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correct_starring_00069
|
FactBench
|
0
| 24 |
http://bollywood-ish.blogspot.com/2015/09/om-shanti-om.html
|
en
|
ish blog: Om Shanti Om
|
http://1.bp.blogspot.com/-N1g-uuBZ-2w/VfriwJim0VI/AAAAAAAAD9U/Ds08g4C5neA/w1200-h630-p-k-no-nu/om_shanti_om_ver3_xlg.jpg
|
http://1.bp.blogspot.com/-N1g-uuBZ-2w/VfriwJim0VI/AAAAAAAAD9U/Ds08g4C5neA/w1200-h630-p-k-no-nu/om_shanti_om_ver3_xlg.jpg
|
[
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"http://4.bp.blogspot.com/-MiDPOaBtDEE/TdAsLoyDHlI/AAAAAAAAApw/YITixDxwxRo/s240/MagicOfMadhuri001a.png"
] |
[] |
[] |
[
""
] | null |
[
"Gaja Gamini"
] | null |
Directed by: Farah Khan Starring: Shahrukh Khan, Deepika Padukone, Arjun Rampal, Kirron Kher, Shreyas Talpade Released: 2007 My ratin...
|
en
|
http://bollywood-ish.blogspot.com/favicon.ico
|
http://bollywood-ish.blogspot.com/2015/09/om-shanti-om.html
|
OK (did I mention I am pyrophobic?)
|
|||
correct_starring_00069
|
FactBench
|
0
| 32 |
https://www.wikiwand.com/simple/Om_Shanti_Om
|
en
|
Om Shanti Om
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Om Shanti Om is a 2007 Bollywood movie directed and choreographed by Farah Khan. It stars Shah Rukh Khan and Deepika Padukone in the lead roles while Shreyas Talpade, Arjun Rampal, and Kirron Kher feature in supporting roles. Arjun Rampal is the antagonist in the movie. This is the Bollywood debut of Deepika Padukone. This movie was released on November 9, 2007, and was a blockbuster. More than forty-two well-known Bollywood stars appear in the course of the movie, thirty-one of them in one song alone. The song "Deewangi Deewangi" is also notable for that reason.
|
en
|
Wikiwand
|
https://www.wikiwand.com/simple/Om_Shanti_Om
|
Om Shanti Om (transl. Peace Be With You) is a 2007 Bollywood movie directed and choreographed by Farah Khan. It stars Shah Rukh Khan and Deepika Padukone in the lead roles while Shreyas Talpade, Arjun Rampal, and Kirron Kher feature in supporting roles. Arjun Rampal is the antagonist in the movie. This is the Bollywood debut of Deepika Padukone. This movie was released on November 9, 2007, and was a blockbuster. More than forty-two well-known Bollywood stars appear in the course of the movie, thirty-one of them (not including the stars of the movie) in one song alone. The song "Deewangi Deewangi" is also notable for that reason.
|
|||||
correct_starring_00069
|
FactBench
|
3
| 88 |
https://www.vox.com/culture/23301617/movie-titles-chapters-nope
|
en
|
Movie chapter titles are everywhere. What’s up with that?
|
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[] |
[] |
[
""
] | null |
[
"Alissa Wilkinson"
] |
2022-08-12T12:00:00+00:00
|
From Nope to The Worst Person in the World, the intertitle is back — but with a twist.
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en
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/static-assets/icons/favicon.ico
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Vox
|
https://www.vox.com/culture/23301617/movie-titles-chapters-nope
|
Welcome to Noticed, Vox’s cultural trend column. You know that thing you’ve been seeing all over the place? Allow us to explain it.
What it is: Movies with “chapter titles” — text appearing by itself, rather than over images, throughout the film, between scenes. They break the film into segments and give each segment a name.
Where it is: They’re everywhere, but lately they pop up mostly (though not entirely) in prestige, artsy movies. Nope, The Power of the Dog, The French Dispatch, The Northman, The Last Duel, The Green Knight, Not Okay, and The Worst Person in the World all use intertitles between the movie’s chapters, and that list is by no means comprehensive.
Why you’re seeing it everywhere: The shortest answer to why we’re seeing it so frequently might have to do with poetry. But for the real answer, we have to go back in time.
Once upon a time, back before they made noise, you had to read a lot of text to watch a movie. If language or literacy stood in the way, you’d still get the gist of it — a pianist in the theater might help, plus plenty of context clues. But in between scenes, or even just shots, text appearing on the screen (let’s call them “intertitles”) would describe what was going on. A character’s mouth would move, and then intertitles would come up, telling you what she just said.
When silent films started to give way to sound in the late 1920s, those functional intertitles were no longer required to fill in dialogue, though they were still used to provide context. For instance, the 1930 Western The Big Trail, John Wayne’s first starring role, uses sound. But titles throughout aim to tell you what’s on the minds of the people in the scene: “Prairie schooners rolling west. Praying for peace — but ready for battle.” Or: “They have not turned back, those who died; they stay, and yet they go forward. Their spirit leads.” Not strictly necessary, but meant to be illuminating.
Now, if you see a movie with functional contextual intertitles, it’s a self-conscious choice on the part of the filmmaker, an aesthetic affectation that can be skillfully deployed or, in more amateurish hands, just sort of silly.
In recent decades, the intertitle is back, with a twist. Modern intertitles are rarely intended to purely inform. They’re performative, self-conscious, and evocative. They direct your attention or create tension.
It’s easy to attribute these to directors with high aspirations, who wish to make their films feel “literary,” and default to chapters to evoke a book. (Some of these, including The Power of the Dog and The Green Knight, are indeed adaptations of books.) That answer seems plausible, but a little simplistic — especially since most books have dozens of chapters and movies typically have far fewer, and also because I don’t really know of any directors who go around secretly wanting their movie to be a novel.
But there are better answers.
Though it never fully went away (nothing ever does in Hollywood), most people remember the intertitle roaring back to life with Pulp Fiction, Quentin Tarantino’s 1994 breakout, which breaks up its non-linear narrative with slightly cryptic text headings, creating chapters:
It’s easy to see how these are different from old-timey intertitles. They aren’t telling you what a character said. But they’re also not giving context or telling you how to interpret what you’re watching. They don’t add information, exactly — they point you at information that’s coming: a character, a symbol. Now, when a gold watch shows up, you’ll sit up a little straighter.
This is a smart way to use chapter titles: as a way to briefly pull you out of the story and redirect your attention in a manner fruitful for the mood the filmmaker’s trying to build. For instance, consider how Stanley Kubrick uses them in The Shining, his seminal 1980 horror film. The Stephen King novel on which the movie is based has chapter titles, and they’re mostly descriptive: “The Interview,” “Phonebooth,” and so on. In the movie, the intertitles instead demarcate the passage of time in a way that starts to feel eerie and erratic, in a way that writer Roger Luckhurst describes as “telescop[ing] time and tighten[ing] the screw.” First it’s “A Month Later,” then “Tuesday,” then “Saturday, then “Wednesday,” “Monday, “4pm.” At first glance these just tell us that time is passing, but they’re doing so much more, making us feel like we’re counting down to something ominous and terrifying.
In this way, the intertitles become part of the story, an added layer of intrigue to fold into the whole. And many directors have used them this way before and after Tarantino and Kubrick, from Wong Kar Wai and Lars Von Trier to both Andersons, Wes and Paul Thomas. They show up in everything from Moonlight to Monty Python and the Holy Grail. They’re by no means a Hollywood affectation; directors from all over the world have used them to tell their stories.
And their redirection of attention can bend toward various ends. In The Worst Person in the World, for instance, there are 12 “chapters” with titles like “Julie’s Narcissistic Circus” and “Bad Timing” and “Epilogue.” The effect is that the film feels like a series of linked short stories about the same character, Julie. And because the movie is, in essence, about deciding to be the author of your own story, the intertitles contribute to the overall form.
Or there are the intertitles of The Northman, which, on first blush, seem like your standard info-giving titles — “Some Years Later,” “Land of the Rus,” and so on. Yet The Northman is designed to feel like a legend floating back through the mists of time to us, without feints toward the modern. Thus the intertitles are rendered in Norse runes, and they feel like a nod to old theatrical traditions, as if we’re watching an opera or some very old form of folk theater, rather than a movie. They beckon us to forget every action blockbuster we’ve seen and let ourselves be taken back to a pre-modern age.
Perhaps the most surprising set of intertitles appear in Nope, Jordan Peele’s newest, which crosses horror and alien sci-fi with elements of Westerns. The intertitles break the movie into chapters, each of which gets the name of a creature — a horse, or a chimpanzee, or a ... well, I won’t give it away — that is a key part of the action. None of the titles are named for humans, which is in part meant to direct your attention toward that non-human character when they appear on screen.
But Nope is also in part about a very early moving picture, created by Eadweard Muybridge in 1878, and the descendants of the Black jockey who rides the horse. History has forgotten the name of the human rider, but remembered the name of the horse (Annie G.); Nope’s chapter titles echo that sobering historical fact.
These kinds of intertitles are less about narrating the action and more about creating an effect. Poets are skilled at titling their work, often with the aim of selecting a title that expands the meaning of the poem in some way: adding an entendre, giving you something to look for, telling you that something is coming in the poem so that you’re holding your breath waiting for it. Novel chapter headings often do the same thing, signifying what you’re waiting for as you read. Modern intertitles, used to set apart chapters, are similar. Since sound and modern viewing habits (you understand jumps in time) make them unnecessary for literally parsing the action, they’re placed there on purpose by the filmmaker, who has a reason in mind.
All of these examples point to something interesting: Intertitles that break a film into chapters help remind you that you’re watching a film. They self-consciously interrupt the artifice of realism or authenticity, the illusion that a movie can spin that makes you feel, for just a moment, like you’re living in medieval Europe or spying on your friend Julie’s life. Suddenly you’re not watching images; you’re reading text, and that reminds you that this movie is something crafted by an artist who intends for you to have a specific rhythmic emotional experience. It’s a way of making you see the movie anew.
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correct_starring_00069
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FactBench
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1
| 29 |
https://www.bollywoodhungama.com/movie/om-shanti-om/cast/
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en
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Om Shanti Om Movie Star Cast
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[
"Bollywood Hungama"
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2024-07-01T11:44:03+05:30
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Om Shanti Om Movie Release Date - Check out complete Om Shanti Om movie cast, review and crew list. Know more Om Shanti Om trailer, release date, Om Shanti Om movie review, box office collection, Om Shanti Om actors, actress, directors, writers, producers and other movie crew. Also stay updated on Om Shanti Om latest news, videos, movies, songs and much more only at Bollywood Hungama
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en
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Bollywood Hungama
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https://www.bollywoodhungama.com/movie/om-shanti-om/cast/
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Frequently Asked Questions
Q: What is the release date of Om Shanti Om?
A: The release date of Om Shanti Om is 09 November 2007.
Q: Who are the actors in Om Shanti Om?
A: The starcast of the Om Shanti Om includes Deepika Padukone, Shah Rukh Khan.
Q: Who is the director of Om Shanti Om?
A: Om Shanti Om has been directed by Farah Khan.
Q: Who is the producer of Om Shanti Om?
A: Om Shanti Om has been produced by Gauri Khan.
Q: What is Genre of Om Shanti Om?
A: Om Shanti Om belongs to the genre Comedy.
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https://www.tiktok.com/discover/title-of-the-movie-pls
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en
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Make Your Day
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FactBench
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0
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https://indiancinema.sites.uiowa.edu/om-shanti-om
|
en
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Om Shanti Om
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https://indiancinema.sites.uiowa.edu/profiles/custom/sitenow/assets/favicon.ico
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https://indiancinema.sites.uiowa.edu/profiles/custom/sitenow/assets/favicon.ico
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Indian Cinema - The University of Iowa
|
https://indiancinema.sites.uiowa.edu/om-shanti-om
|
On the level of narrative, OSO is a story of betrayal, murder, and revenge featuring a reincarnated hero. Merely to say this, in the Bombay cinematic context, immediately brings to mind (at least) two watershed predecessors: 1958’s MADHUMATI, starring Dilip Kumar and Vyjayanthimala, the most commercially successful film of the great Bengali director Bimal Roy; and 1980’s KARZ, with Rishi Kapoor and Simi Grewal, one of the biggest hits of Subhash Ghai; indeed, both films are lovingly referenced. The latter was clearly a key text for director Khan as a youngster, and OSO opens with an imaginary and digitally-tweaked recreation of the shooting of one of its most celebrated musical numbers: the disco extravaganza “Mere umar ke” (“O youths of my generation!”) performed by silver-lamé suited Rishi Kapoor and a bevy of item girls atop a giant rotating 33-rpm record, being filmed by director Subhash Ghai (in a Ghai-like cameo as himself), and with both Farah and Shah Rukh placed among the on-set crowd of adoring fan-extras singing along with the song’s chorus (which is, of course, the mantra-phrase “Om shanti om”), and then dissing each other about the unlikelihood of one day becoming, respectively, a director and a star—and all this, mind you, in a five-minute teaser-plus-credit sequence. (Despite the Ghai tribute here, the film confirms that director Khan’s work so far may fit best in the cinematic lineage of the great Manmohan Desai, and, as with one of his frenetic multi-starrers, you are well advised not to blink during OSO’s opening sequence —or thereafter.)
The theme of the recurrent recycling of lives and storylines—a reality of the modern film industry that echoes Indian metaphysics and folk narrative—continues, and we will soon find our principal characters involved in shooting a spectacular movie titled “Om Shanti Om,” a drama involving rebirth, the production of which will be aborted and then resumed three decades later by the reincarnation of one of them. Given that the duplicate hero is named, in both births, Om, and is in love with/haunted by a single heroine named Shanti, the title formula acquires yet another layer of meaning.
Hero number one is Om Prakash Makhija (Shahrukh Khan), a peppy, film-smitten “junior artist” (bit player or extra) in a late-‘70s film factory called “RC Studios,” the ostensible site of the soundstage location for the opening KARZ shoot. But the allusion, of course, is to Raj Kapoor’s “RK Studios” of two decades earlier, and its campus is a wildly nostalgic evocation of the long-dead studio era in Bombay cinema, with fountains, gardens, and gorgeously-lit art-deco buildings and statuary: a pastel-tinted revivification of the “Ajanta Studios” of Guru Dutt’s KAAGAZ KE PHOOL (1959).
Om and his indefatigable buddy Pappu (the charming Shreyas Talpade) wander blissfully through this theme-park in polyester-mod attire (Om’s includes a Desai-like pendant of Hindu, Muslim, and Christian talismans), appearing as extras in parodied filmic scenes, while dreaming of stardom and, equally improbably, of a match-up for Om with his fantasied “girlfriend,” the starlet Shanti Priya (radiantly incarnated by newcomer Deepika Padukone, albeit this successful fashion model is a good ten kilos too light for a ‘70s heroine), and interacting-cum-overacting with Om’s adoring “junior-artiste” mom (Kirron Kher), who has never quite recovered from her failure to secure the role of Anarkali in MUGHAL-E-AZAM (1960). Om’s dreams are stymied, Pappu feels, by his awkward surname (makhi means “housefly” in Hindi) and he urges him to assume the moniker “Kapoor,” like that of their idol, the stocky and bouffant-coifed Rajesh Kapoor (Jawed Sheikh).
But Om’s fortunes take a turn when he and Pappu, doubly impersonating Manoj Kumar (who briefly protested this satire of his patriotism and penchant for hiding his face behind one raised hand!), crash the premiere of Shanti’s new film Dreamy Girl. Becoming entangled in her diaphanous dupatta, Om gets to gaze close-up at his beloved to the accompaniment of the lovely ballad "Ajab si" (“In your eyes, there’s a strange magic”). This is soon followed by the film-within-a-filmsong "Dhoom taana," ostensibly from Dreamy Girl, but in fact a tour-de-force of period-parodying choreography and costumes, glittering sets, and digital effects that seamlessly pair Shanti with the appropriately youthful Sunil Dutt, Rajesh Khanna, and Jeetendra—whose place, in each sequence, is then assumed in fantasy by the spectatorial Om.
And when he subsequently saves Shanti from an out-of-control haystack conflagration during an outdoor shoot (recapitulating Sunil Dutt’s reputed rescue of Nargis on Mehboob Khan’s MOTHER INDIA set, which led to their love and later marriage), and then convinces her that he is a star of Tamil cinema (via a hilarious sendup of a Rajnikant-style “western”), she favors him with an evening of her company: a dream date that he and Pappu mount on a soundstage to the accompaniment of the romantic "Main agar kahoon" (“If I say…”), offering up another lavish bouquet of cinematic quotations (including, to my eyes at least, Gene Kelly’s similar wooing of Debbie Reynolds in SINGIN’ IN THE RAIN).
Too soon, Om’s romantic hopes are shattered by the discovery, through an accidentally-overheard dressing-room conversation, that Shanti loves another: the dashing producer Mukesh Mehra (Arjun Rampal), an ambitious cad to whom she has unwisely given both her heart and her body, though he has kept their “marriage” a secret in order to pursue a more advantageous engagement to a film-financier’s daughter.
Mehra dreams of making “Om Shanti Om,” the most lavish Bombay talkie of all time, with a palatial set suggestive of the European baroque (and of Judge Raghunath’s mansion in AWARA), but when this is thwarted by Shanti’s revelation that she is pregnant with his child, the producer adopts the fiendish strategy of eliminating both her and the set of his now-doomed feature. In the truly breathtaking sequence that ends the first half of the film, Om tries heroically to save her, only to himself expire from multiple injuries—in the very hospital in which superstar Kapoor’s wife is simultaneously giving birth to a son. Amazingly, the Desai-like climactic collision of wildly improbable coincidence and high tragedy leaves both unscathed, and ready for more action “thirty years later,” after the Interval.
Now, the hapless Om Prakash has become superstar Om Kapoor, a.k.a. “O.K.,” the callow and self-centered scion of a film dynasty, ensconced in the very mansion outside which (in his former life) he delivered a mock Filmfare award-acceptance speech to a group of street urchins. His face looks the same, albeit with a less-greasy hairstyle, and his wrist tattoo of “om” has mysteriously endured as a shadowy burn scar.
His body, however, has morphed—as those of all Bombay heroes did beginning in the late ‘80s—into a Buff Hunk (a real physical transformation that reportedly took the forty-two-year old SRK six grueling weeks of training to effect). The results are shown off in the “item” song “Dard-e-disco” (“The pain of disco”), which O.K. insists on inserting as a “dream sequence” into the climax of a hokey melodrama in which he plays a blind and deaf cripple attending his beloved’s marriage to another man. Costumed by SRK-devotee and director Karan Johar, this pounding take on Bombay cinema’s recent fetishization of the male body is (like OSO in general) simultaneously hilarious parody and exemplary specimen-of-the-genre.
But like the “Om shanti om” song in KARZ, it also triggers the hero’s frightening flashbacks to his former life and death, which intensify when he attends a location shoot—for a cheesy superhero flick called “Mohabbat Man” (“Love-Man”)—in the burned-out ruins of RC Studios. The alternation of campy comedy and gathering drama continues through an amazing sendup of the Filmfare awards (complete with good-spirited cameos by Abhishek Bachchan and Akshay Kumar, spoofing themselves), at which O.K. wins “Best Actor,” followed by a celebrity bash that (with thirty-one real stars in boogeying attendance during the wildly-danceable song "Deewangi deewangi" [“craziness”], with another reprised chorus of “om shanti om”) considerably outdoes Manmohan Desai’s similar party scene in NASEEB.
Yet this “item,” too (which drove Indian theater audiences into a frenzy of cheering as each new star appeared), smoothly returns to the developing plot, with the sinister entrance of Mukesh Mehra, now gray-haired and foreign-returned (after a successful career as a producer in that Other big film industry) and eager to undertake Om’s next project. The hero recognizes his and Shanti’s nemesis, and soon finds his way back to Mother Makhija’s flat, to reunite with her and with Pappu; Kirron Kher’s teary performance here naturally evokes Durga Khote’s in KARZ, as a seemingly demented old woman who has clung for decades to the belief that her long-dead son will one day return.
It remains to bring the villain to justice…but how? The evidence of a reincarnated witness will hardly hold up in court! Om and Pappu contrive a scheme that requires convincing the producer to bankroll a revival of the Om Shanti Om project, complete with a rebuilt set in the blackened studio ruins, and Sandhya/“Sandy,” a clueless young thing from Bangalore, drafted to impersonate the ghost of Shanti.
The dazzling final song, "Daastaan-e-om shanti om" (“The saga of Om Shanti Om”), in which the hero recreates Shanti’s betrayal and murder, occurs on the set’s grand staircase, blending melody and lyrics that skillfully reference those of the comparable song sequence in KARZ ("Ek haseena thi," “There was a young beauty”) along with visuals that seem to nod at Andrew Lloyd Weber’s Phantom of the Opera. The surprising denouement that follows, however, amply displays the director’s own karz (“debt”) to the great Bimal Roy and his haunting MADHUMATI.
OSO as narrative and spectacle is such engrossing entertainment that its pure pleasure seemed, on my first few viewings, to overwhelm any critical reflection, yet some intriguing subtexts have since come to mind. Farah Khan’s rise from innovative choreographer (e.g., of DIL SE and numerous other films, and of the London and Broadway musical “Bombay Dreams”) to leading director, has been brokered by her friend Shah Rukh Khan, whose production company financed both her films. Their close relationship is palpable in the film’s loving treatment of its star, and one may even detect a hint, in the respective incarnations of Om, of SRK’s own biography: his metamorphosis from a Delhi-based unknown, lacking a film-dynasty pedigree, to King Khan, the dominant male star of Bombay since 1995.
Then, too, the film’s insider parody of the Hindi film industry, densely intertextual and deliciously smart, stands in stark contrast to the cheap-shot satire of a film like Deepa Mehta’s HOLLYWOOD-BOLLYWOOD (2002), which panders to every Western journalistic cliché about the alleged “mindless dream factories” of Bombay—the same sort of condescension exemplified by the odious chapter on the industry in Pico Iyer’s pop-travelogue Video Night in Kathmandu (1989). Instead, OSO affectionately celebrates the energy and heartbeat of the cinema that billions love, and its principals manage to combine a kind ofdesi innocence with a plucky pride. Everything about the film exudes confidence: Farah Khan’s in her director’s role (ironically exemplified by her ongoing gags about the irrelevance of directors in star-driven Bombay, even as she crafts what is, from start to finish, quintessentially a director’s film, with every frame carefully filled with remarkable details), and the industry’s confidence in itself as purveyor of glossy and globally-consumed entertainment that occasionally, as here, rises to greatness. It is no secret that most people in the Bombay film business despise the media label “Bollywood,” with its suggestion of a derivative phenomenon, and SRK has publicly stated this (in an interview in Nasreen Munni Kabir’s documentary, The Inner World of Shah Rukh Khan). Yet the term has now acquired too much global brand recognition to be altogether avoided. And so it is a particularly nice moment in OSO when the slimy Mukesh Mehra, power-lunching with Om Kapoor in a restaurant looking out at the Bombay skyline, responds to the star’s calling him “Mukesh” by saying, “Call me Mike. Everyone in Hollywood does.” Then, when “Mike” directs a remark to “Om,” the latter ripostes, “Call me ‘O.K.’ Everyone in …Bollywood… does”—with a slight pause that seems to both savor and distance this label—which is here strategically deployed in a verbal duel with a traitor who has abandoned both Shanti and the Motherland. Vah! How else to end than with: Jai Hind! and Jai Farah Khan!
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They said the thing! 🫵 It's always satisfying when the name of a movie is in the actual movie, so here are some of cinema's best title drops from A-Z
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They said the thing! 🫵 It's always satisfying when the name of a movie is in the actual movie, so here are some of cinema's best title drops from A-Z
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https://www.facebook.com/GameSpot/videos/every-time-movies-say-the-title-in-the-movie-title-drops/189955824190113/
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https://timesofindia.indiatimes.com/entertainment/hindi/movie-details/om-shanti-om/movieshow/61305298.cms
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Om Shanti Om Movie: Showtimes, Review, Songs, Trailer, Posters, News & Videos
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[
"Om Shanti Om",
"Om Shanti Om reviews",
"Om Shanti Om showtimes",
"Om Shanti Om trailers"
] | null |
[] |
2007-11-09T00:00:00
|
Om Shanti Om Movie Review & Showtimes: Find details of Om Shanti Om along with its showtimes, movie review, trailer, teaser, full video songs, showtimes and cast. Shah Rukh Khan, Deepika Padukone, Arjun Rampal, Shreyas Talpade, Kirron Kher, Satish Shah, Javed Sheikh,Bindu,Yuvika Chaudhary are playing lead roles in Om Shanti Om.
|
https://timesofindia.indiatimes.com/icons/etfavicon.ico
|
https://timesofindia.indiatimes.com/entertainment/hindi/movie-details/om-shanti-om/movieshow/61305298.cms
|
NTR Jr. to make a ferocious start to his WAR 2 second schedule on August 18 - Exclusive
Riteish Deshmukh is as irritating as a flickering tubelight: 'Ved' actor recalls the worse criticism he has received - Exclusive VIDEO
When Ananya Panday shared pics showing her happiest moments from beach and sets
When Kareena Kapoor clarified the pronunciation of sister Karisma Kapoor’s name “Just call her Lolo”
Janhvi Kapoor REACTS to her 'Ambedkar Vs Gandhi Debate' comment: I know so little, should be ashamed
Aditi Rao Hydari paints the town red in an elegant crimson red co-ord set
Nayanthara’s diet for a healthy and happy life
Viral Pics of Marathi Stars From The Week
|
||||||
correct_starring_00069
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FactBench
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2
| 66 |
https://variety.com/lists/kingdom-of-the-planet-of-the-apes-cast-character-guide/
|
en
|
‘Kingdom of the Planet of the Apes’ Cast Breakdown: See the Actors Who Brought the New Apes to Life Through Motion Capture
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[
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[
"Zack Sharf"
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2024-05-10T21:05:00+00:00
|
From Owen Teague as Noa to Kevin Durand as Proximus Caesar, there's a real human being behind every ape in "Kingdom of the Planet of the Apes."
|
en
|
Variety
|
https://variety.com/lists/kingdom-of-the-planet-of-the-apes-cast-character-guide/
|
Owen Teague is best known among moviegoers for playing Patrick Hockstetter in Warner Bros.’ horror franchise films “It” and “It Chapter Two.” He makes his Hollywood leading man debut via motion capture as “Kingdom of the Planet of the Apes” protagonist Noa, a young chimpanzee who sets out to bring his friends and family home when his colony is pillaged and destroyed.
“We had a lot of pressure on us to find the person who can carry this trilogy,” director Wes Ball previously told Variety. “We needed someone who is kind of innocent and naive but can also be tough and strong. It was some kind of miracle that we met Owen.”
Teague spent days at a Florida ape sanctuary in order to prepare for the role. That’s where he got up close and personal with primates — well, except for the orangutans. “Man, they smell terrible,” he told Variety. “Our evolutionary predecessors were stinky guys.”
Even if you don’t know Kevin Durand by name, you are sure to have seen him on screen at some point thanks to his enduring career as a genre character actor in “Lost,” “The Strain,” “X-Men Origins: Wolverine,” “Legion” and more. He stars in “Kingdom of the Planet of the Apes” as Proximus Caesar, a villainous bonobo monarch who rules over a clan of coastal apes and is hellbent on learning the ways of humans in order to maintain the dominance of apes around the world. Caesar is a despot who took his name from the last trilogy’s Caesar (Andy Serkis), as it has come to be associated with a godlike leader.
Peter Macon is best known for playing Lt. Commander Bortus in Seth MacFarlane’s Fox/Hulu television series “The Orville,” and he brings much needed warmth and humanity to “Kingdom of the Planet of the Apes” as the supporting character Raka. An orangutan who knowledge of the past, Raka befriends Noa on his journey to find his lost colony and serves as a mentor to him. Raka is enlightened in all the teachings of Caesar (Andy Serkis) and advocates for a stronger world where apes and humans can co-exist together.
Australian actor Travis Jeffery stars as Anaya, a chimpanzee who is one of Noa’s close friends. The film begins with Noa and his friends Anaya and Soona hunting for eagle eggs as they will soon take part in one of their colony’s most sacred traditions in which they are bonded with a baby eagle. Anaya is one of Noa’s loved ones who is captured and imprisoned by Proximus Caesar, which sets Noa off on a mission to rescue him.
Some moviegoers might recognize the name Neil Sandilands as he starred as Titus on the popular The CW dystopian drama series “The 100.” He has a supporting role in “Kingdom of the Planet of the Apes” as Koro, Noa’s intimidating father who is the leader of their colony. Koro is a master of the eagles, and every ape in his colony is raised to bond with an eagle.
Australian actor Eka Darville has one of the more memorable supporting roles in “Kingdom of the Planet of the Apes” as Silva, a 400-pound silverback gorilla who is Proximus Caesar’s henchman and hunts apes to serve under his leader.
Speaking to Variety at the film’s premiere, Elka said the “highlight of the entire” motion capture process was the freedom to escape himself and let his character completely take over.
“We spent a lot of time just embodying these beings and these creatures, and that was the most transformative thing I’ve ever done as an actor,” Darville said. “You really get to be something else. I think we all crave that a little bit as actors.”
English actress Freya Allan broke out among genre fans with her role as Princess Cirilla of Cintra in the popular Netflix fantasy series “The Witcher.” Now she’s making her Hollywood leading lady debut as Mae in “Kingdom of the Planet of the Apes.” Mae is one of the few human characters audiences see in the new movie. She is introduced as a feral young woman stalking Noa for food after her human clan is murdered, leaving her alone and forced to fend for herself. But Mae is hiding some secrets that could end up leading to humanity’s chance to rise again.
William H. Macy shows up in “Kingdom of the Planet of the Apes” in a crucial supporting role. He plays Trevathan, a human who has become an ally and mentor to Proximus Caesar. Trevathan has all but given up on his allegiance to humans and has accepted a world in which apes are the dominant rulers. He lives a content life in Proximus Caesar’s kingdom and educates the despot on all things humans, from literature to technology. Trevathan’s ideology puts him at odds with Mae, who would very much like to see humans return to their dominant place on the social chain.
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correct_starring_00069
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2
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https://www.scmp.com/lifestyle/k-pop/k-drama/article/3270291/who-go-min-si-sweet-home-star-also-known-acting-netflix-k-drama-love-alarm
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en
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Who is Go Min-si, the Sweet Home star also known for acting in Netflix K-drama Love Alarm?
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"Gwangju Massacre"
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[
"Pierce Conran"
] |
2024-07-12T19:31:34+08:00
|
Korean actress Go Min-si, seen in Sweet Home on Netflix, is a rising K-drama star. We recall her roles, consider her versatility and look at what’s next.
|
en
|
https://assets-v2.i-scmp.com/production/favicon.ico
|
South China Morning Post
|
https://www.scmp.com/lifestyle/k-pop/k-drama/article/3270291/who-go-min-si-sweet-home-star-also-known-acting-netflix-k-drama-love-alarm
|
But her true passion has always been acting.
Why we love her
A native of Daejeon in central South Korea, Go, who prefers to spell her name in English as “Go” instead of “Ko” to highlight the fact that she is a go-getter, is a particularly determined performer who dreamed of being an actress from a young age but had a hard time getting opportunities.
Two years after graduating from high school she left a career in wedding planning against her parents’ wishes and moved to Seoul, where she worked odd jobs and took acting classes. She did not have an acting degree and endured rejection after rejection.
Finally, after appearing in the third season of the web series 72 Seconds and getting a part in a music video for K-pop idol Thunder’s song “Sign”, she was signed by Mystic Story (formerly Mystic Entertainment) and her career took off.
Go is a versatile performer who, despite becoming a star thanks to her small-screen work, remains very active in cinema, her first passion.
While many big names carefully craft their personas, appearing in a limited range of roles, Go has been unafraid to experiment with formats and performance styles, and tends to play both lead roles and supporting parts.
The star-making roles
After a small part in the film version of Cheese in the Trap, Go was cast in the action-horror The Witch: Part 1 – The Subversion as the best friend of Kim Da-mi’s lead character. Go’s bubbly turn drew the attention of the industry.
A year later, and in the same month in which she appeared in the independence-fighter epic The Battle: Roar to Victory, Go turned heads with a major supporting role in her Netflix debut, the fantasy romance Love Alarm.
The iconic parts
Go picked up a best new actress prize at the SBS Drama Awards for her part in Secret Boutique. But it was her next major role, In Netflix’s runaway monster hit Sweet Home, that cemented her stardom at home and abroad.
Go plays Lee Eun-yu, the adoptive sister of Lee Do-hyun’s character and a ballerina who is forced to give up dancing following an injury, shortly before a monster apocalypse traps them in their dilapidated apartment building.
Go was able to reprise her role in the second season, which was not as well received as the first.
She next appeared, again alongside Lee Do-hyun, in Youth of May, a period romance set against the backdrop of the 1980 Gwangju Massacre.
Though not hugely successful upon its launch, the series gained a loyal following and got good ratings.
In the summer of 2023, Go showed her comic chops in Ryoo Seung-wan’s 1970s-set crime movie Smugglers.
Go steals the show as the young owner of an old-school countryside coffee shop, who helps a motley crew of haenyeo (female seafood divers) plan a heist.
The role landed her the best new actress award at the Blue Dragon Film Awards.
The unheralded performances
Tomorrow’s turns
Following Sweet Home season 3, which will be released on July 19, Go has another Netflix original lined up – thriller series The Frog, in which she appears alongside Kim Yun-seok, Yoon Gye-sang and Lee Jung-eun. It is scheduled for release later in 2024.
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correct_starring_00069
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FactBench
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3
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https://www.bungie.net/en/Forums/Post/223871940
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en
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Add the letter R to any movie title > OffTopic
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Bungie.net is the Internet home for Bungie, the developer of Destiny, Halo, Myth, Oni, and Marathon, and the only place with official Bungie info straight from the developers.
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en
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/favicon.png
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Bungie.net
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JavaScript is required to use Bungie.net
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||||
correct_starring_00069
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FactBench
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1
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https://www.britannica.com/topic/Om-Shanti-Om
|
en
|
Om Shanti Om | film by Khan [2007]
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Other articles where Om Shanti Om is discussed: Deepika Padukone: Actress and producer: …a Hindi film actress in Om Shanti Om. The slightly offbeat Finding Fanny (2014) showed her in the role of a young widow who sets off on a road trip to help a friend. Padukone starred in Piku (2015) opposite the ageless Amitabh Bacchan, playing a daughter who tries to…
|
en
|
/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/topic/Om-Shanti-Om
|
In Deepika Padukone: Actress and producer
…a Hindi film actress in Om Shanti Om. The slightly offbeat Finding Fanny (2014) showed her in the role of a young widow who sets off on a road trip to help a friend. Padukone starred in Piku (2015) opposite the ageless Amitabh Bacchan, playing a daughter who tries to…
Read More
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||||
correct_starring_00069
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FactBench
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0
| 28 |
https://www.news18.com/news/movies/kirron-kher-turns-70-top-5-powerful-performances-of-the-versatile-actress-5364433.html
|
en
|
Kirron Kher Turns 70: Top 5 Powerful Performances of the Versatile Actress
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[
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2022-06-14T07:35:10+05:30
|
The actress has delivered some remarkable performances over the years and has cemented her image as the loud Punjabi mother in the film industry
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en
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https://images.news18.com/static_news18/pix/ibnhome/news18/favicon.ico
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News18
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https://www.news18.com/news/movies/kirron-kher-turns-70-top-5-powerful-performances-of-the-versatile-actress-5364433.html
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Curated By :
Last Updated: June 14, 2022, 07:35 IST
Actress and politician Kirron Kher with husband actor Anupam Kher. (Image: Instagram)
The actress has delivered some remarkable performances over the years and has cemented her image as the loud Punjabi mother in the film industry
Follow us:
HAPPY BIRTHDAY KIRRON KHER: Actress and politician Kirron Kher turned 70 on Tuesday. The actress has delivered some remarkable performances over the years and has cemented her image as the loud Punjabi mother in the film industry. However, that is not the only role Kirron has aced. Let us take a look at some of her unforgettable performances.
Khamosh Pani (2004)Directed by Pakistani filmmaker Sabiha Sumar, Khamosh Pani is a riveting tale of a widowed woman and her life in post-partition Pakistan. Kirron essayed the role of Ayesha, a middle-aged woman who teaches the Quran in a nearby school. Ayesha grew up in a Sikh family and was left in Pakistan during the partition. She married a Muslim and had a son. Throughout her life in Pakistan, she fought fundamentalism, only to realise that her son had fallen prey to it.
Devdas (2002)Kirron’s performance as Paro’s mother, Sumitra, remains notable. Directed by Sanjay Leela Bhansali, the multi-starrer magnum opus, saw Kirron play the role of a proud and self-respecting mother, who could not see her daughter fall into the trap of haughty rich neighbours.
Dostana (2008)Introducing the audience to a hypothetical gay love story, this Tarun Mansukhani directorial was memorable for more than one reason. Kirron’s role as a typical Indian mother whose dream is to see her son get married is sublime and hilarious. Her performance as the hyperbolic lamenting mother who has realised that her son is homosexual, is one that resonated with many Indian mothers.
Om Shanti Om (2006)Kirron plays the role of the super dramatic mother of a junior artist in the hyper-competitive Hindi film industry. Directed by Farah Khan, Om Shanti Om starred Shah Rukh Khan as the struggling artist in the 70s, and as a superstar reborn with a silver spoon. Kirron channels the emotions of a dramatic mother who only wants to see her son’s success and happiness.
Bariwali (2000)Kirron won the National Award for Best Actress for her role in Rituparno Ghosh’s Bengali film. She played the role of a middle-aged woman Banalata who lets a filmmaker film his project in her house. During this process, she falls in love with the director, however, Banalata is heartbroken when her love is not reciprocated. The film also starred Roopa Ganguly and Chiranjeet Chakraborty.
Read all the Latest News , Breaking News , watch Top Videos and Live TV here.
About the Author
Entertainment Bureau
Entertainment Bureau brings you all updates from the world of entertainment -- breaking news, Twitter trends, features, movie reviews, exclusive inter ...Read More
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correct_starring_00069
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FactBench
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1
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https://dominicgwee.wordpress.com/2018/05/28/om-shanti-om-2007-2/
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Asian Cinemas – Film Journals
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2018-05-28T00:00:00
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Director: Farah Khan Introduction Om Shanti Om (OSO) is a movie that spans a massive amount of genres and themes. It is coined as part of the ‘masala’ genre, which is a melting pot of comedy, romance, and musical numbers with dancing and singing, typical of Bollywood films. The film uses parody of classic…
|
en
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Asian Cinemas - Film Journals
|
https://dominicgwee.wordpress.com/2018/05/28/om-shanti-om-2007-2/
|
Director: Farah Khan
Introduction
Om Shanti Om (OSO) is a movie that spans a massive amount of genres and themes. It is coined as part of the ‘masala’ genre, which is a melting pot of comedy, romance, and musical numbers with dancing and singing, typical of Bollywood films.
The film uses parody of classic Bollywood films and scenes dating from the 1950s to late 90s. A famous scene from Mother India (1957). was referenced of the rescuing of the heroine from a burning field. In OSO, Om rescues Shanti Priya when a fire goes out of control on the set which they were filming. Dream Girl (1977) is referenced as well in the large billboard that Om is ‘talking’ to Shanti early on in the film.
OSO is Farah Khan’s nod to the Hindi films she grew up loving mirroring those themes that I will cover in this reflection.
Revenge
Revenge is a common Bollywood theme since the 1980s, while betrayal and murder were prevalent in the 60s and 70s. OSO, on the other hand, covered all three themes. OSO has incorporated all of those themes indirectly gave viewers a look at Bollywood’s history as mentioned earlier in my introduction. One can see the love for the Bollywood classics that Farah Khan has in the recreations of various themes. I thoroughly enjoyed the tacky Bollywood 1970s style action scenes that Om was filming as he fights with the “tiger”.
In Om Shanti Om, our villain, Mukesh, met his maker when the chandelier fell onto him. A point to note is that Shanti was buried alive in the ground under the same chandelier. The film made a concerted effort to send the message of revenge to the viewers with the location of his death. Furthermore, before Om Kapoor was able to kill Mukesh with his bare hands, the ghost of Shanti stopped him, saying “he’s destined to die, but not by you”. My interpretation is that as the movie emphasized on reincarnation, it is no surprise that karma plays an important part in Hindu beliefs. In this case, Mukesh received the karma he solely deserved dying at the hands of Shanti’s vengeful soul.
Reincarnation
OSO further plays on religious themes from Hinduism – Reincarnation or Samsara. In Samara, souls are considered eternal and they are constantly shifting through new bodies in their journey as they progress towards perfection to be in the ranks of the divine.
Om’s name appears as a symbol, ॐ, many times in the movie, it refers to the soul in Hindu religion. Om Prakash Makhija’s reincarnation into Om Kappoor’s body shows that Om’s soul has moved on after his tragic death to a new body into what he has always dreamed of; a famous actor.
Pappu’s mention of Om being unable to progress from a junior artist to a superstar was due to his name; ‘Makhi’ stood for housefly in Hindi. It can be noted that Om’s reincarnation after was to that of a tiny little housefly to a household name that he had always dreamed of becoming.
Romance
So in the film, Om Prakash harboured feelings for Shanti- unrequited at the beginning since they hadn’t met during then- and these feelings literally went beyond life and death- and logic. Why I say so is because after Prakash’s death and when his spirit gets transferred into Om Kapoor’s body, upon realizing who he was in his past life, Kapoor- or Prakash- schemed a comprehensive plan to get back at Mukesh for both his and Shanti’s death in their past life.
Prakash/Kapoor’s feelings for Shanti were symbolized poignantly by the snowglobe that Shanti showed Prakash during the first half of the film; which was shown later in the film to be pretty much intact from the fire that killed both Prakash and Shanti. This to me, signified that their love is able to withstand all sorts of adversity.
Remix!!!
Farah Khan’s background as a choreographer really shines through in the enchanting dance numbers and singing throughout the movie. True to the stereotype of Bollywood, plenty of singing and dancing is involved in OSO. Many meaningless dance numbers (cue badminton and yellow hard hat outfits) were included and were totally out of context, which was hilarious and confusing at the same time.
However, one poignant dance number was from the song, Dastaan E, where Khan tells the entire story of OSO in this musical number reminiscent of Phantom of the Opera. If only I knew this was the case I would not have sat through the movie for three hours and jumped straight to the musical item!
Revolution or Regression?
The portrayal of women in Om Shanti Om was based on the stereotype of women being weak and helpless. Shanti was a damsel in distress, while Om was her knight in shining armour. In fact, she was placed in the same situation twice. The first time she was trapped in the fire was during a set where the main actor backed out and refused to jump into the fire to save her – not following the script at all. Om, seeing how the love of his life was at risk, braved the flames to carry her out.
The second and final time was when Mukesh set the building on fire to kill her. Om attempted to save her again but failed. Instead of looking for alternative ways to escape, Shanti merely screamed for help both times. It is indeed an irony, for Om Shanti Om was directed by a female director, Farah Khan.
Final Thoughts
This being my virgin Bollywood film, OSO, despite its marathon three-hour length- typical in Bollywood- was a great introduction for me to Bollywood films. Bollywood films are so culturally and fundamentally different in its approaches to filmmaking that I felt the need to point out its introduction to me; as compared to other Asian genres and Hollywood films.
Farah Khan’s journey of the themes, historical scenes and references of iconic Bollywood scenes throughout OSO taught me a large amount of what makes Bollywood, Bollywood. I see the attraction that it holds especially so for the large Indian market who love music, dance and themes of love.
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correct_starring_00069
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FactBench
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1
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https://www.bollywoodlife.com/movies/om-shanti-om/
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Om Shanti Om - Film Cast, Release Date, Om Shanti Om Full Movie Download, Online MP3 Songs, HD Trailer
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Om Shanti Om - Find details of movie release date, film cast and crew of Om Shanti Om, news about Om Shanti Om full hd movie download, online mp3 songs pagalworld, Om Shanti Om trailer etc.
|
en
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https://www.bollywoodlife.com/movies/om-shanti-om/
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Om shanti om is a 2007 indian romantic drama thriller film directed and choreographed by farah khan. it stars shah rukh khan and debutant deepika padukone in the lead roles while arjun rampal, shreyas talpade, and kirron kher feature in supporting roles. more than forty-two well-known hindi movie stars appear in the course of the film, including thirty of them (not including the stars of the film) in one song alone.
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correct_starring_00069
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FactBench
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0
| 69 |
https://www.mensxp.com/tag/kirron-kher.html
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Kirron Kher: Articles, Photos, Videos & More
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It’s Nirupa Roy’s birthday today, and here is a lesser-known fact about this ‘Bollywood Mom’. Did you know Nirupa Roy played India’s first ‘Superman’ in 1960? Here are the details.
In an episode of Koffee With Karan in 2007, Shah Rukh Khan joked about feeling like a 'stalker uncle' in a scene with Deepika Padukone, while shooting for Om Shanti Om. Here's what he said.
Social media users are criticising veteran actress Kirron Kher for her ‘mujra’ remake on Karan Johar. People are calling her ‘rude’. Here’s all you need to know.
Netizens take to social media to slam India’s Got Talent judges Shilpa Shetty and Baadshah for allegedly disrespecting Miss Universe Harnaaz Sandhu after this video went viral of them being ‘cold’ to her.
Bollywood actor Shahid Kapoor rejected some big Bollywood movies like Rockstar, Rang De Basanti, Bang Bang, Shuddh Desi Romance, and Raanjhanaa. Shahid will be seen in his upcoming sports film Jersey.
In a behind the scenes video from the sets of India's Got Talent, Shilpa Shetty shared a rant of Kirron Kher. In her rant, she is reprimanding Badshah for causing a traffic jam because of his Lamborghini.
Bollywood movies have a reputation of minting out characters that are often problematic. Here are 5 toxic Bollywood moms that set terrible parenting standards.
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Bollywood's hit movie Om Shanti Om is the first-ever Hindi film to get its international musical as the film was remade into a Japanese musical titled Oumu Shanti Oumu. The stage version of the film was premiered in Osaka in the year 2017.
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For actors in Hollywood featuring in a Bollywood film is sometimes in their bucket list like in the case of Will Smith. In fact, there have been a tonne of Hollywood cameos in Bollywood films.
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After 'Dabangg' was adjudged the Best Popular Film, many cynics started questioning the aura surrounding the coveted National Awards stating that the Awards have started swaying the Bollywood way.
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https://www.bfi.org.uk/film/0a1f1238-d8a6-5d93-80a1-d86adf664820/om-shanti-om
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Om Shanti Om (2007)
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Farah Khanvi’s vacious romance features charming songs and superb choreography.
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BFI
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https://www.bfi.org.uk/film/0a1f1238-d8a6-5d93-80a1-d86adf664820/om-shanti-om
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This effervescent love story spans rebirths, parodies Bollywood and will leave you on a giddy high. Entertaining songs by composers Vishal Dadlani and Shekhar Ravjiani are elevated by superb choreography; the favourite ‘Deewangi Deewangi’ singalong song pays tribute to the who’s who of Bollywood. Farah Khan is one of the exceptional female directors worldwide who has found mainstream success, turning out massive box-office hits. Rarer still, she’s a successful choreographer-turned-director.
2007 India
Directed by
Farah Khan
Produced by
Gauri Khan
Written by
Mushtaq Shiekh, Farah Khan, Maya Puri
Featuring
Shah Rukh Khan, Arjun Rampal, Kiron Kher
Running time
169 minutes
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correct_starring_00069
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FactBench
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https://www.bbc.com/news/articles/cqe67p0gjm3o
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Buchanan's lead role in Netflix's The Imaginary
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] |
[] |
[] |
[
""
] | null |
[
"Jonathan Barnes"
] |
2024-07-11T08:21:38.371000+00:00
|
The schoolboy says it was an "amazing experience" to be involved in the production.
|
en
|
/bbcx/apple-touch-icon.png
|
https://www.bbc.com/news/articles/cqe67p0gjm3o
|
Young actor's lead role in new Netflix film
A teenage actor said he was excited by the release of a new animated film in which he voiced the lead character.
Louie Rudge-Buchanan, 14, of Eyke, Suffolk, has a starring role in The Imaginary, a feature-length fantasy movie from Japanese animation company Studio Ponoc which is now streaming on Netflix.
The student, who hoped to become a professional actor, provided the voice of an imaginary friend of a young girl in the film, which is directed by Yoshiyuki Momose who is known for his work with animation giants Studio Ghibli.
“It was an absolutely amazing experience and I really enjoyed it,” said Louie, a pupil at Farlingaye High School in Woodbridge.
The Imaginary, based on a children’s novel by A.F. Harrold, was released in Japan at the end of last year and rights to the English language version were secured by Netflix, which began streaming the film last week.
Louie, who has previously acted in a number of short films, recorded his lines at a studio in London last summer after being chosen for the role when his agent sent a voice recording to the producers.
“They had the screen with the film playing and it was quite tough because I had to match up my voice with the mouth movements because it was already pre-animated,” he said.
“I was doing it all on my own. Sometimes I'd be lucky to be doing a scene with the other actors talking.”
'Nerve-wracking'
The actor had a chance to see the finished film at a private screening in London last month, joined by fellow cast members and his parents James and Ellie.
“It was nerve-wracking but it was amazing to see me - well, not really me, but my voice - on the screen. It was probably one of the best feelings I will ever feel,” he said.
“It’s an amazing film, it’s an amazing story, everything about it is just amazing - the way it’s made, it’s hand-painted everything.”
In the film, Louie’s character Rudger joins his real-life friend, Amanda, on wild and wonderful adventures before being drawn into his own world of “imaginaries”.
Louie's mum said the similarity between her son's name and the lead character's was “a happy, strange coincidence”.
Film critics have given The Imaginary positive reviews.
The Daily Telegraph praised its “artistry” and “visionary spark” and The Guardian described it as “a moving and charming testament to the delights of dreaming”.
“My dream is to just keep it going, keep getting more roles, just keep building my career up,” said Louie.
|
|||||
correct_starring_00069
|
FactBench
|
0
| 29 |
https://in.pinterest.com/pin/473089135834030597/%3Famp_client_id%3DCLIENT_ID(_)%26mweb_unauth_id%3D%26amp_url%3Dhttps%253A%252F%252Fin.pinterest.com%252Famp%252Fpin%252F473089135834030597%252F%26from_amp_pin_page%3Dtrue
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] |
2015-05-23T20:02:13+00:00
|
Om Shanti Om - Shahrukh Khan ve Kirron Kher
|
en
|
Pinterest
|
https://es.pinterest.com/pin/295689531765830876/
| |||||||
correct_starring_00069
|
FactBench
|
1
| 65 |
https://www.filmfare.com/news/heres-how-deepika-padukone-got-her-first-film-om-shanti-om-23593.html
|
en
|
Here’s how Deepika Padukone got her first film: Om Shanti Om
|
[
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] |
[] |
[] |
[
"Deepika Padukone",
"Shah Rukh Khan",
"Om Shanti Om",
"Malaika Arora",
"Farah Khan",
"Wendwell Rodricks",
"Lakme Fashion Week"
] | null |
[
"Filmfare"
] |
2017-09-06T21:49:28+05:30
|
Malaika Arora recommended Deepika Padukone for the role
|
en
|
https://www.filmfare.com/news/heres-how-deepika-padukone-got-her-first-film-om-shanti-om-23593.html
|
Deepika Padukone has been on a rise and rise ever since her big debut in Om Shanti Om (2007) opposite superstar Shah Rukh Khan. 10 years later, Deepika Padukone is the undisputed queen of Bollywood, sitting on the numero uno position since the last four years.
