« FAHRENHEIT 9/11 BOOSTS BOOK SALES | Main | BEN HECHT HONORED »

June 30, 2004

KUNZRU HEARTS BOLLYWOOD

And the Hari Kunzru publicity machine just keeps rolling along, this latest iteration leading us to Newindpress.

Yeah, it’s pretty clear Kunzru is rather besotted with Bollywood, a fascination sparked off five years ago by Dev Anand’s Tere Ghar Ke Samne. To an editor in New York, Kunzru even said that if Transmission was being made in Bollywood he would pick Saif Ali Khan for Arjun, not Hrithik Roshan because his muscles were way too big, or Aamir Khan because he was way too serious. Kajol would be his Leela Zahir.

There’s more in the movie pipeline – Mira Nair plans to turn 'The Impressionist' into a movie (no casting yet, script under way). An American director has his eyes on 'Transmission', and Naughty Naughty Lovely Lovely, the movie Arjun is crazy about, definitely has a Karan Johar ring to it.

"It’s easier to turn my second novel into a movie than my first," says Kunzru. "I don’t know what Mira plans to do. I suppose she would have to simplify it a lot but she did tell me she wants to use all the elements."

Posted at 12:07 AM |

| | Pin It! | |

Comments

The comments to this entry are closed.

TEV DEFINED


  • The Elegant Variation is "Fowler’s (1926, 1965) term for the inept writer’s overstrained efforts at freshness or vividness of expression. Prose guilty of elegant variation calls attention to itself and doesn’t permit its ideas to seem naturally clear. It typically seeks fancy new words for familiar things, and it scrambles for synonyms in order to avoid at all costs repeating a word, even though repetition might be the natural, normal thing to do: The audience had a certain bovine placidity, instead of The audience was as placid as cows. Elegant variation is often the rock, and a stereotype, a cliché, or a tired metaphor the hard place between which inexperienced or foolish writers come to grief. The familiar middle ground in treating these homely topics is almost always the safest. In untrained or unrestrained hands, a thesaurus can be dangerous."

SECOND LOOK

  • The Bookshop by Penelope Fitzgerald

    Bs

    Penelope Fitzgerald's second novel is the tale of Florence Green, a widow who seeks, in the late 1950s, to bring a bookstore to an isolated British town, encountering all manner of obstacles, including incompetent builders, vindictive gentry, small minded bankers, an irritable poltergeist, but, above all, a town that might not, in fact, want a bookshop. Fitzgerald's prose is spare but evocative – there's no wasted effort and her work reminds one of Hemingway's dictum that every word should fight for its right to be on the page. Florence is an engaging creation, stubbornly committed to her plan even as uncertainty regarding the wisdom of the enterprise gnaws at her. But The Bookshop concerns itself, finally, with the astonishing vindictiveness of which provincials are capable, and, as so much English fiction must, it grapples with the inevitabilities of class. It's a dense marvel at 123 pages, a book you won't want to – or be able to – rush through.
  • The Rider by Tim Krabbe

    Rider_4

    Tim Krabbé's superb 1978 memoir-cum-novel is the single best book we've read about cycling, a book that will come closer to bringing you inside a grueling road race than anything else out there. A kilometer-by-kilometer look at just what is required to endure some of the most grueling terrain in the world, Krabbé explains the tactics, the choices and – above all – the grinding, endless, excruciating pain that every cyclist faces and makes it heart-pounding rather than expository or tedious. No writer has better captured both the agony and the determination to ride through the agony. He's an elegant stylist (ably served by Sam Garrett's fine translation) and The Rider manages to be that rarest hybrid – an authentic, accurate book about cycling that's a pleasure to read. "Non-racers," he writes. "The emptiness of those lives shocks me."

Categories

Subscribe to this blog's feed