For many of us, this lock-down is turning out to be the longest break we've ever taken, from going out, or going anywhere for that matter. And for actors, it is a break with no 'work from home' which they are spending with family and loved ones. Taapsee Pannu is also making the most of it in her Mumbai house, along with sister Shagun Pannu.

Speaking to a leading daily, Taapsee opened up on how actors work so hard to have a house of their own but would barely have any time to spend there as they were always traveling for work. She added that she was reveling in her uninterrupted free time and would just sit at her favourite corners of the house.

Several cities including Mumbai and Taapsee's hometown Delhi, where her parents live, come under the red zone. However, the actor says she is relieved that her parents do not live around the hotspot zones, since they both are above 60 years in age and needed to be careful. She went on to add that her parents, one retired and another a house wife, did not go out much and hence weren't very severely affected by the lock-down.

Taapsee will be next seen in Akshay Kumar starrer Rashmi Rocket and Aanand L Rai's Haseen Dillruba.

On May 1, Shirish Kunder's directorial Mrs Serial Killer was released on Netflix. The film is co-produced by Farah Khan. While Jacqueline Fernandez, Manoj Bajpayee and Mohit Raina play the lead roles, the film also marks the debut of Zayn Khan, who is the daughter of Mansoor Khan and niece of Aamir Khan.

On Thursday, Farah Khan took to her Instagram handle to share a picture with Zayn Khan. Sharing the picture she also revealed how life came a full circle for her with Zayn's debut in her film. "In 1992 her father, Mansur khan gave me a break as choreographer in #jojeetawohisikandar .. 28 yrs later his daughter @zaynmarie makes her debut n wins hearts in our film , #mrsserialkiller.. life has a way of coming full circle," she wrote.

 

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In 1992 her father, Mansur khan gave me a break as choreographer in #jojeetawohisikandar .. 28 yrs later his daughter @zaynmarie makes her debut n wins hearts in our film , #mrsserialkiller.. life has a way of coming full circle ♥️

A post shared by Farah Khan Kunder (@farahkhankunder) on May 7, 2020 at 4:00am PDT

Mrs Serial Killer is the story of a renowned gynaecologist who is accused of murdering five unmarried pregnant girls. All the evidence is against him due to which his bail is rejected. With no other option in hand, the gynaecologist’s wife decides to commit a copycat crime to prove his innocence. While Manoj Bajpayee plays the gynaecologist, Jacqueline Fernandez plays the dutiful better half. Mohit Raina essays the role of the cop. As for Zayn Marie Khan, she plays Anushka, who is selected by Jacqueline’s character Sona as her target.

ALSO READ: 16 Years Of Main Hoon Na: “Farah Khan is the only director who feels I could be a very COOL action hero” – Shah Rukh Khan

Bepannaah is one of the few Indian television serials that have left a mark on its audience. It has been a year and a half since the show went off-air and it still seems to be making rounds in the news. Starring Harshad Chopda, Jennifer Winget, Sehban Azim, Namita Dubey, Rajesh Khattar, Shehzad Shaikh, Anchal Goswami, Parineeta Borthakur and more, this show will always have a special place in its audience’s hearts. The star cast still shares a special bond with each other and make sure to get together whenever possible.

Rajesh Khattar, who played Harshwardhan Hooda on the show, has recently had a baby boy named Vanraj. Taking to his Instagram, Rajesh has revealed the first picture of baby Vanraj Khattar and the internet couldn’t stop gushing over the little cutie! He also shared pictures of Harshad Chopda and Shehzad Shaikh meeting Vanraj for the first time. The caption reads, “#throwback Reel one’s awed by Real One ♥️♥️ @harshad_chopda @shehzadss #vanrajkhattar”

Take a look at the pictures and they are going to leave you in awe of this trio, too!

 

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#throwback Reel one’s awed by Real One ♥️♥️ @harshad_chopda @shehzadss #vanrajkhattar

A post shared by Rajesh Khattar (@rajesh_khattar) on May 7, 2020 at 7:58am PDT

Also Read: HOT ALERT! Harshad Chopda’s SHIRTLESS picture will drive your midweek blues away!

Sanjay Mishra starrer Kaamyaab hit the screens on 6th March 2020. The film captured the journey of the character actors. Recently, The Alchemist author Paulo Coehlo praised the film and his performance.

Taking to Twitter, he said, “The producers thank you in the very 1st frame, @iamsrk. I am doing the same. 2 days ago a great Brazilian actor, Flavio Migliaccio, committed suicide, leaving a note on how the industry treats their artists. This movie, labeled as “comedy”, is in fact the tragedy of Art.”

Shah Rukh Khan was quick to respond to his tweet. As the presenter of the film, he said, “Saw the film when it was doing Festival rounds and it touched a chord with the whole team at @RedChilliesEnt Am so moved you appreciate. It’s a sad truth that character actors get forgotten. Look after yourself my friend and be safe & healthy.”

Sanjay Mishra recently spoke to a daily and said that when the emotions of a film connect, language is not the issue. He said that though neither he nor his mother have read Paulo’s books, he told her that he is a well-known author. She said to Sanjay that his father would be proud of him. He said that he received congratulatory messages from his father’s civil services colleagues too.

As Paulo mentioned how a Brazilian actor committed suicide, Sanjay revealed that many of his friends are currently jobless due to lockdown. He said that those who have jobs could lose it one day but some of them didn’t even have it to begin with. He further said this goes for the senior artistes who get written off irrespective of their contribution to the cinema. Sanjay Mishra said that an actor is also society’s responsibility.

The story revolves around how a character actor after his retirement is all set to make a record of 500 films and continue his hustle. Sanjay Mishra and Deepak Dobriyal starred n the film as Mishra had undergone a prosthetics transformation for every character shown on-screen.

Kaamyaab had its world premiere at the Busan International Film Festival followed by screenings at Festival du film d'Asie du Sud Paris, New York City South Asian Film Festival, Indian Film Festival of Melbourne, Shanghai International Film Festival, as well as the MAMI Mumbai Film Festival.

ALSO READ: Author Paulo Coelho appreciates Shah Rukh Khan for Kaamyaab; actor reveals why he produced it

Kartik Aaryan’s last performance was with Sara Ali Khan in Love Aaj Kal and it was his best performance so far. He got to explore a lot of new aspects of himself as an actor when he played the characters of Veer and Raghu in the Imtiaz Ali’s directorial. The actor took to his Instagram to write a heartfelt note of gratitude to the director and thanked him for all his support so far.

He posted the picture with the caption, “When you first dream of being in films, you act in front of the mirror and nail it every time, and the world of movies seems magical. 
Then you get a movie. You see the camera and are unnerved. It’s bigger than the suitcase you brought to Mumbai. The bright lights seem to be scolding you for not landing on a one inch tape mark and wasting everyones time. The first few years become about trying not to look nervous. 
Then you get an Imtiaz Ali movie. The moment he narrates the story, you are pulled into a dream. I don’t even remember seeing the camera on his set, he‘d always be standing wherever I looked after cut. He was never at the monitor, he was by my side. The lights on Imtiaz Ali’s set help you find those tape marks.

I have never experienced the kind of love and appreciation I have got for my performance in Love Aaj Kal, and that too from some of my favourite filmmakers and people I most respect in the industry. How ironic that the making of this film felt most effortless! It would scare me to think of doing two characters in one movie. And here, I didn’t even realise how smoothly I was being transitioned between #Veer and #Raghu . For an actor, there is no better environment than being In front of that mirror. Imtiaz Ali takes you there. This is the reason why so many great actors’ greatest performances have been in Imtiaz Ali films. Imtiaz Ali director nahi hain, jadugar hain! Thank you sir for giving me the best performance of my career yet. ❤️ @imtiazaliofficial #LoveAajKal”

 

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A post shared by KARTIK AARYAN (@kartikaaryan) on May 7, 2020 at 10:48pm PDT

Kartik Aaryan will next be seen in Bhool Bhulaiyaa and Dostana 2.

Also Read: Kartik Aaryan describes his quarantine routine as his sister takes a sweet revenge and slaps him during a video

Jacqueline Fernandez’s latest cover for a leading magazine was flawless as ever but these inside images tell us, how we must reconnect with nature. What better inspiration than the actress, herself!

In the first one, we see Jacqueline playing a guitar and playing with a little goat. Jacqueline is seen wearing a beautiful dark ocean blue blazer with a bralette and a skirt. The magazine on their social media says, "Amidst news of the lockdown extension, we asked Jacqueline Fernandez to create images that would celebrate just some of the things that are bringing us joy right now—beautiful imagery, nature, and the hope of a better future. The actor is quarantined out on a Panvel farmhouse and is also currently promoting her new Netflix movie Mrs Serial Killer. She styled and did her own hair and makeup for this dreamy digital cover story. Watch this space to see more images created exclusively for Bazaar."

The second one is the one where we're searching for sunnier times. Jacqueline looks stunning in the beige skirt and a white single shouldered top with soft summery glowy dewy makeup. The magazine shares on their social media and says, "Dreaming of sunnier times and the great outdoors with cover star Jacqueline Fernandez".