But after all these years, here’s an interesting news from the past about how Deepika got her first ever break that too with the King himself, SRK. Reportedly, Deepika was a model and was then walking at the Lakme Fashion Week for the ace designer Wendell Rodricks.
Simultaneously on the other hand, the makers of Om Shanti Om were looking for a female lead and director Farah Khan asked Malaika Arora to suggest a new model to star opposite SRK. Malaika who was friends with Rodricks, got a suggestion from him to cast Deepika for the role.
Rodricks confirms the news, saying, “I showed a collection called Isadora at Lakmé Fashion Week...it was a game changer for Deepika. Director Farah Khan asked my friend Malaika to suggest a new model to star opposite Shah Rukh Khan for her new film. Om Shanti Om did not have a working title at the time. I suggested Deepika who was barely two years into modelling. I made her open the show and told Malaika that the first girl I was sending out was the one I recommend. Malaika liked her, conveyed the same to Farah and a screen test was done. The rest is history."
Well, that’s interesting isn’t it?
|
||||||
correct_starring_00069
|
FactBench
|
2
| 67 |
https://www.pinkvilla.com/entertainment/hollywood/who-is-malia-baker-exploring-life-and-career-of-the-descendants-the-rise-of-red-actress-1328360
|
en
|
Who Is Malia Baker? Exploring Life And Career Of The Descendants: The Rise of Red Actress
|
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"Disney",
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"Namrata Ganguly"
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2024-07-16T13:37:17+05:30
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China Anne McClain and Melanie Paxson reprise their roles of Uma and Fairy Godmother, respectively, from previous Descendants films.
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en
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PINKVILLA
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https://www.pinkvilla.com/entertainment/hollywood/who-is-malia-baker-exploring-life-and-career-of-the-descendants-the-rise-of-red-actress-1328360
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The latest Disney musical fantasy film, Descendants: The Rise of Red, premiered in theaters last weekend on July 12. Alongside the returning original cast members reprising their roles, the new ensemble cast, including Malia Baker, received acclaim from both critics and fans.
Malia Baker, a 17-year-old actress, portrays the character Chloe Charming in the film. Known for her role, she has been making waves in Hollywood with her performance.
Maria Baker’s early life and career
Born in Botswana, South Africa, Malia Baker's family relocated to Vancouver, Canada, where she was raised. While there isn't extensive information available about her family online, Baker mentioned in a recent interview with BET that she has a single mother and a younger sister.
Baker began her acting career with an uncredited role in a television movie. Her first credited roles include appearances in DJ Nash’s ABC drama A Million Little Things and The CW’s superhero series The Flash in 2019. The same year, she also appeared in Rod Serling’s anthology series The Twilight Zone, which premiered on CBS All Access.
However, her breakthrough came with the role of Mary Anne Spier in the first season of Netflix’s comedy-drama The Baby-Sitters Club in 2020, which garnered attention for her. She continued in the role into the second season. Following this success, she appeared in the second revival of Nickelodeon's Are You Afraid of the Dark? Season 2, the Lifetime TV movie Caught in His Web, and the Miramax dramedy Harvest Moon.
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Maria Baker’s role in Descendants: The Rise of Red
In the latest Disney movie, Baker plays the role of the teenage daughter of Cinderella, who embarks on a magical time travel journey to save her mother's life in the present day. Baker admitted to PEOPLE that portraying this role initially felt daunting for her. Not only was she portraying the on-screen daughter of one of her musical influences, but she was also joining the iconic Descendants franchise, of which she is a "huge fan."
“So coming into this, it was so daunting of just the idea of all these iconic characters and all these OG cast members that I'm like, ‘Oh. Now, I have to be one of y’all. That's a really big task,’” she said. “But I think the one thing that I've reminded myself is I'm not walking in their footsteps. I'm watching their footsteps go and admiring from afar, and if I'm even a couple steps behind them, then I'm still in the right place.”
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About the film Descendants: The Rise of Red and its cast
Directed by Jennifer Phang, Descendants: The Rise of Red is the fourth installment in the Descendants franchise. Serving as both a follow-up to Descendants: The Royal Wedding and a spin-off of the original trilogy, the film follows Chloe and Red, the daughter of the Queen of Hearts, as they join forces. Together, they use the White Rabbit's pocket watch to travel back in time, aiming to prevent an incident that threatens Auradon with grave consequences.
The movie features Kylie Cantrall in the role of Red, alongside China Anne McClain reprising her role as Uma and Melanie Paxson returning as Fairy Godmother. Brandy stars as Cinderella, and Paolo Montalban portrays King Charming, among other cast members.
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FactBench
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https://bollywoodmeradost.fandom.com/wiki/Om_Shanti_Om
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Om Shanti Om
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"Contributors to Bollywood! Wiki"
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2024-07-03T16:38:30+00:00
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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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en
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/skins-ucp/mw139/common/favicon.ico
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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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Danielle Macdonald Is On the Rise
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Hollywood’s next leading lady on breaking the mold one character at a time.
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Coveteur: Inside Closets, Fashion, Beauty, Health, and Travel
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https://coveteur.com/2019/09/07/actress-danielle-macdonald-talks-numerous-roles/
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Main Hoon Na cast list, listed alphabetically with photos when available. This list of Main Hoon Na actors includes any Main Hoon Na actresses and all other ...
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Main Hoon Na cast list, listed alphabetically with photos when available. This list of Main Hoon Na actors includes any Main Hoon Na actresses and all other actors from the film. You can view trivia about each Main Hoon Na actor on this list, such as when and where they were born. To find out more about a particular actor or actress, click on their name and you'll be taken to a page with even more details about their acting career. The cast members of Main Hoon Na have been in many other movies, so use this list as a starting point to find actors or actresses that you may not be familiar with.
List is made up of a variety of actors, including Shahrukh Khan and Naseeruddin Shah.
This cast list of who was in Main Hoon Na includes both lead and minor roles. {#nodes}
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The actress and activist talks being a teenager on set with a 19-year-old Harmony Korine, disappearing to Texas, and the changing face of her home city
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“I met Rosario Dawson on an airplane in North Carolina. I was sitting in my seat listening to music when a gentle hand tapped me on my shoulder. I turned, thinking it was the flight attendant scolding me for not putting on my seat belt, and was pleasantly surprised when it turned out to be Rosario Dawson. ‘I just want to tell you I’m a fan of yours and I’m enjoying everything you’re putting out in this world, thank you,’ she said. Of course I know Rosario Dawson, she is one of the most iconic actresses of my generation. While she was a teenage actress, I and so many others would liken ourselves to the little sisters or brothers watching her on the big screen, wondering when if ever we could or would be that cool, that elegant, that sexy. Fast forward to the present, and I am just as awed with Rosario’s activism and social justice work as I am by her film credits and stand-out movie roles. It is always a pleasure to be in her company!” – Mykki Blanco, guest editor of Dazed, August 2018
Stumbling past the fast-money bridge and tunnel crowd queued up outside East Village watering holes like The Phoenix or Ace Bar today is nothing like it was in the 70s. Back then, Debbie Harry trod the needle-paved streets trying to hail a cab, convinced that one time she was given a lift by serial killer Ted Bundy. The Velvet Underground performed “The Exploding Plastic Inevitable”, the house band at Warhol-run discotheque Electric Circus. Pre-gentrification East Village – before the death of St. Mark’s Place and half-decent one dollar pizza slices – was home to Rosario Dawson.
After being discovered on her front porch by Harmony Korine and Larry Clark in the 90s, Dawson played Ruby in Larry Clark’s Kids. You might know her as Valerie Brown in Josie and the Pussycats, Mimi in the 2005 film adaptation of Rent, doctor Claire Temple in any iteration of a Marvel series on Netflix (Luke Cage, The Defenders), or most recently as the powerful lesbian lawyer Jane Ramos on Jane The Virgin. Since being spotted on her East Village stoop, Dawson has carved a varied and often surprising path through Hollywood – but has never forgotten her roots in the process.
The actor once lived in a squat on 13th Street, now home to Momofuku and Milk Bar. There was no running water, heat or electricity. There was an elevator shaft with no working elevator. There was a hole that took up much of the floor space. The basement stairwell was soaked in urine. Plastic covered the windows. Plywood acted as a door. An empty hot tub sat in her living room.
“Because my parents worked in construction, we would get these recycled pieces that would have otherwise been thrown in the garbage,” Dawson explains of her scrappy childhood over the phone from LA. “So we had this big hot tub that wasn't outfitted with anything, it was just sitting there with plastic over the holes. It was just quirky and weird; our neighbour Jean was an artist and had a swing, and everybody made do. We had block parties. There was just an incredible mixture of art and resistance and radicalism and off-the-gridding.”
It was Dawson’s metropolitan answer to Winona Ryder’s California commune upbringing, or River Phoenix’s bohemian rearing in the Children of God cult. But hers was less choice, more necessity. More than that, it was all she knew. “When you're younger, it’s so hard to differentiate between why spaces are different, but all the kids I went to school with didn't have very much, so we were all in the same boat. My parents just did it a little differently than theirs did.”
Dawson, 39, has seen the East Village change hands from the squatters, who initially fought off gentrification (“The squatters were fighting back with rocks and a tank came down 13th Street, and helicopters were going – as a teen, I remember getting a taste of that”) to the high-heeled Sunday brunch zombies it has since become. While she’s happy she no longer has to dodge syringes walking down Avenue A, she does lament its lack of culture. “Yeah I want to have safety and I want the fire department or the police to come when you need them, but also, where are all the tattoo-faced people? Where does that go?”
As a 15-year-old, it was on that street that Dawson was scouted for her career-making role in Larry Clark’s cinematic molotov cocktail, Kids. To set the scene, a commercial for Vibe was being shot outside her parents’ apartment. The motivation for her discovery was two-fold: Dawson fancied one of the grips on that set, and her father wanted her to get discovered. So she camped out on the stoop waiting for action, throwing him flirty looks like Mercy in The Warriors.
“Yeah I want to have safety and I want the fire department or the police to come when you need them, but also, where are all the tattoo-faced people?” – Rosario Dawson
The grip, flowing hair, sharp blue eyes, eventually came over to ask if there were any free spaces in their squat that could be used for filming. “I couldn't really hear what he was saying, and I started laughing to myself because I thought, this guy looks like the classic depiction of Jesus, you know? I started guffawing because I was like, ‘I'm humouring Jesus’. They were shooting sounds that day on the commercial and this whole group of people suddenly turned and looked at me and I thought I was in trouble, and it ended up being a pre-production group from Kids that were scouting for locations.”
She was approached and tag-teamed by director Larry Clark and the film’s 19-year-old writer, a hyperactive Harmony Korine, to come and audition for the role of Ruby. “Larry said he was making his first movie and would I be interested. And Harmony was jumping up and down, like, ‘Oh my God, I wrote this character for you without even realising. I didn't even know you. You're perfect for this character, you have to come in. You have to come in, you have to come in.’”
It turned out he was correct. She was perfect for it. Her turn as Ruby, opposite Chloë Sevigny’s HIV-positive rape victim Jennie, was sensational, and Dawson has since gone on to become arguably the most successful of that film’s cast. (To boot, she ended up in the Vibe commercial as a backup dancer. She has never seen it.) Despite Kids’ desultory plot, Dawson stood out. She was awarded $1000 for her four days on set. The money was usurped by her family for a vacation to Texas to visit her father’s extended family. They decided upon a move to Texas, and Dawson didn’t give a second thought to a career as an actress, until Clark once again came calling to fly her out to New York for a Harper’s Bazaar photoshoot as a model. “Had I disappeared into Texas and not been called back, I wouldn’t have known.”
“Harmony was jumping up and down, like, ‘Oh my God, I wrote this character for you without even realising. I didn't even know you. You're perfect for this character, you have to come in” – Rosario Dawson
Born out of an environment of urban chaos to a teenage mother before being transported into the shellacked veneer of Hollywood, Dawson holds the issue of East Village gentrification close to her heart. “There's gentrification happening everywhere, but there’s gotta be someone to do something about it,” she attests. “There is an organisation in the Lower East Side called Good Old Lower East Side, and they’ve been working for 40 years now, stopping people from being kicked out of their homes. These are the people I grew up with that I look at like, they're the superheroes, the caped crusaders, the vigilantes that are going against the loopholes, the special interests, all these other systems in play to inject humanity into the process and it's really powerful and beautiful.”
Dawson has been handcuffed for her political activism, attended rallies and conventions in between takes, and doesn’t care if it loses her a job or two in the process. Her activism stretches back to when she was young. Dazed followed her to Berlin in April 2002, where aged 22 she had flown to protest the Iraq War. Apart from using her celebrity to bend the feeble arms of government bodies and corporate factions, she’s leveraging her clout to highlight those up and comers who do good work. Studio 189, for example, is a fashion collaboration between Dawson and Ghanaian Abrima Erwiah to create African-inspired clothing made in Africa. It started in 2013. Their designs have recently taken home a CFDA + Lexus Fashion* Initiative award and afforded Dawson to live out her “lifelong dream” to dance with Paula Abdul. She also co-founded Voto Latino to encourage young Latinos to exercise their constitutional right to vote. In addition to that, she says, giggling, her work with The Turtle Conservacy allows her to chill out with turtles. “I'm all down for getting arrested and being in the thick of it, but I love when it’s just like, I’m gonna hang out with this turtle for a bit – thanks.”
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correct_starring_00069
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FactBench
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0
| 25 |
https://www.filmfare.com/news/bollywood/r-madhavan-calls-himself-south-ka-shah-rukh-khan-in-an-old-om-shanti-om-video-60608.html
|
en
|
R Madhavan calls himself 'South ka Shah Rukh Khan' in an old Om Shanti Om video
|
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2023-08-18T20:03:25+05:30
|
A never-seen-before video of Om Shanti Om has surfaced online featuring R Madhavan calls himself South ka Shah Rukh Khan
|
en
|
https://www.filmfare.com/news/bollywood/r-madhavan-calls-himself-south-ka-shah-rukh-khan-in-an-old-om-shanti-om-video-60608.html
|
Om Shanti Om, starring Shah Rukh Khan and Deepika Padukone, was a smash hit when it debuted in theatres in 2007. Interestingly, the movie also included the most cameos. One of the movie's sequences included Farhan Akhtar, Dino Morea, and Boman Irani among others on the red carpet of an awards ceremony. They were seen in the scene predicting who would win the best actor award. In the film, SRK also played an actor.
However, 16 years after the film's release, an unseen video of R Madhavan has surfaced online. R Madhavan is heard identifying himself as "South Ka Shah Rukh Khan" in this deleted Om Shanti Om scene footage.
He said, "Mujhe lagta hai mujhe milna chahiye tha, lekin unhone nominate tak nahi kiya. Aapko shayad pata nahi par south ke Shah Rukh Khan mujhe kaha jaata hai lekin yaha koi izzat hi nahi hota yaar."
Released in 2007, Om Shanti Om, directed by Farah Khan stars Shah Rukh Khan and Deepika Padukone in lead roles. The film also features Arjun Rampal, Shreyas Talpade and Kirron Kher in key roles. The film follows Om, a junior film artist, who is smitten by Shantipriya, a renowned actress, but is killed while trying to save her from a fire accident. Thirty years later, he is reborn and sets out to avenge her death.
Meanwhile, on the work front, Shah Rukh will next be seen in Atlee's Jawan alongside Nayanthara and Vijay Sethupathi. The film also features Deepika in a cameo appearance. The film is slated to hit the theatres on September 7.
See Also: Could Aamir Khan, R Madhavan, and Sharman Joshi be coming together for the sequel of 3 Idiots?
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correct_starring_00069
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FactBench
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2
| 84 |
https://www.newyorker.com/culture/personal-history/what-about-the-breakfast-club-molly-ringwald-metoo-john-hughes-pretty-in-pink
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en
|
What About “The Breakfast Club”?
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[
"molly ringwald",
"john hughes",
"#metoo"
] | null |
[
"Molly Ringwald",
"Tad Friend",
"Richard Brody",
"Condé Nast"
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2018-04-06T12:23:18.665000-04:00
|
The actress and author Molly Ringwald writes about revisiting the movies she made with the late director John Hughes, including “The Breakfast Club” and “Pretty in Pink,” in the age of #MeToo.
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en
|
https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico
|
The New Yorker
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https://www.newyorker.com/culture/personal-history/what-about-the-breakfast-club-molly-ringwald-metoo-john-hughes-pretty-in-pink
|
Earlier this year, the Criterion Collection, which is “dedicated to gathering the greatest films from around the world,” released a restored version of “The Breakfast Club,” a film written and directed by John Hughes that I acted in, more than three decades ago. For this edition, I participated in an interview about the movie, as did other people close to the production. I don’t make a habit of revisiting films I’ve made, but this was not the first time I’d returned to this one: a few years back, I watched it with my daughter, who was ten at the time. We recorded a conversation about it for the radio show “This American Life.” I’ll be the first to admit that ten is far too young for a viewing of “The Breakfast Club,” a movie about five high-school students who befriend one other during a Saturday detention session, with plenty of cursing, sex talk, and a now-famous scene of the students smoking pot. But my daughter insisted that her friends had already seen it, and she said she didn’t want to watch it for the first time in front of other people. A writer-director friend assured me that kids tend to filter out what they don’t understand, and I figured that it would be better if I were there to answer the uncomfortable questions. So I relented, thinking perhaps that it would make for a sweet if unconventional mother-daughter bonding moment.
It’s a strange experience, watching a younger, more innocent version of yourself onscreen. It’s stranger still—surreal, even—watching it with your child when she is much closer in age to that version of yourself than you are. My friend was right: my daughter didn’t really seem to register most of the sex stuff, though she did audibly gasp when she thought I had showed my underwear. At one point in the film, the bad-boy character, John Bender, ducks under the table where my character, Claire, is sitting, to hide from a teacher. While there, he takes the opportunity to peek under Claire’s skirt and, though the audience doesn’t see, it is implied that he touches her inappropriately. I was quick to point out to my daughter that the person in the underwear wasn’t really me, though that clarification seemed inconsequential. We kept watching, and, despite my best intentions to give context to the uncomfortable bits, I didn’t elaborate on what might have gone on under the table. She expressed no curiosity in anything sexual, so I decided to follow her lead, and discuss what seemed to resonate with her more. Maybe I just chickened out.
But I kept thinking about that scene. I thought about it again this past fall, after a number of women came forward with sexual-assault accusations against the producer Harvey Weinstein, and the #MeToo movement gathered steam. If attitudes toward female subjugation are systemic, and I believe that they are, it stands to reason that the art we consume and sanction plays some part in reinforcing those same attitudes. I made three movies with John Hughes; when they were released, they made enough of a cultural impact to land me on the cover of Time magazine and to get Hughes hailed as a genius. His critical reputation has only grown since he died, in 2009, at the age of fifty-nine. Hughes’s films play constantly on television and are even taught in schools. There is still so much that I love in them, but lately I have felt the need to examine the role that these movies have played in our cultural life: where they came from, and what they might mean now. When my daughter proposed watching “The Breakfast Club” together, I had hesitated, not knowing how she would react: if she would understand the film or if she would even like it. I worried that she would find aspects of it troubling, but I hadn’t anticipated that it would ultimately be most troubling to me.
It can be hard to remember how scarce art for and about teen-agers was before John Hughes arrived. Young-adult novels had not yet exploded as a genre. Onscreen, the big issues that affected teens seemed to belong largely to the world of ABC Afterschool Specials, which premièred in 1972 and were still around as I came of age, in the eighties. All the teens I knew would rather have died than watch one. The films had the whiff of sanctimony, the dialogue was obviously written by adults, the music was corny.
Portrayals of teen-agers in movies were even worse. The actors cast in teen roles tended to be much older than their characters—they had to be, since the films were so frequently exploitative. The teen horror flicks that flourished in the seventies and eighties had them getting murdered: if you were young, attractive, and sexually active, your chances of making it to the end were basically nil (a trope spoofed, years later, by the “Scream” franchise). The successful teen comedies of the period, such as “Animal House” and “Porky’s,” were written by men for boys; the few women in them were either nymphomaniacs or battleaxes. (The stout female coach in “Porky’s” is named Balbricker.) The boys are perverts, as one-dimensional as their female counterparts, but with more screen time. In 1982, “Fast Times at Ridgemont High,” which had the rare distinction of being directed by a woman, Amy Heckerling, got closer to an authentic depiction of adolescence. But it still made room for a young male’s fantasy of the actress Phoebe Cates striding topless in a soft-porny sprinkler mist.
And then Hughes came along. Hughes, who grew up in Michigan and Illinois, got work, after dropping out of college, writing ad copy in Chicago. The job brought him frequently to New York, where he started hanging around the offices of the humor magazine National Lampoon. He wrote a story called “Vacation ’58”—inspired by his own family trips—which secured him a job at the magazine and became the basis for the movie “National Lampoon’s Vacation.” Another story caught the eye of the producer Lauren Shuler Donner, who encouraged him to write what became “Mr. Mom.” Those movies helped him get a deal with Universal Studios. “The Breakfast Club” was to be his directorial début; he planned to shoot it in Chicago with local actors. He told me later that, over a July 4th weekend, while looking at headshots of actors to consider for the movie, he found mine, and decided to write another movie around the character he imagined that girl to be. That script became “Sixteen Candles,” a story about a girl whose family forgets her sixteenth birthday. The studio loved the script, perhaps because, in form at least, it had more in common with proven successes—“Porky’s” et al.—than it did with “The Breakfast Club,” which basically read like a play.
A meeting was arranged, we hit it off, and I filmed “Sixteen Candles” in the suburbs of Chicago the summer after I completed the ninth grade. Once we were done shooting, and before we began filming “The Breakfast Club,” John wrote another movie specifically for me, “Pretty in Pink,” about a working-class girl navigating the social prejudices of her affluent high school. The film’s dramatic arc involves getting invited and then uninvited to the prom. In synopsis, the movies can seem flimsy—a girl loses her date to a dance, a family forgets a girl’s birthday—but that’s part of what made them unique. No one in Hollywood was writing about the minutiae of high school, and certainly not from a female point of view. According to one study, since the late nineteen-forties, in the top-grossing family movies, girl characters have been outnumbered by boys three to one—and that ratio has not improved. That two of Hughes’s films had female protagonists in the lead roles and examined these young women’s feelings about the fairly ordinary things that were happening to them, while also managing to have instant cred that translated into success at the box office, was an anomaly that has never really been replicated. (The few blockbuster films starring young women in recent years have mostly been set in dystopian futures or have featured vampires and werewolves.)
I had what could be called a symbiotic relationship with John during the first two of those films. I’ve been called his muse, which I believe I was, for a little while. But, more than that, I felt that he listened to me—though certainly not all the time. Coming out of the National Lampoon school of comedy, there was still a residue of crassness that clung, no matter how much I protested. In the shooting script of “The Breakfast Club,” there was a scene in which an attractive female gym teacher swam naked in the school’s swimming pool as Mr. Vernon, the teacher who is in charge of the students’ detention, spied on her. The scene wasn’t in the first draft I read, and I lobbied John to cut it. He did, and although I’m sure the actress who had been cast in the part still blames me for foiling her break, I think the film is better for it. In “Sixteen Candles,” a character alternately called the Geek and Farmer Ted makes a bet with friends that he can score with my character, Samantha; by way of proof, he says, he will secure her underwear. Later in the film, after Samantha agrees to help the Geek by loaning her underwear to him, she has a heartwarming scene with her father. It originally ended with the father asking, “Sam, what the hell happened to your underpants?” My mom objected. “Why would a father know what happened to his daughter’s underwear?” she asked. John squirmed uncomfortably. He didn’t mean it that way, he said—it was just a joke, a punch line. “But it’s not funny,” my mother said. “It’s creepy.” The line was changed to “Just remember, Sam, you wear the pants in the family.”
My mom also spoke up during the filming of that scene in “The Breakfast Club,” when they hired an adult woman for the shot of Claire’s underwear. They couldn’t even ask me to do it—I don’t think it was permitted by law to ask a minor—but even having another person pretend to be me was embarrassing to me and upsetting to my mother, and she said so. That scene stayed, though. What’s more, as I can see now, Bender sexually harasses Claire throughout the film. When he’s not sexualizing her, he takes out his rage on her with vicious contempt, calling her “pathetic,” mocking her as “Queenie.” It’s rejection that inspires his vitriol. Claire acts dismissively toward him, and, in a pivotal scene near the end, she predicts that at school on Monday morning, even though the group has bonded, things will return, socially, to the status quo. “Just bury your head in the sand and wait for your fuckin’ prom!” Bender yells. He never apologizes for any of it, but, nevertheless, he gets the girl in the end.
If I sound overly critical, it’s only with hindsight. Back then, I was only vaguely aware of how inappropriate much of John’s writing was, given my limited experience and what was considered normal at the time. I was well into my thirties before I stopped considering verbally abusive men more interesting than the nice ones. I’m a little embarrassed to say that it took even longer for me to fully comprehend the scene late in “Sixteen Candles,” when the dreamboat, Jake, essentially trades his drunk girlfriend, Caroline, to the Geek, to satisfy the latter’s sexual urges, in return for Samantha’s underwear. The Geek takes Polaroids with Caroline to have proof of his conquest; when she wakes up in the morning with someone she doesn’t know, he asks her if she “enjoyed it.” (Neither of them seems to remember much.) Caroline shakes her head in wonderment and says, “You know, I have this weird feeling I did.” She had to have a feeling about it, rather than a thought, because thoughts are things we have when we are conscious, and she wasn’t.
Thinking about that scene, I became curious how the actress who played Caroline, Haviland Morris, felt about the character she portrayed. So I sent her an e-mail. We hadn’t seen or spoken to each other since she was twenty-three and I was fifteen. We met for coffee, and after we had filled each other in on all the intervening years, I asked her about it. Haviland, I was surprised to learn, does not have the same issues with the scene as I do. In her mind, Caroline bears some responsibility for what happens, because of how drunk she gets at the party. “I’m not saying that it’s O.K. to then be raped or to have nonconsensual sex,” Haviland clarified. “But . . . that’s not a one-way street. Here’s a girl who gets herself so bombed that she doesn’t even know what’s going on.”
There was a time in my early twenties when I had too much to drink at a party and ended up in a bedroom sitting on the edge of a bed with a producer I didn’t know, lightheaded and woozy. A good friend, who had followed me, popped her head in the door a couple of minutes later and announced, “Time to go now, Molly!” I followed her out, trying not to stumble, and spent the rest of the night violently ill and embarrassed—and the rest of my life grateful that she had been there, watching out for me, when I was temporarily incapable of watching out for myself. I shared the story with Haviland, and she listened politely, nodding.
Haviland, like me, has children, and so I decided to frame the question hypothetically, mother to mother, to see if it changed her point of view. If one of our kids had too much to drink, and something like that happened to one of them, would she say, “It’s on you, because you drank too much”? She shook her head: “No. Absolutely, positively, it stays in your pants until invited by someone who is willing and consensually able to invite you to remove it.” Still, she added, “I’m not going to black-and-white it. It isn’t a one-way street.”
After our coffee, I responded to an e-mail from Haviland to thank her for agreeing to talk to me. Later that night, I received another note. “You know,” she wrote, “the more I think of it this evening, oddly, the LESS uncomfortable I am with Caroline. Jake was disgusted with her and said he could violate her 17 ways if he wanted to because she was so trashed, but he didn’t. And then, Ted was the one who had to ask if they had had sex, which certainly doesn’t demonstrate responsible behavior from either party, but also doesn’t really spell date rape. On the other hand, she was basically traded for a pair of underwear . . . Ah, John Hughes.”
It’s hard for me to understand how John was able to write with so much sensitivity, and also have such a glaring blind spot. Looking for insight into that darkness, I decided to read some of his early writing for National Lampoon. I bought an old issue of the magazine on eBay, and found the other stories, all from the late seventies and early eighties, online. They contain many of the same themes he explored in his films, but with none of the humanity. Yes, it was a different time, as people say. Still, I was taken aback by the scope of the ugliness.
“A Dog’s Tale” has a boy watching his mother turn into a dog. “Against His Will” features an “ugly fat” woman who tries to rape a man at gunpoint in front of the man’s wife and parents because she can’t have sex any other way. “My Penis” and “My Vagina” are quasi-magical-realist stories written from the points of view of teen-agers who wake up in the morning with different genitalia than they were assigned at birth; the protagonist of “My Penis” literally forces her boyfriend’s mouth open to penetrate him, and the male in “My Vagina” is gang-raped by his friends once they discover he has one. (The latter story ends with him having to use the money he saved for new skis on getting an abortion.) The “Hughes Engagement Guide” is an illustrated manual on how to protect yourself against women. It gives examples of women “bullshitting to not put out,” and teaches readers how to do a “quickie pelvic exam,” how to detect “signs of future fat,” and how to determine if a woman has any ancestors of different races, based on what her relatives look like—there is an accompanying drawing of an Asian person and an African-American—and on and on.
The October, 1980, issue included a piece, co-authored by Ted Mann, titled “Sexual Harassment and How to Do It!” The guide explains, “If you hire a woman from another field or with a background that is not suited to the duties she is to assume, you’ve got the glans in the crevice, or, if you prefer, the foot in the door.” It continues, “Not only will her humility prepare her for your sexual advances, it will also help steel her for her inevitable dismissal.” There are sections describing different kinds of secretaries based on their ages, and how best to reward and punish them. (The older ones are “easier,” the younger ones “preferable.”) There’s even a section on arrest: “Sometimes even guys with cool sideburns and a smooth line of patter get arrested for sexual harassment and are issued summonses.” It goes on to suggest different methods for cozying up to the police officer.
It’s all satire, of course, but it’s pretty clear that it’s not the chauvinists who are being lampooned but the “women’s liberation movement.” Women had begun to speak out, in the mid-seventies, against harassment in the workplace. (The beloved movie “9 to 5,” in which three women get revenge on a sexist boss, was released in December of 1980, two months after the Hughes-Mann piece ran.) Mann is now a writer and producer who has been nominated for seven Emmys, most recently for his work on the Showtime series “Homeland.” I sent him an e-mail asking what he now thought of the piece he wrote with Hughes. He replied that he didn’t remember ever having written it. “It looks like one of our art director Peter’s desperate page fillers,” he explained, referring to Peter Kleinman. “It wouldn’t fly today and it never should have flown then,” he went on, adding, “These were degenerate cocaine days.”
I can’t vouch, personally, for any cocaine days that John may or may not have had. When I knew him, he never expressed an interest in doing drugs of any kind, including alcohol—with the exception of cigarettes, which he smoked constantly.
John believed in me, and in my gifts as an actress, more than anyone else I’ve known, and he was the first person to tell me that I had to write and direct one day. He was also a phenomenal grudge-keeper, and he could respond to perceived rejection in much the same way the character of Bender did in “The Breakfast Club.” But I’m not thinking about the man right now but of the films that he left behind. Films that I am proud of in so many ways. Films that, like his earlier writing, though to a much lesser extent, could also be considered racist, misogynistic, and, at times, homophobic. The words “fag” and “faggot” are tossed around with abandon; the character of Long Duk Dong, in “Sixteen Candles,” is a grotesque stereotype, as other writers have detailed far more eloquently than I could.
And yet I have been told more times than I could count, by both friends and strangers, including people in the L.G.B.T. community, that the films “saved” them. Leaving a party not long ago, I was stopped by Emil Wilbekin, a gay, African-American friend of a friend, who wanted to tell me just that. I smiled and thanked him, but what I wanted to say was “Why?” There is barely a person of color to be found in the films, and no characters are openly gay. A week or so after the party, I asked my friend to put me in touch with him. In an e-mail, Wilbekin, a journalist who created an organization called Native Son, devoted to empowering gay black men, expanded upon what he had said to me as I had left the party. “The Breakfast Club,” he explained, saved his life by showing him, a kid growing up in Cincinnati in the eighties, “that there were other people like me who were struggling with their identities, feeling out of place in the social constructs of high school, and dealing with the challenges of family ideals and pressures.” These kids were also “finding themselves and being ‘other’ in a very traditional, white, heteronormative environment.” The lack of diversity didn’t bother him, he added, “because the characters and storylines were so beautifully human, perfectly imperfect and flawed.” He watched the films in high school, and while he was not yet out, he had a pretty good idea that he was gay.
“Pretty in Pink” features a character, Duckie, who was loosely based on my best friend of forty years, Matthew Freeman. We’ve been friends since I was ten, and he worked as a production assistant on the film. Like Emil, he’s out now, but wasn’t then. (It’s one of the reasons I’ve often posited, to the consternation of some fans and the delight of others, that Duckie is gay, though there’s nothing to indicate that in the script.) “The characters John created spoke to feeling invisible and an outsider,” Matt told me recently. They got at “how we felt as closeted gay kids who could only live vicariously through others’ sexual awakenings, lest we get found out with the very real threat of being ostracized or pummelled.”
John’s movies convey the anger and fear of isolation that adolescents feel, and seeing that others might feel the same way is a balm for the trauma that teen-agers experience. Whether that’s enough to make up for the impropriety of the films is hard to say—even criticizing them makes me feel like I’m divesting a generation of some of its fondest memories, or being ungrateful since they helped to establish my career. And yet embracing them entirely feels hypocritical. And yet, and yet. . . .
How are we meant to feel about art that we both love and oppose? What if we are in the unusual position of having helped create it? Erasing history is a dangerous road when it comes to art—change is essential, but so, too, is remembering the past, in all of its transgression and barbarism, so that we may properly gauge how far we have come, and also how far we still need to go.
While researching this piece, I came across an article that was published in Seventeen magazine, in 1986, for which I interviewed John. (It was the only time I did so.) He talked about the artists who inspired him when he was younger—Bob Dylan, John Lennon—and how, as soon as they “got comfortable” in their art, they moved on. I pointed out that he had already done a lot of movies about suburbia, and asked him whether he felt that he should move on as his idols had. “I think it’s wise for people to concern themselves with the things they know about,” he said. He added, “I’d feel extremely self-conscious writing about something I don’t know.”
I’m not sure that John was ever really comfortable or satisfied. He often told me that he didn’t think he was a good enough writer for prose, and although he loved to write, he notoriously hated to revise. I was set to make one more Hughes film, when I was twenty, but felt that it needed rewriting. Hughes refused, and the film was never made, though there could have been other circumstances I was not aware of.
In the interview, I asked him if he thought teen-agers were looked at differently than when he was that age. “Definitely,” he said. “My generation had to be taken seriously because we were stopping things and burning things. We were able to initiate change, because we had such vast numbers. We were part of the Baby Boom, and when we moved, everything moved with us. But now, there are fewer teens, and they aren’t taken as seriously as we were. You make a teen-age movie, and critics say, ‘How dare you?’ There’s just a general lack of respect for young people now.”
John wanted people to take teens seriously, and people did. The films are still taught in schools because good teachers want their students to know that what they feel and say is important; that if they talk, adults and peers will listen. I think that it’s ultimately the greatest value of the films, and why I hope they will endure. The conversations about them will change, and they should. It’s up to the following generations to figure out how to continue those conversations and make them their own—to keep talking, in schools, in activism and art—and trust that we care.
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FactBench
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1
| 45 |
https://www.filmcompanion.in/readers-articles/om-shanti-om-netflix-deepika-padukone-embodies-grace-in-this-timeless-tale-of-love-shah-rukh-khan-farah-khan
|
en
|
Om Shanti Om: Deepika Padukone Embodies Grace In This Timeless Tale Of Love
|
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2022-02-01T13:46:06+05:30
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Om Shanti Om: Deepika Padukone Embodies Grace In This Timeless Tale Of Love
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en
|
/favicon.ico
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https://www.filmcompanion.in/readers-articles/om-shanti-om-netflix-deepika-padukone-embodies-grace-in-this-timeless-tale-of-love-shah-rukh-khan-farah-khan
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As a six year old, one doesn't really possess the intellectual capacity required to appreciate good films. The first time I ever watched Om Shanti Om, I'd made my entire family gather around the television to watch the film only because it starred Shah Rukh Khan, even then a true blue SRK loyalist. I was yet to learn the name that was about to take the Hindi film industry by storm.
Deepika Padukone is indisputably one of the greatest actors of this day and age. Despite having watched all of her films, her debut remains my favourite. Maybe it's my nostalgia that makes me biased, but I can't seem to think of any other film that I'd gladly watch as many times as I've watched Om Shanti Om. A film about lovers being reunited infused with an old world charm, Om Shanti Om holds a special place in my heart.
The first time the audience sees Shantipriya onscreen is during the song "Ajab Si" with K.K.'s beautiful voice weaving magic into the scene, and I felt like Om myself, clutching at my heart, having caught the eye of the angelic mega star. Her screen presence was gentle yet powerful, a quality she's managed to retain throughout her career. Be it as Piku, the driven and headstrong modern woman in Shoojit Sircar's Piku, or as Veronica, the rebellious party girl with a heart of gold in Homi Adjania's Cocktail, or as Leela, the vivacious and eventually tragic figure of Juliet in Sanjay Leela Bhansali's Goliyon ki Rasleela: Ramleela; there's just something about Deepika that makes one fall a little in love with every character that she plays, lending a bit of herself to them always.
It was no different with Shantipriya; a stunning young actress on the rise who makes the mistake of putting her faith in the villainous Mukesh. As a young child having watched both the leads of the film die, with Shanti being burnt alive and Om being brutally beaten up, I found solace in the dialogue that could perhaps make me smile even at the my lowest; "Humari zindagi bhi humari hindi filmon ke jaisi hi hai, jahaan pe end mein sab theek ho jaata hai. Lekin agar end mein sab kuch theek na ho toh woh end nahi hai doston, picture abhi baaki hai." The remaining one and a half hours were testament to the truth behind this. As a matter of fact, one of my favourite things about Om Shanti Om as a movie was that it never pretended to be anything more than what it was meant to be, an out and out Bollywood entertainer. Unpretentious and honest to its core, a big part of its charm was its simplicity.
Deepika goes from the poised and elegant Shantipriya, to the clumsy yet lovable Sandhya, a.k.a Sandy with ease unusual for a debutant. When Sandy first appears, she's awestruck by Om Kapoor's presence in the dark room, her eyes wide in disbelief, while Om is equally awestruck; a parallel to their first interaction as Shanti and Om in their past life. Although the roles are reversed, whereas now Om is the bigger star and Sandy, his loyal fan, it's still love that triumphs all. The lyrics "chaahe jisse door se duniya, woh mere qareeb hain", truly hit home at this point. It's significant that the lighting is such that nobody else is visible in the scene and the background score drowns out any other sound, an accurate representation of how it feels to fall in love, as though it's a secret that only you and your partner are in on.
Even in the end, when Shah Rukh Khan's Om finally realises that it was the real Shantipriya, his Shantipriya, he smiles through blood and tears, waving a final goodbye to Shanti. She merely smiles through the flames, tears streaming down her face and runs up the stairs, never to be seen again. Throughout the film, grand gestures of love have been the driving force behind their budding romance, what with Om being willing to lay down his life for Shanti, not once but twice, even when he was upset with her because of her involvement with Arjun Rampal's cold and calculative Mukesh in contrast to his simple self.
In fact, in the opening of the song 'Main Agar Kahoon', he literally brings her the moon, albeit a prop. Nevertheless, his readiness to do whatever it takes to make his Shanti, his "dreamy girl" smile is what makes their romance so endearing. The same emotion is echoed in the scene when Om Kapoor reveals his plans to gaslight and scare Mukesh into confessing, Sandy believes him, no questions asked. 'Main believe karti hoon' – I do believe, that one line is enough to reassure Om that no matter what how unlikely it seems, she has full faith in her one true love.
It's this kind of love, the kind that transcends time that makes Om Shanti Om evergreen. In all honesty, it's unbelievable that Om Shanti Om was her debut film, mainly because it's not easy to capture the intricacies and subtleties of a mainstream Hindi film, to appease the masses as well as the critics. Yet Deepika manages to do so and with a performance so powerful that it remains relevant even after a decade, which is only fitting for a film that revolves around a timeless story of love.
Another important aspect of the film is how Deepika Padukone's Shantipriya, despite living in an age where women were not only expected but encouraged to be damsels in distress, was eventually enough for herself. The first time Shanti is trapped in a fire is on the sets of a film, where she's rescued by Om, a sequence inspired by the real life event of Sunil Dutt rescuing Nargis from an accidental fire on the sets of Mother India. The second time around, however, she's not so lucky, as Om dies in his attempt to save her.
In the climax of the film, though, we learn through Shanti herself that she did survive the fire but was later buried alive by Mukesh, who'd returned to tie up any loose ends. That's where it all changes, as Mukesh, Om and the audience all realise that this wouldn't be something that Sandy would know. It eventually dawns upon everyone involved that the one pulling the strings all along has been the real Shantipriya. Mukesh and Om inadvertently start a fire during their fist fight, battling for control, adding to the chaos and confusion.
In what is definitely my favourite moment of the film, Shantipriya asks Om to stop, declaring that Mukesh will die, but not at his hands. 'Hell hath no fury like a woman scorned' – taking control, once and for all, the ghost of Shantipriya brings the massive chandelier down on a terrified Mukesh. With this, she not only saves Om but also sets her soul free. It's remarkable how the meek and loveable Shanti from the first half has none of the lovability in her. There is only a cold fury etched in every line of her face, allowing one to tell her apart from the often goofy Sandy. Shantipriya didn't need any saving after all, setting the tone for the films that Deepika Padukone was about to take on.
Despite being a female actor in a world where women, more often than not, are relegated to the the "love interest", Deepika makes every kind of role her own. Having garnered critical acclaim and commercial success with a plethora of roles to her credit, Deepika in Om Shanti Om still remains my favourite. Never overpowering her costar, but never allowing herself to be undermined in any respect either. Om Shanti Om is proof of the fact that Deepika is here to stay, and make history while she's at it.
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correct_starring_00069
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FactBench
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2
| 10 |
https://www.forbes.com/sites/entertainment/article/greatest-actors-of-all-time/
|
en
|
The 30 Greatest Actors And Actresses In Hollywood History
|
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2024-05-04T07:00:00-04:00
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With iconic performances that will keep you glued to the screen, see who the greatest actors and actresses are and how they transformed the industry.
|
en
|
Forbes
|
https://www.forbes.com/sites/entertainment/article/greatest-actors-of-all-time/
|
Great actors jump off the screen and connect with audiences on an emotional level. There is a reason that actors and actresses have been cultural icons since the conception of celebrity. Before there were films, stage actors, vaudeville performers and opera singers gained renown. Before films had sound, actors like Rudolph Valentino, Douglas Fairbanks, Mary Pickford and Theda Bara captivated audiences. The greatest actors take time to hone their craft. There are many ways to approach the craft of acting, from method acting to Stanislavsky’s System to the Meisner Technique, but the end result should be the same: delivering reality through a facsimile. All of the actors in this do just that.
Top Actors And Actresses
This list comes with a few parameters simply because of how many great actors there truly are. For this list, the actors chosen have made contributions to films with sound. This doesn’t mean they haven’t worked on stage, TV or silent film. Many on this list have especially appeared in theater and TV as well. However, all of these actors could be considered “film actors.”
This list also focuses on actors who have acted in films that use English as a primary language. World cinema has many great actors, including names like Shah Rukh Khan, Toshirô Mifune, Dolores Del Río, Brigitte Bardot and many others. However, to keep the list focused, all of the actors chosen have contributed to the American and “Hollywood” film industry.
30. Marilyn Monroe
Marilyn Monroe is often remembered more as a bombshell than an actress, which in many ways discredits her. Monroe’s career was cut short by her tragic death in 1962 at age 36. However, during her life, she cared deeply about the craft of acting. She studied method acting under Lee Strasberg at the Actors Studio and started her own film production company in the 1950s.
Monroe started with bit parts in movies in the 1940s before breaking through in 1950s comedies and musicals. She won a Golden Globe for Best Actress for 1959’s Some Like it Hot and is remembered for films like Niagara, How to Marry a Millionaire, Gentlemen Prefer Blondes, The Misfits and The Seven Year Itch. Monroe isn’t appreciated enough for her sharp comic timing. If you think she is just a “dumb blonde,” it is because she was that convincing.
29. Michelle Yeoh
Michelle has been recently reintroduced to American audiences, with roles hits like Crazy Rich Asians and Everything, Everywhere, All At Once. However, Yeoh has been acting in films since the 1980s. She started acting after being crowned Miss World Malaysia. While she began her career in Hong Kong films, she was introduced to American audiences in the James Bond film Tomorrow Never Dies in 1997.
She is known for films like Crouching Tiger, Hidden Dragon, Memoirs of a Geisha and A Haunting in Venice, as well as TV shows like Star Trek: Discovery. In 2023, she became the first Asian actress to win a Best Actress Oscar.
28. Raul Julia
While many millennials will remember Raul Julia as Gomez from the 1990s The Addams Family movies, Julia initially rose to prominence as a Shakespearean actor in New York’s theater scene. He worked in theater and on Broadway before his film debut in 1971’s The Panic in Needle Park.
He acted in films in Hollywood and his native Puerto Rico and was active in New York’s theater scene through the early 1990s. His filmography includes Kiss of the Spider Woman, Tempest, One From The Heart, Romero and Mack the Knife. Julia is notable for his commitment to roles. While his final film, 1994’s Street Fighter, was critically panned, his performance has been praised for his steadfast presence and control.
27. Cicely Tyson
While Cicely Tyson appeared in TV shows and movies since the late 1950s, she earned acclaim for her performance in 1972’s Sounder, which earned her an Oscar and Golden Globe nomination.
She went on to appear in movies and series like Roots, Fried Green Tomatoes, A Lesson Before Dying, Because of Winn-Dixie, Diary of a Mad Black Woman, The Help and House of Cards. During her 70-year career, she received a Tony, SAG Award, Emmy, Academy Honorary Award, Presidential Medal of Freedom, Career Achievement Peabody and Kennedy Center Honor.
26. Ben Kingsley
Ben Kingsley might be best known to young audiences for his appearances in Marvel films like Iron Man 3 and Shang-Chi and the Legend of the Ten Rings. However, he has appeared in over 90 films in his five-decade-long career. He started his acting career at the Royal Shakespeare Company in 1967 before making his film debut in 1972’s Fear Is the Key.
He would go 10 years before returning for a film with 1982’s Gandhi, for which he won the Academy Award for Best Actor. While his performance was praised, he was also criticized for his use of brownface. While Kingsley is of Indian descent, he wore dark make-up for the film. He has since appeared in films like Steven Spielberg’s Schindler's List, Bugsy, Sexy Beast, House of Sand and Fog, Hugo and Shutter Island.
25. Rita Moreno
A true triple threat, Rita Moreno made her Broadway debut at age 13. While Moreno had small parts in 1950s musicals like Singin' in the Rain and The King and I, she got her big break as Anita in 1961’s film adaptation of West Side Story, for which she also received an Oscar.
She would go on to win the EGOT suite of wards, as well as receive a Peabody Award, the Presidential Medal of Freedom and a Screen Actors Guild Life Achievement Award. She has appeared in over 150 movies and TV shows, including cult hits like The Slums of Beverly Hills, kids programming like voicing Carmen Sandiego and The Electric Company, and TV shows like Oz and Jane the Virgin. In 2021, a documentary about her life, Rita Moreno: Just a Girl Who Decided to Go for It, premiered at the Sundance Film Festival.
24. Lauren Bacall
Born to Jewish immigrants in the Bronx, Lauren Bacall started her career as a teenage model before making her film debut alongside her future husband Humphrey Bogart in 1944’s To Have and Have Not.
Early in her career, she had to train her voice to lose its nasal quality by shouting Shakespeare passages for hours a day. Bacall went on to star in many films alongside Bogart, including The Big Sleep, Dark Passage and Key Largo. She also made several classic comedy films such as Designing Woman, Sex and the Single Girl and How to Marry A Millionaire. She appeared in many plays and TV shows and worked well into the 2000s. Her last role was as a guest star on a 2014 episode of Family Guy before her passing later that year.
23. Forest Whitaker
Forest Whitaker graduated from USC with a BFA in 1982; that same year, he appeared in Fast Times at Ridgemont High. In the 1980s, he made a name for himself, appearing in films like The Color of Money, Platoon and Good Morning, Vietnam. By the 1990s, Whitaker wasn’t only a well-respected actor but also a working director with films like Strapped, Waiting to Exhale and Hope Floats. He also directed Whitney Houston’s music video for "Exhale (Shoop Shoop)" in 1995.
In 1988, he won the Best Actor award at the Cannes Film Festival for his role in Bird. He would go on to win an Academy Award for The Last King of Scotland in 2007. He has also won a BAFTA, Emmy Golden Globe and two SAG Awards. He has appeared in films like The Butler, Arrival, Panic Room, Rogue One: A Star Wars Story and Black Panther.
22. Jason Robards
Jason Robards isn’t a household name, but that is kind of the point. Many great actors are not celebrities. So many character actors have delivered iconic performances, including actors like Margo Martindale, James Hong, Denis O’Hare, Karl Malden, Keith David and Stephen Root, to name a few. However, Robards is probably one of the most celebrated character actors of all time. He was one of only 24 performers to achieve the Triple Crown of Acting, a.k.a. a competitive Academy Award, Emmy Award and Tony Award. He was also inducted into the American Theatre Hall of Fame in 1979.
Robards started on stage and radio in the late 1940s. He made his film debut in 1959’s The Journey. He would go on to win an Academy Award for All the President's Men in 1976. The following year, he won his second Best Supporting Actor Oscar for Julia. He can also be seen in films like Once Upon a Time in the West, Magnolia, The Day After and Philadelphia. He also appeared in many plays and TV shows, including his final performance in 2000’s Going Home.
21. Angela Bassett
Angela Bassett did the thing if the “thing” is a four-decade-plus career as an actress. She studied acting at the Yale School of Drama before working in theater in NYC and moving to Los Angeles in the late 1980s to pursue acting. She made a splash in the early 1990s with films like Boyz n the Hood and Malcolm X.
Bassett went on to appear in What's Love Got to Do with It, Waiting to Exhale, How Stella Got Her Groove Back, Akeelah and the Bee and Black Panther. She also worked in TV, including a current starring role and being an executive producer on 9-1-1. She has been nominated for two Oscars and given an Academy Honorary Award. She has also won two Golden Globe Awards, most recently for Black Panther: Wakanda Forever.
20. Michael Shannon
Michael Shannon isn’t entirely a household name, but most audiences have seen his work. Werner Herzog once called Shannon “the best actor of his generation.” Shannon has appeared in over 70 films, including 8 Mile, Before the Devil Knows You're Dead, The Night Before, Elvis & Nixon, The Shape of Water, Nocturnal Animals, Knives Out and Bullet Train. A frequent collaborator of director Jeff Nichols, Shannon often shines in unlikeable roles.
