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Orange has announced that it hascome to an arrangement with Apple to sell the iPhone in the UK, whereit will be the only network other than O2 to sell the iPhone 3G and 3GSin the UK. Orange announced the deal in a short statement, although details on pricing tariffs and availability are yet to be revealed.
"OrangeUK and Apple have reached an agreement to bring iPhone 3G and 3GS toOrange UK customers later this year. Orange globally now offers iPhonein 28 countries and territories," said the statement. "Orange,which has the largest 3G network covering more people in the UK thanany other operator, will sell iPhone in all Orange direct channelsincluding Orange shops, the Orange webshop and Orange telesaleschannels, as well as selected high street partners.
28th September 2009, 08.30am:Orange UK and Apple have reached an agreement to bring iPhone 3G and3GS to Orange UK customers later this year. Orange globally now offersiPhone in 28 countries and territories. Orange, which has the largest 3G network covering more people in theUK than any other operator, will sell iPhone in all Orange directchannels including Orange shops, the Orange webshop and Orangetelesales channels, as well as selected high street partners. Apre-registration site for customers to log their interest has alreadybeen launched at www.orange.co.uk/iPhone. More information on pricing, tariffs and availability dates will be released in due course.
O2 has responded to the news that Orange will be stocking the iPhone by confirming it will continue to stock the device. "We'reproud that we've been able to offer an exclusive iPhone deal to our 20million customers for the last two years. We always knew that iPhoneexclusivity was for a limited period of time, but our relationship withApple continues and will be an ongoing success," an O2 spokespersontold TechRadar. "We have over 1 million iPhone customers and they remain very important to us. "Weaim to offer our customers the best devices on the market, includingbecoming the home of Smartphones and we are really pleased to now addanother device in the Palm Pre. "We also offer award-winningcustomer service and benefits, which is why more people choose O2 thanany other network in the UK." Network blow O2 has recently been under fire for failures in its data provision,and this new announcement will be another blow to the network as it'sjoined by Orange in stocking both the iPhone 3G and the 3GS. Thespeculation regarding O2 losing exclusivity of its iPhone range hasbeen rife for months, although it was expected that only the iPhone 3Gwould be offered to other carriers, with O2 retaining its status as thesole stocker of the 3GS. O2 will still be the exclusive stockistof the new Palm Pre when it debuts in the UK next month, but given thisis over 10 months since the device was announced it's not going toattract interest in the same way the iPhone has over the years. We'restill awaiting news on whether Orange will drop the price of the iPhonecompared to O2, but we'll bring you news as and when we get it.
Orange recently revealed plans to merge its UK network with DeutscheTelekom's T-Mobile to create a business with 28.4 million customers. If given the go-ahead, it would be the UK's largest provider, overtaking Telefonica's O2, with about 37% of the mobile market. "Thatwould be good for Apple," said Mr McQueen. "Then, around three quartersof the UK market will then have access to the iPhone." O2 hasoffered the handset in the UK since its launch in 2007. In February, itsaid it had sold more than one million of the handsets. The launch of the latest iPhone 3GS in June significantly boosted sales, with many stores running out of stock. The phone has also allowed the firm to win subscribers from other networks, according to analysts. However,the rise of smartphones - which have the ability to surf the web andsend e-mail - has put a burden on the O2 network, according to MrMcQueen. "IPhone users to tend to use data quite extensively - perhaps more than anticipated," he said. "Orange has always a good data network and if the T-mobile deal goes through it would allow them to share the burden." O2 will continue to sell the handset in Britain, alongside iPhone rival the Palm Pre. The Palm phone, described by some as an "iPhone killer", will be available exclusively to O2 from 16 October. O2 said that it always knew that its exclusive deal was for "a limited period of time". Thenew agreement with Orange brings the UK into line with many othercountries around the world which have multiple operators that offer theiPhone. In countries where exclusive deals still persist, suchas the US, some customers choose to "unlock" their phones using thirdparty software so they work on an unlicensed network. However,Apple has warned that the practice can cause "irreparable" damage to ahandset and has engaged in a game of cat-and-mouse, releasing periodicsoftware updates which prevent unlocked phones from working correctly.
