EXCLUSIVE: Vikram Bhatt reveals why Haunted - Ghosts Of The Past was renamed as Haunted - Echoes Of The Past: "You can't make a ghost film without believing in superstition"

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Vikram Bhatt struck gold with Haunted 3D (2011). It’s a film that kick-started the 3D trend in Bollywood and became a sleeper hit at the box office. Hence, there are high expectations for the next film in this franchise, which is set to release on June 12. Interestingly, the film was earlier titled Haunted – Ghosts Of The Past. As per the motion poster that dropped yesterday to announce the release date, the film was renamed to Haunted – Echoes Of The Past. Bollywood Hungama exclusively spoke to director Vikram Bhatt about this aspect. This was probably the director’s first interaction with the media after he faced a major personal turmoil in his life. Vikram Bhatt told Bollywood Hungama, “The Haunted films are not just about ghosts. At its heart, it’s a poignant love story. Meanwhile, the film was getting delayed for some reason or another and also, I had to face incarceration. A very close friend of mine said that this is probably happening due to the word ‘Ghost’ in the title. He t...
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The Hand That Rocks the Cradle review – serviceable 90s thriller remake

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There are some smart updates to the psycho-nanny hit, but without the searing presence of Rebecca De Mornay, this one is unlikely to stick around for quite so long

The yuppie-in-peril thriller, a multiplex mainstay throughout the late 80s and early 90s, tried to expose the vulnerabilities of our day-to-day, suggesting that danger could emerge from anyone and anywhere. It could be a co-worker (The Temp, Disclosure), a spouse (Sleeping With the Enemy, Dream Lover), a lover (Fatal Attraction, Don’t Talk to Strangers), a lodger (Pacific Heights, Single White Female), a parent (Mother’s Boys, Benefit of the Doubt), even a child (The Good Son, The Crush), a subgenre that insisted we maintain militant in spaces we’d assumed were safe.

One of the era’s most creepily effective examples was Curtis Hanson’s The Hand That Rocks the Cradle, because it played on a specifically awful fear for parents – that the person you’d entrusted to protect your child had a nefarious agenda. Rebecca De Mornay’s vengeful nanny became one of the more indelible villains of the 90s, the horror of an attractive, childless, blond woman wreaking havoc in suburbia striking fear into the hearts of settled cinemagoers across the world (it made $140m globally, a number that would be closer to $320m with inflation today). As the industry continues to plunder that decade (with everything from Buffy to Clueless to Urban Legend soon returning), it makes business sense to rock the cradle once again.

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