While Shannon appeared in some plays in Chicago in the early 1990s, his first “filmed” role was in the 1993 music video for the song "House of Pain" by the rock band Every Mother's Nightmare. However, his film debut was later that year as a small part in Groundhog Day. He has since been nominated for two Oscars and won two SAG awards.
19. Morgan Freeman
Morgan Freeman made his film debut (as an uncredited character) in Sidney Lumet’s The Pawn Broker in 1964, and he made his stage debut the same year on the West End in Hello, Dolly! In the 1970s, he appeared on the children’s TV show The Electric Company.
However, most audiences will recognize him from his prolific film career, which picked up after his Oscar-nominated performance in 1987’s Street Smart. He then starred in Glory, Driving Miss Daisy, The Shawshank Redemption, Seven, Million Dollar Baby, The Dark Knight and Invictus. In 2018, eight women accused Freeman of inappropriate behavior on set; however, SAG decided not to take any action and let the actor keep his achievement award. Freeman has been nominated for four Oscars, winning one, as well as seven NAACP Image Awards and the Cecil B. DeMille Award.
18. Leonardo DiCaprio
Leonardo DiCaprio is one of the highest-paid actors working today. He began his career as a child actor in commercials before acting in films in the early 1990s. He broke through with 1993’s What's Eating Gilbert Grape. Since then, he has starred in movies like Romeo + Juliet, Titanic, Catch Me If You Can, The Aviator, The Departed, Blood Diamond, Christopher Nolan’s Inception, Quentin Tarantino’s Once Upon A Time in Hollywood and Killers of the Flower Moon.
A frequent collaborator of Martin Scorsese, DiCaprio has been nominated for seven Academy Awards, winning one for 2015’s The Revenant. However, he is also the only actor on this list to win a Golden Raspberry Award and be nominated for a Golden Raspberry Award for Worst Actor for 2000’s The Beach. While his personal life has been criticized for publicly dating very young women in the 2000s, DiCaprio’s commitment to acting and ability to disappear into roles has cemented him as one of the greatest actors of his generation.
17. Ian McKellen
Ian McKellen is a lot more than just Gandalf or Magneto. The veteran actor got his start in theater in the 1960s. While he won his first of six Laurence Olivier Awards in 1977 and acted in many films, TV shows and theater productions since the mid-1960s, it wasn’t until the 1990s that he became celebrated in cinema.
He was nominated for his first BAFTA in 1996 for Richard III, and nominated for his first Oscar in 1999 for Gods and Monsters, becoming the first gay actor to be nominated for an LGBTQ role (Coleman Domingo would become the second in 2024.) McKellen publicly came out as gay in 1988 and has been a long-time advocate for LGBTQ rights. At 84, he is still working. McKellen is known for his roles in A Touch of Love, Plenty, Six Degrees of Separation, Restoration, Mr. Holmes and, of course, Lord of the Rings.
16. Frances McDormand
Frances McDormand has been acting since the 1980s but has garnered widespread critical acclaim more recently. Keaton Bell wrote for Vogue Magazine in 2021, "long considered one of our greatest living performers… McDormand makes you believe every person she plays is a flesh-and-blood human who continues living out their life once the cameras stop rolling."
Frances McDormand debuted in the film Blood Simple, her husband Joel Coen's first film, in 1984. Since then, she has appeared in films such as Fargo, Almost Famous, Three Billboards Outside Ebbing, Missouri, and Nomadland. She earned her first Oscar nomination for 1988’s Mississippi Burning. She went on to win four Oscars, three BAFTAs, two Emmys, two Golden Globes, four SAG Awards and a Tony. She still often appears in her husband's films and has been in nine Coen Brothers films.
15. Alan Arkin
Alan Arkin wore many hats during his over 60-year career. In the 1950s, he was a singer and guitarist for the band The Tarriers. In the 1960s, he performed sketch comedy at Chicago’s Second City. In the 1970s, he appeared on four episodes of Sesame Street and directed two comedy films, Little Murders and Fire Sale. He received his first Oscar nomination in 1967 for The Russians Are Coming and won his first Oscar 40 years later in 2007 for Little Miss Sunshine.
He is known for roles in The Heart is a Lonely Hunter, Argo, Wait Until Dark, Edward Scissorhands, Glengarry Glen Ross and The Kominsky Method. From Tony-winning Broadway performances to voice acting on BoJack Horseman, Arkin appeared in over 110 projects. While he passed in 2023, his last movie, The Smack, is set to be released posthumously in 2024.
14. Ingrid Bergman
Roger Ebert said of Ingrid Bergman, “She doesn't simply gaze... she peers into the eyes, searching for meaning and clues, and when she is in a close two-shot with an actor, watch the way her own eyes reflect the most minute changes in his expression." Her expressiveness is one of the things that set her apart as an actor.
Bergman started in Swedish and German films in her native Sweden. She was introduced to American audiences in 1939’s Intermezzo. She went on to star in movies like For Whom the Bell Tolls, Gaslight, Anastasia, Casablanca and Notorious. She won many awards during her career, including three Oscars, two Emmys, a Tony Award and four Golden Globes.
13. Cate Blanchett
While Cate Blanchett’s first film role was as an unnamed cheerleader in the 1990 Egyptian boxing film Kaboria, she had already made a splash in Australia’s theater scene. She landed her first supporting film role in 1997’s WWII film Paradise Road. The following year, she gained notoriety and an Oscar for playing Queen Elizabeth in 1998’s Elizabeth.
Since then, she has appeared in films such as The Talented Mr. Ripley, The Lord of the Rings Trilogy, The Aviator, The Curious Case of Benjamin Button, Carol and Tár. Even in her less serious work, like Ocean’s 8, Thor: Ragnarok or Cinderella, Blanchett brings gravitas and realization to her characters. She has been nominated for eight Oscars, winning two, along with four BFTAs and four Golden Globes.
12. Humphrey Bogart
While Humphrey Bogart is usually remembered for his work in noirs and dramas like The Maltese Falcon, The Big Sleep and Casablanca, he started his career on Broadway. He made the leap to film in 1928’s The Dancing Town, and later rose to prominence with his role in 1941’s High Sierra.
During his career, he was nominated for three Best Actor Academy Awards, winning one for his role in The African Queen. He is also remembered for his frequent collaborations with his fourth wife, Lauren Bacall. The two met on the set of 1944’s To Have and Have Not when Bacall was only 19 years old (Bogart was 44 at the time.) The two appeared in five films together before Bogart’s death in 1957 from esophageal cancer.
11. Denzel Washington
Denzel Washington got his big break in the medical drama St. Elsewhere in the early 1980s. However, he is mainly known for his work in films like Glory, Malcolm X, Philadelphia, Inside Man, American Gangster and The Tragedy of Macbeth.
He has won two Oscars, three Golden Globes (including the Cecil B. DeMille Award), a SAG, and a Tony Award. In 2022, Washington was also awarded the Presidential Medal of Freedom. Washington is also a favorite of director Spike Lee. He directed his first film, Antwone Fisher, in 2002 and has since taken on director and producer roles, including for the award-winning 2016 film Fences.
10. Cary Grant
Cary Grant is as notable for his drama performances as his comedic work. Grant started his career as a vaudeville performer and comedian in the early 1920s. In 1932, he made eight movies, including his film debut, This Is the Night. He went on to appear in over 40 films before retiring from acting in 1966.
Notably, Grant appeared in films like To Catch a Thief, Indiscreet, North by Northwest, Bringing Up Baby, The Philadelphia Story, Charade, His Girl Friday, Arsenic and Old Lace and That Touch of Mink. Grant was a favorite of director Alfred Hitchcock and was often noted for treating his female costars with respect. His biographer, Graham McCann, said of Grant, “No other man seemed so classless and self-assured ... at ease with the romantic as the comic ... aged so well and with such fine style ... in short, played the part so well: Cary Grant made men seem like a good idea.”
9. Robert De Niro
Robert De Niro has been in many iconic films and also some really bad ones. He probably has the most varied track record of anyone on this list. However, even in movies like Dirty Grandpa or New Year’s Eve, there is something electric about De Niro. The actor is probably better remembered for his roles in Raging Bull, Taxi Driver, Goodfellas, Killers of the Flower Moon, Cape Fear and The Godfather Part II (but you have to admit, he is great in Meet the Fockers).
De Niro became a frequent collaborator of Martin Scorsese after being introduced to him by director Brian De Palma in the 1970s. In the mid-2000s, De Niro’s career took a dip; however, he experienced a resurgence in 2017 after playing Bernie Madoff in HBO’s The Wizard of Lies. The Kennedy Center honored him saying, “One of America's greatest cinematic actors, Robert De Niro has demonstrated a legendary commitment to his characters.” Notably, De Niro also co-founded the Tribeca Film Festival.
8. Katharine Hepburn
Katherine Hepburn started her over 60-year film career in 1932’s A Bill of Divorcement after starting in theater in the late 1920s. She holds the record for most Oscars won by a performer for her roles in Morning Glory, Guess Who's Coming to Dinner, The Lion in Winter and On Golden Pond.
Other notable films starring Hepburn include The Philadelphia Story, The African Queen, Suddenly, Last Summer and Bringing Up Baby. Hepburn brought the same acting chops to screwball comedies and Shakespeare plays alike. However, she was shunned by many in Hollywood for her unconventional lifestyle, which included wearing pants and being outspoken.
7. Viola Davis
Viola Davis started her career in theater and TV in the late 1990s and early 2000s before her breakthrough film performance in 2008’s Doubt. Since then, she has starred in The Help, Ma Rainey's Black Bottom, The Woman King and How to Get Away With Murder.
Davis has become known for her emotionally powerful acting performances. She has been nominated for four Academy Awards, winning one for 2016’s Fences. The win made Davis the first black actor to win the Triple Crown of Acting. She is also only the third performer to achieve both EGOT and Triple Crown of Acting, after Rita Moreno and Helen Hayes.
6. Laurence Olivier
Laurence Olivier kind of needs to be on this list. While he has a complicated legacy (especially when it comes to his use of blackface), the highest honor in British theater, the Laurence Olivier Award, is literally named after him. Aside from his accomplishments in theater, he was nominated for eleven Oscars, won one competitive Academy Award (and received two Academy Honorary Awards).
Olivier was a classically trained actor who disliked method acting. During filming Marathon Man, he told a method acting Dustin Hoffman, "Why don't you just try acting?” Olivier appeared in films such as Wuthering Heights, Rebecca, Spartacus and The Boys from Brazil. He also directed himself in a trilogy of Shakespeare films: Henry V, Hamlet and Richard III. While many of his best performances came from the 1940s and 50s, he worked into the 1980s in theater, film and TV.
5. Anthony Hopkins
One of Britain’s most prolific actors, Sir Anthony Hopkins, started his career in theater in 1960. In 1965, Laurence Olivier chose Hopkins to act as his understudy at the Royal National Theatre in London. Hopkins filled in for Olivier when he had appendicitis in 1967 during a production of The Dance of Death. Hopkins would go on to win the Olivier Award for Pravda in 1985.
While he made film appearances in the early 1960s, his big break came with 1968’s The Lion in Winter. Hopkins went on to star in films like The Silence of the Lambs, The Remains of the Day, Nixon, Amistad and The Two Popes. Hopkins became the oldest Oscar winner after he won for Best Actor for 2020’s The Father at age 83. Hopkins is still currently working as an actor at age 86.
4. Sidney Poitier
Sidney Poitier was more than an actor; he was a director, diplomat and one of the last surviving stars of Hollywood’s golden age. In his over 60-year career, he starred in films like Porgy and Bess, A Raisin in the Sun, To Sir, with Love, Guess Who's Coming to Dinner and In the Heat of the Night.
Poitier was the first black and first Bahamian actor to win the Academy Award for Best Actor, for 1963’s Lilies of the Field. He also received two Golden Globe Awards, a BAFTA Award, a Grammy Award, the Presidential Medal of Freedom and an honorary knighthood. Many have called Poitier the first African American movie star.
3. Meryl Streep
Meryl Streep is often credited as the “greatest actress of her generation.” While she started in New York’s theater scene, she quickly made the jump to film and made her film debut in 1977’s Julia. By 1980, she had already been nominated for two Oscars and won her first for Best Supporting Actress for Kramer vs. Kramer.
She would go on to win two more Oscars for Sophie’s Choice and The Iron Lady and become the most nominated performer in Golden Globes history. While she is mainly known as a film actor, she has also played TV roles on shows like Only Murders in the Building and Big Little Lies. Streep has also flexed her singing and Broadway talents in movie musicals like Mamma Mia!, Into the Woods and Mary Poppins Returns.
2. Marlon Brando
Marlon Brando is remembered for many things, including his love affairs with everyone from Marilyn Monroe to Rita Moreno, his rebellious attitude, controversial statements about the Jews, possible homosexuality, participation in the civil rights and Native rights movements and activism against apartheid. However, his contributions to acting may be his largest legacy.
Brandon is credited with being an early adopter of Stanislavski's system and in so doing popularizing method acting. He worked with Stella Adler in the 1940s and spent most of the ‘40s on Broadway before appearing in his first film, The Men, in 1950. His second film, 1951’s A Streetcar Named Desire, earned him his first Academy Award nomination. He went on to win two Oscars for On the Waterfront and The Godfather. However, he refused his Oscar for The Godfather and had Sacheen Littlefeather use his allotted speech time to make a statement on Native mistreatment. While he was supposed to appear in Scary Movie 2, he had to leave the production due to illness, making his last released film, 2001’s The Score, before his death in 2004. Other notable Brando films include Mutiny on the Bounty, 1978’s Superman, Last Tango In Paris and Apocalypse Now.
1. Bette Davis
Bette Davis was an icon of classic Hollywood. In her 60-year career, she won the Oscar for Best Actress twice and was the first person to be nominated for 10 Academy Award nominations for acting. Davis is remembered for All About Eve, What Ever Happened to Baby Jane?, Now, Voyager, Jezebel, Mr. Skeffington and The Star. She was also the first woman to receive the AFI’s Lifetime Achievement Award in 1977.
While Davis appeared in several films in the early 1930s, she made a splash in 1934’s Of Human Bondage. As early as 1936, reviewers like Graham Greene sang Davis’ praises. Greene wrote, “Even the most inconsiderable film... I would rather watch Miss Davis than any number of competent pictures.” Davis was famous for taking complex and unsympathetic roles and didn’t shy away from playing a villain. She worked up until her death. Davis collapsed during the American Cinema Awards in 1989 after her breast cancer returned and passed later that year.
Bottom Line
There are so many amazing actors: far too many to fit on one list. However, these are just some of the actors who have left a lasting mark on Hollywood and film history itself. From comedy to drama, these actors approach roles with excitement, dedication and mastery of their craft, making them the greatest actors and actresses of all time.
|
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correct_starring_00069
|
FactBench
|
1
| 12 |
https://en.wikipedia.org/wiki/Om_Shanthi_Om
|
en
|
Om Shanthi Om
|
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2013-12-01T16:46:21+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Om_Shanthi_Om
|
Not to be confused with Om Shanti Om.
2015 Indian film
Om Shanthi OmDirected bySuryaprabhakarProduced byArumai Chandran
Haresh Vikram VijayakumarStarringSrikanth
Neelam UpadhyayaCinematographyBhaskaran K. M.Edited byVivek HarshanMusic byVijay Ebenezer
Production
company
8 Point Entertainment
Release date
[1]
Running time
162 minutesCountryIndiaLanguageTamil
Om Shanthi Om is a 2015 Tamil language supernatural drama film directed by D. Suryaprabhakar and produced by Arumai Chandran.The film stars Srikanth and Neelam Upadhyaya, while Vijay Ebenezer composes the film's music. The film was released in October 2015.[2][3] It is loosely based on the American fantasy film Heart and Souls.
The film opens with a bus accident in which there is only one survivor — Vasu (Srikanth). The film flashes forward to six months later. Vasu works in an automobile showroom and falls in love with Shanthi (Neelam Upadhyaya), who he also hires as his employee. Vasu begins to notice five individuals following him everywhere he goes. He confronts them, and they tell him that they need his help, and he agrees. As he fulfills their wishes, he learns that they are people who were involved in the same bus accident as him, and they have appeared as spirits so that their last wishes can be fulfilled. Shanthi mistakes the signs of Vasu talking with the ghosts as a psychological problem, and the lovers separate. Can Vasu fulfill the spirits' wishes and get back together with Shanthi?
The film began its first schedule in February 2013 with little fanfare and scenes were shot around Trichy.[4][5]
The music was composed by Vijay Ebenezer.
Om Shanthi OmSoundtrack album by Released2015Length25:02LanguageTamilProducerN. R. RaghunanthanN. R. Raghunanthan chronology
Pappali
(2014) Om Shanthi Om
(2015)
|
||||||
correct_starring_00069
|
FactBench
|
2
| 47 |
https://www.rollingstone.com/tv-movies/tv-movie-news/shannen-doherty-beverly-hills-90210-dead-obituary-1234809737/
|
en
|
Shannen Doherty, ‘Beverly Hills, 90210’ Actress and TV Icon, Dead at 53
|
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2024-07-14T13:09:26+00:00
|
Shannen Doherty, the TV icon best known for her role in 'Beverly Hills, 90210,' has died at age 53.
|
en
|
Rolling Stone
|
https://www.rollingstone.com/tv-movies/tv-movie-news/shannen-doherty-beverly-hills-90210-dead-obituary-1234809737/
|
Shannen Doherty, the actress behind culture-defining projects like Beverly Hills, 90210, Heathers, and Charmed, died on Saturday after a years-long struggle with cancer. She was 53.
“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,” Doherty’s longtime publicist Leslie Sloane said in a statement to People on Sunday. “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.”
Doherty rose to fame playing a slew of complicated characters in Heathers and Beverly Hills, 90210, a reputation painted as imitating real life as the actress captivated tabloid attention with rumors of high-profile feuds and a string of engagements and marriages. Yet she never saw her reputation as anything other than a refusal to stop standing up for herself, and she eventually reconciled with the cacophony of criticism that cast a shadow on her time in the limelight. “I have felt misunderstood my whole life,” she told People in 2019. “The only difference is that now I’m okay with it.”
Doherty was born on April 12, 1971 in Memphis, Tennessee, the younger of two siblings raised in the Southern Baptist faith. The family relocated to Los Angeles when she was six, shortly before her father Tom’s company went under and the Dohertys went from living in luxury to eating rice every day. Her luck changed when actor-director Michael Landon cast her on Little House of the Prairie in 1982. She was just 10, and the acting legend imparted wisdom that carried Doherty through her hard years in Hollywood and beyond. “That show changed my life. Michael Landon was the one who said to me, ‘Always slick up for yourself. Never let anybody walk all over you. Be a strong woman,’ ” Doherty remembered in 1992.
Following Prairie, Doherty starred in the 1985 teen comedy Girls Just Want to Have Fun with Sarah Jessica Parker and Helen Hunt, and the TV drama Our House in 1986. Two years later, she starred in the 1988 cult-classic Heathers, playing one of the titular mean-girl characters. The latter two roles caught the attention of actress Tori Spelling, who brought Doherty up to her mega-producer dad, Aaron Spelling. The two were tapped for Beverly Hills, 90210 in 1990, thrusting them into superstardom.
Editor’s picks
Doherty played Brenda Walsh, an L.A. transplant from Minnesota who adapts to life in the affluent zip code. The show took off, but Doherty felt the heat of constant tabloid attention fueled by rumors of on-set trouble. Influenced by her turmoil on and off the set, fans formed “I Hate Brenda” clubs, and Doherty’s time on the show eventually came to an end in 1994 following a string of difficult moments and growing frustration with her chronic lateness.
“There was definitely a time that I did not want to be there. I was unhappy. It sounds odd to say that I was on a hit show making a lot of money and I was unhappy, because it makes me sound unappreciative — I wasn’t. It’s just that the sacrifice at the time seemed too large to me,” Doherty told Entertainment Weekly in 2000 ahead of the show’s finale.
Unbeknownst to her costars and producers, Doherty was having a hard time with both her personal life and father’s ongoing health struggles; she was engaged to three different men during the run of the show. She eventually married Ashley Hamilton during her last year on the show, though they divorced by the time she left the series in April 1994. For Doherty, all the struggles tied to an ever-present feeling: “Somebody had a problem with me being late, but perhaps they didn’t know I was late because my dad was in the hospital, or maybe because I was in a horrible marriage. I’m not saying it was all a misunderstanding, but a large portion of it was a misunderstanding,” Doherty recalled to People in 2019.
Related
Yet the issues didn’t stay on the 90210 set. When Doherty signed onto Aaron Spelling’s Charmed in 1998, she once again was lauded for her performance as Prue Halliwell, one of a trio of sister witches, and directed a few episodes of the series. But her time on the hit show once again ended early when she left in its third season, seemingly due to her ongoing issues with costar Alyssa Milano. “There was too much drama on the set and not enough passion for the work,” she told ET at the time. “I’m 30 years old and I don’t have time for drama in my life anymore.”
She stuck to the mantra, spending the early 2000s doing smaller TV roles and even reprised her role as Brenda in The CW spinoff 90210. With her return, Doherty turned the page on the bad press of the past. “I have a rep. 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,” she told Parade in 2010.
Doherty ended up needing that strength, and then some, as she faced breast cancer diagnoses in 2015 and again in 2019. Her first diagnosis came amid a legal battle with her former business manager, forcing her to reveal her health struggles as legal papers leaked. She underwent a unilateral mastectomy in May 2016 and announced she was in remission in 2017. Yet she was realistic about the chance of recurrence. “As every single one of my fellow cancer family knows, the next five years is crucial. Reoccurrences happen all the time,” she wrote on Instagram. “So with a heart that is certainly lighter, I wait.
“I was always used to being the strong one, and during that time period, every wall I’d built up in my life came down,” she said of her first bout with the illness. “I also had a lot more time to look at myself and say, ‘I’m a pretty okay person and cut myself some slack.” It helped that her vulnerability started changing her public image. “I get a little less trolls and haters on social media now, so that’s good,” she said. “I think because cancer stripped me of my defense mechanisms, it allowed people to see all sides of me.”
Her remission message turned out to be prophetic, as she was diagnosed with stage four cancer in 2019. “There are definitely days where I say, ‘Why me?’ And then I go, ‘Why not me? Who else?'” Doherty said at the time. “Who else besides me deserves this? None of us do.”
This felt especially true when, right after her second diagnosis, Doherty suffered another devastating blow: Her longtime friend and former Beverly Hills costar Luke Perry died in March 2019 of a massive stroke. “There is a special kind of love one has for each other when you are experiencing the journey we did on 90210 and of course, life in general. I will miss him every day. Every minute. Every second.”
Following Perry’s death, Doherty rethought her initial denial to take part in the semi-reality show BH90210 with the surviving original cast. “I felt like it was a great opportunity to honor him,” she explained. “We went on this amazing journey together where we also got to really, sort of, heal through losing somebody who means the world to all of us.” Doherty also appeared on the Riverdale farewell episode to Perry.
Her time back on the screen also offered her the opportunity to prove that her professional life would continue post-diagnosis. “A lot of people who get diagnosed with stage four, they sort of getting written off. It’s assumed that they cannot work or they can’t work at their full capacity. And that is not true,” she said.
Doherty went back to work and also publicized the intimate moments that come with fighting the disease. In vulnerable Instagram posts, Doherty refused to shy away from the reality of the illness. “Is it all pretty? NO but it’s truthful and my hope in sharing is that we all become more educated, more familiar with what cancer looks like. I hope I encourage people to get mammograms, to get regular checkups, to cut [through] the fear and face whatever might be in front of you,” she wrote.
Just weeks later, Doherty revealed that her breast cancer had metastized to her brain. She announced the news alongside an emotional video of her receiving radiation. “My fear is obvious… there was a lot going on in my life,” Doherty wrote. “But that fear…The turmoil…the timing of it all…This is what cancer can look like.”
Trending
Jason Priestley, who played Doherty’s brother on 90210, paid tribute to the actress on social media Sunday. “Shocked and saddened to hear about the passing of my friend Shannen,” he wrote. “She was a force of nature and I will miss her. Sending love and light to her family in this dark time.”
|
|||||
correct_starring_00069
|
FactBench
|
0
| 48 |
https://www.indulgexpress.com/entertainment/celebs/2022/Nov/12/janhvi-kapoor-recreates-deepika-padukones-chandelier-scene-from-om-shanti-om-posts-video-on-insta-45386.html
|
en
|
Janhvi Kapoor recreates Deepika Padukone’s ‘chandelier scene’ from Om Shanti Om; posts video on Instagram
|
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"Team Indulge"
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2022-11-12T00:00:00
|
Bollywood actress Janhvi Kapoor took to Instagram on Friday to post a video of hers recreating a scene from the 2007 Hindi-language film, Om Shanti Om starring Deepika Padukone
|
en
|
/favicon.ico
|
Indulgexpress
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https://www.indulgexpress.com/entertainment/celebs/2022/Nov/12/janhvi-kapoor-recreates-deepika-padukones-chandelier-scene-from-om-shanti-om-posts-video-on-insta-45386.html
| |||||
correct_starring_00069
|
FactBench
|
1
| 7 |
https://www.rottentomatoes.com/m/om_shanti_om
|
en
|
Om Shanti Om
|
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Two actors are reincarnated after a fire destroys their studio.
|
en
|
https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
|
https://www.rottentomatoes.com/m/om_shanti_om
|
Let's keep in touch!
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|
||||
correct_starring_00069
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FactBench
|
2
| 51 |
https://www.fox5vegas.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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[] |
[] |
[
"shelley duvall",
"the shining",
"stanley kubrick"
] | null |
[
"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.
|
en
|
//webpubcontent.gray.tv/gray/arc-fusion-assets/images/favicons/kvvu/favicon.ico?d=420
|
https://www.fox5vegas.com
|
https://www.fox5vegas.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.”
|
||||
correct_starring_00069
|
FactBench
|
3
| 32 |
https://www.ranker.com/list/the-best-movies-with-great-in-the-title/ranker-film
|
en
|
The 80+ Best Movies With Great in the Title
|
https://imgix.ranker.com/list_img_v2/12317/2472317/original/the-best-movies-with-great-in-the-title
|
https://imgix.ranker.com/list_img_v2/12317/2472317/original/the-best-movies-with-great-in-the-title
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[
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] | null |
[
"Ranker Film"
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2016-12-06T00:00:00
|
Over 80 filmgoers have voted on the 80+ Best Movies With Great in the Title. Current Top 3: The Great Dictator, The Great Escape, The Great Waldo Pepper ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/the-best-movies-with-great-in-the-title/ranker-film
|
Delving into the realm of cinema, one can't help but notice the abundance of titles encapsulating the word “great.” The allure movies with great in the title transcends mere naming aesthetics; it brings with it connotations of grandeur, ambition, and a promise of compelling narratives that engage and entertain audiences. From vintage classics to contemporary masterpieces, an array of films have successfully harnessed this powerful word, carving their places in cinema history.
The magic of cinema manifests brilliantly in how the term “great” is woven into intricate narratives. Each film under this umbrella reveals a profound dimension of the “great concept,” reflecting an artistic interpretation within each unique storyline. Whether the greatness alludes to a dictator's oppressive regime or the brazen spirit to escape entrapment, the films explore the theme with equal finesse and innovation.
Consider famous films like The Great Dictator and It's the Great Pumpkin, Charlie Brown. While one summons laughter and deep political thought, the other conveys the innocence of childhood beliefs and traditions. Equally enchanting are the narratives of The Great Escape and The Great Gatsby, bringing to life tales of war-time resilience and a festive, tragic perception of the American Dream. Each film showcases the differences the word represents, and fantastically delivers compelling tales. Conveniently, almost all the titles listed are available on streaming platforms from Netflix to Disney+, and Max to Paramount+, allowing audiences to easily relish the cinematic brilliance they offer.
Movies embellished with great in the titles offer an engaging spectacle of diverse narratives that delve into historical tales and contemporary stories, leaving a lasting imprint on viewers. They encapsulate diverse interpretations of greatness, rendering them as distinct chapters in the infinite book of cinema. As audiences embark on this voyage through some of the best “great” films ever made, they're bound to encounter narratives that challenge, inspire and entertain in equal measure.
|
||
correct_starring_00069
|
FactBench
|
0
| 67 |
https://en.wikipedia.org/wiki/Shah_Rukh_Khan
|
en
|
Shah Rukh Khan
|
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2003-10-30T01:09:27+00:00
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en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Shah_Rukh_Khan
|
Indian actor (born 1965)
"SRK" redirects here. For other uses, see SRK (disambiguation).
For the Indian cricketer, see Shahrukh Khan (cricketer).
Shah Rukh Khan (pronounced [ˈʃɑːɦɾʊx xɑːn] ⓘ; born 2 November 1965), also known by the initialism SRK, is an Indian actor and film producer who works in Hindi cinema. Referred to in the media as the "Baadshah of Bollywood" and "King Khan",[a] he has appeared in more than 100 films, and earned numerous accolades, including 14 Filmfare Awards. He has been awarded the Padma Shri by the Government of India, as well as the Order of Arts and Letters and Legion of Honour by the Government of France. Khan has a significant following in Asia and the Indian diaspora worldwide. In terms of audience size and income, several media outlets have described him as one of the most successful film stars in the world.[b] Many of his films thematise Indian national identity and connections with diaspora communities, or gender, racial, social and religious differences and grievances.
Khan began his career with appearances in several television series in the late 1980s and made his Bollywood debut in 1992 with the musical romance Deewana. He was initially recognised for playing villainous roles in the films Baazigar (1993) and Darr (1993). Khan established himself by starring in a series of top-grossing romantic films, including Dilwale Dulhania Le Jayenge (1995), Dil To Pagal Hai (1997), Kuch Kuch Hota Hai (1998), Mohabbatein (2000), Kabhi Khushi Kabhie Gham... (2001), Kal Ho Naa Ho (2003), Veer-Zaara (2004) and Kabhi Alvida Naa Kehna (2006). He earned critical acclaim for his portrayal of an alcoholic in the period romantic drama Devdas (2002), a NASA scientist in the social drama Swades (2004), a hockey coach in the sports drama Chak De! India (2007), and a man with Asperger syndrome in the drama My Name Is Khan (2010). Further commercial successes came with the romances Om Shanti Om (2007) and Rab Ne Bana Di Jodi (2008), and with his expansion to comedies in Chennai Express (2013) and Happy New Year (2014). Following a brief setback and hiatus, Khan made a career comeback with the 2023 action thrillers Pathaan and Jawan, both of which rank among the highest-grossing Indian films.
As of 2015, Khan is co-chairman of the motion picture production company Red Chillies Entertainment and its subsidiaries and is the co-owner of the Indian Premier League cricket team Kolkata Knight Riders and the Caribbean Premier League team Trinbago Knight Riders. The media often label him as "Brand SRK" because of his many endorsements and entrepreneurship ventures. He is a frequent television presenter and stage show performer. Khan's philanthropic endeavours have provided health care and disaster relief, and he was honoured with UNESCO's Pyramide con Marni award in 2011 for his support of children's education and the World Economic Forum's Crystal Award in 2018 for advocating for women's and children's rights in India. He regularly features in listings of the most influential people in Indian culture, and in 2008, Newsweek named him one of their fifty most powerful people in the world. In 2022, Khan was voted one of the 50 greatest actors of all time in a readers' poll by Empire, and in 2023, Time named him as one of the most influential people in the world.
Early life and family
Parents
Khan's father, Mir Taj Mohammed Khan, was an Indian independence activist from Peshawar who campaigned alongside the Khudai Khidmatgar, a nonviolent resistance movement led by Abdul Ghaffar Khan that sought a united and independent India.[1][2] Mir was a follower of Abdul Ghaffar Khan, and affiliated with the Indian National Congress.[4] He was also the cousin of the major general in the Indian National Army Shah Nawaz Khan.[c] According to Khan his paternal grandfather, Mir Jan Muhammad Khan, was an ethnic Pashtun (Pathan) from Afghanistan.[7][4][8] However, his paternal cousins in Peshawar later clarified that the family speaks Hindko and is originally from Kashmir, from where they settled in Peshawar centuries back, contradicting the claim that his grandfather was a Pashtun from Afghanistan.[4][9] As of 2010, Khan's paternal family was still living in the Shah Wali Qataal area of Peshawar's Qissa Khwani Bazaar.[4]
In 1946, Mir moved to Delhi to study law at Delhi University. When the partition of India occurred in 1947, he was forced to stay in Delhi, and did not return to Peshawar until many years later. Khan's mother, Lateef Fatima, a magistrate, was the daughter of a senior government engineer.[c][13] His parents were married in 1959.
Early life
Khan was born on 2 November 1965 into a Muslim family in New Delhi. He spent the first five years of his life in Mangalore, where his maternal grandfather, Iftikhar Ahmed, served as chief engineer of the port in the 1960s.[16][17][d] Khan has described himself on Twitter as "half Hyderabadi (mother), half Pathan (father), and some Kashmiri (grandmother)".[19]
Khan grew up in the Rajendra Nagar neighbourhood of New Delhi.[20] His father had several business ventures including a restaurant, and the family lived a middle-class life in rented apartments. Khan attended St. Columba's School in central Delhi where he excelled in his studies and in sports such as hockey and football, and received the school's highest award, the Sword of Honour. Initially Khan aspired to pursue a career in sports, however owing to a shoulder injury in his early years meant that he could no longer play.[23] Instead, in his youth, he acted in stage plays and received praise for his imitations of Bollywood actors, of which his favourites were Dilip Kumar, Amitabh Bachchan, and Mumtaz. One of his childhood friends and acting partners was Amrita Singh, who became a Bollywood actress. Khan enrolled at Hansraj College (1985–88) to earn his bachelor's degree in economics, but spent much of his time at Delhi's Theatre Action Group (TAG), where he studied acting under the mentorship of theatre director Barry John.[27][28] After Hansraj, he began studying for a master's degree in mass communication at Jamia Millia Islamia, but left to pursue his acting career.[29] He also attended the National School of Drama in Delhi during his early career in Bollywood.[30]
His father died of cancer in 1981,[e] and his mother died in 1991 from complications of diabetes. After the death of their parents, his older sister, Shahnaz Lalarukh (born 1960) fell into a depressed state and Khan took on the responsibility of caring for her.[35] Shahnaz continues to live with her brother and his family in their Mumbai mansion.[36]
Acting career
See also: Shah Rukh Khan filmography
1988–1992: Television and film debut
Khan's first starring role was in Lekh Tandon's television series Dil Dariya, which began shooting in 1988, but production delays led to the Raj Kumar Kapoor directed 1989 series Fauji becoming his television debut instead. In the series, which depicted a realistic look at the training of army cadets, he played the leading role of Abhimanyu Rai.[38][39] This led to further appearances in Aziz Mirza's television series Circus (1989–90) and Mani Kaul's miniseries Idiot (1992). Khan also played minor parts in the serials Umeed (1989) and Wagle Ki Duniya (1988–90), and in the English-language television film In Which Annie Gives It Those Ones (1989).[41] His appearances in these serials led critics to compare his look and acting style with those of the film actor Dilip Kumar, but Khan was not interested in film acting at the time, thinking that he was not good enough.[43]
Khan changed his decision to act in films in April 1991, citing it as a way to escape the grief of his mother's death.[45] He moved from Delhi to Mumbai to pursue a full-time career in Bollywood and was quickly signed to four films. His first offer was for Hema Malini's directorial debut Dil Aashna Hai,[30][38] and by June, he had started his first shoot. His film debut was in Deewana, which was released in June 1992.[47] In it he starred alongside Divya Bharti as the second male lead behind Rishi Kapoor. Deewana became a box office hit and launched Khan's Bollywood career;[48] he earned the Filmfare Best Male Debut Award for his performance.[49] Also released in 1992 were Khan's first films as the male lead, Chamatkar, Dil Aashna Hai, and the comedy Raju Ban Gaya Gentleman, which was his first of many collaborations with the actress Juhi Chawla.[50] His initial film roles saw him play characters who displayed energy and enthusiasm. According to Arnab Ray of Daily News and Analysis, Khan brought a new kind of acting as he was "sliding down stairs on a slab of ice, cartwheeling, somersaulting, lips trembling, eyes trembling, bringing to the screen the kind of physical energy ... visceral, intense, maniacal one moment and cloyingly boyish the next."[51]
1993–1994: Negative characters
Among his 1993 releases, Khan garnered the most appreciation for portraying villainous roles in two box office hits: a murderer in Baazigar, and an obsessive lover in Darr.[52] The former, in which Khan played an ambiguous avenger who murders his girlfriend, shocked Indian audiences with an unexpected violation of the standard Bollywood formula.[53] In The Cambridge Companion to Modern Indian Culture, Sonal Khullar called the character "the consummate anti-hero". His performance in Baazigar, which would be his first of many appearances with actress Kajol, won Khan his first Filmfare Award for Best Actor. In 2003, the Encyclopaedia of Hindi Cinema stated that Khan "defied the image of the conventional hero in both these films and created his own version of the revisionist hero". Darr marked the first of Khan's many collaborations with filmmaker Yash Chopra and his company Yash Raj Films. Khan's stammering and the use of the phrase "I love you, K-k-k-Kiran" were popular with audiences.[56] Malini Mannath of The Indian Express argued that he "walks away with the acting honours in yet another negative role".[57] For Darr he received a nomination for the Filmfare Award for Best Performance in a Negative Role, also known as the Best Villain Award, but lost to Paresh Rawal for Sir.[58] Also in 1993, Khan performed a nude scene with Deepa Sahi in Maya Memsaab, although parts of it were censored by the Central Board of Film Certification.[59] The ensuing controversy prompted him to eschew such scenes in future roles.
In 1994, Khan played a love-struck musician in Kundan Shah's comedy-drama film Kabhi Haan Kabhi Naa opposite Deepak Tijori and Suchitra Krishnamurthy, which he later professed was his favourite role. His performance earned him a Filmfare Critics Award for Best Performance, and in a retrospective review from 2004, Sukanya Verma of Rediff.com referred to it as Khan's best performance, calling him "spontaneous, vulnerable, boyish, mischievous and acting straight from the heart".[61] Also in 1994, Khan won the Filmfare Best Villain Award for his role as an obsessive lover in Anjaam, co-starring Madhuri Dixit. At the time, playing antagonistic roles was considered risky to a leading man's career in mainstream Hindi cinema. Arnab Ray subsequently credited Khan for taking "insane risks" and "pushing the envelope" by choosing to play such characters, through which he established his career.[51] The director Mukul S. Anand called him "the new face of the industry" at the time.[45]
1995–1998: Romantic roles
Khan starred in seven films in 1995, the first of which was Rakesh Roshan's melodramatic thriller Karan Arjun. Co-starring Salman Khan and Kajol, it became the second-highest-grossing film of the year in India.[62] His most significant release that year was Aditya Chopra's directorial debut, the romance Dilwale Dulhania Le Jayenge, in which he played a young Non-resident Indian (NRI) who falls in love with Kajol's character during a trip across Europe. Khan was initially reticent to portray the role of a lover, but this film is credited with establishing him as a "romantic hero".[63] Lauded by both critics and the public, it became the year's highest grossing production in India and abroad and was declared an "all time blockbuster" by Box Office India,[62][64] with an estimated lifetime gross of ₹2 billion (US$61.68 million) worldwide.[65][66] It is the longest-running film in the history of Indian cinema; it is still showing at the Maratha Mandir theatre in Mumbai after more than 1000 weeks as of early 2015.[67][68] The film won ten Filmfare Awards, including the second of Khan's Best Actor Awards. The director and critic Raja Sen said, "Khan gives a fabulous performance, redefining the lover for the 1990s with great panache. He's cool and flippant, but sincere enough to appeal to the [audience]. The performance itself is, like the best in the business, played well enough to come across as effortless, as non-acting."[69]
In 1996, all four of Khan's releases failed critically and commercially,[70] but the following year, his starring role opposite Aditya Pancholi and Juhi Chawla in Aziz Mirza's romantic comedy Yes Boss earned him accolades that included a Filmfare Best Actor nomination.[58] Later in 1997, he starred in Subhash Ghai's diasporic-themed social drama Pardes, portraying Arjun, a musician facing a moral dilemma. India Today cites it as one of the first major Bollywood pictures to succeed in the United States.[72] Khan's final release of 1997 was the second collaboration with Yash Chopra in the popular musical romance Dil To Pagal Hai. He portrayed Rahul, a stage director caught in a love triangle between Madhuri Dixit and Karisma Kapoor. The film and his performance met with critical praise, winning Khan his third Best Actor Award at Filmfare.
Khan performed the lead role in three films and made one special appearance in 1998. In his first release of the year, he played a double role opposite Juhi Chawla and Sonali Bendre in Mahesh Bhatt's action comedy Duplicate, the first of his many collaborations with Yash Johar's production company Dharma Productions. The film was not well received,[73] but India Today lauded Khan for his energetic performance.[74] The same year, Khan won critical praise for his performance as an All India Radio correspondent who develops an infatuation for a mysterious terrorist (Manisha Koirala) in Dil Se..,[75] the third instalment of Mani Ratnam's trilogy of terror films.[77] In his final release of the year, he portrayed a college student in Karan Johar's romance Kuch Kuch Hota Hai, in which he was involved in a love triangle along with Kajol and Rani Mukerji. The writer Anjana Motihar Chandra has referred to the picture as the blockbuster of the 1990s, a "pot-pourri of romance, comedy, and entertainment." Khan won the Best Actor award at the Filmfare Awards ceremony for the second consecutive year, although he and several critics believed his performance to have been overshadowed by that of Kajol.[79]
The roles in this phase of his career, and the series of romantic comedies and family dramas that followed, earned Khan widespread adulation from audiences, particularly teenagers, and according to the author Anupama Chopra, established him as an icon of romance in India.[82] He continued to have frequent professional associations with Yash Chopra, Aditya Chopra, and Karan Johar, who moulded his image and made him into a superstar. Khan became a romantic leading man without ever actually kissing any of his co-stars, although he broke this rule in 2012, after strong urging by Yash Chopra.[84]
1999–2003: Career fluctuations
Khan's only release in 1999 was Baadshah, in which he starred opposite Twinkle Khanna. Although the film underperformed at the box office,[85] it earned him a Filmfare Award nomination for Best Performance in a Comic Role, which he lost to Govinda for Haseena Maan Jaayegi.[58] Khan became a producer in 1999 in a collaboration with the actress Juhi Chawla and the director Aziz Mirza for a production company called Dreamz Unlimited.[86] The company's first production, Phir Bhi Dil Hai Hindustani (2000), starring Khan and Chawla, was a commercial failure.[87] It was released one week after Kaho Naa... Pyaar Hai, starring Hrithik Roshan, then a newcomer, who critics believed overshadowed Khan. Swapna Mitter of Rediff.com spoke of Khan's predictable mannerisms, saying "Frankly, it's high time he innovated his act a little."[89] Khan did a supporting role in Kamal Haasan's Hey Ram (2000), which was made simultaneously in Tamil and Hindi. He thereby made his Tamil debut by playing the role of an archaeologist named Amjad Khan.[90] He performed free of charge as he wanted to work with Haasan.[91][92] On Khan's performance, T. Krithika Reddy of The Hindu wrote, "Shah Rukh Khan, as usual comes up with an impeccable performance."[90]
In 2001, Dreamz Unlimited attempted a comeback with Khan portraying the title role in Santosh Sivan's historical epic Aśoka, a partly fictionalised account of the life of emperor Ashoka. The film was screened at the Venice Film Festival and the 2001 Toronto International Film Festival to a positive response,[93] but it performed poorly at Indian box offices.[94] As losses continued to mount for the production company, Khan was forced to close srkworld.com, a company that he had started along with Dreamz Unlimited. In December 2001, Khan suffered a spinal injury while performing an action sequence for a special appearance in Krishna Vamsi's Shakti: The Power.[96] He was subsequently diagnosed with a prolapsed disc, and attempted multiple alternative therapies. None of these provided a permanent solution to the injury, which caused him severe pain while shooting several of his films.[96][97] By the beginning of 2003, his condition had worsened to the point that he had to undergo anterior cervical discectomy and fusion surgery at Wellington Hospital, London.[98][99][100] Khan resumed shooting in June 2003, but he reduced his workload and the number of film roles he accepted annually.[97]
Successes during this time included Aditya Chopra's Mohabbatein (2000), and Karan Johar's family drama Kabhi Khushi Kabhie Gham... (2001),[87][101] which Khan cites as a turning point in his career.[102] Both films co-starred Amitabh Bachchan as an authoritarian figure, and presented ideological struggles between the two men. Khan's performances in the films were met with wide public appreciation, and he was awarded his second Filmfare Critics Award for Best Actor for Mohabbatein.[58][105] Kabhi Khushi Kabhie Gham... remained the top-grossing Indian production of all time in the overseas market for the next five years.[106]
In 2002, Khan played the title role as a rebellious alcoholic opposite Aishwarya Rai and Madhuri Dixit in Sanjay Leela Bhansali's period romance Devdas. At a cost of over ₹500 million (US$10.29 million), it was the most expensive Bollywood film ever made at the time,[107] and became a box office success, earning approximately ₹1.68 billion ($35 million) worldwide.[108] The film earned numerous accolades including 10 Filmfare Awards, with Best Actor for Khan,[49] and a BAFTA Award for Best Film Not in the English Language.[109] Khan next starred in Kal Ho Naa Ho (2003), a comedy-drama written by Karan Johar and set in New York City, which became the second-highest-grossing film domestically and the top-grossing Bollywood film in external markets that year.[101][110] Co-starring with Jaya Bachchan, Saif Ali Khan, and Preity Zinta, Khan received critical praise for his portrayal of Aman Mathur, a man with a fatal heart disease, with critics praising his emotional impact upon audiences.[111] Conflict broke out between Khan and the other partners of Dreamz Unlimited over the failure to cast Juhi Chawla in their 2003 production of Aziz Mirza's Chalte Chalte, and they parted ways, despite the film's success.
2004–2009: Comeback
2004 was a critically and commercially successful year for Khan. He transformed Dreamz Unlimited into Red Chillies Entertainment, adding his wife Gauri as a producer.[113] In the company's first production, he starred in Farah Khan's directorial debut, the masala film Main Hoon Na. A fictionalised account of India–Pakistan relations, it was viewed by some commentators as a conscious effort to move away from the stereotypical portrayal of Pakistan as the constant villain. Khan then played an Indian Air Force pilot who falls in love with a Pakistani woman (Preity Zinta) in Yash Chopra's romance film Veer-Zaara, which was screened at the 55th Berlin Film Festival to critical praise.[115] It was the highest earning film of 2004 in India, with a worldwide gross of over ₹940 million (US$20.74 million), and Main Hoon Na was the second-highest earner with ₹680 million (US$15.01 million).[106][116]
In his final release of 2004, Khan starred as a NASA scientist who patriotically returns to India to rekindle his roots in Ashutosh Gowariker's social drama Swades (meaning "Homeland"), which became the first Indian picture to be shot inside the NASA research centre at the Kennedy Space Center in Florida.[117] Film scholar Stephen Teo refers to the picture as an example of "Bollywoodised realism", displaying a transcendence in conventional narrative and audience expectation in Hindi cinema. In December 2013, The Times of India reported that Khan found filming the picture such an emotionally overwhelming and life-changing experience that he had still not viewed the film.[119] Derek Elley of Variety found Khan's performance "unsettling" as "a self-satisfied expatriate determined to bring Western values to poor Indian peasants",[120] but several film critics, including Jitesh Pillai, believed it to have been his finest acting to date.[121][122] He was nominated for the Filmfare Best Actor Award for all three of his 2004 releases and eventually won the award for Swades.[49][58] Filmfare later included his performance in the 2010 issue of Bollywood's "Top 80 Iconic Performances".[123]
In 2005, Khan starred in Amol Palekar's fantasy drama, Paheli. The film was India's submission for the Best Foreign Language Film at the 79th Academy Awards.[124] He later collaborated with Karan Johar for the third time in the musical romantic drama Kabhi Alvida Naa Kehna (2006), in which he played an unhappily married man who has an extramarital affair with a married woman. The film, which featured an ensemble cast including Amitabh Bachchan, Abhishek Bachchan, Rani Mukerji, Preity Zinta and Kirron Kher, emerged as India's highest-grossing film in the overseas market,[101] earning more than ₹1.13 billion (US$25.62 million) worldwide.[106] Both his roles in Kabhi Alvida Naa Kehna and the action film Don, a remake of the 1978 film of the same name, earned Khan Best Actor nominations at the Filmfare Awards,[125] despite his performance as the titular character in Don being negatively compared to that of Amitabh Bachchan in the original film.[126][127]
"Such great things have happened to such a normal guy like me. I am a nobody who shouldn't have been able to do all this but I have done it. I tell everyone that there's this myth I work for; there is this myth called Shahrukh Khan and I am his employee. I have to live up to that ... I'll do it, I am an actor. But I can't start believing in this myth."