 

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A post shared by Harper's Bazaar, India (@bazaarindia) on May 4, 2020 at 6:59am PDT

 

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A post shared by Harper's Bazaar, India (@bazaarindia) on May 4, 2020 at 7:08am PDT

 

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A post shared by Harper's Bazaar, India (@bazaarindia) on May 4, 2020 at 8:01am PDT

The last look of Jacqueline with wavy hair and the blazer with sunshine on her hair enhancing the looks. The last one is a perfect picture for how we are all feeling during the quarantine, the magazine writes, "Our April/May 2020 digital issue cover star Jacqueline Fernandez shared a glimpse of what life looks like for her right now in quarantine. The actor is grateful to be quarantined out on a Panvel farmhouse where she is, “reconnecting with nature”. She says she is, "doing everything that I can to help those in need from here and praying for strength and health to each one in this world during these tough times."

It’s amazing to see how we can totally relate to these images and mood as we are feeling it totally. Everyone is searching for hope, sunnier and happier times. Everyone is reconnecting with nature in their own way. Jacqueline is also one of those actress who wins hearts not just on magazine covers but also on-screen each time. Her recently released Mrs. Serial Killer has won hearts and the perfect portrayal of a dark character has just proved her versatility as an actress one more time.

Also Read: VIDEO: Salman Khan, Jacqueline Fernandez, Iulia Vantur send out bags of ration to the needy

The nation is under a lock-down, and like everyone else, Tiger Shroff is also trying to sail through this time by keeping himself occupied at home. But it looks like he simply can't get the Baaghi franchise off his mind.

About two weeks back, Baaghi completed four years, and the actor wrote a brief, emotional note on Instagram, sharing a BTS video with us. Today, he shared with us glimpses of his workshop for the film, in Bangkok where it was shot. The video has Tiger practicing for some intense action sequences and packing powerful kicks. "Workshop, on set rehearsal, and action! Busy streets of bangkok," he wrote. Watch the video below.

 

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Workshop, on set rehearsal, and action! Busy streets of bangkok❤️#baaghi1

A post shared by Tiger Shroff (@tigerjackieshroff) on May 6, 2020 at 2:52am PDT

Baaghi 3, the latest edition of the franchise, looked promising and fans were looking forward to all the action and entertainment. It released on 6 th March but only had a brief run at the theatres. Baaghi 3 is now streaming on an OTT platform.

Sometimes, one film is enough to turn an actor into a nationwide star. BAAHUBALI - THE BEGINNING was one such film. It made Prabhas from a regional star to a pan-India sensation and it’s sequel BAAHUBALI 2 - THE CONCLUSION cemented his position as a superstar. Almost 2 ½ years later, this macho actor is now back with SAAHO. While BAAHUBALI was a period drama, SAAHO is a modern-day actioner with a bit of a futuristic setup. The hype is tremendous from East to West, North to South. So does SAAHO live up to all the excitement? Or does it disappoint viewers? Let’s analyse. <img class="aligncenter size-full wp-image-1013048" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/08/Saaho-Aug.jpg" alt="" width="720" height="450" /> SAAHO is the story of a mysterious man on a mission. The foreign city of Waaji is ruled by gangsters and criminals and the biggest of them is Roy (Jackie Shroff). He cleverly manages to get the approval of an Indian minister, Ramaswamy (Tanikella Bharani) for a hydro project in India. He then reaches Mumbai and this is where he’s killed in a road accident. His son Vishwank (Arun Vijay) then takes over, which angers Devraj (Chunky Panday) as he wants to sit on Roy’s throne. Meanwhile the Mumbai crime branch is investigating the death of Roy and other related crimes. The case is handed over to Ashok Chakravarthy (Prabhas), a macho and extremely intelligent officer. He insists that Amritha Nair (Shraddha Kapoor) is also made a part of his team after he gets smitten by her photograph. While scanning the CCTV footage, they come across a mysterious person (Neil Nitin Mukesh) who they believe is a suspect. In the absence of evidence though, he can’t be arrested. Ashok however manages to speak to him and finds out that he’s hunting for a black box which can be used to access the wealth left by Roy in Waaji. Not just this chap but even Vishwank is trying to find the black box, which is hidden in Mumbai. He sends his associate Kalki (Mandira Bedi) who for some reason secures the box but instead of taking it to Waaji, she deposits it in a bank. When the mysterious person comes to get it, the cops who are already on his trial arrest him. However, the cops get a shock of their lives at this point when they realize they have a mole in their team. The mole runs away with the black box and this baffles not just the police force but also the gangsters of Waaji. What happens next forms the rest of the film. Sujeeth's story is strictly okay but it could have been made for an exciting actioner if the screenplay and direction were upto the mark. Sujeeth's screenplay however spoils the show. Till the first half, it is captivating but then the screenplay is all over the place in the post-interval portions. There are so many villains and moreover, there are so many people double-crossing that it gets confusing for viewers to remember the twists. Abbas Dalal and Hussain Dalal's dialogues are simple but a few one-liners are powerful. Sujeeth's direction is quite weak and it is one of the big reasons why this film fails. A film like SAAHO, mounted on such a huge scale, required the execution by an expert and experienced filmmaker. Sujeeth sadly fails to do justice. The plot is weak but still, the film could have been saved with the execution. Sujeeth fails to do so overall. On the positive side, a few scenes are handled very well. These are mainly in the first half like the entry scenes of Vishwank and Ashok, Devraj threatening his father Prithviraj and of course, the interval point. In the second half, he does very well in a brief part of the climax where three scenes are running parallel - one of Ashok, one of Amrutha and one of Kalki. If he had wisely directed the rest of the film, SAAHO would have been on another level. SAAHO has an average beginning. Too much information is laid out and it takes a while to process it all. The film gets a bit better with Ashok’s entry. The investigation carried out by Ashok and his team is quite engaging. Also, the politics played out in Waaji amongst the warring factions makes for a nice watch. The best is however reserved for the pre-interval. The sequence where Kalki’s car gets attacked is good. The intermission point comes as a jolt. A part of it is predictable but there are too many twists here and hence, it works since viewers won’t be able to guess all the unexpected developments. Post-interval, one expects the film to go on another level but sadly the opposite happens. There is too much chaos, visually and otherwise, and the film ceases to make sense. Yes, the action scenes are spectacular but after a point, the audiences get tired of the overdose. There are more twists in the climax but this time, the viewers don’t get very impressed. <span style="text-decoration: underline;"><strong>Saaho | Public Review | FDFS | Shraddha Kapoor | Prabhas</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/saaho-public-review-fdfs-shraddha-kapoor-prabhas/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of performances, Prabhas puts up a great show. As per his character, he performs well and would be loved by the masses. His dialogue delivery in Hindi however is a bit weak. Moreover, his character sketch is also a bit flawed – throughout the film, his character is always winning and ahead of his enemies. Initially, it works but then it becomes unconvincing. Shraddha Kapoor is quite lovely and suits the part of the no-nonsense officer very well. She is great in action scenes. Jackie Shroff makes a huge impact in his cameo. Neil Nitin Mukesh is dependable and looks quite dashing. Chunky Panday steps into the villain zone once again after BEGUM JAAN and is appropriate. Arun Vijay oozes fear very well and is apt for the part. Murali Sharma (David) has a crucial part and is decent. Mandira Bedi gives a memorable performance. Tinnu Anand doesn’t mouth a single dialogue and yet delivers a fine performance. Mahesh Manjrekar (Prince), Prakash Belawadi (Shinde) and Goswamy (Venella Kishore) are okay. Evelyn Sharma (Aisha) suits her part but her character doesn’t have much to do. Jacqueline Fernandez is sizzling in the special song. Music is average. <em>'Psycho Saiyaan'</em> (changed to <em>'Kaiko Saiyaan'</em>) is the best song of the lot and well shot and choreographed. <em>'Enni Soni'</em> and <em>'Baby Won't You Tell Me'</em> are forced in the narrative. <em>'Bad Boy'</em> is visually quite stunning. Ghibran's background score is a bit loud. In a few places, it overpowers the dialogues. Raju Sundaram and Vaibhavi Merchant's choreography is first-rate. Madhie's cinematography is captivating. A few scenes are captured upside down and make for a great watch. The lensman has also captured Mumbai’s birds-eye view beautifully. Kenny Bates, Peng Zhang, Bob Brown, Stefan Richter, Dhilip Shubbarayan, Ram Lakshman, Stunt Silva, Parvez Shaikh and Stunt Jashwa's action is excellent when seen individually. But in the film, a few of them seem needless. A few scenes that work well are Mumbai traffic scuffle (by Stunt Silva), Prabhas’s entry (by Peng Zhang) and chase sequence in pre-climax (by Kenny Bates). Sabu Cyril's production design is ambitious and larger-than-life, especially the Waaji city portions. But it doesn’t seem authentic. R C Kamalakannan's VFX could have helped in making it look real but it fails at places. Thota Vijay Shankar and Leepakshi Ellawadi's costumes are appealing, especially the ones worn by Prabhas, Shraddha Kapoor and Jacqueline Fernandez in the songs. A Sreekar Prasad's editing adds to the chaos and could have been simpler. On the whole, SAAHO suffers from a lackadaisical script and a vacuous screenplay. At the box-office, it is bound to have a huge start and a good extended weekend due to tremendous hype and the fan following of the lead cast but will face obstacles post the weekend.

