he can rival even Salman Khan. As great as his effort was to get chiseled 6-pack abs, I have to admit that SRK was looking a wee bit older. Maybe it was the long hair. Is that the trend these days? Well, sorry to say, it isn’t working for him.
Deepika Padukone made a good effort for her debut, especially with a seasoned cast. Her simple, classical looks and beauty was a refreshing change from the norm. Shreyas Talpade also made a likable sidekick and of course Arjun Rampal, without much a role, was believable.
The story line of Om Shanti Om revolves around Om Makhija (SRK), a junior artist (read…sidey), hoping to someday become a movie hero even with an obvious lack of talent and lack of a famous last name. Even then, his mother (Kirron Kher) and best buddy (Shreyas Talpade) have great faith in him not only in his talents but in his ability to snag an A1 movie herione, Shanti (Deepika Padukone). Om manages to get somewhat noticed by Shanti in a few whacky ways before he saves her in an on the set accident, after which they become friends. Everything seems to be going great until we find out there are more things going on in Shanti’s life than the audience (both in the movie and in real life) knows. Enter Arjun Rampal (I forgot what his on-screen persona was named). Things take a turn for the worse, leaving Om and Shanti out of luck.
The story is of reincarnation (I’m guessing similar to Karz), but for those like me who have not seen Karz, it was somewhat of a new storyline. As I mentioned earlier, Farah Khan has a knack of making movies which have a light hearted feel to them even though they have the usual melodrama. There was a compilation of spoofs of many old and new bollywood films. Of course, it goes without saying… many of the songs are very catchy and choreographed superbly.
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correct_starring_00069
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2
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https://www.newson6.com/story/668ffeb928fea4c34ec59b6a/shelley-duvall-actress-known-for-the-shining-and-popeye-dies-at-75
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Shelley Duvall, Actress Known For 'The Shining' And 'Popeye,' Dies At 75
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Actress Shelley Duvall, best known for her roles in 'The Shining' and 'Popeye,' has died. She was 75.
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en
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/favicon.ico
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https://www.newson6.com/story/668ffeb928fea4c34ec59b6a/shelley-duvall-actress-known-for-the-shining-and-popeye-dies-at-75
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Shelley Duvall, the intrepid, Texas-born movie star whose wide-eyed, winsome presence was a mainstay in the films of Robert Altman and who co-starred in Stanley Kubrick’s “The Shining,” has died. She was 75.
Duvall died Thursday in her sleep at her home in Blanco, Texas, her longtime partner, Dan Gilroy, announced. The cause was complications of diabetes, said her friend, the publicist Gary Springer.
“My dear, sweet, wonderful life, partner, and friend left us last night,” Gilroy said in a statement. “Too much suffering lately, now she’s free. Fly away beautiful Shelley.”
Duvall was attending junior college in Texas when Altman’s crew members, preparing to film “Brewster McCloud,” encountered her as at a party in Houston in 1970. They introduced her to the director, who cast her “Brewster McCloud” and made her his protege.
Duvall would go on to appear in Altman films including “Thieves Like Us,” “Nashville, “Popeye,” “Three Women” and “McCabe & Ms. Miller.”
“He offers me ... good roles,” Duvall told The New York Times in 1977. “None of them have been alike. He has a great confidence in me, and a trust and respect for me, and he doesn’t put any restrictions on me or intimidate me, and I love him. I remember the first advice he ever gave me: ‘Don’t take yourself seriously.’”
Duvall, gaunt and gawky, was no conventional Hollywood starlet. But she had a beguiling frank manner and exuded a singular naturalism. The film critic Pauline Kael called her the “female Buster Keaton.”
At her peak, Duvall was a regular star in some of the defining movies of the 1970s and 1980s. In “The Shining,” she played Wendy Torrance, who watches in horror as her husband, Jack (Jack Nicholson), goes crazy while their family is isolated in the Overlook Hotel. It was Duvall’s screaming face that made up half of the film’s most iconic image, along with Jack’s axe coming through the door.
But Duvall disappeared from movies almost as quickly as she arrived in them. By the 1990s, she began retiring from acting. Her last film role was in 2002’s “Manna From Heaven.” Duvall retreated from public life. Earlier this year she gave her first interview in years.
“How would you feel if people were really nice, and then, suddenly, on a dime” — she snapped her fingers — “they turn on you?” Duvall told the Times. “You would never believe it unless it happens to you. That’s why you get hurt, because you can’t really believe it’s true.”
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correct_starring_00069
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1
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https://www.goodgollyitsbolly.com/blog/2017/12/11/om-shanti-om
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en
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FROM MY RESEARCH FOR THE INTRODUCTION TO OM SHANTI OM AT DRYDEN THEATRE — Good Golly! It's Bolly!
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2017-12-11T00:00:00
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Om Shanti Om – The Meaning Om is believed to be a sound of the whole cosmos. And Shanti is the "Peace," so ' Om Shanti ' can be interpreted as "absolute peace." T.S. Eliot’s translation: “The peace that passeth understanding.” Om Shanti Om
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Good Golly! It's Bolly!
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https://www.goodgollyitsbolly.com/blog/2017/12/11/om-shanti-om
|
Om Shanti Om – The Meaning
Om is believed to be a sound of the whole cosmos. And Shanti is the "Peace," so 'Om Shanti' can be interpreted as "absolute peace." T.S. Eliot’s translation: “The peace that passeth understanding.”
Om Shanti Om – The Movie
I enjoyed Om Shanti Om (OSO) the first time I saw it about eight or nine years ago as a new release on DVD. The story had all the right twists, the vibrant colors, stunningly gorgeous heroine, nasty (but handsome) villain, and most importantly, my favorite actor, Shah Rukh Khan (a.k.a. SRK) as Om "Omi" Prakash Makhija (70s) & Om Kapoor (OK) (2000s). But I was too new to Bollywood movies then to really appreciate the nuances in this movie: the iconic actors’ cameos, the references to Mother India (or Karz or the really bad movie Tarzan 303 to name just a few of the many, many references) or the impossibility of getting so much Bollywood royalty together in one film and to get them to poke fun at themselves at that! This movie is truly amazing and even more so when you are aware of all the details that made OSO the highest grossing movie of 2007. [Farah Khan in a You Tube interview for Film Companion claims that OSO would have been the first 100,000 crore (approximately $20 million US) film except for the competition with director’s Sanjay Leela Bhansali’s Saawariya release which earned about 20,000 crore. His film Devdas was the first film screened at the Dryden in the Stories of Indian Cinema. (10 Years of Om Shanti Om | Farah Khan Interview with Anupama Chopra)]
OSO is a tribute to the gone-by era of the 70s which had so influenced both Farah Khan, (the co-writer/director/choreographer) and Shah Rukh Khan (the King of Bollywood, and no relation to Farah) who would have been in their impressionable teens in the seventies. [Farah rose to the ranks of a top Bollywood choreographer in the 1990s even though she is self-taught. And her teacher? Michael Jackson (in videos that is.)]
In 2012, I screened the movie for my Good Golly! It’s Bolly! class, and besides the length of the movie (a common complaint by American audiences), the class didn’t enjoy “the song” as it became known as––but I’ll come back to this.
I did not fully appreciate this movie until I read the book The Making of Om Shanti Om (2008) by Mushtaq Shiekh. He was the co-writer of the screenplay for OSO and he documented the events during filming. (He even has a cameo in the film. When Shah Rukh Khan is pretending to be accepting his fictitious award for best actor, Mushtaq Shiekh is the homeless person who pops up from under the blankets. ( You Tube: Om's Bottle Award Om Shanti Om)
The Story:
Om Shanti Om is an unapologetic tribute to the 70s movies Farah Khan grew up watching. She actually wrote the idea for OSO in 2002 while working as a choreographer on Andrew Lloyd Webber’s Bombay Dreamz. In 2004, she made her directorial debut with Main Hoon Na. Now with one movie as director behind her, Farah finds the forgotten OSO story lying in a drawer in 2005. The idea is “rebirthed”.
Every scene is a fond memory of a star of yesteryear! it is a “nuanced” film. Great attention has been paid to creating every detail––from the clothing, to the songs, to the re-created 70 films scenes, to the iconic mannerisms of the popular stars. And this is not a spoof of 70s movies. Farah Khan was adamant, for example, that if any of costumes were deemed “funny”, they were scrapped. (That doesn’t mean there isn’t humor in this movie.) Farah did not want to make a movie about the “grime” of the movie industry. Her purpose was to recreate the fun of that time––the excitement a teenager felt when watching a movie and imagining what it would be like to be those stars. “…the grime behind the glamour. That’s not me. Everyone is really happy in this movie, even the junior artistes are very happy in the crowd.” (Side note: The female junior artistes protested against the amount of cleavage they were expected to show. Farah had to cover them all up. Movies of the 70s had a lot of cleavage, but artistes of the 2000s wanted no part of that.) (Sheikh, Prelude Chapter.)
The Bollywood movies referenced are as iconic as Hollywood’s Casablanca, Gone With the Wind, The Wizard of Oz, Star Wars or such lines as “you complete me” or “Toto, I’ve a feeling we’re not in Kansas anymore” or “here’s looking at you, kid” and span decades of Bollywood movies.
The first scene of the film is a throwback to the film Karz (1980) (translation: Debt) also a film about reincarnation. Rishi Kapoor is singing while on a giant revolving LP. In this scene, SRK and Farah Khan are junior artistes (extras). The real movie is merged into the reel (OSM) movie. Farah tells Om (SRK) to stop overacting and Om says “What’s it to you? It’s not like you are the director!” And the tone is set!
The actual director of Karz, Subhash Ghai is the Karz director in OSO here. While in his own films, he always does Hitchcock-esque appearances, he was hesitant to do so one for OSO. Later in the film in the mock Filmfare Awards show thirty years into the future, the real Rishi Kapoor and Subhash Ghai fight over the envelope with winner’s name.
The Movies Referenced
Bollywood: Karz (1980) (Rishi Kapoor), Dream Girl (1977) (Hema Malini launch to stardom), Main Pyar Kiya (1989) (Salman Khan famous line), Krrish (2006) (Fire scene),Kabhi Khushi Kabhie Gham... (2001) (Motorcycle scene), Mother India (1957) (fire scene), Dhoom franchises (only 3 so far, so the joke is that there is no Dhoom 5); Kopps (2003) (Akshay Kumar) (scene lifted from the movie), Dharmveer (1977)
Hollywood: Gone With the Wind (1939), Titanic (1997), The Fabulous Baker Boys (1989), Gene Kelly movies: Singing in the Rain (1952), The Pirate (1948), American in Paris (1951)
The Reincarnation Theme
And here is the other important aspect to this movie for Farah Khan. Previously, reincarnation movies didn’t do an authentic differentiation between the look of the first life and the reincarnated life. By choosing a 70s era with such distinct stars and fashions, the scenes of the future life in 2000 could be easily distinguished from the past life. In Dr. Ian’s 20 Cases of Suggested Reincarnation, there are details of two cases that are in the movie. The first was the Munna/Ravi Shanker case, where a young boy knows people and details about them that he could never have known & Suresh Varma/Tuti Singh where the marks on his skull match the entrance and exit wounds of a person shot through the head. Tuti Singh names the murderer of Suresh Varma with details only a person who had lived it would know. Those the “OM” or “absolute” tattoo on Om’s arms are based on real claims. (Shiekh, Born Again Chapter)
Om’s mother (played by Kirron Kher) completely overacts. This is her job because she never has been in a movie, although she was called for an audition for a part in Mugal-E-Azam, a 1960 Bollywood mega hit, but was pregnant with Om and couldn’t audition. So her whole life becomes an audition. [In a real-life twist, SRK was sued by a fan who actually believed herself to be his mother. He had to prove that she wasn’t. (Shiekh, Born Again Chapter)]
What was the only way a junior artiste could be reincarnated as a famous movie star? To be born to a successful “filmi” family! So Om is born into the Kapoor family––a five generation famiy of actors going back to the 20s. Nepotism is always a criticism of Bollywood movies. In fact, Gauri Khan, SRK’s wife, is the producer of this film. His Red Chilis FX company, a division of his Red Chilis Entertainment, does the special effects. Farah Khan’s husband since 2004, Shirish Kunder was the editor.
The Heroine
This is Deepika Prudukone’s debut. She is a model; 21 and didn’t look too young to play opposite SRK who was 40. To give credibility to her Shantipriya, megastar “Dreamy Girl” image, for the song, Dhoom Taana, famous Bollywood films were scanned and Deepika who is an excellent dancer had to mirror step for step the original dance and then dropped into the scene replacing the heroine so that she “really” is dancing with Rajesh Khanna, Sunil Dutt & Jeetendra. It took seven days of shooting and 45 shots for each replacement. When Deepika is auditioning in the 2000s as Sandy, the scene where she is late and chewing bubble gum is right out of The Fabulous Baker Boys and Michelle Pfeifer’s audition in the movie.
Deepika is now legitimately a megastar and she recently made her Hollywood debut in Vin Diesel’s xXx: Return of Xander Cage.
The Villain
Arjun Rampal is a model turned actor. He had to be convinced to do this role as there are no redeeming characteristics for this villain. Vivek Oberoi had turned the role down. SRK and Farah pulled Arjun into the bathroom and two-on-one convinced him to take the part.
The “Mother India” Reference
Only three movies have received an Oscar nomination: Mother India (1957), Salaam! Bombay (1988) and Lagaan (2001). In OSO, Ma Bharat (Ma India) is being filmed. There is a famous fire scene in Mother India where Nargis is searching for her wayward son who is hiding in stacks of hay from the moneylender. The moneylender burns the hay and Nargis the actress is caught in the fire and in real danger. Sunil Dutt who plays the son races in to save Nargis. He is badly burned. Nargis nurses him during his recovery and the pair falls in love. They marry, have a son, Sanjay Dutt who is a famous Bollywood actor (and has a cameo in Deewangi Deewangi) and a daughter.
SRK really is on fire in two of the scenes, this one and one later in the film. After all, how better to sell your own FX company than by setting yourself on fire!
The “SONG” – “Deewangi DeeWangi” (8 minutes and 58 seconds 31 or 32 cameos)
This song became known as “the Song” and is a highlight of the film. If you grew up as a Bollywood fan, each star brings up a memory, a history, a piece of gossip or a special moment in your own life. To have so many stars agree to a cameo is amazing, one-time feat. There was one famous star, Dev Anand, who would not do a “blink-and-miss” spot.
Special appearances during the song "Deewangi Deewangi" (in order of appearance) https://en.wikipedia.org/wiki/Om_Shanti_Om (each name is a link to a Wikepedia page)
Rani Mukerji
Zayed Khan
Vidya Balan
Jeetendra
Tusshar Kapoor
Priyanka Chopra
Shilpa Shetty
Dharmendra
Shabana Azmi
Urmila Matondkar
Karisma Kapoor
Arbaaz Khan
Malaika Arora Khan
Dino Morea
Amrita Arora
Juhi Chawla
Aftab Shivdasani
Tabu
Govinda
Mithun Chakraborty
Kajol
Preity Zinta
Bobby Deol
Rekha
Ritesh Deshmukh
Salman Khan
Saif Ali Khan
Sanjay Dutt
Lara Dutta
Sunil Shetty
However, Farah had a dream for this film that even she couldn’t make come true. She wanted SRK, Salmon Khan, Sunjay Dutt, Saif Ali Khan and Aamir Khan (top Bollywood actors for over three decades now) to be together in one film, but Aamir Khan didn’t want to appear as he told her later although all the others did. At the time, he said he was editing a film and even one hour would put him three months behind. Farah was gracious at the time. I wonder if he ever regretted that decision? (10 Years of Om Shanti Om | Farah Khan Interview with Anupama Chopra)
The Filmfare Awards scene
This is a very amusing scene as Filmfare is a magazine (which you can subscribe to in an app). Filmfare Awards are sometimes referred to as the Indian Oscars, but there is great controversy about the meaning of winning as stars are paid to attend, know in advance of their win, and often enter right before their presentation and leave right after they appear. There are many inside jokes. Rakesh Roshan says of course Hritik is going to win – they are father and son and he often stars his own son in the movies he produces. The line about “we are just good friends” is a jab at all the rumors that surround stars when working together and that was completely ad libbed by Farah with each star as she herself held the camera. The OK scenes for best actor are funny because in the 70s the SRK was always named Raj or Raja or Rahul and the films were formulaic to meet the audiences’ demands for a masala film with a happy ending. He was the comsummate NRI (Non-Resident Indian in London trying to hold on to his Hindustani roots and values. Abhishek Bachchan and the Dhoom 5 reference is funny because there have only been three made to date of this extremely successful franchise and he has starred in all of them. But will he be in Dhoom 5? So he is nominated in a film that he isn’t even in and worse hasn’t even been made yet! Amitabh Bachchan questioning who Om Kapoor is is very funny because Amitabh was the most famous star of the 70s. His angry-young man persona was famous for two decades until the SRK era of the 90s began. The two stars fighting over the envelope is hysterical. There is so much hype at these awards ceremonies! This scene rings true for Hollywood as well.