The past few weeks have come with two major reveals for the weirdoswho follow online social networks. The first was big news. Twitter’sinternal documents leaked and the identity-crisis of earth’s most popular start-up is now public. The second was more under the radar but just as important. In a memo that went out to staff, the CEO of MySpace admitted that their users are caught between three competing notions of what MySpace is or should be.
Twitter and Myspace are different companies in different markets butthere is a lot of evidence to suggest that they share, and will alwaysshare, the exact same problem. MySpace and Twitter are hugely popular for uses neither company anticipated.The mission of each company is so vague that their products arestretched and molded into a variety of different uses. Instead oftargeting and building their business around one of these users they take their sudden popularity as a sign they have a killer product. They don’t.
Scale is Everything
When an industry is in transition or an idea like ‘social networking’ is still being fleshed out, getting explosively popular without knowing the nuances of why is a curse.Twitter is young but in my opinion, it’s already too late. It has growntoo big, too fast, for too many different purposes. It will take 2 orthree years but Twitter will be lapped by a variety of similar services with focus and actual business models; how Facebook developed in response to MySpace sheds light on what kind.
How MySpace Scaled
Since its inception MySpace has gone after users as if they werePokemon’. MySpace managers ran competitions on sign ups and theemployes used a slew of methods to capture. The result was a sprawlingnetwork of users but by 2005, it seemed to be working. If you looked at the stats, MySpace was an utter phenomena. It destroyed Friendster and after it was purchased by Murdoch it was getting all types of press and valuations. What the raw stats didn’t tell you is that user habits on the site looked something like this:
The problem with this way of scaling is simple. When a new cultural practice, like ’social networking’, is in the grass roots stages of development you can’t assume that people are going to your site because they like it.Your competition doesn’t really exist yet. What they might like are certain aspects of your productor they might be using parts of it in ways you never designed. The onlyway to address this is to study your users obsessively, focus on aparticular experience, then update your product accordingly.
Because MySpace grew in so many different markets at a single timeand gave users so much space to use the service how they liked, they’ve never been in a position to either watch or effectively control this experience. How do you update a product without knowing its target? You don’t. MySpace at its height and the current MySpace look remarkably similar, it lost control to its users. It has gone from being hailed as one of the best acquisitions ever made to a drain on News Corps portfolio. The results look like this:
How Facebook Scaled
When it comes down to it the mechanisms of MySpace and Facebook are not that different.Thepieces and concept are nearly the same. Both are constructed of userprofiles, avatars, walls, interest spaces, groups, photo capabilities,and a friend confirmation/listing process.
Facebook distinguished itself philosophically and pragmatically. Zuckerberg’s biggest insight into designing the site was that you are online who you are in real life. Facebook was one of the first social networks to emphasize genuine identityinsofar asthey required full names, university email addresses, and deleted accounts that used aliases. The second was pragmatic. Facebook launched in a single target market. In this case, of course, it was Harvard.
What this enabled was a less abstract more manageable mission.Instead of having to define what an ‘online social networking space’was supposed to be for everyone, Zuckerburg just had to answer forHarvard. As Facebook became popular on campus, he was able to see directly into how his peers interacted with the site and was able to update the product to help them use it more efficiently. Becausethey were all college students, the feedback he was getting was focusedand nuanced. Having less users also meant they could redesign theirentire product without pissing off disparate subsections. The resultwas an incremental evolution. The Facbeook that started at Harvard looks radically different than the one we use today. It worked.
How Twitter Scaled
Twitter grew much like MySpace. It ran competition for signing upusers, aliases were allowed, and it grew in multiple markets at theexact same time. Twitter started as a group SMS texting service then became popular for something wholly different. By restricting the length of a message the site inadvertently addressed one of the oldest problems in group communication. How do you hear many voices at a single time? Twitter’s answer is dead simple. 140.