In 1983, Dharmendra launched his older son Sunny in the love story BETAAB, which proved to be a huge success in all respects. 36 years later, life comes full circle as Sunny Deol now takes up on himself to launch his older son Karan Deol with PAL PAL DIL KE PAAS. Sunny is not just the producer - he also dons the director’s hat. The film has been in the making for a long time and has been shot in virgin locales of the Himalayas. So does history repeat with PAL PAL DIL KE PAAS and does it turn out to be a success? Or does it fail to touch the hearts of the viewers? Let’s analyse. <img class="aligncenter size-full wp-image-1020825" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/09/Movie-Review-Pal-Pal-Dil-Ke-Paas-IMG.jpg" alt="Movie Review Pal Pal Dil Ke Paas IMG" width="750" height="450" /> PAL PAL DIL KE PAAS is a love story set amidst the beauty of Himalayas and the ugly politics of Delhi. Karan Sehgal (Karan Deol) resides in Manali and is the owner of the very popular Camp Ujhi Dhaar. He lost his parents in an avalanche when he was 10 while they were on the hunt for the elusive snow leopard. The costliest trekking package offered by Camp Ujhi Dhaar is worth Rs. 5 lakhs and involves solo trekking with an expert. Vlogger Sahher Sethi (Sahher Bambba) from Delhi, who has just taken a break from her boyfriend Vinny (Aakash Ahuja), signs up for it as an excuse to escape from her nagging relatives who are to visit her house. The expenses are borne by her company for which she vlogs. Sahher is known for tarnishing the image of hotels and tour companies with her acidic vlogs and she’s all set to do the same with Camp Ujhi Dhaar too. She believes charging Rs. 5 lakhs is akin to a daylight robbery by the camp. Karan himself takes up the responsibility of taking Sahher for the 5-day trek. Initially, she detests Karan and says negative stuff about him in her daily vlogs. Karan, on the other hand, too doesn’t think too high of Sahher. But slowly, they fall for each other. Sahher changes her mind and realizes that the trek is the best thing that has happened to her.  She returns to Delhi and continues to be in touch with Karan. She breaks up with Vinny, infuriating her. But he doesn’t show and pretends to be cool with her decision. Karan, unable to survive without her, reaches Delhi when she hints him that she misses him too. They profess their love for each other. Vinny decides to put a devious plan into motion to bring back Sahher in his life. He’s aided in this plan by his elder brother Sushant Narang (Aakash Dhar), who’s running for the elections and the son of Ratna Narang (Meghna Malik), who’s into politics since two decades. What happens next forms the rest of the film. Jasvinder Singh Bath and Ravi Shankaran's story is beaten to death and very ordinary. It’s shocking that a story like this was approved in today’s day and age. Jasvinder Singh Bath and Ravi Shankaran's screenplay is also poor, especially in the second half. The first half is also nothing great but the mountaineering bit makes it watchable. Jasvinder Singh Bath and Ravi Shankaran's dialogues are also nothing memorable at all. Sunny Deol's direction is simple and decent. He executes the mountaineering scenes very well in the first half. Also, he does justice to the visuals and locales at his disposal. Unfortunately, since the script itself is so weak and outdated, his execution fails to save the film. He tries to enhance the film’s appeal with action and even a sequence on the racing circuit. Then there’s a bizarre snow leopard sequence but it works as he directs it well. But these factors can’t be of much help when the script itself is not upto the mark. PAL PAL DIL KE PAAS has a very poor commencement, showing Karan’s childhood and his present-day life. Sahher’s entry scene is also unconvincing and the attempt to be funny falls flat. The interest is set once the trek begins. The finest scene of the film is when Sahher faints due to altitude sickness and Karan puts her on his back and treks on a steep slope. The rest of the scenes are okay and the interest is maintained due to the locales and the trekking factor. The second half begins well with the <em>'Dil Uda Patanga'</em> track. Things then go downhill as there’s no story as such in the second half. And whatever story is there is very clichéd and routine. Moreover, it’s very predictable. The action scene raises interest and individually, it works. But as part of the film, it won’t be lapped up by the audiences. The finale is very simplistic and unconvincing. <span style="text-decoration: underline;"><strong>Pal Pal Dil Ke Paas Public Review | Sunny Deol | Karan Deol | Sahher Bambba | FDFS</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/pal-pal-dil-ke-paas-public-review-sunny-deol-karan-deol-sahher-bambba-fdfs/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Karan Deol puts a genuine effort but still, it falls short. He’s too raw and still needs guidance to become a fine actor. In the scene where he’s racing, he has a weird smile on his face and it takes away the impact. The attempt to roar like his father in the action scenes will work with the front benchers though. Sahher Bambba meanwhile does very well and has a wonderful screen presence. Aakash Ahuja is fine as the villain. Kamini Khanna (Sahher’s grandmother) is adorable and raises laughs in a funny scene. Meghna Malik leaves a huge mark. Aakash Dhar, Simone Singh (Sahher’s mother), Sachin Khedekar (Sahher’s father), Nupur Nagpal (Natasha), Vijayant Kohli (Kapil Gupta) and Kallirroi Tziafeta (Karan’s mother) are decent. Music is okay but some of the songs are shot well. <em>'Pal Pal Dil Ke Paas'</em> comes at a significant juncture. <em>'Ho Jaa Awara'</em> is the best of the lot thanks to its picturisation. <em>'Dil Uda Patanga'</em> comes next. <em>'Aadha Bhi Zyaada'</em> fails to work due to Karan’s acting. <em>'Ishaq Chaliya'</em> is forgettable. <em>'Maa Ka Mann'</em> is very soulful but comes at a very unconvincing point in the movie. Raju Singh and Rishi Rich's background score is quite exhilarating. Himman Dhameja and Ragul Dharuman's cinematography is spectacular. The locales of Himachal Pradesh are shot beautifully. The whole team deserves credit for shooting the film at locations that have been never before explored on celluloid. Not just the mountain scenes, even the second half is shot nicely. Resul Pookutty's sound design adds to the effect. Amardeep Behl and Tina Dharamsey's production design are appealing. Niharika Khan and Vishakha Kullarwar's costumes are very glamorous, especially the ones worn by Sahher Bambba. Vikram Dahiya's action is spot on. Prime Focus's VFX is quite okay and could have been better in the snow leopard sequence. Devendra Murdeshwar's editing could have been slicker, considering that the film is too long at 153 minutes. On the whole, PAL PAL DIL KE PAAS has an outdated storyline, with just the mountain scenes and Sunny Deol’s direction saving the day to an extent. As a result, the film will have a very tough time at the box office.

Our long-drawn independence struggle saga is filled with innumerable stories of bravery and valour. Sadly, a few of them have been lost in the pages of history or only have local awareness. Uyyalawada Narasimha Reddy is one such great man who is credited to have fought a decisive battle a decade before the great 1857 rebellion. Ram Charan takes up the challenge of making a film on this figure, titled SYE RAA NARASIMHA REDDY, and it features his father, megastar Chiranjeevi. The presence of actors from other industries and that it releases in Hindi and other versions make SYE RAA NARASIMHA REDDY a pan-India film in the truest sense. So does SYE RAA NARASIMHA REDDY manage to entertain and stir up the viewers? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1025279" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/Syeraa-Narasimha-Reddy-10.jpg" alt="" width="720" height="450" /> SYE RAA NARASIMHA REDDY is the story of India's first chapter of freedom struggle. The year is 1857. The soldiers of Rani Lakshmibai (Anushka Shetty) are wondering whether a handful of them will be able to fight the huge British army. In order to motivate them, the Queen narrates the story of the brave Narasimha Reddy (Chiranjeevi) who revolted against the British a decade before the 1857 revolt. The story then goes in flashback mode. Narasimha Reddy is a ruler of a part of the territory in South India called Rayalaseema. He is a part of a polygar which consists of several other rulers like Avuku Raju (Sudeep), Basi Reddy (Ravi Kishan) etc. All these kings get pension from the British and are expected to be submissive to the Crown. Narasimha Reddy however is in disagreement with this arrangement and is finding a way out to free his kingdom from the clutches of the British. The region faces drought and to appease the rain gods, Narasimha Reddy's learned mentor Guru Gosayi Venkanna (Amitabh Bachchan) asks for a <em>yagna</em> to be conducted. Narasimha is shocked as he learns that the last time a similar yagna took place was in his childhood and that time, he was married off to Siddhamma (Nayanthara). But the married couple was kept apart as there was a <em>'dosh'</em> in their union and they could reunite only after another <em>yagna</em>. Narasimha Reddy is devastated at first as he loves Lakshmi (Tamannaah Bhatia). With a heavy heart, Narasimha Reddy leaves Lakshmi and advises her to use her dancing talent for the greater good. He then accepts Siddhamma and begins his married life. Despite the drought, the British officer Jackson (Oscar Skagerberg) asks for tax from farmers. He even mocks them and once while he’s doing so, Narasimha Reddy arrives and teaches him a lesson. An angry Jackson enters a village ceremony and eliminates 5 farmers and a child. Narasimha Reddy is so angry that he enters the British settlement, attacks the soldiers and then beheads Jackson. The other rulers of the polygar refuse to help him at first but then join Narasimha Reddy in challenging the mighty British Empire. What happens next forms the rest of the story. Paruchuri Brothers's story is excellent and makes for a grand, patriotic film. They have obviously fictionalized a lot of developments in the plot but it has been done very well. Surender Reddy's screenplay is confusing in the beginning as too many characters get introduced and it might seem difficult to understand who is exactly related to whom. But in the later sequences, the script is quite effective and packs a punch. Manoj Muntashir and Jitender Pawar's dialogues are sharp although some of them are over the top. Surender Reddy's direction is quite massy and simple. Most of the important scenes are well executed and leave a lasting impression. He stirs up the viewer’s emotions beautifully. One can’t help but hate the British for their atrocities and one can’t help but root for Narasimha Reddy for his acts. On the flipside, the initial portions are strictly average. The film moves too fast, since it’s already too long at 171 minutes and hence, a few scenes don’t make the desired impact. There’s also a déjà vu of BAAHUBALI, the Hollywood flick 300 and even surprisingly THE AVENGERS and this was avoidable in many places. SYE RAA NARASIMHA REDDY’s initial portions are not very impressive. The proceedings are neither great nor terrible – it’s somewhere in between. The first 30-40 minutes are spent in introducing the characters, the setting, location etc. The entry of Siddhama makes for a great twist in the tale. But a few developments are difficult to digest at this point. Sidhamma remembers her marriage, which took place in the childhood, without fail but Narasimha Reddy doesn’t even know he’s married! However, the film really picks up in the scene where Jackson arrives at a farmland and mocks a farmer. The manner in which Narasimha Reddy gives a monologue and challenges Jackson is clapworthy. The intermission sequence however is even better and the audiences in single screen cinemas will go crazy at this point. The second half too has some great moments though they could never reach the level of the aforementioned sequences of first half. It also gets a bit too long. But it keeps one engaged. The finale is powerful and the film ends on a rocking note. <span style="text-decoration: underline;">Ram Charan REVEALS Why He Has Not Acted In Sye Raa Narsimha Reddy | Chiranjeevi | Big B</span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/ram-charan-reveals-why-he-has-not-acted-in-sye-raa-narsimha-reddy-chiranjeevi-big-b-2/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> SYE RAA NARASIMHA REDDY has a great ensemble cast but the film belongs to Chiranjeevi. No two doubts on that! He owns the film with his performance and style. It’s also commendable to see him doing action at this age so well. His stardom is intact and that adds a lot to his character and to the film at large. Sudeep is quite good as the mysterious and badass ruler and would be liked by audiences. Tamannaah Bhatia has a supporting role but she springs a surprise in the second half. Watch out! Nayanthara gets a very raw deal and the only scene where she leaves a mark is when she confesses her love for Narasimha Reddy. Vijay Sethupathi (Raja Paandi) has a late entry but is entertaining. Jagapathi Babu (Veera Reddy) creates an impact in the pre climax. Oscar Skagerberg is excellent as the villain and would be remembered, though he’s there only in the first half. Ravi Kishan and Mukesh Rishi act well but their voices are dubbed by someone else, which makes their performance a little awkward. Lakshmi Gopalaswamy (Narasimha Reddy’s mother) is passable. Lastly, Amitabh Bachchan is smashing in the special appearance while Anushka Shetty as always is impressive. Amit Trivedi's music is nothing great but works in the film. <em>'Jaago Narsimha Jaago Re'</em>, played in the beginning, fails to make a mark. <em>'Sandal Meraa Mann'</em> isn’t memorable either. <em>'Sye Raa'</em> comes at an excellent juncture and very well shot. <em>'Saansein Teri Desh Hai'</em> is played in the end credits but doesn’t have the period feel. Julius Packiam's background score is way better and adds to the drama and exhilaration. Ratnavelu's cinematography is top-notch and goes on another level in the battle and action scenes. Rajeevan's production design is quite grand as well as authentic. Greg Powell, Lee Whittaker, Ram-Laxman and A Vijay's action is one of the highpoints of the film. It’s gory at times but done well overall. Anju Modi, Sushmita Konidela and Utthara Menon's costumes are regal. Sreekar Prasad’s editing is quite fast-paced and even reckless at places, which could have been avoided. On the whole, SYE RAA NARASIMHA REDDY is a great patriotic saga and a visual spectacle that leaves a tremendous mark thanks to its plot, Chiranjeevi’s performance and massy execution. At the box office, it has the potential to succeed.

