Wolf of Wall Street 'is most pirated film of 2014'

Leonardo DiCaprio as Jordan Belfort in The Wolf of Wall Street

The Wolf of Wall Street, Martin Scorsese's true-life tale of corrupt New York stockbrokers, was the most illegally downloaded movie of 2014.

Disney cartoon Frozen was second on the list, said The Hollywood Reporter, quoting piracy-tracking firm Excipio.

Both films were downloaded around 30 million times by torrent users between 1 January and 23 December 2014.

The third most-pirated film was space thriller Gravity.

It was just behind Frozen with 29.357 million downloads.

The Wolf of Wall Street, which stars Leonardo DiCaprio as real-life stockbroker Jordan Belfort, caused controversy when it was released in the US a year ago for its scenes of sex and drug-taking.

It was nominated for best picture at the Oscars and contained more than 500 uses of the F-word in its almost three-hour running time.

Other Oscar nominees in the most-pirated top 20 included 12 Years a Slave, American Hustle and Captain Phillips.

The Hollywood Reporter noted that the biggest-grossing film of the year, The Guardians of the Galaxy, was not on the list "perhaps because anyone interested in the film opted to see it in theaters".

And Variety reported that while the number three spot went to RoboCop, the figures included both MGM's 2014 reboot as well as the original 1987 version.

Top 20

• 1. The Wolf of Wall Street 30.035m
• 2. Frozen 29.919m
• 3. RoboCop 29.879m
• 4. Gravity 29.357m
• 5. The Hobbit: The Desolation of Smaug 27.627m
• 6. Thor: The Dark World 25.749m
• 7. Captain America: The Winter Soldier 25.628m
• 8. The Legend of Hercules 25.137m
• 9. X-Men: Days of Future Past 24.380m
• 10. 12 Years a Slave 23.653 million
• 11. The Hunger Games: Catching Fire 23.543m
• 12. American Hustle 23.143m
• 13. 300: Rise of an Empire 23.096m
• 14. Transformers: Age of Extinction 21.65m
• 15. Godzilla 20.956m
• 16. Noah 20.334m
• 17. Divergent 20.312m
• 18. Edge of Tomorrow 20.299m
• 19. Captain Phillips 19.817m
• 20. Lone Survivor 19.130m

Woman of the year: The Pakistani mother

No assessment of women can be complete without saluting the courage of the Peshawar attack victims.—Reuters/file.

It is an unenviable exercise, to write about one tragedy in the midst of another. As Pakistanis pick up the pieces from Peshawar, collect the condolences, assess the helplessness and avert their eyes from what is at best a feeble future, there is the task of assessing the year gone by. And within this yearly exercise is the job of taking measure of the year for the country’s women.

Was it a good year for them? Were they defined by the Pakistani girl that won the Nobel Peace Prize or by the Pakistani woman who was stoned on the steps of a courthouse? Was it a year of successes or losses, more joy or more tears, more hopefulness or more regret?
To begin the task of weights and measures; there are numbers. More men than women are born in Pakistan – 105.7 boys born for every 100 girls. Of the girls that manage to survive, roughly 40 per cent will not be literate, and will never learn to write their name or read a book or sign a document. It may be an unlettered life, but it is likely to be a longer one – life expectancy for the Pakistani female has risen from around 53 years in 1970 to about 66.4 years.

Woman of the Year: The Pakistani mother

Nearly 150 of them buried their children in this the last month of the year, and no assessment of women can be complete without saluting the courage of these mothers. If war has defined Pakistan’s politics in 2014, the resilience of the Pakistani mother has been its least saluted constituency.

With the funerals of children tearing the hearts and minds of the country, it befits that the last moments of 2014 be devoted to remembering just that.
More than 75 per cent of Pakistan’s female population will be mothers during their lifetimes; they will bring children into the riven reality of a country that can provide few guarantees for them. If any words can define the condition of the country’s women, they would be the words of headmistress Tahira Qazi, who told the Taliban gunmen who entered the school: “Talk to me, I am their mother”.

She is gone now, but in her bravery, the women of Pakistan, mothers of now or later, have a summation of the challenge before them, which will not cede with the passing of the year.

