In 2011 various Bollywood and Hollywood Actresses were seen in very short dresses which were too short but some carried it very good and some were seen uncomfortable in it.
The One piece which all they are wearing is very skimpy and is too sexy and hot to handle. The skimpy outfits do enhance their sex appeal.
Bipasha Basu was seen in red colour outfit, Amisha Patel is looking too hot in yellow outfit with her assets really flaunting and do you remember Yana Gupta, yes our Panty Girl was seen in white skimpy dress, flaunting her sexy white legs, though not showing her panty and pussy this time. Anushka Manchnada was seen in very good outfit but it's too short.

This is another step in the ‘colonisation’ of Hindi cinema. No, I don’t mean any imperialist project of Holly over Bolly. Think of an armada of colons (father of the semi-colon) docking at Film City and upturning everything from props to popcorns. Take it as a reader’s dystopia of the growing ‘academic literature’ on Bollywood.
Why colons? Well, how can you tell whether a book is academic before reading it? Look for the colons in the titles.
Don’t get me wrong. The increasing volume of writing on Bollywood – of any kind — is welcome. And no doubt, Beyond the Boundaries of Bollywood: The Many Forms of Hindi Cinema — the fifth in a series of scholarly books on Indian cinema from publisher OUP — is to be treasured for more reason than one.
But the grouse against such writing is perhaps best articulated by Elahe Hiptoola, producer of Nagesh Kukunoor’s films who was interviewed by the book’s co-editor, Jerry Pinto: “I sometimes find academic books about Bollywood really funny. These people sit down and dissect everything and they make connections between Prakash Mehra’s movies and the Naxalite movement… [Prakashji] probably thought, ‘Amitabh ke dates mil gaye, chalo picture banaate hain’. But there’s everything in these movies, according to the academics.”
Before delving into the different ways Bollywood has been perceived by viewers, commentators and industrywallas, the book looks at the coinage of the term itself. Ravi Vasudevan’s essay, the only one without a colon in the title, proposes that the term, which first gained currency in places such as Birmingham and Bradford in Britain, can’t be applied to films made much before Independence.
It’s further problematised by the fact that ‘Bollywood stalwarts’ such as Shah Rukh Khan and Subhash Ghai reject the term.
It begs a question: why do we use Tollywood, Kollywood and Lollywood for other film producing centres of the subcontinent? They maybe a lazy extensions of Hollywood, a term that has acquired much baggage, but the terms are in common usage.
Borrowing the name of the production house for Deepa Mehta’s Hollywood/Bollywood, isn’t it about different trees in the same woods? Not for the typologically minded, that is.
Some of the book’s dot-joining is immensely interesting. Kaushik Bhaumik uses the Hunterwali era to connect the use of horses in early Hindi cinema and the projection of the romantic individual. Rosie Thomas looks at Wadia Movietone’s ‘Arabian Nights fantasy’ Lal-e-Yaman (The Jewel of Yemen) and the coming of sound to Hindi cinema.
Valentina Vitali says how the voyeurism of B-grade horror movies confused the industry’s self-image decades ago.
Then there are some academic brownie points scored. The essay by Rachel Dwyer, co-editor of the book and editor of the OUP series, tries to join the dots between Kamal Amrohi’s psychodrama Mahal (1949) and the Gothic genre (exemplified in literature by Daphne du Maurier’s Rebecca).
Over 23 pages, Dwyer goes through Mahal to find proofs of the genre she calls the Bombay Gothic. Cogito? Ergo, it’s not true that Bollywood of the 1950s and 60s always leant on the crutch of the Indian family and the individual’s subjugation to it. The maximum reader excitement I can see at this formulation is swallowed dentures.
Apart from the papers presented at a 2008 seminar organised by the Indian embassy in Abu Dhabi, which forms most of the book, there are interviews Pinto conducted with a diverse set of industrywallas. From Arun Khopkar we learn what filmmakers really learn at Film and Television Institute of India, Anurag Kashyap tells us of his introduction to Bollywood, and from Rucha Pathak we learn the different ways people come up with what Pinto calls hatke films (to separate them from mainstream Bollywood).
The last interview, with Abhay Deol, gets back to nomenclatures. “I don’t like these terms… To me art is about creativity,” says Deol. “Creativity that produces something. If you then produce a film it’s art. It can be good art or bad art but it’s still art.” I rest my case.