Since last year, Bollywood has seen a rise in period films based in the pre-Independence era. Not just films based on real-life characters like MANIKARNIKA – THE QUEEN OF JHANSI, KESARI or SYE RAA NARASIMHA REDDY, but even fictional sagas like THUGS OF HINDOSTAN, TUMMBAD or the upcoming SHAMSHERA are also being made. Saif Ali Khan’s latest outing, LAAL KAPTAAN, belongs to the latter category and attempts to tell a revenge drama. So does LAAL KAPTAAN succeed in entertaining despite the niche appeal? Or does it fail to impress? Let’s analyse. <img class="aligncenter wp-image-1031588 size-full" title="Movie Review: Laal Kaptaan" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/Movie-Review-Laal-Kaptaan.jpg" alt="Movie Review: Laal Kaptaan" width="750" height="450" /> LAAL KAPTAAN is the story of revenge spanning a couple of decades. The year is 1789, 25 years after Battle of Buxar. Hunter (Saif Ali Khan) is a Naga Sadhu who’s looking for a man called Rehmat Khan (Manav Vij). Through Noor Bibi (Sonakshi Sinha), Hunter finds out that Rehmat is a governor of a kingdom somewhere in North India. At this time, the evil Rehmat takes away all the treasure of his kingdom and kills his servants. Along with his army, his confidant Aadham Khan (Aamir Bashir), his wife (Simone Singh), wet nurse (Eshika De) and his newborn son, he abandons the fort and is on a way to the banks of the river Yamuna. By the time Hunter reaches the fort, there’s no one except a widow (Zoya Hussain). Hunter gets injured while fighting some Pathans on the way and the widow takes care of him and treats his wounds. In return, she requests him to take her with him. Hunter refuses and yet, she follows him. After Hunter and the widow leave, a tracker (Deepak Dobriyal) who’s an expert in finding out whereabouts with the help of his smelling power and pet dogs, reaches the fort. In some time, the Marathas attack the fort and the tracker agrees to help them find Rehmat. Rehmat was to give a portion of the treasure to the Marathas but since he didn’t, they are trying to find him. Meanwhile, a few days later, the Hunter reaches the place where Rehmat and his army have camped for the night. Hunter quietly enters Rehmat’s tent but he doesn’t kill him, which has always been his sole aim since 25 years. Rehmat’s army nabs Hunter but Rehmat doesn’t want him eliminated. He wants to know who exactly is Hunter and why he wants to kill him. Rehmat is also reminded that six years ago, he had crossed paths with Hunter and the latter had told him that he’ll finish him. Even then, Hunter had spared him. What happens next forms the rest of the film. Deepak Venkatesha and Navdeep Singh's story is very poor and gives a déjà vu of certain period films of Bollywood and also Hollywood. Deepak Venkatesha and Navdeep Singh's screenplay is confusing and ineffective. The film has too many tracks and except Hunter’s track, none of them are interesting. Also, the transition between tracks is not smooth. There’s a twist in the tale revealed in the pre climax but it arrives at a time when viewers are tired with the goings on and just want the film to end. Sudip Sharma's dialogues are nothing special and quite pretentious. The philosophical one-liners fail to entice. Also, various dialects and even Marathi is used and it’ll be difficult to decipher some of the lines in the absence of subtitles. Navdeep Singh's direction is highly disappointing. He had very weak material in his hand and moreover, he further spoils the show with his execution. The film is extremely dry and slow and very few scenes arrest your attention. There’s also an attempt to add humour with the character of the tracker and by showing Pindaris, allied with the Maratha army, as buffoons. But it just doesn’t impress. Even the revenge bit looks silly as Hunter crosses paths with Rehmat Khan twice and yet doesn’t kill him. <span style="text-decoration: underline;"><strong>Laal Kaptaan: Public Review | First Day First Show | Saif Ali Khan</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/laal-kaptaan-public-review-first-day-first-show-saif-ali-khan/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> LAAL KAPTAAN has an intriguing beginning showing the flashback portion. Hunter’s entry is heroic but soon the film falls flat and it remains that way till the end, save for a few minutes in between. The film is too long at 155 minutes and moves at a snail’s pace. The story moreover is very random and also quite confusing. Hence, it becomes difficult for audiences to keep their interest. Also, it is bewildering that Hunter is desperate to find Rehmat Khan since 25 years. And when he finally meets him, he never kills him. Audiences would never be able to understand this factor. In the end, the reason is revealed but it’s very unconvincing and silly. Talking of performances, Saif Ali Khan genuinely puts up a good show. His look is quite dashing and he excels in action scenes. Manav Vij too does very well, as the baddie. His intense eyes work very well for such roles. Deepak Dobriyal is mildly amusing but in most scenes, his act doesn’t raise laughs. Zoya Hussain puts up a confident show. Simone Singh is decent. Aamir Bashir and Eshika De are passable. Neeraj Kabi (Sadullah Khan) gives a nice performance in a cameo and same goes for Chetan Hansraj (Sangram Singh) and Ajay Paul (Thakur). Vibha Rani (Laal Pari) is quite scary as clairvoyant but the director misses the bus here as he could have done a lot with this character. Madan Deodhar (Maratha captain) is appropriate and he’s the only one who manages some laughs. Henry Douthwaite (British officer Theodore Munro) has nothing much to do. Sonakshi Sinha is wasted and is there for just one scene. Samira Koppikar's music is nothing great and songs are badly used. <em>'Taandav'</em> sounds exhilarating but comes at a very confusing point in the movie. <em>'Red Red Najariya'</em> could have made for a great item song but is played just for a few seconds and hence, wasted. <em>'Kaal Kaal'</em> and <em>'Lahu ka Rang Kara'</em> don’t make the desired impact. Benedict Taylor and Naren Chandavarkar's background score is in sync with the film’s mood. Shanker Raman's cinematography is spectacular and the film is shot in some virgin locales. Rakesh Yadav's production design is authentic. Darshan Yewalekar's hair design and Dhananjay Prajapati's makeup is spot on, especially in case of Saif.  Maxima Basu Golani's costumes too are straight out of the 18^th century India. Illusion Ethereal's VFX is fine but could have been better in some scenes. Jabeen Merchant's editing is haphazard in several scenes. On the whole, LAAL KAPTAAN is bizarre and a poor film that has nothing substantial to offer the audiences in general. At the box office, the negligible buzz along with its release in the dull pre-Diwali period will spell doom for the film.