This little restriction has produced a fascinating, highly-addictive product. If you look at the stats, Twitter seems to be working. It’s one of the most popular websites in the world and now has an excess of 44 million members.For those who invested or employees that had stock options, it must bean incredible feeling. I have grown to love Twitter but in my opinion we are rapidly approaching its peak.Its parallels toMySpace in 2006 are explicit. Twitterhas been bootstrapped for a vast number of uses and while its exciting to watch, its service is not containable . Like MySpace, Twitter is getting pulled in a variety of directions:
Why Twitter Will Dissolve and Turn into Detroit
The ability to hear and communicate messages with a group is what brought Twitter its initial wave of users but the real allure of Twitter, the reason it has caught the imagination of the press and millions of users, is something much more abstract. On Twitter, you can hear a public. Of course, there isn’t just one public, there is an infinite number.Whether it’s your country, your college, your city, or a shared nicheinterest like nyc media,everyone belongs to many publics and most everyone has a natural curiosity about what’s happening inside of them.
Twitter offers a way to manage how you see these publics. The problem is that its 140 character restriction is a blunt instrument. The site does not reflect the potential or nuance in which a public can speak to itself online.
Twitter as a network is an ungodly mess. From the onset, the site has allowed users to register aliases on custom URLs and because of it, usernames are inconsistent and confusing. It’s hard to find people who you know and its often even difficult to deduct wether that person is who they claim to be. Twitter is mobbed by impersonators,some of them hilarious, others manipulating. Twitter addresses thisissue recently by creating a ‘Verified Account’ stamp, its sloppy butmore importantly, perpetually incomplete.
There are a host of other problems related to reputation and maintaing users but the biggest issue concerns its identity, which is also where the leaked documentsgot interesting. Twitter employees are so clearly uncertain about whattheir product is even doing. Shots at it swayed from, “Twitter is fordiscovering and sharing what is happening right now,” to, “Twitter makes you smarter, faster, more efficient and more powerful.”
Twitter became popular before it had a mission. What this means is that its employees and investors will forever be trapped in boardrooms having these inane cyclical discussions about its identity. Twitter will either perpetually be simple insofar as its millions of users will have to hack the service to reflect their own values or it will roll the dice on a focus, put the site through chronic redesigns, and risk a mass user exodus.Either way its top talent will likely get frustrated and leave thecompany. Its top users will drift to something else then jump.
How Twitter will Resolve
The first thing to realize is that thereprobably isn’t going to be just one product to replace Twitter, therewill be several and they will battle it out or find niches. I see theirdesign following two trends with a potential for a hybrid.
The first trend is a service with the most minimal centralization possible. Both Dave Winer and Anil Dash have discussed plans for such a product. Winer calls his the RSSCloud and Dash describes the project more generally as the Push Button web. The RSSCloud grew from discussions with Jay Rosen over frustrations with Twitter and how its users have been bootstrapping. The line of thought is that your data belongs to you, not Twitter, and you should be able to use your data how you like with as little brand interference as possible. The proposal is to build RSSCloud, a loosely coupled service that will push your data to any website in real time.
The second is a product that is centralized but has an elegant way of organizingits content and attracting users. This is a product that would look andscale much like Facebook. It would start in a single target market anddevelop as a place for users to hear and communicate to thatpublic. Ideally it would begin in a cloistered network like auniversity where establishing members is as easy as checking their .eduemail address.
Addressing what’s wrong with Twitter isn’t going to come from thin air. It’s going to take a lot of time, development, and platform competition.
Many will soon be working on this, myself included. What will fill the blank is likely to define modern news production.
It’s fair to say that the founders of Metacritic never foresawit generating the attention it has attracted. Intended as a way ofseeing at a glance whether a game was worth buying, it’s now used asa measure of game quality by the largest publishers, developers andretailers.
John Riccitiello has used its scores todefine EA’s business strategy to analysts; Steam prominently displaysthem on its product pages; developer Frontier uses them for salesforecasting.