Other Cameo appearances throughout the film (in alphabetical order)
Abhishek Bachchan as himself
Akshay Kumar as himself
Ameesha Patel as herself, Om Kapoor's heroine at Filmfare Awards
Amitabh Bachchan as himself
Arshad Warsi as himself
Bappi Lahiri as himself
Bipasha Basu as herself
Chunky Pandey as himself
Dhananjay Singh as himself
Dia Mirza as herself, Om Kapoor's heroine at Filmfare Awards.
Farah Khan as the woman who makes fun of Om when the show ends
Feroz Khan as himself
Gauri Khan as herself
Hrithik Roshan as himself
Karan Johar as himself
Koena Mitra as herself
Malaika Arora Khan as herself
Mayur Puri as the director of Apahij Pyar
Vishal Dadlani as the director of Mohabbat Man, a superherofilm
V. Manikandan as the director of Mind It, a parody of action films
Priya Patil as Natasha, heroine of Apahij Pyar
Rakesh Roshan as himself
Rishi Kapoor as himself
Shabana Azmi as herself
Soumya Seth as Audience
Subhash Ghai as himself
Yash Chopra as himself
The End Credits – Farah’s Special tribute to all who made this film
Farah was true to her word about making a happy movie and that even the behind-the-scenes, never-seen faces were showcased at the very end of the film. All arrive in star-style and have their 10 seconds of on-screen fame. Except for Farah––she arrives in a rickshaw with no one to greet her!
I personally believe that getting so many stars together in one film is a tribute to Farah (and SRK) and their love for and success in the movies. Farah believes that in the years to come, stars will look back on this film and say “how did that ever happen?” Well, for one thing, there weren’t any agents back then!I hope you enjoyed this look at Om Shanti Om. I further hope you become a mega-Bollywood/Indian Cinema fan if you aren’t already!
FOR TONIGHT:
Jim Harte will be projecting a 35mm print of Om Shanti Om on Thursday, 12/7/2017 at 7:30pm, from the George Eastman Museum Collection on our Kinoton projectors. There will be a brief (about 5 minutes) intermission approximately halfway through the film.
Now let the movie begin!
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correct_starring_00069
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FactBench
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0
| 58 |
https://thesportsmanwritesaway.wordpress.com/2019/06/13/from-badminton-to-movies-to-tv-to-politics-happy-birthday-kirron-kher/
|
en
|
From Badminton to Movies to TV to Politics. Happy Birthday Kirron Kher
|
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2019-06-13T00:00:00
|
As a youngster Kirron Kher played badminton with legend Prakash Padukone . So did her sister Kanwal who went on to be an Arjuna Awardee in the sport. The two sisyers, children of Colonel Thakar Singh were known as the Thakar Singh sisters of Chandigarh. Kirron ji however moved on to films and much later…
|
en
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https://s1.wp.com/i/favicon.ico
|
ritesh.misra
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https://thesportsmanwritesaway.wordpress.com/2019/06/13/from-badminton-to-movies-to-tv-to-politics-happy-birthday-kirron-kher/
|
As a youngster Kirron Kher played badminton with legend Prakash Padukone . So did her sister Kanwal who went on to be an Arjuna Awardee in the sport. The two sisyers, children of Colonel Thakar Singh were known as the Thakar Singh sisters of Chandigarh. Kirron ji however moved on to films and much later to politics as well. In the 2019 General elections, she retained her Chandigarh Parliamentary constituency by defeating a strong Congress candidate Pawan Kumar Bansal by 47000 votes. In 2014 too she had won as well, with an even more comfortable majority.
On her birthday on 14th June, lets reminiscence a trivia journey of some of her popular and hit films.
Sardari Begum; This movie was directed by Shyam Benegal. Kirron ji plays the title role of a singer and courtesan who achieves excellence in profession but has a sad personal life. The movie won 3 awards at the 44th National film awards including special jury award for Kirron ji, best supporting actress for Rajeshwari Sachdev and best Urdu feature film for producers Mahesh Bhatt and Amit Khanna.
Darmiyaan; This is one of her best movies where director Kalpana Lajmi brings out Kirron Kher’s acting prowess to the maximum. The subject is sensitive- the life of an eunuch. Kirron ji plays a Bollywood super heroine of the bygone era and she hides the secrecy of her transgender son whom she calls her brother. Kirron Kher is magnificent and so is Arif Zakaria in the role of a lifetime.
Devdas; Kirron Ji won the Filmfare best supporting actress for this Sanjay Leela Bhansali creation starring SRK, Madhuri and Aishwarya. The movie swept the awards , getting 5 National Awards and 10 Filmfare awards. She played the role of Sumitra, Paro’s( Aishwarys’s) mother.
There are several other movies in which Kirron Kher played important roles, usually as the hero’s mother. It has been said that while she was typecast as the Punjabi mummy, yet she managed to reinvent the role and put in something slightly different every time. Some of these movies are as follows;
Main Hoon Naa; Kirron ji plays the role of Zayed Khan’s mother in this SRK movie. Another SRK movie in which Kirron ji plays an important mother roles is Om Shanti Om.
In Rang de Basanti, Kirron ji received the Filmfare award for best supporting actress for her role of Mitro, Aamir Khan’s mother.
In Dostana she played Abhishek Bachchan’s mother in a comic role.
In Khoobsoorat her role as Manju, where she though being Sonam Kapoor’s mother is more like a friend to her was highly appreciated. “Ma ka phone aaya, maa ka phone aaya” is Sonam’s caller tune and every time the phone rings, it drew peals of laughter from the audience.
As a television personality, Kirron ji is probably best known for her role as a Judge in “India’s got talent”. The show is popular and her popularity has ensured that she has been a judge for each and every season.
Badminton, movies, TV Judge, social activist, filmstar, Member of Parliament. Kirron Kher wears many hats with aplomb.
Happy birthday Kirron Ji
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correct_starring_00069
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FactBench
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2
| 57 |
https://www.ktre.com/2024/07/11/shelley-duvall-known-her-role-shining-dies-75/
|
en
|
Shelley Duvall, known for her role in ‘The Shining,’ dies at 75
|
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[
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"Dorothy Sedovic"
] |
2024-07-11T00:00:00
|
Actress Shelley Duvall, known for her work with director Robert Altman and her role in “The Shining,” has died, according to several reports.
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en
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//webpubcontent.gray.tv/gray/arc-fusion-assets/images/favicons/ktre/favicon.ico?d=420
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https://www.ktre.com
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https://www.ktre.com/2024/07/11/shelley-duvall-known-her-role-shining-dies-75/
|
(Gray News) - Actress Shelley Duvall, known for her work with director Robert Altman and her role in “The Shining,” has died.
Duvall died at her home in Blanco, Texas, due to complications from diabetes, her longtime partner, Dan Gilroy, confirmed to both Hollywood Reporter and Variety.
“My dear, sweet, wonderful life, partner, and friend left us last night,” Gilroy said in a statement. “Too much suffering lately, now she’s free. Fly away beautiful Shelley.”
She was 75.
Duvall’s first screen role was in Altman’s 1970 film “Brewster McCloud.” She would continue to work with Altman for several more films including “McCabe & Mrs. Miller,” “Thieves Like Us,” “Nashville,” “Buffalo Bill and the Indians,” and “Popeye.”
Duvall won a Cannes Film Festival Award for Best Actress for her role in Altman’s “3 Women.”
One of her most notable roles is as Wendy Torrance in Stanley Kubrick’s adaptation of Stephen King’s novel “The Shining.” Duvall played opposite Jack Nicholson as the wife of his character, Jack Torrance, as the couple endured the winter in the isolated Overlook Hotel with their young son.
Just as notable as her performance was the grueling conditions she underwent during the shooting. Duvall herself reported the shooting pushed her to her limit. In an interview done in 1981 with PEOPLE magazine, Duvall said Kubrick had her “crying 12 hours a day for weeks on end.”
Variety reported some of her scenes required more than 100 takes. The notorious baseball bat scene even landed in the Guinness Book of World Records for most takes of a scene with dialogue.
During the 1980s, Duvall produced a series of children’s anthology shows including “Faerie Tale Theatre,” “Tall Tales & Legends,” “Nightmare Classics” and “Bedtime Stories.”
Duvall retired from acting in 2002, returning to her home state of Texas.
Following her retirement from acting, Duvall lived a fairly reclusive life. She did make an appearance once in 2016 on “Dr. Phil,” in which she opened up about her struggles with her mental health.
Duvall returned to film recently in the 2023 horror film, “The Forest Hills.”
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correct_starring_00069
|
FactBench
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1
| 1 |
https://m.imdb.com/title/tt1024943/fullcredits/cast
|
en
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Om Shanti Om (2007)
|
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] |
[] |
[] |
[
""
] | null |
[] | null |
Om Shanti Om (2007) “Cast” credits
|
en
|
IMDb
|
https://www.imdb.com/title/tt1024943/fullcredits
| ||||||
correct_starring_00069
|
FactBench
|
1
| 55 |
https://www.spotboye.com/bollywood/news/farah-khan-reveals-the-cast-of-om-shanti-om-2-and-it-does-not-include-shah-rukh-khan-and-deepika-padukone/5dee5431fc4a991fc3877dfe
|
en
|
Farah Khan Reveals The Cast Of Om Shanti Om 2 And It Does Not Include Shah Rukh Khan And Deepika Padukone
|
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[
"farah-khan",
"deepika-padukone",
"shah-rukh-khan",
"bollywoodnews",
"om-shanti-om",
"oso2",
""
] | null |
[
"Amruta Patel"
] |
2019-12-09T14:03:29.558000+00:00
|
What! Look who did filmmaker Farah Khan rope in for the sequel of Om Shanti Om and it’s not the lead pair Shah Rukh Khan and Deepika Padukone. Keep reading to know who will Farah direct next! | Read at SpotboyE
|
en
|
https://www.spotboye.com/favicon.ico
|
https://www.spotboye.com/bollywood/news/farah-khan-reveals-the-cast-of-om-shanti-om-2-and-it-does-not-include-shah-rukh-khan-and-deepika-padukone/5dee5431fc4a991fc3877dfe
|
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|
|||||
correct_starring_00069
|
FactBench
|
0
| 81 |
https://www.dvdstore.org/product/om-shanti-om-dvd/
|
en
|
Om Shanti Om Dvd
|
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2020-10-17T06:40:00+00:00
|
Buy Om Shanti Om Dvd from Dvdstore. Bengali, Hindi, English movies available. Free Shipping Worldwide.
|
en
|
DVD Store
|
https://www.dvdstore.org/product/om-shanti-om-dvd/
|
Om Shanti Om (transl. Om, Shanti, and Om) is a 2007 Indian Hindi-language romantic fantasy film directed and co-written by Farah Khan with Mayur Puri and Mushtaq Shiekh. It stars Shah Rukh Khan as Om, a junior artist in 1977 who has a crush on a secretly married superstar, played by Deepika Padukone in her Hindi film debut. Her lover, a producer played by Arjun Rampal, kills her in a fire; Om witnesses this and dies from the injuries sustained from trying to rescue her. Reincarnated as a superstar in 2007, he seeks to avenge his love. Om Shanti Om also starred Shreyas Talpade, Kirron Kher, Bindu Desai and Javed Sheikh in supporting roles, and saw cameos from many Bollywood celebrities in several sequences and songs.
The film was produced and presented by Shah Rukh’s wife Gauri Khan under the banner Red Chillies Entertainment on a budget of ₹35 crore. Farah conceived Om Shanti Om while directing the musical Bombay Dreams (2002), which was based on the Indian film industry. After Shah Rukh rejected the first version of her next film Happy New Year, she was reminded of Om Shanti Om; the film’s title derives from a similar titled popular song from the 1980 film Karz. The soundtrack album was composed by Vishal–Shekhar, with lyrics written by Javed Akhtar. The background score was performed by Sandeep Chowta. The album received positive reviews and was also commercially successful, becoming the highest-selling album of the year in India.
The film was theatrically released in India on 9 November 2007 during Diwali weekend, Om Shanti Om earned over ₹215 crore worldwide becoming the highest grossing Bollywood film of the year and all time surpassing Dhoom 2; it received positive reviews, with praise for the performances and the film’s narrative. The film won several awards in major Indian film award ceremonies. At 53rd Filmfare Awards, it received 12 nominations, winning for Best Female Debut and Best Special Effects, and also won the National Film Award for Best Production Design. The climax of the movie was inspired by the climax of 1958 Hindi movieMadhumati.
Plot
1977
Om Prakash Makhija, a junior artist in Hindi cinema, is in love with a film actress named Shantipriya Kashyap aka Shanti. One evening, Om attends the premiere of Shanti’s film, and envisions himself as the lead actor Manoj Kumar. Om and his friend Pappu take on numerous small acting roles as film extras at RC Studios, a major film studio compound owned by Mukesh Mehra. One night, a drunk Om describes his fantasy of one day winning a Filmfare Award for Best Actor and makes a speech in street. At the shooting of a film, Om rescues Shanti after a fire grows out of control, and they become friends. Om tries to woo her.
One day, at an RC Studios backdrop set, Om Prakash overhears a conversation between Shanti and Mukesh Mehra. The pair have been married for two years in secret, and Shanti reveals that she is pregnant with Mukesh’s child. Mukesh seems overjoyed and asks Shanti to meet him at the set of their upcoming film titled Om Shanti Om. Mukesh promises to cancel the film, reveal their marriage to the public, and have a grand wedding on the set much to the dismay of Om. However, while in the sets, Mukesh reveals his true colors. He says that the child is going destroy both him and his career; he tells her that he has arranged for the set to burn, and lights the set up, leaving Shanti inside and locking her.
Om attempts to rescue Shanti, but is attacked by Mukesh’s guards. After the guards leave, he again attempts to rescue Shanti, but he is thrown from the building by its fiery explosion and lands in a nearby street. A disorientated Om is hit by a car owned by Rajesh Kapoor, an actor taking his pregnant wife, Lovely, to the hospital as she is in labour. At the hospital, Om remembers his moments with Shanti as he dies, while Lovely gives birth to a son, also named Om. After that, Om Prakash’s soul reincarnates into the newborn Om Kapoor.
30 years later
In 2007, Om Kapoor, nicknamed OK, is a famous actor and lives the luxurious life dreamt of by Om Prakash, but experiences pyrophobia and subconsciously inherits Om Prakash’s memories. He also bears a birthmark on his wrist similar to the “Om” tattoo which was on Om Prakash’s wrist. Om Prakash’s mother Bela visits every set of OK claiming him to be her son and OK feels weird seeing her.
Soon after his 30th birthday, OK and his assistant Anwar drive to the RC Studios compound – long neglected and in disarray after the fire 30 years earlier- to shoot for an upcoming film; while there, OK experiences unsettling memory flashes of his past life at the studio, including that of eavesdropping on Mukesh and Shanti. At an awards ceremony, Om Kapoor unknowingly delivers the same speech Om Prakash made when he was drunk, which is viewed by an aged Pappu on television. At the event, Rajesh Kapoor who is OK’s father, introduces him to Mukesh, whose introduction causes OK to fully remember the events of Om Prakash’s life. OK later reunites with Bela and Pappu, and conspires to avenge Shanti’s death by making Mukesh confess his crime.
