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Fan managed account of Baradwaj Rangan.

"The Anand Kumar story can take these stylistic flourishes because it goes beyond the usual underdog story. You may feel the Lallan Singh character is too much of a 'villain,' but at the end, a note tells us that the real-life Anand Kumar is still receiving death threats. Al.. moreso, the emotional temperature is higher because Anand is no outsider (like, say, the protagonist of Swades). He knows what these kids are like, how deep their dreams are, because he was one of them. He was thrown out of the BHU library where he wanted to read foreign mathematics journals. He couldn’t go to Cambridge because he couldn’t afford it, and later, he took to selling papad on the streets to make money. He meets Lallan when his bicycle is knocked off the road by the latter’s car, but instead of confronting Lallan, he begins to pick up the notes and coins that have spilled on the roadside. That comes first. The scene (and Hrithik’s unwavering concentration on the money) makes us feel Anand’s abject poverty that no lines of dialogue could."
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Apan Singhal
"Rao isn’t telling. If there are Big Thesis Points embedded in Dhobi Ghat, she’s leaving the unearthing to others. And like Sofia Coppola, she’s more interested in sweating the small stuff, sculpting the here and now. She’s not after what happens but how – the grad.. moreual unfolding of scenelets in a manner that’s sensual and rarely sentimental. There’s so much mood in the frames, so much compassion and feeling, that the awkward plot points are swept away like Yasmin’s writings on the sands of the sea."
Filmzoned by
Apan Singhal
"As a movie, Kaatru Veliyidai leaves you wanting, but as cinema, very little can come close to it."
Baradwaj Rangan reviews Kaatru Veliyidai for Film Companion.
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Filmzoner
On the eve of the release of Kaatru Veliyidai, Film Companion brings you the most definitive interview yet with Mani Ratnam, a director who has been at the top of his game for over three decades.

In Part 1 of this in-depth conversation, Baradwaj Rangan quizzes the legend.. moreary filmmaker on the intricacies of his craft and writing process.

Also featuring -
Aditi Rao Hydari,
Karthi,
R. Madhavan,
Revathi,
Arvind Swamy,
Karthik Subbaraj,
Sivakumar
Gautam Menon.
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Filmzoner
Film Companion takes you to A. R. Rahman's KM Music Conservatory. Watch Baradwaj Rangan in conversation with music composer A. R. Rahman, and a look at what his institute is all about.
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Filmzoner
"At the 'leave your brains at home' level, Badrinath Ki Dulhaniya is undeniably fun. Only, it doesn't want you to leave your brains at home. It wants you to think about the things it's doing. That's the trouble."
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Filmzoner
"It's a great story. It needed to be told. And it needed to be told this way, this very Indian way."
Baradwaj Rangan's review. Spoiler alert. Suggested to read after watching the film.
Filmzoned by
Zeerak Aahir
"I don’t hold on to anything, and I have never understood this question: “Why?” Why is there no bench scene? Why doesn’t Rani Mukerji love Abhishek Bachchan in Kabhi Alvida…? What is the answer? Because she doesn’t. That’s all. Why is Ranbir Kapoor relentless i.. moren his pursuit of Anushka? Why can’t he move on? He doesn’t. That’s all. There’s no answer to why. Now you can ask why he is flying a private jet and sharing a hotel room. There was a line that I edited out, from when they were discussing their Paris plans. She says, “Plane ka kharcha tumhara. Hotel ka mera. Aur khaana fifty-fifty.” There were jokes making the rounds, that only in a Hindi film will you find a man who owns a private jet doing all this."
A must read interview of Karan Johar with Baradwaj Rangan, where he talks about everything from his personal life, films, and controversies.
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Filmzoner
"The way we speak in real life, that’s conversation. The way people in a certain kind of movie speak, that’s dialogue. Both kinds of exchange are present in Karan Johar’s Ae Dil Hai Mushil. The film opens with a gun-to-the-head dedication to the army that doesn’t fee.. morel all that misplaced. Romance, after all, is its own kind of war. Borders are breached. The heart mounts a defence. There’s the scoping out of territory, which is what the Urdu-couplet-spouting poet Saba does with wounded-in-love Ayan."
Filmzoned by
Bunny Jasoos
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