—Khan reflecting in 2007 on his position as the Hindi film industry's top star
In 2007, Khan portrayed a disgraced hockey player who coached the Indian women's national hockey team to World Cup success in Yash Raj Films' semi-fictional Chak De! India. Bhaichand Patel notes that Khan, who had a background in the sport playing for his university's hockey team,[129] essentially portrayed himself as a "cosmopolitan, liberal, Indian Muslim". Faring well in both India and abroad,[106][131] Khan garnered another Filmfare Award for Best Actor for his performance,[49] which Rajeev Masand of CNN-IBN considers to have been "without any of his typical trappings, without any of his trademark quirks", portraying Kabir Khan "like a real flesh-and-blood human being".[132] Filmfare included his performance in their 2010 issue of the "Top 80 Iconic Performances".[133] In the same year, Khan starred alongside Arjun Rampal, Deepika Padukone and Shreyas Talpade in Farah Khan's reincarnation melodrama Om Shanti Om, portraying a 1970s junior artiste who is reborn as a 2000s era superstar. The film became the highest grossing Indian motion picture of 2007, both domestically and abroad.[101][134] Om Shanti Om earned Khan his second nomination of the year for Best Actor at Filmfare.[135] Khalid Mohammed from Hindustan Times wrote, "the enterprise belongs to Shah Rukh Khan, who tackles comedy, high drama and action with his signature style—spontaneous and intuitively intelligent".[136]
Khan collaborated for the third time with Aditya Chopra on the romantic comedy Rab Ne Bana Di Jodi (2008) opposite Anushka Sharma, at that time a newcomer. He played Surinder Sahni, a shy man with low self-esteem, whose love for his young arranged wife (Sharma) causes him to transform himself into Raj, a boisterous alter-ego. Rachel Saltz of The New York Times believed the dual role to have been "tailor-made" for Khan, allowing him to display his talents,[137] although Deep Contractor from Epilogue thought Khan displayed greater strength in the role of Surinder and weakness in the role of monologue-prone Raj.[138] In December 2008, Khan suffered a shoulder injury while filming a small role in Mudassar Aziz's Dulha Mil Gaya. He underwent extensive physiotherapy sessions at the time but the pain left him almost immobile and he had arthroscopic surgery in February 2009.[139][140] He performed a special appearance in the 2009 film Billu, playing Bollywood superstar Sahir Khan—a fictionalised version of himself, wherein he performed musical item numbers with actresses Kareena Kapoor, Priyanka Chopra, and Deepika Padukone.[141] As head of the film's production company, Red Chillies, Khan made the call to change the title of the film from Billu Barber to Billu after hairdressers across the country complained that the word "barber" was derogatory. The company covered up the offending word on billboards that had already been installed with the original title.[142]
2010–2014: Expansion to action and comedy
After refusing the role that subsequently went to Anil Kapoor in Danny Boyle's Slumdog Millionaire (2008), Khan began shooting My Name Is Khan (2010), his fourth collaboration with director Karan Johar and his sixth with Kajol.[143] The film is based on a true story and set against the backdrop of perceptions of Islam after the 11 September attacks. Khan plays Rizwan Khan, a Muslim suffering from mild Asperger syndrome who sets out on a journey across America to meet the country's president, in a role that film scholar Stephen Teo sees as a "symbol of assertive rasa values" and another example of Khan representing NRI identity in global Bollywood. To provide an accurate portrayal of a sufferer without disparagement, Khan spent several months researching his role by reading books, watching videos and talking to people affected by the condition.[145][146] Upon release, My Name is Khan became one of the highest grossing Bollywood films of all time outside India,[106][101] and earned Khan his eighth Filmfare Award for Best Actor,[49] equalling the record for the most wins in the category with actor Dilip Kumar.[147] Jay Wesissberg from Variety noted how Khan portrayed the Asperger's sufferer with "averted eyes, springy steps, [and] stuttered repetitions of memorized texts", believing it to have been a "standout performance sure to receive the Autism Society's gold seal of approval".[148]
In 2011, Khan starred alongside Arjun Rampal and Kareena Kapoor in Anubhav Sinha's superhero film Ra.One, his first work in this subgenre, as a favour to his children.[149] The film follows the story of a London-based videogame designer who creates a villainous character who escapes into the real world. It was billed as Bollywood's most expensive production; it had an estimated budget of ₹1.25 billion (US$26.78 million).[150][151] Despite negative media coverage of the film's box office performance, Ra.One was a financial success with a gross of ₹2.4 billion (US$51.42 million).[152][153] The film, and Khan's portrayal of a dual role, received mixed reviews; while most critics praised his performance as the robotic superhero G.One, though they criticised his portrayal of the videogame designer Shekhar.[154] Khan's second release of 2011 was Don 2, a sequel to Don (2006).[155] To prepare for his role, Khan exercised extensively and performed most of the stunts himself.[156] His performance earned him positive reviews from critics; Nikhat Kazmi of The Times of India said, "Shah Rukh remains in command and never loses his foothold, neither through the dramatic sequences nor through the action cuts".[157] The year's highest grossing Bollywood production abroad,[158][159] it was showcased at the 62nd Berlin International Film Festival.[160]
Khan's only release in 2012 was Yash Chopra's last picture,[161] the romantic drama Jab Tak Hai Jaan, which saw him once again in a romantic role, starring opposite Katrina Kaif and Anushka Sharma. CNN-IBN considered the overall performance by Khan to have been one of his finest to date, but believed that Khan's first screen kiss of his career with Katrina Kaif, twenty years his junior, was an awkward one.[84][162] Jab Tak Hai Jaan was a moderate financial success earning over ₹2.11 billion (US$39.49 million) worldwide.[163][164] The film was showcased at the 2012 Marrakech International Film Festival in Morocco, along with Kabhi Khushi Kabhie Gham..., Veer-Zaara, and Don 2.[165] At the following Zee Cine Awards, Khan performed a tribute to the late Yash Chopra along with Kaif, Sharma, and several of Chopra's other past heroines.[166]
In 2013, Khan starred in Rohit Shetty's action comedy Chennai Express for Red Chillies Entertainment, a film which earned mixed critical reviews and a fair amount of criticism for its perceived disparagement of South Indian culture, although the film included a tribute to Tamil cinema star Rajinikanth.[167] The critic Khalid Mohamed thought that Khan overacted in the film and criticised him for "re-rendering every old trick in the acting book".[168] Despite the criticism, the film broke many box office records for Hindi films in both India and abroad, surpassing 3 Idiots to briefly become the highest grossing Bollywood film of all time, with a gross of almost ₹4 billion (US$68.26 million) in worldwide ticket sales.[169][170] On International Women's Day in 2013, The Times of India reported that Khan had requested a new convention with the name of his lead female co-stars appearing above his own in the credits. He claimed that the women in his life, including his co-stars, have been the reason for his success.[171] In 2014, the actor was featured in Farah Khan's ensemble action comedy Happy New Year, which co-starred Deepika Padukone, Abhishek Bachchan and Boman Irani; his third collaboration with the director.[172] Although Khan's unidimensional character was criticised,[173] the film became a major commercial success grossing ₹3.8 billion (US$64.85 million) worldwide.[174][175][176]
2015–2022: Career setbacks and hiatus
Khan next appeared alongside Kajol, Varun Dhawan and Kriti Sanon in Rohit Shetty's action comedy Dilwale (2015). The film garnered mixed reviews, though it was financially profitable with a gross of ₹3.7 billion (US$57.68 million).[177] Namrata Joshi of The Hindu commented, "With Dilwale, Rohit Shetty goes hopelessly wrong despite much that he had at his disposal, including a power-packed cast and producer", and felt that the attempt to repackage Khan and Kajol had backfired.[178] He then took on dual parts of a superstar and his doppelgänger fan in Maneesh Sharma's action thriller Fan (2016). Peter Bradshaw of The Guardian considered the film to be "exhausting, bizarre yet watchable" and thought that Khan was aptly "creepy" as the obsessive admirer.[179] The film underperformed at the box office, and trade journalists attributed this failure to the film's non-conformity to mainstream formula.[180] Later that year, Khan portrayed the supporting part of a therapist to an aspiring cinematographer (Alia Bhatt) in Gauri Shinde's coming-of-age film Dear Zindagi.[181]
In Rahul Dholakia's action crime film Raees (2017), Khan took on the part of the titular anti-hero—a bootlegger turned mobster in 1980s Gujarat. In a typical mixed review, Pratim D. Gupta of The Telegraph thought Khan's performance to be "inconsistent, intense and power-packed at times, but often slipping out of character into his usual mix of stock mannerisms".[182] Commercially, the film was a modest success, earning about ₹3.08 billion (US$47.3 million) worldwide.[183][184] Khan returned to the romantic genre with the role of a tourist guide who falls in love with a traveller (Anushka Sharma) in Imtiaz Ali's Jab Harry Met Sejal (2017). In a review for Mint, Uday Bhatia criticised Khan's pairing with Sharma, 22 years his junior, writing that Khan had performed "similar gestures of love decades ago to actors his own age".[185] He reunited with Sharma and Katrina Kaif in Aanand L Rai's romantic drama Zero (2018), in which he played Bauua Singh, a dwarf involved in a love triangle.[186][187] The film received mixed reviews with praise directed to Khan's performance.[188][189] Writing for Hindustan Times, Raja Sen commended his "dominating performance and tremendous energy" and Anna M. M. Vetticad of Firstpost called him an "excellent fit" for the role for allowing his "naturally energetic personality, comic timing and charm to take flight".[190][191] Both Jab Harry Met Sejal and Zero were box office flops.[192][193]
According to a Box Office India report, Khan's stardom was impacted by his films failing to do well.[194] Following the release of Zero, Khan took a four-year break from full-time acting, which was partly caused by the COVID-19 pandemic in India. He took the time off to attempt a career comeback.[195] During this period, he made extended special appearances in the 2022 films Brahmāstra: Part One – Shiva and Rocketry: The Nambi Effect.[196]
2023–present: Resurgence
In 2023, Khan reunited with Yash Raj Films in the action thriller Pathaan (2023), set in the YRF Spy Universe, in which he played an exiled field agent assigned to stop a terrorist attack in India.[197] Critic Sukanya Verma took note of Khan's "weathered intensity, grizzly charisma and trademark wit", while Kaveree Bamzai termed it a "much-needed makeover" of an ageing Khan into an action star.[198][199] Pathaan broke several box-office records, thus re-establishing Khan's stardom.[200][201] Khan took on another action film role in the same year in Atlee's Jawan, playing father and son doppelgängers.[202] Nandini Ramnath of Scroll.in wrote that "Khan's screen image – expansive, suffused with love, heroic in an old-fashioned way without being aggressively macho, irreverent but also sincere – helps sell a conceit that might have crashed with any other actor".[203] Jawan broke the records set by Pathaan.[204] Both films grossed over ₹10 billion (US$120 million) to rank, respectively, as Hindi cinema's second and third biggest grossers worldwide,[205] making Khan the first Indian actor to deliver two films that earned over ₹10 billion.[206]
In his final release of 2023, Khan starred in Rajkumar Hirani's Dunki, a social drama about an illegal immigration technique named donkey flight.[207][208] Uday Bhatia wrote that his role as a "romantic feminist soldier patriot friend" marked "a break from Khan the action star but offers no respite from the Khan the perfect screen idol".[209] Grossing over ₹4 billion (US$48 million), Dunki emerged as Khan's third consecutive commercial success of the year, although it did not match up to the record grosses of Pathaan or Jawan.[210][211]
Other work
Film production and television hosting
Khan co-produced three films from 1999 to 2003 as a founding member of the partnership Dreamz Unlimited.[86] After the partnership was dissolved, he and Gauri restructured the company as Red Chillies Entertainment,[113] which includes divisions dealing with film and television production, visual effects, and advertising.[212] As of 2015, the company has produced or co-produced at least nine films.[213] Either Khan or Gauri are usually given production credits, and he has appeared in most of the films, either in the lead role, or in a guest appearance. Khan was involved in several aspects of the making of Ra.One (2011). Aside from acting, he produced the film, volunteered to write the console game script, dubbed for it, oversaw its technical development, and wrote the digital comics based on the film's characters.[214][215] Khan has occasionally done playback singing for his films. In Josh (2000) he sang the popular song "Apun Bola Tu Meri Laila". He also sang in Don (2006) and Jab Tak Hai Jaan (2012).[216] For Always Kabhi Kabhi (2011), which was produced by Red Chillies, Khan participated in the lyrical composition.[217]
In addition to his early television serial appearances, Khan has hosted numerous televised awards shows, including the Filmfare, Zee Cine, and Screen Awards.[218][219][220] In 2007, he replaced Amitabh Bachchan for one season as the host of Kaun Banega Crorepati, the Indian version of Who Wants to Be a Millionaire?,[221] and a year later, Khan began hosting Kya Aap Paanchvi Pass Se Tez Hain?, the Indian version of Are You Smarter Than a 5th Grader?.[222] In 2011, he returned to television, appearing on Imagine TV's Zor Ka Jhatka: Total Wipeout, the Indian version of Wipeout; scenes featuring Khan were shot at the Yash Raj Studios in Mumbai.[223] Contrary to his earlier television anchoring jobs, Zor Ka Jhatka: Total Wipeout performed poorly. It aired for only one season and became the lowest rated show hosted by a Bollywood star.[223] In 2017, Khan began hosting TED Talks India Nayi Soch, a talk show produced by TED Conferences, LLC which started aired on STAR Plus.[224]
Stage performances
Khan is a frequent stage performer and has participated in several world tours and concerts. In 1997, he performed in Asha Bhosle's Moments in Time concert in Malaysia, and returned the following year to perform with Karisma Kapoor for the Shahrukh–Karisma: Live in Malaysia concert.[225] The same year, he participated in The Awesome Foursome world tour across the United Kingdom, Canada, and the United States along with Juhi Chawla, Akshay Kumar and Kajol, and resumed the tour in Malaysia the following year.[226][227] In 2002, Khan featured with Amitabh Bachchan, Aamir Khan, Preity Zinta, and Aishwarya Rai in the show From India With Love at Manchester's Old Trafford and London's Hyde Park; the event was attended by more than 100,000 people.[228] Khan performed alongside Rani Mukherji, Arjun Rampal and Ishaa Koppikar in a 2010 concert at the St. Joseph High School field in Dhaka, Bangladesh.[229] The next year he joined Shahid Kapoor and Priyanka Chopra in the Friendship Concert, celebrating 150 years of India–South Africa friendship in Durban, South Africa.[230]
Khan started an association with the "Temptations" series of concert tours by singing, dancing, and performing skits alongside Arjun Rampal, Priyanka Chopra, and other Bollywood stars in Temptations 2004, a stage show that toured 22 venues across the world.[231] The show played to 15,000 spectators at Dubai's Festival City Arena.[232] In 2008, Khan set up Temptation Reloaded, a series of concerts that toured several countries, including the Netherlands.[233] Another tour was held with Bipasha Basu and others in 2012 in Jakarta,[234] and in 2013 another series of concerts visited Auckland, Perth and Sydney.[235] In 2014, Khan performed in SLAM! The Tour in the US, Canada, and London,[236] and also hosted the Indian premiere of the live talent show, Got Talent World Stage Live.[237]
Ownership of Kolkata Knight Riders
In 2008, Khan, in partnership with Juhi Chawla and her husband Jay Mehta, acquired ownership rights for the franchise representing Kolkata in the Twenty20 cricket tournament Indian Premier League (IPL) for US$75.09 million, and named the team Kolkata Knight Riders (KKR).[238] As of 2009 , KKR was one of the richest teams in the IPL, with a brand value of US$42.1 million.[239] The team performed poorly on the field during the first three years.[240] Their performance improved over time, and they became the champions for the first time in 2012[240] and repeated the feat in 2014.[241] The Knight Riders hold the record for the longest winning streak by any Indian team in T20s (14).[242] They won their third IPL title in the 2024 edition.[243]
Khan performed alongside Sunidhi Chauhan and Shriya Saran at the opening ceremony of the IPL 2011 season, where they danced to Tamil songs.[244] He appeared again in 2013 alongside Katrina Kaif, Deepika Padukone and Pitbull.[245] In May 2012, the Mumbai Cricket Association (MCA) banned him from the Wankhede Stadium for five years for getting into an argument with the security staff after a match between KKR and the Mumbai Indians.[246] Khan had, however, stated that he acted only after children, including his daughter, were being "manhandled" by the security staff[246][247] and that the officials were extremely high-handed and aggressive in their behaviour,[248] he had been abused with communal indecent comment.[247] Later MCA officials had accused him of being drunk in one version of the story, hitting the guard and of completely uncharacteristically abusing a female supporter of Mumbai Indians after the match in another version of the story, which Khan had maintained it was done to support their action and for cheap publicity.[247][249][250] Wankhede guard later contradicted MCA officials' claim and said Shah Rukh Khan had not hit him.[247] Khan later apologised to his fans after his team won the final match.[251] MCA revoked the ban in 2015[252] and in 2016, Mumbai Police informed that no 'cognisable offence' was made out against Khan and they had come to the conclusion that Shah Rukh Khan was not drunk and did not use abusive language before minors at the Wankhede Stadium in 2012.[249][250]
In the media
Khan receives a considerable amount of media coverage in India, and is often referred to as "King Khan", "The Baadshah of Bollywood", or "The King of Bollywood".[a] Anupama Chopra cites him as an "ever present celebrity", with two or three films a year, constantly running television ads, print ads, and gigantic billboards lining the streets of Indian cities. He is the object of a sometimes fanatical following, with a fan base estimated to exceed one billion.[259] Newsweek named Khan as one of their fifty most powerful people globally in 2008 and called him "the world's biggest movie star".[260][261] In 2011 he was described as "the biggest movie star you've never heard of...perhaps the world's biggest movie star, period" by Steven Zeitchik of the Los Angeles Times[f][263] and has been called the world's biggest movie star in other international media outlets.[b] According to a popularity survey, 3.2 billion people around the world know Khan, more than who know Tom Cruise.[267] In a 2022 readers' poll by Empire magazine, Khan was listed as one of the 50 greatest actors of all time. The magazine attributed his success to the "outrageous amounts of [his] charisma and absolute mastery of [his] craft. Comfortable in almost every genre going, there's pretty much nothing he can't do."[268] In 2023, Time magazine named him one of the 100 most influential people in the world,[269] and he topped the list per a readers poll.[270]
Khan is one of the wealthiest celebrities in India, topping the Forbes India's "Celebrity 100 list" in 2012, 2013 and 2015.[271][272][273] His wealth has been estimated at US$400–600 million.[274][275] Khan owns several properties in India and abroad, including a £20 million apartment in London,[276] and a villa on the Palm Jumeirah in Dubai.[277]
Khan frequently appears on listings of the most popular, stylish and influential people in India. He has regularly featured among the top ten on The Times of India's list of the 50 most desirable men in India,[278][279] and in a 2007 poll by the magazine Eastern Eye he was named the sexiest man in Asia.[280] Khan is often referred to as "Brand SRK" by media organisations because of his many brand endorsement and entrepreneurship ventures.[281][282] He is one of the highest paid Bollywood endorsers and one of the most visible celebrities in television advertising, with up to a six per cent share of the television advertisement market.[283][284] Khan has endorsed brands including Pepsi, Nokia, Hyundai, Dish TV, D'decor, LUX and TAG Heuer.[284][285] Books have been published about him,[286][287] and his popularity has been documented in several non-fiction films, including the two-part documentary The Inner and Outer World of Shah Rukh Khan (2005),[288] and the Discovery Travel & Living channel's ten-part miniseries Living with a Superstar—Shah Rukh Khan (2010).[283] In 2007, Khan became the third Indian actor to have his wax statue installed at London's Madame Tussauds museum, after Aishwarya Rai and Amitabh Bachchan.[289][290] Additional versions of the statue were installed at Madame Tussauds' museums in Los Angeles, Hong Kong, New York and Washington.[291]
Khan has been brand ambassador of various governmental campaigns, including Pulse Polio and the National AIDS Control Organisation.[285] He is a member of the board of directors of the Make-A-Wish Foundation in India,[292] and in 2011 he was appointed by UNOPS as the first global ambassador of the Water Supply and Sanitation Collaborative Council.[293] He has recorded a series of public service announcements championing good health and proper nutrition, and joined India's Health Ministry and UNICEF in a nationwide child immunisation campaign.[294] In 2011, he received UNESCO's Pyramide con Marni award for his charitable commitment to provide education for children, becoming the first Indian to win the accolade.[295] In 2014, Khan became the ambassador for Interpol's campaign "Turn Back Crime".[296] In 2015, Khan received a privileged degree from the University of Edinburgh, Scotland.[297] In 2018, Khan was honoured by the World Economic Forum with their annual Crystal Award for his leadership in championing children's and women's rights in India.[298][299]
In October 2019, Khan featured in a video launched by Prime Minister Narendra Modi to pay tribute to Mahatma Gandhi on his 150th birth anniversary. The preview of the video, which took place on 20 October 2019 at PMO, was attended by Khan, along with Aamir Khan, Kangana Ranaut, Rajkumar Hirani, Jacqueline Fernandez, Sonam Kapoor, Ekta Kapoor, Varun Sharma, Jackie Shroff, Imtiaz Ali, Sonu Nigam, Kapil Sharma, and many other dignitaries.[300][301][302] Khan's distinctive voice and mannerisms have inspired many imitators and voice actors.[303] In the Hindi-dubbed version of the cartoon series Oggy and the Cockroaches, Saurav Chakrabarti emulates Khan's voice for the character Oggy.[304]
In April 2020, Khan announced a series of initiatives to help the government of India and the state governments of Maharashtra, West Bengal and Delhi mitigate the COVID-19 pandemic as well as relief measures for thousands of underprivileged people and daily wage labourers affected by the lockdown.[305][306] He offered his 4-storey personal office space to the Brihanmumbai Municipal Corporation to be used as a quarantine centre for coronavirus patients.[307]
Awards and recognitions
Khan is one of the most decorated Bollywood actors.[49] He has received 14 Filmfare Awards from 30 nominations and special awards,[308][g] including winning eight for Best Actor; he is tied for the most in this category with Dilip Kumar.[147] Khan has won the Filmfare Award for Best Actor for his performances in Baazigar (1993), Dilwale Dulhania Le Jayenge (1995), Dil To Pagal Hai (1997), Kuch Kuch Hota Hai (1998), Devdas (2002), Swades (2004), Chak De! India (2007) and My Name Is Khan (2010).[58]
Although he has never won a National Film Award,[309] he was awarded the Padma Shri by the Government of India in 2005.[49] The Government of France has awarded him both the Order of Arts and Letters (2007),[310] and the fifth degree of the French Legion of Honour, the Chevalier Légion d'honneur (2014).[311] Khan has received five honorary doctorates; the first from The University of Bedfordshire in 2009,[312] the second from The University of Edinburgh in 2015,[313] the third from Maulana Azad National Urdu University in 2016,[314] and his latest from The University of Law and La Trobe University in 2019.[315][316]
Personal life
Khan married Gauri Chibber, a Punjabi Hindu, in a traditional Hindu wedding ceremony on 25 October 1991, after a six-year courtship.[317][318] They have a son Aryan (born 1997)[319] and a daughter Suhana (born 2000).[320] In 2013, they became parents of a third child [321] who was born through a surrogate mother.[322] Both his elder children have expressed interest in entering the entertainment industry; Khan has stated that Aryan, who studied filmmaking at the USC School of Cinematic Arts in California, aspires to become a writer-director,[323][324] while Suhana, who served as assistant director for Khan's film Zero (2018), is studying drama and acting at NYU's Tisch School of the Arts for higher education.[325][326] Suhana made her acting debut in November 2019, in a short film titled "The Grey Part of Blue."[327] According to Khan, while he strongly believes in Islam, he also values his wife's religion. His children follow both religions; at his home the Qur'an is situated next to the murti of Hindu deities.[328]
Although Khan was given the birth name Shahrukh Khan, he prefers his name to be written as Shah Rukh Khan, and is commonly referred to by the initialism SRK.[329]
See also
Khans of Bollywood
List of awards and nominations received by Shah Rukh Khan
References
Bibliography
Further reading
Shiekh, Mushtaq (2006). Still Reading Khan. Om Books International. ISBN 978-81-871077-9-8.
Shiekh, Mushtaq (2007). Shah Rukh Can. Om Books International. ISBN 978-81-87108-26-9.
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https://vocal.media/geeks/billie-burke-glinda-the-good-witch-actress-had-an-unusual-voice-during-the-wizard-of-oz
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en
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Billie Burke Glinda the Good Witch actress had an unusual voice during The Wizard of Oz.
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This distinctive sound was specifically her own although a few other women came close.
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en
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Geeks
|
https://vocal.media/geeks/billie-burke-glinda-the-good-witch-actress-had-an-unusual-voice-during-the-wizard-of-oz
|
If the name Mary William Ethelbert Appleton Burke does not ring a bell, perhaps the name Billie Burke will. She was an actress born on August 7, 1884 and died on May 14, 1970. Her father’s name was William Billy Ethelbert Burke and her mother was Blanche Beaty Burke. There is no record of why she put Appleton in her name. Billy Burke was Blanche’s second husband so perhaps Applebee was her maiden name. “ Bille” was famous in silent and sound films as well as radio and Broadway. She was married only once to Florenz Zigfield Jr.
The couple were wed in 1914 they remained together until he died in 1932. They had one child, a daughter, Dorothy Zigfield. Billie Burke had many male suitors and was also said to have been in a lesbian affair with director Dorothy Arzner. Burke’s noteriety came from having 2 specific distinctions. She is widely known for her role as Glinda in the 1939 Metro-Goldwyn-Mayer movie musical The Wizard of Oz. Burke was also recognized for her odd, yet unique high pitched voice that often sounded as though she were quivering.
This speech pattern was common in actresses during Burke’s heyday but she took it to an extreme with her portrayal of Glinda in The Wizard of Oz. Her “ twang” is most noticeable when she uttered the famous line, “ Are you a good witch or a bad witch?” I wonder if Burke ever heard herself when she utilized this cagurated pattern of speech. I also ponder if anyone ever told the actress just how annoying this was?
. have been watching a lot of older black and white films lately and each time I hear that annoying voice I check to see if Billie Burke is speaking. .On a few occasions, Burke has been in a movie that I was watching and I recognized her voicr immediately. In several other films there were different women, usually blonde and who resembled Burke who were speaking and sounded a bit like her.
I am curious as to why certain speech patterns for women seem to be related to specific decades. Harriet Macgibbon who portrayed Margaret Drysdale in The Beverly Hillbillies was born in 1905 and sounded like Bette Davis who was born in 1908. Davis at times changed her voice depending on the role she was playing. For the most part, however, she, like Macgibbon sounded aristocratic, snooty, and snobby.
There also was a time when you could tell whether an actor was black or white based on their voice but today this is no longer necessarily true. Voice patterns seem to evolve over time but there has been no one to come close to being mistaken for Billy Burke as Glinda. In the 1939 film The Women which had an all female cast, Norma Shearer who portrayed Mary, had that twang when she spoke. For me it’s like someone scraping nails on a chalkboard when I hear that sound. No has close to sounding exactly like Glinda the Good Witch of the North but the similarity was there.
Burke received one nomination for an Academy Award during her career. This was for Best Supporting Actress for her performance as Emily Kilbourne in In 1938 for Merrily We Live. The actress is also remembered for her appearances in the Topper film series. Her “trademark high, wavering, aristocratic speaking voice” made Burke a frequent choice for roles as spoiled dimwitted, socialites.
She was the original dumb blinde before the term was utilized on a regular basis. I’m not sure why women during that period of time all seemed to sound alike. Burke, however, will always stand alone for her portrayal as Glinda the good witch as well as her distinctive way of talking.
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FactBench
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0
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https://showmethecurry.com/category/more-to-life-than-curry/page/2
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en
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More to life than Curry – Page 2 – ShowMeTheCurry.com
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Last week, we are had a lot of interesting discussions. The best part was the interactive part…thanks to that, we have now come to know some of you who were able to stop by and chat with us. We talked and discussed some cooking tips, we made this awesome and very versatile Fruit dish (and since we are the ones who got to taste it, trust us when we say that it was great!) Shared…
"See you on Y!live…"
Last night I saw “Jodhaa Akbar”, an epic movie from renowned director Ashutosh Gowarikar. Starring Aishwarya Rai and Hrithik Roshan, the movie is an absolute must see. The cinematography and story telling in the movie are absolutely spell binding. The movie takes you back 450 years in history to the time of Emperor Akbar. The story revolves around a rajput princess named Jodhaa bai and her marriage of alliance to Akbar, a muslim emperor. Jodhaa’s…
"Jodhaa Akbar Bollywood Movie Review"
You’d know that Miley Cyrus is the hottest ticket in town if you have a young daughter. My daughter is a huge fan of “Hannah Montana” and was really excited to go see the 3-D movie of her concert. As you probably heard, in December, there was a live concert by Miley Cyrus in Dallas. It sold out in minutes and the tickets were being sold by scalpers for ridiculous amounts of money. Some parents…
"Hannah Montana (Miley Cyrus) 3-D concert movie"
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…
"Om Shanti Om Bollywood Movie Review"
A wife was making a breakfast of fried eggs for her husband. Suddenly, her husband burst into the kitchen. “Careful,” he said, “CAREFUL! Put in some more butter! Oh my GOD! You’re cooking too many at once. TOO MANY! Turn them! TURN THEM NOW! We need more butter. Oh my GOD! WHERE are we going to get MORE BUTTER? They’re going to STICK! Careful . CAREFUL! I said be CAREFUL! You NEVER listen to me…
"Joke"
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correct_starring_00069
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FactBench
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https://www.britannica.com/biography/Zoe-Saldana
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en
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Zoe Saldana | Biography, Movies, TV Shows, & Avatar
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2021-03-17T00:00:00+00:00
|
Zoe Saldana, American actress who found her greatest success performing in science-fiction and superhero movies. She played Lieut. Uhura in Star Trek (2009) and its sequels, was Neytiri in Avatar, and portrayed Gamora in Guardians of the Galaxy and later superhero movies. Her other credits included Center Stage.
|
en
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/favicon.png
|
Encyclopedia Britannica
|
https://www.britannica.com/biography/Zoe-Saldana
|
Zoe Saldana (born June 19, 1978, Passaic, New Jersey, U.S.) is an American actress who found her greatest success performing in science-fiction and superhero movies.
Saldana spent much of her childhood in Queens, New York. However, when she was nine years old, her father died in a car accident, and she moved with her family to the Dominican Republic, her father’s home country. There she studied dance at the Ecos Espacio de Danza dance studio. When she was 17, she returned to New York City and began performing with youth theatre groups. After two small guest appearances (1999) on the television series Law & Order, Saldana was cast in a prominent role in the movie Center Stage (2000), about students at a New York City ballet school.
Britannica Quiz
Pop Culture Quiz
She next appeared in a series of teen flicks, including Get Over It (2001) and the Britney Spears vehicle Crossroads (2002), and then had a supporting role in the higher-profile movie Drumline (2002). Saldana had a small but memorable part as a female pirate in the surprise hit movie Pirates of the Caribbean: The Curse of the Black Pearl (2003), and she played an immigration agent in Steven Spielberg’s The Terminal (2004), which starred Tom Hanks as a man forced to live in an airport terminal. For the next few years, however, Saldana appeared in only minor movies and TV fare.
Saldana landed two iconic roles in 2009. She was cast as Lieut. Uhura in the movie Star Trek, which reimagined the characters of the original TV series, and, through the technique of motion capture, she embodied Neytiri—a high-ranking member of the Na’vi, a humanoid race indigenous to the exoplanetary moon Pandora—in James Cameron’s sci-fi film Avatar. Both movies were major hits. Saldana portrayed Uhura again in Star Trek into Darkness (2013) and Star Trek Beyond (2016). She also played the green-skinned warrior princess Gamora in the sci-fi/superhero blockbuster Guardians of the Galaxy (2014), a role she reprised for Guardians of the Galaxy Vol. 2 (2017), Avengers: Infinity War (2018), and Avengers: Endgame (2019). She reprised her role as Neytiri in the box office blockbuster Avatar: The Way of Water in 2022.
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correct_starring_00069
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FactBench
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3
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https://movies.meta.stackexchange.com/questions/4129/how-can-i-find-the-title-of-a-movie-from-just-a-description-or-image
|
en
|
How can I find the title of a movie from just a description or image?
|
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2018-01-27T00:15:59
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I need to find the title of a movie or TV-show, but I only know part of its story and/or descriptions of scenes and characters. I might happen to know who acted in it or even have some images from ...
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en
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https://cdn.sstatic.net/Sites/moviesmeta/Img/favicon.ico?v=690ba1423053
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Movies & TV Meta Stack Exchange
|
https://movies.meta.stackexchange.com/questions/4129/how-can-i-find-the-title-of-a-movie-from-just-a-description-or-image
|
First of all, there is a site within the Stack Exchange network which still accepts such questions:
Science Fiction & Fantasy requires the work to contain distinct science fiction, fantasy, or other speculative fiction content. You can consult their meta for guidelines on how to ask a good story-ID question.
Then there are also some other Q&A sites working similar to SE where you can just provide a description and ask for a movie:
I Remember This Movie...
NameThatMovie?
Filmfind
Reddit's /r/tipofmytongue (be sure to read the rules sidebar first!)
What is my movie?
Criticker.com has a Help me name that movie forum
If you are working from different information than a verbal description, there's also other less Q&A oriented ways to find your movie/TV-show:
Google image search lets you search directly for matches to a given image, for when you have a visual representation of either a scene from the film or an actor whose name you'd like to know.
So does TinEye
QuoDB might be useful if you only have a specific quote or part of the dialogue you remember.
IMDb's Advanced Search lets you combine a variety of types of information from IMDb catalogs to create extremely specific searches. You can fill in (with the information you have) as many optional fields as you can to narrow the search results.
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Are comic superheroes considered sci-fi?
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https://www.ottplay.com/web-stories/happy-birthday-kirron-kher-watch-her-best-movies-on-ott/
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Happy Birthday, Kirron Kher! Watch her best movies on OTT
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2024-06-14T20:17:19+05:30
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Happy Birthday, Kirron Kher! Watch her best movies on OTT Happy Birthday, Kirron Kher! Watch her best movies on OTT Team OTTplay Happy Birthday! Veteran Bollywood actress, politician and National Film Award recipient Kirron Kher is celebrating her 72nd birthday today. Here’s a look at some of her iconic films. Khoobsurat (2014) Kirron Kher plays […]
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OTTplay
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https://www.ottplay.com/web-stories/happy-birthday-kirron-kher-watch-her-best-movies-on-ott/
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Veteran Bollywood actress, politician and National Film Award recipient Kirron Kher is celebrating her 72nd birthday today. Here's a look at some of her iconic films.
Kirron Kher plays Manju Chakravarty, the vivacious and loving mother of Dr. Milli Chakravarty (played by Sonam Kapoor), in this 2014 film. Fawad Khan plays the male lead in the fun film.
The actress aced her character, Mrs. Acharya, a traditional and devoted mother to Abhishek Bachchan's character Sameer, in the 2008 film Dostana. The film also stars Priyanka Chopra and John Abraham.
Kirron Kher played Julie's (Neha Dhupia) mother, Rose Lady, in the 2008 film Singh Is Kinng. Her role gives the movie a humorous touch in this film, which also stars Katrina Kaif and Akshay Kumar.
Kher's role in Om Shanti Om as Bela Makhija, Om (Shah Rukh Khan)’s mother, is one of her most loved performances. Farah Khan directed the movie, and it is one of the most cherished movies till date.
Directed by Kunal Kohli, Fanaa starred the late Rishi Kapoor and Kirron Kher as Kajol's parents. Kajol played a visually challenged Kashmiri woman in the film. Aamir Khan was the male lead.
Kher played Madhu Sharma, Ram's (Shah Rukh Khan) stepmother and Lucky's (Zayed Khan) mother in Main Hoon Na. She received a lot of praise for her nuanced acting.
The actress made quite an impact on the big screen in the 2002 hit film Devdas. Her role in the film, in which she played Paro's (Aishwarya Rai) mother, earned a lot of praise.
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https://www.tvguide.com/movies/om-shanti-om/2000153282/
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en
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Om Shanti Om
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Find out how to watch Om Shanti Om. Stream Om Shanti Om, watch trailers, see the cast, and more at TV Guide
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/favicon.ico
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TVGuide.com
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https://www.tvguide.com/movies/om-shanti-om/2000153282/
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Join or Sign In
Sign in to customize your TV listings
Continue with Facebook Continue with email
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FactBench
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2
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https://www.britannica.com/biography/Holly-Hunter
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Holly Hunter | Biography, Movies, & Facts
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2017-10-03T00:00:00+00:00
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Holly Hunter, American actress known for playing intense, driven, and often offbeat characters in both comedies and dramas. Her notable films included Broadcast News (1987); The Piano (1993), for which she won an Academy Award; and Thirteen (2003). Learn more about her life and career.
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/biography/Holly-Hunter
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Holly Hunter (born March 20, 1958, Conyers, Georgia, U.S.) is an American actress with a talent for portraying intense, driven, and often offbeat characters in both comedies and dramas.
Hunter had her first acting experience while she was still in elementary school. She joined her high school’s drama club and performed in summer stock before studying drama at Carnegie Mellon University (B.F.A., 1980). She then moved to New York City, where she became acquainted with the playwright Beth Henley. Although Hunter’s first professional appearance was in a bit part in the low-budget horror film The Burning (1981), she quickly developed a reputation as an interpreter of roles in Henley’s plays, acting in Crimes of the Heart (1981; Hunter’s Broadway debut), The Wake of Jamey Foster (1982), and The Miss Firecracker Contest (1984). In addition to her stage work, she played small roles in a few television movies as well as in Jonathan Demme’s 1984 film Swing Shift, and that same year she was an uncredited telephone voice in Joel and Ethan Coen’s Blood Simple.
Britannica Quiz
Oscar-Worthy Movie Trivia
Hunter starred opposite Nicolas Cage in the Coen brothers’ comedy Raising Arizona (1987) and, in a breakthrough performance, played news producer Jane Craig in James L. Brooks’s Broadcast News (1987). Hunter’s role in the film, which also starred William Hurt and Albert Brooks, earned her a Silver Bear for best actress at the Berlin International Film Festival and nominations for the Golden Globe Award and the Academy Award for best actress. In 1989 Hunter recreated the lead role in Miss Firecracker, the film version of Henley’s play. She was again nominated for a Golden Globe for her portrayal of a character based on the real-life Norma McCorvey in the TV movie Roe vs. Wade (1989). She played opposite Richard Dreyfuss in Steven Spielberg’s romance Always (1989) and in Lasse Hallström’s Once Around (1991), and she starred with Gena Rowlands and Bill Pullman in the 1992 TV movie Crazy in Love.
Hunter received an Emmy Award as well as a third Golden Globe nomination for her portrayal of the title character in the 1993 TV movie The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom. She was nominated for an Academy Award for best supporting actress for her performance in Sydney Pollack’s thriller The Firm (1993). Hunter’s vivid rendering of the inner life of a mute Scottish pianist who moves to New Zealand with her young daughter (played by Anna Paquin) for an arranged marriage in Jane Campion’s period romance The Piano (also 1993) earned her an Oscar for best actress in addition to a BAFTA Award and a Golden Globe Award. Her later movies included the thriller Copycat and Jodie Foster’s Home for the Holidays (both 1995), Danny Boyle’s A Life Less Ordinary (1997), and the romance Living Out Loud (1998).
In 2000 Hunter played Penny, the wife of George Clooney’s character, in the Coens’ O Brother, Where Art Thou? and won an Emmy nomination for her starring role in the TV movie Harlan County War. She was nominated again for her portrayal of tennis player Billie Jean King in the 2001 television film When Billie Beat Bobby. Hunter played the mother of a troubled teenager in Catherine Hardwicke’s Thirteen (2003) and was nominated for an Oscar for best supporting actress for her performance. She voiced Elastigirl in the popular animated feature The Incredibles (2004) and its sequel, Incredibles 2 (2018).
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https://indiancinema.sites.uiowa.edu/om-shanti-om
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en
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Om Shanti Om
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https://indiancinema.sites.uiowa.edu/profiles/custom/sitenow/assets/favicon.ico
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Indian Cinema - The University of Iowa
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https://indiancinema.sites.uiowa.edu/om-shanti-om
|
On the level of narrative, OSO is a story of betrayal, murder, and revenge featuring a reincarnated hero. Merely to say this, in the Bombay cinematic context, immediately brings to mind (at least) two watershed predecessors: 1958’s MADHUMATI, starring Dilip Kumar and Vyjayanthimala, the most commercially successful film of the great Bengali director Bimal Roy; and 1980’s KARZ, with Rishi Kapoor and Simi Grewal, one of the biggest hits of Subhash Ghai; indeed, both films are lovingly referenced. The latter was clearly a key text for director Khan as a youngster, and OSO opens with an imaginary and digitally-tweaked recreation of the shooting of one of its most celebrated musical numbers: the disco extravaganza “Mere umar ke” (“O youths of my generation!”) performed by silver-lamé suited Rishi Kapoor and a bevy of item girls atop a giant rotating 33-rpm record, being filmed by director Subhash Ghai (in a Ghai-like cameo as himself), and with both Farah and Shah Rukh placed among the on-set crowd of adoring fan-extras singing along with the song’s chorus (which is, of course, the mantra-phrase “Om shanti om”), and then dissing each other about the unlikelihood of one day becoming, respectively, a director and a star—and all this, mind you, in a five-minute teaser-plus-credit sequence. (Despite the Ghai tribute here, the film confirms that director Khan’s work so far may fit best in the cinematic lineage of the great Manmohan Desai, and, as with one of his frenetic multi-starrers, you are well advised not to blink during OSO’s opening sequence —or thereafter.)
The theme of the recurrent recycling of lives and storylines—a reality of the modern film industry that echoes Indian metaphysics and folk narrative—continues, and we will soon find our principal characters involved in shooting a spectacular movie titled “Om Shanti Om,” a drama involving rebirth, the production of which will be aborted and then resumed three decades later by the reincarnation of one of them. Given that the duplicate hero is named, in both births, Om, and is in love with/haunted by a single heroine named Shanti, the title formula acquires yet another layer of meaning.
Hero number one is Om Prakash Makhija (Shahrukh Khan), a peppy, film-smitten “junior artist” (bit player or extra) in a late-‘70s film factory called “RC Studios,” the ostensible site of the soundstage location for the opening KARZ shoot. But the allusion, of course, is to Raj Kapoor’s “RK Studios” of two decades earlier, and its campus is a wildly nostalgic evocation of the long-dead studio era in Bombay cinema, with fountains, gardens, and gorgeously-lit art-deco buildings and statuary: a pastel-tinted revivification of the “Ajanta Studios” of Guru Dutt’s KAAGAZ KE PHOOL (1959).
Om and his indefatigable buddy Pappu (the charming Shreyas Talpade) wander blissfully through this theme-park in polyester-mod attire (Om’s includes a Desai-like pendant of Hindu, Muslim, and Christian talismans), appearing as extras in parodied filmic scenes, while dreaming of stardom and, equally improbably, of a match-up for Om with his fantasied “girlfriend,” the starlet Shanti Priya (radiantly incarnated by newcomer Deepika Padukone, albeit this successful fashion model is a good ten kilos too light for a ‘70s heroine), and interacting-cum-overacting with Om’s adoring “junior-artiste” mom (Kirron Kher), who has never quite recovered from her failure to secure the role of Anarkali in MUGHAL-E-AZAM (1960). Om’s dreams are stymied, Pappu feels, by his awkward surname (makhi means “housefly” in Hindi) and he urges him to assume the moniker “Kapoor,” like that of their idol, the stocky and bouffant-coifed Rajesh Kapoor (Jawed Sheikh).
But Om’s fortunes take a turn when he and Pappu, doubly impersonating Manoj Kumar (who briefly protested this satire of his patriotism and penchant for hiding his face behind one raised hand!), crash the premiere of Shanti’s new film Dreamy Girl. Becoming entangled in her diaphanous dupatta, Om gets to gaze close-up at his beloved to the accompaniment of the lovely ballad "Ajab si" (“In your eyes, there’s a strange magic”). This is soon followed by the film-within-a-filmsong "Dhoom taana," ostensibly from Dreamy Girl, but in fact a tour-de-force of period-parodying choreography and costumes, glittering sets, and digital effects that seamlessly pair Shanti with the appropriately youthful Sunil Dutt, Rajesh Khanna, and Jeetendra—whose place, in each sequence, is then assumed in fantasy by the spectatorial Om.
And when he subsequently saves Shanti from an out-of-control haystack conflagration during an outdoor shoot (recapitulating Sunil Dutt’s reputed rescue of Nargis on Mehboob Khan’s MOTHER INDIA set, which led to their love and later marriage), and then convinces her that he is a star of Tamil cinema (via a hilarious sendup of a Rajnikant-style “western”), she favors him with an evening of her company: a dream date that he and Pappu mount on a soundstage to the accompaniment of the romantic "Main agar kahoon" (“If I say…”), offering up another lavish bouquet of cinematic quotations (including, to my eyes at least, Gene Kelly’s similar wooing of Debbie Reynolds in SINGIN’ IN THE RAIN).
Too soon, Om’s romantic hopes are shattered by the discovery, through an accidentally-overheard dressing-room conversation, that Shanti loves another: the dashing producer Mukesh Mehra (Arjun Rampal), an ambitious cad to whom she has unwisely given both her heart and her body, though he has kept their “marriage” a secret in order to pursue a more advantageous engagement to a film-financier’s daughter.
Mehra dreams of making “Om Shanti Om,” the most lavish Bombay talkie of all time, with a palatial set suggestive of the European baroque (and of Judge Raghunath’s mansion in AWARA), but when this is thwarted by Shanti’s revelation that she is pregnant with his child, the producer adopts the fiendish strategy of eliminating both her and the set of his now-doomed feature. In the truly breathtaking sequence that ends the first half of the film, Om tries heroically to save her, only to himself expire from multiple injuries—in the very hospital in which superstar Kapoor’s wife is simultaneously giving birth to a son. Amazingly, the Desai-like climactic collision of wildly improbable coincidence and high tragedy leaves both unscathed, and ready for more action “thirty years later,” after the Interval.
Now, the hapless Om Prakash has become superstar Om Kapoor, a.k.a. “O.K.,” the callow and self-centered scion of a film dynasty, ensconced in the very mansion outside which (in his former life) he delivered a mock Filmfare award-acceptance speech to a group of street urchins. His face looks the same, albeit with a less-greasy hairstyle, and his wrist tattoo of “om” has mysteriously endured as a shadowy burn scar.
His body, however, has morphed—as those of all Bombay heroes did beginning in the late ‘80s—into a Buff Hunk (a real physical transformation that reportedly took the forty-two-year old SRK six grueling weeks of training to effect). The results are shown off in the “item” song “Dard-e-disco” (“The pain of disco”), which O.K. insists on inserting as a “dream sequence” into the climax of a hokey melodrama in which he plays a blind and deaf cripple attending his beloved’s marriage to another man. Costumed by SRK-devotee and director Karan Johar, this pounding take on Bombay cinema’s recent fetishization of the male body is (like OSO in general) simultaneously hilarious parody and exemplary specimen-of-the-genre.
But like the “Om shanti om” song in KARZ, it also triggers the hero’s frightening flashbacks to his former life and death, which intensify when he attends a location shoot—for a cheesy superhero flick called “Mohabbat Man” (“Love-Man”)—in the burned-out ruins of RC Studios. The alternation of campy comedy and gathering drama continues through an amazing sendup of the Filmfare awards (complete with good-spirited cameos by Abhishek Bachchan and Akshay Kumar, spoofing themselves), at which O.K. wins “Best Actor,” followed by a celebrity bash that (with thirty-one real stars in boogeying attendance during the wildly-danceable song "Deewangi deewangi" [“craziness”], with another reprised chorus of “om shanti om”) considerably outdoes Manmohan Desai’s similar party scene in NASEEB.
Yet this “item,” too (which drove Indian theater audiences into a frenzy of cheering as each new star appeared), smoothly returns to the developing plot, with the sinister entrance of Mukesh Mehra, now gray-haired and foreign-returned (after a successful career as a producer in that Other big film industry) and eager to undertake Om’s next project. The hero recognizes his and Shanti’s nemesis, and soon finds his way back to Mother Makhija’s flat, to reunite with her and with Pappu; Kirron Kher’s teary performance here naturally evokes Durga Khote’s in KARZ, as a seemingly demented old woman who has clung for decades to the belief that her long-dead son will one day return.
It remains to bring the villain to justice…but how? The evidence of a reincarnated witness will hardly hold up in court! Om and Pappu contrive a scheme that requires convincing the producer to bankroll a revival of the Om Shanti Om project, complete with a rebuilt set in the blackened studio ruins, and Sandhya/“Sandy,” a clueless young thing from Bangalore, drafted to impersonate the ghost of Shanti.
The dazzling final song, "Daastaan-e-om shanti om" (“The saga of Om Shanti Om”), in which the hero recreates Shanti’s betrayal and murder, occurs on the set’s grand staircase, blending melody and lyrics that skillfully reference those of the comparable song sequence in KARZ ("Ek haseena thi," “There was a young beauty”) along with visuals that seem to nod at Andrew Lloyd Weber’s Phantom of the Opera. The surprising denouement that follows, however, amply displays the director’s own karz (“debt”) to the great Bimal Roy and his haunting MADHUMATI.
OSO as narrative and spectacle is such engrossing entertainment that its pure pleasure seemed, on my first few viewings, to overwhelm any critical reflection, yet some intriguing subtexts have since come to mind. Farah Khan’s rise from innovative choreographer (e.g., of DIL SE and numerous other films, and of the London and Broadway musical “Bombay Dreams”) to leading director, has been brokered by her friend Shah Rukh Khan, whose production company financed both her films. Their close relationship is palpable in the film’s loving treatment of its star, and one may even detect a hint, in the respective incarnations of Om, of SRK’s own biography: his metamorphosis from a Delhi-based unknown, lacking a film-dynasty pedigree, to King Khan, the dominant male star of Bombay since 1995.
Then, too, the film’s insider parody of the Hindi film industry, densely intertextual and deliciously smart, stands in stark contrast to the cheap-shot satire of a film like Deepa Mehta’s HOLLYWOOD-BOLLYWOOD (2002), which panders to every Western journalistic cliché about the alleged “mindless dream factories” of Bombay—the same sort of condescension exemplified by the odious chapter on the industry in Pico Iyer’s pop-travelogue Video Night in Kathmandu (1989). Instead, OSO affectionately celebrates the energy and heartbeat of the cinema that billions love, and its principals manage to combine a kind ofdesi innocence with a plucky pride. Everything about the film exudes confidence: Farah Khan’s in her director’s role (ironically exemplified by her ongoing gags about the irrelevance of directors in star-driven Bombay, even as she crafts what is, from start to finish, quintessentially a director’s film, with every frame carefully filled with remarkable details), and the industry’s confidence in itself as purveyor of glossy and globally-consumed entertainment that occasionally, as here, rises to greatness. It is no secret that most people in the Bombay film business despise the media label “Bollywood,” with its suggestion of a derivative phenomenon, and SRK has publicly stated this (in an interview in Nasreen Munni Kabir’s documentary, The Inner World of Shah Rukh Khan). Yet the term has now acquired too much global brand recognition to be altogether avoided. And so it is a particularly nice moment in OSO when the slimy Mukesh Mehra, power-lunching with Om Kapoor in a restaurant looking out at the Bombay skyline, responds to the star’s calling him “Mukesh” by saying, “Call me Mike. Everyone in Hollywood does.” Then, when “Mike” directs a remark to “Om,” the latter ripostes, “Call me ‘O.K.’ Everyone in …Bollywood… does”—with a slight pause that seems to both savor and distance this label—which is here strategically deployed in a verbal duel with a traitor who has abandoned both Shanti and the Motherland. Vah! How else to end than with: Jai Hind! and Jai Farah Khan!
|
|||
correct_starring_00069
|
FactBench
|
2
| 44 |
https://consequence.net/2024/07/shelley-duvall-best-roles-movies-list/
|
en
|
Shelley Duvall’s 5 Best Movie Roles
|
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[
"Liz Shannon Miller",
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] |
2024-07-11T14:09:17-04:00
|
The late Shelley Duvall, star of Nashville and The Shining, was a true movie icon. Here are some of her best roles, including Popeye and Annie Hall.
|
en
|
Consequence
|
https://consequence.net/2024/07/shelley-duvall-best-roles-movies-list/
|
From the moment that director Robert Altman discovered her for 1970’s Brewster McCloud, Shelley Duvall was a singular presence in film and television. Her wide eyes implied a total lack of guile, something many of her characters used to their advantage; her nervy energy made her captivating in both comedy and horror projects. There was no one else like her on screen, then or now, which makes her passing at the age of 75 all the more sad.
Duvall’s filmography feels like it could have been much longer, as the actress took an extended break from the public eye starting in 2002. But the projects she left behind include some iconic performances, that most importantly could never have come from any other actor.