Aamir Khan’s landmark TV show ‘Satyamev Jayate’ introduced viewers to several real-life heroes that were then unknown. Two of the most memorable guests on this series were the ‘Revolver Daadis’, that is, Chandro and Prakashi Tomar. Tushar Hiranandani, for his directorial debut SAAND KI AANKH, decides to adapt their story onto celluloid. So does SAAND KI AANKH manage to enlighten and also entertain viewers? Or do the makers fail to do justice? Let’s analyse. <img class="aligncenter wp-image-1032669 size-full" title="Movie Review: Saand Ki Aankh" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/10/Saand-Ki-Aankh-5-1.jpg" alt="Movie Review: Saand Ki Aankh" width="720" height="450" /> SAAND KI AANKH is the story of two women who find their calling in their 60s. The year is 1999. Chandro Tomar (Bhumi Pednekar) and Prakashi Tomar (Taapsee Pannu) are sister-in-laws living under one roof with their respective spouses, strict and orthodox brother-in-law Rattan Singh (Prakash Jha) and their children in Johri village in Uttar Pradesh. Both have crossed 60 years of age and though they had the desire to do something worthwhile in their lives, they were not allowed to because of the pressures of the patriarchal society. One day, Dr Yashpal (Viineet Kumar) returns back to Johri. He leaves his medical profession and starts his shooting range. Chandro’s daughter Shefali (Sara Arjun) expresses interest to practise shooting but Rattan obviously refuses to give permission. Yet, Chandro takes Shefali to the range. Without giving much thought, Chandro also tries her hand and surprisingly, she hits a bullseye! Yashpal tells her to try few more times and he realizes that Chandro is a pro. Later, even Prakashi joins and even she turns out to be an expert shooter! Yashpal encourages them to hone their skills at his shooting range and later, tells them to take part in a shooting competition held in Chandigarh. The <em>daadis</em> have never stepped outside their village in their lives. Hence, they get apprehensive at first but nevertheless, they agree. They fool their husbands and Rattan smartly and head to the competition where Prakashi emerges first and Chandro second. In no time, they win many tournaments with ease, while also cooking up various stories to tell their spouses. However soon there comes a time when the Tomar sisters are compelled to tell the truth to Rattan. What happens next forms the rest of the film. Balwinder Januja's story is very promising and inspiring. It not just enlightens viewers about the lives of Chandro and Prakashi Tomar but also gives an important comment subtly about the ills of patriarchal society and lack of awareness of population control. Balwinder Januja's screenplay is captivating for most parts but could have been better in the beginning of the flashback portion and in the pre-climax. Jagdeep Sinhu's dialogues are acidic and sharp. Tushar Hiranandani's direction is quite good for a first-timer and he’s in control of the writing material in hand. He also tries his best to make it as entertaining and mainstream as possible. Also he scores on the emotional front as the struggles of <em>daadis </em>and the way they get slammed by the male members of the family can leave viewers moist-eyed. On the flipside, he should have kept the duration in check. The last 15-20 minutes could have been better emotionally as the scene preceding the finale is too good. SAAND KI AANKH begins on an interesting note and Chandro and Prakashi’s entry puts a smile on one’s face. The flashback portion works in parts. In fact, the entire first half though engaging doesn’t really go on a high. There’s not enough drama or tension in this hour as the <em>daadis</em> are able to easily practise and even go to Chandigarh without the men getting suspicious. The best part of the first half is the Chandigarh competition and how both the women silence their detractors. Post-interval too, the tension doesn’t arise till a certain point. Yet, the second half is better as there are some very sweet moments. One of the most touching scenes here is when Chandro and Prakashi mistake the finger bowl for hot lime water and gulp it down the throats. The Maharani (Nikhat Khan) doesn’t want the <em>daadis</em> to be humiliated for their gesture and hence, even she does the same! Even the <em>jugaadu</em> disco light installed by the <em>daadis</em> in their house in <em>‘Baby Gold’</em> song is sweet. The confrontation sequence between the <em>daadis</em> and Rattan Singh is exhilarating. One expects the film to end here but it goes on for another 20 minutes as the film also focuses on the track of Shefali and Seema trying to be shooters. This track also has its moments but after the high-voltage confrontation scene, the film falls flatly in this said scene. The film ends on an emotional note. <span style="text-decoration: underline;"><strong>BLOCKBUSTER : Taapsee &amp; Bhumi’s HILARIOUS Rapid Fire on Akshay, clash with Housefull 4, women crush</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/celeb-interviews/blockbuster-taapsee-bhumis-hilarious-rapid-fire-on-akshay-clash-with-housefull-4-women-crush/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> SAAND KI AANKH belongs to Taapsee Pannu and Bhumi Pednekar undoubtedly. It’s important to note that they don’t really look that old but both compensate for it through their performances. Taapsee is at ease and the way she breaks into a sheepish smile when her plan of fooling the men succeeds is damn good. She gives her best however in the last portion of the film. Bhumi too gives in her best and her body language is spot-on. Also her attempts to pick up English will elicit laughs in theatres. In a few scenes though, she gets overpowered by Taapsee. Viineet Kumar is endearing and would be loved in the role of the person who serves as catalyst in the journey of the ‘Revolver Daadis’. From his dialogue delivery to his expressions, he gets his act just right. Prakash Jha is very convincing in what can be called a negative role and one can’t help but hate him from start to finish! Shaad Randhawa makes his presence felt in the second half of the film. Nikhat Khan is lovely as the Maharani and she is a part of some of the most important scenes of the film. Sara Arjun has a great screen presence and does well. Yogendra Singh (young Rattan Singh) is apt. S K Batra (I G Jaidev), Pawan Chopra (Jai Singh Tomar), Kuldeep Sareen (Bhanwar Singh Tomar), Pritha Bakshi (Seema) and Himanshu Sharma (Sachin) also put their best foot forward. Vishal Mishra's music is situational and works well, but only as a part of this film. <em>'Udta Teetar'</em> is exhilarating. <em>'Womaniya'</em> appears in the end and is memorable as the real Chandro and Prakashi Tomar also feature in the track. <em>'Aasmaa'</em> is touching and sung well by Asha Bhosle. <em>'Baby Gold'</em> and <em>'Jhunna Jhunna'</em> have catchy tunes and shot appropriately. Advait Nemlekar's background score has the commercial feel. Suddhakar Reddy Yakanti's cinematography is spectacular, especially in the shooting scenes. The camera moves in such a way that it adds to the drama. Also watch out for a scene where all the important movements of characters are captured in that rear-view mirror of a motorbike. Ravi Srivastava's production design is authentic. The fact that it was shot in the village of the Tomar sisters also adds to the authenticity. Rohit Chaturvedi's costumes are straight out of life. Sunil Rodrigues's action gels well with the film. Rajeev K Rastogi's VFX is rich. Devendra Murdeshwar's editing is neat but could have been tighter in the second half. On the whole, SAAND KI AANKH rests on an inspiring story and bravura performances by Taapsee Pannu and Bhumi Pednekar. At the box office, however, it will need a strong word of mouth to survive competition in the form of HOUSEFULL 4 and MADE IN CHINA.