The youngest mothers and those who tend to them

Many Pakistani women who become mothers are children themselves. A recent study disclosed that over half of married Pakistani women between the ages of 20 and 24 were married before they turned 18. Even this is some progress, however, the average age of marriage has gone up from 13.3 years in the 1950s to about 23 years currently.

Unsurprisingly, the youngest mothers are the poorest and least literate, living in the country’s rural areas where they have little or no access to healthcare. Only 20 per cent of the poorest Pakistani mothers had any medical care when they gave birth, compared to over 77 per cent of the country’s wealthiest.

Like everything else, the landscape of motherhood in Pakistan is defined by class, by the luck of those who have much; against the fortunes of those who have almost nothing at all. The Pakistani mother will bear 3.8 children during her lifetime, one of the highest rates in the world. In maternal health, Pakistan ranks above only above Afghanistan in the entire world. Only a quarter of Pakistani mothers have access to any kind of contraception.

Those that tend to the mothers were also targets this year. Members of Pakistan’s Lady Health Workers became targets, many were mothers themselves and others tended to women who were mothers; often providing the only healthcare that rural Pakistani women are able to receive.
Four more were killed in the last days of November, just as the numbers of the babies afflicted by the polio virus rose to 260, the highest anywhere in the world.

Being targeted by terrorists was not the only hurdle these mothers faced. Amid reports of widespread harassment by male superiors, one from Mansehra involved the case of Fauzia Bibi who was slapped on the face and abused. When confronted by the case, Dr Jamshed reported that the female health worker had “attacked” him. Despite all of these formidable obstacles, Pakistan’s Lady Health Workers continued to carry on.

The Plight of “Other” Mothers

There are mothers who mourn, and mothers who must be mourned. The year 2014 was barely half done when on the morning of May 27, Farzana Parveen, pregnant, was stoned to death outside Lahore High Court months before she could give birth.

In the initial reports of the incident, Parveen was said to have been stoned to death by her family for having married a man of her own choice. Those first reports said her father had admitted to the killing. Later, reports revealed complications in the story, with Muhammad Iqbal, Parveen's husband, now implicated in the murder of his first wife.

When the case finally came to court this November, Farzana Parveen’s father, brother, cousin and another man were found guilty of her death. She had been killed by her own. In meeting such an end, she joined the nearly 1000 women who are killed for honour every year in this country. In 2014, hers was the most gruesome and most public case.

This bygone year was also one in which a mother was sentenced to death. Asia Bibi, a mother of five, lost her appeal before the Lahore High Court on October 17 2014 and her death sentence for blasphemy was upheld. On December 2, 2014, her lawyer filed a final appeal before the Pakistan Supreme Court. If her case is not heard, she will await the execution of her death sentence.

The Pakistani woman stands very much in the midst of seas which were as turbulent in 2014 as they're likely to be in 2015. There have been flashes of brilliance, of sheer mettle and spirit; awards and achievements.
But any promise or glint of hope is drowned out by the wailing of those close to 200 mothers, who either buried their children in Peshawar near the turn of the year, or are awaiting the miracle of health and happiness for their battered, injured children languishing in hospital wards.

2014: When Lollywood met Bollywood

Clockwise from top: Fawad Khan, Ali Zafar, Humaima Malick and Imran Abbas

Indian cinema is one of the most flourishing industries found today and this year, many Pakistani actors also tried their luck in one of the world's most prolific film industries.

2014 had its standout moments for our beloved celebrities working in Bollywood and here's what they have to say about it.

Ali Zafar:

Ali Zafar in a scene from 'Kill Dil'. – Publicity photo

Ali Zafar leads the pack by being one of the first Pakistani actors to have accomplished relative success in a cutthroat Bollywood.
 
Ali ventured from working as a sketch artist in the Pearl Continental hotel, Karachi, to becoming a rock star and has now comfortably transitioned into a versatile actor having done a wide array of roles such as his debut in the satirical Tere Bin Laden to more romantic and comedic roles such as in Mere Brother Ki Dulhan and Total Siyappa.

However, in 2014, the heartthrob set out to redefine himself with Shaad Ali's Kill Dil in which he starred alongside big banner names like Ranveer Singh, Parineeti Chopra and Govinda.

