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I am so proud of u my @OfficialRajput @Sushant8993 what a fine job in#ShudhDesiRomance !! My Sdipa star
Dekhiye yeh mazedaar aur romantic waala Desi Romance mobile app -http://youtu.be/lmV071-fcWg Indulge yourself in some Shuddh Desi fun!
Cast: Sushant Singh Rajput, Parineeti Chopra, Vaani Kapoor & Rishi Kapoor
Director: Maneesh Sharma
Producers: Aditya Chopra
Genre: Romantic Comedy/Drama
Rating: 4/5
These days, with the constant change of mindsets in society, Filmmakers are becoming more intrigued to explore the genre of Romance, Commitment and Arranged Marriages that convey a strong message towards the youth audience. Once such example of that genre is Maneesh Sharma's Shuddh Desi Romance, starring Parineeti Chopra and Sushant Singh Rajput. After the release of his successful debut blockbuster Band Baaja Baaraat, Sharma found his comfort zone in directing newcomers, to be able to create a parallel cinema, yet a fresh take on the way in which most people perceive the connotation of Love in today's world.
With the not so opulent sets and unlike the typical Yash Raj scenic backdrops, Shuddh Desi Romance is set towards an interesting plot which presents Raghu Ram (Sushant Singh Rajput) as a local Jaipur salesman and guide that earns his commission by ripping off tourists, and simultaneously does a double shift as a Rental Baraati' for Goyal (Rishi Kapoor), who runs a wedding planning business. Ironically, on the bus ride to his own wedding, Raghu meets Gayatri(Parineeti Chopra) who is an open minded, free willed and emotionally dynamic girl, because of the way in which her past has moulded her. Within minutes of talking to her, Raghu falls in love with Gayatri and feels no harm in confessing his love for her. She in return, decides to play it smart, yet falls for his emotions of knowing that he means every word from his heart, which ultimately leads to them dating. Tara (Vaani Kapoor) who is actually the girl that Raghu was meant to marry before he meets Gayatri, is simple, matured and straight forward, that instantly overcomes the sadness of being able to marry him, as she decides to teach him a lesson when they meet at another wedding months after their marriage is called off.
Sharma has done some tremendous work on being able to fine-tune the nature of his script in relation to the overall mood that he wants to evoke through all his main characters. Not much emphasis is given to close ups during strong scenes, as the mood of both the protagonists,Rajput and Chopra, are specifically designed to create a certain kind of awkwardness and realness. However, Sharma is determined to tamper with comedy as his channel to showcase Romance and the enforcement of togetherness between the two. Hence, as a director he would feel proud to see how well his style has been accepted throughout the course of film.
Rishi Kapoor, who still most film-goers and lovers of Indian cinema, rush to theaters because of his presence in a film, does complete justice to his character which rightly caters to his age and the stage which he's at. He may have featured in multiple blockbusters throughout his younger days, but his energy and on screen chemistry of being Goyal, remains untouched. Kapoor'ssupporting role adds significant value to the eventual outcome of the story that Sharma is attempting to tell.
Sushant Singh Raput being one of the promising new comers of this year, has delivered well beyond his ability in just the second film of his career. Whilst his physical exterior and looks aren't much to rave about, Rajput manages to underplay the character of Raghu Ram, yet composed and natural in his timing. Although in most of his scenes he scores brownie points for not being self conscious, there was a visible element of ambiguity when he tries to approach the technique of falling in love with Parineeti Chopra on multiple instances. That being said, I won't be surprised if Rajput begins to receive villain or off beat roles, because of the structure of his body language.
There is an instant charm & love affair that Parineeti Chopra strikes with the audience. Her natural innocence, cute wit and unbelievable grace is almost infectious. She not only holds the upper hand throughout the entire film, but also makes you embrace the character of Gayatri as someone very relatable. With Shuddh Desi Romance being her 3rd consecutive successful venture, audiences and critics have put her on a pedestal as Bollywood's new Kajol and one of the finest new talents in the industry. And rightly so, with so much to celebrate, Parineeti can most likely to be guaranteed to do challenging and period roles in the future.
Shuddh Desi Romance has opened the gates for a broader thinking society to assess the emotions that one feels of being in a relationship with someone that makes them feel eternally happy and completely satisfied. And if that's the message Maneesh Sharma wanted to convey, his point has been made loud and clear.
Sep 10, 2013, Bloomberg TV India published in News: We catch up with Parineeti Chopra, Sushant Singh Rajput and Vaani Kapoor, the cast of Shuddh Desi Romance, and ask them what drives them. Performance, happiness and a sense of belonging are the main driving force for this young trio. They also share their wish lists and tell us what they are looking forward to in the near future in this segment of The Date. This post has received 1 views and 0 comments till the date.