And this simple set of numbers is deemedresponsible for many industry ills, from over-examination of reviewscores to influencing developer royalties. “I’ve heard thatpublishers will try to put a step in royalty levels depending onMetacritic scores, or some sort of Metacritic-related compensationstructure to a deal,” says Andy Eades, development director atRelentless.
Metacritic is still edited by just one man,Marc Doyle. But his focus remains very much on the reason why it wasestablished in the first place. “I really see myself as a kind ofgatekeeper to tell people that these are the games you should be payingattention to,” he declares. His role is to gather scores andcomments for every game released in the US, choosing whichpublications are included and concocting the formula that combinesthem into a single number.
A night owl, he works into thesmall hours from his office in Los Angeles. And though it’s nowowned by CNET, Metacritic is still his baby, Doyle co-founding itafter studying at USC Law School. There he met Jason Dietz,who came up with the concept and name in 1999. They launched itin 2001 and sold it in 2005.
Metacritic isn’t the onlyinternet game review score aggregator. The other major site is GameRankings, also owned by CNET. Doyle and GR’s editor, Lee Alessi,“talk to each other,” but have different methodologies. GR’sscores are based on averages, while Metacritic weighs publications’scores differently, depending on Doyle’s opinion of their prestigeand quality. But he won’t reveal how.
Both work on the sameprinciple, however: consistently include enough reviews fromenough publications across enough games and the results will smoothout. “A big game – one of the GTAs – I know Edge is going toreview it, and I know an easy grader will too, and so the biggames will get the same treatment,” Doyle explains. “If I includeall your reviews and all theirs, it all works out.”
Certainly,viewed broadly, the games at the top of the scale are generally thebest games around, and the bottom ones certainly aren’t. Thechallenge for Doyle [pictured above] – and the main source ofcontroversy – is in his selection of publications. The originalbasis was: “Who is the most credible, who has the best reputation,the best analysis?”
But now, he says: “It’s essentiallyabout whether gamers are going to them because they’re reliable foradvice on what games they should buy. I really don’t have to do toomuch research because they just come to me. I check out their scoringmethodology, send out a questionnaire asking when they launched,how many reviews they cover a week, total reviews done, aboutstaff – all the things I’ve learned over the years that I have todo.”
Clearly, much credence is placed on metascores, buttheir use as a metric for business decisions also depends on whetherthere really is a causal relationship between scores and sales.“There’s anecdotal evidence both ways,” says Doyle. “I know thatcertain publishers have done very comprehensive studies and they’vebeen able to highlight certain types of games and certain types ofgenres for which predictability will be much higher – racing,sports and certain types of action games, certain types offranchises. Others you just don’t know, like why did the Ben 10game sell through the roof? I don’t know. It’s not sopredictable, it’s not scientific or perfect.”
Activisionhas made such studies. Executive VP of publishing Robin Kaminsky saidat the 2008 DICE conference that higher-quality games, based onscores from Game Rankings, on average sell more, and that for everyfive points above 80, on average, sales double. But she notedthat many games buck this trend, and that the largest publishershave found that the greatest sales growth tends to occur in gamesscoring in the region of 70 compared to those scoring 80 ormore.
She also presented 18 products achieving scores of90 or more in 2008 and 2007. Only two were projected to sellover seven million copies, while seven sold less than a million.Overall, 12 out of the 18 sold less than two million, afigure that marks a rough break-even point for a triple-A game. Inother words, there is a correlation but quality does not assuresuccess.
And yet Metacritic is still gaining in stature, apoint illustrated by the fact that Doyle is receiving increasingcorrespondence from publishers. “If I’m missing something,publishers contact me and ask whether there’s a bias or a systematicissue – ‘Why are you covering this publication and not another?’”
Indeed,many PRs are strongly affected by a greater use of metascores aswell. Certainly, we’ve spoken with a PR for a major publisher whoexpressed huge frustration with the stress their companies place ongetting the best they can. “PRs who haven’t been in the industry verylong will get angry when certain new publications that I know haven’tearned their reputation aren’t included, or some local daily paper,”says Doyle.