Playing the role of a gangster, Ali has consciously tried to deviate from his rom-com image. The film led to mixed reviews, but Ali achieved what he had set out to do.

Speaking to Dawn, Ali tells us about his time on the Indian soil:
Was working in India a goal you had in mind from the beginning of your career or did it just happen when the opportunity presented itself?

Ali Zafar (AZ): Yes, it was a goal from the beginning.
If you go back in time (1999), when I was in college, I did have aspirations to become an internationally renowned singer, but back then, there was no such concept of somebody crossing over like that.
However, for some reason, I always had faith in the idea that an artist should strive to go global.
Once I started to talk to people about this idea, I realised that at the time there were very few people in Pakistan who dreamt big or thought outside the box. Primarily, the goal was to do well locally, basing their success on the amount of shows they've done in the country.

For me, the goal was to break barriers and I had to learn the dynamics of the business so it took time.
In the last 60 years, we had people trying to make it big there [in India], but were not successful.
So to be the first successful actor in India was a conscious struggle and effort. I wanted to break that barrier for others to also enjoy its fruit. And I'm happy and content that it has happened.

How is audience reception different in Pakistan and India?

AZ: Although I'm an optimist, at the same time I am also a realist and we must be honest with ourselves: all the most popular artists in Pakistan got to that level once they ventured into the Indian market.
Yes, they were well-known and admired in Pakistan, but they became stars when they tapped into the Indian market.
The reason behind this is that in Pakistan, the entertainment industry has neither developed as an industry nor has the perception of an artist. It'll take time for society to evolve and learn to appreciate art and artists.
Bollywood gives its stars value and appreciation. I'm not saying we don't get admiration and importance at home; it was Pakistan and Pakistanis alone who gave a lot of such stars their initial recognition, such as Rahat Fateh Ali Khan, Fawad Khan or Atif Aslam. However, to get to the next level, they had to make that leap and cross over to India.
There's no harm in accepting that our industry will take time to develop and it is working towards it. It's a process, a journey and it will eventually happen.


Share your favourite moment/memorable story from working in India.
AZ: I've always felt that when the masses are recognising you and appreciating you, such as the rickshaw or truck drivers, that's when you've become a celebrity and I love each and every one of my fans.
So when I was being driven through a small, not very posh, community in Mumbai, I got noticed and the entire community gathered around the car and started screaming my name and praising me and that was truly a touching moment for me.
The fact that they came out of their houses to just tell me they enjoy my work was a big moment for me.

Do you truly feel 100 per cent accepted across the border?
AZ: There's no black and white with this. There will always be people everywhere in the world who would accept certain ideas and some who would not.
I would say that a large percentage of people in India are accepting me, have [accepted me] right from the first film.
When Tere Bin Laden came out, people didn't go like, 'Where did this Pakistani come from?', they actually went out to watch the movie and I got a tremendous response from critics and audiences for my work .

Who is that one person from Pakistan, and that one person from India who should work across the border, but hasn’t so far and why?
AZ: Mahira Khan is one individual who I feel is very talented and should work in India. She carries herself well. As far as someone from India working in Pakistan, I think Deepika Padukone should be involved in a project.

Humaima Malick:

Humaima Malik. 

Humaima made her Bollywood debut earlier this year opposite Emraan Hashmi in 'Raja Natwarlal'.

The actor, who rose to fame after her performance in Shoaib Mansoor's Bol, gave a bold performance which met equal parts criticism and praise.
After Raja Natwarlal, Humaima has signed up for three films in Bollywood and already calls India her "second home".
The performer, who has also been making rounds on social media because of her on point fashion choices, speaks about working across the border:

Was working in India a goal you had in mind from the beginning of your career or did it just happen when the opportunity presented itself?
Humaima Malick (HM): I've never made goals in my life regarding my career because I feel like whatever you plan, sometimes it doesn't happen and sometimes, God has bigger plans for you.
When Bol released internationally, including in India, opportunities started coming in but at that time, I didn't really take them seriously nor did I have any plans to venture out into Bollywood.
When I got the script for Raja Natwarlal, I liked it. I thought it was different and not a typical Emraan Hashmi film. I liked the director as well as the production house and I figured I'd have good fun working with this team so I just went ahead with it.