Yash Raj Films' Shuddh Desi Romance starring Sushant Singh Rajput, Parineeti Chopra and Vaani Kapoor has not only been garnering good responses from audiences and critics alike, but is also raking in good moolah at the box office. Unfortunately Apoorva Lakhia's highly-anticipated remake of Zanjeer featuring Ram Charan Teja, Sanjay Dutt and Priyanka Chopra is one of the biggest disasters of this year, as claimed by critics.
Supported by exemplary pre-release buzz, the opening weekend of Maneesh Sharma's hatkeromcom is estimated to be in the range of Rs 23 crores (not counting the Ganesh Chaturthi Monday holiday). As trade analyst and film critic Taran Adarsh points out, "SDR is made within a controlled budget, boasts of decent music, flouts the rules of the game (conventional masala), is garnished with light moments and marketed correctly can yield rich dividends." He explains, "All these factors put together resulted in an impressive start for SDR in the domestic market. The word of mouth was super-strong, which resulted in the business growing steadfastly over the weekend."
About Zanjeer, Adarsh tweets, "It failed to take off, despite aggressive promotions and a formidable cast to lure the spectators. The question that crossed my mind several times over the weekend was - why was it a non-starter at the ticket window? How does one explain the viewers' indifference to this biggie? If, for instance, we claim that the audience isn't comfortable with the idea of remaking an Amitabh Bachchan film, how do we explain the phenomenal success of Donand Agneepath, both Bachchan starrers?"
According to BoxOfficeIndia, "Zanjeer has emerged as one of the biggest disasters of the year. The film costing around Rs 60 crores including print and marketing costs will find it extremely difficult to recover the production costs. The weekend breakdown is as follows - Friday Rs 3.25 crore, Saturday Rs 2.75 crore and Sunday Rs 3.25 crore. Total - Rs 9.25 crore. Shuddh Desi Romance grossed around 22 crore nett plus. The film had done very well in Rajasthan as the film is set there while Delhi/UP and East Punjab also witnessed good business. Ganesh Chaturthi holiday yesterday helped the film. The weekend breakdown: Friday Rs 6.25 crore, Saturday Rs 7.50 crore, Sunday Rs 8.50 crore. Total - Rs 22.25 crore!"
So with Parineeti racing ahead of her senior star sister Priyanka at the box office, wethinks its high time PC pulled up her socks and give a tagda fight - though she says she's extra protective of her baby sibling! - to Pari next time their releases clash at the box office. What do you think, peeps?
The latest release, Shuddh Desi Romance featuring Parineeti Chopra, Sushant Singh Rajput and newcomer Vaani Kapoor, has opened to mixed reviews. In a day and age where live in relationships seem to be on the rise, YRF have come out with a film that is somewhat based on this concept. However while others decided to review the filmBollywood Hungama decided to take a different route and here's what we figured the movie tried to tell us...
1) It pays to be a 'paid barati' as your alternate profession. It really ensures quick money, food and even a gold chain (if you are really lucky!)
2) Shut all the washrooms during the wedding, as they may just become an easy escape route for the disinterested bride/ bridegroom.
3) If you try to smoke in order to impress your GF, it just doesn't take time for you to become a chain smoker yourself!
4) While in a live-in relationship, it's totally ok to call yourself as the girl's brother, in order to prevent the world from asking questions.
5) When a girl falls for you without any efforts, you make the girl run after you. And when the same girl leaves you, you run after her to bring her back!
6) Jo door hoti hai, uski kadar hoti hai. Jo paas hoti hai, woh toh chappal hoti hai
7) That Sushant Singh is luckier than anybody in Ramayan or Mahabharata, as nobody got a second chance like he did!
8) When the heart breaks for the third or the fourth time, it gets used to heartbreaks and hence makes no noise!
9) By placing a 'tikki' in a burger, it doesn't become a hamburger. It will still be called as a 'tikki burger' only!
10) Lastly, it's always advisable to maintain a 'safe side' in both, relationship as well as marriage!
Raja Sen isn't reviewing Shuddh Desi Romance or telling you its story because he thinks you should have seen it already. Here's why he thinks this film is one of the year's most important releases.
Shuddh Desi Romance begins like Annie Hall. Which is to say it begins unlike any other Hindi movie romance, ever.
