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~~~FAN Reviews & BoxOffice Update 4~~~ (Page 27)

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Posted: 06 May 2016 at 7:37am | IP Logged
Originally posted by blue-ice

This is hilariousROFL
http://topyaps.com/srk-fan-look-scenes?utm_source=Facebook&utm_medium=Social&utm_campaign=TYPage
HAHAHAHAHAHA ROFL Too hilarious! Those captions thoughLOL

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Posted: 06 May 2016 at 7:43am | IP Logged
Originally posted by srkjuhi

BI, that was too good manLOL
 
BTW, here's another review. Can't bring the article over as I'm on the phone right now so just posting the link to it.

OMG...love this review...so beautifulEmbarrassed

REFLECTION. ANALYSIS. OPINION.

Fan poster courtesy youtube" id="yui_3_17_2_1_1462541969164_126" style="line-height: 0; position: relative; overflow: hidden; padding-bottom: 360px;">

Fan poster courtesy youtube

Fan: Shah Rukh Khan's stunning masterpiece

Warning: mild spoiler alert

The figure of the double haunts our imagination in any number of ways. The idea that somewhere in the world someone may be living something of our lives, captured so poignantly in Krzysztof Kielowski's masterpiece The Double Life of Veronique, the anxiety that we may not be as unique as we think we are, or, in our contemporary era of data-mined and digitized life, the fears of identity theft; all center on the question of where our identities end and those of others begin. Shah Rukh Khan's recent film, Fan, takes these universal concerns and marries them beautifully with a profound, poignant understanding of Indian fan culture and the obsessive identification of fans with their stars.

Fan tells the story of Gaurav Chandna, a middle-class Punjabi boy in Delhi who looks like a poor man's version of Aryan Khanna, a Bollywood superstar. Gaurav, who runs a cybercafe, idolizes Khanna, performing as him each year in his neighborhood's annual cultural competition. Victorious this year, as earlier, he plans a trip to Mumbai, with the hope of meeting his idol on the latter's birthday and gifting him the trophy acquired at the competition. Chandna intends to retrace his hero's own journey, traveling WT (or Without Ticket) from Delhi to Mumbai and living in the same room in the same nondescript motel in which Khanna had stayed when he had begun, in common Bollywood-related parlance, his 'struggle' to become someone in the industry.

Chandna is but one of the giant throng who gathers outside Khanna's house. Aryan sees neither him nor the trophy he holds. Nor does he see the sweets Chandna's family have sent for the star, which scatter on the ground in chaos, as the police control and clear the crowd. Chandna is, at this moment, literally invisible. Undeterred, Chandna plays to stay on, and a series of events ensures that he gets to meet Aryan Khanna, though not under the circumstances he had hoped. From there onward, Chandna's obsession takes a darker turn, and the film mutates into psychological thriller and cat-and-mouse game, interspersed with some fine action set in the foreign locales that are obligatory for the contemporary Bollywood blockbuster.

Fan's genius lies in both the universality of its message and its sharp insights into the particular Indian experience of stardom and fandom. Director Maneesh Sharma captures the paradox that it is the unknown fan who makes the star, yet the star cannot acknowledge the individual humanity of the fan. For the star, the fan is fodder, the raw material he must consume to be himself. In this sense, the fan and the star need each other to complete themselves. In a powerful scene, Chandna tells Khanna this to his face, repeating the actor's tribute to his fans verbatim to drive home the point. In another equally moving moment, Chandna tells Khanna that the superstar will not be able to understand the nature of his adulation. It is the star actor who is incapable of finding genuine empathy, an emotion he otherwise must portray on screen.

As in any work of any meaningful complexity, Sharma is able to manipulate our sympathies and toy with them as our loyalties are divided between Khanna and Chandna. Adding to its depth, Fan weaves in at least two more sets of stories and references seamlessly into its narrative. It echoes Shah Rukh Khan's own journey from a middle-class Delhi boy to Bollywood's biggest rock star and references Khan's darker, earlier films like Darr and Baazigar as well as, in more subtle form, the paradigm-shifting Dilwale Dulhania Le Jayenge. It also pays tribute and homage to the many traditions of the "Bollywood double,"  including the classic convention of the double role, the staple of the long-lost twin or brother, the reincarnated hero, and the Amitabh Bachchan, Dev Anand, or Govinda lookalikes who often show up in minor roles in films and perform at opulent Delhi weddings or cultural functions like the one in Chandna's residential association.

