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Hi Folks,

Three pieces of news. Two reminders and one fresh

A) Jackie Chan’s The Myth. This film represents a true ASIAN
Collaboration as it has Jackie with Bollywood actor, Mallika Sherawat.
The film is distributed in the US, by SONY PICTURES and Barking Cow
Distributions (which is owned by an Indian American), hence again
making it a true collaboration in every which way. These collaborations
represent the future of the South Asian centric media.

More information -
http://www.sonypictures.com/homevideo/jackiechansthemyth/index.html

An epic action adventure in the style of Raiders of Lost Ark, The
Mummy, or Tomb Raider…..it’s in English language and rated PG-13 so
it is perfect of family holiday viewing

Now available in DVD at Netfix, Blockbuster, etc

B)EHSAAS - a play scripted by Vivek Kumar of SAAFA (after the success
of the first Natya last year, Vivek is also coming out with his debut
feature film BLOOD MONEY over the next few months)and conceived by
topnotch Bollywood Art Director, SHARMISHTA ROY (all of Karan Johar and
recent Yash Raj Films), to play this SATURDAY, NOV 10 at the San Jose
Rep.

Refer more details at : http://www.opulse.com/

TWO SHOWS- One at 2:30 and one at 7:00 pm.

C) Wearing my cap as a CPA (Certified Public Accountant) and a board
member of the California CPA Society am organizing this event next
WEDNESDAY, NOV 15, 2007 in Palo Alto:

OPEN EVEN TO NON CPA’s ALTHOUGH CPE CREDIT WILL ONLY BE GIVEN TO CPA’s

REGISTRATION STATUS: OPEN

Date: Thursday, November 15, 2007
Time: 5:00pm - 6:30pm (Registration at 4:30pm )
Facility: Burr Pilger & Mayer LLP, 
Address: 3000 El Camino Real Bldg 2 #250
Palo Alto, CA 94306

Phone: 650-855-6800 (of Burr Pilger and Mayer, not for info on event,
we are merely using their facility)
Info on event phone number: 408-774-0868

CPE Credit: 1.5 CPE (Continuing Professional Education)
Fee: Complimentary

Description:
?Film Financing and Private Placement For The Entertainment Industry? -
Have you ever thought how that NON STUDIO film got made, or where the
money came from for making the film you liked, how was it raised, what
were the legal ramifications of the fund raising, what is allowed and
not allowed: in effect a primer on film financing.

Richard J. Lee has been in private practice for over 30 years. Born in
Spokane, Washington and raised in the San Francisco Bay Area, he is a
graduate of Stanford University ‘69 where he attained an AB in
Sociology with honors and with distinction. He received his JD from the
University of California, Berkeley Boalt Hall ‘74. While in law school,
he worked for the Environmental Defense Fund and the California
Attorney General?s Consumer Protection and Environmental Protection
Units. He assisted in the founding of Film Arts Foundation in 1976, and
has been its counsel since that time. One of the first panel members of
Bay Area Lawyers for the Arts (now California Lawyers for the Arts), he
represents many nonprofit corporations, including numerous filmmakers
and videographers. He is a specialist in entertainment law, all phases
of film and video production, releases, private placement memoranda,
contracts with crew and cast, distribution contracts. He has practiced
in the East Bay since 1975, and his office is currently in Oakland.

Also please contact vivek@saafa.org to RSVP.

D) SAAWARIYA REVIEW.

Given that I have not seen Devdas nor Black and dread a 3.5 hour experience in this era of limited attention spans I think I can give this one a miss too, based  on the review of our SAAFA LA chapter lead Ritu Mahindru:

SAAWARIYA - Not so much a ‘beloved’ watch!

SLB vs. SRK, the battle of the titans. The joyful Diwali weekend brings these two celebrated cinema wizards head to head. The inevitable competition and comparisons between Saawariya and Om Shanti Om begin! If Om Shanti Om presents the gorgeous Deepika Padukone, then Saawariya shines with the beauty of Anil Kapoor’s mesmerizing daughter, Sonam. If Shah Rukh shows off his 6-pack, then legendary Raj Kapoor’s grandson, Ranbir, shows off his 6-pack and then some! I had the first look at Sony-Columbia pictures Saawariya directed by Sanjay Leela Bhansali, debuting Ranbir and Sonam Kapoor. Find out if Bhansali’s magnum opus was bogus!

