BOLLYWOOD HIT FILMS FOR 2006:

We measure the term "Hits" based on gross at the Box Office:

(1) Rang de Basanti

(2) Krish

(3) Dhoom 2

(4) Lage Raho Munnabhai

(6) Omkara

(7) Fanaa

(8) Kabhi Alvida Na Kehna

(9) Vivah

10) Don:

Did I leave out any worthy to be on the List?

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India's Hindi Movie Industry, Bollywood, Booms in 2006

By Anjana Pasricha
New Delhi

31 December 2006

India's prolific Hindi movie industry, popularly known as Bollywood, recovered from a long slump in 2006. Not only did the industry produce a series of big hits, but market avenues such as Internet and television also began contributing more money to the trade. Anjana Pasricha has a report from New Delhi.

The movies that grossed big earnings in 2006 ranged from breezy comedies like Lage Raho Munnabhai to a film called Krishh, which created Bollywood's own version of Superman, and a slick, action-packed movie titled Dhoom 2.

These hits buoyed an industry whose films had been flopping with alarming regularity in recent years. Most films barely recovered production costs, only a handful brought in a profit.

Film industry analysts say producers reversed the trend by moving away from clichéd love stories and predictable family dramas to experiment with new themes. An explosion of new multi-screen cinemas built across India also prompted audiences to return to theaters.

Bollywood trade analyst Taran Adarsh calls the results impressive.

"The quality of cinema has improved, by quality I mean story as well as story-telling technique, audiences are coming back, cinema conditions are improving with multiplexes coming in, people are going back to theaters in a very big way," noted Adarsh. "All kinds of cinema was attempted, you cannot really say one particular genre clicked. Overall it was a great year."

It is not just audiences at home that are boosting Bollywood's revenue. The industry also collects huge earnings from movie-crazy Indian expatriates around the world, who are eager to rent or buy video versions of Hindi hits. In fact, some films that failed to make a profit in India were great successes overseas.

The film studios are based in Mumbai, also known as Bombay, which led to its comparison with the U.S. film industry based in Hollywood, California.

According to rough estimates, Bollywood is a one and a half billion dollar industry, and an estimated four billion people watch its films worldwide every year.

However, there are no accurate figures on how much money the industry makes, because financing for the Hindi movie trade has never been transparent.

Most of the funding comes from private film distributors and a few large studios, and some even from Mumbai's thriving underworld.

But the movie industry is in wide agreement that its fortunes have turned around this year.

Trade analysts say it is not just box office revenues that are responsible. They say traditional movie-making economics are undergoing a change as the Indian film studios also begin to rake in revenue from new media such as Internet rights and satellite television channels.

And in a country besotted with anything related to Bollywood, revenue also flows in from ring tones that use movie songs, film clips that run on mobile phones and video games based on films.

Taran Adarsh says Bollywood is likely to earn even more from such sources in the coming years.

"Bollywood is making additional money from non-theatrical rights. People are exploring newer territories, newer avenues, and that is a very healthy trend for producers to rake in additional money," added Adarsh.

The changing fortunes of the Hindi movie industry have prompted banks, big conglomerates and media businesses to line up to invest in show business, which was once considered too risky for serious investors.

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Major hits make 2006 year of blockbuster for Bollywood

Mumbai, Dec 25. (PTI): It has been the year of the blockbuster. Whether it is the fiery "Rang De Basanti", the wisdom spouting Munnabhai or the smooth conman in "Dhoom 2", audiences brought unprecedented revenue for Bollywood.

Some of the decade's biggest blockbusters were witnessed this year with film revenue touching unprecedented heights. The Hrithik Roshan-Aishwarya Rai film from the Yashraj stable "Dhoom 2" reportedly earned Rs 110 crore within the first three weeks of its release.

The new year, however, looks equally exciting for the industry with Ashutosh Gowariker's magnum opus "Akbar Jodha", again starring Hrithik and Aishwarya Rai, and Sanjay Leela Bhansali's much awaited "Saanwariya" that will see the debut of Ranbir Kapoor (Rishi Kapoor's son) and Sonam (Anil Kapoor's daughter).

The past year also witnessed sequels and remakes. New versions of hits of yesteryears "Umrao Jaan" and "Don" saw the light of theatres while more such ventures, including Ram Gopal Verma's "Sholay", were announced.