How is audience reception different in Pakistan and India?
HM: India is a nation obsessed with cinema. They love their artists, they respect them so much.
Their celebrities are more famous than their politicians. If you go to Bombay, you'll see so many people waiting outside Mannat (Shahrukh Khan's house) or Jalsa (Amitabh Bachchan's house) just to catch a glimpse of them.
This is what we call stardom. People there respect and acknowledge art a lot.
Unfortunately, our nation has more pressing concerns such as immense poverty and security issues due to which entertainment takes a backseat.

Share your favourite moment/memorable story from working in India.
HM: This entire past year; the release of Raja Natwarlal; the shooting process throughout with my amazing team; all of it was very memorable and has brought me immense happiness.

Do you truly feel 100 per cent accepted across the border?
HM: I don't want to be accepted anywhere [laughs].
I'm an artist. I work to be appreciated, I work for the people who love me.
I'm a peace ambassador, I always say that actors are peace ambassadors so there are no boundaries and no country limits for us.
I will go wherever my talent and my art will take me and continue to work without thinking about gaining acceptance.

Who is one person from Pakistan, and one person from India who should work across the border, but hasn’t so far and why?
HM: From the Pakistani industry, I'd say Shaan. Whereas from India, I want Salman Khan to work in Pakistan. He's the biggest star in India and he has a huge fan following so why not?

Imran Abbas:

Imran Abbas. – Courtesy photo

Model turned actor Imran Abbas is regarded as a surprising and welcome addition to the Bollywood bandwagon.
After working in television serials like Mera Naseeb, Khuda Aur Mohabbat and Dil-i-Muztar, the young actor smoothly shifted focus to movies.
His first Pakistani film was Yasir Nawaz's Anjuman which failed to impress most of the audience.
However, that did not hinder the actor's progress as he was soon after offered a role in Vikram Bhatt's monster thriller Creature 3D opposite Bipasha Basu.
The Malaal actor talks to Dawn about his experience in Bollywood thus far:

Was working in India a goal you had in mind from the beginning of your career or did it just happen when the opportunity presented itself?
Imran Abbas (IA): No, I neither ever thought, nor harboured a goal to work in India.
Actually, acting itself was never an ambition. Basically, I am a trained architect and initially I just received a flood of acting offers which just kept on pouring in.
I don’t plan these things and never really imagined I would work in India.
But working in Bollywood is both a huge responsibility and achievement as it is a huge industry which offers one wide exposure.
Its actors have made names for themselves worldwide, so being part of this industry has been a big honour and one should not be embarrassed or ashamed to admit this.

How is audience reception different in Pakistan and India?
IA: I think the reaction and the reception has been similar in both countries. Everyone appreciates good work.
I have received great respect in Pakistan from TV audiences and probably because of that adulation in Pakistan I have received recognition in India. If I had not appeared on TV in Pakistan, perhaps no one would have recognised me in India so I am truly grateful for the recognition Pakistan has given me.
I am definitely garnering good reviews in India, which can be seen by the standard of projects I am being offered and the ones I'm already doing. This can be witnessed by the fact that I have been offered a couple of mainstream Bollywood projects and by the fact that I worked with Muzaffar Ali sahib, which I think is a big achievement as he is a great director who has worked with all of India’s screen legends.

Share your favourite moment/memorable story from working in India.
IA: I think working with Muzaffar Ali sahib was the apex of memorable experiences. Growing up as a classical singer myself, I used to listen ardently to the songs from his directorial venture Umrao Jaan.
It was always my wish to meet and work with a legend who has knowledge about classical music, about acting, about beauty; who knows about culture and traditions and myriad civilisations as well as literature.
I am also an art student so in my mind’s eye there is no one who fills all these attributes more than Muzaffar Ali sahib.
Other memorable moments which I will always remember include receiving compliments from legendary actors such as Dilip Kumar. Also meetings with Lataji (Mangeshkar) and Ashaji (Bhosle) remain special moments.
The interludes with these and others whom I grew up watching and admiring make up my most memorable moments.

