Executive Director/Founder of the LA Web-Series Festival, Michael Ajakwe, specially took time out of his hectic pre-festival schedule and met up with Team Bollywood to Hollywood.

Says Michael, “The content of the web-series Bollywood to Hollywood is extremely entertaining, funny and timely. My team and I watched all the webisodes and we couldn’t stop laughing! It needs to be seen and that’s why I included it in the festival and I’m here to help in whatever way I can.”

The creators were extremely excited about this young Festival which is garnering so much buzz and feel this will be a great platform for them to promote the film and TV franchise of Bollywood To Hollywood, though both have entirely new plots and storylines but have some of the principal characters in them.

The cast and crew went on to receive immense accolades at the festival. Lead actor Sunil Sadarangani took home the best actor award while supporting actors Jeff Doucette and Radhika Chaudhari took home best supporting actor and best supporting actress awards respectively.

Elated and overjoyed, the cast found themselves surprised by the awards but are looking forward to taking the webseries to bigger and greater heights in the coming months.

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In addition, he struck gold with renowned actress Liliana Arriaga who stars opposite him in the film. “The meeting of the character Maria, played by Liliana Arriaga, happened to me in May 2008, on Mother’s Day. The interaction with her coupled with the fact it occurred on Mother’s Day, motivated me to write the script. It was only 2 years later, I decided to start making the film,” he added.

The writer/actor/producer also went on to talk about his experience on set. “Through the journey of producing this film, I have been blessed to have on board creative and wonderful people. Multiple award winning Director, Stev Elam, brilliant cinematographers Justin Chefe and Stuart Bunton, expert on-location sound engineer Devin Golub, Trailer Editor Peter Finestone (ex-drummer of Bad Religion), music scorer Gunnard Doboze (scored Oscar nominated short documentary film ‘Last Campaign of Governor Booth), my producer partner Saba Moor-Doucette and above all the very talented and brilliant actress Liliana Arriaga. Liliana was an amazing, fun and wonderful co-star to work with,” he explained.

In Transit is set to release soon. Watch this space for more!

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But for Pooja, the greater delight was hearing the film’s title ‘Imaandari Ki Maa Ki Aankh’. She burst out laughing, “The title of the film itself is so appealing that one is naturally curious to know what the film will be about. I certainly wish the entire team of the film the best, and hope they make a good one,” she said. Directed by Rashid S Khan, with music director Mudassir Ali, the film’s star cast includes Omkardas Manikpuri, Hiten Tejwani, Viju Khote, Rajesh Vivek, Mukesh Bhatt, Gopal Singh, Roopali Ganguly, Kashish Dhanoya, Usha Jaadhav, Shalini Pandey and many others.

Pooja is looking forward to the film carrying Ramachandran’s quintessential sense of humour, which she has herself borne the brunt of. “We have shared a great friendship over the years. When I got married properly — and that was one of the few proper things I have done — as a journalist, he carried footage of my scenes from Dil Hai Ke Maanta Nahin where my father urges me to run away from my wedding and had good fun at my expense! I was making my film Paap at that time and he mentioned that ‘Paap karte karte maine punya kar diya’ — I used that statement in all of my interviews later!” she laughed.

Ramachandran hopes Pooja’s presence will rub off on him and his debut in many ways. “She will have a lot more to do in the film than just give the clap. I have told her that I will be calling her up at every instant for help,” he says. Ramachandran is keen that Pooja’s grace and luck rubs off on the film. After all, the only other film for which Pooja has ever given a mahurat clap was Aashiqui, which went on to be a runaway hit!

The film, which is co-produced by Irshad Khan went on the floors last week and the first schedule of the film has been completed.

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Manu (R. Madhavan) is well settled London doctor who is forced to take a look at a number of potential brides. It is the vivacious Tanu (Kangna Ranaut) who captures his heart almost instantly. However, Manu is in for a shock when he learns that Tanu is in fact in love with someone else and thus, breaks off the engagement. Manu is stuck in Tanu-land and just when he believes he is finally over her, she makes a reappearance at a common friend’s wedding. It is then that the duo get to know one another only to find out that she is still in love with her first love. Determined to get the two back together, he sets out to play cupid. The ending of course, is fate taking its own toll on the couple as Tanu finally falls in love with Manu. No guesses; the climax is a full-fledged wedding.