The excellent box office performance of SATYAMEVA JAYATE was one of the success stories of 2018. It catapulted director Milan Milap Zaveri into stardom and that too at a time when many thought that his directorial career was in trouble. Now the filmmaker is back with MARJAAVAAN, which also seems like a very commercial masala fare, like his earlier flick. So does MARJAAVAAN manage to entertain and provide paisa vasool entertainment to the viewers? Or does it fail to entice? Let’s analyse. <img class="aligncenter wp-image-1041278 size-full" title="Movie Review: Marjaavaan" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/11/Movie-Review-Marjaavaan.jpg" alt="Movie Review: Marjaavaan" width="720" height="450" /> MARJAAVAAN is the story of unrequited love, set against the backdrop of the underbelly of Mumbai. In one of the poorer areas of Mumbai, Narayan Anna (Nassar) calls the shots. He has an army of men at his disposal and the most faithful of them is Raghu (Sidharth Malhotra). As an infant, he was found abandoned and it was Narayan Anna who raised him. Raghu is faithful and dedicated and always in the good books of Narayan Anna. As a result, Narayan’s son Vishnu (Riteish Deshmukh), a three-foot-midget, feels very jealous and he detests Raghu. The said locality also consists of a brothel where one of the nautch girls is Arzoo (Rakul Preet Singh). She is in love with Raghu but the latter doesn’t believe in this concept. It all however changes when Raghu comes across Zoya (Tara Sutaria), a mute girl from Kashmir. She teaches him the power and importance of music and love. In no time, both fall for each other. Things go smooth until one day, Zoya witnesses a murder committed by Vishnu. Vishnu informs Narayan Anna about it who in turn tells Raghu to finish off Zoya! Raghu decides to elope with Zoya but he’s caught by Vishnu’s men at the bus stand. Also, Vishnu kidnaps two kids - Timepass (Om Kanojia) and Payal (Alina Qazi) – both of whom train under Zoya. Narayan Anna then gives Raghu two choices – eliminate Zoya and save Timepass and Payal. Or else, everyone will die. Zoya insists that Raghu should kill her and Raghu reluctantly does so. Raghu is shattered like never before and he’s arrested by ACP Ravi Yadav (Ravi Kishan). What happens next forms the rest of the film. Milap Milan Zaveri's story is dated and is reminiscent of the films witnessed in 70s, 80s and 90s. Milap Milan Zaveri's screenplay sets the film in the same zone. A few scenes are well written but one wishes this was consistent throughout the film. Milap Milan Zaveri's dialogues are quite over the top and some of them work very well and are clap worthy. Milap Milan Zaveri's direction is decent, considering the genre and space. Not many can pull off such a film but Milap manages. A few scenes are well executed like Vishnu’s entry, Tara and Raghu falling in love and in the second half, Raghu getting back in the revenge zone is a paisa vasool moment. On the flipside, the character of Vishnu needed to be more menacing. Also, the film dips at a few places and also becomes predictable. A few developments are not very convincing either. <span style="text-decoration: underline;"><strong>Marjaavaan: Public Review | First Day First Show | Sidharth Malhotra | Tara Sutaria | Riteish Deshmukh</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/marjaavaan-public-review-first-day-first-show-sidharth-malhotra-tara-sutaria-riteish-deshmukh/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> MARJAAVAAN has a bit of an awkward beginning. The execution is a bit weak and hence it takes a while to get used to the setting and characters. Also, the opening fight is massy to another level and audiences might not be prepared for such kind of masala. Usually, commercial movies are made in such a way that it can appeal to the multiplex audiences as well. But MARJAAVAAN is an exception as its content doesn’t appeal to the sensibilities of the multiplex viewers. A few scenes seem unconvincing. The manner in which the religious harmony bit is presented looks a bit forced. The intermission point is fine. The second half doesn’t start on a great note and seems a bit dragging. The action quotient dips as Raghu abandons all plans of revenge. But the scene where he decides to fight back is when the film rises again. The climax fight is massy as expected but also convenient. Sidharth Malhotra tries his level best and in some scenes, he does shine. But his performance is a bit weak overall. He should have gone really all out as that would have really helped. Riteish Deshmukh also gives his best and his three-foot height gives him a nice edge. Sadly, he’s letdown by the writing of the character to some extent. Tara Sutaria is lovely and without mouthing a single dialogue, she makes her presence felt. Rakul Preet Singh is credited in a special appearance role but she has a supporting part and looks very glamorous. Her performance is decent. Nassar leaves a mark. Ravi Kishan is okay but his dialogue in the pre-climax about the police force will be met with claps in cinemas! Shaad Randhawa (Mazhar) is decent. Uday Nene (Gopi) and Godaan Kumar (Shafi) are passable. Same goes for Suhasini Mulay. Nora Fatehi is sizzling as always. Music is soulful and peppy. <em>'Tum Hi Aana'</em> is like the theme song and well utilized. <em>'Thodi Jagah'</em> is touching. <em>'Kinna Sona'</em> is nothing great. <em>'Ek Toh Kum Zindagani'</em> is smoking hot and <em>'Haiya Ho'</em> is in the same zone.  Sanjoy Chowdhury's background score adds to the massy element, especially in Sidharth’s fight scenes. Nigam Bomzan's cinematography is appropriate. Priya Suhass' production design is not very appealing. Amin Khatib's action is very over the top. Akshay Tyagi's costumes are stylish. Futureworks's VFX is quite good, especially in making Riteish a three-foot-baddie. Maahir Zaveri's editing could have been a bit crisper. On the whole, MARJAAVAAN is a true blue masala entertainer. At the box office, it has the potential to impress its target audience in the single screens.

The Nirbhaya gang rape case of 2012 in Delhi shocked one and all across the country. What added to the astonishment was that one of the violent assaulters was a minor. It generated a debate on whether juveniles can be treated like an adult in cases where the crime committed is exceptional and of an extremely violent nature. Yash Raj Films’ latest offing, MARDAANI 2, also deals with this burning topic and coincidentally, comes around two weeks after a similar violent gang rape committed in Hyderabad sparked nationwide outrage. So does MARDAANI 2 manage to shock as well as thrill the audiences? Or does it fail to keep the viewers engaged? Let’s analyse. <img class="aligncenter wp-image-1051871 size-full" title="Movie Review Mardaani 2" src="https://www.bollywoodhungama.com/wp-content/uploads/2019/12/Movie-Review-Mardaani-2.jpg" alt="Movie Review Mardaani 2" width="720" height="450" /> MARDAANI 2 is the story of a psychotic rapist trying to challenge the police. Shivani Shivaji Roy (Rani Mukerji) is now the SP of Kota, Rajasthan. In this town, a girl named Latika (Tejaswi Singh Ahlawat) attends a fair where she fights with her boyfriend Monty (Pratyaksh Rajbhatt). A mysterious person, Sunny (Vishal Jethwa), witnesses the way Latika blasts Monty. He has an issue with such outspoken women and on an empty stretch, he abducts her. He takes her to an abandoned place where he brutally tortures Latika, rapes and then kills her. Shivani is shocked with the violence but carries out the investigation immediately. At the press conference, she calls the murderer 'dedh shaana'. This hurts Sunny and he decides to teach Shivani a lesson. He sends her flowers with a taunting note. He sneaks into her house and steals her clothes and accessories. He wears her saree to trap a journalist Kamal Parihar (Anurag Sharma) and eliminates him, as part of the contract given to him by a local politician Panditji (Prasanna Ketkar). Sunny then smartly gets employed in the tea stall outside Shivaji’s police station. Hence he gets access to visiting the police station and even eavesdropping what the cops are talking about the case. When a kid, who had seen Sunny, comes forward to identify him, Sunny kidnaps him from the police station toilet and kills him. Shivani hence faces backlash for what is termed as a lapse on her part. She is transferred. But as everyone is busy with Diwali celebrations, the replacement is expected to take charge only 2 days later. Hence Shivani has 48 hours to crack the case and nab Sunny. What happens next forms the rest of the film. Gopi Puthran's story is excellent and serves as a worthy sequel to the first part. It also makes a nice comment on misogyny. Gopi Puthran's screenplay is highly effective and also entertaining. The way he has thought of novel ways to show the villain's sharp mind is seen to be believed. He could have avoided a few cinematic liberties in the second half though. Gopi Puthran's dialogues are acidic and work very well. Rani Mukerji's monologue during her TV interview is applause worthy. Gopi Puthran's direction is terrific, also considering that this is his debut film. He adds the required thrill and entertainment to keep the viewers gripped. Also there are sub plots in the film, of the fellow cops who don’t like taking orders from a female officer and of a politician using Sunny for his gains. All of it is brought together nicely. On the flipside, the film gets a too convenient in the second half. The antagonist is freely roaming in the city although his picture is out everywhere. Moreover the film has a lot of disturbing content. The scene where the forensic doctor (Deepika Amin) is explaining Latika's injuries will make viewers highly uncomfortable. <span style="text-decoration: underline;"><strong>Mardaani 2 | Public Review | Rani Mukerji | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/mardaani-2-public-review-rani-mukerji-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> MARDAANI 2 is just 105 minutes long and doesn’t waste time. The villain gets introduced in the beginning itself and the way he smartly traps Latika and then violates her shocks you. The astonishment continues as Sunny manages to kill Kamal Parihar as well and passes it off as suicide. The sequence where he abducts the child also keeps the thrill going. Post interval, one expects the film to drag but a surprise awaits here as Shivani finds Sunny minutes after second half commences. And it’s after this scene that the film drops a bit. The cat and mouse chase becomes a bit repetitive. Also after a point it becomes unconvincing the way Sunny is always able to outsmart Shivani and has thought ten steps ahead. The climax however is massy and viewers would surely break into applause. MARDAANI 2 belongs to Rani Mukerji and Vishal Jethwa. Rani yet again delivers a terrific performance as Shivani Shivaji Roy. It’s great to see how she understands her part so well. She is tough but she also has a sensitive side, as seen during her conversation with the forensic doctor and also in the very final scene. But both the characteristics look very organic and nothing seems forced. She also gets the action scenes right. Vishal Jethwa rocks the show and how! He impresses from the first scene itself when he breaks the fourth wall and talks directly to viewers. Surprisingly, he gets more screen time than Rani in the first half! Throughout the film, he gets the menacing bit perfectly. Tejaswi Singh Ahlawat is decent while Deepika Amin is fine in a special appearance. Other actors who do a fine job are Pratyaksh Rajbhatt, Prasanna Ketkar, Shruti Bapna (Bharti), Sumit Nijhawan (Brij Shekhawat), Sunny Hinduja (Viplaw Beniwal) and Richa Meena (Sunanda). Rajesh Sharma (Amit Sharma) is quite good as the reporter and his scene with Rani is one of the highpoints of the film. Mardaani 2 is a songless film. John Stewart Eduri's background music is loud but exhilarating. Jishnu Bhattacharjee's cinematography is quite neat and captures the small town feel to an extent. Sukant Panigrahy's production design is passable. Leepakshi Ellawadi's costumes are realistic. Vikram Dahiya's action is realistic. Shanoo Sharma's casting is spot on. Monisha R Baldawa's editing is uncomplicated. On the whole, MARDAANI 2 is a gripping thriller that boasts of an exciting script and bravura performances by Rani Mukerji and Vishal Jethwa. At the box office however, it will need a strong word of mouth to sustain.

