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Yeh Jawaani Hai Deewani re-release revives nostalgia for Bollywood’s romcom era

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Yeh Jawani Hai Deewani turns 10: Ranbir Kapoor, Deepika, Aditya Roy Kapur and Kalki Koechlin reunite

The re-release of Yeh Jawaani Hai Deewani (YJHD) has sparked a wave of nostalgia for Bollywood’s golden era of romcoms, drawing attention away from the ongoing dominance of massy, pan-India films. The 2013 blockbuster, which starred Ranbir Kapoor and Deepika Padukone, continues to capture hearts, even as the film industry shifts towards larger-than-life, multi-lingual films aimed at a pan-Indian audience.

Despite both Kapoor and Padukone boasting impressive filmographies, it’s YJHD that remains a standout—both for its heartwarming reunion of the on-screen ex-couple and its ability to resonate with multiple generations, especially Gen Z. The film’s re-release, which launched in select theaters, has already sold over 26,000 tickets, according to trade reports. This impressive number rivals or surpasses the ticket sales of some recent massy action films, despite YJHD also being available for streaming on OTT platforms.

What’s remarkable is that this success highlights the ongoing appeal of Bollywood’s romcom era, when films were built around relatable characters and emotional narratives, as opposed to the grand spectacle of pan-India blockbusters. Fans have taken to social media, recalling their experiences of eagerly waiting in line for YJHD’s original release. One fan commented, “I remember waiting in a long line to buy tickets for this film when it released, and there were people behind me who had to leave because the show became housefull…it was crazy!”

Others have expressed their desire for the return of this genre, which, according to many, offered good music and simple yet meaningful writing. “We need to bring romcoms back! Come on, bring back good music, decent writing—no one is expecting too much,” wrote one user. This sentiment is echoed by many who feel that while pan-India films are ambitiously scaled up in terms of production value, they often fail to evoke the same emotional connection or offer the same comfort as a classic romcom.

Some comments have pointed out that despite the cinematic excellence of pan-India films—featuring star-studded casts, acclaimed directors, and high-budget productions—they don’t always deliver on their lofty promises. “Just a feel-good, comforting film. I’m sick of the larger-than-life, pan-India films. They have all the big actors, directors with good track records, top-class music directors; yet they don’t quite hit the note,” one fan wrote, highlighting the disconnect some audiences feel.

While Bollywood’s exploration of diverse genres is undoubtedly exciting, fans seem to be yearning for comfort films that offer a break from the overwhelming spectacle of action-packed, multi-language blockbusters. For example, the upcoming horror-comedy films in Maddock’s universe, which boasts an impressive lineup of stars like Shraddha Kapoor, Kriti Sanon, and Alia Bhatt, have generated excitement. However, some fans have also expressed concerns about over-saturation of the genre, with one commenting, “Aren’t they over-saturating and milking this horror genre too much now?”

Additionally, the first looks of Sidharth Malhotra and Janhvi Kapoor’s Param Sundari have reminded fans of the early 2010s, a time when Bollywood was in its romcom heyday. The similarities to films from that period have only fueled further nostalgia.

In essence, while Bollywood continues to evolve and experiment, the Yeh Jawaani Hai Deewani re-release has reminded fans of a simpler, more heartfelt era of filmmaking—one that they’re eager to revisit. As the film industry pushes boundaries with large-scale, multi-lingual projects, there is a clear call for the return of feel-good, relatable stories that once defined the industry. The success of this re-release might just signal the beginning of a resurgence in romantic comedies for modern audiences.

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120 Bahadur box office day 1: Farhan Akhtar’s film starts slow with Rs 2.35 crore opening

Farhan Akhtar’s new release 120 Bahadur opened to Rs2.35 crore, while De De Pyaar De 2 continued its strong hold on day eight.

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Farhan Akhtar’s latest release 120 Bahadur hit theatres on November 21 but registered a dull opening on its first day, earning Rs 2.35 crore. In comparison, De De Pyaar De 2, which is now in its second week, continues to show stronger hold at the box office.

Slow start for 120 Bahadur on day one

The action-drama opened to modest numbers on Friday, collecting Rs2.35 crore on its first day. Despite pre-release buzz around Farhan Akhtar’s performance, the film has begun its run on the lower side.

De De Pyaar De 2 maintains its advantage

Meanwhile, De De Pyaar De 2 continues its steady run. On its eighth day, the film maintained an edge over 120 Bahadur in overall earnings, according to media. The strong hold of the Ajay Devgn-led sequel appears to have impacted the new release’s opening day business.

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Family Man 3 ending triggers online backlash despite strong reviews

The Family Man 3 has impressed viewers with its performances and storytelling, but its abrupt ending has sparked online criticism, leaving fans demanding closure.