OK convinces Mukesh to restart shooting for Om Shanti Om, and he plans to convince Mukesh that Shanti’s spirit is haunting him. To find Shanti’s lookalike, OK, Pappu, and Bela audition many actresses, and are about to give up when they finally find a super-fan of OK’s named Sandhya Bansal aka Sandy, an exact doppelgänger of Shanti. Throughout the film’s shooting, OK and his friends arrange incidents to remind Mukesh of the past including organising the film’s launch at the same ruined set. During the music launch of the film, OK taunts Mukesh by revealing the extent to which he knows the story of Shanti’s death. But when Mukesh runs after Sandy thinking she is the ghost of Shanti, Sandy accidentally cuts her arm and bleeds. Seeing this, Mukesh realises that she is not Shanti’s spirit. Mukesh tries to confront OK, but he is suddenly hit by the set’s swinging chandelier.
After Mukesh regains consciousness, OK confronts him but Mukesh reveals that he knows Sandy is not a ghost after all. During the quarrel, Sandy reappears and taunts Mukesh. She reveals that after the fire ceased to burn, Mukesh found that Shanti had survived and buried her alive below the chandelier. OK is confused about how Sandy knows this detail, since he did not know this himself. Mukesh, spooked by the fact that she knows all these details, attempts to shoot Sandy, shocked by the revelation about the murder, but Mukesh and OK fight, which results in yet another fire. Just when OK is about to kill Mukesh, Sandy stops him, saying Mukesh will die, but not by his hand. The chandelier proceeds to fall on Mukesh, killing him instantly.
Pappu and Sandy rush to join OK, who is shocked when he sees Sandy in two places at once. OK realises that the person he assumed to be Sandy was actually Shanti’s spirit, and recalls instances where supernatural events helped when OK’s plans almost did not work, realising that Shanti was responsible. She smiles warmly towards OK and tearfully bids him goodbye, disappearing as she moves into the light. OK reunites with Sandy.
Cast
|
|||||
correct_starring_00069
|
FactBench
|
2
| 77 |
https://www.gistlover.com/actors-should-be-able-play-any-role-actress-bimbo-akintola-says/
|
en
|
"Actors should be able play any role"– Actress Bimbo Akintola says
|
[
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[] |
[] |
[
""
] | null |
[
"Rhoda Gistlover"
] |
2024-07-15T11:39:32+01:00
|
Bimbo Akintola, a Nigerian movie star, has stated that an actor should be able to play any character and believes that no part is beneath them. The
|
en
|
Gistlover
|
https://www.gistlover.com/actors-should-be-able-play-any-role-actress-bimbo-akintola-says/
|
Bimbo Akintola, a Nigerian movie star, has stated that an actor should be able to play any character and believes that no part is beneath them.
The Nollywood actress stated that she takes pride in her ability to play a range of parts, and she believes that directors use performers as tools to portray diverse tales.
Akintola stated this in an interview with The Punch, where she discussed how she has managed to stay relevant in the profession for decades.
She said; “It is an actor’s job to play any role. There is no such thing as a role being beneath an actor. As a true artist, one should take on any challenge that comes towards one. As an actor, I pride myself on being able to interpret different roles. An actor is a tool that the director uses to tell a story.”
The popular thespian was also asked about the criteria she considers before taking a movie part, and she stated that her decision is based on the character after reading the screenplay.
She highlighted that it is crucial for it to transmit a message because she wants there to be more stories that bring about positive change.
Akintola said; “When it comes to movies, I usually accept them based on how I feel about the character I’m playing. It also depends on what the story is saying; as well as how it would impact women and children. I think about women and children first before I think of men. That is because we are the most vulnerable groups on earth.
|
|||||
correct_starring_00069
|
FactBench
|
2
| 98 |
https://www.instagram.com/selmablair/%3Fhl%3Den
|
en
|
Login • Instagram
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Welcome back to Instagram. Sign in to check out what your friends, family & interests have been capturing & sharing around the world.
|
en
|
https://www.instagram.com/accounts/login/
| |||||||
correct_starring_00069
|
FactBench
|
2
| 20 |
https://www.nbcnews.com/pop-culture/pop-culture-news/-shining-actress-shelley-duvall-dies-75-rcna161374
|
en
|
Shelley Duvall, 'The Shining' actor and Robert Altman muse, dies at 75
|
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[] |
[
""
] | null |
[
"Minyvonne Burke",
"Diana Dasrath"
] |
2024-07-11T15:51:11+00:00
|
"The Shining" actor Shelley Duvall died Thursday at her home in Blanco, Texas, her partner Dan Gilroy said.
|
en
|
https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/nbcnews/all-other-sizes-PNG.ico/favicon.ico
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NBC News
|
https://www.nbcnews.com/pop-culture/pop-culture-news/-shining-actress-shelley-duvall-dies-75-rcna161374
|
"The Shining" actor Shelley Duvall died Thursday at her home in Blanco, Texas, her partner Dan Gilroy said. She was 75.
Gilroy said Duvall had been in hospice and bedridden for the last few months due to complications from diabetes. She died in her sleep, he said in a phone call.
"She’s gone after much suffering," said Gilroy, her life partner since 1989. "I can’t tell you how much I miss her."
Duvall is best known for her roles in the 1980 horror movie classic "The Shining" with Jack Nicholson and the 1980 comedy "Popeye" with Robin Williams. Known for working with film director and screenwriter Robert Altman, her first screen role was in Altman's 1970 comedy "Brewster McCloud," Variety reported.
Other works included "McCabe & Mrs. Miller," "Thieves Like Us," "Nashville," "Buffalo Bill and the Indians" and "Annie Hall."
In 1977, she won the Cannes Film Festival award for best actress for her role in "3 Women." According to Variety, her role in "3 Women" led to her being cast in "The Shining."
In a 1981 interview with People, Duvall noted that the horror movie based on Stephen King’s book catapulted her career but said filming it was challenging.
She told the magazine that director Stanley Kubrick had her "crying 12 hours a day for weeks on end."
"I will never give that much again. If you want to get into pain and call it art, go ahead, but not with me" she said.
Duvall started to step away from acting in the 1990s, The Associated Press reported. She last appeared in "The Forest Hills" in 2023, her first role after a 20-year hiatus.
Scott Goldberg, who directed "The Forest Hills," remembered Duvall as a "radiant, very kind and witty" person.
"She was wonderful to work with and she did a great job. Very proud of her," he said in a phone call Thursday.
Goldberg said having the opportunity to work with Duvall, whom he considered one of his idols, was a "big accomplishment."
Her death has left him in disbelief.
"It was automatic sadness and shock," he said. "She was nothing but sweet and nice and sharp, and I really will miss her."
|
||||
correct_starring_00069
|
FactBench
|
0
| 39 |
https://www.news18.com/movies/farah-khan-lost-her-cool-told-shah-rukh-khan-shreyas-talpade-read-the-damn-script-on-om-shanti-om-sets-8894790.html
|
en
|
Shreyas Talpade 'Read The Damn Script' On Om Shanti Om Sets
|
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"https://images.news18.com/ibnlive/uploads/2024/07/untitled-design-2024-07-22t180243.384-2024-07-7fa398d86708b0e18cca890e3adadd10-3x2.png?impolicy=website&width=86&height=56",
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"https://images.news18.com/ibnlive/uploads/2024/05/untitled-design-2024-05-06t120740.318-2024-05-c9403d9ca087f52d9cb6cc23a1d9c5aa-3x2.png?impolicy=website&width=86&height=56"
] |
[] |
[] |
[
"Farah Khan",
"Shah Rukh Khan",
"Shreyas Talpade",
"Om Shanti Om"
] | null |
[
"Chirag Sehgal"
] |
2024-05-18T07:24:34+05:30
|
Farah Khan Lost Her Cool, Told Shah Rukh Khan-Shreyas Talpade 'Read The Damn Script' On Om Shanti Om Sets
|
en
|
https://images.news18.com/static_news18/pix/ibnhome/news18/favicon.ico
|
News18
|
https://www.news18.com/movies/farah-khan-lost-her-cool-told-shah-rukh-khan-shreyas-talpade-read-the-damn-script-on-om-shanti-om-sets-8894790.html
|
Shah Rukh Khan’s 2007 drama, Om Shanti Om, remains one of the most loved films to date. Directed by Farah Khan, the film also starred Shreyas Talpade. In a recent interview, Shreyas recalled working with SRK and called him a “witty” person. He also recalled how Farah got annoyed with them on sets once due to their improvisations.
Shreyas Talpade was recently speaking to Lehren when he recalled, “Farah saw me in Dor and that’s when she thought of casting me for Om Shanti Om as Pappu Master. From day one, I was very nervous, you know, working with Shah Rukh Khan and how is he going to feel because I come from a school where we improvise a lot. So, I was thinking of quite a few things to improvise, but I said I don’t know how Shah is going to react to the whole thing.”
“So after a couple of hours, I said, whatever he thinks, let me at least go and speak with him and tell him that this is what I have in mind, because otherwise I’m going to be miserable throughout the shoot. I spoke with him and he was so happy with the whole thing. And then of course, he is so witty himself, he came up with ten things,” the actor added.
However, SRK and Shreyas’ improvisations left Farah Khan annoyed after a point and the director lost her cool on the two actors. She asked them to stop their improvisations and just read “the damn script”.
“So, through the day, we kept improvising and, you know, playing around and that chemistry started building to the point where I remember in the evening there’s one scene that we were shooting and Farah finally came and said, ‘Enough, enough of improvisations, just say whatever is written in the damn script’,” Shreyas shared.
Om Shanti Om also marked Deepika Padukone’s debut film. The film also starred Arjun Rampal and Kirron Kher in key roles. It revolved around a junior film artist (played by SRK) who was smitten by a renowned actress named Shantipriya (essayed by Deepika) but was killed as he tried to save his favourite actress. However, he takes rebirth to punish the murderers.
In 2022, to celebrate 15 years of Om Shanti Om, the film was re-released in theatres across 20 cities of the country including Delhi, Mumbai, Kolkata, Patna, Bhopal, and Ahmedabad among others. Reportedly, the idea behind Om Shanti Om’s re-release was from one of Shah Rukh Khan’s fan clubs – SRK Universe.
|
||||
correct_starring_00069
|
FactBench
|
3
| 83 |
https://stackoverflow.com/questions/8917252/how-to-extract-movie-title-from-file-name
|
en
|
How to extract movie title from file name
|
[
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] |
[] |
[] |
[
""
] | null |
[
"Rik Poggi"
] |
2012-01-18T20:54:36
|
I'm trying to extract movies metadata (title and year) from their file name.
The name pattern is not standard, but it's not random either, so I'm trying to cover as much cases as I can.
To give yo...
|
en
|
https://cdn.sstatic.net/Sites/stackoverflow/Img/favicon.ico?v=ec617d715196
|
Stack Overflow
|
https://stackoverflow.com/questions/8917252/how-to-extract-movie-title-from-file-name
|
As you've mentioned in one of comments, the purpose of this "file name processing" into "standardized move title form" is to compare two lists.
With your current approach you can miss a lot of corner cases.
First of all, you need to think carefully what kind of variations do you accept. You've mentioned about different places for "movie" "the" - what about misspellings and case-sensitive ? What about order of words ?
Instead of making your code longer and longer, I'd like recommend you looking for a kind of universal solution.
A few ideas came to my mind - take what you like, mix as you like, heat a little bit and it will be cooked nicely - here we go:
|
||||
correct_starring_00069
|
FactBench
|
1
| 75 |
https://www.thequint.com/entertainment/bollywood/om-shanti-om-15-years-shah-rukh-khan-deepika-padukone-farah-khan-bollywood-movie-deewangi
|
en
|
The Deewangi of Shah Rukh Khan & Deepika Padukone's ‘Om Shanti Om’, 15 Years On
|
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] |
[] |
[] |
[
"om shanti om",
"om shanti om 15 years",
"shah rukh khan",
"deepika padukone",
"om shanti om movie",
"farah khan"
] | null |
[
"Pratikshya Mishra"
] |
2022-11-10T13:08:25+05:30
|
'Om Shanti Om' directed by Farah Khan became a pop cultural icon in the decade since its release. The film, starring Deepika Padukone and Shah Rukh Khan is a love letter to Bollywood.
|
en
|
TheQuint
|
https://www.thequint.com/entertainment/bollywood/om-shanti-om-15-years-shah-rukh-khan-deepika-padukone-farah-khan-bollywood-movie-deewangi
|
To the best of my memory, Om Shanti Om was the first film I watched or rather remember watching. Realistically, I’m sure I watched many films before that, considering the fact that my mother is a bigger movie buff than I’ll ever be. At 7, Shyam Benegal’s films flew over my head; my mother’s consistent re-watches of James Bond did nothing for me (but it was the price I paid for three years of constant Dora the Explorer that she endured).
But, Om Shanti Om changed the way I felt about films.
The film, written and directed by Farah Khan and starring Shah Rukh Khan and Deepika Padukone (in her debut), completed 15 years since its release on 9 November.
If that’s not enough, Om is reincarnated as superstar Om Kapoor and sets out on a path for justice and revenge with the aid of his mother, friend, and Shanti’s lookalike Sandy Bansal.
If that sounds like too much, that’s because it is. For all its flaws, Om Shanti Om is an instance of how too much can be just enough because something about the film speaks to everyone. There is no dearth of iconic moments in the film, even if you completely remove the celebrity cameos.
Before I knew how, Om Shanti Om became a pop cultural moment. Till date, if someone really wants something, they say to their friends, “Agar tum kisi ko puri shiddat se chaho to puri kaynat tumhe us se milane ki koshish me lag jati hai”.
‘Dard E Disco’ and ‘Deewangi Deewangi’ played in birthday parties, annual days, weddings even, for years after the film released and the former remains a treat for all Shah Rukh fans (I checked).
Watching Om Shanti Om was like watching a film being made – the colours, the cinematography and the background music all created magic on screen. By the time ‘Deewangi Deewangi’ started, I was already at the edge of my seat.
The song, in itself, is a laundry list of Bollywood’s ‘Who’s Who’ and it doesn’t hurt that the film’s music, courtesy Vishal-Shekhar and Javed Akhtar, is brilliant and memorable from the get-go.
It’s the quintessential Bollywood film which also pays homage to the best.
In Om Makhija, the film gave the audience a character you can’t help but stay with – he has big dreams and limited means. He exists in stark contrast to the likes of Shanti and Mukesh, and yet their lives aren’t painted in perfection.
While the performances weren’t the career-best for any of them, Arjun Rampal was villainous enough for me to be mad at him for years before I differentiated reel from real. Deepika Padukone played two starkly different roles and made it easy to root for both of them.
Now, in 2022 (when I’m much more pretentious and experienced than I was in 2007), if you asked me what my favourite film is, I’d probably name a few Hollywood flicks here and there, a Shyam Benegal film (how times have changed), and definitely Encanto.
But 2007 Bollywood films (shoutout to Aaja Nachle, Guru, and Welcome) will always be the ones that made me want to see films for what they are – art.
|
|||||
correct_starring_00069
|
FactBench
|
2
| 36 |
https://www.facebook.com/katiecouric/videos/its-been-15-years-since-beloved-actress-natasha-richardson-passed-away-at-just-4/7753690247975579/
|
en
|
It’s been 15 years since beloved actress Natasha Richardson passed away at just 45 years old. Tragedy struck when she died of blunt force trauma after...
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
It’s been 15 years since beloved actress Natasha Richardson passed away at just 45 years old. Tragedy struck when she died of blunt force trauma after...
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/katiecouric/videos/its-been-15-years-since-beloved-actress-natasha-richardson-passed-away-at-just-4/7753690247975579/
| ||||||
correct_starring_00069
|
FactBench
|
1
| 63 |
https://www.pinterest.com/moonandradio/om-shanti-om/
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] |
2018-02-20T23:58:06+00:00
|
Feb 20, 2018 - Explore Janine Bower's board "Om Shanti Om" on Pinterest. See more ideas about om shanti om, shanti, deepika padukone.
|
en
|
Pinterest
|
https://www.pinterest.com/moonandradio/om-shanti-om/
| |||||||
correct_starring_00069
|
FactBench
|
2
| 61 |
https://www.bbc.com/news/articles/cy77p22jr5lo
|
en
|
Shelley Duvall: The Shining and Annie Hall actress dies at 75
|
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] |
[] |
[] |
[
""
] | null |
[
"Ian Youngs"
] |
2024-07-11T15:28:48.538000+00:00
|
The US actress was also known for films including Annie Hall and Nashville.
|
en
|
/bbcx/apple-touch-icon.png
|
https://www.bbc.com/news/articles/cy77p22jr5lo
|
The Shining actress Shelley Duvall dies at 75
11 July 2024
By Ian Youngs , Culture reporter
US actress Shelley Duvall, known for films like The Shining, Annie Hall and Nashville, has died at the age of 75.