Alright, with the amount of wedding films that Bollywood produces on a regular basis, it shouldn’t surprise you that this one has erupted on the cinematic scene. What works for the film is director Anaand Rai’s vision for the film. It’s simple and yet effective with its execution. The locales, for starters, are used incredibly. The film travels from Punjab to Lucknow to Delhi and so on. At the same time, the casting works wonders. Both Maddy and Kangna come from almost opposite schools of acting but at no point does one outdo the other. However, it is the script which allows the actors to work as well as they do. But what really is the highlight of the film are the dialogues. To call them funny, would be an understatement. The film is based around the one liner’s that keep you on your toes. On the flip side, the film does have its downside. While the film screamed great music, it failed to actually appear in the film. And for a film which is about love and weddings, music really needed to be included. While the script is incredibly fun, it could have been easily trimmed and edited to create a far more impactful effect. Lastly, the climax happened to be too well, gosh darn expected. The clich

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His current offering included Priyanka as Susanna who is out to find true love. And she does, 7 times over. With Vishal Bhardwaj’s unique style and understanding of cinema, it really isn’t a surprise that the film looked rather dark and grim; very pertinent of Bhardwaj’s style. In true B-style (that’s Bhardwaj style), the film is based and adapted from a book. This time it is Ruskin Bond’s, “Susanna’s Seven Husbands.” In the past, there isn’t a single film of his that didn’t wow me. Would 7 Khoon Maaf do the same?

Susanna Anna-Marie Johannes (Priyanka Chopra) is looking for love. She first meets an Army Major Edwin Rodrigues  (Neil Nitin Mukesh) who is killed because of his possessive nature and the amount of verbal abuse he throws her way. Next, she meets singer Jimmy Stetson (John Abraham) who Susanna believes is the real man of her dream. However, as success becomes a major part of his life, he turns to other women and drugs. After trying to “fix” him, she finally realizes he is a lost cause and thus, lets him die via a heroin overdose. A poet, Musafir, (Irrfan Khan) plays hubby number three for Susanna. But while he speaks beautiful words by day, he is a wife-beater by night. Unable to bear the pain anymore, she kills him and buries him in the snow. Nicolai Vronske (Aleksandr Dyachenko) is the next man to woo Susanna. The Russian undercover spy is slaughtered by Susanna when she finds out of another wife and kids. He is bitten by a snake; Susanna’s pet snake that is. Susanna finds herself slowly but surely leaning towards insanity at this point but is still in search of true love. Keemat Lal (Annu Kapoor) comes along and saves Susanna from facing any punishment for her crimes and thus, Susanna believes she has found her man. However, his overuse of Viagra gives Susanna yet another reason to murder him. She then meets Dr. Modhusudhon Tarafdar (Nasseruddin Shah). The doctor is actually out to kill her and after failing a number of times, it is then that Susanna does the same to him. Last but not least, the seventh and last husband Susanna finds is the one which finally gives her the ultimate happiness.

Vishal Bhardwajs’ film has one major major problem: it’s repetitive. After a while, the plot doesn’t engage anymore and you are waiting with abated (read: boring) breath for husbands 3 and onwards to just plain die. The characterization of Susanna is beyond understanding. Why is so desperate to find love that she is willing to put herself through a number of men who individually treat her worst than the next? I’m not sure what Vishal’s reasoning was but it never came through in the script. And why isn’t she ever caught? A woman who has 6 husbands who all “mysteriously” die is one the feds would jump on. Yet another illogical part to the film. What works for the film? Well every scene screams Vishal Bhardwaj. The sights and frames are all incredibly beautiful. The transition of time too is interesting as we see Susanna age along with real-time events that did occur. As a director, Vishal excels in his execution.

As for Priyanka Chopra, well the actress basically needs to take a break. Her enactment of Susanna was for the most part, over the top. This idea of changing a number of avatars in a film is now seriously boring. What’s Your Rashee anyone? However, with Priyanka it’s really the same thing over and over again. The same smile, the same over acting and so on. Either she takes a break and comes back with something different or she can kiss her career goodbye. Versatility is a required trait in the industry and Priyanka is headed in the opposite direction. The rest of the cast does well. But it’s Irrfan, Neil, Naseer, Annu and Vivaan Shah, who is thenarrator of the film who rise above the rest.

The music, thankfully, is a high part of the film and is used superbly throughout the film.

This unfortunately, is a disappointing giving from the Vishal Bhardwaj house. For the most part 7 Khoon Maaf fails to live up to the otherwise exquisite and honestly different genre of films that Vishal always tends to throw our way. For a director who has promised to be different, this is awfully lackluster and disengaging. You can’t help but question if, in fact, Bhardwaj has lost the spark he once possessed because this film cannot ask for maafi from us.

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While his admiration for the actress cannot be matched or imitated, he has yet to meet the actress. “I had missed several chances of meeting Sridevi. There was this time, when during my school days, Sridevi used to model for Vimal Sarees and the showroom in Mangalore had invited her. I got to know about it, and was in my school. I had to bunk class to go and see Sri. But, my fate that Sridevi came and had left just 10 minutes before I reached the destination. I was a school boy then, so it was difficult for me to take any transport and reach her,” he reveals. And this is just one of the many times Sridevi escaped before Malani could see her.

He has been quizzed by a radio station on Sridevi’s birthday. “I was interviewed and they had put some rapid fire question, besides had asked the listeners to ask me anything about Sridevi, and at the end of the show, I won by answering all and the title: Sridevi ka Sabse Bada Fan!”

Malani hopes to make a documentary film on his favorite actress that will highlight the best of Sridevi and her journey through films. “I was, I am and I will be the only biggest Sridevi fan and that too No. 1 Sridevi fan in this entire universe,” he claims.