— Liz Shannon Miller
Senior Entertainment Editor
L.A. Joan, Nashville (1975)
Duvall brought such life to the role of “L.A. Joan” (née Martha), a young woman who seems to drift between names as well as men. Coming to the titular town for a family health crisis, she instead gets swept up in the chaos of Robert Altman’s ensemble comedy, with less interest in visiting her sick aunt and more in discovering everything the music and social scene of Nashville has to offer. With such a massive cast, it’s remarkable how many standout performances and characters endure, and Duvall’s work was one of the highlights. — L.S. Miller
Related Video
Where to Stream: Available on VOD
Mildred “Millie” Lammoreaux, 3 Women (1977)
Anyone who has seen this 1977 film wouldn’t be surprised to learn that it was developed directly from a dream writer-director Robert Altman had — but thankfully, such eerie, odd settings are a place where Shelley thrived. Here, she starred as Millie opposite Sissy Spacek and Janice Rule in a story that feels set outside the rules of reality. Against the backdrop of a tiny California desert town, the titular three women circle each other’s lives until they become inexorably intertwined. As Millie, Duvall is self-absorbed but remains compelling throughout the twisty story, rarely ceasing her monologuing long enough to take a breath. It was a demanding role, but one Duvall inhabited incredibly well. — Mary Siroky
Where to Stream: Available on VOD
Pam, Annie Hall (1977)
Shelley Duvall graced the ’70s rom-com Annie Hall as Pam, a Rolling Stone reporter that briefly dates Woody Allen’s Alvy. She’s not in much of the film, but she does bring Allen’s idiosyncratic dialogue to life in her scenes with him — hearing her say “transplendant” multiple times as they’re about to see Bob Dylan and celebrity yogi The Maharishi is genuinely hilarious. Then, in bed with Alvy, she describes sex with him as a “Kafka-esque experience,” cigarette stylishly held, her iconic gaze fixated directly at the bumbling man next to her. Duvall was certainly adept at comedy, and her small part in Annie Hall is undoubtedly a bright spot in the film. — Paolo Ragusa
Where to Stream: Hoopla, Tubi, MGM+, Pluto TV
Wendy Torrance, The Shining (1980)
There’s something poignantly tragic that Duvall’s best and most iconic role is also infamously her most trying. Her portrayal of the tormented Wendy Torrance, wife of Jack Nicholson’s equally famed character, is filled with intense fear as well as heart. It’s her sweetness and vulnerability in the first half that makes her sheer terror at Jack’s descent into madness all the more unsettlingly visceral.
The lamentable backstory of how she reached those emotional peaks, however, is the unfortunate mirror Duvall’s character puts up to her performance. Director Stanley Kubrick put Duvall through a grueling process on set, reportedly doing 127 takes for the iconic stairway scene, at the great emotional expense of the actor. “I will never give that much again,” Duvall said of shooting the film in a 1981 People interview. “If you want to get into pain and call it art, go ahead, but not with me.” Still, she is quoted as having had immense pride in the final product and her role in it, all of which she undoubtedly earned thrice over. — Ben Kaye
Where to Stream: AMC+, Shudder
Olive Oyl, Popeye (1980)
Robert Altman’s adaptation of the long-running comic strip doesn’t hold up that well in modern times; as good as Robin Williams is as the titular character, the film is an awkward slog at points. However, between her height, her voice, and her whole vibe, casting Duvall as Olive Oyl in the 1970s was as iconic a casting choice as Patrick Stewart taking on the role of Professor X in X-Men. And her commitment to the sailor man’s high-strung love interest was like none other. — L.S. Miller
Where to Stream: Hoopla, Kanopy, Pluto TV
Honorable Mention: Faerie Tale Theatre (1982–1987)
Maybe one of the most impactful projects of Duvall’s career wasn’t in film, but in television: As the creator and host of the Showtime series Faerie Tale Theatre (also acting in seven episodes), Duvall brought young audiences star-studded recreations of classic fairy tales directed by major filmmakers. Duvall opened every episode by saying “Hello, I’m Shelley Duvall,” a supercut of which went viral in the early YouTube era. That supercut now lives on her personal YouTube channel, as seen above — and it’s magic. — L.S. Miller
|
|||||
correct_starring_00069
|
FactBench
|
2
| 52 |
https://www.newyorktheatreguide.com/theatre-news/news/idina-menzel-theatre-roles-we-love
|
en
|
Idina Menzel theatre roles we love
|
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"Joe Dziemianowicz"
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2024-07-11T15:47:15.316000+00:00
|
The Tony Award-winning actress, known for *Wicked*, *Frozen*, and more, returns to Broadway for the first time in a decade in *Redwood*, a musical she co-wrote. Read more on New York Theatre Guide.
|
en
|
//images.ctfassets.net/6pezt69ih962/4chPk3UKIEgrpzqm2Ki2nh/438ca7989842ea05c60e636d159c8e04/NY_Theatre_icon_Favicon.png
|
New York Theatre Guide
|
https://www.newyorktheatreguide.com/theatre-news/news/idina-menzel-theatre-roles-we-love
|
Idina Menzel is branching out. She's starring in the new Broadway musical Redwood, but she also collaborated on the concept and wrote additional lyrics. Think an actress can only do one thing? Let it go.
A Tony Award winner for defying gravity (and octave leaps) in Wicked, Menzel’s latest role finds her on solid ground. She plays Jesse, a woman at a crossroad that leads to a transformational journey.
The show by Tina Landau (concept, book, lyrics, direction) and Kate Diaz (music and lyrics) arrives on Broadway in 2025. Performance dates and a theatre are to be announced.
While we await the show’s New York premiere, learn more about Menzel’s most noteworthy stage (and stage-adjacent) credits, and see clips of her performances.
Check back for information on Redwood tickets on New York Theatre Guide.
Rent
Which way to the stage? As performance artist Maureen, Menzel asks that before belting "Over the Moon" in Jonathan Larson’s Pulitzer- and Tony-winning musical about struggling New York City bohemians.
First seen in the role at The Public Theater in 1996, she reprised it in the movie adaptation and on Broadway, earning her first Tony nomination.
The Vagina Monologues
Off stage, Menzel has spoken out for gay rights and against anti-Semitism. Her role in V's (formerly known as Eve Ensler) landmark 1999 Off-Broadway play saw her addressing women’s issues on stage. Through a series of monologues, the work celebrates female identity and raises awareness about sexual violence, self-discovery, and empowerment.
The Wild Party
Andrew Lippa’s dark-streaked 2000 Off-Broadway musical revolves around a steamy bash thrown by volatile vaudeville performers Queenie and Burrs (Julia Murney and Brian d’Arcy James).
Menzel played Kate, a former prostitute with the hots for Burrs. She serves up the Prohibition-bashing ditty “Look At Me Now” and the carefree "Life of the Party."
Aida
Menzel returned to Broadway in 2001 to take over the key role of the Pharaoh's daughter, Amneris, in this musical based on the same-named opera. She was one third of a tragic love triangle.
In a memorable moment in Elton John and Tim Rice's Tony Award-winning score, Amneris reveals herself as a total fashion victim in “My Strongest Suit.”
Wicked
Witch way to the stage! In this 2003 musical by Stephen Schwartz and Winnie Holzman inspired by The Wizard of Oz, Menzel’s Tony-winning turn as the outcast witch Elphaba sealed Menzel’s status as a gleaming Broadway star.
Menzel’s signature role, one she’s played in San Francisco, New York, and London, came with green paint and songs that showcased her giant belt (“Defying Gravity”) and tender side (“I’m Not That Girl”).
She and Kristin Chenoweth, as popular witch Glinda, made Wicked an instant fan favorite, and the show recently celebrated its 20th anniversary at the Gershwin Theatre.
Get Wicked tickets now.
See What I Wanna See
Menzel returned to The Public Theater in 2005 for Michael John LaChiusa’s time-leaping musical, inspired by short stories by Ryūnosuke Akutagawa that explore themes of truth and perception. Menzel played a murderous lover, a wife, and an actress.
Funny Girl
“Funny, did you hear that? Funny.” In a 2010 episode of Glee, Menzel played Shelby, the mother of talented teen Rachel (Lea Michele). Shelby sang “Funny Girl,” a song made famous by Barbra Streisand in the 1968 movie based on the Broadway musical about comedian Fanny Brice.
Menzel has revealed she almost starred in a Funny Girl Broadway revival, but it never worked out. In 2022, a revival did materialize, and Michele triumphantly assumed the role of Fanny Brice.
Chess
In 2009, Menzel appeared alongside Josh Groban and Adam Pascal in this concert staging of Chess at London’s Royal Albert Hall for PBS. Seen on Broadway in 1988, the Benny Anderson, Tim Rice, and Björn Ulvaeus musical concerns Cold War-era chess rivalries and romance. As Florence, Menzel wraps her voice around the thrilling “Nobody’s Side.” Check!
Frozen
The cold never bothered her anyway! As Queen Elsa in this megahit 2013 animated Disney film, Menzel gave voice to yet another outcast – one whose icy superpowers trap a kingdom in winter. What does she do? Ask any kid! People of all ages know every word to Menzel's Oscar-winning anthem, “Let It Go.”
Frozen became a Broadway musical five years later, but Menzel wasn’t involved.
If/Then
Choices matter. Menzel notched her third Tony nomination in 2014 in this contemporary musical written by Brian Yorkey and Tom Kitt (Next to Normal) and staged by Rent director Michel Greif. She starred as Elizabeth, a woman exploring two paths her life could take based on a single decision.
Skintight
In this 2018 play written by Joshua Harmon (Prayer for the French Republic) and directed by Daniel Aukin (a 2024 Tony winner for Stereophonic), Jodi (Menzel) discovers her father’s new partner is a much younger man. The stage is set for a spiky comedy about family, aging, and self-worth.
Cinderella
In this modern movie musical adaptation of the rags-to-riches fairy tale, Menzel played Vivian, stepmom to Cinderella (Camila Cabello), who wants to open a dress shop. An antagonist to Cinderella, as you’d expect, Viv also has struggles and disappointments of her own. Listen up for Menzel’s take on Madonna’s “Material Girl” on the soundtrack.
Which Way to the Stage
Okay, Menzel doesn’t appear in this 2022 Off-Broadway play by Ana Nogueira, who looked to Maureen’s line from Rent for the title. But she looms large in spirit. In Which Way to the Stage, it’s 2015, and two superfans are waiting outside the If/Then theatre to get the autograph of the star of the show. As in, you-know-who.
Redwood
In this new musical, Menzel plays Jesse, a wife, mom, and career woman coping with loss who seeks solace in an unexpected place – deep in the ancient redwood forests of northern California. The show arrives on Broadway in spring 2025 following a world premiere at the La Jolla Playhouse.
“Listening to Idina Menzel sing is pure joy,” reads a Forbes article. We couldn't agree more.
Check back for information on Redwood tickets on New York Theatre Guide.
Photo credit: Idina Menzel in Redwood. (Photo by Emma Anderson)
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correct_starring_00069
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FactBench
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1
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https://www.themoviedb.org/movie/8079/cast
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en
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Om Shanti Om
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[] |
[] |
[
"Movies",
"TV Shows",
"Streaming",
"Reviews",
"API",
"Actors",
"Actresses",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Teasers",
"Credits",
"Cast"
] | null |
[] | null |
Die 70er Jahre: Om ist kleiner Statist in Bollywood und unsterblich verliebt in Superstar Shanti. Er träumt von der großen Karriere und dass er das Herz von Shanti erobert. Doch bevor sich seine Träume erfüllen können, stirbt er bei dem Versuch, Shanti aus den Flammen des Studiogeländes zu retten. Gelegt hat das Feuer ihr heimlicher Geliebter, ein Filmproduzent. Die 90er Jahre: Om ist als eitler Kinostar wiedergeboren worden und versucht, den mittlerweile supererfolgreichen Produzenten von damals aus der Reserve zu locken.
|
de
|
/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png
|
The Movie Database
|
https://www.themoviedb.org/movie/8079/cast
|
You need to be logged in to continue. Click here to login or here to sign up.
|
||||
correct_starring_00069
|
FactBench
|
1
| 50 |
https://letterboxd.com/film/om-shanti-om/
|
en
|
Om Shanti Om (2007)
|
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[] |
[] |
[
""
] | null |
[] | null |
Reincarnated 30 years after being killed in a suspicious on-set fire, a small-time actor is determined to punish the person who ignited the blaze.
|
en
|
https://letterboxd.com/film/om-shanti-om/
|
Om Shanti Om is quintessential Bollywood. In fact, it's a crash course on why Bollywood is so popular, so endearing, and so loved by the masses.
This film is a gold mine for any devout Bollywood fan. Film references abound, spoof upon spoof brings on the laughs, and you can't help but grin all the way through. The obvious love that Farah Khan has for the seventies and eighties and everything Bollywood is on full display here, and it only helps the film.
The performances are spot-on. Shah Rukh Khan gets to overact to his heart's content, somebody finally (!) made great use of Arjun Rampal, and Deepika Padukone's ineptitude is masked by the fact that she doesn't need to…
|
||||||
correct_starring_00069
|
FactBench
|
1
| 27 |
https://www.themoviedb.org/movie/8079%3Flanguage%3Den-US
|
en
|
Om Shanti Om
|
[
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[] |
[] |
[
"Movies",
"TV Shows",
"Streaming",
"Reviews",
"API",
"Actors",
"Actresses",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Teasers",
"Credits",
"Cast"
] | null |
[] | null |
Die 70er Jahre: Om ist kleiner Statist in Bollywood und unsterblich verliebt in Superstar Shanti. Er träumt von der großen Karriere und dass er das Herz von Shanti erobert. Doch bevor sich seine Träume erfüllen können, stirbt er bei dem Versuch, Shanti aus den Flammen des Studiogeländes zu retten. Gelegt hat das Feuer ihr heimlicher Geliebter, ein Filmproduzent. Die 90er Jahre: Om ist als eitler Kinostar wiedergeboren worden und versucht, den mittlerweile supererfolgreichen Produzenten von damals aus der Reserve zu locken.
|
de
|
/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png
|
The Movie Database
|
https://www.themoviedb.org/movie/8079
|
You need to be logged in to continue. Click here to login or here to sign up.
|
||||
correct_starring_00069
|
FactBench
|
2
| 25 |
https://www.townandcountrymag.com/leisure/arts-and-culture/g12203342/actresses-who-played-queen-elizabeth-i-in-movies/
|
en
|
See Every Actress (and One Actor) Who Has Played Queen Elizabeth I
|
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[] |
[] |
[
"elizabeth i",
"queen elizabeth 1",
"queen elizabeth 1 movies",
"queen elizabeth 1 actresses",
"elizabeth the golden age",
"margot robbie",
"mary queen of scots",
"elizabeth i of england",
"cate blanchett elizabeth",
"queen elizabeth 1st"
] | null |
[
"Katie Robinson"
] |
2017-09-11T18:51:00
|
From Margot Robbie and Cate Blanchett to Bette Davis and even Quentin Crisp, here are the all the actresses (and actor) who have played Queen Elizabeth I.
|
en
|
/_assets/design-tokens/townandcountrymag/static/images/favicon.80ace0d.ico
|
Town & Country
|
https://www.townandcountrymag.com/leisure/arts-and-culture/g12203342/actresses-who-played-queen-elizabeth-i-in-movies/
|
Filming is currently taking place in the UK for Mary Queen of Scots, which will focus on the relationship between Queen Mary of France and Queen Elizabeth of England, two teenage monarchs. The upcoming film is set to premiere sometime in 2018.
Buy Now Elizabeth: The Golden Age, $9.91
The film won Best Costume Design at the 80th Academy Awards, and Blanchett took the prize for Best Actress.
Buy Now Elizabeth I, $13.99
The TV miniseries aired in the United States on HBO and nabbed multiple awards for its thematic performance such as Emmy, Peabody, and Golden Globe awards.
Buy Now Elizabeth, $8.02
Elizabeth helped launched Cate Blanchett to superstardom—she won multiple awards for her performance, including a Golden Globe. The film itself also received recognition as it took home Academy Awards for Best Picture, Best Actress, and Best Makeup.
Buy Now Shakespeare in Love, $7.97
The infamous dramedy Shakespeare in Love received widespread recognition with its dynamite cast. The movie won seven total Academy Awards including Best Picture and Best Original Screenplay. Gwyneth Paltrow was awarded Best Actress and Judi Dench won Best Supporting Actress for her portrayal of Queen Elizabeth I.
Buy Now The Virgin Queen, $11.99
Bette Davis made a second appearance in The Virgin Queen, a film largely centered on Queen Elizabeth's relationship with Sir Walter Raleigh.
Buy Now The Private Lives of Elizabeth and Essex, $9.15
The film—which was Bette Davis's first portrayal of Queen Elizabeth—received five Academy Award nominations including a nomination for Best Color Cinematography.
Buy Now Mary of Scotland, $14.90
Mary of Scotland came to the screen as an adaption of Maxwell Anderson's 1933 play. The film received mediocre reviews; the New York Times described it as "a blend of excellence and mere adequacy."
|
||||
correct_starring_00069
|
FactBench
|
1
| 70 |
https://www.tring.co.in/popular-movies/om-shanti-om
|
en
|
Om Shanti Om: Plot, Songs, Cast, Reviews, Trailer and Movie
|
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[
"Om Shanti Om",
"Om Shanti Om news",
"Om Shanti Om Updates",
"Om Shanti Om latest update",
"Om Shanti Om breaking news",
"Om Shanti Om photos",
"Om Shanti Om videos."
] | null |
[] | null |
An aspiring actor named Om is killed in the 1970s but instantly returns to the present. He looks for Shanti, the love of his previous life, and tries to solve the mystery of his death.
|
en
|
Tring
|
https://www.tring.co.in/popular-movies/om-shanti-om
|
Movie Name
Om Shanti Om
Directed by
Farah khan
Written by
Farah Khan, Mushtaq Shiekh, Mayur Puri
Story by
Farah Khan
Produced by
Gauri Khan
Starring
Shah Rukh Khan, Deepika Padukone, Shreyas Talpade, Kirron Kher, Arjun Rampal
Cinematography
V. Manikandan
Edited by
Shirish Kunder
Music by
Vishal–Shekhar, Sandeep Chowta
Production company
Red Chillies Entertainment
Distributed by
Eros International
Release date
9 November 2007
Running time
170 minutes
Country
India
Language
Hindi
Budget
₹35 crore[1][2]
Box office
est. ₹149 crore
Plot
Om Prakash Makhija is an actor in the Hindi film industry from the 1970s who is in love with the actress Shantipriya. Shanti and Om become friends after Om saves her from an out-of-control fire scene. As soon as he learns that she is married to film producer Mukesh Mehra and that she is expecting his child, his hopes seem to be coming true. Then, after tricking her into an empty studio, Mukesh sets it on fire in an effort to protect his career and avoid suffering a financial loss. Om makes unsuccessful attempts to save her before passing away.
Thirty years later, Om has been reborn as Rajesh Kapoor, the only son of Bollywood actor, and is also an actor. His memoeries start to return when he meets his mother Bela, who is now a widow, his memories begin to return. He meets Mukesh as well, and the two decide to produce the film Om Shanti Om. Om attempts to coerce Mukesh into making a confession by hiring a Shantipriya lookalike, but things go wrong and Om once more finds his life in danger.
In order to trick him into confessing to his crime, he decides to remake Om Shanti Om with Mukesh. The cast meets Sandy or Sandhya, a Shantipriya lookalike who swoons the same way he used to whenever he sees Shanti, during the audition for the part of Shanti.Then Sandy is taught how to walk and speak like Shantipriya. While she is reciting a serious dialogue, Om snaps at her when she begins to laugh. Sandy responds that she would have believed him regardless because she loves him after he tells her his story. Om then brings Mukesh to the destroyed set of the movie, where he killed Shantipryia, to declare the start of the movie. Om attempts to recreate the entire murder scene here.
Om then brings Mukesh to the destroyed set of the movie, where he killed Shantipryia, to declare the start of the movie. With the support of the new Om Shanti Om cast. Om attempts to recreate the entire murder in this scene. Sandy frequently makes an appearance, leading Mukesh to think that Shanti has become a ghost and that he is hearing voices.
Later, when the song's music release is launched, Om performs a song and dance number in which he tells the entire tale. Mukesh's head is suddenly hit by a lamp, knocking him out cold. Mukesh admits that he is aware of the scheme and his fake Shanti. When Sandy shows up, she begins to say things that weren't in their plan and that no one expected. She reveals that Mukesh buried her beneath the set's floor while she was still alive and returned after setting the set on fire to take care of her body. Om realises that she is actually Shanti's ghost . In the final scene, Om witnesses Shanti's ghost saying goodbye to him with tears in the final scene. She walks up the stairs before vanishing.
In short the story is a blend of romance, drama, justice, and the film includes numerous well-known Bollywood songs and dance moves. Fans of Shah Rukh Khan and Deepika Padukone must watch this entertaining movie of the Bollywood film business.
Release
Om Shanti Om set a record for registered pre-advance booking of 18,000 tickets in a chain of theatres in Delhi. A special screening for Bollywood performers was held. According to reports, Red Chillies Entertainment paid between Rs. 720 and 750 million to Eros International for the global rights to the movie. A production and distribution firm called Baba Films made the highest offer of Rs. 110 million for the rights to the Mumbai Circuit. Also Shah Rukh was promoted by Amul as part of its marketing plan.
A Hindi Film Fusion dance by Nina Davuluri, choreographed by Nakul Dev Mahajan, was done to the song Dhoom Taana as her talent for the Miss America 2014 competition. Hindi film made its debut on the Miss America platform, and Davuluri is the first Indian American to take home the crown. Oomu Shanti Oumu, a Japanese instrumental adaptation of Om Shanti Om, was created. Following the screening of the movie, Mushtaq Sheikh published a book with the working title The Creation of Om Shanti Om. The guide provides information about the making of the movie and what went on behind the scenes.
Review
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. It was a unashamed tribute, she said, to Karz.
Raja Sen of Rediff.com gave it three and a half out of five stars and praised Shah Rukh, Padukone, and Talpade's performances. Om Shanti Om is a joyful, heady, joyous film that revels in Bollywood, and like at most parties where the bubbly flows freely, there is a lot of silly giggling and a great deal of immaturity, the author writes. He criticised the dialogue and too many cameo appearances in the movie.
In general, Om Shanti Om is a fun film that honours the Bollywood film business. The actors give engaging portrayals, and the musical and dance sequences are superb. Even though the second part of the film is not as good as the first, it is still a lot of fun and well worth seeing in its entirety.
According to Rajeev Masand of News18, who gave the movie three stars out of five, 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 Created based Desai-style exaggerated entertainment. He honours the dialogue for so cleverly incorporating some of Bollywood's oldest clichés into the everyday speech of these characters. Shah Rukh's acting, was dull according to an Indo-Asian News Service commentator.
Casting
Shah Rukh Khan as Om Prakash Makhija and Om Kapoor
Deepika Padukone as Shantipriya and Sandy
Shreyas Talpade as Pappu Master
Kirron Kher as Bela Makhija (Om Makhija's mother)
Arjun Rampal as Mukesh Mehra (Shanti's husband)
Haresh Hingorani as Faizan ‘F’ Khan (director of Om Shanti Om)
Vikram Sahu as Om Kapoor's doctor
Suhas Khandke as Om Makhija's surgeon
Sharad as Mukesh's guard
Farah Khan as the woman who makes fun of Om Makhija
Yuvika Chaudhary as Dolly Arora (Om Kapoor's heroine in Om Shanti Om)
Bindu Desai as Kamini Arora (Dolly's mother)
Crew
Director- Farah Khan
Cinematography- V. Manikandan
Story by- Farah Khan
Editor- Shirish Kunder
Production company- Red Chillies Entertainment
Distributor- Eros International
Character Analysis
Om Prakash Makhija (Shah Rukh Khan) is a young actor who aspires to be a famous actor in the Hindi film industry. Since he has feelings for the lead actress, Shantipriya, he attempts to protect her when he hears that she is in danger. He passes away during the action and is reincarnated as Om Kapoor.
Deepika Padukone (Shantipriya/Sandhya) a prominent actress in the Hindi film business who is romantically involved with Mukesh Mehra, the director of the film. She is Om's romantic interest as well. When Mukesh and his friends kill her, she is reborn as Sandhya, a young aspiring actress who mimics Shantipriya. She helps Om in finding out the reason for her death.
Mukesh Mehra (Arjun Rampal) Shantipriya is in a relationship with Mukesh, a movie director. He plans to kill her due to a dispute, but Om stops him. He becomes a successful producer after blaming Om for the crime. Later, he admits to his crime after being haunted by his past.
Om's buddy and coworker Pappu Master (Shreyas Talpade) is a choreographer. He supports Om in his efforts to bring Shantipriya's case to justice.
Om's mother, Bela Makhija (Kirron Kher), encourages him in his goal to become a performer. She is saddened by his passing and delighted when he is reborn as Om Kapoor.
Rajesh Kapoor (Javed Sheikh) In his new role as Om Kapoor, Rajesh is a successful actor in the film business. He helps Om in his research into the facts surrounding Shantipriya's passing.
With their unique personalities and goals, the characters in Om Shanti Om bring the story to life. Each character is essential to the story's development and contributes to engaging storyline entertaining.
Songs
The movie Om Shanti Om has well-known music with several top hits. The tracks in the film have the following names
|
|||||
correct_starring_00069
|
FactBench
|
2
| 33 |
https://www.today.com/popculture/movies/chiefs-hallmark-movie-set-jenna-bush-hager-rcna161825
|
en
|
Chiefs Hallmark Movie Welcomes Jenna Bush Hager to Set — And She Left Travis Kelce a Note: EXCLUSIVE
|
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[] |
[
""
] | null |
[
"Maddie Ellis"
] |
2024-07-16T13:39:13+00:00
|
Jenna Bush Hager takes TODAY inside her day filming "Holiday Touchdown," the Chiefs Hallmark movie debuting this year.
|
en
|
https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/today/all-other-sizes-PNG.ico/favicon.ico
|
TODAY.com
|
https://www.today.com/popculture/movies/chiefs-hallmark-movie-set-jenna-bush-hager-rcna161825
|
Jenna Bush Hager is diving head first into her role in “Holiday Touchdown: A Chiefs Love Story.”
The TODAY with Hoda & Jenna co-host, who’s making her acting debut in the forthcoming holiday movie with Hallmark and the Kansas City Chiefs, headed to Arrowhead Stadium on July 15 to film her part — and took TODAY.com along with her.
In between wardrobe fittings, running lines, hair, makeup and interviews with her co-stars, Jenna is able to turn her Hallmark filming experience into a childhood dream come true, hailing back to when she imagined playing Cosette in “Les Misérables.”
“As a little kid, I wanted to be an actress,” Jenna tells TODAY.com. “My mom actually would drive me to the Dallas Convention Center. And I would try out for musicals. But I can’t really sing, or dance, or act. So I never got the role.”
When Jenna walks onto the field for the first time, an actor dressed as a referee asks, “Is she an actress?”
Yes. Yes, she is.
Behind the scenes at ‘Holiday Touchdown’
The day starts bright and early, with a 7:30 a.m. arrival to Arrowhead. The temperature hits around 90 degrees, eventually reaching 100 while filming on the field.
“Nothing like shooting a Christmas movie in July,” Jenna says as she steps out of the car.
From there, it was straight to a wardrobe fitting, hair and makeup. It’s almost time for Jenna’s scene, which means putting on her costume: a cashmere sleeveless sweater and a wool coat.
Actors enter the set from midfield, walking through the 50-yard-line tunnel. “Backstage,” aka the Bud Light Locker Room Club, is where Jenna is able to catch up with some of her co-stars, including Kansas City Chiefs players Mecole Hardman, Clyde Edwards-Helaire and George Karlaftis, as well as Donna Kelce, the mom of NFL greats Jason and Travis Kelce.
Jenna and Kelce pose for a picture together before Kelce suggests: “You should write a note, and I’ll put it in Travis’ locker.”
So, grabbing a pen and paper, Jenna leaves a message for No. 87.
“Travis — You have made my girls’ love football! Thanks for all you do! Come see Hoda + me!” Jenna writes. “PS. Your mama is the coolest.”
Jenna also catches up with coach Andy Reid, who makes a cameo in “Holiday Touchdown.” Just days ahead of the Chiefs’ official start to training camp, Reid visits the field not for practice, but to shoot his bit in the movie.
The NFL coach tells Jenna while he hasn’t filmed many movies, he’s no stranger to acting in commercials.
“Just be yourself,” Reid tells her. “That’s hard — sometimes it’s hard to be just natural.”
By the afternoon, it’s time to film. A quick check of the weather app puts the “feels like” temperature at 102 degrees. After rehearsal and touch-ups of hair and makeup, the actors throw on their heavy winter coats. Moments before the director calls “action,” the clapperboard shuts and the cameras roll.
The production has plenty of secrets that Jenna and her fellow actors have had to keep — including details around Jenna’s role.
“I was nervous taking the script out to the (TODAY) set, because my colleagues try to get things out of me constantly,” Jenna says.
Looks like viewers will have to wait until “Holiday Touchdown” debuts in Hallmark’s 15th annual Countdown to Christmas to find out. As Hallmark’s senior vice president for programming, Samantha DiPippo, tells TODAY.com: “You can’t open your presents before Christmas.”
|
||||
correct_starring_00069
|
FactBench
|
1
| 66 |
https://allthetropes.org/wiki/Om_Shanti_Om
|
en
|
Om Shanti Om
|
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[] |
[] |
[
""
] | null |
[
"All The Tropes"
] |
2020-11-03T22:51:03+00:00
|
Om Shanti Om is a 2007 Bollywood film directed and choreographed by Farah Khan. It stars Shah Rukh Khan and Deepika Padukone in the lead roles as the protagonists while Shreyas Talpade, Arjun Rampal, and Kirron Kher feature in supporting roles. Arjun Rampal is the Big Bad 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.
|
en
|
https://static.miraheze.org/allthetropeswiki/6/64/Favicon.ico
|
All The Tropes
|
https://allthetropes.org/wiki/Om_Shanti_Om
|
Om Shanti Om is a 2007 Bollywood film directed and choreographed by Farah Khan. It stars Shah Rukh Khan and Deepika Padukone in the lead roles as the protagonists while Shreyas Talpade, Arjun Rampal, and Kirron Kher feature in supporting roles. Arjun Rampal is the Big Bad 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.
Protagonist Om Prakash Makhija (Shahrukh Khan) is a junior artist in the 1970s 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), whom he eventually befriends after saving her from a fire in set. He tries to confess his feelings to her, but he gets overwhelmed by Shanti true kindness and decides to wait for a better chance.
One 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.
Unfortunately for Shanti, Mukesh really doesn't want to stay married to her, so to dispose of her he stages a "tragic accident" by tricking her to visit the soundstage of their latest film, only to trap her there and torch the place. Om, the only witness to this, tries to rescue Shanti, but he is impeded to do so, first by Mukesh's goons, and then by the set exploding. The explosion sends him to the nearby road, where he is run-over by Rajesh and Lovely Kapoor, a couple of film stars in the way to the hospital because of their baby impeding birth. They bring the poor man with them to receive medical attention, but as Lovely gives birth to a son, Om finally succumbs to his injuries
The story jumps 30 years, and introduces us to Om Kapoor, nicknamed OK, the son of the Kapoors and the reincarnation of Om Prakash. OK is a popular (albeit bratty) actor, who has the superstar life the late Om wanted for him. OK, however, has strange experiences, like suffering pyrophobia despite never having bad experiences with fire and experiencing déjà-vus in several occasions, all of them being actually echoes of his past incarnation. A chance encounter with Mukesh (now a Hollywood producer) during a wrap party makes OK's recover all of Om memories. Furious with the realization that neither Om or Shantipriya deaths received justice, OK reunites with Bela and Pappu to plan their revenge.
Tropes used in Om Shanti Om include:
Actor Allusion: Almost all the actors featured in Deewangi Deewangi use signature dance moves from their most popular movies.
Adam Westing: Anyone who is not a fictional character.
All-Star Cast: The cameos. Dear god, the cameos.
Andrew Lloyd Webber: Inspired the second part of the movie.
Bad Bad Acting: The audition montage.
Big No: Om Prakash's mom shouts a big "Nehi!" when he wants to change his name.
Birth-Death Juxtaposition: When Om dies in the hospital, a mother gives birth in the next room. The baby turns out to be Om reincarnated.
Creator Cameo: Farah Khan is the woman who fights with Om Prakash at the beginning of the movie. Lampshaded:
|
||||
correct_starring_00069
|
FactBench
|
2
| 64 |
https://www.radiocity.in/photos/katrina-kaif-birthday-special-5-blockbuster-movies-rejected-by-the-actress-4467
|
en
|
Katrina Kaif Birthday Special: 5 Blockbuster Movies Rejected By The Actress
|
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[
"Radiocity"
] |
2024-02-23T00:00:00
|
As Katrina Kafi turns 41, lets have a look at five Bollywood movies rejected by her that went on to become blockbusters Happy birthday diva
|
en
|
Radiocity
|
https://www.radiocity.in/photos/katrina-kaif-birthday-special-5-blockbuster-movies-rejected-by-the-actress-4467
|
Naseeruddin Shah : These 6 Iconic Characters Make Him Synonymous To Versatile
Bhool Bhulaiyaa To Go Goa Gone, 5 Horror Comedies To Watch Before Stree 2
Cinema and OTT Releases This Weekend Ending July 19
Priyanka Chopra Special: Times When She Was Extremely Relatable To The Commoners
13 Years of Zindagi Na Milegi Dobara: 5 Most Loved Dialogues From the Movie
Virat-Anushka To Kareena Kapoor, 7 Celebrities Who Missed The Ambani Wedding
Bigg Boss OTT: 7 Bizarre Controversies That Shocked The Viewers
|
|||||
correct_starring_00069
|
FactBench
|
2
| 48 |
https://thedirect.com/article/emeline-lambert-alyssa-targaryen-house-of-the-dragon-actress
|
en
|
Who Is Emeline Lambert? 4 Things to Know About Alyssa Targaryen's House of the Dragon Actress
|
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[] |
[] |
[
"Learn more about the newly introduced Alyssa Targaryen actress in House of the Dragon."
] | null |
[
"David Thompson"
] |
2024-07-15T22:07:43+00:00
|
Learn more about the newly introduced Alyssa Targaryen actress in House of the Dragon.
|
en
|
The Direct
|
https://thedirect.com/article/emeline-lambert-alyssa-targaryen-house-of-the-dragon-actress
|
After appearing as Alyssa Targaryen on House of the Dragon Season 2, learn more about actress Emeline Lambert.
In Season 2, Episode 5, Alyssa appears in a dream sequence experienced by her son, Daemon Targaryen, played by Matt Smith.
Alyssa Targaryen is an important figure in Targaryen history. She was the mother of Daemon Targaryen, who was just three years old when she died giving birth to his brother, Aegon II.
[ Who's the Woman In Bed With Daemon In House of the Dragon Season 2 Episode 5? ]
Meet Emeline Lambert - Biography Details
Emeline Lambert Got Her Training at National Youth Theater
Emeline Lambert honed her acting skills at the prestigious National Youth Theater (NYT) in London.
Founded in 1956, the NYT is renowned for nurturing young talent. It offers training that emphasizes creativity, collaboration, and practical experience. Alumni include acclaimed actors like Helen Mirren and Daniel Craig.
Lambert's training at NYT has undoubtedly contributed to her versatile acting abilities, preparing her for complex roles like Alyssa Targaryen.
Emeline Starred in the Short Film Longing
Before her breakout role in House of the Dragon, the 5' 8" actress played Lena in the short film Longing.
Longing features Lambert alongside Kae Alexander and Alex Chang. Directed and written by Courteney Tan, the film follows a Malaysian woman with a secret who embarks on an impromptu date with another woman the night before her flight home.
Tan detailed the production challenges to Erato Magazine, including night shoots and logistical issues, but praised the cast and crew's dedication.
The film, funded by the British Film Institute in 2022, "was quite challenging," according to the director, adding that "short films are always challenging as often there is not enough time or money for what you’re trying to do:"
"We put in an application to the BFI and we were awarded funding in 2022. So the first few months of that year were spent rewriting the script, casting, location scouting, and crewing up leading to our shoot which took place in August. The shoot was quite challenging, in as much as we were shooting nights and there were a few hiccups with locations and equipment along the way, but the cast and crew were truly brilliant. Short films are always challenging as often there is not enough time or money for what you’re trying to do, but having a crew who are either passionate enough about the story or their craft and are willing to stay calm and give it their all really makes a difference."
In addition, the film was shortlisted for the Iris Prize, an honor that Tan described as a special recognition despite the varying feedback it received:
"Yes absolutely. I’ve always been a fan of Iris Prize so it was really special to be recognised by them! We traveled to Cardiff to attend the festival and it was great to see our film play with the other shorts nominated. In terms of feedback, it does matter but I think it’s important to know that you’re not going to please everyone – some people might like your work and others might hate it – and that’s ok!"
Emeline Has a Lot of Talents
Lambert's acting CV is impressive, showcasing many skills beyond her acting prowess.
She is well-trained in various accents and dialects, including French, Received Pronunciation, and Swedish. She has a high standard of American accents from California, New York, Southern States, and Standard American.
In addition to her linguistic talents, Lambert excels in music and dance, with skills in ballet, contemporary dance, hip-hop, jazz dancing, and general singing.
She is also skilled in Pilates and yoga, demonstrating her versatility and dedication to maintaining a well-rounded skill set for her acting career.
House of the Dragon is Emeline's Biggest Role Yet
Portraying Alyssa Targaryen in House of the Dragon marks Lambert's most significant role to date, with a potential for future dream-state appearances.
Before this, Lambert appeared in the TV series Django and Invasion Season 2, showcasing her acting range and ability to tackle diverse roles.
Emeline Lambert's journey in the entertainment industry is just beginning, and her performance in House of the Dragon is set to propel her career to new heights.
House of the Dragon is streaming on Max, and new episodes are released every Sunday at 9 p.m. ET.
Read more about House of the Dragon on The Direct:
Why Is Vhagar So Big? Aemond Dragon's Size In House of the Dragon Explained
House of the Dragon Star Sam C. Wilson Talks Aegon's 1st Kill, Dog Trickery & More (Exclusive)
|
|||||
correct_starring_00069
|
FactBench
|
0
| 51 |
https://www.instagram.com/p/CbEkQLAjmCx/
|
en
|
Arjun Rampal talks about his character in the film 'Om Shanti Om' and why he played that role. Om Shanti Om is a 2007 Indian...
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
84 likes, 11 comments - arjun___rampal on March 13, 2022: "Arjun Rampal talks about his character in the film 'Om Shanti Om' and why he played that role.
Om Shanti Om is a 2007 Indian Hindi-language romantic horror comedy-drama film written and directed by Farah Khan and co-written by Mayur Puri and Mushtaq Shiekh. Spanning three decades, the film 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. The film also starred Shreyas Talpade, Kirron Kher, Nitesh Pandey, Yuvika Chaudhary, Asawari Joshi, Bindu Desai and Javed Sheikh feature in supporting roles, and saw cameos from many Bollywood celebrities in several sequences and songs.
Om Shanti Om was produced and presented by Shah Rukh's wife Gauri Khan under the banner Red Chillies Entertainment on a budget of ₹30 crore. Farah conceived the film 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 ₹149 crore worldwide becoming the highest grossing Bollywood fi
#arjunrampal #rampal72 #arjunrampal_radha #elegant #arjunrampalofficial #modeling #handsome #bhaijaan #shahrukhkhan #shooting #indianmalemodels🇮🇳 #indianmodelshouts #instagram #instabollywood #omshantiom #modelindian #indian #rohitbal #hottes #hotmodels #manishmalhotra #loveyoubhai #yogenshah #voompla #viralbhayani #manavmanglani #delhitimes #hindustantimes #gabriellademetriades #memories".
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en
|
Instagram
|
https://www.instagram.com/reel/CbEkQLAjmCx/?img_index=arjun___rampal
| ||||||
correct_starring_00069
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FactBench
|
1
| 8 |
https://www.tiff.net/events/om-shanti-om
|
en
|
Om Shanti Om
|
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] | null |
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2021-10-18T13:44:00
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TIFF is a charitable cultural organization with a mission to transform the way people see the world, through film.
|
en
|
/img/apple-touch-icon.png
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TIFF
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https://_/events/om-shanti-om
|
Tickets for TIFF 2024 go on sale for the general public on August 26. If you are a member, or purchased a ticket package, click here for dates when you can redeem and purchase.
|
||||
correct_starring_00069
|
FactBench
|
0
| 47 |
https://dailytimes.com.pk/1147329/deepika-expresses-gratitude-as-om-shanti-om-completes-16-years/
|
en
|
Deepika expresses 'gratitude' as 'Om Shanti Om' completes 16 years
|
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] |
[] |
[] |
[
""
] | null |
[
"Sajid Salamat"
] |
2023-11-10T20:52:49+00:00
|
Deepika Padukone made her big Bollywood debut with Farah Khan’s ‘Om Shanti Om’ opposite Shah Rukh Khan. The film completed 16 glorious years on November 9, 2023. The actress took to her Instagram Stories to express her gratitude to her fans. Deepika also shared a series of throwback clips that instantly tugged at the heartstrings […]
|
en
|
Daily Times
|
https://dailytimes.com.pk/1147329/deepika-expresses-gratitude-as-om-shanti-om-completes-16-years/
|
Deepika Padukone made her big Bollywood debut with Farah Khan’s ‘Om Shanti Om’ opposite Shah Rukh Khan. The film completed 16 glorious years on November 9, 2023. The actress took to her Instagram Stories to express her gratitude to her fans. Deepika also shared a series of throwback clips that instantly tugged at the heartstrings of her followers. The first one just said ‘Gratitude.’ The second story was a fan’s art that she reposted. The third story was a compilation of Deepika’s 16-year journey in Bollywood. She started in 2007 with ‘Om Shanti Om,’ directed by Farah Khan and produced by Gauri Khan. The movie also starred Kirron Kher, Shreyas Talpade, Arjun Rampal, Yuvika Chaudhary, and others in important roles. On an episode of Koffee With Karan, Deepika shared that when she first met Ranveer, she had just come out of “a couple of difficult relationships.” As a result, she wasn’t initially ready to commit to him. On the work front, Deepika is set to appear alongside Hrithik Roshan in the upcoming film ‘Fighter,’ marking their first collaboration. Additionally, she will be seen in Rohit Shetty’s ‘Singham Again’ where she will be seen playing the role of a cop named Shakti Shetty.
|
|||||
correct_starring_00069
|
FactBench
|
3
| 12 |
https://en.wikipedia.org/wiki/Film_title_design
|
en
|
Film title design
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
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[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2006-06-22T03:12:25+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Film_title_design
|
Film company role or service
Film title design is a term describing the craft and design of motion picture title sequences. Since the beginning of the film form, it has been an essential part of any motion picture. Originally a motionless piece of artwork called title art, it slowly evolved into an artform of its own.
History[edit]
In the beginning, main title design consisted of the movie studio's name and/or logo and the presentation of the main characters along with the actor's names, generally using that same artwork presented on title cards. Most independent or major studio had their own title art logo used as the background for their screen credits and they used it almost exclusively on every movie that they produced.
Then, early in the 1930s, the more progressive motion picture studios started to change their approach in presenting their screen credits. The major studios took on the challenge of improving the way they introduced their movies. They made the decision to present a more complete list of credits to go with a higher quality of artwork to be used in their screen credits.
A main title designer is the designer of the movie title. The manner in which title of a movie is displayed on screen is widely considered an art form. It has often been classified as motion graphics, title design, title sequences and animated credits. The title sequence is often presented through animated visuals and kinetic type while the credits are introduced on screen. The Morrison Studio is a leading title sequence company in both film and TV, with great examples of title design from films such as Tim Burton's Batman (1989) and Sweeney Todd (2007) through to Creation Stories (2021). Led by title designers Richard Morrison and Dean Wares.
From the mid-1930s through the late-1940s the major film studios led the way in Film Title Art by employing artists like Al Hirschfeld, George Petty, Ted Ireland (Vencentini), William Galraith Crawford, Symeon Shimin, and Jacques Kapralik.
Quality artists met this challenge by designing their artwork to "set a mood" and "capture the audience" before the movie started. An overall 10% jump in box-office receipts was proof that this was a profitable improvement to the introduction of their motion pictures.
Pacific Title & Art Studio was an American company founded in Hollywood in 1919 by Leon Schlesinger. Originally they produced title cards for silent films, but moved into film title design. One of their artists, Wayne Fitzgerald was encouraged by Warren Beatty to design titles on his own. Phill Norman was a contemporary American film title designer at the same time
One famous example of the form is the work of Saul Bass in the 1950s and 1960s. His modish title sequences for the films of Alfred Hitchcock were key in setting the style and mood of the movie even before the action began, and contributed to Hitchcock's "house style" that was a key element in his approach to marketing. Another well known designer is Maurice Binder, who designed the often erotic titles for most of the James Bond films from the 1960s to the 1980s; Robert Brownjohn designed two of the films. After Binder's death, Daniel Kleinman has done several of the titles.
However, the leader in the industry in the 1990s - 2000 was Cinema Research Corporation, with over 400 movie titles to its credit in that time period alone, and almost 700 titles in total from the 1950s to 2000.[1]
Modern technology has enabled a much more fantastical way of presenting them through use of programs such as Adobe After Effects and Maxon Cinema4D. Although a form of editing, it's considered a different role and art form rather than of a traditional film editor.
Further reading[edit]
Art of the Title
References[edit]
[edit]
Film portal
|
||||
correct_starring_00069
|
FactBench
|
0
| 10 |
https://www.austinchronicle.com/events/film/2007-11-09/559779/
|
en
|
Om Shanti Om
|
http://www.austinchronicle.com/binary/d7fa/OmShantiOm.jpg
|
http://www.austinchronicle.com/binary/d7fa/OmShantiOm.jpg
|
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[
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2007-11-09T00:00:00
|
Via a tale of reincarnation, this new Bollywood movie offers a tribute to the Hindi spectacles of the Seventies.
|
en
|
/apple-icon-57x57.png?v=3
|
https://www.austinchronicle.com/events/film/2007-11-09/559779/
|
A note to readers: Bold and uncensored, The Austin Chronicle has been Austinâs independent news source for over 40 years, expressing the communityâs political and environmental concerns and supporting its active cultural scene. Now more than ever, we need your support to continue supplying Austin with independent, free press. If real news is important to you, please consider making a donation of $5, $10 or whatever you can afford, to help keep our journalism on stands.
Support the Chronicle
|
|||
correct_starring_00069
|
FactBench
|
2
| 3 |
https://en.as.com/entertainment/what-are-lindsay-lohans-most-iconic-roles-the-actress-biggest-movies-n/
|
en
|
What are Lindsay Lohan’s most iconic roles? The actress’ biggest movies
|
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"As.com"
] |
2024-04-17T15:23:38-04:00
|
From ‘A Parent Trap’ to ‘Mean Girls’ here’s a look at some of Lindsay Lohan’s most iconic roles.
|
en
|
/pf/resources/images/favicon/favicon.ico?d=496
|
Diario AS
|
https://en.as.com/entertainment/what-are-lindsay-lohans-most-iconic-roles-the-actress-biggest-movies-n/
|
Lindsay Lohan’s absence from movies for over a decade has been notable. But her return in 2022 in the Netflix movie ‘Falling for Christmas’, which saw the actress playing a hotel heiress with amnesia, has fans excited about her future.
Before her Netflix return, Lohan had starred in a number of big roles, becoming a 2000s icon, starring in films that perfectly captured the era and what it was all about. Here are some of her most iconic roles.
The Parent Trap (1998)
At just 12 years old, Lohan took on her first major role in ‘The Parent Trap’ in 1998. She played twin sisters Hallie Parker and Annie James, who discover they are long-lost twin sisters, when their parents divorced after they were born.
For the role, Lohan won Best Performance in a Feature Film at the Young Artist Awards in 1999.
Freaky Friday (2003)
When Lohan was 17, she starred in ‘Freaky Friday’ playing Anna Coleman, opposite Jamie Lee Curtis, who played her mom, Tess Coleman, in the movie.
The movie follows the bizarre events when mother and daughter switch bodies, with the actresses playing the opposite role throughout the movie. The film also featured the first instance of Lohan singing on a movie soundtrack, singing the song ‘Ultimate’.
In 2004, Lohan won an MTV Movie Award for Best Breakthrough Female Performance, and two Teen Choice Awards, one for Choice Breakout Movie Star, and another for Choice Hissy Fit.
Confessions of a Teenage Drama Queen (2004)
‘Confessions of a Teenage Drama Queen’ found Lohan playing a teenager with dreams of becoming a Broadway star. Lohan sang the movie’s lead song ‘Drama Queen (That Girl)” as well as a number of other songs on the soundtrack.
Mean Girls (2004)
In one of Lohan’s most well-known works, her role as Cady Heron in ‘Mean Girls’ has gone down in history as a teen movie classic about the drama caused by school cliques and gossip.
|
||||
correct_starring_00069
|
FactBench
|
2
| 2 |
https://en.wikipedia.org/wiki/List_of_Emma_Stone_performances
|
en
|
List of Emma Stone performances
|
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[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2016-07-30T13:21:08+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/List_of_Emma_Stone_performances
|
Emma Stone is an American actress who aspired to an acting career from an early age.[1] She had her first role onstage at age 11,[2] and followed with parts in sixteen plays in a regional theater in Arizona.[3] Stone made her television debut in the unsold pilot for the reality show The New Partridge Family (2005).[4] After brief television roles in Medium, Malcolm in the Middle, and Lucky Louie, she made her film debut in the comedy Superbad (2007).[5]
Stone appeared as a ghost in Ghosts of Girlfriends Past (2009), and found commercial success with the horror comedy Zombieland.[6] Her breakthrough came with her first leading role as a high school student perceived to be sexually promiscuous in the comedy Easy A (2010).[7] In 2011, she starred in the romantic comedy Crazy, Stupid, Love and in the period drama The Help, which were both commercial successes.[8][9] Stone's success continued with her role as Gwen Stacy in the 2012 superhero film The Amazing Spider-Man that became her highest-grossing release, with a worldwide revenue of $757 million, and she later reprised the role in its 2014 sequel.[10] Critical success followed with her performance as a recovering drug addict in Alejandro González Iñárritu's black comedy-drama Birdman (2014). It earned her a nomination for the Academy Award for Best Supporting Actress.[11] Later that year, she made her Broadway debut in a revival of the musical Cabaret.