Her partner Dan Gilroy confirmed the news to The Hollywood Reporter.
"My dear, sweet, wonderful life partner and friend left us. Too much suffering lately, now she’s free. Fly away, beautiful Shelley," he said, according to the outlet.
She died in her sleep of complications from diabetes at her home in Texas, Gilroy said.
Duvall's other credits included 1977 drama 3 Women, directed by Robert Altman, for which she won the Cannes Film Festival's best actress award and was nominated for a Bafta.
Three years later, she starred as Olive Oyl opposite Robin Williams in Altman's musical version of Popeye.
But Duvall fell out of favour in Hollywood and was off screens for two decades, before making her comeback in 2023's The Forest Hills.
With her large brown eyes and offbeat charisma, Duvall was a distinctive and compelling presence.
She began her career, and her association with Altman, in 1970 dark comedy Brewster McCloud, and the pair reunited for McCabe and Mrs Miller in 1971.
After filming her performance as a woman who falls for a 1930s bank robber in their next movie, Thieves Like Us, Altman told her: "I knew you were good, but I didn't know you were great."
She said that remark was "the reason I stuck with it and became an actress".
The director stuck with her, once saying she "was able to swing all sides of the pendulum: charming, silly, sophisticated, pathetic, even beautiful".
Altman cast her again in 1975's Nashville, his satire of US society, politics and country music.
Their next collaboration, 3 Women, saw Duvall play a talkative, trend-following health spa attendant. The Guardian's Anne Billson ranked it as her best role, and "quite simply one of the greatest performances of the 1970s".
Meanwhile, also in 1977, Duvall memorably played Pam, a Rolling Stone reporter who went on a date with Woody Allen's Alvy in Annie Hall.
Her best-known role was perhaps Wendy, the wife of Jack Nicholson's terrifying hotel caretaker in Stanley Kubrick's 1980 horror classic The Shining.
Filming was an ordeal. "I had to cry 12 hours a day, all day long, the last nine months straight, five or six days a week," she once recalled.
After that, Duvall's film roles included Terry Gilliam's Time Bandits and Roxanne with Steve Martin.
She also set up her own production companies, and made and hosted beloved 1980s children's TV show Faerie Tale Theatre.
Her acting roles diminished in the 1990s, with Jane Campion’s The Portrait of a Lady the pick of the crop, and she dropped off the radar in 2002.
The New York Times attributed her apparent disappearance to the impact of a 1994 earthquake that damaged her Los Angeles home, and the stress of her brother having cancer.
Discussing her prolonged absence from the screen, she told the paper in May she had been the victim of a fickle film industry. "I was a star. I had leading roles. People think it's just ageing, but it's not. It's violence," she said.
Asked to explain, she said: "How would you feel if people were really nice, and then, suddenly, on a dime they turn on you?
"You would never believe it unless it happens to you. That's why you get hurt, because you can't really believe it's true."
'Ultimate film star'
Concerns about her health were raised when she appeared on the TV talk show Dr Phil in 2016 and told him: "I'm very sick. I need help."
She also talked about receiving messages from a "shapeshifting" Robin Williams following his death, and talked about malevolent forces who were out to do her harm, the paper said.
Speaking about that period, Gilroy told the New York Times she had become "paranoid and just kind of delusional".
Asked by the paper why she had agreed to return to the screen in The Forest Hills, she replied: "I wanted to act again. And then this guy kept calling, and so I wound up doing it."
Novelist Nicole Flattery wrote in the Financial Times in 2023 that her return showed her magic had remained intact.
In an article dubbing her the "ultimate film star", Flattery summed up her talent, writing: "She’s a master at playing characters who act happy when they’re sad, their daffiness masking depth."
|
|||||
correct_starring_00069
|
FactBench
|
0
| 78 |
http://anutshellreview.blogspot.com/2007/11/om-shanti-om.html
|
en
|
(A Nutshell) Review
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[] |
[] |
[
""
] | null |
[
"View my complete profile",
"Stefan S"
] | null |
Fate Found Us Om Shanti Om and Saawariya premiered the same time as the offerings for the Deepavali holiday, and to see how Hollywood money...
|
http://anutshellreview.blogspot.com/favicon.ico
|
http://anutshellreview.blogspot.com/2007/11/om-shanti-om.html
| |||||||
correct_starring_00069
|
FactBench
|
0
| 54 |
https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/did-you-know-javed-akhtar-thought-he-wrote-meaningless-lyrics-for-shah-rukh-khans-dard-e-disco-in-om-shanti-om/articleshow/104758632.cms
|
en
|
Did you know Javed Akhtar thought he wrote âmeaninglessâ lyrics for Shah Rukh Khanâs 'Dard-e-Disco' in 'Om Shanti Om'?
|
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[] |
[] |
[
"shreyas talpade",
"Shah Rukh Khan",
"kirron kher",
"Javed Akhtar",
"farah khans",
"farah khan",
"farah",
"'Dard-e-Disco'"
] | null |
[
"etimes.in"
] |
2023-10-27T18:08:00+05:30
|
But did you know that veteran lyricist Javed Akhtar, wrote âmeaninglessâ lyrics for Shah Rukh Khanâs 'Dard-e-Disco'?
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/did-you-know-javed-akhtar-thought-he-wrote-meaningless-lyrics-for-shah-rukh-khans-dard-e-disco-in-om-shanti-om/articleshow/104758632.cms
|
When Katrina Kaif said that she would be hurt if Shah Rukh Khan favoured Anushka Sharma more than her
|
|||||
correct_starring_00069
|
FactBench
|
0
| 42 |
https://www.mrowl.com/user/kushi90/deepika_padukone/movies/om_shanti_om
|
en
|
Om Shanti Om > Movies > Deepika Padukone
|
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Om, a junior film artist, is smitten by Shantipriya, a renowned actress. But he is killed while trying to save her from a fire. Thirty years later, he is reborn and sets out to avenge her death.
|
https://www.mrowl.com/user/kushi90/deepika_padukone/movies/om_shanti_om
| ||||||||
correct_starring_00069
|
FactBench
|
2
| 6 |
https://theweek.com/articles/566392/judy-greer-effect-why-ridiculously-talented-actress-gets-stuck-many-thankless-roles
|
en
|
The Judy Greer effect: Why a ridiculously talented actress gets stuck with so many thankless roles
|
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[] |
[] |
[
""
] | null |
[
"Scott Meslow"
] |
2015-07-16T09:40:00+00:00
|
Greer's struggles are uniquely galling, but are also reflective of broader problems in Hollywood
|
en
|
theweek
|
https://theweek.com/articles/566392/judy-greer-effect-why-ridiculously-talented-actress-gets-stuck-many-thankless-roles
|
On paper, 2015 could hardly look like a bigger year for Judy Greer. Just this summer, she will appear in no fewer than four high-profile Hollywood releases: Tomorrowland, Entourage, Jurassic World, and Ant-Man. Those movies have already grossed a combined total of $1.7 billion and counting; Ant-Man, which hits theaters on Friday, will probably earn hundreds of millions more. It's entirely possible that the combined grosses of the movies in which she appears will be higher than those of any other actor or actress in 2015.
Of course, if you actually saw those movies, you'd be hard-pressed to describe Greer's roles as an actress' dream. In Tomorrowland, she plays protagonist Casey's mom — a small role that became even smaller when most of her work ended up on the cutting-room floor. In Entourage, she plays "Casting Director" — one of the few celebrities who wasn't cast to cameo as herself. In Jurassic World, she plays Karen, the older sister tasked with lecturing Bryce Dallas Howard on the joys of motherhood. And in Ant-Man, she plays Maggie, the ex-wife of star Paul Rudd — standing on the sidelines as he enters an exciting new life of superheroism.
How did an actress as charismatic and multifaceted as Judy Greer end up in so many tiny, thankless roles? It's a baffling missed opportunity that can be traced all the way back to the beginning of her career. In movie after movie — The Wedding Planner, 27 Dresses, Love Happens, Playing for Keeps — Greer has threatened to steal the movie from the bland actress cast in the romantic lead, despite her exponentially more limited screen time. At the start of her career, that wasn't necessarily a bad thing; in the theoretical version of Hollywood's path to stardom, putting in the hours on those small supporting roles — and performing them well — generally leads to bigger and better opportunities. This summer, Greer's movies have gotten bigger, but her parts have gotten smaller.
Greer is nothing if not aware of the strange state of her career. When an interviewer confessed he was unfamiliar with her role in the 2013 play Dead Accounts, she said, "Katie Holmes was in it. If you heard about a Katie Holmes play, that was the one." Last year, Greer published a memoir with the title I Don't Know What You Know Me From: My Life as a Co-Star. "You've heard the phrase 'There are no small roles, just small actors?'" she wrote. "Well, I kind of disagree. There are small roles, but when you get a lot of them in a row, you can become a pretty successful actress, and that's what I've done."
There is, fortunately, one real vessel for Greer's talents this summer: The FX comedy Married, which premieres its second season on Thursday. Of course, the only recent role that actually draws on Greer's range of talents is the one that doesn't pay well. "I recently took a major pay cut for a role I actually love," she wrote in Glamour. "The character is smart and funny and has no use for high heels. It's a breath of fresh air to go to work every day and tell my TV husband he's lazy and needs to find his own damn keys. I've never been happier. But I am definitely not buying a new car this year."
Hollywood has a weird, self-perpetuating dead zone for actresses like Greer. It's a strange combination of factors: typecasting, sexism, and an industry that disproportionately produces movies full of great roles for actors and anemic stereotypes for actresses. "I've watched as men I started out with — guys who worked with the same directors and on the same types of shows as I did — climbed the ladder and landed larger roles with even larger paychecks," wrote Greer. "I'd always hoped that my career and salary would follow theirs. But instead the pay gap kept growing."
There's another reason Greer has spent 2015 playing ex-wives and mothers. A 2014 study from SDSU's Center for the Study of Women in Television and Film shows that a full 58 percent of the limited roles that do exist for women in Hollywood are "personal roles" like wife or mother. If current trends hold, things are going to get even worse for Greer and the many talented actresses like her. In just a few weeks, she'll turn 40. The same study reveals that just 17 percent of female film characters are in their 40s — a steep decline from the 30 percent of female film characters in their 30s. For a working actress in that range, any role will be hard-fought — to say nothing of a role that actually draws upon her full range of abilities as an actress.
Judy Greer's summer of thankless roles in huge blockbusters presents a particularly stark and galling example — but really, this state of affairs is bad for everyone. It's bad for the creative side of Hollywood, which falls back on homogenous variations of the same bland story. It's bad for the business side of Hollywood, which leaves money on the table by focusing on a needlessly narrow demographic. It's bad for actresses, who are forced to compete for roles that aren't all that compelling anyway. And it's bad for audiences, who are denied the opportunity to see some terrifically talented performers doing their best work.
But frustrating as it is to see a sparkling talent untapped for years and years, I don't want to fall into the trap of talking about these trends like they're inevitable, and not merely the product of a system. It would take the smallest of recalibrations to balance the whole thing out.
So Hollywood, here's a free movie pitch: Judy Greer plays Judy, a ferociously skilled actress who keeps getting cast in bland, forgettable bit parts: a nagging mother, a gossipy sister, a long-suffering wife. Fed up with an industry that refuses to give her a decent role, she breaks out on her own and starts a Hollywood studio. Or a detective agency. Or maybe a vampire bites her. Whatever. Just grab the best script you have lying around right now — as long as it features a real role for a talented actress. She's good for it.
|
|||||
correct_starring_00069
|
FactBench
|
1
| 59 |
https://www.mensxp.com/entertainment/bollywood/139970-r-madhavan-in-shah-rukh-khan-om-shanti-om-cameo.html
|
en
|
#Throwback: Did You Know R. Madhavan Was A Part Of Shah Rukh Khan's Om Shanti Om?
|
[
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[] |
[] |
[
"R. Madhavan",
"R. Madhavan Om Shanti Om Deleted Scene",
"R. Madhavan",
"Rocketry",
"R. Madhavan Shah Rukh Khan",
"Shah Rukh Khan Om Shanti Om",
"Shah Rukh Khan Rocketry"
] | null |
[] |
2023-07-25T07:29:11+00:00
|
R. Madhavan had a funny cameo in Shah Rukh Khan’s Om Shanti Om which ultimately got deleted from the final film, but is available online.
|
en
|
/apple-touch-icon.png
|
MensXP
|
https://www.mensxp.com/entertainment/bollywood/139970-r-madhavan-in-shah-rukh-khan-om-shanti-om-cameo.html
|
Om Shanti Om has acquired the status of a cult film over the years. Despite its loud, larger than life portrayal of reincarnation and the glamorous world of Bollywood, the movie was a huge box office hit. It also brought together several actors and filmmakers through cameos and songs like Deewangi Deewangi.
Some even call it Bollywood’s multiverse of madness which happened way before Avengers!
As it turns out, the cameos we saw on screen were only a fraction of the ones shot for the film.
In a deleted scenes video that has resurfaced on social media, many more stars made cameos in Om Shanti Om that would have fit right into the awards scene with the other special appearances. They were probably cut for time.
From Farhan Akhtar to Boman Irani, a lot of Bollywood stars were seen in these scenes. However, the one that absolutely took us by surprise was R. Madhavan!
The red carpet scene in Om Shanti Om has an off-screen anchor, Farah Khan, asking stars who they think should win the award for Best Actor. In one of the deleted scenes, R. Madhavan can be seen saying that he feels he deserves an award for this, but unfortunately he wasn’t even nominated for the category. He goes on to add that he’s often lovingly addressed as “South (India) ka Shah Rukh Khan,” but nobody in Bollywood respects him. He walks off screen with a sad huff.
Here’s how fans reacted to Madhavan’s cameo, which many felt was the best of the lot.
Some felt R. Madhavan’s dialogue in the Om Shanti Om cameo actually exposed the harsh truth of Bollywood Vs south Indian cinema. Bollywood tends to get more popularity over south indian cinema even though there are several south stars who are infinitely more talented.
This holds especially true in the recent tussle between the two industries, which is ultimately leading to a pan-Indian film industry.
|
||||
correct_starring_00069
|
FactBench
|
3
| 40 |
https://nl.pinterest.com/movietitles/movie-and-trailer-titles/
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] |
2019-05-02T10:39:19+00:00
|
May 2, 2019 - Titles, logos and lettering distilled from movies and trailers. See more ideas about movie titles, lettering, title.
|
en
|
Pinterest
|
https://nl.pinterest.com/movietitles/movie-and-trailer-titles/
| |||||||
correct_starring_00069
|
FactBench
|
1
| 52 |
https://www.news18.com/movies/om-shanti-om-to-pathaan-films-starring-shah-rukh-khan-and-deepika-padukone-8317291.html
|
en
|
Om Shanti Om To Pathaan, Films Starring Shah Rukh Khan And Deepika Padukone
|
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[] |
[] |
[
"entertainment",
"shahrukh khan",
"deepika padukone",
"news18-discover"
] | null |
[
"sahas",
"Entertainment Bureau"
] |
2023-07-12T17:11:35+05:30
|
The duo of Shahrukh Khan and Deepika Padukone is destined to make superhits pairing in four films since the latter made her debut in 2007.
|
en
|
https://images.news18.com/static_news18/pix/ibnhome/news18/favicon.ico
|
News18
|
https://www.news18.com/movies/om-shanti-om-to-pathaan-films-starring-shah-rukh-khan-and-deepika-padukone-8317291.html
|
The excitement surrounding Shah Rukh Khan’s upcoming film, Jawaan, has reached new heights following the release of its highly anticipated trailer. Fans are eagerly awaiting the film’s release, especially after Khan’s previous blockbuster, Pathaan, shattered numerous box-office records.