“I say, ‘Guys, they haven’t made it yet’ –I try to be as kind as I can because I know sometimes they haveclauses in their contracts that make them affected by metascores interms of bonuses or penalties.”
The practice could be subtlychanging the relationship between developers and publishers, too.“You really want a producer to focus on doing everything that’s rightfor the game, not to be focused unduly with the review score it’sgoing to achieve,” says Splash Damage’s Paul Wedgwood [above].
“Ifhis bonus is wound up at a score of 70 or 80, he might betempted to err on the side of caution rather than taking risks andpushing for an 85 or a 90. Look at projects like BioShock,for example – on paper that isn’t something any sane producer wouldtake on, but it’s obviously well justified by its review scores.”
Furtherto this, many developers of games for broader markets feel thatmetascores are unrepresentative of their work. “If you look at familygames and kids’ games, they consistently score as many as tenreview points lower for, dare I say, what’s similar quality,”says Frontier’s David Braben. “It’s actually really hard to make areally
good kids’ game.”
For Wedgwood, developers canbe more directly affected by a poor metascore. “The negative sideis if developers are penalised for achieving low scores despite nothaving control over the resources and schedule for the project.”
Doylethinks so too: “If they’re having to achieve a certain metascore withthe same budget, that’s disturbing.” But it depends on therelationship between developer and publisher as well, as Wedgwoodsays: “Obviously, if the developer is wholly or partially funding agame or has a strong relationship with the publisher and can determinewhen it’s going to be released and how much it’s going to cost tomake, it’s their responsibility. And I think in that situationit’s quite common for a publisher to have an expectation for quality.”
Indeed,Wedgwood is a proponent of the idea that publishers should offer abonus related to earning certain metascores: “I think that reallyshows confidence from the publisher, saying ‘irrespective ofwhether or not this is a commercial success we’re going to pay you abonus just for achieving a certain review score’ – that’s a realincentive.”
But Braben [above] argues that developers have hadincentives all along. “Think of sales as a great big glorifiedMetacritic,” says Braben. “There’s been a lot of earnest talk aboutusing Metacritic and Game Rankings to incentivise, but the one reallyobvious way of incentivising things is royalties. EA has giveninterviews in which it mentioned average Metacritic scores as being ametric of the quality of its games. The problem is, why is itquoting that and not sales success?”
Eades agrees,reminding us that game companies are businesses: “There’s no pointin getting nine out of ten, ten out of ten and then not sellingenough products to justify a sequel.”
Which brings us back to the fact that Metacritic was only ever meant to be a general
guideto what to play for a game-buying public. For as long as everyone inthe videogame industry remembers that at the heart of it are one man’sdecisions, it could have value as just one of many other ways ofmeasuring a game’s overall success.
And perhaps, among allthe fears that a new focus on quality by publishers has emerged, thisis a change for the better. Wedgwood certainly agrees: “Wouldn’teverybody rather be working for a publisher that’s more concerned aboutquality?
According to gamesindustry.biz The videogames industry has set a new record in the US for sales ofsoftware and hardware, with 2008's level topping USD 21 billion acrossthe year, with almost a quarter of that coming in the supposedlyeconomy-stricken month of December.According to NPD data software sales grew by almost 23 per centto USD 11.7 billion, with December alone accounting for USD 5.3 billion- more than the total figure generated throughout the entire calendaryear in 1997.
Console game sales totalled USD 8.9 billion, based on 189million units sold, while PC games accounted for USD 701 million from29.1 million units, while portable titles sold 79.5 million units,hitting USD 2.1 billion.
The total number of games sold was just under 298 millionunits, with more than half of those rated at Everyone 10+. Teen titlesaccounted for 26.7 per cent of the market, while Mature games were just15.9 per cent.
I think it's amazing that something great is staying strong in our economy. It seems like the gaming industry sometime's get a lot of blame for things but it cannot be blamed for getting weak in our economy. Buy games and keep it strong!!