The business of sequels made sense for the film industry, with second editions of "Dhoom" (Dhoom 2), "Koi Mil Gaya" (Krissh) and "Munnabhai MBBS" (Lage Raho Munnabhai) finding great favour with audiences.

In fact, such was the popularity of these movies that they were credited for several social trends. While "Rang De..." was credited with the sudden upsurge of citizen's movements in the country, Munnabhai's message of "Gandhigiri" was a phenomenon in itself.

"There has been no pattern to this year's hits. Small budget films like 'Omkara' also found favour with the people, as did big budget ones like 'Fanaa'. This year truly has made up for all the bad years when Bollywood had only one or two big hits," says trade analyst Taran Adarsh.

"'Dhoom 2' was the year's biggest grosser but then most Yashraj films, including 'Salaam Namaste', 'Fanaa' and 'Kabul Express' have not really been flops because of their aggressive marketing strategy," Adarsh says.

"Krissh", the tale of a desi superhero and "Lage Raho Munnabhai", which took Mahatma Gandhi's teachings to a different level for the new generation, were the other big grossers of the year.

"Omkara", Vishal Bharadwaj's take on Othello set in rural India, was well received as was Nagesh Kukunoor's "Dor" and Karan Johar's tale of extra marital strife, "Kabhi Alvida Na Kehna".

"This year, filmmakers learnt how to innovate and generate revenues through unusual sources. Music rights, TV rights, overseas collections and marketing tie-ups meant that not many films lost money in 2006," an analyst said.

The outgoing year will also be remembered as the year when firebrand actress Kajol made her comeback and superstar Amitabh Bachchan returned to films after a three-month break due to a stomach illness.

The film industry also lost some of its stalwarts including music director Naushad, filmmaker Hrishikesh Mukherjee and actress Nadira.

But it was not just movies that Bollywood made news for. From actor Sanjay Dutt's conviction for illegal possession of arms in the 1993 Mumbai blasts case to Aishwarya Rai getting in trouble with the customs department for a mystery packet containing 23,000 euros, film personalities made news off screen as well.

Dutt was convicted under the Arms Act and not the draconian TADA, while Rai found herself fending off allegations not only about the mystery packet but also reports about her relationship with Abhishek Bachchan.

The Aishwarya-Abhishek story was perhaps the most talked one about this year with rumours about their impending nuptials reaching new heights before the release of their movie "Umrao Jaan".

The media tracked the couple's every move including their visit to temples in Varanasi, reportedly to seek blessings before tying the knot.

While 2006 was an action-packed year for the film industry, the coming year promises even better things and film goers can sit back and enjoy a roller coaster ride in the magical world of Hindi films.

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Bollywood made big bucks in 2006
25th Dec 2006 21.20 IST


25th Dec 2006 21.20 IST
By Agencies

Some of the decade's biggest Bollywood blockbusters were witnessed in 2006 with film revenue touching unprecedented heights.

It has been the year of blockbusters. Whether it is the fiery Rang De Basanti , the wisecracking Munnabhai in Lage Raho Munnabhai or the smooth conman in Dhoom 2 , audiences brought unprecedented revenue for Bollywood.

The Hrithik Roshan and Aishwarya Rai starrer (Dhoom 2) from the Yashraj stable reportedly earned Rs. 110 crore within the first three weeks of its release.

The business of sequels made sense for the film industry, with second editions of Dhoom (Dhoom 2), Koi Mil Gaya ( Krrish ) and Munnabhai MBBS (Lage Raho Munnabhai) finding great favour with audiences.

In fact, such was the popularity of these movies that they were credited for several social trends. While RDB was credited with the sudden upsurge of citizen's movements in the country, Munnabhai's message of "Gandhigiri" was a phenomenon in itself.

"There has been no pattern to this year's hits. Small budget films like Omkara also found favour with the people, as did big budget ones like Fanaa . This year truly has made up for all the bad years when Bollywood had only one or two big hits," trade analyst Taran Adarsh is quoted as saying.

"Dhoom 2 was the year's biggest grosser but then most Yashraj films, including 'Fanaa' and Kabul Express have not really been flops because of their aggressive marketing strategy," Adarsh says.