Interestingly, there is one actress who has consistently shared the screen with Khan, delivering back-to-back blockbusters—Deepika Padukone. The duo of Shahrukh Khan and Deepika Padukone has proven to be a winning combination, with every movie they have starred in becoming a sure-shot blockbuster. Let’s take a look back at the remarkable films this pair has gifted us in the past.
Om Shanti Om:
This iconic film marked the debut of superstar Deepika Padukone. Released in 2007 and directed by Farah Khan, it set the foundation for an unforgettable partnership. At the time, the film grossed Rs 79 crores at the box office, making it one of the highest-grossing films of that era.
Chennai Express:
In 2013, Rohit Shetty’s Chennai Express shattered records upon its release. The film’s combination of Rahul and Meenamma’s antics, along with Shetty’s signature action, was adored by audiences. It raked in a staggering Rs 227 crores at the box office.
Happy New Year:
The trio of Shahrukh Khan, Deepika Padukone, and Farah Khan, who previously collaborated on “Om Shanti Om,” reunited for “Happy New Year” in 2014. With the addition of Abhishek Bachchan, Boman Irani, Sonu Sood, and Vivaan Shah, the movie became a major hit. It crossed the 200-crore mark at the box office.
Pathaan:
After a four-year hiatus, Shahrukh Khan made a powerful comeback with Pathaan and reaffirmed why he is hailed as King Khan. The film, directed by Siddharth Anand, became one of the biggest hits ever upon its release. Shahrukh’s new captivating look and Deepika’s femme fatale avatar sent fans into a frenzy. Pathaan ranks among the top five highest-grossing Indian films ever, reportedly earning more than a 1000-crore worldwide.
|
||||
correct_starring_00069
|
FactBench
|
0
| 49 |
https://www.idiva.com/tag/kirron-kher
|
en
|
Many Happy Tax Returns
|
[
"https://www.facebook.com/tr?id=730841257048274&ev=PageView&noscript=1",
"https://www.facebook.com/tr?id=516774145368984&ev=PageView&noscript=1"
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[] |
[] |
[
"mileage points",
"Indu Balachandran",
"travel",
"travel blogger",
"tax returns",
"earning mileage points"
] | null |
[] | null |
It's the greatest travel plot to keep us all in the air since the Wright Brothers.
|
en
|
/apple-touch-icon.png
|
iDiva
|
https://www.idiva.com/tag/kirron-kher
|
If you are a fan of Kirron Kher, then take our Bollywood quiz and guess her films like ‘Devdas’, ‘Dostana’ from her famous dialogues.
As ‘Main Hoon Na’ completes twenty years today, here’s a look at the movie's cast, how they were then and how they are now, and more.
In a social media video director Karan Johar posted, his friend and ‘India's Got Talent’ co-judge Kirron Kher can be seen comparing K.Jo to Anarkali. Meant to be ‘friendly banter’, the commentary is loaded with problematic stereotypes about conventional masculinity. Here’s why such comments are damaging.
On her birthday today, we celebrate Kirron Kher’s memorable roles as a Punjabi mother. From playing a filmy mom in ‘Om Shanti Om’ and a cool mom in ‘Khoobsurat’, Kirron Kher has always been a perfect maa. Now identify her roles from just a still in our quiz.
Being a single parent can be quite challenging, especially in a country like India. Let’s take a look at some movies that captured the essence of being a single parent in India.
Watching Om Shanti Om after 13 years, you’d think that the film might have lost its charm but nope, it’s still one of the finest masala films made in the last 20 years. It’s got action, drama, horror, thrill--you name it! Shah Rukh Khan and Deepika Padukone bring this reincarnation film to life.
Are you a huge fan of veteran Bollywood actress Kirron Kher? Take our trivia quiz on her famous movie dialogues and guess which of her films the following funny lines are from. From ‘Khoobsurat’ and ‘Dostana’ to ‘Main Hoon Na’ and ‘Om Shanti Om’, she has starred in many popular comedies.
On Bollywood’s iconic couple Anupam and Kirron Kher’s 35th Anniversary, we take a trip down memory lane and look back at their love story. Take a look at their heartwarming messages for each other on their special day too!
If Sanjay Leela Bhansali’s 2002 film Devdas is remade, here’s who we think should play the roles. Devdas, played by Shah Rukh Khan, should be played by Ranveer Singh. Paro, played by Aishwarya Rai, should be played by Deepika Padukone. Priyanka Chopra should play Madhuri Dixit’s character Chandramukhi, and Nushrat Bharucha should play Kumud, while Rana Daggubati would be great as Kalibabu.
If you have grown up watching a lot of Bollywood movies and either hating/loving the onscreen mom, then it’s time you took this quiz to know which Bollywood mom matches your personality.
Privilege and an influential background doesn’t always guarantee success in Bollywood. Here are 10 actors who tanked in Bollywood despite nepotism.
Karan Johar is probably going to announce Dostana 2 tomorrow, or so netizens believe. He shared a cryptic video on his social media fueling speculations.
It’s 10 years of Dostana, and we are still talking about it--so Karan Johar must have done something right with that one.
Malaika Arora Khan and Arjun Kapoor have been ‘good friends’’ for a really long time but we’re not sure all good friends walk hand in hand like this.
Dostana was definitely a game changer for mainstream Bollywood. But, we wish certain things were not treated in such a ham-fisted manner. Homosexuality is not comedic fodder.
As Om Shanti Om turns 10, we remember all the epic dialogues of the movie.
Not to discourage all the pop culture aficionados and unbelievable talent we have now, but the late 90s-early 2000s were by far the best years for musical television. The peak years of MTV and Channel [V], the late 90s saw the emergence of some of our favourite television personalities and V.Js who we still love and miss. They covered everything from music, to fashion to crazy ass reality and prank shows, and we miss timing the rest of our day to catch our favourite show. There was just something about the television of that time, that is lacking BIGTIME right now, and there’s no doubt that it was because of the people who hosted these shows. Luckily for us though, there are still a number of our favourite VJs who are currently active in Bollywood, television and music. Ride this wave of nostalgia with us, as we catch up with what they’re doing now.
On Kirron Kher’s 62nd birthday, here’s our ode to the woman who channelled every desi mom with perfection.
If you’re close to your mother, you know that it is one of the most important and beautiful relationships you can ever have. You are each other’s strength, best friends and as you get older, you even take on the role of their parent, sometimes. But that doesn’t mean you don’t have disagreements or come close to pulling each other’s hair out, occasionally! If you and your mum share a close relationship, you’re definitely going to know these 14 moments.
There weren't as many stars in the sky last night as the ones that descended at Amitabh Bachchan's Diwali party at his palatial residence, Jalsa, which is one of the most favourite landmarks in Mumbai. The Bachchans are known to host an extravagant Diwali party every year and this year too was no exception.
We constantly crib about Indian television shows because, frankly, most of the story lines have been done to death. Whether it’s love stories, family dramas or even stories about social issues, there’s really nothing dynamic about the plots. Luckily though, the gamut of Indian television shows doesn’t just comprise soap operas. There are a few reality shows on air that are worthy your time, thanks to the talented and driven people they feature. Here are three reality shows that you should tune into.
India’s Got Talent is one of our favourite reality shows. We love the multitude of sheet talent that pours in from different parts of the country. We also love the judges panel, especially Kirron Kher who has been involved since season one, way back from 2009. We dig the designer saris and traditional Indian jewellery but it’s her warm, friendly demeanour has always been a comforting factor for the show’s contestants and the audience.
Bollywood actresses are trendsetters in themselves. Be it fashion, beauty, travel, they are an inspiration. We think they are just super-badass who need to be applauded all the time. These are the some amazing things which Bollywood actresses did in 2015 and made us super proud.
So, Khoobsurat is pretty - and pretty hilarious. Dr. Mrinalini Chakravarty aka Mili (Sonam) is a physiotherapist, hired to help Rajasthan royal Shekhar Rathore (Aamir Raza). Rani Nirmala (Ratna) and Yuvraj Vikram (Fawad) expect a quiet medic who will blend blandly into royal discipline - but they get a live-wire who teases the dishy Yuvraj, 'Raja log praja ke saath party nahin karte?', whose therapy includes drinking wine with her charge, who crushes paapads noisily onto regal china, and who, in striped PJs and cartoon-coloured T-shirts, is no fashionista.
Most of us are caught in an embarrassing situation at some point or the other. But what if during one of those situations you were caught by your parents? How are you going to react? Watch these HILARIOUS ‘caught in the act’ videos and give us your reaction.
Women empowerment symbolised by supreme feminine grace, a compassionate nature to nurture and a strong forte to balance family and career - these are the multiple themes that 15-year-old Gayatri Ketharaman explored to win Google’s Children’s Day Doodle contest in India. Type Google on your browser to check out this teenager’s brilliant work of art.
Singleton Yami Gautam believes being in a relationship is all about how your man makes you feel.
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Om Shanti Om (transl. Om, Shanti, and Om) is a 2007 Indian Hindi-language romantic fantasy comedy film directed and co-written by Farah Khan with Mayur Puri and Mushtaq Shiekh. It stars Shah Rukh Khan as Om, a junior artist in 1977 who has a crush on a secretly married superstar, played by...
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Bollywood! Wiki
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https://bollywoodmeradost.fandom.com/wiki/Om_Shanti_Om
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Om Shanti Om (transl. Om, Shanti, and Om) is a 2007 Indian Hindi-language romantic fantasy comedy film directed and co-written by Farah Khan with Mayur Puri and Mushtaq Shiekh. It stars Shah Rukh Khan as Om, a junior artist in 1977 who has a crush on a secretly married superstar, played by Deepika Padukone in her Hindi film debut. Her lover, a producer played by Arjun Rampal, kills her in a fire; Om witnesses this and dies from the injuries sustained from trying to rescue her. Reincarnated as a superstar in 2007, he seeks to avenge his love. Om Shanti Om also starred Shreyas Talpade, Kirron Kher, Bindu Desai and Javed Sheikh in supporting roles, and saw cameos from many Bollywood celebrities in several sequences and songs.
The film was produced and presented by Shah Rukh's wife Gauri Khan under the banner Red Chillies Entertainment on a budget of ₹50 crore. Farah conceived Om Shanti Om while directing the musical Bombay Dreams (2002), which was based on the Indian film industry. After Shah Rukh rejected the first version of her next film Happy New Year, she was reminded of Om Shanti Om; the film's title derives from a similar titled popular song from the 1980 film Karz. The soundtrack album was composed by Vishal–Shekhar, with lyrics written by Javed Akhtar. The background score was performed by Sandeep Chowta. The album received positive reviews and was also commercially successful, becoming the highest-selling album of the year in India.
The film was theatrically released in India on 9 November 2007 during Diwali weekend, Om Shanti Om earned over ₹215 crore worldwide becoming the highest grossing Bollywood film of the year; it received positive reviews, with praise for the performances and the film's narrative. The film won several awards in major Indian film award ceremonies. At 53rd Filmfare Awards, it received 12 nominations, winning for Best Female Debut and Best Special Effects, and also won the National Film Award for Best Production Design. The climax of the movie was inspired by the climax of 1958 Hindi movie.
Plot[]
In 1977, Om Prakash Makhija is a junior artist in Hindi cinema who is in love with a film actress named Shantipriya Kashyap aka Shanti. One evening, Om attends the premiere of Shanti's film, and envisions himself as the lead actor Manoj Kumar. Om and his friend Pappu take on numerous small acting roles as film extras at RC Studios, a major film studio compound owned by Mukesh Mehra aka Mike. One night, a drunk Om describes his fantasy of one day winning a Filmfare Award for Best Actor and makes a speech in street. At the shooting of a film, Om rescues Shanti after a fire grows out of control, and they become friends. Om tries to woo her.
One day, at an RC Studios backdrop set, Om Prakash overhears a conversation between Shanti and Mukesh Mehra. The pair have been married for two years in secret, and Shanti reveals that she is pregnant with Mukesh's child. Mukesh seems overjoyed and asks Shanti to meet him at the set of their upcoming film titled Om Shanti Om. Mukesh promises to cancel the film, reveal their marriage to the public, and have a grand wedding on the set much to the dismay of Om. However, while in the sets, Mukesh reveals his true colors. He says that the child is going destroy both him and his career; he tells her that he has arranged for the set to burn, and lights the set up, leaving Shanti inside and locking her.
Om attempts to rescue Shanti, but is attacked by Mukesh's guards. After the guards leave, he again attempts to rescue Shanti, but he is thrown from the building by its fiery explosion and lands in a nearby street. A disorientated Om is hit by a car owned by Rajesh Kapoor, an actor taking his pregnant wife, Lovely, to the hospital as she is in labour. At the hospital, Om remembers his moments with Shanti as he dies, while Lovely gives birth to a son, also named Om. After that, Om Prakash's soul reincarnates into the newborn Om Kapoor.
30 years later[]
In 2007, Om Kapoor, nicknamed OK, is a famous actor and lives the luxurious life dreamt of by Om Prakash, but experiences pyrophobia and subconsciously inherits Om Prakash's memories. He also bears a birthmark on his wrist similar to the "Om" tattoo which was on Om Prakash's wrist. Om Prakash's mother Bela visits every set of OK claiming him to be her son and OK feels weird seeing her.
Soon after his 30th birthday, OK and his assistant Anwar drive to the RC Studios compound – long neglected and in disarray after the fire 30 years earlier- to shoot for an upcoming film; while there, OK experiences unsettling memory flashes of his past life at the studio, including that of eavesdropping on Mukesh and Shanti. At an awards ceremony, Om Kapoor unknowingly delivers the same speech Om Prakash made when he was drunk, which is viewed by an aged Pappu on television. At the event, Rajesh Kapoor who is OK's father, introduces him to Mukesh, whose introduction causes OK to fully remember the events of Om Prakash's life. OK later reunites with Bela and Pappu, and conspires to avenge Shanti's death by making Mukesh confess his crime.
Om Kapoor convinces Mukesh to restart shooting for Om Shanti Om, and he plans to convince Mukesh that Shanti's spirit is haunting him. To find Shanti's lookalike, O.K, Pappu, and Bela audition many actresses, and are about to give up when they finally find a super-fan of OK's named Sandhya Bansal aka Sandy, an exact doppelgänger of Shanti. Throughout the film's shooting, OK and his friends arrange incidents to remind Mukesh of the past including organising the film's launch at the same ruined set. During the music launch of the film, OK taunts Mukesh by revealing the extent to which he knows the story of Shanti's death. But when Mukesh runs after Sandy thinking she is the ghost of Shanti, Sandy accidentally cuts her arm and bleeds. Seeing this, Mukesh realises that she is not Shanti's spirit. Mukesh tries to confront O.K, but he is suddenly hit by the set's swinging chandelier.
After Mukesh regains consciousness, O.K confronts him but Mukesh reveals that he knows Sandy is not a ghost after all. During the quarrel, Sandy reappears and taunts Mukesh. She reveals that after the fire ceased to burn, Mukesh found that Shanti had survived and buried her alive below the chandelier. OK is confused about how Sandy knows this detail, since he did not know this himself. Mukesh, spooked by the fact that she knows all these details, attempts to shoot Sandy, shocked by the revelation about the murder, but Mukesh and OK fight, which results in yet another fire. Just when OK is about to kill Mukesh, Sandy stops him, saying Mukesh will die, but not by his hand. The chandelier proceeds to fall on Mukesh, killing him instantly.
Pappu and Sandy rush to join OK, who is shocked when he sees Sandy in two places at once. OK realises that the person he assumed to be Sandy was actually Shanti's spirit, and recalls instances where supernatural events helped when OK's plans almost did not work, realising that Shanti was responsible. She smiles warmly towards OK and tearfully bids him goodbye, disappearing as she moves into the light. OK reunites with Sandy.