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Fans of The Family Man 3 are celebrating the gripping new season, but a large section of viewers has taken to social media to criticise what they describe as an “abrupt” and “unsatisfying” ending. The latest season, which released on Amazon Prime Video on Friday, has drawn praise for its emotional depth and high-stakes storytelling, yet its final moments have left many feeling short-changed.

Viewers disappointed with the “sudden” conclusion

Soon after the release, frustrated fans began sharing their reactions online. One viewer wrote that the season “ends so abruptly it feels like the makers simply packed up and went home,” calling the lack of closure “exhausting”. Another comment read, “#TheFamilyMan3… ahh ending entra. Fully disappointed.”

Some tried to strike a balanced tone, acknowledging the well-crafted emotional arc and a comic cameo stretch that offered relief. However, the overall complaint remained the same — that the season cuts off just when the tension reaches its peak. “Why make us watch the entire season if the makers plan to keep the best part hanging for the next one?” a user questioned.

Still, many fans have labelled the show “engaging” and applauded the team for delivering another compelling chapter.

Season 3: Srikant caught between personal turmoil and a national crisis

The new season places Srikant Tiwari (Manoj Bajpayee) in one of the most complicated phases of his life. His relationship with Suchitra (Priyamani) appears strained, marked by distance and unspoken tension. Even as his home life falters, a series of coordinated blasts in the Northeast within 48 hours threatens a major peace initiative led by Prime Minister Basu (Seema Biswas).

Srikant and his senior officer Gautam Kulkarni (Dalip Tahil) travel to Nagaland to salvage Project Sahakar, relying on regional leader David Khuzou (Sunil Thapa) to bring warring sides to agreement. But the fragile situation collapses after a deadly ambush by drug kingpin Rukma (Jaideep Ahlawat), leaving David and Kulkarni dead. Srikant survives but soon becomes a suspect as investigators scrutinise how he was the only one aware of the convoy’s route.

Meanwhile in Mumbai, Suchitra faces her own crisis after the government bans 69 Chinese apps, including her platform ShrinkMe, sparking online targeting that impacts her family.

With an arrest warrant issued against him, Srikant chooses to escape with his family, setting off a tense chase as he tries to prove his innocence. Each twist raises new questions — who planned the ambush, and why is Srikant being framed?

Final reactions

While audiences largely appreciated the writing, performances and momentum, the widespread sentiment remains that the season’s final act lacked the closure fans expected. Many now hope the next instalment arrives sooner and concludes the arc that Season 3 left unresolved.

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Satish Shah, beloved Sarabhai vs Sarabhai actor, passes away at 74 in Mumbai due to kidney failure

Veteran actor Satish Shah, celebrated for his iconic comic roles in Sarabhai vs Sarabhai and Jaane Bhi Do Yaaro, passed away in Mumbai at the age of 74 due to kidney failure.

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Satish Shah

Veteran Bollywood actor Satish Shah, best known for his memorable comic roles in films and television, passed away on Saturday in Mumbai. He was 74.

Filmmaker Confirms The News

Confirming the tragic news, filmmaker Ashoke Pandit expressed grief over the actor’s demise, saying that Shah died around 2:30 pm following kidney failure. His condition reportedly worsened at home before being rushed to the hospital, where he could not be revived. His cremation is expected to take place later today.

“It’s a very big loss for the industry. I have worked with him on many projects,” said the filmmaker, recalling that he learned about Shah’s death shortly after attending adman Piyush Pandey’s last rites.

A Legacy Of Laughter

Born on June 25, 1951, in Bombay (now Mumbai), Satish Shah hailed from a Kutchi Gujarati family. His career began in 1978 with Arvind Desai Ki Ajeeb Dastaan, but it was his portrayal of Municipal Commissioner D’Mello in the 1983 satire Jaane Bhi Do Yaaro that brought him widespread recognition.

Over a remarkable film career spanning decades, Shah appeared in more than 250 movies, including Hum Saath Saath Hain (1999), Kal Ho Naa Ho (2003), Mujhse Shaadi Karogi (2004), and Om Shanti Om (2007).

Television Stardom

Shah also left a lasting impact on Indian television. His 1984 sitcom Yeh Jo Hai Zindagi became iconic, where he played a new character in each of its 55 episodes. His role as Indravadhan Sarabhai in Sarabhai vs Sarabhai (2004), opposite Ratna Pathak Shah, remains one of the most loved comic portrayals in Indian TV history.

He also starred in Filmy Chakkar (1995) and later judged comedy-based reality shows such as Comedy Circus, continuing his association with humour and entertainment.

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