Stone won the Academy Award for Best Actress for her performance as an aspiring actress in Damien Chazelle's musical La La Land (2016).[12] She also recorded six songs such as "City of Stars" for the film's soundtrack. She served as an executive producer and starred in the Netflix black comedy miniseries Maniac (2018), and received another Oscar nomination for her portrayal of Abigail Masham in Yorgos Lanthimos' period black comedy The Favourite (2018).[13][14] She then starred in the sequel Zombieland: Double Tap (2019), portrayed the title role in the crime comedy Cruella (2021), and established the production company Fruit Tree, under which she began producing independent films such as Jesse Eisenberg's directorials When You Finish Saving the World (2022) and A Real Pain (2024).[15] In 2023, Stone reunited with Lanthimos in the acclaimed fantasy film Poor Things, which she also produced, winning another Academy Award for Best Actress in addition to a nomination for Best Picture.[15][16][17]
Key † Denotes films that have not yet been released
Year Title Role Notes 2007 Superbad Jules [18] 2008 Amelia Stone [19] Natalie Sandler [20] 2009 Ghosts of Girlfriends Past [21] Paper Man Abby [22] Zombieland Wichita / Krista [23] 2010 Marmaduke Mazie Voice [24] Easy A [25] 2011 Friends with Benefits Kayla [26] Crazy, Stupid, Love [27] Eugenia "Skeeter" Phelan [28] 2012 Gwen Stacy [29] 2013 Gangster Squad [30] Movie 43 Veronica Segment: "Veronica" [31] Eep Crood Voice [32] 2014 Gwen Stacy [33] Magic in the Moonlight [34] Birdman or (The Unexpected Virtue of Ignorance) [35] The Interview Herself Cameo 2015 Aloha [36] Irrational Man [37] 2016 Popstar: Never Stop Never Stopping Uncredited cameo [38] La La Land [39] 2017 Battle of the Sexes [40] 2018 The Favourite Abigail Masham [41] 2019 Zombieland: Double Tap Wichita / Krista [42] 2020 The Croods: A New Age Eep Crood Voice [43] 2021 Cruella Estella / Cruella de Vil Also executive producer [44] 2022 Bleat Woman Short film [45] 2023 Poor Things Bella Baxter Also producer [46] 2024 Kinds of Kindness Rita / Liz / Emily [47] 2025 Bugonia † TBA Filming; also producer [48] TBA Eddington † TBA Post-production [49]
Year Title Credit 2022 When You Finish Saving the World Producer [50] 2023 Problemista Producer [51] 2024 I Saw the TV Glow Producer [52] A Real Pain Producer [53]
Year Title Role Notes Ref. 2004 Laurie Partridge Pilot [54] 2005 Medium Cynthia McCallister Episode: "Sweet Dreams" [55] 2006 Ivana Tipton Voice; Episode: "Crushed"; credited as Emily Stone [56] Malcolm in the Middle Diane Episode: "Lois Strikes Back" [57] Lucky Louie Shannon Episode: "Get Out" [55] 2007 Drive Violet Trimble 7 episodes [3] 2010–2023 Saturday Night Live Herself (host) / Various characters 8 episodes (host of 5 episodes) [1][58] 2011 Robot Chicken Various voices 2 episodes [59] 2012 30 Rock Herself Episode: "The Ballad of Kenneth Parcell" [60] iCarly Heather Episode: "iFind Spencer Friends" [61] 2016 Maya & Marty Herself Episode: "Sean Hayes, Steve Martin, Kelly Ripa & Emma Stone" [62] 2018 Maniac Annie Landsberg 10 episodes; also executive producer [63] 2023–2024 The Curse Whitney Siegel 10 episodes; also executive producer [64] 2024 Fantasmas TBA Guest star; also executive producer [65]
Year Title Voice role Notes Ref. 2012 Sleeping Dogs Amanda Cartwright Also motion capture [66]
Year Title Role Venue Ref. 2014–2015 Cabaret Sally Bowles Studio 54, Broadway [67]
Year Title Album Ref. 2008 "I Know What Boys Like" The House Bunny [68] 2010 "Knock on Wood" Easy A [69] 2016 "Turn Up the Beef"
(The Lonely Island featuring Emma Stone) Popstar: Never Stop Never Stopping [70] "The Christmas Candle"
(Saturday Night Live Cast featuring Emma Stone) Non-album single [71] "Another Day of Sun" La La Land: Original Motion Picture Soundtrack [72] "Someone in the Crowd" [72] "A Lovely Night" [72] "City of Stars" [72] "Audition (The Fools Who Dream)" [72] "City of Stars (Humming)" [72] 2023 "Fully Naked in New York"
(Saturday Night Live Cast featuring Emma Stone) Non-album single [73]
Year Title Artist 2015 "Anna" Will Butler [74] 2018 "Who Cares" Paul McCartney [75]
|
||||||
correct_starring_00069
|
FactBench
|
0
| 11 |
https://www.facebook.com/photo.php%3Ffbid%3D10156542028879596%26id%3D292711949595%26set%3Da.292841969595%26locale%3Dfr_FR
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Facebook
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://www.facebook.com/login/
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correct_starring_00069
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FactBench
|
3
| 13 |
https://variety.com/2023/film/features/how-are-movie-titles-decided-hollywood-1235554998/
|
en
|
What’s in a Name? Inside the Art and Science of Crafting the Perfect Movie Title
|
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2023-03-15T20:00:00+00:00
|
There's a mix of art and science to naming movies.
|
en
|
Variety
|
https://variety.com/2023/film/features/how-are-movie-titles-decided-hollywood-1235554998/
|
In 2021, Paramount was testing a new movie called “Something’s Wrong With Rose” — a supernatural horror film about a therapist named Rose who loses touch with reality after witnessing a patient’s bizarre suicide.
Audiences at the research screening were responding enthusiastically to the scary movie, but studio executives noticed that they were stumbling over its name.
“Walking out of the theater, we were like, ‘We need a simpler title,’” remembers Marc Weinstock, Paramount’s president of global marketing and distribution.
One component in the story — the bone-chilling grins that slowly creep over the faces of victims — distinguished this horror film from others, and Paramount knew those scenes would frighten crowds in a big way. So they landed on “Smile,” a common word that took on a new, more sinister meaning after the studio’s inescapable, smirk-centric marketing campaign. The movie became a huge hit, to the tune of more than $200 million worldwide.
“We took something normal and made it creepy,” Weinstock says.
The process of naming films is rarely a straightforward assignment. And with the glut of entertainment options vying for viewers’ attention, there’s heightened pressure to come up with something that sticks.
“We’re trying to get moviegoers into theaters,” says Jason Cassidy, vice chairman of Focus Features, “and because there are so many choices, there’s a higher premium on that than ever before. A title that cuts through the noise and even starts a conversation is truly additive.”
A good title isn’t going to save an unwatchable movie. But in the online world, a catchy name has potential to propel a film into the zeitgeist (see “M3GAN”), just as a clunky one can send a film plunging into obscurity faster than you can say “Birds of Prey and the Fantabulous Emancipation of One Harley Quinn.”
“If audiences are stumbling on a movie title,” Cassidy says, “they’ll move on to the next one that much more easily.”
Hollywood has been struggling with movie titles since the beginning. Had things gone another way, “Casablanca” would have been known as “Everybody Comes to Rick’s.” “Pretty Woman” was almost called “3,000,” and “The Breakfast Club” was originally titled “The Lunch Bunch.”
But, for the traditional studios tasked with getting audiences to buy movie tickets, finding the right movie title has become an important cog in the grand marketing machine of trailers, posters and billboards.
“It can make a difference between initial interest and not having an inclination to find out more about a movie,” says Alexis Garcia, executive VP of film development and production at Fifth Season, formerly known as Endeavor Content.
Those who own and operate cinemas believe the art of titling has become more essential because customers mostly book their showtimes online now. Though there’s no correlation between word count and commercial popularity, theater owners notice that long titles get cut off on mobile devices. That’s part of the reason that Sony, at the 11th hour, renamed its musical biopic “I Wanna Dance With Somebody” to “Whitney Houston: I Wanna Dance With Somebody”— though the singer’s name elongates the title, it immediately removes confusion about the subject.
SEO, shorthand for Search Engine Optimization, is another concern. Google “Plane” or “Dog,” and the action-thriller starring Gerard Butler or the road-trip comedy with Channing Tatum aren’t even the 10th options to surface.
“Studios are nowhere if audiences don’t know the name of the movie,” says one exhibition industry insider.
Directors Daniel Kwan and Daniel Scheinert were unsure about a mouthful like “Everything Everywhere All at Once.” “We thought it would be a working title,” Scheinert says. Kwan adds, “It’s very unmarketable, and a lot of people were pushing back.”
Even James Hong, who stars in the movie, told the filmmakers, “That’s way too long. Nobody is going to be able to remember it.”
But the creators held firm, believing the unwieldy moniker captured the unwieldy energy of the film, which eventually earned a remarkable $100 million at the box office and dominated the Oscars.
“It’s a bit much,” Scheinert admits, “but we felt like it prepares you for the movie.”
According to Kevin Goetz, a veteran movie researcher and author of “Audience-ology: How Moviegoers Shape the Films We Love,” the most difficult part of marketing is figuring out the right title. He says that there are two main ways to measure the way a title resonates with consumers. One is called monadic testing, which introduces the project with and without a name attached. The other offers five sample titles and polls moviegoers to see which would increase their interest in seeing the film in theaters.
It’s not a catch-all solution. Small sample sizes don’t always translate to the real world. And like many parts of the moviemaking process, there’s no surefire formula for success. But experts in the field have come to rely on a few truths.
“If the title is truly generic, that’s lousy. You want something distinguishable,” Goetz says. But don’t get too creative, he cautions. “If you’re spending more than a few seconds in a 30-second ad to explain a title, it’s a shitty title.”
Erik Feig, a longtime film executive who worked on the “Twilight,” “The Hunger Games” and “Step Up” franchises, finds the key is intriguing audiences without confusing them.
“A marketer’s dream is that perfect blend of specificity and universality,” he says. “You don’t want something that’s too generic, but you also don’t want something that’s too bizarrely specific. You want a title that people feel comfortable pronouncing out loud and don’t feel insecure saying.”
(Hello, “Banshees of Inisherin.”)
A good title is easy to spot: it elicits a reaction, whatever that reaction may be. Something that’s “provocative for the right reasons,” Goetz offers. There’s no doubting what to expect from “Cocaine Bear,” a title that its producer Chris Miller describes as “revealing in its outrageousness.”
When a movie doesn’t work commercially, it’s harder to place the blame on a title. But ambiguous names that fail to explain what the movie is about, like “The Fabelmans” or “Amsterdam,” don’t help matters. With the right marketing campaign, though, an odd phrase or otherwise meaningless grouping of words has the potential to become part of the cultural conversation. Is “Forrest Gump” a place? That question was easily answered (no) in the first promotional materials, which invited viewers to “meet” Forrest Gump.
Or take “Despicable Me,” a family movie that sparked a billion-dollar franchise. The second spinoff, 2022’s “Minions: The Rise of Gru” generated nearly $950 million globally, the most of any animated film in pandemic times. A fourth “Despicable Me” installment is slated for 2024. Before the original was released, though, there was real fear about the title. Would kids, the target demographic for the cartoon adventure, be able to even say the name?
Goetz, who helped with audience research for the first movie, insisted the filmmakers stay with its original title, “Evil Me,” but they resisted. “I went berserk,” Goetz says. “Nobody could pronounce ‘despicable.’”
But Goetz is the first to admit he was wrong. In advertising materials for the film, the studio used repetitive mnemonic devices to get people to not only hear but also remember the tricky-to-say word. “It turned out to be a master stroke,” Goetz says.
Now that the reformed supervillain, Gru, and his tiny yellow henchmen have launched a franchise, the follow-ups and offshoots have the added benefit of brand awareness. When it comes to known properties, there are different considerations for names. A new trend, executives have noticed, is adding subtitles to sequels — like “Avatar: The Way of Water,” “Black Panther: Wakanda Forever,” “Ant-Man and the Wasp: Quantumania” and “Book Club: The Next Chapter” — rather than tacking on roman numerals.
“Subtitles give you a little more information and another layer of intrigue,” Cassidy says. “It may sound glib and small, but you need every extra in creating interest for moviegoers.”
Original properties don’t have the benefit of brand awareness, Cassidy says, so borrowing song titles can be a good place to start, even if the movie has nothing to do with music. “It’s a phrasing that’s already in the public vernacular, so it connects to audiences quickly,” he says. Some classic examples include “Pretty Woman,” “Stand by Me” and “Dazed and Confused.”
There’s always a risk of getting too inventive. Tom Cruise’s 2014 sci-fi blockbuster “Edge of Tomorrow” had more name changes than his character had lives in the time-loop adventure. First, it shared the book’s name, “All You Need Is Kill.” But Warner Bros. executives felt audiences would have a negative association with the word “kill.” So director Doug Liman suggested “Live Die Repeat,” to evoke the mileage you can get out of a repeating day. It was used as the tagline, and later as a subtitle.
“It has about five titles. I don’t even know,” Cruise’s co-star Emily Blunt has admitted. “People say different things to me, and I go, ‘Yes, it’s one of those three titles.'”
It’s common to have emotional negotiations and discussions about names, says Adam Fogelson, vice-chairman of Lionsgate’s motion picture group. “You could absolutely outsmart yourself.”
Oscar-winning filmmaker Nicholas Meyer, who directed two “Star Trek” movies, developed his own informal metric for good or bad movie titles. He refers to it as the Saturday Night Test, which he used as he adapted the Philip Roth novel “The Dying Animal” in 2008. It goes something like this: “Hey, honey. Do you want to watch the movie ‘The Dying Animal’ on Saturday night?”
See what he means?
He knew he wanted to change the title as soon as he was handed the book. “I said, ‘I’m not going to call this movie “The Dying Animal” — it’s ridiculous!’” He suggested “Elegy,” to which an executive said, “Who knows what ‘elegy’ means?” (It’s a poem that usually reflects on the dead.) “I said, ‘Think of something you like better,’ and he couldn’t.”
Worse than a name that conjures a disturbing image is a movie title that gets taken out of context. Feig fondly recalls the early days of Summit Entertainment, before the “Twilight” saga propelled the production company to indie glory.
One of the first projects in development was called “Get Some,” an MMA-style inspirational sports drama that’s described as “Step Up” meets “Rocky.” The title was a nod to the phrase used as boxers’ enter the ring. But moments before executives were locking in the final campaign and shipping the trailer, someone in the room offhandedly mentioned the phrase sounded like a sexual come-on.
“That’s not the kind of association we wanted,” says Feig. So they hired an outside company to brainstorm, eventually landing on “Never Back Down.” To this day, Feig isn’t sure it was the right decision.
“It’s a title that feels like it could be on any poster in a high school locker room,” he says. “If we stuck with the original title, I think our box office would have been higher. You never know. But when you have a title that doesn’t ask a question of the audience but provides too many answers they already know — you’re in trouble.”
|
|||||
correct_starring_00069
|
FactBench
|
0
| 46 |
https://enderkay.wordpress.com/
|
en
|
Addiction is a Beautiful Thing
|
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en
|
https://s1.wp.com/i/favicon.ico
|
Addiction is a Beautiful Thing
|
https://enderkay.wordpress.com/
|
And so it begins..
Hello everyone!
Yesterday, I watched an amazing movie: Rab Ne Bana Di Jodi (aka A Match Made By God).
My love affair with Bollywood began years ago, when I was still in high school. As an avid watcher of TCM (the classic movie channel), my favourite times were when they had themes, playing movies they would never normally play.
One day, they played Dilwale Dulhania Le Jayenge (The Brave Shall Win the Bride), a Bollywood film starring Bollywood superstars Shah Rukh Khan and Kajol. At over 3 hours, it certainly wasn’t quick and breezy, but I couldn’t tear my eyes away. The passion, the music, the costumes, the direction.. It was probably the most beautiful thing I’d ever seen. It’s still one of my favourite movies ever, and I love sharing it with my friends who also like Bollywood. (I always forget that it’s roughly 3 hours, though, which occasionally becomes an issue.)
One thing I love about Bollywood is how they can express passion and True Love without resorting to nudity or unnecessary physical contact. While it’s not necessarily taboo for actors to kiss onscreen anymore, it’s still fairly rare to see it happen, and I appreciate that. (That isn’t to say that I don’t like a nice kiss now and then, but I don’t need to see it in EVERY MOVIE.)
Also, I love the emphasis on family that is so prevalent (although I could do with a little less filial obedience; I know I’d go crazy if I allowed my parents to run my life to the extent that some of these Indian people do), the realization that a One True Love is nice but not necessarily going to happen for everyone, the strange (to my Western eyes) mixture of feminine modesty and raw sexuality.. And of course, I love the costumes and the dance sequences. I think most people wish their life could be a musical, and I’m no exception.
But anyway. I’ve been ignoring my love of Bollywood for several months now, and yesterday I randomly began thinking about it again.
One of the girls I went to college with recently graduated and moved to India. She’s apparently taking India by storm, appearing on TV shows, the odd commercial here and there, and even a movie. (She’s a white girl, which makes this more interesting.)
Out of curiosity, I tried to find the movie she’s been in, but I couldn’t remember the title. I did remember the actor she had a scene with, though–Shah Rukh Khan. King of Bollywood. Even my mother knows his name, and she only knows two Bollywood actors. (The other is Amitabh Batchan, who is a veteran acting god. She’s a bit of a fangirl of his, hehe.)
So, I’ve started downloading Shah Rukh Khan movies, beginning with the most recent and working my way backwards, hoping I’ll find it eventually. I haven’t found it yet, but I did find Rab Ne Bana Di Jodi (among other things I haven’t watched yet). And oh my god, I’m glad I did. I’ll recap it in the next post.
In fact, it’s that movie that inspired me to start this blog. I was sitting in my Korean lesson with my friend, chattering at her about the movie I watched last night, and I realized that it’s highly possible she doesn’t care, but is too polite to say anything. So, instead of bothering my friends who may or may not care, why not start a blog (a la Dramabeans) and share my passion with people who might actually, y’know, care?
And so with that, I created this blog. It’s new, but it’s not particularly shiny, and I’m not sure how well I’ll be able to continue this. Still, I’d like to think I won’t drop it immediately.
This post is long enough already, so I’ll simply end by saying welcome to my blog, and I hope you enjoy my ramblings.
|
|||||
correct_starring_00069
|
FactBench
|
2
| 49 |
https://www.faithwire.com/2024/07/16/hollywood-actress-connection-with-god-captivating-on-set-encounter-with-holy-spirit/
|
en
|
Hollywood Actress’ ‘Connection With God,’ ‘Captivating’ On-Set Encounter With Holy Spirit
|
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2024-07-16T00:00:00
|
Actress Nika King, who plays a pastor's wife in the new film 'Sound of Hope: The Story of Possum Trot,' is helping bring the powerful, real-life story about adoption and foster care to light.
|
en
|
/favicon.ico
|
Faithwire
|
https://www.faithwire.com/2024/07/16/hollywood-actress-connection-with-god-captivating-on-set-encounter-with-holy-spirit/
|
Actress Nika King, who plays a pastor’s wife in “Sound of Hope: The Story of Possum Trot,” is helping bring to light the movie’s powerful, real-life story about adoption and foster care.
Listen to the latest episode of “Quick Start” 👇
But King’s personal connection to the issue and her role in portraying Donna Martin, wife of Bishop W.C. Martin, is truly a story only God could write. See, King’s character, Martin, is a preacher’s wife who inspired 22 families in her church to adopt 77 of the most difficult-to-place children.
As it turns out, King’s own mother’s story is strikingly similar to the events depicted in “Sound of Hope: The Story of Possum Trot.”
“It’s my mom’s story,” King told CBN News of the movie. “She was fostered by a pastor and his wife. And I knew I had to be in this film some kind of way.”
Inside Her Mom’s Story
The actress said her maternal grandma was murdered and that her mom never knew her.
“It’s still a cold case,” King said. “We don’t know who did it.”
Her mom ended up in foster care with her three brothers. All four were adopted by the pastor and his wife, a similar dynamic to what happened in Possum Trot, Texas — the town that inspired the film.
“It kind of unfolded just like this movie … the ups and downs of being traumatized, being left alone, kind of to fend for yourself,” King said.
Watch her tell the story:
Decades later, King said she was fascinated by the opportunity to appear in “Sound of Hope: The Story of Possum Trot.” At first, King had a different role, but, as it came time to film, the cast shifted and she was thrown into the leading role — one she was overjoyed to play.
“I was just so happy,” King said. “I said, ‘Yes’ … all the way through.”
In addition to the connections with her mother’s experience, King also grew up in the church, with her adoptive grandparents giving her a biblical foundation.
“My mom was adopted by a pastor,” she said. “So, we were in church three, four days a week.”
When King’s mother faced her own struggles later in life, King said she and her siblings were cared for by people in the church. The experience and the stunning mirrors to the role she was fortunate enough to land aren’t lost on the actress.
“I’m so glad I’m able to just be a part of a faith-based film and also have that real connection with God,” King said. “Because it only makes the project more powerful, and it makes my purpose more cemented in what God has called me to do.”
Drawn to the Story
The performer said she was immediately drawn to the script and story at the heart of “Sound of Hope.”
“As an actor, you’re always looking for projects that, for me, tell a story, amplify light,” King said. “So, I was immediately drawn to the script.”
One of the most powerful facets of the film is the difficulties the children and adoptive families face — real-life struggles that are relatable for those who adopt or foster. The filmmakers didn’t shy away from these elements, which King could relate to in her mother’s own story. Children in foster care and adoption often face unthinkable circumstances.
“My mom had her own journey,” King said. “She ran away at 15, then she became addicted to drugs.”
But King said her mom has now been 31 years clean, shedding light on a happy ending that could have turned out quite differently.
King said she appreciated the film’s candid and honest representation of what unfolded in Possum Trot.
“The reality is: a lot of these kids are coming from horrible, horrible situations,” she said. “And, so, if you’re thinking about adopting or fostering, or being a respite — a parent — you want to see those things.”
King said “Sound of Hope: The Story of Possum Trot” has positively inspired her life and career, with all of her experiences in life — and her mom’s story — preparing her to take it on.
“Everything that I’ve gone through has prepared me for this moment,” she said. “God don’t waste nothing. He uses everything down to the last drop. And I’m so grateful that I was obedient.”
Feeling the Holy Spirit
King said she felt the Holy Spirit while filming scenes — and experienced an unparalleled on-set dynamic.
“It was so captivating because there were times and scenes where the Spirit was … in the room, and they would yell, ‘Cut!’ and I’m like, ‘You can’t cut on this!'” she said. “This is the spirit of God moving, not only in our performances, in our words, and in our thoughts, and in the messaging, because this film is meant to really fix this problem that we have in this country, with 400,000 kids being in foster care.”
King added, “This is a God movement.”
Watch the rest of the conversation here.
|
||||
correct_starring_00069
|
FactBench
|
0
| 50 |
https://www.mensxp.com/entertainment/celebrities/125410-shah-rukh-khan-stalker-uncle-deepika-padukone-om-shanti-om.html
|
en
|
When Shah Rukh Khan Felt Like 'Stalker Uncle' In Scene With Deepika Padukone In Om Shanti Om
|
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2022-12-26T10:13:38+00:00
|
In an episode of Koffee With Karan in 2007, Shah Rukh Khan joked about feeling like a 'stalker uncle' in a scene with Deepika Padukone, while shooting for Om Shanti Om. Here's what he said.
|
en
|
/apple-touch-icon.png
|
MensXP
|
https://www.mensxp.com/entertainment/celebrities/125410-shah-rukh-khan-stalker-uncle-deepika-padukone-om-shanti-om.html
|
Bollywood's king Shah Rukh Khan had once said that he felt like a 'stalker uncle' in a particular scene with Deepika Padukone in their film Om Shanti Om, back in 2007.
It was Deepika's debut film and she was just 21 years old. SRK was 42 and the age gap between the two actors was nearly 20 years.
Shah Rukh-Deepika worked with choreographer-filmmaker Farah Khan to romance each other in Om Shanti Om.
The trio graced an episode in the second season of Karan Johar's chat show Koffee With Karan in 2007.
In the episode, Karan talked to Shah Rukh about Deepika's thoughts on Kuch Kuch Hota Hai. The talk show host recalled her reply saying, "Yeah, I loved it. I saw it when I was 11 years old."
He went on to joke that she was just 8 years old during the release of Dilwale Dulhania Le Jayenge in 1995.
Then, Karan asked Shah Rukh, "Did you ever feel strange that you were working with someone who's actually literally seen you as a child?" To which he replied, "I think my first realisation that I am doing a few silly things at my age is when I did the first scene."
The actor further added, "I started feeling jhoota (liar). I started feeling, may I say the word, little stalker uncle, little kamina (bad). Ki main kya yeh choti si bacchi k liye aese peeche peeche kar k bhag raha hoon (That I am running after this little girl)?"
Everyone was shocked, when Farah further added, "Let me just tell you that the scene is fab. He's done it superbly."
Karan also questioned Deepika if there were any nervous moments while working with SRK. Shah Rukh said while laughing, "A couple of times, she said, 'I love you, uncle'."
|
||||
correct_starring_00069
|
FactBench
|
1
| 30 |
https://tangleofwires.wordpress.com/2010/06/15/film-review-om-shanti-om/
|
en
|
Film Review: Om Shanti Om
|
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2010-06-15T00:00:00
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About halfway through the 2007 Shah Rukh Khan blockbuster Om Shanti Om it struck me what a fun film it was. It had already started well with an Austin Powers style view of the past, though in place of swinging 60s London it focused on 1970s Bollywood. But it really hit me during the song…
|
en
|
A Tangle Of Wires
|
https://tangleofwires.wordpress.com/2010/06/15/film-review-om-shanti-om/
|
About halfway through the 2007 Shah Rukh Khan blockbuster Om Shanti Om it struck me what a fun film it was.
It had already started well with an Austin Powers style view of the past, though in place of swinging 60s London it focused on 1970s Bollywood. But it really hit me during the song Deewangi Deewangi when I saw how much fun all the cast seemed to be having.
The dance number saw Shah Rukh Khan’s Om Kapoor joined for the (perhaps obligatory these days) night club dance scene by a galaxy of Bollywood stars. From Saif Ali Khan to Sanjay Dutt, Rani Mukherjee to Shilpa Shetty, a total of 31 actors and actresses featured in the 10 minute song.
The film itself is a supernatural thriller that skips about from emotion to emotion more than most, covering comedy, thrills, romance, heartache and more. But the different moods gel together remarkably well, with none diminishing the impact of those that follow.
The story begins in the 1970s with Om Prakash Makjila, a Bollywood extra who yearns for both the big time and starlet Shanti Priya, played by Deepika Padukone in her first major role.
Shanti is in love with her producer Mukesh Mehra, played by Arjun Rampal. But blaming her for the expected collapse of his career Mehra traps her in a burning building. Om unsuccessfully tries to rescue her and is fatally injured in the process.
The film then flicks forward to the present day with Om is reincarnated as Bollywood superstar Om Kapoor. His past life is gradually revealed to him and he takes revenge on Mehra, first with a Shanti Priya lookalike and then with what he later realises is Shanti’s ghost.
The reincarnation theme and even the ending is borrowed straight from 1950s black and white Bollywood classic Madhumati, but Om Shanti Om manages a far more convincing presentation of its past and present sections, with both given room to breathe – not just the past, as in the case of Madhumati.
Om Shanti Om was first shown on UK television this January in the unprecedentedly viewer friendly time slot of 10pm on a Saturday night – compare this to the usual insomniac-friendly hour at which they’re shown.
|
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correct_starring_00069
|
FactBench
|
3
| 29 |
https://screencrush.com/best-movie-titles/
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en
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The Best Movie Titles in History
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2021-04-14T13:08:45+00:00
|
A rose by any other name would not necessarily smell as sweet.
|
en
|
https://townsquare.media/site/442/files/2014/11/32X32.ico
|
ScreenCrush
|
https://screencrush.com/best-movie-titles/
|
Would people have flocked to see Saturday Night Fever if the movie (and the Bee Gees’ song) had kept the name of the article that inspired the film, “Tribal Rites of the New Saturday Night?” Does John Wick become one of the decade’s signature action heroes if his creators stuck with their original plan, and called his movie Scorn? Would The Breakfast Club have become a generation-defining moment if John Hughes had released it under its originally proposed title, The Lunch Bunch?
Maybe; maybe not. Either way, a movie’s title can have an enormous impact on a film’s success — and on the world at large, since some titles have become so famous they’ve passed into our shared lexicon. Determining a good or bad movie title can be extremely subjective (although I think we can all agree that Army of Darkness should have been called The Medieval Dead) and when choosing “the best,” there are literally thousands upon thousands of contenders to choose from. So take the list below of the greatest movie titles ever as one website’s opinion, and the start of a longer conversation on the subject. In ascending order, our picks are...
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correct_starring_00069
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FactBench
|
0
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https://en.wikipedia.org/wiki/Om_Shanti_Om
|
en
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Om Shanti Om
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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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FactBench
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2
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https://www.mycast.io/stories/which-actress-should-ve-played-stargirl-caraway-in-various-decades
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en
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Which Actress Should've Played Stargirl Caraway In Various Decades Fan Casting on myCast
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[] |
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[
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] | null |
[] |
2024-07-16T00:00:00
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View and submit fan casting suggestions for Which Actress Should've Played Stargirl Caraway In Various Decades! myCast lets YOU choose your dream cast to play each role in upcoming movies and TV shows.
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correct_starring_00069
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FactBench
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3
| 87 |
https://twitter.com/TheAcademy/status/1250848575430393856%3Flang%3Den
|
en
|
x.com
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[] |
[] |
[] |
[
""
] | null |
[] | null |
X (formerly Twitter)
| null | ||||||||
correct_starring_00069
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FactBench
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2
| 24 |
https://www.theguardian.com/film/2015/may/21/maggie-gyllenhaal-too-old-hollywood
|
en
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Maggie Gyllenhaal: At 37 I was 'too old' for role opposite 55-year-old man
|
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"Ben Child",
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2015-05-21T00:00:00
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Actor told she was over the hill in her mid-30s, as Hollywood finds itself under increased scrutiny for its failure to represent women fairly on screen
|
en
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the Guardian
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https://www.theguardian.com/film/2015/may/21/maggie-gyllenhaal-too-old-hollywood
|
Maggie Gyllenhaal was told by a Hollywood producer that she was too old, at 37, to play the love interest of a 55-year-old man, the Oscar-nominated actor has revealed.
In an interview with The Wrap, Gyllenhaal said her shock at finding herself “over the hill” in her mid 30s soon segued into derision fostered by the farcical nature of the situation.
“There are things that are really disappointing about being an actress in Hollywood that surprise me all the time,” she said. “I’m 37 and I was told recently I was too old to play the lover of a man who was 55. It was astonishing to me. It made me feel bad, and then it made feel angry, and then it made me laugh.”
The commonplace practice of casting a much younger female against a much older male has been prevalent since Hollywood’s golden age: Kim Novak was half the 50-year-old James Stewart’s age during filming of 1958’s Vertigo.
Recently, new Bond movie Spectre won praise (not least from the actor herself) for casting 50-year-old Monica Bellucci opposite 47-year-old Daniel Craig. However the movie’s other two “Bond girls”, Léa Seydoux and Stephanie Sigman, are both in their late 20s, and the long-running spy saga has also made a habit of pitching 007 against love interests half his age. Roger Moore, then 57, romanced 29-year-old Tanya Roberts in the Englishman’s final outing as Bond, 1985’s A View to a Kill.
However, Hollywood finds itself under increasing scrutiny in 2015 for failing to represent women fairly on screen and behind the cameras. Earlier this month, the American Civil Liberties Union announced it would demand that state and federal agencies investigate why major studio regularly fail to hire aspiring and seasoned female directors for movies, citing “rampant discrimination” in the industry. Meanwhile, a report by the Center for the Study of Women in Television, Film & New Media at San Diego State University found that female actors took just 12% of leading roles in the top 100 domestic-grossing films of 2014.
At the Cannes film festival earlier this week, the makers of drug-war thriller Sicario revealed they had at one stage been under pressure from producers to rewrite the lead role, a female FBI agent played by Emily Blunt, to make the character male. And research last year found that only 22% of crew members involved in making 2,000 of the biggest-grossing films over the past 20 years were female.
Gyllenhaal told The Wrap that despite her recent experience - she did not name the production nor the older male star - she remained hopeful that Hollywood was slowly becoming a better place for women to work. “A lot of actresses are doing incredible work right now, playing real women, complicated women,” she said. “I don’t feel despairing at all. And I’m more looking with hope for something fascinating.”
|
|||||
correct_starring_00069
|
FactBench
|
2
| 73 |
https://www.marieclaire.com/culture/movies/maika-monroe-longlegs-interview/
|
en
|
'Longlegs' Star Maika Monroe Talks Nuanced Final Girl Roles
|
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2024-07-15T15:27:17+00:00
|
'Longlegs' star Maika Monroe, who plays Lee Harker in Osgood Perkins' horror film, talks developing her character.
|
en
|
Marie Claire Magazine
|
https://www.marieclaire.com/culture/movies/maika-monroe-longlegs-interview/
|
When a young girl asks Maika Monroe’s character Lee Harker if it’s “scary being a lady FBI agent” in Longlegs, she succinctly replies, “Yes, it is.” The new horror sensation from Osgood Perkins follows Lee’s tireless investigation into the return of a mysterious serial killer who leaves a trail of ciphers (Nicolas Cage), while she’s also processing the terror from a trauma she thought she’d suppressed. Monroe, though, may as well be fearless.
Since her 2014 breakout roles in It Follows and The Guest, two indie hits that became contemporary classic horror movies and helped to pioneer the “elevated horror” genre, the California-native has been a bonafide scream queen. ( Before that, she was one of the sole young women to pursue a career in the extreme sport of kiteboarding.) But in the 10 years since becoming one of the most captivating performers in horror,, Monroe’s largely remained an indie darling with an eye for emerging, visionary directors purposefully choosing complex roles that toy with the concept of the final girl.
She continues that legacy with Longlegs. While Lee has committed to taking on a complicated, dangerous case, she’s immensely insular, calculated, and timid—unlike other thriller icons who carry a certain ambitious strength about themselves (consider the easy comparison of Clarice Starling in The Silence of the Lambs). Perkins allowed Monroe to craft much of Lee herself, allowing the character to be more realistic and nuanced. Monroe was enticed by the film to begin with because she could see how “special” the world the director built was, and because she found its feminist horror bent that questioned traditionalist religious views of women “very intriguing.”
While Monroe didn’t see her co-star Cage until well into the shoot, considering their little shared screentime and because he went method playing the Satanic Longlegs, she says she “was in awe” the entire experience. “Working with Nic, it’s something I’ll never forget,” she tells Marie Claire. “He’s a person I grew up watching—an absolute icon—and then him completely transforming for the role, it felt like a once-in-a-lifetime experience.”
The success Longlegs has garnered is a rarity—opening to $22.6 million at the box office, the biggest debut for an independent horror movie in a decade—after its intriguing, months-long marketing campaign made it one of the year’s most highly anticipated releases. It’s not unlike the moment Monroe experienced 10 years ago. But she’s game for it all, including whatever scary project comes her way next—as long as she can “finish the day, go home, have a drink, and watch a rom-com” to pull out of her character.
Here, Monroe spoke to Marie Claire about how she crafted Lee, her affinity for horror, and being dubbed a scream queen.
Marie Claire: In the past, you’ve said you considered quitting acting, but when 2019’s Villains came along, it got you excited about the craft again. Is Longlegs another project where you felt in touch with that passion again?
Maika Monroe: I did so many projects back-to-back and had some not-so-great experiences. And I think [following] that was like, ‘I want to be very specific on the filmmakers that I work with, the people that I surround myself with.’ Because it's a very intimate place, very vulnerable place. I think that stepping onto the Villains set, there were two directors, they were so involved, and it was such a collaboration. We had so much fun on set and it just brought back this spark.
[It was] similar with Longlegs where it's just being on a set where you're like, ‘I feel like we're making something special.’ And working with a director who has this super strong vision and yet still is so open to all your ideas. It was the best.
MC: Perkins has said he was very receptive to you crafting a great deal of Lee Harker’s yourself, and the character’s a lot more reserved and gentler than the typical female lead in a detective movie. How did you go about bringing Lee to life?
MM: A really important part was to focus on her childhood. I think for anyone, their childhood is very informative to who they become. In therapy, always when I started with a new therapist, they're like, ‘Okay, when you were 5-years-old, what happened?’ And I'm like,
‘Oh, my God. Okay! Yeah!’ Especially for Lee, her childhood was very traumatic, and I think that's very informative to how she moves through life, so that’s where I started with her and discovering her.
There were certain moments in the script, whether the audience picks it up or not, that I wanted to have flashes of the previous trauma trickle in. She suppresses a lot, a lot, a lot, which is very common for people to go through incredibly traumatic experiences, so that was really important to me.
MC: You’ve said that you drew a lot of inspiration from Lisbeth Salander in The Girl with the Dragon Tattoo, but were there any other thrillers that you revisited while preparing?
MM: I rewatched a lot of crime thriller movies that I saw growing up: Se7en and Memento. I don't know if any necessarily helped with the character—more maybe the world and stepping into the FBI of it all. It is one of those moments where, being on this set, I felt like a child again on my first movie set because I was so excited. It was like a dream to be an FBI agent on these crime scenes.
MC: Did you make a playlist or anything like that to get into Lee’s headspace?
MM: Actually, Oz made a playlist that had a bunch of T-Rex and other niche, little rock bands. I love having music to help get into character, into the zone, so that was great to have.
MC: It’s hard to imagine Lee herself ever listening to music, though.
MM: No, I don't think she does. I really don't. I think it's very quiet.
MC: Lee is similar to a lot of the other horror movie characters you’ve played, in that they don’t necessarily fit the traditional, strong final girl trope. Is that more nuanced approach to such an iconic genre figure something you’ve connected with?
MM: Definitely. The horror genre has come such a long way. Even just in the past 10 years, to me, [horror has been] some of the most interesting roles that I read, most interesting scripts. It's just not this sort of typical one-note character—whether it's the Tough Girl or this or that. It's much more complicated and there's such a beauty in that. I love roles like that.
MC: Throughout her investigation, Lee is in some ways drawn to the case and the darkness behind it more and more. With all of these horror projects you choose, do you feel drawn to dark concepts at all or see horror as a way to process our reality?
MM: That's what I love about this genre. It's using real-life trauma and then putting it into these insane, preposterous stories, but yet grounded in reality. That’s definitely something that draws me to it. I really don't know why— there's something in these roles that's challenging, that's fulfilling, that I keep coming back for more.
MC: A lot of the final girls you’ve played are often outsiders in a way. Before you started acting, you were an accomplished kiteboarder and one of the few girls in the sport. Did you feel like an outsider growing up and do you think that’s informed your interest in these characters?
MM: I mean growing up I was such a nerd, such a dork. I had braces for way too long. When I went to high school, I had one other super artsy friend. We were the best of friends, but again, I was never the popular girl, never the cool girl. I never really felt comfortable. And that's sort of why kiteboarding came into my life. That was something that I loved. I finished high school online my senior year to go do that. And then acting came in. I'm sure that has played a part in roles that I connect with or relate to.
MC: Is there a final girl you wish you could have played?
MM: I don’t know if this is a final girl—I've been talking about this movie so much because I'm so obsessed with it. Do you know the French movie Titane?
MC: Yes! Julia Ducournau is one of my favorite filmmakers and her movie Raw is one of my favorites.
MM: Yes, both those movies, absolutely obsessed. Julia, the director, I think is fucking brilliant and those two roles in both those films, I'm like, ‘What incredible female roles.’ Those are to die for. I can't wait to see what she does next, too. I think she's pushing the needle in a way that is so necessary for film.
MC: You’ve also been in a lot of movies that people describe like, “They just don’t make movies like this anymore!” Your Instagram is full of throwback shots of actors and photos of Stanley Kubrick on set. Is choosing projects like that intentional?
MM: I feel like it just happened. At this point in my career, the filmmaker is what I look at and what's most important to me. With Watcher, I saw the director [Chloe Okuno]’s short film called Slut, which is incredible. You could see she had such a vision and this throwback horror feel. It was such a strong view, and it was so beautiful. I was like, ‘I need to work with this person.’ So I think I pay attention to upcoming filmmakers and try to watch a lot of shorts and see what the next generation coming in is doing. [I like] finding things that are unique and pushing the needle forward and that make people think in a different way maybe.
MC: You mentioned Julia Ducournau, but who are other rising filmmakers you’re paying attention to and would like to work with?
MM: Julia’s up there. I loved Possessor by Brandon Cronenberg. I thought that movie was exceptional. Ari Aster is incredible. He's not necessarily new, but he's just so brilliant. I think there's this next wave of horror directors that are amazing. It's a very exciting space to be in.
MC: Do you have aspirations to get behind the camera yourself?
MM: I would love to. It's something I've thought about for a long time, but it didn't feel right, or I didn't feel ready. But at the end of last year, I shot my first short film. It was incredible and challenging, and I learned so much, so that's a place that I want to very slowly step into.
Also, producing is something that I'm going to start getting into—just being more involved because why am I not? I think it's a space that I really want to step into, so I'm excited.
MC: This year is a decade since It Follows and The Guest premiered at festivals, marking your breakout roles and being dubbed a scream queen. Does it feel like a full circle moment to be in the most highly-anticipated horror movie of the year now?
MM: I can't really believe it. I'm still like, ‘What's happening?’ But it's just been absolutely incredible to see the response start coming in, and people having such strong reactions to it and loving it. I mean, that's all you can hope for in making a film. I feel very lucky.
MC: If you could go back to 2014 before the release and pandemonium of your first two hit movies, what would you tell yourself?
|
|||||
correct_starring_00069
|
FactBench
|
0
| 85 |
https://www.tring.co.in/popular-movies/om-shanti-om
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en
|
Om Shanti Om: Plot, Songs, Cast, Reviews, Trailer and Movie
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[
"Om Shanti Om",
"Om Shanti Om news",
"Om Shanti Om Updates",
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[] | null |
An aspiring actor named Om is killed in the 1970s but instantly returns to the present. He looks for Shanti, the love of his previous life, and tries to solve the mystery of his death.
|
en
|
Tring
|
https://www.tring.co.in/popular-movies/om-shanti-om
|
Movie Name
Om Shanti Om
Directed by
Farah khan
Written by
Farah Khan, Mushtaq Shiekh, Mayur Puri
Story by
Farah Khan
Produced by
Gauri Khan
Starring
Shah Rukh Khan, Deepika Padukone, Shreyas Talpade, Kirron Kher, Arjun Rampal
Cinematography
V. Manikandan
Edited by
Shirish Kunder
Music by
Vishal–Shekhar, Sandeep Chowta
Production company
Red Chillies Entertainment
Distributed by
Eros International
Release date
9 November 2007
Running time
170 minutes
Country
India
Language
Hindi
Budget
₹35 crore[1][2]
Box office
est. ₹149 crore
Plot
Om Prakash Makhija is an actor in the Hindi film industry from the 1970s who is in love with the actress Shantipriya. Shanti and Om become friends after Om saves her from an out-of-control fire scene. As soon as he learns that she is married to film producer Mukesh Mehra and that she is expecting his child, his hopes seem to be coming true. Then, after tricking her into an empty studio, Mukesh sets it on fire in an effort to protect his career and avoid suffering a financial loss. Om makes unsuccessful attempts to save her before passing away.
Thirty years later, Om has been reborn as Rajesh Kapoor, the only son of Bollywood actor, and is also an actor. His memoeries start to return when he meets his mother Bela, who is now a widow, his memories begin to return. He meets Mukesh as well, and the two decide to produce the film Om Shanti Om. Om attempts to coerce Mukesh into making a confession by hiring a Shantipriya lookalike, but things go wrong and Om once more finds his life in danger.
In order to trick him into confessing to his crime, he decides to remake Om Shanti Om with Mukesh. The cast meets Sandy or Sandhya, a Shantipriya lookalike who swoons the same way he used to whenever he sees Shanti, during the audition for the part of Shanti.Then Sandy is taught how to walk and speak like Shantipriya. While she is reciting a serious dialogue, Om snaps at her when she begins to laugh. Sandy responds that she would have believed him regardless because she loves him after he tells her his story. Om then brings Mukesh to the destroyed set of the movie, where he killed Shantipryia, to declare the start of the movie. Om attempts to recreate the entire murder scene here.
Om then brings Mukesh to the destroyed set of the movie, where he killed Shantipryia, to declare the start of the movie. With the support of the new Om Shanti Om cast. Om attempts to recreate the entire murder in this scene. Sandy frequently makes an appearance, leading Mukesh to think that Shanti has become a ghost and that he is hearing voices.
Later, when the song's music release is launched, Om performs a song and dance number in which he tells the entire tale. Mukesh's head is suddenly hit by a lamp, knocking him out cold. Mukesh admits that he is aware of the scheme and his fake Shanti. When Sandy shows up, she begins to say things that weren't in their plan and that no one expected. She reveals that Mukesh buried her beneath the set's floor while she was still alive and returned after setting the set on fire to take care of her body. Om realises that she is actually Shanti's ghost . In the final scene, Om witnesses Shanti's ghost saying goodbye to him with tears in the final scene. She walks up the stairs before vanishing.
In short the story is a blend of romance, drama, justice, and the film includes numerous well-known Bollywood songs and dance moves. Fans of Shah Rukh Khan and Deepika Padukone must watch this entertaining movie of the Bollywood film business.
Release
Om Shanti Om set a record for registered pre-advance booking of 18,000 tickets in a chain of theatres in Delhi. A special screening for Bollywood performers was held. According to reports, Red Chillies Entertainment paid between Rs. 720 and 750 million to Eros International for the global rights to the movie. A production and distribution firm called Baba Films made the highest offer of Rs. 110 million for the rights to the Mumbai Circuit. Also Shah Rukh was promoted by Amul as part of its marketing plan.
A Hindi Film Fusion dance by Nina Davuluri, choreographed by Nakul Dev Mahajan, was done to the song Dhoom Taana as her talent for the Miss America 2014 competition. Hindi film made its debut on the Miss America platform, and Davuluri is the first Indian American to take home the crown. Oomu Shanti Oumu, a Japanese instrumental adaptation of Om Shanti Om, was created. Following the screening of the movie, Mushtaq Sheikh published a book with the working title The Creation of Om Shanti Om. The guide provides information about the making of the movie and what went on behind the scenes.
Review
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. It was a unashamed tribute, she said, to Karz.
Raja Sen of Rediff.com gave it three and a half out of five stars and praised Shah Rukh, Padukone, and Talpade's performances. Om Shanti Om is a joyful, heady, joyous film that revels in Bollywood, and like at most parties where the bubbly flows freely, there is a lot of silly giggling and a great deal of immaturity, the author writes. He criticised the dialogue and too many cameo appearances in the movie.
In general, Om Shanti Om is a fun film that honours the Bollywood film business. The actors give engaging portrayals, and the musical and dance sequences are superb. Even though the second part of the film is not as good as the first, it is still a lot of fun and well worth seeing in its entirety.
According to Rajeev Masand of News18, who gave the movie three stars out of five, 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 Created based Desai-style exaggerated entertainment. He honours the dialogue for so cleverly incorporating some of Bollywood's oldest clichés into the everyday speech of these characters. Shah Rukh's acting, was dull according to an Indo-Asian News Service commentator.
Casting
Shah Rukh Khan as Om Prakash Makhija and Om Kapoor
Deepika Padukone as Shantipriya and Sandy
Shreyas Talpade as Pappu Master
Kirron Kher as Bela Makhija (Om Makhija's mother)
Arjun Rampal as Mukesh Mehra (Shanti's husband)
Haresh Hingorani as Faizan ‘F’ Khan (director of Om Shanti Om)
Vikram Sahu as Om Kapoor's doctor
Suhas Khandke as Om Makhija's surgeon
Sharad as Mukesh's guard
Farah Khan as the woman who makes fun of Om Makhija
Yuvika Chaudhary as Dolly Arora (Om Kapoor's heroine in Om Shanti Om)
Bindu Desai as Kamini Arora (Dolly's mother)
Crew
Director- Farah Khan
Cinematography- V. Manikandan
Story by- Farah Khan
Editor- Shirish Kunder
Production company- Red Chillies Entertainment
Distributor- Eros International
Character Analysis
Om Prakash Makhija (Shah Rukh Khan) is a young actor who aspires to be a famous actor in the Hindi film industry. Since he has feelings for the lead actress, Shantipriya, he attempts to protect her when he hears that she is in danger. He passes away during the action and is reincarnated as Om Kapoor.
Deepika Padukone (Shantipriya/Sandhya) a prominent actress in the Hindi film business who is romantically involved with Mukesh Mehra, the director of the film. She is Om's romantic interest as well. When Mukesh and his friends kill her, she is reborn as Sandhya, a young aspiring actress who mimics Shantipriya. She helps Om in finding out the reason for her death.
Mukesh Mehra (Arjun Rampal) Shantipriya is in a relationship with Mukesh, a movie director. He plans to kill her due to a dispute, but Om stops him. He becomes a successful producer after blaming Om for the crime. Later, he admits to his crime after being haunted by his past.
Om's buddy and coworker Pappu Master (Shreyas Talpade) is a choreographer. He supports Om in his efforts to bring Shantipriya's case to justice.
Om's mother, Bela Makhija (Kirron Kher), encourages him in his goal to become a performer. She is saddened by his passing and delighted when he is reborn as Om Kapoor.
Rajesh Kapoor (Javed Sheikh) In his new role as Om Kapoor, Rajesh is a successful actor in the film business. He helps Om in his research into the facts surrounding Shantipriya's passing.
With their unique personalities and goals, the characters in Om Shanti Om bring the story to life. Each character is essential to the story's development and contributes to engaging storyline entertaining.
Songs
The movie Om Shanti Om has well-known music with several top hits. The tracks in the film have the following names
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correct_starring_00069
|
FactBench
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2
| 53 |
https://observer.com/2024/07/rex-reed-movie-review-longlegs-is-a-stupid-zero-star-dumpster-fire/
|
en
|
‘Longlegs’ Is a Stupid, Zero-Star Dumpster Fire
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2024-07-15T13:32:58
|
There is no evidence in the loopy 'Longlegs' that writer-director Oz Perkins inherited any of his father's understated cinematic abhorrence.
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en
|
Observer
|
https://observer.com/2024/07/rex-reed-movie-review-longlegs-is-a-stupid-zero-star-dumpster-fire/
|
It’s summer, when multiplex marquees are bloated with hunks of junk. One learns, through experience, to expect mediocrity at the movies. What one does not expect is a load of total trash full of gimmicks instead of ideas, stolen scenes from other movies instead of originality, amateurish posturing instead of professional performances, clueless meandering instead of organized screenplays, and pointless confusion instead of clear-eyed direction. Every negative just listed is glaringly evident as part of the incomprehensible gibberish that makes a crummy horror flick called Longlegs not only the worst movie in the summer of 2024 but one of the worst movies of all time.
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There is no plot, but basically, it centers on a rookie FBI agent named Lee, played by a charmless actress named Maika Monroe, and fashioned in the style of Clarice in Silence of the Lambs, played with much more force and individuality by Jodie Foster. Lee is also a psychic (duh) whose boss assigns her to the case of a mad serial killer called, for no explicable reason, Longlegs, who massacres entire families with daughters who have the same birthday as Lee. (You don’t need to have seen a dozen serial-killer movies already to know this means Lee is targeted for the next victim.) There is no mystery about Longlegs. Suspense wanes in the first scene, a sort of prologue to the rest of the movie, in which Lee dredges from her subconscious the memory of a horrifying childhood visit to her home by a creature called “Longlegs” who has some kind of relationship to her abusive single mother. Longlegs is played in drag by Nicolas Cage, replete with dresses, a raspy voice like a shrieking banshee, and a white wig that looks like a rat’s nest. He is also a Satan worshipper. (Double duh.)