Many good ideas have been discovered when someone’s poked around outside of discipline. Every Bhansali film has ascended the prior. Clearly a lover of the arts, he’s placed earnest effort in opening the minds of viewers to many things. In Saawariya, this director with a vision becomes a painter and a poet.
Adapted from a short story first published in 1848, White Nights; this is the story of a dreamer and his 4 mystical nights. In the late night hours a magnetizing damsel entraps this youthful lad’s attention, leading him in to a dreamy journey, one filled with hope and despair. The body of Saawariya is similar to that of a Shakespearean play. On other fronts it has the feel of classics such as Casablanca or Gone With the Wind. What Bhansali has attempted is to put poetry in motion, but what he’s neglected to create is a motion picture. Saawariya has been entirely shot on set and its treatment is somewhere between a Broadway musical and a High School play. Much like a fantasy every visual aspect of the film has been catered to. Whether it’s the costumes, lighting, choreography, sets, or cinematography, each facet is precise. For those in the school of cinema, Bhansali’s use of imagery and symbolism in this film is a school in it self. But for most watching it from a viewer’s perspective, the story has little to offer. The slow start never picks up, nor does the romance between the two characters. Our hopeless Romeo comes across senseless and one who can’t take ‘no’ for an answer.
The traditional Romeo-Juliet story set in a previous era doesn’t connect with the viewers of today. Films like Maqbool and Omkara were adapted to somewhat reflect the tastes of today’s viewers. Even Parineeta had a real-life appeal. So it’s not to say ‘period’ films don’t work, they do and can, it’s just Bhansali’s approach hasn’t. Style over substance rules.
If you try hard enough you can understand what Bhansali was trying to conceive but didn’t quite attain. Saawariya should’ve been a spiritually enlightening film about love. Unconditional and endless love under any circumstance. But the greatest affliction in achieving this message is the barrier between the characters and the viewer. Too many emotions are thrown at the viewer early on in the film before the story develops or any connection to the characters forms. Since you don’t know about the characters their plight doesn’t reach out. In effect, there’s no character that binds or love story that appeals to any senses.
Placing criticism of the story on one side, the magician still has one trick up his sleeve. Bhansali has children who come from a formidable legacy to orchestrate under his baton.
Who doesn’t want to see the star kids of Rishi and Anil Kapoor? Ranbir and Sonam Kapoor may just be stepping in front of the camera, but truly it was only a matter of time till the bug bit them. After Karisma and Kareena, it’s finally the first male successor of the Kapoor clan to step in the forefront. And what’s unique about Sonam, is that her father Anil Kapoor is not like other star father’s who’ve retired. He’s still going strong, but has had the heart to let his princess join the same world. Ranbir Kapoor suits the role of a young, enthusiastic, naïve lover, but tries too hard to impress. Perhaps it’s the pressure of his first film or maybe it’s the instructions he received. He’s over the top in his happy moments, but persuasive in his moments of sorrow. In some ways he’s reminiscent of Raj Kapoor from Mera Naam Joker. On the whole he’s given a fair shot at holding the film on his shoulders. Granted he’s got work to do, but he has decent potential. Sonam Kapoor is a traditional classic Indian beauty. When it comes to looks, she’s nearly flawless. After a long time has such a sharp, radiating, classy face come on screen. She’s done a fine job of balancing her character, playful yet full of naughty suspicion. The pair individually compliments one another, but the story doesn’t compliment their chemistry to its greatest potential. They’re surely promising and posses talent that would make their ancestors proud. Salman Khan’s appearance is minimal in which he’s mechanical. Rani is present throughout the film, but not impressive. Zohra Seghal is the absolute most endearing character. She may be a supporting artist, but she’s the only character that’s able to reach in to the depths of your emotions and make you feel something. To no surprise she’s brilliant.
Music Director Monty and lyricist Sameer play a pivotal role, given there’s a song every few minutes. The songs are light and flowy, traditional more than contemporary. Truly a soundtrack for lovers of music from yesteryears who are tired of today’s noisy tracks. The good thing is, if it bored you on audio, seeing the songs choreographed will make them more likeable. Although, the choreography is off, some movements don’t fit with the period nor with the scene. The stylish cinematography is applaudable as is the lighting. It helps set the precedence of Bhansali’s theme. Even though the film’s been kept concise, keeping American viewers in mind, it still drags on given the limited scope of the actual script.
Saawariya feels like you’re watching a play taped on HD. There’s too much focus on the ‘look’. Saawariya’s undoubtedly a well packaged box. But big box, small wonder is the outcome of Saawariya. Sanjay Leela Bhansali may have peaked with BLACK, but he’s come so far down with Saawariya, he can only go up with his next venture. With a style that doesn’t appeal, Saawariya disappoints with Ritu’s 2 ½ stars. See it to believe it!

www.ritusreviews.com

Sincerely,
Vivek “c’mon man in 3.5 hours you are almost half way to SPACE in a Shuttle, let’s get on with life” Kumar