Danny Boyle's latest centres on a plucky street kid who somehowfinds himself one question from winning the top prize on the Indianversion of Who Wants to be a Millionaire. Even before it carried all before it at the Golden Globes this weekend,Slumdog Millionaire looked a fair bet to defy similar odds at nextmonth's Oscars: the critics have been bowled over by this adrenalineshot of life and love in the ghettos of Mumbai.
[list=]
Slumdog Millionaire
Release: 2008
Country: UK
Cert (UK): 15
Runtime: 120 mins
Directors: Danny Boyle, Loveleen Tandan
Cast: Anil Kapoor, Azharudin Mohammed Ismail, Dev Patel, Freida Pinto, Irrfan Khan, Madhur Mittal, Rubina Ali
One senses a fair number of reviewers thought long and hard aboutflagging up the cornier aspects of this rags to riches tale: itsunlikely romance, the jump between Hindi and English; even thedepiction of the poorest parts of India's largest city in dazzling,colourful, turn-up-the-brightness-dial resplendence, before succumbingto the unfettered, joyous optimism brewed up by Boyle and screenwriterSimon Beaufoy (The Full Monty).
"Together, they have managed thedifficult task of creating a film that leaves you with a big smile onyour face - without insulting your brain," writes The Sunday Times's Cosmo Landesman."It's great to see Boyle, after a series of rather undistinguishedfilms, back on great form. He's the prince of zip, zap, wham, bam, boomfilm-making, who shoots from every angle but the obvious. The actionmoves from hallucination to dream to nightmare, with quick forays intofantasy. It's a glorious and great work."
"The film uses dazzlingcinematography, breathless editing, driving music and headlong momentumto explode with narrative force, stirring in a romance at the sametime," writes Roger Ebert in the Chicago Sun-Times."For Danny Boyle, it is a personal triumph. He combines the suspense ofa game show with the vision and energy of City of God and never stopssprinting."
"This is a film so upbeat and colourful that, by thetime you're relaying its infectious air of optimism to friends, youcould forget that it features orphans, slaughter, organised crime,poverty, enslavement and police brutality in its crowd-pleasingrepertoire of suffering and renewal," writes Time Out's Dave Calhoun. "Hell, it even ends with a get-up-and-dance Bollywood number on the platform of Mumbai's Victoria Terminus."
"Despitebeing overpraised - it arrives garlanded with the kind of reviews thatmust have come out after the opening night of King Lear - this is stillvery effective entertainment," writes our own Peter Bradshaw."Despite the extravagant drama and some demonstrations of the savagerymeted out to India's street children, this is a cheerfully undemandingand unreflective film with a vision of India that, if not touristyexactly, is certainly an outsider's view; it depends for its fullenjoyment on not being taken too seriously."
For me, SlumdogMillionaire is a down and dirty glimpse of third world life through awonderfully populist, feelgood filter. We may see the worst of Mumbailife - the street child kidnapped by a Fagin-like begging gang andblinded to increase his earning potential; the toilet which is littlemore than a hole in the ground, beneath which gallons of festeringexcrement menacingly await - but this is ultimately a comfortinglygeneric storyline reminiscent of a hundred million rags to riches tales.
Bestare the flashback sequences of protagonist Jamal Malik as a mischievousscamp desperately battling to stay one step ahead in a city so fastthat even Boyle's quickfire cutting cannot keep up with it. I'm alittle surprised that Brit Dev Patel, who plays Malik aged 20, hasreceived so much praise, rather than the Indian actors who played theyounger versions of the character. Patel seems somewhat detached in hisscenes on the game show itself, but by that point the film has alreadyembedded you firmly in its wildly exuberant dynamic.
But perhapsyou see things differently? Slumdog Millionaire strikes me as a filmthat could suffer an epic backlash if it triumphs on Oscar night. Rightnow it's revelling in its underdog status, but there's plenty ofammunition available to those who want to see it pulled down from itspedestal. What did you think?