Fan is apparently struggling at the box office. But that is no indication of its merits. Khanna and Chandna are both played superbly by Shah Rukh Khan, who is more than ably supported by excellent performances from the actors who play Chandna's parents. Director Sharma gets the accent, atmosphere, and essence of middle-class Delhi life perfectly, in small touches such as the father packing his son's bag for his journey, or the unconcealed hanging wire in the living room.

In a significant and, in some ways, radical subplot, Chandna's relationship with his parents is drawn with great tenderness. His mother and father accept his idiosyncratic, obsessive fandom and, in doing so, embrace Chandna for who he is, even as they have the concerns of usual Indian middle-class parents. The juxtaposition of Indian middle-class life and aspiration with the glamorous jet-setting life of a superstar is also superbly executed. Regardless of its eventual status as 'hit' or not, Fan is a film that will keep growing in reputation. It calls for repeated viewings since its profundity escapes summary. Guaranteed to become a classic and a significant statement in Indian and global cinema, it may well be Shah Rukh Khan's signature achievement as an actor.

The Auctorly Team

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Posted: 06 May 2016 at 8:51am | IP Logged
^^ WOW @the bolded red parts... really really feel so proud of SRK and this film... it will be remembered as a cult "flop" film... Big smile and surely it will grow in reputation with years...

btw can u guys believe I HAVEN'T WATCHED FAN TILL NOW!!!!! Cry damn my exams!!!!! Have to catch it online ...

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Posted: 06 May 2016 at 9:15am | IP Logged
Originally posted by blue-ice

This is hilariousROFL
http://topyaps.com/srk-fan-look-scenes?utm_source=Facebook&utm_medium=Social&utm_campaign=TYPage

OMG, these are HILARIOUS! ROFL
The Preity one and the Kajol ones! ROFLROFL

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Posted: 08 May 2016 at 1:48am | IP Logged
Chun-bling @MyChun_Bling 22m22 minutes ago

Just saw #Fan with SRK omg!! I now what it is all the fuss about. So much emotion and such a great acting. SRK really upgraded himself!!

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Posted: 08 May 2016 at 4:57am | IP Logged

SRK to Gaurav

- THE A TO Z OF the VFX that separates SRK'S Gaurav FROM SRK'S Aryan in Fan

Never before in the world has an actor been made to look so much younger through the run-time of a feature film, claims Team Fan. Haresh Harry' Hingorani, the visual effects supervisor on the SRK film, and chief creative officer of Red Chillies VFX, talks technology with t2.

When did you start work on Fan?

It started when we were working on Happy New Year. One day, the director of the film Maneesh Sharma and producer Aditya Chopra called Keitan (Yadav, the VFX producer of Fan and COO of Red Chillies VFX) and me to discuss the idea. We were very clear from the beginning that this would have to be a mix of prosthetics and VFX. We started scouting for the top prosthetics professionals in Hollywood and zeroed in on Greg Cannom. He has got three Oscars for Mrs. Doubtfire, The Curious Case of Benjamin Button and Bram Stoker's Dracula. It was decided that he would look after the prosthetics and we would colour correct and blend the edges using VFX to make it look real.

Which sequence did you start with?

We started with the train sequence as a test to check how it would look by shooting a full sequence of two minutes. This was also very difficult because the director and SRK were clear that if the test didn't work out, the movie would be shelved. The biggest challenge was ensuring that SRK looked like a 20-something.
In all, six months went into R&D before the shoot could commence. At that time, the ratio of prosthetics to real face was 70:30. But when light penetrates prosthetics, it gives it a fake look that doesn't blend well. The other challenge was that putting on the prosthetics takes a lot of time. So, we started reducing prosthetics from the forehead, neck and nose, retaining it only near the jawline, till the ratio became 30:70.

That meant more work for you...

Yes. Also besides the clean-up and other details, we added elements like Gaurav's stubble. In the police station sequence just before the interval, he has a stubble when he goes home after spending two nights behind bars. But wherever you put prosthetics it hides the stubble. So we had to regenerate the stubble on top of the prosthetics. We took a lot of reference photos and created a 3D model of the stubble. Every time as the angle of the face changed, we tracked his face based on markers, put on the stubble with a 3D rendering software and finally mixed it to make it look real.