Karan Johar's tale of extra-marital strife, Kabhi Alvida Naa Kehna too got an excellent opening.

"This year, filmmakers learnt how to innovate and generate revenues through unusual sources. Music rights, TV rights, overseas collections and marketing tie-ups meant that not many films lost money in 2006," an analyst said.

While 2006 was an action-packed year for the film industry, the coming year promises even better things.

The very first months of 2007 will see the release of Mani Ratnam’s Guru and Nikhil Advani’s Salaam-e-Ishq .

The second half of 2007 will see some big movies like Ashutosh Gowarikar's magnum opus Jodha Akbar , (starring Hrithik and Aishwarya) and Sanjay Leela Bhansali's much awaited Saanvariya

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Honorable mention goes out to:

(1) Corporate

(2) Umrao Jaan

(3) Gangster

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Rang De Basanti Movie Reviews

Rang De Basanti

A phenomenon of sorts... would be an apt way to describe this movie. One of the most unique, touching and awe-inspiring movies to have come out of India in recent times, Rang De Basanti [Paint It Yellow] leaves an indelible mark on your psyche, and your soul.

Rang De Basanti tells the story of young Brit film-maker Sue, whom on finding her grandfather’s diary decides to make a film on it. A British officer of some of the more tumultuous periods of the Empire, it’s an authentic account of the final days of many of India’s young freedom fighters, and a story on many accounts - she feels should be told. On her arrival in India she stumbles upon a group of five friends; free-spirited and full of verve, and slowly the revolutionaries she seeks and her film begin to take form...

The problem is they can’t identify with their characters; they don’t believe in the freedom fighters they’re trying to portray, or their ideologies. This is generation next, and consumerism and hedonism rule, patriotism doesn’t even get a look in. Why would someone give up their life for their country? Especially one so corrupt, disparate, and polluted in its current state... As the students re-acquaint themselves with Indian history, we slowly witness the gradual transition from free-spirited youths without cause to something quite unexpected.



In India, the colour (Rang) of spring (Basanti) which is yellow - represents sacrifice and freedom. When someone says, "Mujhe rang de basanti" (paint me yellow) it means that person is ready to be sacrificed for a great cause. This was a pre-independence war cry used by freedom-fighters.

Rang De works on a number of levels, it takes a realistic view of issues facing the youth of India today, their indifference to the current state of affairs, politics, society and the more serious issues affecting them and youth the world over. Their attitude seems akin to: “Am I bothered?” that is until unexpected incidents cruelly rock their world.

Its' pomp and enthusiasm take you to a certain comfort level; make you fall in love with the characters, and when things start to go awry, you’re more than willing to come along for the ride. Yet it is incredulously aesthetically astounding, the sheer fluidity of the narrative simply poetic. A hugely ambitious endeavour, it delivers with thundering aplomb.

Mehra’s movie beautifully intersperses present day happenings with scenes of pre-independence struggle, intercut with fluidity and élan. Much of this can be attributed to the lush cinematography (Binod Pradhan) and the editing (P S Bharathi) which fluently merges past and present, marrying them deftly to take the film to another level. The director has been clever to use the leads as both the dis-affected youth and the legendary revolutionaries in the flashback sequences. The screenplay is taut, clever and consistent; the wordplay more so. Special mention to the beautifully crafted script by Kamlesh Pandey, Rensil D’Silva, Prasoon Joshi and Mehra.

Though the climax is a tad incredulous, it makes you realise the director knows his craft, and knows it well. Its sheer audacity ensures this, and enhances the impact of his vision. It sends you reeling, and whilst the director has held your hand and guided you through the movie, here he seems to have spun you around and disappeared without trace leaving you to simply get thinking, and it echoes: Stop cribbing, start acting.

He has achieved a rare feat of making socially relevant ideologies contemporary, interesting and enjoyable. The film doesn’t preach, it’s not jingoistic or whiney, it just makes you reflect, want to talk, and possibly even act... It shows the difference between past years freedom fighters, and the ways in which people can make an active difference today - we may have the solutions to problems, but before acting upon them first we have to acknowledge that we are part of it. Our lackadaisical attitude about most things means we’re always the first to criticize, yet always the last in stepping forward to improve the situation.