Timeout.co.uk Review:
Quote:
January’s parade of films hungry for awards continues its march with Danny Boyle’s ‘Slumdog Millionaire’, a film so upbeat and colourful that, by the time you’re relaying its infectious air of optimism to friends, you could forget that it features orphans, slaughter, organised crime, poverty, enslavement and police brutality in its crowd-pleasing repertoire of suffering and renewal. Hell, it even ends with a get-up-and-dance Bollywood number on the platform of Mumbai’s Victoria Terminus.
Shot entirely in India and largely on location, the fabric of the film is winningly realistic. But the story is pure fantasy inspired partly by co-producer Celador’s desire to enshrine its winning creation, the game show ‘Who Wants to be a Millionaire?’ in a movie. Still, Boyle succeeds in leaving these creepy beginnings behind to create a film that’s full of warmth and humanity and forever looks on the bright side of tragedy.
The script is a simple conceit: writer Simon Beaufoy (‘The Full Monty’) has ripped up Vikas Swarup’s novel ‘Q&A’ and turned it into a rags-to-riches yarn about Jamal (Dev Patel), a young, slum-born adult in Mumbai who gives such a cracking performance on ‘…Millionaire’, that he’s only one question shy of the 20-million-rupee jackpot. Such unlikely success inspires envy on the part of the show’s creepy host (Anil Kapoor), who invites the police to arrest, question and torture him. This interrogation offers flashbacks of episodes in Jamal’s life that reveal the extraordinary sources of his knowledge and lend Boyle the handy framework of a child becoming an adult against all the odds in an India that’s changing by the hour but still dangerous for any kid on the loose.
Of all Boyle’s mixed work, from the promise of ‘Shallow Grave’ to the embarrassment of ‘Millions’ and the recent experiment of ‘Sunshine’, his new film probably best resembles ‘Trainspotting’: where in that film he found energy, humour and bonhomie in the stupor of heroin addiction, here he takes the impoverished life of a young Indian and spins it into an escapist fairytale steeped in the sights and sounds of the new India. By the time Jamal gets his girl – ultimately and simplistically it’s a romance – and everyone’s tapping their feet, you’ll have forgotten that one of his young friends was blinded and another sold into prostitution. You may also forgive some of the plot’s wilder turns and increasingly erratic jumps in time.
Boyle flirts with realism but never fully buys into it.
He’s too concerned with keeping the mood light and the pace furious. He’s a flashy filmmaker at times, but the real saving grace of ‘Slumdog Millionaire’ is how Boyle and cinematographer Anthony Dod Mantle go to extreme and pleasing lengths to soak up the colours, people and places of India. The film’s messages – that hard-earned street knowledge can be as valuable as traditional education and, while hardly original, that later success can overcome earlier hardship – are attractive if you’re willing to bite your tongue at the air of positivity. With so much good humour about you can even forgive the film’s bizarre slip from one language to another as young Indian actors give way to a warm, English-language performance from Britain’s Patel, who’s just one of a cast of actors who are as likeable and compelling as the film itself.
The Indian public may not have seen Slumdog Millionaire yet, butalready the nation has taken the most-talked about British-made film inyears to its heart.
On Sunday, Slumdog, which is set in Mumbai, won four Golden Globeawards – for best director, best film, best adapted screenplay and bestscore. In the process it became the movie to beat at the forthcoming AcademyAwards and unleashed a torrent of national pride across the subcontinent.
"Indian tale catches global fancy," the Hindustan Timestrumpeted.
"The Slumdog Has Its Day," said the Times of India, theworld's largest-circulation English-language paper.
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The biggest cheer was reserved for A.R. Rahman, Bollywood's best-knowncomposer, who became the first Indian to win a Golden Globe, for the bestoriginal score.
The film's distributors are now predicting that Slumdog will prove amassive popular success when it is released in India on January 23, largelybecause it wears its Bollywood credentials on its sleeve.