Cast[]
Shah Rukh Khan as Om Prakash Makhija / Om Kapoor aka O.K. – A famous actor who experiences pyrophobia because of his past life, Om Prakash
Deepika Padukone as Shantipriya Kashyap aka Shanti / Sandhya Bansal aka Sandy – Om Kapoor's love interest who is exact doppelgänger of Om Prakash's love interest, Shantipriya (Mona Ghosh Shetty as the Hindi dubbing voice)
Arjun Rampal as Mukesh Mehra aka Mike – Shanti's husband and murderer who is killed by Shanti's ghost after 30 years
Shreyas Talpade as Pappu Master – Om Prakash's friend who supported Om Kapoor later
Kirron Kher as Bela Makhija – Om Prakash's mother
Bindu Desai as Kamini Arora – Dolly's mother
Javed Sheikh as Rajesh Kapoor – Om Kapoor's father
Satish Shah as Partho Roy
Yuvika Chaudhary as Dolly Arora – Kamini's daughter and Om Kapoor's friend
Nitesh Pandey as Anwar – Om Kapoor's assistant
Asawari Joshi as Lovely Kapoor – Om Kapoor's mother
Nasser Abdullah as Nasser
Shawar Ali as Shawar
Lin Laishram as Om Kapoor's friend
Cameo appearances
Amitabh Bachchan as himself
Anil Kapoor as himself
Uday Chopra as himself
Hrithik Roshan as himself
Abhishek Bachchan as himself
Akshay Kumar as himself
Bipasha Basu as herself
Aishwarya Rai Bachchan as herself
Kareena Kapoor Khan as herself
Ameesha Patel as herself, Om Kapoor's heroine at Filmfare Awards
Dia Mirza as herself, Om Kapoor's heroine at Filmfare Awards.
Arshad Warsi as himself
Gul Panag as herself
Bappi Lahiri as himself
Chunky Pandey as himself
Dhananjay Singh as himself
Farah Khan as the woman who makes fun of Om Prakash when the show ends.
Feroz Khan as himself
Gauri Khan as herself
Karan Johar as himself
Koena Mitra as herself
Malaika Arora Khan as herself
Mayur Puri as the director of Apahij Pyar
Vishal Dadlani as the director of Mohabbat Man, a superhero film
Manikandan Velayutham as the director of Mind It, a parody of action films
Priya Patil as Natasha, heroine of Apahij Pyar
Rakesh Roshan as himself
Rishi Kapoor as himself
Shabana Azmi as herself
Soumya Seth as Audience
Subhash Ghai as himself while shooting his iconic film Karz.
Yash Chopra as himself
Special appearances during the song "Deewangi Deewangi" (in appearance order)
Rani Mukerji
Zayed Khan
Vidya Balan
Jeetendra Kapoor
Tusshar Kapoor
Priyanka Chopra Jonas
Shilpa Shetty
Dharmendra Deol
Shabana Azmi
Urmila Matondkar
Karisma Kapoor
Arbaaz Khan
Malaika Arora Khan
Dino Morea
Amrita Arora
Juhi Chawla
Aftab Shivdasani
Tabu Hashmi
Govinda Ahuja
Mithun Chakraborty
Kajol Devgan
Bobby Deol
Preity Zinta
Rekha Ganesan
Riteish Deshmukh
Saif Ali Khan
Salman Khan
Sanjay Dutt
Lara Dutta
Sunil Shetty
Gauri Khan
Rishi Kapoor
Production[]
Development[]
In 2002, Farah Khan worked as a choreographer for the musical Bombay Dreams in London, which she felt presented a "clichéd and outdated version" of the Indian film industry. She thought that the musical would not be successful if released in India. She instead thought of a new story, writing her initial thoughts about the subject on Andrew Lloyd Webber's letterhead while staying in his house. Later in 2006, Farah began to work on her next project, which was tentatively titled Happy New Year. Amid speculations that Shah Rukh Khan would star in Happy New Year, the actor rejected the first draft of the film, upon which Farah's husband and editor Shirish Kunder reminded her of the story she had conceived while in London. Happy New Year, which was to mark Deepika Padukone's Hindi debut, was put on hiatus and revived more than 8 years later under the same title.
Farah completed writing the first script of Om Shanti Om within two weeks. She set the first half in the 1970s as she felt the Hindi films made during that period were much more influential than those made in other periods, particularly the 1980s, which she felt was a period when "the worst movies were made". She also included many references to the 1970s, which were also prevalent in films of that time. She said, "Everything in the first half is about the 70s—such as the mother who overacts, mouthing clichéd dialogues. Then there are cabarets, badminton and other stuff popular during that era." Shah Rukh's costumes were designed by Karan Johar, while Manish Malhotra designed Padukone's costumes. The rest of the cast had their costumes designed by Sanjeev Mulchadni.
In addition to directing the film, Farah co-wrote the story with Mayur Puri and Mushtaq Shiekh. She was also the film's choreographer. Puri wrote the screenplay and dialogues. He completed the writing process in two months and rewrote the film's second half. Puri created the screenplay by writing his natural reaction to the characters as scenarios. He knew that despite being part of a crowd, junior artists do not want to be recognized as such, ruins their chances of landing a leading role in future. This was used in a sequence involving Shah Rukh and Talpade, who play junior artists. Puri blended different genres together in Om Shanti Om, which he felt was challenging. He used his personal memories from childhood for creating the 1970s. Shirish Kunder was the editor, while V. Manikandan was the cinematographer.
Sabu Cyril was the film's production designer. Sabu was first offered the Mani Ratnam-directed Guru (2007) at a time when Om Shanti Om was being planned, but ultimately chosen the latter due to his earlier commitment to Farah for her future project. Farah used two particular dialogues in the film: "When you want something badly, the whole universe conspires to give to you" and "In the end everything will be ok and if its not ok its not the end". These were used as Khan felt that it reflected her philosophy in her life. Farah stated that the film's opening scene was her most favorite in it. In 2008, Puri felt his most favourite dialogue from the ones he wrote would be the Filmfare Awards speech. The film's title derives from the eponymous song from the film Karz (1980). Om is a Hindu mantra; Om Shanti Om roughly translates to "Peace Be With You".
The film opens with the grandeur shot of the most famous songs of Karz that is Om Shanti Om featuring Rishi Kapoor and SRK as junior artist standing in the crowd.
Casting[]
Deepika Padukone plays the love interest of Shah Rukh's character in her Hindi film debut. Shah Rukh was cast as the lead; he gained six packs for a song sequence. He felt Om Shanti Om was a "happy film". Farah was advised by Malaika Arora to cast Padukone as the female lead, who was suggested by Wendell Roddick, under whom Padukone was working. She was cast without a screen test. Khan felt that she was "a beautiful, classic Indian beauty" who fit the role of an actor of the 1970s. She was excited at the prospect of working with Shah Rukh and said, "I've grown up watching [Shah Rukh] and always admired him so much. To get to work with him ... is quite wonderful. It was also fantastic that Farah showed faith in my talent and cast me opposite him."
In preparation for her role, Padukone watched several films of actresses Helen and Hema Malini to study their body language. Her character was modelled after Malini and nicknamed Dreamy Girl after her the latter's nickname as Dream Girl. Rampal was approached by both Khan and Shah Rukh at the latter's New Year's Eve party. Rampal was initially reluctant to do the role as he felt it was "too evil" for someone like him. With persuasion from Shah Rukh, he agreed. Rampal wore a mustache in the film which was suggested by Shah Rukh. Shreyas Talpade played a supporting role as the best friend of Khan's character. After the release of Iqbal (2005) and completing the filming of Dor, Talpade, who attended the same gym as Khan, was called for a narration of what would be Om Shanti Om. He agreed to do the role.
Kirron Kher, Bindu and Javed Sheikh also appear in the film. 31 Bollywood film actors appeared in cameo appearances for the song "Deewangi Deewangi". Other actors were also supposed to play cameos, including Fardeen Khan, who was arrested at Dubai airport in a drug case. Dev Anand refused as he always played lead roles in his career. Dilip Kumar and Saira Banu didn't appear in the song, despite plans to include them. Amitabh Bachchan refused due to his son's wedding, while Aamir Khan refused due to Taare Zameen Par's (2007) pending editing. Khan had wanted the three Khans to appear together in a film. Rekha, who appears in the song, carried out 2 days of rehearsal for it. All those who appeared for the song received gifts, including a Blackberry phone and a Tag Heuer watch.
Principal photography[]
Om Shanti Om was made on a budget of ₹40 million. The first scene to be filmed was one where Talpade's character tells Shah Rukh's character that he will be a hero; Shah Rukh was an hour late for filming. Farah was pregnant with triplets while filming and experienced difficulties while shooting, she would constantly vomit while directing the film. The film was shot entirely in sync sound; Farah dismissed rumours of Padukone's voice being dubbed. In 2015, however, Mona Ghosh Shetty admitted to have dubbed for Padukone in the film. The fake fight scene involving a stuffed tiger was inspired by a similar scene in the film Tarzan 303. Old cars owned by actors Rajesh Khanna and Hema Malini were used for filming for authenticity.
A number of references to real life was also filmed, including a scene in which Om saves Shantipriya from a fire, which was a spoof of Sunil Dutt rescuing Nargis from a fire on the sets of Mother India (1957). For a shot involving a Filmfare Awards ceremony, Khan stood on the red carpet of an actual Filmfare Award ceremony and requested actors to dictate dialogues as she stated. The song "Deewangi Deewangi" was shot over a period of six days. The song "Dhoom Tana" has digitally altered guest appearances, which included Sunil Dutt from Amrapali (1966), Rajesh Khanna from Sachaa Jhutha (1970) and Jeetendra from Jay Vejay (1977). Farah wanted to film Shakira for filming a special appearance had made her commit a few days for the role. Due to the uncertainty of her dates, the idea was scrapped.
In February 2007, a filming schedule was completed in Film City. It was then reported that filming would move outdoors after Shah Rukh completed filming for Kaun Banega Crorepati. In October 2007, Abhishek Bachchan finished filming for his cameo appearance; he shot between 10 and 2 in the night for his screen time of about one and a half minutes. Filming of the last sequence and the end-credit song was done in Film City. Farah continued the tradition of featuring an end-credits song beginning with Main Hoon Na (2004).
Om Shanti Om was produced by Shah Rukh's wife Gauri Khan under their Red Chillies Entertainment banner. While Marching Ants handled the publicity design, Gauri was the presenter. Shyam Kaushal, Amar Shetty and Shah Rukh were the action directors. The film's final reel length was 4013.94 ft (1223.45 m).
Music[]
Om Shanti Om Soundtrack album by
Vishal-Shekhar
Released 10 October 2007 Genre Feature film soundtrack Label T-Series Producer Gauri Khan
Initially, A. R. Rahman was signed in to compose original songs and background score for the film but he opted out after disagreements with T-Series as he wanted them to share the copyrights of music between him and the lyricist. The film score was composed by Sandeep Chowta while the original songs featured in Om Shanti Om were composed by the duo Vishal-Shekhar with lyrics by Javed Akhtar. One song was composed by Laxmikant–Pyarelal. The vocals are provided by KK, Sukhwinder Singh, Marianne, Nisha, Caralisa Monteiro, Shaan, Udit Narayan, Shreya Ghoshal, Sunidhi Chauhan, Rahul Saxena, Sonu Nigam, Rahat Fateh Ali Khan, Richa Sharma, Abhijeet Bhattacharya, DJ Aqeel, DJ G, Kiran Karnath, Jackie V, Nikhil Chinapa, DJ Nawed and Zoheb. They intended the soundtrack to be a tribute to the music of the 1960s and 1970s, while appealing to newer audiences at the same time. Trade reports predicted the album to be commercially successful. The soundtrack album of Om Shanti Om was released on 10 October 2007 on CD.
Pyarelal of the Laxmikant-Pyarelal duo guest composed the title Dhoom Taana. He had stopped composing after the death of his partner Laxmikant, but after Farah Khan requested a song as tribute to the music of the 70s and the 80s, he agreed at the insistence of his wife and daughter. The song was recorded with a 150-member-orchestra and traditional instruments like drums, tabla, dholak and dafli, a trademark of Laxmikant-Pyarelal. He used more than 40 different percussion instruments.
In a soundtrack review, Joginder Tuteja of Bollywood Hungama gave it four stars out of five and opines, "Om Shanti Om is easily one of the most complete scores by Vishal-Shekhar and Javed Akhtar." Sukanya Verma of Rediff.com also gave it four stars out of five, applauding the tracks but criticized the "Dark Side" mix. She concludes her review by writing, "Om Shanti Om is an out and out musical that captivates with its roaring polyphony and unabashed drama." Aakash Gandhi of Planet Bollywood gave a rating of 8.5 stars out of 10 and writes, "not only have [Vishal-Shekhar] proven themselves in terms of musical ingenuity and quality, they have shown us the confidence, the poise, and the ability to step up to the plate and hit a grand-slam when they’re called upon to do so." He further gave them a "standing ovation". Writing for AllMusic, Bhaskar Gupta gave the album four and a half stars out of five and praises the composers, writing, "Vishal-Shekhar finally delivered a soundtrack that could be deemed their signature offering."
Vishal-Shekhar was nominated for Best Music at the 53rd Filmfare Awards, Producers Guild Awards 2008 and Zee Cine Awards 2008, winning for Best Composer at the 2nd Asian Film Awards. Vishal Dadlani was alone nominated for Best Lyrics at the Filmfare and Producers Film Guild award ceremonies. Akhtar was nominated for Best Lyrics at the Filmfare and Zee Cine awards, winning at the 9th IIFA Awards. It was the highest-selling music album of the year in India, with sales of around 2 million units.
Om Shanti Om (Original Motion Picture Soundtrack) No. Title Singer(s) Length 1. "Ajab Si" KK 4:03 2. "Dard-e-Disco" Sukhwinder Singh, Caralisa Monteiro, Nisha, Marianne 4:31 3. "Deewangi Deewangi" Shaan, Udit Narayan, Shreya Ghoshal, Sunidhi Chauhan, Rahul Saxena 8:57 4. "Main Agar Kahoon" Sonu Nigam, Shreya Ghoshal 5:10 5. "Jag Soona Soona Lage (lyrics by Kumaar)" Rahat Fateh Ali Khan, Richa Sharma 5:31 6. "Dhoom Taana" Abhijeet Bhattacharya, Shreya Ghoshal 6:15 7. "Dastaan-E-Om Shanti Om" Shaan 7:08 8. "Dard-e-Disco" (Remix) Sukhwinder Singh, Caralisa Monteiro, Nisha, Marianne 4:38 9. "Deewangi Deewangi" (Rainbow Mix) Shaan, Udit Narayan, Shreya Ghoshal, Sunidhi Chauhan, Rahul Saxena 4:48 10. "Om Shanti Om" (Medley Mix) Sukhwinder Singh, Caralisa Monteiro, Nisha, Marianne, Shaan, Udit Narayan, Shreya Ghoshal, Sunidhi Chauhan, Rahul Saxena, Abhijeet Bhattacharya 6:06 11. "Dastaan-E-Om Shanti Om" (Dark Mix) Shaan 6:21 12. "Om Shanti Om" (Instrumental) 0:58 Total length: 61:18
Release[]
Om Shanti Om created a record of sorts by going in for an unheard of 2000 prints (worldwide) release. This was the highest number of prints (including digital) for any Indian movie at the time of its release. Om Shanti Om set another record for registered pre-advance booking of 18,000 tickets in a chain of theatres in Delhi a few days before the advance booking was to start. A special screening was conducted for Bollywood actors. Red Chillies Entertainment had reportedly sold the world rights for the film to Eros International for an amount between Rs. 720–750 million. Baba Films, a production and distribution company, had offered a record Rs. 110 million for the rights to the Mumbai Circuit, surpassing the highest amount ever paid for the territory. As a marketing strategy, Amul advertised Shah Rukh.
Nina Davuluri's talent for Miss America 2014 was a Hindi Film fusion dance choreographed by Nakul Dev Mahajan and performed to Dhoom Taana. It was the first time Hindi Film ever appeared on the Miss America stage and Davuluri is the first Indian American to win the competition. Om Shanti Om was remade into a Japanese musical titled Oomu Shanti Oumu. A book, titled The Making of Om Shanti Om written by Mushtaq Sheikh, was released after the release of the film. The book gives an insight into the production and happenings behind the camera of the film.