Do you truly feel 100 per cent accepted across the border?
IA: No. It’s not like that. No one is ever accepted 100 per cent.
In a neighbourhood of 100,000 inhabitants, not all of those 100,000 will like you. There will be those who like you and those who don’t.
Anywhere in the world no actor or any human being for that matter receives 100 per cent acceptance. No one is ever totally happy with you or your myriad efforts and achievements.
Having said all of that, even though I have not garnered 100 per cent acceptance, whatever I have done is plenty and I would love to receive more love from India!

Who is one person from Pakistan, and one person from India who should work across the border, but hasn’t so far and why?
I think if the late actor Moin Akhtar had worked in India he would have been even more heralded and lauded than he already is. There was never such a brilliant actor as him in Pakistan nor is there now. I think he was one of the finest actors in the subcontinent.
I believe that Hina Dilpazeer would be much appreciated in India because she has an eclectic range and is able to perform diverse roles admirably, as well as Bushra Ansari who is similarly versatile.
I really hope that Amitabh Bachchan, who is a great actor and star comes to Pakistan and works in a project here.

Fawad Khan:

Fawad Khan. – File photo

Fawad Khan worked his way into the hearts of the Indian audience with incredible ease when his show Zindagi Gulzar Hai aired on India's Zindagi TV, followed by Humsafar, which is regarded as the most successful show in the history of Pakistani television.

He made his debut in Shashanka Ghosh's remake of the 1980 Hrishikesh Mukherjee-directed classic, Khoobsurat opposite Sonam Kapoor and became an A-lister overnight.
Although the film itself was an average grosser at the box office, it solidified Fawad's presence in the industry and along with his brooding looks, his acting chops were also noticed.
Unfortunately, the actor was not available to comment on his Bollywood experience.

Aamir Khan’s ‘PK’ Is North America’s Biggest Foreign-Lingo Grosser Of 2014

PK

 Bollywood star Aamir Khan has outdone himself, just about. His current release, the Rajkumar Hirani-directed comedy/drama PK, has become the highest-grossing foreign-language film of 2014 in North America with a cume to date of $7.91M after two frames.

That sets it just below his mega-hit last December, Dhoom 3, which ultimately earned a touch over $8M at the North American box office — but PK could be on track to pass that. After opening last weekend to the biggest Bollywood bow of all time in North America with $3.57M at 272 locations, the UTV-released PK parlayed that into a $6.16M first week and added $1.75M this weekend at 264 dates. In a case of turnabout-is-fair-play, PK just leapfrogged Mexico’s Cantinflas, which was the foreign-language title holder before this weekend with $6.38M. Last year, it was Mexico’s Instructions Not Included which widely ended up the biggest foreign language title in North America, while Dhoom 3 came in 2nd.

ANUSHKA SHARMA

PK MOTION POSTER

PK now has an estimated cume in India of $51.6M and an overseas total of $17.8M (including North America). If the $51.6M cume at home holds after actuals are reported, and not taking currency fluctuations into account, that would catapult PK to the status of biggest Bollywood movie of all time at 327.6 crore — well beyond Dhoom 3‘s 284.27 crore, which at today’s exchange rate would equal $44.8M. It would also be the first time a Bollywood movie passes the 300 crore benchmark.

 

The story sees Khan as an alien who lands in the Rajasthan desert with a mission to study life on Earth. When the device that allows him to communicate with his spaceship is stolen, he sets out to find it while attempting to blend in. Ultimately, he heads to Delhi where the fish-out-of-water asks innocent questions that hold a deep and valuable meaning about the belief system that humans have created to reach God. There’s some controversy in India from religious groups against the film, but that hasn’t seemed to have dented box office at all.

It’s been a couple of very strong years for Bollywood globally including 2014’s Salman Khan-starrer Kick; Fox’s Hrithik Roshan vehicle, and Knight & Day remake, Bang Bang; and Shah Rukh Khan’s Happy New Year. When PK kicked off last week, it entered the North American Top 10 at No. 9 becoming the third Bollywood title to do so in recent memory, following Dhoom 3 and Yeh Jawaani Hai Deewani, both last year.

PK