Vijay Singh, chief executive officer of Fox STAR Studios India, which isdistributing the movie in India, said: "It's an exceptional film, it hasIndian emotion much like a Bollywood film. The film has been built on thebuzz, it built its credibility in the US and then rolled out in the rest ofthe world."
Indian audiences are known for their love of melodramatic musicals, but intruth it is hard to say to which genre Slumdog, which is directed byDanny Boyle, the Briton behind Trainspotting, belongs.
The plot, based on the best-selling novel Q&A by Vikas Swarup, aformer Indian diplomat, tells the story of Jamal Malik, a dirt-poor orphanfrom Mumbai who stuns India when he reaps success on the country's versionof Who Wants to be a Millionaire?. Jamal, played by the British actorDev Patel, draws on his life experiences, many of them shockingly brutal, toanswer the game show's questions, aiming to stay on air for as long aspossible in a bid to win back the love of his life.
There is a song-and-dance routine and a third of the dialogue is in Hindi withEnglish subtitles – hardly the stuff of your average Hollywood blockbuster.Yet, in terms of revenue per screen, the film broke all records when it wasreleased in the US in November.
Inventing a new term in its honour, The Wall Street Journal called it"the film world's first globalised masterpiece".
But its biggest challenge might just be reaching Indian audiences: Slumdog,which has raised hackles among some Indians for its graphic depictions ofthe nation's darker side, has yet to make it past the country's notoriouslyprickly censors.
Nevertheless, the distributors have prepared a Hindi-dubbed version in anattempt to crack the Indian mainstream. It now remains to be seen whetherthe film will draw the same plaudits from the slums – home to half ofMumbai's population of 18 million people - as it has from Hollywood'sswooning critics.
There are different types of cinema theatre in India, which correspond todifferent portions of society. In recent years, a handful of western-stylemultiplexes, with about 600 screens between them, have sprung up in thelargest cities, catering to the wealthy middle class. Despite hosting lessthan a tenth of the country's screens, they account for about half thecinema industry's revenue. This is where the 200 prints of Slumdoginitially being released in India will be shown.
Then there are the 7,000 traditional single-screen cinemas, still known as"talkies", found across the country. Known for their conservative tastes,there had been concerns that Slumdog would prove too avant-garde forthem. In the past fortnight, however, the release of a trailer thatemphasised the film's "masala " (or "spicy") credentials has persuadedexperts that it is poised for popular success in India. "It looks to haveemotion, drama, songs, dance, romance: all the trappings of Bollywood,"Taran Adarsh, a leading critic, said. "The single screens would be crazy notto show it."
The latest generation of home consoles - the Wii, PlayStation 3 andXbox 360 - have a total installed base of 10 million units in the UKand Ireland.
That's according to data from GfK Chart Track, revealed todayin a public trading update from retailer GAME, which shows that as ofJanuary 3 2009 the addition of 12 million PSP and DS consoles bringsthe total of all five machines to 22 million units in the region.
The PlayStation 3 sold 1 million units in 2008, putting theinstalled base at 1.9 million, while Microsoft's Xbox 360 now sits in3.2 million homes in the UK, compared to 1.8 million in January 2008.
Nintendo's Wii is still the strongest of all home consoles,with an installed base of 4.9 million units by January 3, compared to 2million last year.
The DS and DS Lite leads the handheld market, with an installedbase of 8.8 million units, up from 5.4 million at the start of 2008,while Sony's PSP has hit 3.2 million units, compared to 2.6 million in2008
Apple flirting with another record quarter for Mac sales After spending 25 hours counting sales of iPhones and Macs at Apple's US-based retail chain, investment bank Piper Jaffray said it believes the company this quarter could meet or beat last quarter's record 2.6 million Mac sales total while again selling more than 6 million iPhones.
Publish Date: Mon, 17 Nov 2008 11:00:00 -0500 Read more...
Apptera secures $10.5 million for mobile-ad tech Deliverer of visual and voice advertising says the new investment will be used to expand its mobile-advertising network and improve its MobileAd Xchange program.
Publish Date: Wed, 19 Nov 2008 06:14:00 PST Read more...