Controversy[]
One of the leading actor of the film Manoj Kumar planned to sue the makers of Om Shanti Om for showing his body double in bad taste. Kumar added, "Are the Mumbai police so stupid that they can't recognise Manoj Kumar and lathicharge him in the '70s when he was a star?". Kumar also alleged that Shahrukh Khan is communal. Later, in a press conference, Shahrukh Khan and director Farah Khan accepted their mistake and apologised for the matter. Farah Khan even offered to cut the scene which Manoj Kumar felt was hurtful, but Kumar refused on grounds that, as Farah had stated, "I [Farah Khan] am like his daughter. He said, 'Betiyaan maafi nahi maangti' (Daughters don't ask for forgiveness). I told him that he could've called me and scolded me." Later, Kumar said that though this incident was hurtful to him, he wishes to forgive, ignore, and move on, saying that he prefers to "see Ram in everyone and ignore the Ravana."
In 2008, before the film's television premiere on Sony TV, Manoj Kumar filed for a stay on the television release, at civil court in Mumbai. On 8 August 2008, he won permanent injunction on the scenes in Om Shanti Om that lampooned him. The court ordered the producers and Sony Entertainment Television, to edit the Manoj Kumar look-alike scenes before showing the film on the channel on 10 August 2008. It also ordered that the film could not be shown in any media—TV, DVD or Internet—without the scene being deleted.
Plagiarism allegations[]
On 7 August 2008, before its television release, scriptwriter Ajay Monga moved the Bombay High Court alleging that the basic storyline of the film was lifted from a film script he had emailed to Shah Rukh Khan in 2006. According to the petition, "Monga, along with one more writer Hemant Hegde, had registered the script with the Cine Writers Association (CWA) in September 2005. In January 2008, Cine Writers Association (CWA) rejected Monga's appeal at a special Executive Committee meeting. Thereafter, he approached the court to stay the film's screening on television. Though, on 6 August the court rejected Monga's plea for seeking a stay on the television telecast, it directed all the respondents including Shahrukh Khan, Farah Khan, Red Chillies Entertainment, Gauri Khan (director Red Chillies) and film's co-writer Mushtaq Sheikh, to file their say by the next hearing on 29 September 2008. In November 2008, the Film Writers' association sent a communication to Red Chillies and Ajay Monga that it had found similarities in Om Shanti Om and Monga's script. The similarities were more than mere coincidences according to Sooni Taraporewala who chaired a special committee that has investigated the case on behalf of the Film Writers' association.
Another allegation of plagiarism came from Rinki Bhattacharya, daughter of late Bimal Roy, who directed Madhumati. She threatened legal action against Red Chillies Entertainment and the producer-director of Om Shanti Om, as she felt that the film's second half was similar to Madhumati, also a rebirth saga.
Reception[]
Critical response[]
India[]
Om Shanti Om was received positively by Indian film critics. Taran Adarsh of Bollywood Hungama gave it four stars out of five and writes, "Om Shanti Om is Bollywood masala in its truest form and also, at its best" but notes, "the second half could've been crisper". Khalid Mohamed of Hindustan Times gave the film four stars out of five and appreciated the performances, observing how Rampal is "consistently first-rate as the suave villain" while Padukone is "fantastic, so surprisingly assured that you marvel at her poised debut". He notes that "the enterprise belongs to Shah Rukh Khan, who tackles comedy, high drama and action with his signature style—spontaneous and intuitively intelligent. Six-pack or no-packs, he's the entertainer of the year in this valentine to the movies."
Nikhat Kazmi of The Times of India gave the film three and a half stars out of five and writes, "Farah Khan's re-birth saga literally makes an art of retro and paints the seventies pop culture in Andy Warholish strokes". She called it an "unabashed tribute" to Karz. Raja Sen of Rediff.com gave it three and a half stars out of five and applauded the performances of Shah Rukh, Padukone and Talpade. He writes, "Om Shanti Om is an exultant, heady, joyous film reveling in Bollywood, and as at most parties where the bubbly flows free, there is much silly giggling and tremendous immaturity." He criticized the dialogues and excessive cameos in the film.
Rajeev Masand of CNN-News18 gave the film three stars out of five and writes, "Unpretentious and completely transparent in its intentions, Om Shanti Om is an entertainer in the true sense of the word, mixing up genre elements like comedy, drama, action and emotion to create a heady broth of Manmohan Desai-style exaggerated entertainment." He compliments the dialogues "which so cleverly incorporates Bollywood's oldest clichés into these characters' everyday parlance." A commentator for Indo-Asian News Service felt that Shah Rukh's acting was repetitive and writes, "He needs to curtail his unwarranted superstar mannerisms even in a total masala film like Om Shanti Om", while complimenting the performances of Padukone, Rampal and Talpade.
Sudish Kamnath of The Hindu stated that the film is "an unabashed celebration of willing suspension of disbelief, calling it a "light-hearted tribute to Hindi cinema the way we know it and love it". He praised the performances of Shah Rukh, Padukone and Talpade, while criticizing Rampal and Kher. He also praised the various spoofs, especially the ones directed at Manoj Kumar, Sanjay Leela Bhansali and Abhishek Bachchan. Writing for SantaBanta.com, Subhash K. Jha gave it one star out of five and criticized the spoofs "which keeps swinging from homage to imitation with infuriating artifice", writing, "The mood is one of patronizing and condescension rather than genuine admiration for an era that's gone with the wind".
Overseas[]
On the review aggregator Rotten Tomatoes, Om Shanti Om holds an approval rating of 76%, based on 17 reviews with an average score of 7.21/10. Tajpal Rathore of BBC gave it 4 out of 5 stars as well and stated, "Both a homage to and parody of Hindi Films, this cinematic feast delivered straight from the heart of the film industry will have you glued to your seats till the end." Mark Medley of National Post gave 3 stars and stated, "The film is a mess for all the right reasons; elements of comedy, drama, romance, action and the supernatural are packed in. But really, the plot is just a vehicle to get from one song-and-dance number to the next." AOL gave the film 3 out of 5 stars stating, "The movie consists of all the elements that are essentially called the 'navratnas' of Indian cinema – from joy to grief to romance to revenge. And she mixes these well to cook up a potboiler, which is sure to be a run away hit."
Box office[]
Om Shanti Om opened across 878 cinemas in 2000 prints worldwide. The film's net gross (after deducting entertainment tax) was ₹994 million (US$14 million) in India. The film collected US$2.78 million in the United Kingdom, US$3.6 million in North America and US$3.7 million collectively from the rest of the world, which resulted in total overseas collections of $10,080,000, the 4th largest of all time as of 2010. As a result of these collections, a worldwide gross of ₹215 crore (US$30 million) was accumulated.
Awards and nominations[]
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https://www.scmp.com/magazines/style/leisure/article/3146909/10-highest-paid-roles-hollywood-actresses-ever-ranked
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en
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10 highest-paid roles for Hollywood actresses ever, ranked: from Marvel’s Angelina Jolie in Eternals and Scarlett Johansson as Black Widow, to Jennifer Aniston in Friends
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"Opinion",
"China",
"Hong Kong",
"World",
"US",
"Asia",
"Business",
"Economy",
"Technology",
"Lifestyle",
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[
"Umesh Bhagchandani"
] |
2021-08-30T18:00:34+08:00
|
Who do you think earned the most for a single role: Emma Watson as Hermione Granger in the Harry Potter films, Scarlett Johansson as Black Widow in the MCU or Jennifer Aniston as Rachel in Friends?
|
en
|
https://assets-v2.i-scmp.com/production/favicon.ico
|
South China Morning Post
|
https://www.scmp.com/magazines/style/leisure/article/3146909/10-highest-paid-roles-hollywood-actresses-ever-ranked
|
Meanwhile, she received US$20 million for the Black Widow stand-alone film, which sees her total earnings for a single role jump up to US$95 million.
Sandra Bullock – US$70 million
Sandra Bullock has helped pave the way for actresses to earn higher salaries, earning US$10.5 million for Speed 2: Cruise Control (1997) and US$17.5 million for Miss Congeniality 2: Armed & Fabulous (2005). However, those pay bumps are measly compared to her more than US$70 million pay cheque for the box-office hit Gravity (2013).
Bullock received an upfront advance of US$20 million from Warner Bros, with 15 per cent of “first-dollar gross”. According to Celebrity Net Worth, this means that “for every dollar the studio ever received for Gravity, 15 per cent would go to Sandra before any costs for production or marketing were taken out”.
Emma Watson – US$60 million
While Celebrity Net Worth says Emma Watson earned a whopping US$15 million for playing Belle in Disney’s Beauty and the Beast, she made more from the eight Harry Potter films that propelled her to stardom. According to The Hollywood Reporter, Watson earned a total of US$60 million for playing fan favourite Hermione Granger.
Cameron Diaz – US$42 million
Cameron Diaz always commands a seven to eight-figure salary, but according to The Hollywood Reporter, she earned a legendary US$42 million as Elizabeth Halsey in the 2011 comedy Bad Teacher. Initially, Diaz was only paid US$1 million, but her contract made sure she would also receive percentages from the film profits. The deal proved to be a smart one as the film made over US$200 million at the box office.
Angelina Jolie – US$35.5 million
Few other actress can command a seven-figure salary upfront like Angelina Jolie (she earned US$20 million for her role in the 2010 film Salt). And Forbes reported that she bagged the vast majority of her US$35.5 million earnings in 2020 from her starring role as Thena in Marvel’s Eternals, making that her biggest pay cheque yet.
Emma Stone – US$26 million
Emma Stone earned a hefty US$26 million for her Oscar-loving La La Land (2016) after back end deals. However, as she keeps on delivering successes at the box office, she may finally receive more for Disney’s Cruella sequel, depending on the deal being struck – after only receiving US$8 million for the first film (still a career high for her at the time), according to The Hollywood Reporter.
Jennifer Lawrence – US$25 million
After her jaw-dropping US$20 million salary for the action-packed Red Sparrow (2018), Jennifer Lawrence will see a bump in her next pay cheque. According to Screen Rant, she will receive a reported US$25 million for Netflix’s upcoming Don’t Look Up, which also stars Leonardo DiCaprio, Cate Blanchett, Timothée Chalamet and Meryl Streep.
Julia Roberts – US$25 million
Another day, another massive Netflix deal for our Hollywood A-listers. Screen Rant reported that Oscar-winning actress Julia Roberts earned a whopping US$25 million pay cheque for her upcoming Netflix film Leave the World Behind opposite Denzel Washington. Both actors also served as the film’s producers.
Gal Gadot – US$20 million
Reese Witherspoon – US$20 million
|
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correct_starring_00069
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FactBench
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1
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https://tv.apple.com/us/movie/om-shanti-om/umc.cmc.1bjgxnvmrhw7hpnpdak9b3vko
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en
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Om Shanti Om
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2007-11-09T08:00:00+00:00
|
Om Prakash Makhija is a junior artiste in the film industry. He yearns to be a top star like Shantipriya, whom he admires and loves. One day, Om Prakaâ¦
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Apple TV
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https://tv.apple.com/us/movie/om-shanti-om/umc.cmc.1bjgxnvmrhw7hpnpdak9b3vko
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correct_starring_00069
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FactBench
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2
| 85 |
https://www.usatoday.com/story/entertainment/tv/2024/07/14/shannen-doherty-dead/74399542007/
|
en
|
Shannen Doherty, 'Beverly Hills, 90210' star, dies at 53 after cancer battle
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2024-07-14T00:00:00
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USA TODAY
|
https://www.usatoday.com/story/entertainment/tv/2024/07/14/shannen-doherty-dead/74399542007/
|
Shannen Doherty, the actress known for her roles on "Charmed" and "Beverly Hills, 90210," has died after a battle with cancer. She was 53.
Doherty's death was confirmed Sunday by publicist Leslie Sloane in a statement shared with USA TODAY after People broke the news of the star's death. On Saturday, the actress "lost her battle with cancer after many years of fighting the disease," Sloane's statement read.
"The devoted daughter, sister, aunt and friend was surrounded by her loved ones as well as her dog, Bowie," the statement said. "The family asks for their privacy at this time so they can grieve in peace."
Doherty has been open about her health in recent years after being diagnosed with breast cancer in 2015. In November, she shared in a People magazine cover story that the cancer had spread to her bones.
Remembering Shannen Doherty: Alyssa Milano honors her 'Charmed' co-star after 'complicated relationship'
The actress starred as Prue Halliwell, one of the sisters with magical powers on TV's “Charmed,” and had roles on TV's “Little House on the Prairie,” as well as in the movie comedies “Mallrats” and “Heathers.”
She got her big break on Fox's teen soap “Beverly Hills, 90210,” portraying high schooler Brenda Walsh, who with her twin brother Brandon (Jason Priestley) adjusts to life among the wealthy when their family moves from Minnesota to California.
In 2016, she told USA TODAY that the cancer had spread to her lymph nodes. For a brief period, it appeared Doherty was in the clear. After a single mastectomy that same year, she completed radiation and chemotherapy treatment in February 2017 and announced she was in remission two months later.
Then in February 2020, Doherty revealed that her breast cancer had metastasized to Stage 4. In June 2023, she announced on Instagram that a CT scan months prior showed the cancer had spread to her brain, for which she was receiving radiation. "My fear is obvious," she wrote in her post. "I am extremely claustrophobic and there was a lot going on in my life. ... The turmoil….. the timing of it all…. This is what cancer can look like."
When she shared in November 2023 that the cancer had spread to her bones, she sought to dispel the idea that she was helpless.
"People don't know a lot about cancer. I think they sort of assume it means you can’t walk, you can’t eat, you can’t work. They put you out to pasture at a very early age – 'You're done, you’re retired,' – and we're not," she told People. "We're vibrant, and we have such a different outlook on life. We're just so grateful for every second, every hour, every day we get to be here. We are people who want to work and embrace life and keep moving forward."
'I adored him': Shannen Doherty recalls how Michael Landon and 'Little House on the Prairie' shaped her
Shannen Doherty got her start with early roles on 'Little House on the Prairie' and 'Father Murphy'
Doherty was born in Memphis, Tennessee, on April 12, 1971, the second child of Rosa and John Thomas Doherty. Her family relocated to Los Angeles when she was 7. Doherty nabbed her first acting gig just a few years later, appearing in two episodes of the 1981 to 1983 Western drama “Father Murphy,” created by Michael Landon of "Little House on the Prairie" fame. Doherty fondly remembered the job by sharing a photo of herself in costume on Instagram in 2021.
“We worked in Tucson, Arizona, in 100-degree-plus weather wearing buckskins and I loved every minute,” she captioned the image of her younger self beaming. “It remains one of my fondest memories.”
Landon later cast Doherty in the ninth season of frontier drama “Little House” as Jenny Wilder, a role she revived for three TV movies. Doherty found success on the big screen as well, booking parts in “Girls Just Want to Have Fun” (1985), a lighthearted teen dance movie, and “Heathers” (1988), a caustic comedy co-starring Christian Slater and Winona Ryder.
The actress cemented her place in pop culture with 'Beverly Hills, 90210' and 'Charmed'
Doherty played Brenda on “Beverly Hills, 90210” from 1990 to 1994. While there were reports she was fired for her behavior, executive producer Aaron Spelling discounted those rumors in a 1998 interview with the Los Angeles Times.
“I tell ya the truth, all those stories about Shannen were so overblown,” said Spelling, who died in 2006. “Was she late on the set a couple of times? Sure, but who isn’t? Shannen was not fired from ‘90210.’ She had received some TV movie offers, and we sat down and talked about it and she made the decision.”
Spelling and Doherty reunited in 1998 on “Charmed,” for which he served as an executive producer, but exited after three seasons, her character was killed off.
Although Doherty reportedly feuded with her co-stars on both Spelling-produced series, she told Parade in an interview promoting her 2010 book, "Badass: A Hard-Earned Guide to Living Life With Style and (the Right) Attitude," that she was ready to leave her old ways in the past.
“I have a rep," she admitted. "Did I earn it? Yeah, I did. But, after a while, you sort of try to shed that rep because you’re kind of a different person. You’ve evolved and all of the bad things you’ve done in your life have brought you to a much better place.”
