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Now, MTV forays into 'fully faltoo' films

The channel will create a slew of spoofs on Bollywood films in its new progarmme Ghoom

india Updated: May 22, 2006 16:23 IST

As if making bakras and spoofing almost everything under the sun was not enough for MTV, the whacko channel is now making a foray into “fully faltoo” films.

The first being a spoof on 2004’s motorbike film Dhoom.

Called Ghoom, it stars small screen actors like Sumeet Raghvan (playing Abhishek Bachchan), Ajay Gehi (Uday Chopra), Gaurav Chopra (John Abraham) and Purbi Joshi (Esha Deol).

The channel’s creative heads are almost certain that their big screen spoof would work as well as their antics on the small screen do.                             

Says Ashish Patil, VP and general manager, creative and content, MTV Networks India, “We feel that spoofs on the big screen will be a genre in its own right, something to watch out for. We have been toying with this idea for some time now and we already are thinking of spoofing two other films by this yearend.” Patil says that Ghoom is a spoof not only of Dhoom but “of films of that genre”.

A sneak preview of the film showed Sumeet as Inspector Vijay Dikshit wearing a hideous wig and running his hands all over Neal (Ajay Gehi), the car mechanic.

Benika Deepak, who plays Dikshit’s wife, is called Tweety — with little brains and scanty clothes — while Purbi, who plays Esha, sings and dances to a very uninspired (supposed to be funny, just like one of those MTV promos) version of the superhit title song of Dhoom.

Asked if the producers of Dhoom, Yashraj, were aware of the spoof, Patil says, “Well, we have been associated with their films, including Fanaa.

There is no question of a copyright when you make a spoof, though we think they too are not averse to the idea of Ghoom, because with Dhoom 2 releasing in the next couple of months, Ghoom will bring the original film back on top-of-the-mind of viewers.” Why Dhoom? “Because it’s a young film with bikes and babes and we have added bad jokes to that list,” says Patil.

But do they think that the viewer would be ready to shell out a hundred rupees to watch an Ajay Gehi? “Why not? Such films would work on word-of-mouth publicity.

Somebody who sees it will say, ‘Hey, the film is very bad, but watch it anyway.’” Here is hoping Patil’s enthusiasm is not misplaced.