While Lee busies herself forming clues in groups of numbers and deciphering codes, Longlegs is arrested, but before anyone at FBI headquarters can question him about his motives, he smashes his head to hamburger meat on an interrogation table. Teeth fly, blood splashes all over the room faster than the plot, and Longlegs dies, but the massacres continue. Lee’s mother heads the long list of red herrings as an eye-rolling religious nut who also has ties to the devil worshippers. (Say what?) None of it makes a great deal of sense, but it is relentlessly, constantly, savagely and intensely gory, gloomy and so mystifyingly preposterous that they seem to be making it all up as they go along. Longlegs is like a big gasoline fire, with a new match lit every minute.
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correct_starring_00069
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FactBench
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2
| 12 |
https://variety.com/gallery/best-actress-oscar-winner-academy-awards/
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en
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Every Best Actress Oscar Winner in Academy Award History
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[
"Tim Gray"
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2024-03-13T18:33:33+00:00
|
Oscar’s best actress winners over the decades have included a great range of characters, from devoted moms to hookers to activists.
|
en
|
Variety
|
https://variety.com/gallery/best-actress-oscar-winner-academy-awards/
|
Every Best Actress Winner
Oscar’s best actress winners over the decades have included a great range of characters, from devoted moms to sex workers to activists. Some of the acting styles have dated, but others remain powerful after all these years. And the 1968 tie between two actresses proves that Oscar voting is often extremely close: One vote would have eliminated one of those two winners. Here are all the honored actresses.
Jessica Chastain
“The Eyes of Tammy Faye”
Jessica Chastain was the victor in what seemed to be one of the evening’s tightest races. She played televangelist Tammy Faye Messner, optioning the material after seeing a documentary on her and husband Jim Bakker; the actress worked 12 years to get the film made. It was a showy performance, in which she ages 20 years, belts gospel songs, and deals with drug dependency and consumerism. Th redeems herself by showing compassion to a man with AIDS at a time that it was an unspoken condition. It was Chastain’s first win on her third nomination.
Frances McDormand
“Nomadland”
Frances McDormand became only the third person to win three lead-acting Oscars, after Katharine Hepburn and Daniel Day-Lewis. McDormand was also a producer of “Nomadland,” playing a woman who hits the road after losing her job and her husband. She previously won for “Fargo” and “Three Billboards Outside Ebbing, Missouri.” Past winners with three were Ingrid Bergman, Meryl Streep and Jack Nicholson (who each had two leads and one supporting), and Walter Brennan (all supporting). Hepburn holds the record with four, all leads.
Renée Zellweger (2019)
“Judy”
Renée Zellweger had three consecutive Oscar nominations, 2001-2003, winning finally as supporting actress for “Cold Mountain.” She virtually disappeared from films for six years, returning in some low-profile movies starting in 2016. When “Judy” debuted at the Telluride Film Festival, the media declared it her comeback, and she was immediately pegged as the best-actress frontrunner. For five months, she maintained that status, winning for her poignant performance as Judy Garland during a low point in her life.
Olivia Colman (2018)
“The Favourite”
Olivia Colman became the eighth person to win an Oscar for playing a monarch. Her Queen Anne (who ruled Great Britain from 1702 to 1714) is a frail, insecure, and slightly dotty woman who learns to assert herself as everyone around her jockeys for power. Though she was a popular choice, Colman’s win was one of the biggest surprises of the evening because Glenn Close (“The Wife”) was considered a sure bet.
Frances McDormand (2017)
“Three Billboards Outside Ebbing, Missouri”
Twenty years after winning for “Fargo,” Frances McDormand scored her second best-actress win with “Three Billboards,” playing an angry, take-charge woman seeking justice after her daughter’s rape/murder. McDormand swept early awards (Golden Globes, SAG Awards, BAFTAs, etc.) so her victory was not a surprise, but she proved a popular choice at the Oscars — even more so after her rousing acceptance speech.
Emma Stone (2016)
“La La Land”
“La La Land” was an Oscar phenomenon, with 14 nominations, tying it with “”All About Eve” and “Titanic.” Since its debut, the film earned critics’ Valentines and it won a record seven Golden Globes. But the backlash got louder as the Oscar deadline neared, and the film ended up with six wins, including best director, song and score. Emma Stone took top honors for her funny-touching performance, and her singing.
Brie Larson (2015)
“Room”
The California native started working as a child actress. “Room” was directed by Lenny Abrahamson, with Emma Donoghue adapting her novel; it’s a troubling tale of a woman raising a young son while being held captive for years by a crazed man. The performances of Brie Larson and young Jacob Tremblay were the key to the film’s success.
Cate Blanchett (2013)
“Blue Jasmine”
Australian actress Cate Blanchett had already won a supporting Academy Award as Katharine Hepburn in “The Aviator” — an Oscar winner for playing an Oscar winner. In the Woody Allen’s “Blue Jasmine,” she plays a variation of Blanche DuBois from “Streetcar Named Desire,” a high-strung woman who disrupts her sister’s household.
Jennifer Lawrence (2012)
“Silver Linings Playbook”
Writer-director David O. Russell created an uplifting comedy about mental illness. It’s a difficult balancing act, but it all works because of the acting, with Bradley Cooper and Jennifer Lawrence irresistible in tough roles. This was her second Oscar nomination, and she earned an impressive four within a six-year span.
Meryl Streep (2011)
“The Iron Lady”
Meryl Streep won her third Oscar as British Prime Minister Margaret Thatcher. Streep’s win here marked several milestones. It was the ninth win in 13 years for an actress playing a factual character. And while she holds the record for the most nominations — this was her 17th — it had been 30 years since she won her last Oscar.
Natalie Portman (2010)
“Black Swan”
The premise seemed unlikely: a thriller set in the world of ballet. But director Darren Aronofsky made it work and Natalie Portman carried off the role of a dancer who’s driven, needy and maybe a little nuts.
Sandra Bullock (2009)
“The Blind Side”
“The Blind Side” was based on the true story of Leigh Anne Tuohy, whose white family took in a homeless black teenager and made sure he got a good education. It’s a tearjerker, and Bullock gives a performance that’s tough and loving with no sentimentality.
Kate Winslet (2008)
“The Reader”
The Holocaust drama earned Kate Winslet her sixth nomination. The film was directed by Stephen Daldry (who also directed Nicole Kidman to her win) from a script by David Hare. Interestingly, Winslet won a supporting actress Golden Globe and SAG Award for this performance — but won in the lead category for BAFTA and Oscar.
Marion Cotillard (2007)
“La Vie en Rose”
The French actress was not well known in the U.S., but made the rounds in Hollywood to assure people that she was very unlike Edith Piaf in the movie. This was the first time since Sophia Loren that a best-actress winner was rewarded for a foreign-language performance.
Helen Mirren (2006)
“The Queen”
The film, written by Peter Morgan and directed by Stephen Frears, was a look at Queen Elizabeth as she tried to hold the monarchy — and all of Britain — together following the traumatic death of Princess Diana. Mirren was regal but very human.
Reese Witherspoon (2005)
“Walk the Line”
Reese Witherspoon and Joaquin Phoenix were excellent as June Carter Cash and Johnny Cash — and did their own singing to boot. This was her first nomination, though she had given memorable performances in films as diverse as “Election,” “Freeway” and “Legally Blonde.”
Nicole Kidman (2002)
“The Hours”
Nicole Kidman had been acting since she was a teenager in her native Australia. In “The Hours,” directed by Stephen Daldry, she plays British author Virginia Woolf. Though her makeup (including a fake nose) got a lot of media attention, it was her performance that made the entire film work. This was her second of four Oscar nominations.
Halle Berry (2001)
“Monster’s Ball”
Halle Berry became the first black woman to win the best actress Oscar, after Hattie McDaniel and Whoopi Goldberg had been saluted in the supporting race. In her tearful acceptance speech, she said, “This moment is so much bigger than me … it’s for every nameless, faceless woman of color that now has a chance, because the door tonight has been opened.”
Julia Roberts (2000)
“Erin Brockovich”
On her third Academy Award nomination, Julia Roberts took home the gold for playing the real-life Erin Brockovich, a smart, feisty and sexy woman who challenged the power company for polluting a town’s water supply. Steven Soderbergh was nominated twice in 2000, for directing this and “Traffic”; he won for the latter.
Hilary Swank (1999)
“Boys Don’t Cry”
Hilary Swank’s main claim to fame was a recurring role on “Beverly Hills, 90210” when she was cast in “Boys Don’t Cry,” about Brandon Teena, born a female but living as a male. The film marked the big screen directing debut of Kimberley Peirce. Swank’s win also started a run of best-actress winners playing real-life characters, with four winners in five years.
Gwyneth Paltrow (1998)
“Shakespeare in Love”
For much of 1998, “Saving Private Ryan” seemed the front-runner, but “Shakespeare in Love” ended up the big winner, taking home seven wins out of its 13 nominations. Gwyneth Paltrow won as best actress playing Viola, a fictional muse of Shakespeare as he struggles to write a new play he plans to call “Romeo and Ethyl.”
Helen Hunt (1997)
“As Good as it Gets”
Fourteen years after “Terms of Endearment,” James L. Brooks wrote and directed his fourth film and again steered two actors into Oscar wins. Helen Hunt and Jack Nicholson both won for the comedy-drama; Hunt was one of the few people to win while also starring in a TV series (in her case, it was NBC’s Paul Reiser sitcom “Mad About You”).
Frances McDormand (1996)
“Fargo”
Pregnant cop Marge Gunderson is only onscreen for about 32 minutes of the “Fargo” running time, but she’s the character most people remember. (In comparison, William H. Macy was nominated as supporting actor, but was onscreen for 34.5 minutes). She is one of the few women to get the top prize while being directed by her husband (Joel Coen).
Susan Sarandon (1995)
“Dead Man Walking”
Susan Sarandon was the first actress to win an Oscar by playing a nun (in contrast to the six best-actress winners who had played prostitutes). This was her fifth nomination, playing Sister Helen Prejean, who worked with death-row inmates. The film was directed by Sarandon’s partner at the time, Tim Robbins.
Jessica Lange (1994)
“Blue Sky”
“Blue Sky” was the last film from director Tony Richardson; due to the bankruptcy of distributor Orion, it sat on the shelf for three years. Jessica Lange won her second Academy Award (after her supporting award for “Tootsie”) as a woman struggling with mental illness and the demands of being a military wife.
Holly Hunter (1993)
“The Piano”
Like Jane Wyman and Marlee Matlin, Holly Hunter won her Oscar for a wordless performance. The film, set in 1850s New Zealand, was nominated for eight Academy Awards, with Jane Campion becoming only the second woman nominated for director. Campion won for her screenplay, and Anna Paquin won as supporting actress at age 11, the second-youngest ever (after Tatum O’Neal).
Emma Thompson (1992)
“Howards End”
“Howards End” was the third E.M. Forster adaptation from director James Ivory, producer Ismail Merchant, and writer Ruth Prawer Jhabvala. It marks the second consecutive win for an Anthony Hopkins leading lady. Emma Thompson is the only best-actress winner to also nab the prize for screenplay (1995’s “Sense and Sensibility”).
Jodie Foster (1991)
“The Silence of the Lambs”
Three years after her first Oscar, Jodie Foster was again a winner as FBI agent Clarice Starling. This was the third film (after “It Happened One Night” and “One Flew Over the Cuckoo’s Nest”) to take the big five prizes: picture, director (Jonathan Demme), actor (Anthony Hopkins), screenplay (Ted Tally, from Thomas Harris’ novel), and actress.
Kathy Bates (1990)
“Misery”
Kathy Bates worked in small roles in film and TV, and bigger roles onstage, for many years before her breakthrough in “Misery,” as the obsessed fan of a writer. Rob Reiner directed the film, scripted by William Goldman from Stephen King’s novel.
Jessica Tandy (1989)
“Driving Miss Daisy”
Born in London in 1909, Jessica Tandy had a long career, notably in stage works like “A Streetcar Named Desire,” and her film work was mostly in supporting roles (e.g., in Alfred Hitchcock’s “The Birds”). She became a movie star and Oscar-winner at age 80 in the film about a widow’s 20-year relationship with her driver in this adaptation of Alfred Uhry’s play.
Jodie Foster (1988)
“The Accused”
Jodie Foster began doing commercials at age 2, and was Oscar-nominated for “Taxi Driver” at age 14. She was always a respected pro, but “The Accused” showed audiences (and the industry) that she had become an accomplished adult actress. In “The Accused,” she stars as a woman who is gang-raped and seeks justice.
Cher (1987)
“Moonstruck”
Cher rose to fame as half of the Sonny & Cher duo, first making hit records in the 1960s and then hosting a TV variety show. Her early films were often below the radar, but she made a comeback in a Robert Altman-directed play. She scored her second nomination and first Oscar win for the seriocomic “Moonstruck,” written by John Patrick Shanley and directed by Norman Jewison.
Marlee Matlin (1986)
“Children of a Lesser God”
Marlee Matlin was unknown when she was cast opposite William Hurt in this Randa Haines-directed film, adapted from Mark Medoff’s play about a deaf woman and her romance with a hearing pathologist. To date, she is the only deaf woman to win the award.
Geraldine Page (1985)
“The Trip to Bountiful”
This was her eighth nomination and first win. In this adaptation of Horton Foote’s play, Page starred as a lonely woman who sneaks away from her son’s Houston home to make a return journey to Bountiful, where she was raised.
Sally Field (1984)
“Places in the Heart”
When Sally Field won her second Oscar, she gave one of the most memorable (and most misquoted) acceptance speeches of all time. She said to the industry audience, “I haven’t had an orthodox career and I’ve wanted more than anything to have your respect. The first time I didn’t feel it, but this time I feel it — and I can’t deny the fact that you like me; right now, you like me!””
Shirley MacLaine (1983)
“Terms of Endearment”
This was her fifth nomination as best actress (in addition to her nomination for the 1975 documentary “The Other Half of the Sky”). Writer-director-producer James L. Brooks was a triple-winner for the film, with Jack Nicholson getting the supporting win. And MacLaine offered yet another high point to her astonishing career — 60 years and still going strong.
Meryl Streep (1982)
“Sophie’s Choice”
After stage work in New York, Meryl Streep made her film debut in 1977’s “Julia,” won an Oscar for 1979’s “Kramer vs. Kramer,” and took her acting (and career) to new heights in “Sophie’s Choice.” The film, adapted from William Styron’s novel, centers on a Polish Catholic woman in New York who is haunted by her experiences in a WWII concentration camp.
Katharine Hepburn (1981)
“On Golden Pond”
Henry Fonda and Katharine Hepburn had never met before this adaptation of Ernest Thompson’s play. Jane Fonda co-starred as their daughter and was instrumental in pulling the entire production together. Hepburn defied Oscar odds by winning a fourth award, while Henry Fonda won his first.
Sally Field (1979)
“Norma Rae”
Early in her career, Sally Field had a hard time being taken seriously, starring in sitcoms “Gidget” and “The Flying Nun.” But in TV’s 1977 miniseries “Sybil,” she startled audiences with her dramatic range, which earned her an Emmy. Bigscreen clout came with “Norma Rae,” about an oppressed factory worker who learns to stand up for herself and her colleagues.
Jane Fonda (1978)
“Coming Home”
“Coming Home” marked the second win (and the third of six Oscar nominations) for Jane Fonda. She played a woman who falls in love with a wounded veteran while her husband is serving in Vietnam.
Faye Dunaway (1976)
“Network”
In her third Oscar nomination (after “Bonnie & Clyde” and “Chinatown”), Faye Dunaway hit the jackpot in the Sidney Lumet-directed satire of the ruthless TV biz and the public’s thirst for low-brow shocks. She plays an executive whose quest for ratings drives her network to success, but at a high price.
Louise Fletcher (1975)
“One Flew Over the Cuckoo’s Nest”
As the women’s lib movement was growing, many actresses turned down the role of Nurse Ratched for being too unsympathetic. But the unknown Fletcher took the role and ran with it. It was adapted from Dale Wasserman’s play and Ken Kesey’s novel. Her Oscar marked the second of three times that the top five Academy Awards went to one film: picture (produced by Saul Zaentz and Michael Douglas), screenplay (Bo Goldman and Lawrence Hauben), director (Milos Forman), and actor (Jack Nicholson), and actress.
Ellen Burstyn (1974)
“Alice Doesn’t Live Here Anymore”
Ellen Burstyn had been working in minor roles in film and TV shows under a variety of names. But she clicked in 1971’s “Last Picture Show,” followed by the smash “The Exorcist.” In her third nomination, she won the big prize, as a widowed mom in the Martin Scorsese-directed comedy-drama.
Glenda Jackson (1973)
“A Touch of Class”
After her ultra-dramatic turn a few years earlier in “Women in Love,” she proved to be an expert at romantic comedies and Academy voters fell in love with her all over again, earning her her second Oscar win.
Liza Minnelli (1972)
“Cabaret”
When Christopher Isherwood created the character of Sally Bowles in “The Berlin Stories,” she was a second-rate singer in a dingy club. But under Bob Fosse’s razzle-dazzle direction, Minnelli made the character an electric singer-dancer with a poignant vulnerability.
Jane Fonda (1971)
“Klute”
Jane Fonda’s raw, complex portrayal of a high-class call girl earned her her first of two Oscars. The daughter of Henry Fonda, she began in frothy comedies and melodramas, but proved her talent here. “Klute” was also nominated for Andy and David Lewis’ original screenplay.
Maggie Smith (1969)
“The Prime of Miss Jean Brodie”
After supporting roles, Maggie Smith moved center stage as Jean Brodie, a flamboyant Scottish schoolteacher in the 1930s. It’s a juicy role, since Miss.=Brodie is opinionated and self-delusional, with a fragility when confronted with the gap between her fancies and realities.
Katharine Hepburn (1967)
“Guess Who’s Coming to Dinner”
The movie was the ninth and final pairing of Katharine Hepburn and Spencer Tracy; he died shortly after completing it. The comedy-drama centers on their daughter wanting to marry a black man (Sidney Poitier). It seems quaint today, but was released the same year that the Supreme Court finally OK’d mixed-race marriages, which were illegal in 17 U.S. states.
Elizabeth Taylor (1966)
“Who’s Afraid of Virginia Woolf”
Three years after Elizabeth Taylor’s stunning beauty was showcased in “Cleopatra,” she gained weight and frumped herself up at age 34 to play over-the-hill Martha in this adaptation of Edward Albee’s play. Under first-time film director Mike Nichols, Taylor earned her fifth nomination and second Oscar win. This was the third of her 11 films with Richard Burton.
Julie Christie (1965)
“Darling”
Julie Christie won an Oscar for her complex performance in a zeitgeist film, written by Frederic Raphael and directed by John Schlesinger. A few years earlier, Paul Newman in “Hud” personified the anti-hero of the times. Christie’s Diana Scott was his female counterpart, an English model whose life was centered around superficial and glamorous things. The self-centered anti-heroine was startling and fascinating to movie audiences.
Julie Andrews (1964)
“Mary Poppins”
Julie Andrews made her film debut in the Disney musical. It opened the same year as the big-screen “My Fair Lady,” in which she lost out on the chance to re-create her stage success. She was a big hit as the English nanny in “Mary Poppins,” but found her biggest career success the following year as another nanny, in “The Sound of Music.”
Patricia Neal (1963)
“Hud”
Patricia Neal had been in Hollywood films since the 1940s, starring in such memorable movies as “The Fountainhead,” “The Day the Earth Stood Still,” and “Breakfast at Tiffany’s.” Though her role in “Hud” could be considered supporting, she made a big impact as the housekeeper at a modern-day ranch.
Anne Bancroft (1962)
“The Miracle Worker”
Anne Bancroft was a Hollywood starlet in the 1950s, but wanted more substantial roles, so she returned to New York and the stage. It worked. She won a Tony for William Gibson’s 1959 “The Miracle Worker” about Annie Sullivan’s work with the young and wild Helen Keller. Bancroft and Patty Duke repeated their roles and won Oscars for the Arthur Penn-directed film. Five years later, Bancroft, then only 36, achieved more film immortality as Mrs. Robinson in “The Graduate.”
Sophia Loren (1961)
“Two Women”
The beautiful and voluptuous Sophia Loren had appeared in films in her native Italy and in Hollywood, but totally changed her image as a downtrodden woman trying to protect her daughter in war-torn Europe in the Italian-language “Two Women.” Loren made Oscar history by being the first actor to win a trophy for a non-English-language performance.
Elizabeth Taylor (1960)
“Butterfield 8”
Elizabeth Taylor earned her fourth consecutive Academy Award nomination for her role as a call girl in “BUtterfield 8.” That helped her Oscar chances. Another factor: Just a month before the ceremony, she contracted pneumonia and was near death, saved only by an emergency tracheotomy. Despite her tabloid scandals in recent years, Hollywood suddenly realized that she should not be taken for granted.
Simone Signoret (1959)
“Room at the Top”
After starring in French films, including the classic thriller “Les Diaboliques,” Simone Signoret played a married woman having an affair with a much younger man in “Room at the Top.” Laurence Harvey starred as the angry, young British man, but Signoret steals the show with her sad-eyed sensuality.
Susan Hayward (1958)
“I Want to Live”
Robert Wise (who later directed “The Sound of Music”) helmed this gritty tale of lifelong criminal Barbara Graham, who was sentenced to death after her alleged participation in a murder. This was the fifth Academy Award nomination (and first win) for Hayward.
Joanne Woodward (1957)
“The Three Faces of Eve”
Joanne Woodward had done a lot of TV work but was virtually unknown when she played the lead in “The Three Faces of Eve,” a based-on-fact story of a woman with multiple personalities. As an antidote to red-carpet “glamour,” she attended the Oscars in a dress she had made herself. She went on to three more Oscar nominations, and great fame as Mrs. Paul Newman.
Ingrid Bergman (1956)
“Anastasia”
After she became a star in the 1940s, she left her husband and children for Italian director Roberto Rossellini and they had a child together. She was exiled from Hollywood. Playing a homeless woman who claims to be Russian royalty in “Anastasia,” she turned in a great performance and won her second Oscar (with a third yet to come in the 1970s) and Hollywood “forgave” her. She was also the eighth woman in nine years to win as best actress in a role adapted from a play. (Audrey Hepburn was the exception).
Anna Magnan (1955)
“The Rose Tattoo”
Born in Rome, Anna Magnani achieved worldwide stardom with the 1945 Italian neo-realist classic “Rome, Open City,” directed by Roberto Rossellini. The actress was a force of nature, conveying passion and fury in ways that most audiences hadn’t seen before. She found a perfect role in “The Rose Tattoo” with Burt Lancaster, based on Tennessee Williams play.
Grace Kelly (1954)
“The Country Girl”
Many predicted Judy Garland would win for “A Star Is Born,” but in retrospect, Grace Kelly’s victory should not have been a surprise. In 1954, she starred in five films, including Alfred Hitchcock’s “Rear Window” and “Dial M for Murder,” and further demonstrated her range as the dowdy wife of an alcoholic actor in “The Country Girl.” A year after winning the Oscar, she gave up showbiz when she married Prince Rainier of Monaco.
Audrey Hepburn (1953)
“Roman Holiday”
Audrey Hepburn had small roles in earlier films, but audiences around the world fell in love with her as a princess who sneaks away from palace protocol to have some fun. Hepburn’s charm and warmth were infectious and, in an era of busty blonde bombshells, she redefined beauty. Her work here with Gregory Peck, under director William Wyler, became one of her signature performances.
Shirley Booth (1952)
“Come Back, Little Sheba”
Shirley Booth won the Academy Award for her film debut in the adaptation of William Inge’s play about a lonely housewife. She became the third consecutive person to win the best-actress Oscar by re-creating her stage success.
Vivien Leigh (1951)
“A Streetcar Named Desire”
Tennessee Williams’ 1947 play was a sensation on Broadway, and all the cast repeated their roles in the film — except for Jessica Tandy (who found screen success much later in “Driving Miss Daisy”). Warner Bros. wanted a star name so they cast Vivien Leigh, who had played Blanche DuBois on the West End. She won her second Oscar as the fragile, fanciful woman on the verge of a nervous breakdown.
Judy Holliday (1950)
“Born Yesterday”
Judy Holliday repeated her stage role as the mistress of a big-money tycoon who proves that she is not as dumb as he thinks. The competition was stiff that year, including Gloria Swanson in “Sunset Blvd.” and the two actresses in “All About Eve.”
Olivia de Havilland (1949)
“The Heiress”
This was adapted from Ruth & Augustus Goetz’s 1947 play, which was based on Henry James’ novel “Washington Square.” It’s about a repressed (and oppressed) heiress who is wooed by a handsome man who either truly cares about her or is just after her money. William Wyler directed.
Jane Wyman (1948)
“Johnny Belinda”
Jane Wyman plays a deaf-mute woman who gives birth after she is raped — considered very daring in its time. The win marked two newish trends: Awards to able-bodied actors for playing people with disabilities and a long streak of best-actress winners in roles for a big-screen adaptation of a play.
Loretta Young (1947)
“The Heiress”
This was adapted from Ruth & Augustus Goetz’s 1947 play, which was based on Henry James’ novel “Washington Square.” It’s about a repressed (and oppressed) heiress who is wooed by a handsome man who either truly cares about her or is just after her money. William Wyler directed.
Olivia de Havilland (1946)
“To Each His Own”
Olivia de Havilland made Hollywood history with her precedent-setting battle against longterm studio contracts. She was unhappy with the scripts that Warner Bros. was offering; after she became independent, she started finding significantly better roles. This was yet another tale of an unwed mother, who creates a successful life and keeps tabs on her son from afar.
Joan Crawford (1945)
“Mildred Pierce”
Joan Crawford had been one of the reigning stars at MGM, but when the studio dropped her, she moved to Warner Bros. She knew a lot was riding on this film, which is adapted from the James M. Cain novel about a single mother of two girls who becomes a successful restaurant owner. Michael Curtiz (“Casablanca”) directed.
Ingrid Bergman (1944)
“Gaslight”
The Swedish actress Ingrid Bergman came to Hollywood in the late 1930s and quickly became one of its biggest stars. This Victorian-era melodrama, directed by George Cukor, provided one of her best roles, as a woman who begins to doubt her own sanity. Bergman gets excellent support from Charles Boyer as her husband and a teenage Angela Lansbury, in her film debut as a saucy maid.
Jennifer Jones (1943)
“The Song of Bernadette”
The unknown actress won her Oscar in this fact-based story of a village girl who reports on her visions of the Blessed Virgin Mary in Lourdes, France. Jones pulls off a difficult role, with a radiant and otherworldly look, which indicates she might be communicating with heavenly beings, or she might be not quite right in the head, as they used to say.
Greer Garson (1942)
“Mrs. Miniver”
The actress, born in Ireland, had shot to stardom with the 1939 “Goodbye, Mr. Chips.” The William Wyler-directed “Mrs. Miniver” is the tale of a British family surviving the hardships of World War II, also won best picture. The film helped reassure Americans that the country’s entry into the war was necessary.
Joan Fontaine (1941)
“Suspicion”
Though Alfred Hitchcock directed many films with terrific performances, Joan Fontaine is the only actress to earn an Oscar in one of his films. A year earlier, she starred for him in “Rebecca,” from Daphne Du Maurier’s novel. She won for “Suspicion” as a timid heiress who fears that her husband plans to kill her. Since her sister Olivia De Havilland was also nominated the same year, Fontaine’s win fueled their life-long feud.
Ginger Rogers (1940)
“Kitty Foyle”
Ginger Rogers started as a Broadway hoofer, and became a movie star as the dancing partner of Fred Astaire in numerous musicals. But she also had dramatic aspirations, and she found a great role in this tale of a shopgirl’s career and romantic challenges.
Vivien Leigh (1939)
“Gone With the Wind”
Producer David O. Selznick conducted a long search to find Scarlett O’Hara and many stars and unknowns were considered. When he cast the little-known Vivien Leigh, Variety published a poll showing that movie audiences — eager for the film adaptation — were OK with the idea of a British actress playing a character who was quintessential American. When the film debuted, audiences knew that Leigh was the right decision, while Oscar pundits knew that Leigh was the inevitable winner.
Bette Davis (1938)
“Jezebel”
Bette Davis wanted to play Scarlett O’Hara, but was under contract to Warner Bros. So as a consolation, the studio gave her this project as a smug Southern belle who learns humility. This was the first of four best-actress performances directed by William Wyler.
Luise Rainer (1937)
“The Good Earth”
Rainer became the first double-winner in acting. She and Paul Muni, both born in Europe, played Chinese peasants in an example of Hollywood whitewashing. The film was a big-budget Hollywood adaptation of Pearl S. Buck’s hit novel. After Rainer’s back-to-back wins, MGM offered her a bunch of scripts and outlined plans for her “star treatment.” She was unhappy on both fronts and returned to Europe. The sudden end to her career led to the creation of the “Oscar curse” theory.
Luise Rainer (1936)
“The Great Ziegfeld”
The German-born actress was unknown, and her role as Anna Held, the ex of Broadway producer Flo Ziegfeld, was basically a supporting role. But she has a flashy scene where she talks with him on the phone and tries to fight back tears as she congratulates him on his upcoming marriage; that scene clinched the Oscar.
Bette Davis (1935)
“Dangerous”
After 22 films, Bette Davis made a big splash in “Of Human Bondage” (1934). She didn’t get an Oscar nomination, but the Academy that year allowed write-in candidates (the only time that happened). Even so, Davis placed third in the voting, while Claudette Colbert won. But the following year Davis won the Oscar for one of her more forgettable films, “Dangerous,” as an alcoholic actress trying to rehabilitate herself.
Claudette Colbert (1934)
“It Happened One Night”
Claudette Colbert didn’t want to do the movie, even though Frank Capra was directing the Robert Riskin screenplay and her co-star was to be Clark Gable. She was so sure she’d lose the Oscar that she didn’t attend; she was about to leave L.A. by train when notified that she’d won; she raced to the ceremonies, which were delayed until her arrival. “It Happened” became the first of three movies to win the top five awards: Picture, screenplay, director, actor and actress.
Katharine Hepburn (1932)
“Morning Glory”
Katharine Hepburn made her film debut in 1932 and the following year, “Morning Glory” provided a perfect showcase for her unique combination of eccentric and down-to-earth qualities, playing an aspiring actress named Eve Lovelace. Hepburn had career ups and downs, but ended up a Hollywood icon; this was the first of her four acting Oscars, a record that remains unbroken.
Helen Hayes (1931)
“The Sin of Madelon Claudet”
“The Sin of Madelon Claudet” was a weepie, similar to “Stella Dallas” and “Madame X,” about a woman who will do anything for her offspring. In this case, Madelon Claudet becomes a prostitute to send her son to medical school. It won an Oscar for Helen Hayes, who was also nicknamed “the first lady of the American theater.” She won a supporting Oscar nearly 40 years later for “Airport.”
Marie Dressler (1930)
“Min and Bill”
Chubby and with a lived-in face, Marie Dressler became an unlikely movie star at MGM. She began acting as a teenager and won an Oscar for her seriocomic performance in “Min and Bill,” taking the trophy one day after her 63rd birthday. She also became the third consecutive Canadian to win the best-actress prize.
Norma Shearer (1929)
“The Divorcee”
Norma Shearer became a big name in silent movies, and her career flourished at MGM throughout the 1930s. On some Oscar ballots she is cited for both “The Divorcee” and “Their Own Desire,” but the final win is only for the former film; Academy historians are unsure why that happened.
Mary Pickford (1928)
“Coquette”
The Toronto-born Mary Pickford was a major star in Hollywood’s silent era, and she made her talkie debut with “Coquette” as a flirtatious Southern belle. Aside from her Oscar, she is best remembered as a woman who took charge of her film career; she started exerting creative control over her movies and in 1919 became one of the founders of United Artists. And she was one of the 36 individuals who started the Academy of Motion Picture Arts & Sciences.
Janet Gaynor (1927)
“7th Heaven,” “Street Angel,” “Sunrise”
The winners of the first Academy Awards were announced several months in advance of the ceremony. People were nominated for a single work or multiple works, with the Academy of Motion Picture Arts & Sciences quickly eliminating the latter option. Gaynor had a great year with three hits and, at age 22, remains one of the youngest best-actress winners in Oscar history.
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Who’s playing Lady Deadpool? There are 3 suspects
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[] |
[] |
[
""
] | null |
[
"Christopher Baggett"
] |
2024-07-16T16:05:53+00:00
|
Lady Deadpool is about to make her MCU debut, but fans still have no idea who will and will not be playing the Wade Wilson variant.
|
en
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/favicon/dexerto/favicon.ico
|
Dexerto
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https://www.dexerto.com/tv-movies/whos-playing-lady-deadpool-in-deadpool-and-wolverine-2825558/
|
Deadpool & Wolverine promises to introduce a number of Deadpool variants, but there’s only one that fans are losing their mind over: Lady Deadpool.
The upcoming Deadpool & Wolverine will feature variants of Deadpool and Wolverine, including such adorable characters such as Dogpool. But Lady Deadpool has already captured the hearts and minds of fans since she was first teased months ago.
First introduced in 2010’s Deadpool: Merc With a Mouth #1, Lady Deadpool is originally a variant from Earth-3010, a world where America is in a perpetual state of civil war.
We don’t yet know the backstory of the MCU Lady Deadpool, let alone who plays her, but there are three obvious suspects for the role.
Taylor Swift
Taylor Swift seems like the most obvious choice, having long been rumored to be appearing in Deadpool & Wolverine in some capacity. Earliest reports indicated she would be playing a version of the X-Men‘s pop superstar Dazzler, but later reports hinted that she would be Lady Deadpool. It didn’t help that she was spied in a skybox at a Chiefs game with Reynolds and director Shawn Levy.
Of course, it’s less likely than ever that Taylor Swift will even appear in the movie. The Eras singer has, obviously, been incredibly busy. A previous report by Entertainment Weekly shut down rumors that she would be appearing. Nonetheless, fans are convinced the pop icon will be appearing in the film in some capacity.
Blake Lively
If Swift is out, then there’s one pretty reasonable runner-up for the role: Blake Lively. The former Gossip Girl actress has been rumored to appear as Lady Deadpool since February.
Lively makes a lot of sense, considering she’s the long-time wife of Ryan Reynolds, who stars as Deadpool. If Lively does play Lady Deadpool, it will make for something of a reunion, as the two have not been on-screen together since they met in 2011’s box office disaster Green Lantern.
Ryan Reynolds in a wig
OK, if Taylor Swift and Blake Lively are both too busy for a Lady Deadpool cameo, then there’s only one solution. Ryan Reynolds is just going to have to do it himself. It would, bizarrely, make a lot of sense for Ryan Reynolds to throw on a wig and play Lady Deadpool himself.
Wanda Wilson in the comics is just a variant of Wade, after all. Considering Reynolds is already expected to play most of the other variants, it wouldn’t be that much of a stretch for him to get in touch with his more feminine side. Beside, he’s already wearing a wig in the movie for some scenes.
|
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correct_starring_00069
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FactBench
|
0
| 70 |
https://dw007.wordpress.com/tag/om-shanti-om/
|
en
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The Bolly Blog
|
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Posts about Om Shanti Om written by dw007
|
en
|
https://s1.wp.com/i/favicon.ico
|
The Bolly Blog
|
https://dw007.wordpress.com/tag/om-shanti-om/
|
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/
|
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correct_starring_00069
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FactBench
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3
| 25 |
https://robinpiree.com/blog/movie-title-ideas
|
en
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510 Movie Title Ideas to Hook Your Audience
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[
"Robin Piree"
] |
2023-03-02T07:00:00+04:00
|
Are you struggling to come up with a title that will make your movie stand out? Look no further! From gripping thrillers to laugh-out-loud comedies and everything in between, I've got you covered with this list of movie title ideas.
|
en
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https://images.squarespace-cdn.com/content/v1/608164c98d4fc466c981a18c/fcccf525-76a4-4c8b-9949-f6642f58bdf2/favicon.ico?format=100w
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Robin Piree
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https://robinpiree.com/blog/movie-title-ideas
|
Movies have been a beloved form of entertainment for over a century, captivating audiences with their stunning visuals, immersive stories, and memorable characters. But what makes a great movie truly unforgettable?
The answer lies in the details, from the script to the casting to the special effects. And one of the most crucial details of any film is the movie title—a short, powerful phrase that encapsulates the essence of the story and draws in audiences from the beginning.
In this blog, I've compiled a list of great movie title ideas to help inspire and guide you as you create your next cinematic masterpiece.
Whether you're a seasoned filmmaker or just starting out, these script titles are sure to spark your creativity, generate ideas, and take your movie to the next level.
horror movie title ideas
1. Memory Keepers
2. Creepin' Creatures
3. Whispering Vines
4. Blood Rave
5. Demons on the Block
6. Dead End
7. Night Shift
8. Horror in the Hood
9. Hell House
10. Creep Show
11. Mind Games
12. Ghosts of the Ghetto
13. Terror Tenants
14. Shadows in the Fog
15. The Cursed Hourglass
16. The Plague Doctor
17. Abandoned Asylum
18. Mourning Mother
19. The Uninvited Guest
20. The Unforgiven
21. Dark Descent
22. Midnight Moon
23. Hellhound's Hunt
24. Coven's Curse
25. Silent Scream
26. Midnight Carnival
27. The Deathly Dance
28. Whispering Woods
29. The Lost Labyrinth
30. The Bloody Mary Curse
mafia movie title ideas
1. Don's Domain
2. Blood Bullet
3. The Rise of the Syndicate
4. Cosa Nostra Chronicles
5. Men Made Militia
6. Dark Empire
7. Selfmade Men
8. Criminal Kingdom
9. Blood in, Blood out
10. Mob War
11. The Code of Silence
12. The Last Supper
13. Money Trail
14. Loyalty
15. Mobster Mayhem
16. Blacklist
17. Betrayal of Blood
18. The Rise of the Cartel
19. The Dark Side of Power
20. Final Orders
21. The Payback
22. Godmother
23. The Syndicate's Empire
24. Brotherhood
25. The Lost Testament
26. Immortality
27. A Legacy of Violence
28. Sins & Secrets
29. Iron Grip
30. The Gangster's Guild
romantic movie title ideas
1. Unforgettable You
2. Always & Always
3. Serendipity
4. Heartbreak Hotel
5. My Heart Belongs to You
6. Cupid's Crusade
7. Love on the Rocks
8. Two Hearts Beat as One
9. Passionate Posse
10. The Perfect Match
11. Love Lane Lovers
12. Heart of Gold
13. A Love to Last
14. Pillow Talk
15. Romance Rendezvous
16. In Slow Motion
17. Love Lagoon
18. Let’s call it Magic
19. Second Chances
20. Without You
21. Aligned Stars
22. Love Beyond Time
23. Amour Avenue Affair
24. Pinky Promise
25. A Love Worth Fighting For
26. Sweetie Swirl
27. A Chance Encounter
28. The Bride & Groom
29. Affection Avenue
30. Betrayed & Redeemed
Christmas movie title ideas
1. In the City
2. Holiday Home
3. Jingle Off the Way
4. Merry Mayhem
5. A Very Merry Fairy
6. The Third Day of Christmas
7. The Spirit
8. Rudolph's Rebels
9. Christmas Day Miracle
10. Snowball Scuffle
11. The Santa Clause
12. The Elf on the Shelf
13. Traditions
14. Homecoming
15. Ho-Ho Heist
16. The Star of Bethlehem
17. A Christmas Eve Surprise
18. The Parade
19. The Visitor
20. Winter Warzone
21. Snowly Slow
22. Rudolph's Rampage
23. Festive Fiasco
24. A Holiday Romance
25. Family Reunion
26. Holiday Season
27. The Angel
28. Christmas Heart
29. Forgiveness
30. A Very Merry Fix-muss
coming of age movie title ideas
1. Growing Up Gangsta
2. Alpha Teen
3. Struggle Street
4. On the Brink of Adulthood
5. Young, Bold & Beautiful
6. Neighborhood Newbies
7. Me, Myself, and I
8. The Journey Within
9. Rebel Road
10. The Time of Our Lives
11. The Big Step
12. Turning Point
13. The Next Chapter
14. The Journey to Maturity
15. Life's Lessons Lane
16. Transition
17. Roads Less Traveled
18. Self-Discovery
19. The Threshold of Change
20. From the Hood to the Heights
21. The Trials of Youth
22. The Crossroads of Life
23. Adolescence
24. The Road to Resilience
25. Baby Steps
26. The Threshold of Independence
27. From Grit to Greatness
28. The Crossroads of Adolescence
29. The Way to Wisdom Walk
30. Flight to Freedom
scary movie title ideas
1. Butchery Battalion
2. The Terror Within
3. Horror House Hooligans
4. Fear Factory
5. Possession
6. The Haunted Soul
7. Death Dealers
8. Whisper
9. Uninvited Guests
10. Forbidden Room
11. Eerie Silence
12. The Whispering Dead
13. Black Moon
14. Dark Places
15. The Man in the Woods
16. Killer Cartel
17. Shadowlands
18. Shivers
19. The Killer Klub
20. The Malevolent Force
21. Murderous Mob
22. Slaughter Squad
23. Terror Night
24. Euphoria's End
25. Serenity's Shadow
26. Luminous Lurking
27. Mellifluous
28. Enigma
29. Sublime Suffering
30. The End of Everything
Halloween movie title ideas
1. Demon Drive
2. Terror Town Tussle
3. Scare Street Showdown
4. Wicked Games
5. Haunted Carnival
6. The Haunting of Halloweentown
7. Trick or Treatment
8. The Evil Clown
9. October Chill
10. Pumpkin Patch Palooza
11. Vampire Vendetta
12. The Black Magic Murders
13. Cursed Cemetery
14. Midnight Madness
15. Haunted Hillside
16. The Werewolf's Curse
17. Boogeyman's Beatdown
18. Forest of Fear
19. The Halloween Party Massacre
20. Bloodbath Boulevard
21. Crypt Crusaders
22. Monster Moon
23. Haunted Harvest
24. Horror Hounds
25. Murder Mansion
26. Terror Twins
27. Midnight Massacre
28. Pumpkin Patch
29. Terror Trail
30. Spook Street
sad movie title ideas
1. Broken Promises
2. In Despair
3. A Heartbreaking Choice
4. The Weight of Loss
5. Love Left Behind
6. A Life Half-Lived
7. A Cry for Help
8. The Loneliness of Loss
9. Drowning in Sorrow
10. Tears of Regret
11. A Slow Goodbye
12. A Long Road Home
13. The Burden
14. Wounds
15. A Bittersweet Goodbye
16. Broken Pieces
17. Wounds of Love
18. The Ties That Bind Us
19. Scars
20. The Memories That Haunt Us
21. The Long Goodbye
22. The Road to Recovery
23. The pain of the Past
24. The Void
25. The Tears We Hide
26. The Burden
27. The Wounds We Bear
28. The Darkness of Despair
29. Longing for Love
30. The Sorrow of Tomorrow
pirate movie title ideas
1. The Legend Lives
2. Queen of the Caribbean
3. The Buccaneer's Bounty
4. Sunflowers in the Storm
5. The Last Sunrise
6. Voyage
7. Beyond the Horizon
8. Glass Hearts
9. The Lonely Island
10. The Shimmering Shore
11. When the Dust Settles
12. Enigma
13. A Pirate's Curse
14. Salty Dog's Fortune
15. Whispering Winds
16. Seven Seas
17. The Pirate's Code
18. The Swashbuckler's Vengeance
19. The Captain's Heist
20. She Wolf
21. The Raider's Return
22. Jolly Roger
23. Treasure Hunt
24. Swashbuckler's Song
25. The Captain's Code
26. Plank's End
27. Sea Wolf
28. Scallywag's Fate
29. Buccaneer's Betrayal
30. Treasure Island
comedy movie title ideas
1. Last Laugh
2. Disaster Diora
3. Joyride
4. Snug Ninja
5. Louis and the Lost Luggage
6. Tiffany's Trouble
7. Blueberry Blunders
8. Dolce and the Disastrous Dinner
9. Giggles Galore
10. Prankster's Paradise
11. Catastrophe
12. Tod's Tickling Tassels
13. Yves Saint Oops
14. Lazy Genie
15. Miu Miu Mayhem
16. One more drink
17. Jester's Jokes
18. Valentino's Very Bad Day
19. Jimmy's Comedy of Errors
20. Giggle Games
21. Bulguri's Bonkers Bling
22. Chuckles Chorus
23. The Carousel
24. Witty Wisdom
25. Kenzo's Crazy Couture
26. Hilarious Happenings
27. Marc' Mischievous Models
28. Belly Buster Bonanza
29. Soflex
30. Jacob's Jovial Jewels
family movie title ideas
1. The Wind in the Trees
2. A Timeless Love
3. In the Eye of the Storm
4. Velvet Skies
5. Footprints in the Sand
6. City of Angels
7. The Long and Winding Road
8. The Art of Letting Go
9. The Weight of the World
10. The Sound of Silence
11. When the Dust Clears
12. Between Two Worlds
13. Echoes of the Past
14. As the Leaves Fall
15. The River of Time
16. The Invisible Thread
17. The Colors of the Wind
18. When the Tide Turns
19. The Forest of Whispers
20. Family First
21. The Road Home
22. The Roots of Life
23. The Silent Symphony
24. The Phoenix Rises
25. Forever Together
26. Bonds Unbroken
27. Together Again
28. Unbreakable Ties
29. Lifelong Memories
30. True Connections
zombie movie title ideas
1. The Plague
2. Infected
3. The euphoria of the Undead
4. Last Breath
5. Savage Swarm
6. Virus
7. Ethereal Epidemic
8. Paragon of the Putrefied
9. Sublime Scourge
10. Desolate Dawn
11. Strive To Survive
12. Last Hope
13. Flesh Feast
14. Brain Eaters
15. Walking Hell
16. Horror Maze
17. Grave Yard Shift
18. Deathonated
19. Dead Zone
20. Rotten
21. Carnage
22. Cadaver
23. Zombie Zone
24. Purgatory
25. Ruined
26. Gruesome Galore
27. Blissful Bites
28. Death Trap
29. Pestilence
30. Undead Utopia
mystery movie title ideas
1. Grime Alley
2. The Trap Door
3. Code 187
4. Hustle & Homicide
5. Ghost Town Killers
6. The Affair
7. Secret Society
8. The Puzzle of the Past
9. Cryptic Clues
10. Suspicious Stranger
11. The Hidden Truth
12. Chop Shop Chronicles
13. The Unsolved Riddle
14. Mystery Maze
15. Cutthroat Boulevard
16. The Wiretap Murders
17. Shadow World Secrets
18. The Streets Run Red
19. Rollin' with the Reaper
20. Mystery Mastermind
21. The Color of Crime
22. Blood on the Block
23. The Case of the Missing Clue
24. The Hidden Chamber
25. Twisted Plot
26. Hidden Identity
27. The Illusion
28. Hidden Agenda
29. The Missing Link
30. In Pursuit
spy movie title ideas
1. The Mission
2. Operation Omega
3. Double Agent
4. Undercover Spy
5. The Informant
6. The Gucci Gambit
7. Hermes Heist
8. The Balenciaga Briefcase
9. The Invisible Hand
10. The Invisible
11. Valentino's Vendetta
12. The Dior Dossiers
13. The Agency
14. Intelligence Corps
15. The Spy in the Sky
16. Infiltrator
17. Espionage
18. Saboteur
19. Ralph's Rendezvous
20. Undercover
21. Syndicate
22. Spyfall
23. Manhunt
24. Protocol Prada
25. Interception
26. Takedown
27. Extraction
28. Blackout
29. Cipher
30. Chopard's Conspiracy
heist movie title ideas
1. Skrrt Skrrt Score
2. Bandits on a Budget
3. Project Unknown
4. The Plug's Payday
5. Masterminds
6. Bankin' on the Block
7. We Got Lucky
8. Ballin' Burglary
9. The Gentleman’s Club
10. Mr. Heist
11. Drip Drip Dime Dime
12. Luxurious Looting
13. One Last Job
14. Skimmin' & Scammin'
15. A Perfect Crime
16. Jackpot
17. The Getaway
18. The Squad
19. The Coper Crew
20. Diamonds Lost Forever
21. The Safe
22. The Hundo Heist
23. The Heist Games
24. Money Empire
25. Flexin' on the Feds
26. Trap House Takeover
27. Snatch
28. Rollin' in the Riches
29. Finesseful Felons
30. Million Dollar Move
thriller movie title ideas
1. The Edge of Darkness
2. A Deadly Game
3. Backstreets of Betrayal
4. Street Smarts & Survival
5. Code of the Underworld
6. The Lethal Advantage
7. Dark Justice
8. No Love Lost
9. Gritty Revenge
10. Streets of Retribution
11. Fatal Exchange
12. The Payback Plan
13. The Streets Run Deep
14. Concrete Jungle Justice
15. Bloody Boulevard
16. In The Shadows
17. Dirty Work
18. Sin City Showdown
19. The Art of Killing
20. Circle of Trust
21. The Maze of Deception
22. The Shadow of Evil
23. Deadliest Sin
24. The Heart of the Hunted
25. Lethal Woman
26. Behind Enemy Lies
27. The Viper's Nest
28. Guns & Glory
29. Where The Streets Don't Sleep
30. Shadow Hunter
ghost movie title ideas
1. When the Stars Align
2. I Put a Spell on You
3. Phantom Streets
4. Cursed Nights in White Satin
5. Abandoned Dreams
6. Ghostly Actions Speak Louder Than Words
7. Stairway to the Dark Side
8. Wraiths of the Night
9. Spirits of the Underground
10. Haunted City Nights
11. Streets of the Unseen
12. The Curse of New Orleans
13. Shadowlands of the Dead
14. The Watchtower of Woodstock
15. Haunted Avenue
16. Spectral Boulevard
17. Hotel California Nights
18. Opera's Lair
19. The Unseen
20. Spirits in the Sky
21. The Forgotten Ones
22. Shadowed Memories
23. Entities
24. Lost Souls
25. Phantom of the Night
26. Visitors
27. Ghosts Never Die
28. Imagine the Other Side
29. The Presence
30. Sympathy for the Supernatural
conclusion
In conclusion, coming up with a solid idea for a movie title is an art form that requires careful consideration, creativity, and a deep understanding of the film's themes, main characters, and message.
Whether you're looking to create a blockbuster hit or an indie gem, a good title can help distinguish your film from others, capture audiences' attention, and leave a lasting impression.
With these title ideas, you have a wealth of inspiration to draw from and a starting point for your next cinematic masterpiece.
Frequently Asked Questions (FAQ) about Movie Title Ideas
What are movie title ideas, and why are they important?
Movie title ideas are potential names for a film. They play an integral role in making first impressions and catching the audience's attention. A great movie title can make your film more memorable and convey its essence.
Can you provide a few examples of great movie title ideas?
Absolutely! Great movie title ideas might include classic titles such as "Blade Runner," "Eternal Sunshine of the Spotless Mind," "Rear Window," "Kill Bill," or "Black Panther." These titles are memorable, catchy, and effectively convey the story or theme of the movie.
How can I generate good movie title ideas?
Generate ideas by considering your story's main elements: the plot, genre, main characters, or setting. For instance, a World War II drama might take inspiration from a significant event, a phrase, or a place from that time. You could also use a movie title generator to spark ideas.
What makes a good movie title?