Actress Kareena Kapoor paying obeisance at Gurdwara Dukh Niwaran Sahib in Patiala on June 14, 2011

For her cancer operation, i need to pay
Rs. 9.47 Lacs (~$20,000) to
doctors. She is in her last
stage. I'm in need of money,
because my parents are no more
and my guardians can't afford this huge price.
SO PLEASE PLEASE DONATE
SOMETHING FOR MY SWEET
SISTER WHO IS BATTLING AGAINST CANCER..!!

Regards Nupur Sharma

CLICK ON BELOW LINK...

By Anurag.
Directed by: Rohan Sippy
Produced by: Ramesh Sippy
Starring: Abhishek Bachchan, Bipasha Basu, Rana Daggubati, Prateik Babbar, Aditya Pancholi, Monty Munford.
Music by: Pritam Chakraborty
Cinematography: Amit Roy
Editing by: Aarif Shaik
Distributed by: Fox Star Studios, Ramesh Sippy Entertainment
Grade: C: Ek Baar Chalta Hai
Rohan Sippy’s Dum Maaro Dum is a slick action-crime thriller, that revolves around six Indians who meet in Goa and how their lives change forever, once they find themselves caught up with the drug menace.
ACP Vishnu Kamath (Abhishek Bachchan) is assigned by the Chief Minister of Goa to exterminate the drug mafia, which was spreading like a plague. Mercy (Muzammil S. Qureshi) and Rane (Govind Namdeo), his two assistants, assist him in carrying out his assignments of catching Lorsa Biscuita aka Biscuit (Aditya Pancholi), who is the main drug dealer in that area.
Laurie (Prateik Babbar) is a young simpleton, who falls prey into the drug web, after getting caught red handed, smuggling cocaine from the country. Joki (Rana Daggubati), Laurie’s well wisher, pleads of Laurie’s innocence to the ACP, trying to make him realize that Laurie was a mere pawn.
Zoe (Bipasha Basu), Joki’s chick, was caught in the same drug web five years ago, that Laurie was in now. It was Biscuita who came to her rescue by using his influence to get her out. But, in return, he made Zoe his girlfriend despite being married. Hence, Joki’s concern for Laurie.
The story further unfurls itself with the ACP realizing that the drug racket was actually not carried out by Biscuita but by an invisible man named Michael Barbusa, who uses various aliases to operate from different cities.
The story comes to its climax with ACP completing the given task of busting the drug racket along with Joki and Laurie.
The narration and the dialogues, make the flick worth watching. The director did a splendid job by keeping the suspense alive till the end. The unexpected twists thrown in the end worked wonders for the production. While the first half showed some movement in the theater, the second made sure the audiences were glued to their seats.
Abhishek Bachchan did an amazing job as a tough cop. The only thing that played against his cop stature was his pot belly and double chin.
Rana Daggubati was dull initially, but played the climax spectacularly. Prateik Babbar portrayed his innocence, brilliantly.
Bipasha Basu was naturally good.
Pritam Chakraborty did an awesome job on the music, Amit Roy’s cinematography was appealing, Aarif Shaik’s editing is the biggest plus point. Deepika Padukone’s raunchy item number adds glamour to the entire movie.
Final word: An adrenaline pumped thriller, not best suited for the romantic ones.

abhay deol & anushka sharma on people mag.

Looking at this still, what do you think??? Will the movie be a HIT or a MISS???

How do you like the chemistry?. I am totally loving it. This photo shoot is by Atul kasbekar.

Watched the first promo of 'Ready'. Expect yet another super dhamaal,
super entertainer from the darling of the masses - Salman Khan.
CREDIT-twitter- Taran Adarsh tweets.

Kangana Ranaut On Cover Of FilmFare 27/April/2011