A character talks to the camera, equates relationships and commitment to Vikram and Betaal, and wins us over: not with the usual movie-star attributes of charm or boyishness or roguish wit or a big all-conquering smile, but with his sheer sincerity. With the fact that he bloody believes in what he's saying. And he looks frazzled as hell.
He also happens to speak just like the film's screenwriter does. A bit of Jaideep Sahni drips invariably out into his memorable creations -- his flawed, amusing, whimsical, ever-indignant and eventually noble protagonists -- every single time, but there's more of him, I daresay, in Raghuram Sitaram, the character caught in the middle of Shuddh Desi Romance.
You might have noticed that I'm not calling the character a hero, and that's because he isn't one. He is, instead, a lead character caught between two heroines, a boy who suffers (and soars) because of how he's turned on by girls with backbone.
And who can blame him? In Gayatri and Tara, Sahni -- and director Maneesh Sharma, who, after the masterful Band Baaja Baaraat and this film, should stick to movies with a marriage motif -- create two new-age heroines who are empowered, self-assured, and play by their own rulebooks.
The independence they flaunt is out of motives of their own choosing, and their decision-making isn't coloured by the many men around them. At a time when it seems the Indian man needs to be coached on what women are, it is imperative that a film like this, with girls like this, is seen by as many people as possible.
Go on, you lot, make this film a hit.
The film must also be commended for the way it highlights the surefootedness of its female leads without robbing the man of his will. He is a creature of whimsy and escape, a professional liar and a streetsmart rogue, and yet he's drawn to these women.
He feels their tug irrationally and even masochistically and he responds because he must. He comes on too strong but gladly bends down to a submissive role in a relationship, and is comfortable enough in his own skin to take orders without worrying about how he comes across.
He is, in other words, cool enough to know they are cooler.
A progressive script with atypical characters needs a committed cast, and the youngsters in Shuddh Desi Romance are the kind worth applause. Parineeti Chopra is impressively natural -- not least when she flippantly calls her lover "bhaiyya",insouciant and scandalous all in one breath -- and gives a performance full of candour.
Newcomer Vaani Kapoor takes a difficult role and, aided by a luminous smile her character uses for inscrutability and to club away all self-doubt, makes herself the one worth cheering for loudest.
And Sushant Singh Rajput, a young man with significant presence and solid acting chops, is an actor confident enough to surrender to the absurdity of his character, a leading man who doesn't mind opening his mouth in an Asrani grin.
Watching these youngsters, and looking for all the world like an Air India Maharaja come alive, is Rishi Kapoor. He observes these warm-blooded kids and their triangular machinations with befuddled interest, with affection and without empathy. He represents, in my mind, the old guard. He is the face of how things used to be: filmi, somewhat caricatured, well-meaning but ultimately, in a modern construct, out of place.
Older eyebrows would indeed be raised at this film and its numerous kisses -- the first of which takes place with the couple in a crowded space, locking lips almost cognisant of the camera, treating it like a persistent voyeur -- yet these are treated with breezy matter-of-factness. The reason there are so many kisses (I read a pre-release puff piece promoting this as "a film with 27 kisses") is because none of them are earth-shattering, none of them matter as much as they did back when one kiss was a headline.
I'm aware I haven't spoken about the film's story at all, and that's because this isn't a review. I hope you've watched it already, and if you haven't -- and have still read this far -- I sincerely hope I've managed to convince you that its worth a shot.
For all its pleasures, Shuddh Desi Romance isn't a perfect film. A film this real -- it does, at times, approach the easy believability of early Sai Paranjpye cinema -- should not allow its characters to lipsync songs, and the last ten or so minutes ought not to exist at all.
No, Shuddh Desi Romance isn't a masterpiece. But that doesn't mean it's not a film worth falling for.
It's not romance, it's romaans'. A love story that begins in a crowded wedding bus, and is played out over gulab jamuns eaten with out-of-shape spoons. In a poky flat with old grills, dusty mirrors, and clothes washed in buckets. In by-lanes filled with grimy windows and bicycles and Marutis, and electricity wires hanging all over the place. Over encounters in weddings filled with overdressed guests, blowsy mausis, and horrendous toilets. And ending in a fabulously matter-of-fact climax in Maneesh Sharma's Shuddh Desi Romance
He has waved his magic middle-class wand again. The first half of this movie is so good I almost wanted to leave mid-way to hunt down the director, writer, cast and production designer and congratulate them. The disappointment that the second half threw up almost made me wish I had, but no regrets, and no cavilling here. This is a fabulous, funny movie that will go some distance in redefining the Hindi romcom, its heroes and heroines.