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According to sources, Shilpa wanted a more prominent actor to work opposite her in the film while Nagesh was keen on signing an actor who was new or lesser known. In addition, the fact that Shilpa kept calling herself the solo producer of the film was upsetting the director since they both had decided to co-produce the film. Eager to get on with the film, Nagesh headed straight for his favorite, Ayesha Takia who had been taking a break from her career after her marriage.

In recent past, Kukunoor has found himself in quite a lull with three back-to-back films, Bombay to Bangkok, 8×10 Tasveer and Aashayein all failing critically and at the box office. He is banking on this film to help revive his directorial career especially since he happens to be the man behind films like Iqbal and Dor.

Shilpa Shetty’s camp insists that they pulled out from the film since it wasn’t “commercially viable”.

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Gurtej Singh Kahlon (Rishi Kapoor) is happily settled in Southall, London with his family in a house he has named Patiala House. However, after his guru (Prem Chopra) is discriminated against by local firangs, he immediately detests the sight of Britishers. His home is filled with children, daughter-in-laws, son-in-laws and his “favorite” son Pargat (Akshay Kumar). With dreams in his eyes, Pargat has not been given any choice but to watch a shop while he would rather be bowling on the field and making his way to the English cricket team. It isn’t until he meets the vivacious Simran (Anushka Sharma) who teaches him how to stand up for himself and work toward his dream as he fixes Patiala House.

The problem with Patiala House is that it lacks direction. From the get go you believe the film is a family drama. No wait. It’s a comedy. Just when you’re about to take out your handkerchief, you put it right back. And this is biggest issue with the film. In fact, the film loiters between a Kabhi Khushi Kabhi Ghum and Housefull. As a director, Advani tries his best to bring out the Punjabi-ness that is kal and aaj. In that aspect, he does well. He clearly understands the N.R.I mentality immaculately well and displays it with great nuance and ease. You are almost taken into a lifestyle that is unknown to most viewers. It is that aspect that keeps viewers glued to the film. The film is interesting as it explores a number of arenas: patriotism, the N.R.I. angle and the difference in generations. Of course, you can expect a wedding, a number of emotional scenes and a climax which ends with a nail biting (not really) climax.

Akshay Kumar is back. Thank goodness. No over the top screaming and shouting here; no siree. In fact, he makes a comeback with a performance that is subtle, underplayed and honest. Even in his comedy scenes, he seems more at ease with the character of Pargat. Anushka Sharma is getting more and more awesome with every film. Her confidence is remarkable even though the focus of the film is between a father and son. Rishi Kapoor is well, Rishi Kapoor. Perfectly played, the character of Gurtej Singh Kahlon, comes alive only because Mr. Kapoor is so superb. Dimple Kapadia too lends a good hand and isn’t ignored.

The music is interesting. Shankar-Ehsaan-Loy try their best to keep it North Indian and in some segments they do well. Overall, Patiala House makes for an interesting watch. It is the first family drama this year and well, Nikhil Advani is a Karan Johar prot

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Let’s be honest; there is a certain amount of bias to particular stars depending on the ceremony association. For example, because The Filmfare Awards are hosted regularly at Yash Raj Studios, the likes of Karan Johar and Shah Rukh Khan are felicitated. Why? Because the duo are pretty much family to the Yash Raj clan. Er, technically that hardly makes the award ceremony critical and democratic. What irks most viewers (myself included) is the mere fact that actors who performed outstandingly this year were simply ignored. Aishwarya Rai, who performed par excellence in Guzaarish was simply ignored as was Hrithik Roshan‘s phenomenal enactment of Ethan for the same film. Realizing that every other award ceremony was giving Vidya Balan an award for Ishqiya, Filmfare decided that the so-called Critics Award for Best Actress had to be thrown her way. Right. This definitely makes sense. Please sense the sarcasm.

Films like Udaan were given some idhar-udhar awards, which seemed like they were doing the film a favor. Ditto for Dabangg, which in actuality really helped the industry and told producers simply to rid themselves of pseudo ideas and keep it Indian. When will the likes of Filmfare realize that audiences are not stupid? Granted the biggest stars tend to attend and so TRPs are rocking high but when it comes to genuineness, Filmfare has a lot to learn. From the looks of it, Filmfare does nothing but advertise major stars in the industry; the SRK’s, Bachchans, Chopras and so on. Why seriously talented actors are ignored, is simply beyond me.

On an ending note, all I want to say is when Hrithik Roshan realizes the show and awards are clearly a sham, he decides the smartest thing to do is exit. And when his wife, Suzzanne tweets, “Just came back from filmfare sometimes in life we get what we don’t deserve..makes it ruff to understand what’s the logic in all this..”, then all we can say is one word: Ditto.

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Set in Delhi, Yeh Saali Zindagi depicts Arun (Irrfan Khan) and Mehta (Saurabh Shukla) work together in a business which is unstated. It does involve a tad bit of money laundering, some goondagardi vis-

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