Bollywood is already drooling over the elder Kaushal brother. Vicky Kaushal, from a humble debut with MASAAN, is now the dark horse that filmmakers look up to. In that light, here’s Sunny Kaushal, who hasn’t exactly made it big yet, but looks consistent with his efforts. After his debut stint SUNSHINE MUSIC TOURS AND TRAVELS which didn’t quite hit the gold spot and a brief appearance in GOLD, here’s he, with his third outing, a dance drama. Does BHANGRA PAA LE turn out to be the game-changer, or does it not? <img class="aligncenter size-full wp-image-1058602" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Movie-Review-Bhangra-Paa-Le-1.jpg" alt="" width="750" height="450" /> BHANGRA PAA LE revolves around Jaggi (Sunny Kaushal), a Punjabi lad and a vehement Bhangra enthusiast. He gets through to an international competitive platform and needs to win it over other contestants to exhibit the dance form to a larger audience. However, Jaggi isn’t your regular Bhangra guy. He is also trying to transcend beyond a set dance form and bring flavours of fusion by merging Bhangra with several Western dance forms. Parallel to this runs a story of Jaggi's grandfather Kaptaan Singh (Sunny Kaushal), a warrior fighting the World War II. As it sounds, it is also about how different generations are bound together in the essence of evergreen music and dance. Then comes Simi (Rukshar Dhillon), not as Sunny’s dreamy romantic companion but as his rival. A feisty Punjabi girl with a strong grip of Punjabi folk steps, she is the daughter of a single mother. Will Jaggi manage to win the competition, will his passion for bhangra rub off on the audience is what the rest of the film is? The story (Dheeraj Rattan) shuttles between two different time periods, trying to strike a chord with similar kinds of love, loss and agony. However, the depiction is rather forced. As a soldier who wants to come back home to his ladylove, Sunny is relatably nice. As a college guy who is unable to accept his defeat, he doesn’t impact us much. While the idea of an enthusiastic dancer upholding his art sounds good, the script, in reality, is entangled. It slips off its pace at times, and seems to focus too much on the dance part, therefore not maintaining its compactness. Also, if you are someone who has watched LOVE AAJ KAL, you will probably end up finding a gallon of similarities! BHANGRA PAA LE marks the directorial debut for Sneha Taurani, who has earlier assisted filmmakers such as Ayan Mukerji and Mohit Suri. Her approach towards the story is fresh, but the product turns out to be mundane in many parts. It’s one thing that BHANGRA PAA LE has no extraordinary plots to offer you, but Sneha’s attempt of spinning a predictable story could result in better things. Coming to performances, while the box office wasn’t kind to him in his first film SUNSHINE MUSIC TOURS AND TRAVEL, Sunny Kaushal's got the mettle. You can say that, looking at how he assimilates the energy, passion and determination that his character demands him to show. Adding to that, he has certainly put in noticeable efforts to master his steps. Rukshar is great to look at when she grooves, but she yet has a long way to go in terms of acting. Rukshar and Sunny’s chemistry doesn’t cook up either. Shriya Pilgaonkar has a brief part to play, and with her sober self. <img class="aligncenter size-full wp-image-1058601" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Movie-Review-Bhangra-Paa-Le-2.jpg" alt="" width="750" height="450" /> The music has been worked upon, by young, off beat and talented composers such as A Bazz, Rishi Rich and Yash Narvekar. But, 10 songs in 2 hours felt like an overdose, and none of the songs really stay with you. Rather, the background score is neat and situational, and complements the moods. The cinematography (Jitan Harmeet Singh) is clean but adds no special value to the film. However, editing (Antara Lahiri) has saved the film to a large extent. If the time lapses went wrong, we’d probably be left confused as to who was doing what. On the whole, BHANGRA PAA LE is strictly average one-time watch with no remarkable performances. At the box office, it will go largely unrecognised.

The number of acid attacks that have occurred over the years is alarming. What’s even more shocking is the lackadaisical attitude of the authorities in preventing such attacks and prevention of sale of dangerous substances. After all, such an act can destroy lives as it damages the face permanently. Bollywood has been attempting some brave films on various topics but this was one issue that was largely ignored. Director Meghna Gulzar, who has found respect and admiration after the back-to-back success of TALVAR [2015] and RAAZI [2018] now comes up with CHHAPAAK, that attempts to address these aspects. The film has been in the news since the time the makers revealed the look of its lead actress Deepika Padukone, while it was being filmed. So does CHHAPAAK manage to entertain and shock viewers? Or does it fail in its endeavour? Let’s analyse. <img class="aligncenter size-full wp-image-1060759" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Movie-Review-Chhapaak-IMG.jpg" alt="Movie Review: Chhapaak" width="750" height="450" /> CHHAPAAK is the story of an acid attack survivor. The year is 2005. Malti (Deepika Padukone) is a 19 year old girl who gets attacked by acid on a street in Delhi. A good Samaritan takes her to the hospital. Her face is irreparably burnt, with no chance of it getting back to its original form. Malti however is determined to get the perpetrator behind the bars. Despite difficulty in speaking at the time of the tragedy, she manages to tell the cops that the attacker is Basheer Shaikh aka Babbu (Vishal Dahiya) and her sister Parveen. The cops arrest both and Babbu confesses that he indeed got the acid thrown on Malti. Shockingly, Babbu was a family friend of Malti's and even made the rounds of the hospital to visit her, post the attack. In the court, Malti’s lawyer Archana Bajaj (Madhurjeet Sarghi) gives a tough fight but Babbu manages to seek bail on some grounds or the other. Archana stresses on maximum punishment though the law is not clear on acid attacks specifically. This prompts Malti to also file a PIL, asking for ban on the easy availability of acids. What happens next forms the rest of the film. CHAAPAAK’s story is mostly based on real-life incidents and is quite hard-hitting. It also turns out to be an eye-opener as many wouldn’t be aware of the seriousness of the situation and that acid is so easily available in India. Atika Chohan and Meghna Gulzar's screenplay however is inconsistent. There are scenes where the film really captivates you and moves you. But in places, the writing is not polished well while the emotional connect is missing and this affects the overall impact. Atika Chohan and Meghna Gulzar's dialogues are sharp. Meghna Gulzar's direction is strictly okay. Both TALVAR and RAAZI worked so well as they didn’t just have a good story, but also great execution. But in case of CHHAPAAK, Meghna doesn’t seem to be in top form. The idea to start the film from the middle of the narrative didn’t quite work. Malti’s struggle is moving but only till an extent. A lot could have been done here but Meghna simply rushes through some key scenes. This is especially evident in the courtroom sequence. Also, an important track is that of Malti’s brother (Delzad Hivale) but hardly any time is spent on this episode. Nothing is explained later as to what happened to the brother and also Malti’s father (Manohar Teli). If Meghna had indeed given her best here, then considering the potential of the story, CHHAPAAK could have gone beyond what's on screen. CHHAPAAK begins on a very dry note and in a non-linear fashion. For the first 10-15 minutes, the audiences might not get engrossed. It’s only when the flashback portions commence that the film picks up. Some of the most impactful scenes of the first half are Malti seeing her face in the mirror, after the attack, for the first time, and Archana urging Malti to wake up and fight the battle. The courtroom scene keeps one hooked but one wishes it had more drama. In the second half, the romantic track doesn’t work much. Also, there comes a point when one doesn’t really know where the film is going. Meghna reserves another round of flashback in the climax and here, the film picks up again. Also, one understands the dynamic between the characters and what led to the acid attack in the first place. <span style="text-decoration: underline;"><strong>Chhapaak | Public Review | Deepika Padukone | Vikrant Massey | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/chhapaak-public-review-deepika-padukone-vikrant-massey-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Deepika Padukone carries the difficult part with rare subtlety. She underplays her part well and in scenes where acid is splashed on her face and she comes to terms with it, the actress does a good job. But in most scenes, she doesn’t emote much and is merely the observer. One wishes she had done something in these sequences, which could have added to her performance. Vikrant Massey looks great and gives a genuinely fine performance. Sadly, he is let down by the writing. Madhurjeet Sarghi has a crucial part and plays it with élan. She looks quite confident in the courtroom scenes. Vishal Dahiya delivers a splendid performance. Delzad Hivale is wasted. Payal Nair (Shiraz) and Vaibhavi Upadhyay (Minakshi) are okay. Manohar Teli is fine and is endearing in the scene where he’s secretly having alcohol. The actor playing Parveen is damn good in the courtroom scene. Shankar Ehsaan Loy's music isn’t memorable. The title track is well inserted in an important scene. <em>'Nok Jhok'</em> and <em>'Khul Ne Do'</em> are average. Shankar Ehsaan Loy and Tubby's background score is slightly better. Malay Prakash's cinematography is appropriate. Subrata Chakraborty and Amit Ray's production design is neat. Abhilasha Sharma's costumes are realistic, especially the ones worn by Deepika. Shrikant Desai's hair and make-up is splendid and the prosthetic also is very well done. Nitin Baid's editing is incoherent. On the whole, CHHAPAAK is a brave attempt at highlighting an issue and the crime that exists in our society. At the box office, it will have a difficult journey since it is not a commercial entertainer. Its business will be restricted to a tiny section of the multiplex frequenting audience.

