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Hollywood should adopt songs and dances says Irfan

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hab...@anony.net

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Jun 2, 2015, 5:53:08 PM6/2/15
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Hollywood movies even the blockbusters are incredibly boring as
there is no shakespearen dialogue which makes one think and no songs
and dances to break up the monotony.
Also google 'Tanu weds Manu songs' on youtube , a friend
pointed the fifty odd colours in each song which are a treat for the
eye while Hollywood is just drab

excerpt

asianage


hab...@anony.net

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Jun 2, 2015, 5:55:38 PM6/2/15
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http://www.asianage.com/music/adopt-song-and-dance-routine-irrfan-hollywood-339

Adopt song-and-dance routine, Irrfan to Hollywood

Irrfan Khan at a press conference

Movie star Irrfan Khan, lauded for his roles in The Lunchbox and Life
of Pi, has urged Hollywood directors to adopt Bollywood’s love of
flamboyant song-and-dance routines.

The ubiquitous actor, whose credits also include The Amazing
Spider-Man and The Darjeeling Limited, said that US blockbusters would
benefit from an injection of musical hoopla, Indian style.

Khan, 48, is one of Bollywood’s most internationally recognised
exports, carving a stellar career at home and in Hollywood where he
has worked with Oscar-winning directors Danny Boyle and Ang Lee.

Ahead of the US release on June 12 of Jurassic World, Khan’s latest
Hollywood film, the Rajasthan-born actor said the American movie
industry could learn a lot from its Indian counterpart.

“The informality and personal connections in Bollywood are nice,” Khan
said during an interview in Mumbai. “Things are too compartmentalised
in Hollywood, and the system can be rigid.

“Also they should imbibe our song-and-dance culture. I think Hollywood
could do wonders with it,” added the father-of-two.

Khan, who charmed global audiences as a lonely accountant who
exchanges hidden letters with a neglected housewife in The Lunchbox,
is currently hot property in both major film industries.

Piku, in which he has a supporting role as a taxi driver, has
dominated Indian box offices since early May.

He will also star in action-drama Jazbaa (Passion), which is scheduled
for release in October. Khan has been involved in almost 90 films
throughout his career, including The Namesake, and is presently
shooting with Tom Hanks in Ron Howard’s adaptation of Dan Brown’s
novel Inferno, due for release next year.

He thinks there are big differences between Bollywood and Hollywood,
suggesting that one so-so movie in America can hamper an actor’s
career, while in Mumbai you can still get by. “In India an actor with
one hit in the bag can survive with PR and continue working in another
four films, until he delivers his next hit,” says Khan.

“Social media activity and perception works more over here, but in
Hollywood, you have to perform and deliver. The irony is that while it
is a heavily marketing-based industry, you cannot survive there on the
basis of marketing (alone),” he added.

While Khan — often referred to as simply “Irrfan” by his fans — is now
feted the world over, it hasn’t always been plain sailing for the
drama graduate. He worked in the Mumbai television industry for
several years before landing a small part in filmmaker Mira Nair’s
Salaam Bombay (1988), but his joy was short lived when the role was
later cut.

Television and a few Hindi film roles followed but Khan was unable to
land the romantic hero roles symptomatic of Bollywood movies because
directors viewed him as not good-looking enough.

He has been often cast as the villain or a cop, and also played the
Indian Macbeth in Maqbool and the ghost in the Hindi Hamlet, Haider.

Khan was almost ready to quit acting out of frustration with the way
his career was progressing, but in 2001 he landed a part in British
director Asif Kapadia’s awarding-winning film The Warrior.

He hasn’t looked back and now revels in the attention he receives. “I
get a lot of importance and affection in the West,” he says. “They
appreciate the elements and layers you bring to the character. Even in
India critics notice what you bring to a role,” Khan adds. He rues the
fact that Indian films no longer always include songs as they did in
the 1960s and ’70s. “Music was (our) originality,” Khan says.

However, he appreciates that recent hits such as Boyle’s Slumdog
Millionaire and Lee’s Life of Pi have helped change the perception of
Indian movies internationally.

“Although Slumdog and Pi are not Indian films, they are perceived to
be, and they are films that are engaging with audiences abroad,” says
Khan.

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