For decades, the Indian (okay, the North Indian and NRI) idea of romance was shaped by Yash Chopra's films. The director was versatile enough to give us two versions that appealed to two distinctly different audiences. Intensely passionate men, ethereal women, haunting songs and lyrics and a sacrifice or two thrown in. This made up one half of Yash Chopra's oeuvre. The other was filled in by the angry, troubled, cynical young man, and the unconventional, often rebellious woman who stood by him despite his fatal flaws. As Yashji grew older, his rebels receded, leaving us with just the first category.
His son Aditya Chopra and devoted protge Karan Johar took the genre forward by glamming it up with designer threads, glittering, soft-focus karva chauths, elaborate wedding songs and dances. Somewhere along the way, all three styles merged into what is now called the Yashraj or Karan Johar genre of romance. For me, Kabhi Khushi Kabhie Gham represents the icing on this three-tier cake. It's an addiction that has become so popular that it has become part of contemporary Indian culture. A certain type of Indian wedding now wants to look like nothing more than a Karan Johar movie, down to the wedding video.
So it was that in 2010, when debutant director Maneesh Sharma stood on the same Yashraj's shoulders to give us Band Baajaa Baraat, a movie that stood the genre on its head, it took the audience and film industry by storm. "Bread pakode ki kasam"? How cheesy, low-brow and unpoetic. And how utterly refreshing.
One of the best aspects of the movie " for me at least " was how brilliantly the movie used dialogue and locations. Maneesh Sharma told me soon after his film's runaway success, "The core idea was the girl's journey from middle-class Janakpuri to the plush Sainik Farms. I grew up in Pitampura, not too far from Janakpuri, and I wanted to be honest to her story and my own experiences. So the first thing I told my cinematographer was that we would not be shooting at the Red Fort or Humayun's Tomb." (And, of course, palatial bungalows filled with expensive vases like those in Kabhi Khushi Kabhie Gham.)
In Shuddh Desi Romance, Sharma is back in the same middle-class milieu (after a bit of a detour inLadies vs Ricky Bahl) and this time, it gets even better. Because he has given us a heroine who breaks the template for the bold', liberated' Hindi film heroine. No simplistic justifications for her unconventional' (read sexually adventurous') behaviour or last-minute capitulations into tradition.
Parineeti Chopra's Gayatri is messed up but unapologetic, bruised but defiant; she's not a super-character, she's just a believably confused Indian girl caught between freedom and the befuddled Indian male.
Vaani Kapoor is the pragmatic young woman, overcoming the humiliation of being ditched by the groom. Both these women don't crumble, they move on. They make their mistakes, they're suckers for the same man's roguish and undependable charm, but they take their own decisions. And they don't crumble like Kareena Kapoor's Geet did in Jab We Met or Deepika Padukone's Veronica in Cocktail.
They don't even fight over the man " Sushant Singh Rajput's Raghu, your small-town Romeo, egged on by leering friends, gutless when it comes to the crunch. Looming over them all is a deliciously camp Rishi Kapoor as Tauji, supplier of wedding guests, master of wedding illusions, and purveyor of strategic advice to young lovers. Tauji gets some of the best lines in the movie and he delivers them sometimes with aplomb, sometimes with just the glance or the pause.
Neither Tauji nor the movie offer any sermons or grand lectures. But the statement comes out loud and clear for those who want to hear. The great Indian wedding (and marriage) is exposed in all is tawdriness, fake from its manufactured emotions down to its hired guests. One of the film's funniest scenes has an undecided bride rushing off for a quickie with her boyfriend moments before she sets out for the wedding mandap (with some help from Tauji). Like Kapoor, the other actors throw themselves into the job with such relish that it's infectious. Parineeti is the star here, note-perfect in every scene. She's beautiful, she's sparkling and she's the most engagingly natural actress we have today. Sushant Singh Rajput plays the impulsive and confused flirt at the right pitch. The only problem I might have is with Vaani Kapoor's Tara, who incomprehensibly wears a mysterious half-smile even in the direst of situations. Perhaps she was mystified herself?
But the big winner is writer Jaideep Sahni (how does he do it?), whose dialogue crackles with wit and toss-away lines. His brand of toilet humour is the funniest we've seen since Delhi Belly. It's his writing that makes these slightly way-out characters seem so believable.
There's a good chance that you'll be disappointed with the goings-on in the second half of the movie but I'm hoping that, like me, you'll overlook them in return for the joyride of the first.
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Keywords: Film, Shuddh Desi Romance, Maneesh Sharma, director, Sushant Singh Rajput, Rishi Kapoor, Parineeti, actors,
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