A good movie title succinctly captures the essence of the film and piques the audience's curiosity. It should be catchy and easy to remember. Whether your movie is a sci-fi epic, a heartfelt romance, or a gripping horror, the title should reflect the story and its tone.
Is there a specific format for movie titles?
While there's no hard rule for movie titles' format, consistency's crucial. The title page format and draft numbers are usually determined by industry standards. For script titles, it's recommended to have the title centered on the page, with your contact details in the lower left corner.
Should I consider the genre when thinking of movie title ideas?
Yes, the genre can guide your title choice. For example, titles that evoke fear or suspense can be more effective if you're creating a horror movie. Similarly, romantic films often have softer, more evocative titles. Genre is a solid aspect to consider when generating a title.
Can you share bad examples of movie titles?
There are no definitively bad titles, but certain titles may not resonate with audiences or adequately represent the movie. If your film is a high-stakes thriller, but your title is something mundane or unexciting, you might want to reconsider.
What are some unusual but successful movie titles?
Some titles might seem unusual but are incredibly successful due to their originality. Titles like "Eyes Wide Shut," "Neon Demon," or "Atomic Blonde" are initially surprising but are undoubtedly memorable.
How much attention should I pay to punctuation in a movie title?
While punctuation is not often used in movie titles, it can occasionally add impact. For instance, a question mark might create intrigue, while an exclamation point could convey excitement or urgency. It's all about what fits your story best.
Can true life events inspire movie title ideas?
Absolutely. Many successful films have taken inspiration from true-life events for their titles. For example, "The Darkest Hour" reflects Winston Churchill's pivotal role in World War II, and "They Shoot Horses, Don't They?" refers to a grueling dance marathon during the Great Depression.
Can I use the name of a character as a movie title?
Yes, many successful films have used the names of their main characters as the title, such as "Forrest Gump," "Rocky," or "Carrie." However, the character should be significant enough to justify this choice.
Is there a limit to how long my movie title should be?
There's no set rule, but remember that long titles may be challenging for audiences to remember. Some successful films have used longer titles like "The Assassination of Jesse James by the Coward Robert Ford," but these are the exception rather than the norm.
What are some tips for creating a catchy name for a movie?
Keep it simple and memorable. The title should hint at the movie's story or theme. Consider using alliteration, rhyming, or unusual word combinations to make your title stand out. A catchy name might be the difference between being noticed or overlooked.
Can I use the movie title generator to get ideas for my script title?
Yes, a name generator can be a valuable tool for sparking ideas. While the generated titles may not be perfect for your film, they might give you a solid idea or provide a fresh perspective.
How can I ensure that my movie title is the best it can be?
After you've generated some movie title ideas, test them out. Say them aloud, write them down, and ask for feedback. The right title will resonate with your story, sound good to the ear, and attract more attention from potential viewers. Remember, the title is often the beginning of the audience's journey with your film.
Robin Piree
I help filmmakers sell their ideas, get more clients, and make more money.
|
||
correct_starring_00069
|
FactBench
|
3
| 7 |
https://movies.stackexchange.com/questions/66135/why-do-movies-include-the-title-of-the-movie-in-the-opening-credits
|
en
|
Why do movies include the title of the movie in the opening credits?
|
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[] |
[] |
[
""
] | null |
[] |
2017-01-03T17:45:12
|
It's safe to say 100% of the audience members know the name of the movie they're attending and don't need to be reminded in big letters on the screen.
|
en
|
https://cdn.sstatic.net/Sites/movies/Img/favicon.ico?v=74d8f37ba4ec
|
Movies & TV Stack Exchange
|
https://movies.stackexchange.com/questions/66135/why-do-movies-include-the-title-of-the-movie-in-the-opening-credits
|
The movie is also presented in Television and most of the times people don't have access to the movie name they are about to watch. So they see the name in the openning credits/title.
Also according to Wikipedia
In a motion picture, television program or video game, the opening credits or opening titles are shown at the very beginning and list the most important members of the production. They are now usually shown as text superimposed on a blank screen or static pictures, or sometimes on top of action in the show. There may or may not be accompanying music. When opening credits are built into a separate sequence of their own, the correct term is title sequence (such as the familiar James Bond and Pink Panther title sequences).
So just to finish the presentation with the names of the members of the production in style, they finish with the movie title.
Movie Sequels or Prequels are also better identified by the title in the beginnining.
Also you can tell a lot how a movie is gonna be by the style and art of the openning title. Take for example Oblivion:
You know it's gonna be a futuristic action type movie just by the title.
BTW The openning movie titles always gives me the chills.
|
||||
correct_starring_00069
|
FactBench
|
0
| 31 |
https://turquoisechill.blogspot.com/2007/11/om-shanti-om.html
|
en
|
TURQUOISE CHILL: Om Shanti Om
|
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[] |
[] |
[
""
] | null |
[
"View my complete profile",
"Rohit Nyss"
] | null |
OK here goes about a film I watched last night. Om Shanti Om, the much awaited Blockbuster starring Shah Rukh Khan and launching Deepika Pa...
|
en
|
https://turquoisechill.blogspot.com/favicon.ico
|
https://turquoisechill.blogspot.com/2007/11/om-shanti-om.html
|
Life & Times of a traveller, photographer, scale modeller and blogger.
|
|||||
correct_starring_00069
|
FactBench
|
0
| 66 |
https://m.facebook.com/DoordarshanNational/videos/2332138630363368/
|
en
|
Du wurdest vorübergehend blockiert
|
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[] |
[] |
[
""
] | null |
[] | null |
de
| null | ||||||||
correct_starring_00069
|
FactBench
|
3
| 38 |
https://pixflow.net/product/movie-title/
|
en
|
50 cinematic film titles and credits templates
|
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[] |
[] |
[
""
] | null |
[] | null |
Cinematic titles and credits for trailers, film titles, blockbuster title sequences, documentaries, music videos, and movie and theatre posters
|
en
|
https://pixflow.net/wp-content/uploads/2023/03/favicon.ico
|
https://pixflow.net/product/movie-title/
|
NFT Guidelines!
If you plan to use any of Pixflow products in a project that you plan to mint as NFT, you should follow our guidelines. Make sure you read them carefully before starting your project. Read More
Pixflow Movie Title pack is a cinematic title pack made for films, movies, short videos, music videos, and any other form of visual media that can be used by indie filmmakers, professional movie creators, and content producers. A big compilation of after effects text animation presets, premiere pro text animation presets, and photoshop psd files that can also be used in any movie production and video-making process. These cinematic video effects are easy to use by any video creator team and make the workflow of video makers like film directors and editors really fast and fluent. Cinematic titles and templates made for creating trailers, film titles, blockbuster title sequences, documentaries, music videos, and movie and theatre posters. Movie Title cinematic title pack is a professional cinematic title creator that can help create movie badges and movie posters, cast credits roll for the beginning and ending credits, and amazing film and movie titles that can communicate the style and feel of your movie through the posters and banners that are made for the film.
|
|||||
correct_starring_00069
|
FactBench
|
1
| 76 |
https://kennethchongyj.wordpress.com/2018/05/28/om-shanti-om/
|
en
|
Om Shanti Om (2007)
|
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[] |
[] |
[
""
] | null |
[] |
2018-05-28T00:00:00
|
Om Shanti Om is a 2007 Indian romance melodramatic film which features comedy, song & dance, romance, action and thriller. The movie directed by Farah Khan, starred Shah Rukh Khan as Om and Deepika Padukone as a superstar Shanti Priya. The movie is both a homage and parody of Bollywood, starting from the 1960s…
|
en
|
https://s1.wp.com/i/favicon.ico
|
I Ken Reviews
|
https://kennethchongyj.wordpress.com/2018/05/28/om-shanti-om/
|
Om Shanti Om is a 2007 Indian romance melodramatic film which features comedy, song & dance, romance, action and thriller. The movie directed by Farah Khan, starred Shah Rukh Khan as Om and Deepika Padukone as a superstar Shanti Priya.
The movie is both a homage and parody of Bollywood, starting from the 1960s to 2000s.
Before I continue, I have to admit that I have never seen a Bollywood film. My impression of Bollywood throughout the years of growing up consists of three things. Overly dramatic acting, ‘extreme’ visual editing and song & dance.
After watching this film, I have to say that I wasn’t completely wrong eh??
The visual effects for this film were actually realistic!
The film takes on one of Hindi cinema’s most popular themes of the seventies – the reincarnation drama.
The junior artist, Om, who was set in the 1970’s Hindi film industry, is in love with the superstar actress Shantipriya. He tries hard to get noticed by her but
ultimately became friends with her after he saved her from a fire scene, where the fire had gotten out of control.
Everything seemed well until he found out that she was secretly married to a film producer Mukesh Mehra, played by Arjun Rampal. Mukesh found out that Shanti was expecting his child and decided to lure her into an abandoned studio
where he set on fire to kill her – to prevent financial loss and protect his career.
Om attempts to rescue Shanti once again, however, was unfortunate this time and died.
30 years later, the country’s biggest star who has the same face as Om,
IS actually the Om but reincarnated. When he realizes it, he decides to seek
revenge on Mukesh who was known as Mike now – his Hollywood alias.
One thing that I really liked about the film was the lavish and colorful sets, not forgetting the outfits worn by the casts. The music and dance also kept my eyes glued to the screen the whole time!!
The purpose of the film was to entertain, and I have to say that I was entertained throughout. Another thing to highlight was the cast enjoying themselves during the songs & dances. This is other side of celebrities that fans might not necessarily get to see and is not something you would see in Hollywood films.
To sum it up, this film poses as a reminder of what people like about Bollywood, which makes it so special.
|
||||
correct_starring_00069
|
FactBench
|
1
| 60 |
https://www.ndtv.com/entertainment/actor-nitesh-pandey-who-co-starred-with-shah-rukh-khan-in-om-shanti-om-dies-at-50-4061246
|
en
|
Starred With Shah Rukh Khan In Om Shanti Om, Dies At 50 In Nashik Hotel
|
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] |
[] |
[] |
[
"Nitesh Pandey",
"Death"
] | null |
[
"Gitanjali Roy"
] |
2023-05-24T11:00:14+05:30
|
He began as a theatre actor in the 90s and then played a detective in a short-lived TV show called Tejas
|
NDTV.com
|
https://www.ndtv.com/entertainment/actor-nitesh-pandey-who-co-starred-with-shah-rukh-khan-in-om-shanti-om-dies-at-50-4061246
|
New Delhi:
Popular actor Nitesh Pandey was found dead at a hotel in Igatpuri near Nashik in Maharshtra. He was 50. Mr Pandey, who was shooting in Igatpuri, appeared to have suffered a heart attack. Police are at the hotel and are investigating - a post-mortem report is awaited. Hotel staff and others close to Nitesh Pandey are being questioned. Nitesh Pandey was best-known for the film Om Shanti Om in which he played the assistant to Shah Rukh Khan's character.
Nitesh Pandey's brother-in-law Siddharth Nagar told ETimes, "My brother-in-law is no more. My sister Arpita is in a state of shock," adding, "We have gone absolutely numb." Nitesh Pandey "was a very lively person," Siddharth Nagar said, "I don't think he had a history of any heart ailment."
Nitesh Pandey was a familiar face from TV and films. He began as a theatre actor in the 90s and then played a detective in a short-lived TV show called Tejas.
Nitesh Pandey appeared in shows like Astitva... Ek Prem Kahani, Manzilein Apani Apani, Saaya,Durgesh Nandini and Justajoo. He was most recently seen on Anupamaa.
Nitesh Pandey's big screen credits include Badhaai Do, Shaadi Ke Side Effects, and Rangoon. Apart from Shah Rukh Khan's Om Shanti Om, his best-known film role was in Khosla Ka Ghosla.
|
||||||
correct_starring_00069
|
FactBench
|
3
| 79 |
https://helpx.adobe.com/premiere-elements/using/adding-title.html
|
en
|
Adding Title to your movie
|
https://www.adobe.com/favicon.ico
|
https://www.adobe.com/favicon.ico
|
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] |
[] |
[] |
[
"Reference",
"audio video editing",
"Premiere Elements"
] | null |
[] | null |
Learn how to add a title to your movie using a guided edit in Adobe Premiere Elements.
|
en
|
https://www.adobe.com/favicon.ico
|
https://helpx.adobe.com/premiere-elements/using/adding-title.html
|
This Guided Edit is a walkthrough on adding title to your video clips.
Click Back and Next to move forward or backward in the guided edit's steps.
Select a template and drag-and-drop it to the timeline. There are several templates available with pre-defined text.
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|
|||
correct_starring_00069
|
FactBench
|
2
| 62 |
https://www.usmagazine.com/entertainment/pictures/stars-who-left-hollywood-behind-through-the-years/
|
en
|
Stars Who Left Hollywood Behind Through the Years
|
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[
"Yana Grebenyuk"
] |
2024-01-15T16:45:32+00:00
|
Cameron Diaz, Rick Moranis and more celebrities chose to move on from their time in Hollywood — all the details
|
en
|
/wp-content/uploads/2020/05/cropped-us-logo.png?w=32&quality=86&strip=all
|
Us Weekly
|
https://www.usmagazine.com/entertainment/pictures/stars-who-left-hollywood-behind-through-the-years/
|
Credit: Getty Images(2)
Stars Who Left Hollywood Behind Over the Years: Cameron Diaz, Michael Schoeffling and More
Celebrities such as Cameron Diaz and Rick Moranis rose to stardom in Hollywood — only to leave their acting careers in the past. Diaz got her start with a role alongside Jim Carrey in the 1994 film The Mask. The actress continued to find success with movies including My Best Friend's Wedding, There's Something About Mary, Vanilla Sky, Charlie's Angels and many more. After exchanging vows with Benji Madden in 2015, the Golden Globe nominee confirmed her decision to step away from acting. She welcomed daughter Raddix in 2019 via surrogate. In August 2020, the California native reflected on her decision to hit pause on her career. “I really looked at my life and I saw what I had been — when you’re making a movie, it’s the perfect excuse, they own you — and I realized I handed off parts of my life to all these other people,” she explained during an episode of the “In Goop Health: The Sessions” video series. “They took it. I basically had to take it back and take responsibility for my life.” Moranis, for his part, made a name for himself starring in projects including Honey, I Shrunk the Kids and Ghostbusters. The comedian stepped away from Hollywood to focus on raising his children, Mitchell and Rachel, after his wife, Ann Belsky, died of cancer in 1991. The actor offered a rare glimpse into his decision, telling USA Today in 2005, "I pulled out of making movies in about ’96 or ’97. I'm a single parent, and I just found that it was too difficult to manage raising my kids and doing the traveling involved in making movies. So I took a little bit of a break. And the little bit of a break turned into a longer break, and then I found that I really didn’t miss it." Scroll down for more stars who chose to part ways with Hollywood over the years:
Credit: CW
Ian Somerhalder
"I stepped away from acting a little over four years ago to raise my kids, build my companies and get these films launched," Somerhalder, who is best known for his role as Damon on The Vampire Diaries, told E! News in November 2023 about choosing to raise a family with wife Nikki Reed over his acting career.
Two months later, Somerhalder said he now prioritized being a producer on documentaries, adding, "I love what I did for a really long time. I love making films, I just did it for so long. We had an amazing run. But this is our 2.0 version — about to be 3.0 version."
Credit: Desiree Stone/Getty Images
Angus T. Jones
Jones is best known for his role as Jake Harper on Two and a Half Men, in which he starred alongside Jon Cryer and Charlie Sheen. Following his time on the sitcom, Jones largely removed himself from the public eye.
The former actor made headlines in 2012 when he urged viewers to stop watching Two and a Half Men.
"I'm on Two And A Half Men, and I don't want to be on it. Please stop watching it and filling your head with filth … If I am doing any harm, I don’t want to be here,” he said in a YouTube video filmed for the Forerunner Christian Church, which he has since departed. “I don’t want to be contributing to [Satan's] plan. You cannot be a true God-fearing person and be on a television show like that. I know I can't. I'm not OK with what I'm learning, what the Bible says and being on that television show."
Jones later released a statement walking back his criticism, telling TMZ, "While I cannot address everything that has been said or right every misstatement or misunderstanding, there is one thing I want to make clear. Without qualification, I am grateful to and have the highest regard and respect for all of the wonderful people on Two and Half Men with whom I have worked over the past ten years and who have become an extension of my family."
He later attended University of Colorado Boulder, where he majored in environmental studies before switching to Jewish studies. Jones also joined the multimedia and event production company Tonite in 2016.
Credit: Richard Milnes/Shutterstock
Mia Wasikowska
"If I can have the best of both worlds, which is dip in and out of it occasionally, I'd be really happy, but I wouldn't ever be in that place where I was just on a treadmill," the Alice in Wonderland actress told IndieWire in March 2023 about moving to Australia. "I want to do more things in life other than be in a trailer."
She added: "It's great, and there are lots of great things, [but] the perception of it is quite different from the reality, and it didn't suit me as a person. You can really lose perspective because you're treated quite strangely. When that's your only reality, it's quite strange."
Credit: Gregory Pace/Shutterstock
Daniel Day-Lewis
The England native had a lengthy career in Hollywood with roles in My Left Foot, There Will Be Blood and Lincoln. He also appeared in My Beautiful Laundrette, A Room with a View, The Boxer, The Age of Innocence and more.
Day-Lewis is the only actor to have won three Best Actor Academy Awards and received a knighthood for his services to drama in 2014. Three years later, the Phantom Thread star issued a statement that he would no longer be working as an actor.
“Daniel Day-Lewis will no longer be working as an actor,” the actor’s spokesperson told Variety in 2017. “He is immensely grateful to all of his collaborators and audiences over the many years. This is a private decision and neither he nor his representatives will make any further comment on this subject. ”
|
||||
correct_starring_00069
|
FactBench
|
1
| 37 |
https://filmstreams.org/films/om-shanti-om
|
en
|
Om Shanti Om
|
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[] |
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[
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"filmstreams",
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] | null |
[] |
2016-04-01T17:21:57-05:00
|
Nonprofit organization in the Omaha-Council Bluffs metro area devoted to the presentation and discussion of film as an art form. See upcoming movie…
|
en
|
/favicon.png
|
Film Streams
|
https://filmstreams.org/films/om-shanti-om
|
Friday, August 9 – Thursday, August 15, 2013
This action-packed, blockbuster hit, a loving send-up of the 70s Bollywood era, features nearly uncountable cameos appearances from Indian film’s biggest stars. Director Farah Khan delivers an opulent visual and aural treat in OM SHANTI OM, the story of a struggling actor in love with a megastar. When he meets an untimely end and is reincarnated, he finds himself the center of stardom himself, on a quest to answer the question of what really happened to his love.
“OM SHANTI OM is Bollywood masala in its truest form and also, at its best.” –Taran Adarsh, Bollywood Hungama
“Both a homage to and parody of Bollywood, this cinematic feast delivered straight from the heart of the film industry will have you glued to your seats till the end.” –Tajpal Rathore, BBC
|
||||
correct_starring_00069
|
FactBench
|
2
| 19 |
https://www.womenshistory.org/education-resources/biographies/hedy-lamarr
|
en
|
Hedy Lamarr
|
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Hedy Lamarr was an Austrian-American actress and inventor who pioneered the technology that would one day form the basis for today’s WiFi, GPS, and Bluetooth communication systems
|
en
|
/sites/default/files/favicon.ico
|
National Women's History Museum
|
https://www.womenshistory.org/education-resources/biographies/hedy-lamarr
|
Hedy Lamarr was an Austrian-American actress and inventor who pioneered the technology that would one day form the basis for today’s WiFi, GPS, and Bluetooth communication systems. As a natural beauty seen widely on the big screen in films like Samson and Delilah and White Cargo, society has long ignored her inventive genius.
Lamarr was originally Hedwig Eva Kiesler, born in Vienna, Austria on November 9th, 1914 into a well-to-do Jewish family. An only child, Lamarr received a great deal of attention from her father, a bank director and curious man, who inspired her to look at the world with open eyes. He would often take her for long walks where he would discuss the inner-workings of different machines, like the printing press or street cars. These conversations guided Lamarr’s thinking and at only 5 years of age, she could be found taking apart and reassembling her music box to understand how the machine operated. Meanwhile, Lamarr’s mother was a concert pianist and introduced her to the arts, placing her in both ballet and piano lessons from a young age.
Lamarr’s brilliant mind was ignored, and her beauty took center stage when she was discovered by director Max Reinhardt at age 16. She studied acting with Reinhardt in Berlin and was in her first small film role by 1930, in a German film called Geld auf der Straβe (“Money on the Street”). However, it wasn’t until 1932 that Lamarr gained name recognition as an actress for her role in the controversial film, Ecstasy.
Austrian munitions dealer, Fritz Mandl, became one of Lamarr’s adoring fans when he saw her in the play Sissy. Lamarr and Mandl married in 1933 but it was short-lived. She once said, “I knew very soon that I could never be an actress while I was his wife … He was the absolute monarch in his marriage … I was like a doll. I was like a thing, some object of art which had to be guarded—and imprisoned—having no mind, no life of its own.” She was incredibly unhappy, as she was forced to play host and smile on demand amongst Mandl’s friends and scandalous business partners, some of whom were associated with the Nazi party. She escaped from Mandl’s grasp in 1937 by fleeing to London but took with her the knowledge gained from dinner-table conversation over wartime weaponry.
While in London, Lamarr’s luck took a turn when she was introduced to Louis B. Mayer, of the famed MGM Studios. With this meeting, she secured her ticket to Hollywood where she mystified American audiences with her grace, beauty, and accent. In Hollywood, Lamarr was introduced to a variety of quirky real-life characters, such as businessman and pilot Howard Hughes.
Lamarr dated Hughes but was most notably interested with his desire for innovation. Her scientific mind had been bottled-up by Hollywood but Hughes helped to fuel the innovator in Lamarr, giving her a small set of equipment to use in her trailer on set. While she had an inventing table set up in her house, the small set allowed Lamarr to work on inventions between takes. Hughes took her to his airplane factories, showed her how the planes were built, and introduced her to the scientists behind process. Lamarr was inspired to innovate as Hughes wanted to create faster planes that could be sold to the US military. She bought a book of fish and a book of birds and looked at the fastest of each kind. She combined the fins of the fastest fish and the wings of the fastest bird to sketch a new wing design for Hughes’ planes. Upon showing the design to Hughes, he said to Lamarr, “You’re a genius.”
Lamarr was indeed a genius as the gears in her inventive mind continued to turn. She once said, “Improving things comes naturally to me.” She went on to create an upgraded stoplight and a tablet that dissolved in water to make a soda similar to Coca-Cola. However, her most significant invention was engineered as the United States geared up to enter World War II.
In 1940 Lamarr met George Antheil at a dinner party. Antheil was another quirky yet clever force to be reckoned with. Known for his writing, film scores, and experimental music compositions, he shared the same inventive spirit as Lamarr. She and Antheil talked about a variety of topics but of their greatest concerns was the looming war. Antheil recalled, “Hedy said that she did not feel very comfortable, sitting there in Hollywood and making lots of money when things were in such a state.” After her marriage to Mandl, she had knowledge on munitions and various weaponry that would prove beneficial. And so, Lamarr and Antheil began to tinker with ideas to combat the axis powers.
The two came up with an extraordinary new communication system used with the intention of guiding torpedoes to their targets in war. The system involved the use of “frequency hopping” amongst radio waves, with both transmitter and receiver hopping to new frequencies together. Doing so prevented the interception of the radio waves, thereby allowing the torpedo to find its intended target. After its creation, Lamarr and Antheil sought a patent and military support for the invention. While awarded U.S. Patent No. 2,292,387 in August of 1942, the Navy decided against the implementation of the new system. The rejection led Lamarr to instead support the war efforts with her celebrity by selling war bonds. Happy in her adopted country, she became an American citizen in April 1953.
|
||||
correct_starring_00069
|
FactBench
|
0
| 57 |
https://www.freepressjournal.in/entertainment/pakistani-actor-javed-sheikh-wanted-only-1-to-play-shah-rukh-khans-father-in-om-shanti-om
|
en
|
Pakistani actor Javed Sheikh wanted only ₹ 1 to play Shah Rukh Khan’s father in Om Shanti Om
|
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[] |
[] |
[
"Javed Sheikh",
"Om Shanti Om",
"Shah Rukh Khan",
"Farah Khan"
] | null |
[
"FPJ Web Desk"
] |
2023-06-03T21:58:56+05:30
|
Javed played the role of SRK's father after the superstar was reincarnated in the film
|
en
|
Free Press Journal
|
https://www.freepressjournal.in/entertainment/pakistani-actor-javed-sheikh-wanted-only-1-to-play-shah-rukh-khans-father-in-om-shanti-om
|
Pakistani actor Javed Sheikh, who is best known for his role in the film Om Shanti Om where he essayed the role of Shah Rukh Khan’s father, recently revealed that when asked to quote his fee for the movie, he only asked for Re 1. While his statement invited flak from his fans in Pakistan, many lauded him for being passionate about his work and his willingness to work in an Indian film.
In an interview with Gloss Etc, Javed mentioned, “Their manager came to me, said they needed to sign the contract. I said, ‘yes’. ‘What will be your fee?’ I said I won't take any money. The thing is that firstly it's a matter of honour for me that I am playing Shah Rukh's father in his biggest film ever. India has so many actors. You choose anyone and they will be ready to take on this role. But Shah Rukh and Farah Khan choosing me is a thing of honour for me. That's why, because of Farah and Shah Rukh, I will not take any money.”
After a long discussion with the manager, Javed suggested, “You go and tell Shah Rukh I will take just one rupee. I'm not joking.”
Eventually, the team decided how much Javed should be paid. “When they sent me the first cheque, it was shocking itself," he said.
Om Shanti Om was released in 2007 and was directed by Farah Khan. The film also starred Deepika Padukone, Arjun Rampal, Shreyas Talpade and Kirron Kher.
Javed Sheikh is a Pakistani actor and he has worked in Bollywood as well in movies like Jaan-E-Mann, Apne , Namastey London, and Yuvvraaj to name a few.
|
|||||
correct_starring_00069
|
FactBench
|
0
| 16 |
https://delight.likewise.com/by/actor/kirron-kher-nm0451602
|
en
|
Likewise | Movies | Kirron Kher
|
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] |
[] |
[] |
[
""
] | null |
[] | null |
27 Movies for actor, Kirron Kher
|
en
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/favicon.ico
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Subscribe to the Likewise newsletter!
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correct_starring_00069
|
FactBench
|
2
| 78 |
https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html
|
en
|
Fat Amy in Pitch Perfect 2: What it’s like being a fat actress in Hollywood.
|
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[] |
[
""
] | null |
[
"Julie Brister"
] |
2015-05-14T14:30:00+00:00
|
I love Rebel Wilson’s Fat Amy in Pitch Perfect. She doesn’t have an issue with her size; she owns it. She’s savvy. She’s honest about her desire and...
|
en
|
/favicon.ico
|
Slate Magazine
|
https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html
|
I love Rebel Wilson’s Fat Amy in Pitch Perfect. She doesn’t have an issue with her size; she owns it. She’s savvy. She’s honest about her desire and comfortable with her body. Yes, there are still fat jokes, but Amy’s fearlessness transcends any bullying that she may encounter.
Pitch Perfect 2, which opens Friday, starts off with Amy flashing an entire audience at an a capella performance for President Obama—really? The fat girl does the aerial number in the unitard?—and, though it’s a funny movie and she’s a funny character, over and over again the movie lets Amy down. For instance: I know that she calls herself Fat Amy so that, as she says in the first film, “twig bitches like you don’t do it behind my back.” But why, exactly, in Pitch Perfect 2 do all her supposed best friends still call her Fat Amy? Why not just Amy?
The scene that disappointed me the most, however, was one that had nothing to do with her size. Her supposed hook-up, Bumper, leads her into a gazebo decked out in twinkly lights and tells her that he loves her—and she has no reaction. Sure, she rattles off something about being a rambler and not wanting to be tied down, but it’s a slim justification. In that moment, Fat Amy is just an automaton, and not a real person with emotions and feelings. She’s all tell and no show. In the first film, Amy definitely has a stronger point of view—she’s a wonderful weirdo who mermaid-dances and dryly shuts down her detractors. Pitch Perfect 2, a ginormous movie with hopes of beating Mad Max at the box office, gives Rebel Wilson second billing. That’s great—but I hoped for more oomph out of Amy’s character. We fat actresses need to cheer for each other. In Hollywood, too often fat actresses are treated as fat first and as an actress way down the line.
I’m fat and I know it because I have eyes and I’m not an idiot. I do have an extraordinary capacity for denial, which is probably what keeps me fat. Shame and denial are like the horrid girls from eighth grade that you hang out with even though you hate their guts. Shame tells you how much you suck, and denial tells you that churro ice cream sandwiches will make you feel better. I’ve been profoundly fat for the last 15 years, but I’ve been every imaginable size from slim (in my teens and 20s) to super-fat (my 30s and 40s). I am fully responsible for my obesity—a terrible word, by the way, because it’s patronizingly clinical, and only used by doctors or non-fat people intent on making fat people feel terrible about themselves. I know that my weight drives the people who love me absolutely nuts, and I wrestle with guilt because of that. Self-acceptance has always been a huge struggle for me, but as I’ve gotten older, I’ve become more and more comfortable with who I am, and I am much more than this big lumpy body of mine, and I am tired of apologizing for being fat.
I am also a professional actress and most of my work is focused in comedy. I primarily audition for co-star and guest-star roles and the pay can be good, though I’m far from Rebel Wilson territory financially. I was already in my late 30s when I moved to L.A., which is a bit out of range for the “fat best friend” roles. I am just right for the “busybody in a cardigan” ones. I’m lucky to have an agent who takes great care of me and is sensitive to how I feel about the fat-as-a-dumb-punch-line roles. Most of the parts that I’ve booked that have nothing to do with my size and appearance. I’ve played plus-size characters that felt like fully realized, relatable human beings. Those shoots were fun and rewarding and I laughed along with everybody and kept my soul intact. And I’ve booked fat parts that demeaned and humiliated me and I’d cry in my car on the drive home at the end of the day.
I once booked a role on a show where I was told I’d be playing the body of a celebrity for a series of still photographs; the famous person’s head would be added in post-production. A mystery! Exciting! But when a fat actor isn’t shown the script in advance, or the powers that be neglect to fill her in on the full context of her role, unpleasant surprises often follow. Sometimes she arrives on set only to discover she’s playing a punch line completely based on her appearance and not because she, the comedic actress, would be great at selling the joke.
The celebrity in question, I learned on the day of shooting, was pre-TrimSpa Anna Nicole Smith, whose reality show was having its moment. When I stopped in wardrobe to see what I’d be wearing, my stomach started churning. I was handed a hanger with a red open-midriff spandex tube dress a good three sizes too small for me and Lucite platform stripper shoes. The wardrobe assistant took a cue from my face and dug up a bathrobe for me to wear between photos. I squeezed into this hideous dress and looked in the mirror. I looked like I ate Anna Nicole Smith.
The first two photos went by quickly. One shot of me clutching a pickle jar, one of me sitting on the lap of an elderly man. The last one was more complicated. There were lots of whispers among the writers and producers regarding the logistics, but I clearly heard the word “commissary” and began to panic. A writer approached me to explain what the photo would entail. “We’re going to need you to lie down on the floor underneath the yogurt machine while we pump yogurt onto your chin and chest.”
Opportunities are few and far between early in your acting career, and you don’t want to let people down by being a squeaky wheel. Getting paid to do what you love feels great, of course; sometimes that can take the sting out of compromising your dignity. And it’s difficult to pick up and leave when the crew is there to work and they’re counting on you. This was a lonely moment, but I did it. I sprawled out on the floor and lay there in a busy cafeteria while frozen yogurt was pumped onto my upper body. The only other woman on the shoot was that wardrobe assistant who now, as I lay on the floor, avoided eye contact with me. I had no agent yet. I was terrified of pissing people off. I felt used and manipulated. Had I been informed of the full architecture of this bit in advance, I wouldn’t have taken it. Later, I met a friend for a drink and he sympathized that this was my Coco in Fame moment. After that day, I tried to be more discerning in the parts I took.
It would be great to see more leading and supporting roles for plus-size women that don’t primarily focus on their weight. Take, for example, Melissa McCarthy’s Maggie in St. Vincent. She was just a normal human lady with big human problems that weren’t wrapped up in her body. (Another example: Kathy Bates, my queen, in just about anything.) In Pitch Perfect 2, Amy has a few scenes that show the glimmer of a real human person. At one point, simply attempting to cross a road, she’s stymied by a vehicle that has stopped to let her pass, but then lightly accelerates just as she’s about to walk. Amy loses her cool and becomes vulnerable. Her frustration in that moment feels genuine and relatable. For Pitch Perfect 3, Instead of showing her junk, hopefully Amy will try showing her belly a little bit more.
|
||||
correct_starring_00069
|
FactBench
|
0
| 36 |
https://www.facebook.com/photo.php%3Ffbid%3D504902242100557%26set%3Da.164399332817518%26type%3D3
|
en
|
Facebook
|
https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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[
"https://facebook.com/security/hsts-pixel.gif?c=3.2.5"
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[] |
[
""
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[] | null |
Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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de
|
https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
|
https://www.facebook.com/login/
| ||||
correct_starring_00069
|
FactBench
|
3
| 0 |
https://whatismymovie.com/
|
en
|
What is My Movie?
|
http://whatismymovie.com/WHATISMYMOVIE.jpg
|
http://whatismymovie.com/WHATISMYMOVIE.jpg
|
[
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[] |
[] |
[
"movie search",
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] | null |
[] | null |
New movie search engine
|
en
|
https://whatismymovie.com/
|
On 25 May 2018, the General Data Protection Regulation (GDPR) (EU) 2016/679 will come into force. The GDPR strengthens and clarifies the rights of EU-resident natural persons with regard to their personal information The Terms and Conditions and the Privacy Policy for Valossa services have been updated accordingly.
Please review Valossa's updated Terms and Conditions, Privacy Policy and the Cookie Policy. If you use our services to process personal information of EU-resident natural persons you need to comply with the GDPR. By using our services on or after 25 May 2018, you will be agreeing to the changes.
Under the GDPR, you have several rights, such as accessing your own personal data, erasing of that data, and the right to be notified within 72 hours of a data breach that is likely to result in a risk for your rights and freedoms. You may reach the Data Protection Officer (DPO) of Valossa when needed, and the details for doing so can be found in the updated Privacy Policy.
Click 'OK' to agree and continue using WhatIsMyMovie.com.
|
||||
correct_starring_00069
|
FactBench
|
0
| 20 |
https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/kirron-kher-shares-a-warm-hug-with-shah-rukh-khan-as-she-catches-up-with-her-old-friends-on-diwali-see-photo/articleshow/95075815.cms
|
en
|
Kirron Kher shares a warm hug with Shah Rukh Khan as she catches up with her old friends on Diwali â See photo
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[
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"Diwali 2022",
"Diwali",
"Cancer",
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] | null |
[
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] |
2022-10-25T13:51:00+05:30
|
Kirron Kher looked ravishing in her red traditional outfit as she attended Diwali parties in B-town last night. The senior actress also shared a lovel
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/kirron-kher-shares-a-warm-hug-with-shah-rukh-khan-as-she-catches-up-with-her-old-friends-on-diwali-see-photo/articleshow/95075815.cms
|
Ethereal looks of Esha Kansara you can't miss
Entertainment
11 baby boy names that bring wealth to the family
Lifestyle
Why are thrifted books better than new ones
Lifestyle
Scary voodoo sites to visit across the globe
travel
|
|||||
correct_starring_00069
|
FactBench
|
2
| 39 |
https://www.businessinsider.com/recasting-tv-movie-roles-2018-12
|
en
|
17 movie and TV roles you may not have realized were recast with new actors
|
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https://i.insider.com/5de7c39f79d75716805daeb7?width=1200&format=jpeg
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[
""
] | null |
[
"Bryn Gelbart"
] |
2023-04-26T18:00:11+00:00
|
Sometimes actors are swapped out and replaced in the middle of filming major series like "Game of Thrones" and "Harry Potter."
|
en
|
/public/assets/BI/US/favicons/apple-touch-icon-192x192.png?v=2023-11
|
Business Insider
|
https://www.businessinsider.com/recasting-tv-movie-roles-2018-12
|
This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? .
Many iconic TV and movie roles have been recast over time.
On "Game of Thrones," the roles of The Mountain and The Night King were recast.
Two different actors played Lavender Brown in the "Harry Potter" film series.
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The Night King switched actors after season five on "Game of Thrones."
The change in the appearance of the Night King in "Game of Thrones" easily went unnoticed under all the make-up and CGI that the character endures.
However, after season five, Richard Brake was replaced by stunt performer Vladimir Furdik.
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Pam's mother on "The Office" was recast after a few seasons.
Throughout the beginning of the NBC comedy "The Office," actress Shannon Cochran plays Pam Beesly's mother.
But on season six, episode five ("Niagara: Part 2"), actress Linda Purl appears as Pam's mother instead.
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Two people played Thanos in "The Avengers" franchise.
At the end of "The Avengers," fans got a tease of what was to come for Marvel's next two phases with a scene introducing the new villain, Thanos.
Damion Poitier filled this role, unceremoniously credited as "Man #1."
When Marvel needed a bigger name to fill Thanos's shoes, Josh Brolin was cast for "Avengers: Infinity War."
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Meg was voiced by Mila Kunis and Lacey Chabert on "Family Guy."
Mila Kunis is now famous for voicing the role of Meg on the animated series "Family Guy," but she was not the original voice actress.
"Mean Girls" star Lacey Chabert was the voice of Meg for the entire first season before leaving due to other obligations. They eventually acknowledged this swap during a season-eight gag.
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Carol from "Friends" was played by two different women.
"Friends" has a huge fanbase and many binge-watchers may have likely noticed this change by now. However, when Ross's ex-wife Carol first appears on season one she was played by Anita Barone.
Later on, Barone was replaced by Jane Sibbett, who went on to make the character her own.
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Blair's mom on "Gossip Girl" was recast early on.
The CW drama "Gossip Girl" featured actress Florencia Lozano as Blair's mom, Eleanor Waldorf, on the pilot.
But by episode four, she'd been replaced by Margaret Colin.
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Two actors played Bloodraven on "Game of Thrones."
During the season-four finale, Bran finally met the Bloodraven, played by British actor Struan Rodger.
But a few seasons later he was replaced by the well-known Swedish actor Max Von Sydow.
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Two actors played Lavender Brown in the "Harry Potter" movie series.
In her only credited role, actress Jennifer Smith played Lavender Brown in the "Harry Potter" film, "The Prisoner of Azkaban," which was her only appearance in the franchise.
The role of Lavender was recast as Jessie Cave in "The Half-Blood Prince."
Unnoticed at the time, discussions about diversity in the "Harry Potter" series and spin-offs have ignited debate over whether the recasting of the role was a result of whitewashing.
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Emperor Palpatine was played by two actors in "Star Wars."
The antagonist of the original "Star Wars" trilogy, Emperor Palpatine was played by Marjorie Eaton and then voiced by Clive Revill in his first appearance in "The Empire Strikes Back."
For "Return of the Jedi" and the prequel films, Ian McDiarmid was cast in the role.
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Ann on "Arrested Development" was played by two actresses.
On "Arrested Development," Ann was George Michael's often-forgotten girlfriend. She was played by Alessandra Torresani on the first season but replaced by Mae Whitman on the second.
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Dash was voiced by two different child actors in "The Incredibles" and its sequel.
In the original Pixar superhero hit, middle child Dash was voiced by child actor Spencer Fox.
In the 2018 reboot, "Incredibles 2" Fox was replaced with Huckleberry "Huck" Milner, due to the fact that the sequel takes place immediately following the original, even though it debuted 14 years after the first movie released.
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The Mountain from "Game of Thrones" has been played by three actors.
This role of The Mountain has been recast twice. On the first season, Gregor Clegane was played by Conan Stevens. Recurring "Game of Thrones" actor Ian Whyte took up the Mountain mantle on season two.
From season four on, the role was filled by the strongest man in the world Hafþór Júlíus Björnsson.
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"Harry Potter" character Griphook was played by two actors.
In the first "Harry Potter" movie, the Goblin banker Griphook was played by Verne Troyer but voiced by Warwick Davis.
Davis, who also played Professor Flitwick in the franchise, went on to take over the role.
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Jennifer Parker in "Back to the Future" was played by two different actresses.
The love interest of Marty McFly, Jennifer Parker was originally portrayed by Claudia Wells.
For parts two and three of the film series, Wells was recast and the role of Jennifer was played by Elisabeth Shue. The time-traveling nature of the second movie forced scenes from the first movie to be remade shot for shot, with Shue as Jennifer instead of Wells.
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Clarice Starling in the "Red Dragon" movies was played by two different actresses.
Despite winning an Oscar for her performance in the 1991 film "Silence of the Lambs," Jodie Foster dropped out of playing Clarice in the flick's sequel.
Julianne Moore replaced Foster in the 2001 movie "Hannibal."
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Three different women played Catwoman on the "Batman" TV show.
On the 1960 "Batman" TV show, Lee Meriwether, Julie Newmar, and Eartha Kitt all played the caped crusader's nemesis, Catwoman. That's one Catwoman per season.
Read next
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correct_starring_00069
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FactBench
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3
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https://www.linearity.io/blog/movie-title-design/
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en
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A brief history of film title design
|
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2022-03-11T20:04:00+00:00
|
Here's how the art form of film title design has evolved; from the early days to the modern era.
|
en
|
Linearity blog
|
https://www.linearity.io/blog/movie-title-design/
|
What first comes to mind when you’re asked to think about the James Bond movies?
If you’re anything like us (slightly nerdy, graphic-design obsessed, etc.) there is a very strong chance that you’ll think of the opening title sequence where you’re looking at the silhouette of Bond down the barrel of a gun, before he turns and shoots you, causing blood to run down the screen. This moment is absolutely iconic and defines the franchise. That is the power of good title design.
The titles do more than just reveal the names of the film and the main people who brought it to life, they set the tone and mood of the whole story and establish expectations for the audience. From their humble origins as static cards at the start of silent movies, film titles have evolved to become an art form in their own right, and are a vital component of all movies and TV shows. This is the story of how they got there.
Enjoying the silence
The evolution of film titles stretches all the way back to the earliest history of cinema – the silent film era.
As there was no sound, the best way to convey details to viewers and provide context for what was happening was through the use of lettering cards. These cards were known as inter-titles or a title card and they were vital in enabling the audience to follow the narrative and understand what was happening on screen.
These letter cards were created by lettering artists, and the focus was on making the text clear and legible, and for the cards to be easy to produce. The classic look of white text on a black background became the standard as it simply looked better in black and white movies when projected. The lettering itself was also kept very simple and was either mono-stroke letterforms or characters with small serifs. The same style of hand-illustrated lettering cards were also then used for the main film title art.
In these nascent days of the movie industry, the main concerns for film titles were more practical than artistic. The purpose was to convey screen credits such as the movie title, director, movie studio’s name, and main actors, plus any legal, copyright and marketing information that had to be included.
Charlie Chaplin’s The Pawnshop from 1916 is a classic example of film titles and inter - titles from that time – simple white lettering on a plain black background is used for both.
Injecting style and flair
The first real step in the evolution of film titles came when lettering artists stepped away from standard simple forms and started to incorporate illustration and typography that drew inspiration from the prominent art movements of the era. Expressionism, art deco, and art nouveau elements all start to make an appearance in the film titles of silent movies.
There was a further shift in creativity when illustrators and lettering artists started to reflect the nature of the film with the titles. In this approach we can see the origin of modern title design, as now film titles play a major part in reflecting the subject matter and genre of the movie or TV series.
A famous early example of using film titles to convey the content of a film in this way is the original German version of The Cabinet of Dr Caligari from 1920. It’s a pretty disturbing film about a mad hypnotist who makes a sleepwalker commit murders on his behalf. The typography is edgy and sharp and really gives you a sense of the weirdness of the movie.
It’s cool to think of how a very modern title design like that of Stranger Things can be traced back to this time.
Another interesting side note is that in 1929 a new Oscar category was introduced for Best Title Design, recognizing the importance and influence of the artform. Unfortunately, with the advent of sound in motion pictures in 1927, titles were then only used in the opening credits of a film and not between scenes, and the category was quickly dropped.
After the grand arrival of sound in movies, film title design continued to follow the same trajectory and kept on going in this direction through the 1930s and 40s. Relevant typefaces and illustration were mainly used to communicate the genre of a film – haphazard typography let you know it was a slapstick, and bold, ‘wanted’ poster style lettering was a favorite typeface and meant that a Western was incoming. Film title artists also started to get more creative with the styles of lettering, mixing fonts, using shadows, and also incorporating more illustrations and images.
Then from the 1950s onwards, the art of movie title design really came into its own.
The game changes
It might seem strange to us now to consider TV an existential threat to the movie industry, but back in the 1950s when televisions were just starting to make their way into people’s homes, there was a real sense that it could spell the end of cinema. All of a sudden the movie studios had a fight on their hands, and it led to some very significant changes.
TV companies had started to get professional graphic designers to make the opening sequences for their shows. Good graphic design is able to lend an extra finesse and edge to the production of titles. The film industry realized this and followed suit. Soon, independent filmmakers started bringing in original ideas on how to create title sequences, developing techniques and styles that had never been seen before.
It heralded a brand new era for movie title design. Some of the biggest names to ever be associated with film title design emerged in this period – Maurice Binder, Saul Bass, and Pablo Ferro. If these names don’t ring a bell for you now, the films they designed the title sequences for definitely will.
It’s all about the bass
As far as pioneers go, Saul Bass is right up there as a legendary title designer.
He used a whole host of different techniques in his film title sequence design – typography in motion, montage, live action, cut-out animation and more. He first rose to fame through his title sequence for The Man with the Golden Arm in 1955, a film about a jazz musician’s struggle to beat his heroin addiction. A somewhat difficult story to portray in a title sequence, Bass did it masterfully by using an illustration of a crooked and misshapen arm as a visual element to represent that of a drug addict, and then using lines as a graphic element to represent the heroin needles.
Bass is also well known for his work on the title sequences of a number of Alfred Hitchcock’s movies, including Psycho, Vertigo and North by Northwest, with the latter being singled out for praise on account of its use of kinetic typography. He enjoyed a long and illustrious career, working all the way through to the 1990s when he created the title sequences for Martin Scorsese’s Goodfellas and Casino, before he passed away in 1996 at the age of 75. Bass and his work remain hugely influential to this day.
The era roars on
Maurice Binder is also rightly considered to be one of the foremost title designers of his time.
He’s best known for creating the James Bond title that takes the perspective of looking at Bond down the barrel of the gun. Binder created it for the first James Bond film, Dr No, in 1962, and a variation of the sequence has been used in the titles of every Bond movie since, making it one of the most iconic title sequences of all time. Now that is a legacy.
Alongside Bass and Binder, Pablo Ferro is the other major name in film title design to emerge in the 1950s and 60s. Ferro was entirely self-taught, teaching himself animation from a book. He began his career as a freelance designer in New York, working with major players like the legendary comic creator Stan Lee, before going on to found his own company in 1964.
Ferro garnered praise and attention for his film title design work as soon as he burst onto the scene, and in his early works he developed the styles and techniques that he would become famous for. For the title art sequence of Stanley Kubrick’s Dr. Strangelove, Ferro hand lettering a custom typeface over the footage of a plane refueling in midair. This hand drawn style stood in stark contrast to the sharp, clean graphic design of Bass.
Another technique that Ferro pioneered was the use of split-screen, or multi-screen, images, often also employing the use of quick cuts. He first displayed this style in 1968’s The Thomas Crown Affair, and it was considered revolutionary at the time. His career as a graphic designer soared across four decades and resulted in the creation of more than 100 hundred title sequences.
Harnessing computer power
From the 1970s onwards, we start to see the impact of computer-aided design on film titles.
The advent of new technology and software enabled title designers to combine multiple techniques more easily, allowed for more experimentation, and pushed the boundaries of what was possible.
While limitations definitely force people to come up with creative solutions, which is something that film title designers were already adept at, the new possibilities presented by computers really allowed for more experimentation and boundary pushing. Title designers were suddenly able to combine animation, cinematography, graphics, special effects, typography, and more with ease.
By the 1990s, you could see the influence of film title design pioneers on a new generation. Kyle Cooper is the leading example of someone who drew inspiration from early film title designers like Saul Bass and Stephen Frankfurt. Cooper says that his approach is to "dig under the celluloid and tap into the symbolism of a film". This type of depth really shines through in his work.
Cooper’s first title design was for 1995’s Seven, which went on to receive great critical acclaim. For the typography, he hand-etched the lettering into a black scratchboard, giving it a more organic feel. This was then distorted further during the post-production process. This use of digital and analog techniques was like a meeting of the old school and the new school.
Since this first outing, Cooper has gone on to become the new go-to guy for motion picture title sequences. He now has over 350 credits to his name, including work on not only major films and TV series, but also video games.
Coming full circle
Where Kyle Cooper has taken influence from previous title designers and created new and wholly original ideas, other contemporary title designers have taken more direct inspiration from the classics. This isn’t to say that these new title designs are derivative or unoriginal, if anything, they are refinement and extension of the foundations laid by the work that first emerged in the 1950s and 60s.
The title sequence for Steven Spielberg’s Catch Me If You Can by Paris-based graphic designers Florence Deygas and Olivier Kuntzel from 2005 is a great example. It is unmistakably influenced by Saul Bass through its use of spot colors, silhouettes, and smooth lines. This sequence has been made using modern technology, so it is able to push the style of Bass even further to make it more than a simple homage.
Another good example of this reimagining and development of classic titles can be seen in the opening sequence for David Fincher’s Panic Room. The production of this sequence took more than a year to complete, and involved both the visual effects house ComputerCafe and title sequence company, The Picture Mill. The titles clearly take inspiration from those of North by Northwest, but they take the game to a whole new level. The white lettering floats in the air above various parts of New York City, and it even casts shadow on the city below. This attention to detail is incredible, and once again shows how you can take a previous idea and develop it in a way that pushes it to a whole new level.
Conclusion
From their humble origins as static frames at the start of silent movies, film titles have evolved to become an art form in and of themselves.
Early pioneers like Saul Bass and Maurice Binder revealed the true potential of good film title design, showing how when it is done right, it can define a film to the point where the typography and titling become the marketing identity and even logo of the film.
Now modern technology has enabled film title design to reach new heights, and the possibilities are limitless. Title sequences can now do more work than ever before. They convey mood, provide narrative, reveal subject matter and set the expectations of the audience. Whether you’re an expert or not, we all know a great title design when we see it. Maybe it’s time that the Academy brought back that Best Title Design Oscar category.
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correct_starring_00069
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0
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https://cl.pinterest.com/avikhandshiya/indian-movies/%3Famp_client_id%3DCLIENT_ID(_)%26mweb_unauth_id%3D%257B%257Bdefault.session%257D%257D
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en
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[
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2016-05-23T11:50:01+00:00
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May 23, 2016 - Explore avikhandshiya's board "indian movies" on Pinterest. See more ideas about indian movies, deepika padukone, om shanti om.
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en
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Pinterest
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https://in.pinterest.com/avikhandshiya/indian-movies/
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