A film within a film, a social and political parable, a snapshot of the youth of today; their simmering discontent slowly turning to indifference, and the prevailing moral degeneration of the nation. It’s bold, ambitious, subtle yet downright fervent as the protagonists hurtle towards their final act, with the same infectious passion and laughter we have become accustomed to. As serious as it all sounds, this is one of the most entertaining and fun movies to come out of India in recent years.

The performances are fantastic, and as an ensemble they compliment each other beautifully. Khan continues his march for path-breaking movies and quality cinema, whilst debutante Patten (daughter of Chris..) is aptly contemplative and excited as Sue. It’d be easy to mistake this for a patriotic movie, it’s not. More a tale of humanity, morality, and taking a stand rather than being part of the silent majority. Its audacious spirit becomes its beauty. “A Generation Awakens” - It surely does.


RDB Continues..............
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Film review: Rang de Basanti

This film concentrates many of the contradictory trends sweeping India and much of the world today. At a time when everyone is told how India is joining Western consumer society and its youth care only about money and getting ahead, here is a film that passionately depicts the rage burning just below the surface among many middle class youth there. It is a striking portrayal of the difference a handful can make if they take a bold, just stand. Yet the film is also marked by a time when, to much too great an extent, disbelief in the power of the masses to change the world goes hand-in-hand with narrowing the problem down to one or another symptom—like “corruption” or “bad apples”—of what is in fact an entire system that needs to be taken on and overthrown. Nor will the emotional calls to Indian patriotism go down well with the millions of oppressed in neighboring countries who view India as a regional gendarme.

The star of the film is Aamir Khan, who early in his career decided “to do only a limited number of assignments with conviction.” He has certainly been involved in several films that challenge people’s thinking. He is probably most famous in India for his role as the hero in Legaan. His character was described by one film critic as “a simple but defiant villager who takes on the British Raj by accepting a challenge that looks impossible to deliver.” He first came to the attention of mainstream Western audiences for his role in The Rising—Ballad of Mangal Pandey,a film glorifying the first uprising in India against the British Raj, in 1857.

Another face in the film familiar to both South Asian and Western filmgoers is Om Puri, known to British audiences from his portrayal of the father in both East is East and My Son the Fanatic (the latter being a film “ahead of its time,” with its sub-plot that today would be considered to be touching on the roots of “home grown terrorism”). In Rang de Basanti he again plays a father, this time the father of the young Aslam, the Muslim member of the group of friends, whose family tries fiercely to persuade him that Muslims should keep themselves separate from Hindus. One of the film’s strengths is the way that it challenges this, including by exposing the way that racist Hindu parties like BJP prey on the frustration of the nation’s youth and actually cooperate closely with India’s rulers. In fact, as the final confrontation looms, Laxman, the Hindu activist in the group who starts off as anti-Islamic, takes the hand of the Muslim Aslam. They face death together, as brothers. In today’s India, where powerful forces are whipping up tides of religious and racial distrust and hatred, this is a stirring message to the youth.

The film had a record-breaking first week in India. It has been on wide release outside India in New Zealand, Australia, Singapore, Fiji, Gulf countries, Canada, the U.S. and UK. During its first week in the UK, it reached the thirteenth spot at the box office, despite having only been shown on 38 screens, less than a tenth the number as the big blockbusters. Many young people have seen the film due to the music by Rahman and the somewhat misleading trailers (which suggested the film would be of regular Bollywood fare—good music, love and fun). But most who see it, regardless of their original motive for going, are moved by the saga of Bhagat Singh and his comrades and the bravery of today’s young friends.

The film shows how events can turn hedonistic youths into bold rebels, but the main question has to be what will the future hold. The film ends with a little boy named Bhagat in a field of what looks like rapeseed asking his father, who is planting a different crop (mangos) in just one small area of the field, what he is doing. The father replies that he is planting a mango tree, and that from one mango tree a hundred will grow. So the film presumably is posing the question as to whether from one revolutionary, Bhagat Singh, and his story being retold today in the 21st century through DJ, will a hundred more revolutionaries step forward? It is a question that is up to us to answer.

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NEXT WE LOOK AT HRITICK ROSHAN'S KRISSH

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Yes. You missed DOR