Richard Simmons: Fitness pioneer dies 1 day after his 76th birthday
Since then, Doherty had starred in a string of TV horror movies including "Satan's School for Girls" (2000), "Witchslayer Gretl" (2012) and "Blood Lake: Attack of the Killer Lampreys" (2014).
Doherty returned to the role of Brenda for multiple episodes in 2008 and 2009 for CW's "Beverly Hills" revival "90210." She also appeared in 2019's short-lived "BH90210," in which her former co-stars played caricatures of themselves. The show was canceled after six episodes.
Shannen Doherty fought breast cancer as her '90210' co-star Luke Perry died from a massive stroke
Doherty worked amid her health struggles. During a "Good Morning America" appearance in February 2020, she she decided to join the reboot in part to pay tribute to the Luke Perry, who played Brenda's love interest Dylan McKay and died March 4, 2019, following a massive stroke. Doherty also wanted to set an example to others battling cancer.
"I thought ... people can look at that and say, 'Oh, my God, yeah. She can work, and other people with Stage 4 (cancer) can work, too,'" she said. "Our life doesn't end the minute we get that diagnosis."
Doherty continued to work, acting in TV movies and feature films. She explained her decision to continue acting in a Q&A with Variety published in October 2021.
"I couldn’t imagine not doing the things that I love in life," she said. "Whether that be acting or directing, or playing with my dog or riding horses or hanging out with my family and my friends. I can’t imagine not being able to do any of those things. So when you can’t imagine not doing them, you just go, 'Well, I’m going to continue to do all of it!' "
Doherty was married to poker player Rick Salomon (2002 to 2003) and actor Ashley Hamilton (1993 to 1994), though she's expressed regret over those brief unions.
'Dr. Ruth' Westheimer dies at 96: The beloved 'sexpert' shared frank advice for decades
"I probably shouldn’t have married the people I married," she told The Washington Post in 2011. "I haven’t exactly had the best radar for good men."
She and photographer Kurt Iswarienko were married from 2011 until Doherty filed for divorce in April 2023.
They did not have any children, which stemmed in part from Doherty's fear of a premature demise, she revealed to Health in 2019.
"Am I going to last five years? Ten years? I certainly wouldn’t want my 10-year-old burying a mother," she said. "I’ve always wanted a kid. But maybe I’m supposed to mother in a different way."
Contributing: Hannah Yasharoff
|
|||||
correct_starring_00069
|
FactBench
|
0
| 73 |
https://bollyspice.com/farah-khan-the-best-part-for-me-is-that-om-shanti-om-still-continues-to-give-joy/
|
en
|
Farah Khan: “The best part for me is that Om Shanti Om still continues to give joy.”
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"Stacey Yount →",
"Stacey Yount"
] |
2017-11-09T02:30:31+00:00
|
Om Shanti Om, as soon as you read the title, I bet like me, the music and the film immediately begins to play in your head. Directed by Farah Khan, the film starred Shah Rukh Khan, Arjun Rampal, Sh…
|
en
|
BollySpice.com - The latest movies, interviews in Bollywood
|
https://bollyspice.com/farah-khan-the-best-part-for-me-is-that-om-shanti-om-still-continues-to-give-joy/
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Om Shanti Om, as soon as you read the title, I bet like me, the music and the film immediately begins to play in your head. Directed by Farah Khan, the film starred Shah Rukh Khan, Arjun Rampal, Shreyas Talpade, Kirron Kher and introduced Deepika Padukone. If you can believe it, it has been 10 years since the magic of OSO hit the big screen.
It is as Farah says, a movie, within a movie within a movie. Set in the 70s and present day, Om Shanti Om has films, stars, sets, drama, dance, action, romance, revenge, reincarnation and finally Happys Endings. It is a movie that has it all and more!
To set the stage check out the trailer that gives you a glimpse into the world of Om and Shantipriya.
I was very lucky to be able to have an in-depth conversation with director Farah Khan about Om Shanti Om. From how quickly she wrote the script, to casting Deepika, to working with Shah Rukh and more, she gave us an inside look into the making of the film. It was an incredible and fun experience to talk with her about this amazing film. I know you are going to enjoy it!
10 Years Since Om Shanti Om Released
You know I feel like we shot it just some months ago. I was pregnant at that time and now I look at my kids and they are going to be 10 next February and I am like where has all this time gone? Not a day goes by that someone messages me saying we just saw it again on television and it is just fabulous. Every week, actually I get 5-6 messages from people who are just watching it again and loving it.
Writing the Script
You know Stacey, this actually was the script that came easiest to me. I actually wrote the screenplay in two weeks.
Really? Wow!
Yes, this movie just came so easily to me. I think, because it is part of what my DNA is – being a part of Bollywood and loving it so much. From childhood from a family, an impoverished family, but still that only spoke about movies. All the legendary stories that we used to hear as children about actors and producers and what happened on set, catch phrases that we have been hearing – all of it.
Om Shanti Om really was totally from an insider’s point of view. It is not something that many people know. It just came very easy to me. Before and after that I struggled to write a film, but this just flowed! Because was an ode to all the movies that I loved and watched. It was my ode to the movies.
It is a movie, within a movie, within a movie. Of course, then there are all the layers, now when you think of it you feel oh this… but I didn’t go that deep into it. I just wrote it. It just came out. Sometimes the best things just come out the easiest.
Looking back on it from writing that script, to filming, to the final product did it become everything you thought it would be?
Yes! You know it just took on a life of its own and it actually just became bigger and bigger, in fact once we started. In my mind when I was writing it you know the studio where they worked I just imagined the places that I have worked in in the dirty Mumbai studios and all the tiny little details. Whenever I start a script it is all very normal then as we start working on it and when we sit with our art director, the cameraman, the team it just becomes bigger, bigger, bigger, bigger. We actually put up that huge set in Film City of the entire studio and then we burnt it down. Even the song ‘Deewangi Deewangi’, when we called all the actors, it came off of an idea I had seen in Manmohan Desai movie. It just snowballed into everybody we asked wanted to come. It started from 10 actors, then it became 20, then it became 25 and finally at 31 I had to say stop. And Shah Rukh said, “Can you hold the set one more day? I will get more.” And I said, “No, I can’t hold the set any more. We are done, because this will become a fifteen-minute song.”
You know, we came with another big movie called Saawariya, which was Sanjay Leela Bhansali’s movie. I guess if we hadn’t come with that movie, we would have been the first film in the history of Bollywood to make 100 crores. We just fell short by 13 crores because that was what was Saawariya’s business at that time 10 years ago. We would probably be the first film that crossed the 100 crore benchmark.
Deciding Deepika is My Girl for Om Shanti Om
She reminded me of Hema Malini actually. She really did. For me, Shantipriya was based on her, on Hema Malini. She was this very dignified leading lady who is the perfect Indian beauty. I was very clear I didn’t want an established actress because I wanted the audience to think that this is Shantipriya. That not at any time should they think, oh this is Aishwarya Rai or this is Kareena Kapoor. They should believe that this girl is Shantipriya. I think taking a newcomer was a big risk, but it also was a calculated risk in that sense.
For me, Deepika has this kind of a poise about her. I think she was just 21 when we started shooting and there was a poise beyond her years. Of course, she was not as good an actress as she has become now. I was literally had to look down, look up, okay turn your head slightly. So all the instructions were being given on the mike when she would act. But she had a star quality about her, which I noticed immediately. Especially when we did her photoshoot that I really noticed that. She just looked the part.
She really is an all rounder. She looks beautiful, she can dance and now she of course has become a very good actress.
Shah Rukh Khan Actor and Producer
I always say he is my muse. For me, it is the easiest thing and the most joyful thing to make a movie in which he is there. Because really when I am working with him I have no stress. We are just so much on the same plain. You know, how it is when you are so comfortable with that person that you can say what you want and you know it won’t be taken wrongly or badly? I don’t have to mind my P’s and Q’s. We have the same sense of humor, which actually is so much politically incorrect that we both have to be careful now in today’s time (laughs). If you see the making of any of my movies Main Hoon Na, Om Shanti Om and Happy New Year, you see the ease.
He is a fabulous producer. He has kind of spoiled me for anybody else, which is why I would rather wait and make a movie with him than run around trying. He just spoils you. It is very difficult then to go work with somebody else. He forces me to spend more money, do this, do that… You know, it is so special that there is somebody backing you at all times, never questions what you are doing, why you are doing it. He never asked me why are you taking a new girl. He never had any issues. He said, “Okay if you think you are confident of her just go ahead.” That kind of support gives you confidence but also it puts me in a spot of great responsibility. I always feel like a teacher’s pet who has to please their teacher and make sure the movie makes money.
Great Vishal-Shekhar Music
You know they weren’t so great then, by the way, they actually were fairly new music composers. They have just done a couple of movies and had not had a big hit as yet.
And they created such an incredible soundtrack. I mean even today when there is an award function or there is an opening, they always play the ‘Deewangi’ song, because it is just so full of fanfare and opulence.
Favorite OSO track
I like all the songs, of course, but my favorite tracks are the love songs, especially the one that plays in the background, the ‘Aankhon Mein Teri’, ‘Ajab Si Ajab Si’ (yes, she sang it and I did too under my breath!). I love that. I love the ‘Om Shanti Om Theme’. Actually the song, that really didn’t become popular, but one I love, is the song he plays right at the end where he enacts the whole drama of the movie (‘Dastaan E Om Shanti Om’). That one was so incredible. It always gives me goosebumps. Like I am talking to you right now and I am getting goose bumps. The more popular tracks are of course ‘Dhoom Taana’, ‘Deewangi Deewangi’ and all. But these are the ones that came from our souls!
Any changes to the film?
No, not really though I was never really happy with the set of ‘Deewangi Deewangi’. It started out to be a big set, then it became a small set and there was no time to change it. I was shooting such a big song and we have such a small set, so maybe I would make that set a little more opulent to match the rest of the movie.
Om Shanti Om 2?
You know, Stacey, I have been asked so many times, but I don’t think so, I think the story just ended where it had to. I can’t think of how to take it further. How to better it. If it comes organically from within me. Like a Happy New Year can have a sequel, Main Hoon Na can have a sequel, but for me Om Shanti Om was so complete in itself that I don’t know how to take the story and better it.
OSO still resonates and is so loved today 10 years later not only with Indians but people all over the world…
It is so wonderful. You know, I couldn’t go anywhere because I was pregnant and they took the film to the Berlin Film Festival. Shah Rukh called me from there and said you have to see how the audience is reacting. The entire festival jury and the audiences are in the aisles dancing in the last number!
It was a joyous film and it still is and that’s amazing. Sometimes I want to tell the critics you don’t want every film to be dull and boring, but the joy a movie can give to people – that high is something else. I think that for me, is the best part, that it still continues to give that joy.
Everyone here just loved the entertainment and the drama of the movie and you know, for a lot of non-Indians Om Shanti Om was their introduction to Bollywood.
Broadway Bound?
Actually this should go to Broadway. See, I got the idea when I was doing Bombay Dreams, which was on Broadway and West End. My idea was that script was really crappy and I thought if ever I would do a show and a script had to be written it should be this…So the germ of the idea came from Bombay Dreams, which was about a slum boy who becomes a big star. That never, ever, ever really happens. I thought the only way a slum boy would become a star is if he was reincarnated into a big Bollywood star. And that is how it started – it was the germ from there. This is a movie that is begging to go to Broadway.
Playing Japan both at the movies and live stage version
It was really befitting that it became a Japanese musical because they didn’t know it was going to be 10 years. They just loved the movie in Japan. It is still playing in Japan, it released in 2014. It has been 3 years and the film is still running in the theater in Japan. They just took to the movie.
How was it to see Om Shanti Om come alive on stage?
It was so surreal. I cannot tell you. You know the Japanese are very staid, unemotional kind of people and they were up on their seats and they were clapping and singing. The joy that it continues giving is, for me, that is the best part. You wonder, what would the Japanese find interesting in this but like I said, they were singing the songs and they were dancing in the theater. I think what they really loved is the story. Actually when the movie released, this is what the distributor told me: he said he bought it because they just love the theme of reincarnation, that this life is not the end of it. He says it gives us hope. His son died in the Osaka earthquake. For him, it was a very emotional connect to somehow think that people are reborn and life continues. This is something that we just take for granted and we never think so deeply about it. It touched them in a very different way.
Changed as a director since Om Shanti Om?
I don’t know if I have become more patient or what. I don’t know. I feel I have, but people tell me I have not. There was a lot of innocence in the way we shot the movie. There was no second-guessing – it was just all out there. I guess now in today’s cinema, I would think twice about being so out there. You think, oh the audience will think it is too in your face, but at that time 10 years ago; it was so in your face, unapologetically so. When you did the drama in the Om Shanti Om, the emotional scenes, it was, for us, all very real, even though it was in that highly elevated space. It was within the world of the film.
I was reading an interview with Arjun Rampal and he said, he was talking about how directors know their job and he said, when I came on Om Shanti Om I was really trying to underplay it and Farah came to me and said, listen I will be having earth shattering background music happening over here, there will be sound effects. Everybody’s pitch is on a higher level. You have to match it. You can’t be doing a separate film. You have to have the whole picture in your mind and only the director has that. At least most directors should have that.
That is a quality [in your face emotionally, unapologetically so] I would like to maintain but as cinema grows and as everybody becomes a critic, and as audiences change, it’s difficult to hold on to that. You try to. I guess you have to try being a little more subtle. Probably the next movie I shoot it will be more subtle. Like my husband tells me, you just make a serious movie and everyone will think it is a spoof. I was like that is really mean! My only fear is to not bore the audiences. My thing is at all times, no matter what, even if it is an emotional scene, they should be gripped and not looking at their phones. Never give them a moment to look away from the screen.
Directors
I feel when they talk about women directors and all and how there is a lack – I want to say that I don’t think that audience cares if you are a man or a woman. They are involved in your movie. Every time they ask me ‘As a woman director…’ I always say I hate that phrase, why should it be a woman director? You never say it is a man director. Right? So why should you discriminate? Is it a handicap or what that you have to describe it such? It is not a job that is defined by gender. However, it does kind of break the glass ceiling when a film makes so much money and then you realize oh a woman made it. It also helps other girls make movies and get those kinds of budgets. You can’t say oh women don’t make movies that make any money. It sets a precedent that it doesn’t matter if a movie is good then people will watch it and it will make that kind of money.
How have Hindi films changed since then?
You know, it has been 10 years and they keep saying audiences have changed and no more song and dance. In a way, that is sad because that is really what makes our cinema so loved around the globe. Right? It is our music and our song and dance and like I said our unapologetic emotions!
I think once you let that happen, that there is no more song and dance, I think Hollywood is going to take over, which is already happening here. A lot of Hollywood movies are doing far better than the Indian releases. Also now we have got access to Netflix, Amazon and all sorts of YouTube and everything. That was not there 10 years ago. So we are rather spoiled for taste, right? For me, it would take a lot for me to go out of my house and go to the theater, and buy an expensive ticket and wait for the movie to start. So I think like in Hollywood, what is happening here also, is people will only get up and go if there is a big event film coming. It is expensive to take your whole family to the theater. So right now, as we speak, it is the big event, entertaining movies that are really raking in the money. Of course, there are a some small content driven films that do well for their budget but they don’t go beyond a 35- 50 crore mark max, which is good for them because they made it in maybe 10-15 crores. But they are not transcending or the numbers going as high as the big event movies.
Everybody is a critic, everyone who has a phone or a Twitter account. They love to run down the big movies and the entertainment because if it is entertaining then oh it can’t be any good. That is a very dangerous part of it.
Another film coming up or in the planning stages?
I think I need to start writing again! I need to. I will get into it from maybe mid-November!
Lastly a message to those who have not seen Om Shanti Om.
I would say to the ones that haven’t seen it, it really is the quintessential Bollywood film. This is the one for you. See it with your hearts. Don’t over analyze it too much. Just sit and enjoy yourself for 2-3 hours. That I can assure you will happen.
It truly is a joy to watch and one of my favorite movies! I would like to thank Farah for the fabulous conversation on all things Om Shanti Om. I look forward to what she will bring to the big screen next!
Now excuse me while I go watch it again…Om Shanti Ommmmm!
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