Did Shah Rukh shoot the entire film with markers on his face?

Yes. Otherwise we wouldn't be able to track his face in 3D space. We increased his eye size, his eyebrows, re-modified his nose, and made his lips fuller and even filled out his cheeks. He was chubbier when he was younger. You can't do all that without markers, and the rest is the magic of visual effects.

Which part of Gaurav required the most work?

The first and most difficult challenge was to make SRK look young. Many viewers thought Gaurav was a body double of SRK, which is the biggest reward for us (smiles). Once we established the younger look, we further altered his nose and other facial features and also reduced his height in comparison to Aryan's.

In the video that Yash Raj has released on his making, there is a kind of mask put on his nose...

Yes, those are prosthetic appliances that we had used in the beginning, but once we decided to make his nose smaller, using prosthetics was out of question. VFX was the only way. If you see his profile shots, once the nose is made smaller and since Gaurav is two-and-a-half inches shorter than Aryan, we had to regenerate all the background areas where his original frame was overlapping on the people around him.

With every shot, after SRK's take, they used to shoot a clean plate without him from the same angle, where the rest of the cast would do the same things. That is what we used to recreate the background. We had to extract him from the plate, including his hair strands. Where we could not, we had to create his hair strands in 3D. Out of 83 days, Gaurav shot for 60 days. But in the second half, the director smartly clothes him heavily and Gaurav also puts on high-heeled shoes to match Aryan's height.  

How were the face-to-face sequences shot in the jail?

That was the first sequence we shot once they okayed the face. It was the toughest. He would put on make-up and do all the shots as Gaurav, with someone standing in as Aryan and saying his lines. The next day, he would do the same for Aryan with a stand-in for Gaurav. That took us four to five months to finish in post-production. We have done double-role films before in Don and Paheli. But interaction shots, like where Aryan makes Gaurav sit, have never been tried. The whole film, including R&D, took a year and half.

With the face changing so much, you had to shoot the train sequence again, right?

Yes, we did that in the end. Gaurav's hair was different initially " wavy. But the director and Shah Rukh felt that the star's hairstyle would be the first thing that a fan would copy. So the hair was kept normal.

You have worked on Ra.One and Krrish 3. In terms of difficulty, where would you put this?

This is our toughest project in 20 years, since Main Hoon Na and Paheli. Actors have been shrunk, made to look older, but nobody across the world has tried to make someone younger for the entire length of a film. Over 250 artists were involved in the film from Red Chillies VFX. And since we had outsourced the rotoscoping and background clean-up work to other VFX outfits, another additional 150 artists contributed.

Are you hoping for a visual effects Fan buzz in the West?

Keitan and I are members of Visual Effects Society. We will exhibit the film there. We will also be showcasing an hour-long VFX making presentation of Fan at effects MTL (an international business convention for the visual effects and animation industry) in Montreal on June 1. It is not only a proud moment for India but Asia as well. We will share stage with VFX studios which have contributed to blockbusters like Deadpool, X-Men, The Martian and the Oscar-winning movie for Best VFX, Ex Machina.

What's next on your roster?

We are working on Anushka Sharma's co-production, with Fox Star Studio, called Phillauri. Now we will start on Shah Rukh's Raees. Then we will commence work on the most complicated film after Fan, directed by Anand L. Rai of Tanu Weds Manu fame, where SRK will be seen playing a dwarf.

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Posted: 17 May 2016 at 5:34am | IP Logged
Top Worldwide Grossers 2016
Tuesday 17 May 2016 11.00 IST
Box Office India Trade Network
2

 

There are six weeks left of the first year and Airlift remains the top Worldwide grosser of the year. Below are the top ten Hindi grossers Worldwide.

 

1. Airlift - 209.97 crore

2. Fan - 184.22 crore (4 weeks)

3. Kapoor & Sons - 142.17 crore

4. Baaghi - 123.58 crore (17 Days)

5. Neerja - 118.71 crore

 

The above five films are the only films to cross 100 crore worldwide with Ki & Ka a couple of crore short. Housefull 3 and Udta Punjab are the two major releases left in the first half and the former will be targetting top spot while the latter a top five spot.

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