Saif Ali Khan excels in all kinds of roles but his role of a cool dude in light-themed films has been a favourite for many moviegoers. He played such characters in several memorable films like HUM TUM [2004], SALAAM NAMASTE [2005], LOVE AAJ KAL [2009] and got immense praise. Now the actor is back in this space after a hiatus with JAWAANI JAANEMAN. It’s a special flick as it’s the first production under his new banner, Black Knight Films. So does JAWAANI JAANEMAN emerge as a fine piece of entertainer? Or does it fail to impress? Let’s analyse. <img class="aligncenter wp-image-1069154 size-full" title="Movie Review: Jawaani Jaaneman" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/01/Movie-Review-Jawaani-Jaaneman.jpg" alt="Movie Review: Jawaani Jaaneman" width="720" height="450" /> JAWAANI JAANEMAN is the story of a 40-year-old playboy whose life suddenly turns upside down. Jassi aka Jazz (Saif Ali Khan) is in his 40s and is based in London. He's single and in no mood to commit. By profession, he's a real estate broker and works with his brother Dimpu (Kumud Mishra). But he spends most of his time partying and getting involved with girls. He is also about to seal a redevelopment deal that will make him the biggest broker in London. Life is going great for him until one day he meets Tiya (Alaya F). At first he flirts with her, with the ultimate aim to take her to bed. However, she drops the bomb that she might be his daughter! To make matters worse, the DNA test confirms that they are related. And that's not all. It also comes to light that Tiya is pregnant! So Jazz finds out that he's not just someone's father but also to-be grandfather! What happens next forms the rest of the film. JAWAANI JAANEMAN is a remake of an Italian film. The plot is promising and could have made for a hilarious and touching entertainer. The screenplay however is inconsistent and weak at many places. Only some scenes work and provide laughs. Hussain Dalal and Abbas Dalal's dialogues are witty and try their best to enhance the impact. Nitin Kakkar's direction is average. He doesn’t keep the flow of the film organic. Some developments happen suddenly, be it Jazz developing feelings for Rhea (Kubbra Sait) or Jazz asking Tiya to shift in his house. These scenes are still digestible. But a scene in the second half where a local randomly accuses Jazz of cheating him in a property deal comes out of nowhere. Till now, viewers knew Jazz as a lazy worker but not someone who is deceitful. Hence, this revelation seems bizarre. On the positive side, he gets the emotion and humour right in some scenes. Also, he keeps the duration in check (119 minutes). JAWAANI JAANEMAN starts off on an okay note as the viewers get introduced to Jazz and his playboy lifestyle. The film gets interesting once he gets Tiya home and she reveals the truth. It makes for a hilarious watch. Another memorable scene in the first half is when Jazz and Tiya meet Dr. Kriplani (Kiku Sharda). One expects lot more to happen but story just doesn’t move then. The intermission point is a bit awkward. Post interval thankfully there’s some movement in the story. But now the film drags. Also, the impact is weakened by property deal track. What brings some respite is the track of Ananya (Tabu) but even that loses fizz soon. The final scene of the film is heartwarming. <span style="text-decoration: underline;"><strong>Jawaani Jaaneman | Public Review | Saif Ali Khan | Alaya Furniturewalla | Tabu | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/jawaani-jaaneman-public-review-saif-ali-khan-alaya-furniturewalla-tabu-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Saif Ali Khan is completely in his element and entertains thoroughly. Such kind of a role suits him to the T and he constantly tries to rise above the script. Alaya F makes an excellent debut and puts up a confident act. She looks gorgeous and is the only actor who moves viewers to an extent. She has a promising career ahead. Tabu has a late entry but raises loads of laughs. But her character has no emotional arc. Chunky Panday (Rocky) doesn’t have much to do initially. He has a crucial scene in the second half in the hospital but it doesn’t work. Kubbra Sait is adorable and one wishes to see more of her. Kumud Mishra is dependable. Kiku Sharda is funny. Dante Alexander (Rohan) is over the top, as per the character’s requirement. Rameet Sandhu (Tanvi) leaves a mark. Farida Jalal (Jazz’s mother), Shivendra Singh Mahal (Jazz’s father) and Diljohn Singh (Grover) are okay. Songs are all forgettable. <em>'Ole Ole 2.0'</em> gets registered a bit as it’s a popular tune. <em>'Gallan Kardi'</em>, <em>'Bandhu Tu Mera'</em> and <em>'Mere Baabula'</em> don’t work. <em>‘Jinhe Mera Dil Luteya’</em> is played in the end credits.  Ketan Sodha's background score is sans complaints. Manoj Kumar Khatoi's cinematography is pleasing. The locales of London are well captured. Urvi Ashar Kakkar and Shipra Rawal's production design is superior. Sanam Ratansi's costumes are quite glamorous and all the actors in the film look great. Sachinder Vats's editing (additional editing by Chandan Arora) jumps at places. On the whole, JAWAANI JAANEMAN boasts of fine performances by Saif Ali Khan and newcomer Alaya F. But the direction is weak and emotionally, the film doesn’t work. At the box office, it will be a tough ride for the flick considering the lack of buzz.

11 years ago, Imtiaz Ali, fresh out of the super-success of JAB WE MET [2007], presented his next, LOVE AAJ KAL [2009]. It was a unique film for that time as it focused on not one, but two love stories, set in different eras. Also, lead actor Saif Ali Khan played the lover boy in both the tracks and that also ensured the film stood out. Director Imtiaz Ali now uses this idea once again in a film, which is also titled LOVE AAJ KAL. It features Kartik Aaryan and Sara Ali Khan and their chemistry has already become a talking point. So does LOVE AAJ KAL manage to be as excellent as its predecessor? Or does it fail? Let’s analyse. <img class="aligncenter size-full wp-image-1074192" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/02/Love-Aaj-Kal-Review.jpeg" alt="" width="720" height="450" /> LOVE AAJ KAL is the story that tackles the ever-changing dynamic of being in and finding love. Veer (Kartik Aaryan) and Zoe (Sara Ali Khan) are based in Delhi and they meet one night at a nightclub. Both attempt to get intimate but Veer backs off at the last minute. Veer however realises Zoe is special to him. He finds out that she works from a co-working space. He also lands up there. Zoe is at first irritated with him but she’s interested in him. Meanwhile, Raj (Randeep Hooda), the owner of the co-working space, witnesses their love blossoming in front of his eyes. Zoe shares her views with Raj that she wants to have a casual relationship and doesn’t want to get into a serious relationship so soon. At this, Raj begins to narrate his own story. This is a time when he was Raghu (Kartik Aaryan) and was a school kid in Udaipur. He is crazily in love with Leena (Arushi Sharma). She too falls for him and one day, both get caught. Her family asks her to move to Delhi. Raghu, madly in love, follows her to the capital city. He starts to work as a waiter. Zoe is enchanted to hear about Raj's story. She decides to give love a chance. She gets a job offer from Dubai and she deletes the mail as she doesn’t want to be away from Veer. However, this is when Raj drops the bomb. He reveals to Zoe that Raghu breaks up with Leena as he turns into a playboy. This and her mother’s (Simone Singh) constant reminder that she shouldn’t sacrifice career for love gives her a jolt. What happens next forms the rest of the film. Imtiaz Ali's story is decent. The basic plot makes an interesting comment and if handled well, it could have made for a great romantic film. Imtiaz Ali's screenplay however doesn’t do complete justice. A few scenes are very relatable as it talks about the complexities of today’s times. But on the flipside, it’s also quite unconvincing. Dialogues are a bit philosophical and could have been simpler yet meaningful. Imtiaz Ali's direction is not upto the mark. He gets a few things right. The use of graffiti on the walls and parallels being drawn between the two stories does impress. A few scenes are very well handled and bear his stamp. But there are times when one does wonder where the film is going. Some scenes don’t have the desired impact and even end up being unintentionally funny. He also leaves loose ends and a few subplots don’t get the logical conclusion. Imtiaz also doesn’t focus on backstories of his characters. This was something seen even with Shah Rukh Khan’s character in JAB HARRY MET SEJAL [2017]. In the case of LOVE AAJ KAL, Veer seems socially awkward and one doesn’t understand why that’s so. LOVE AAJ KAL begins on a fine note as the characters of both eras get established. Yes, things do seem a bit off especially some dialogues and Veer's behaviour and his body language. However the 90s track has a charm and keeps the interest going. One of the best scenes here is when Raghu and Leena have a romantic moment in the train. The twist in Raghu's tale comes as a bolt from the blue. This bit particularly works because till now, it looks like a clone of Rishi Kapoor's track from the old LOVE AAJ KAL. As a result, audience won’t see it coming. Trouble however starts from the interval point. Zoe's outburst is weird. Post interval, the film does pick up when Veer comes to pick up Zoe. Also, the culmination of Raghu's story is poignant. However, Zoe’s actions take the film down. The final scene is just okay. <strong><span style="text-decoration: underline;">Love Aaj Kal | Public Review | Kartik Aaryan | Sara Ali Khan | First Day First Show</span></strong> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/love-aaj-kal-public-review-kartik-aaryan-sara-ali-khan-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of performances, both Kartik Aaryan and Sara Ali Khan give their best shot. Kartik gets to do something different and excels. In a few scenes, he ups the humour quotient as well. His intense look is watchable. Sara too follows her director’s instructions to the T and in a few scenes, you do see her brilliance. However, her character is so weird that despite her best efforts, it comes across as a caricature. Randeep Hooda is dependable. But few of his scenes get repetitive after a point. Arushi Sharma is sweet and has a fine screen presence. Simone Singh is fair. Others do well. Pritam Chakraborty's music won’t stand the test of time like the previous LOVE AAJ KAL. <em>'Haan Main Galat'</em> is catchy but played in the end credits. <em>'Parmeswara</em>' is wacky but audiences won’t be able to connect. <em>'Dhak Dhak', 'Aur Tanha'</em> and <em>'Shayad'</em> are fine. Ishaan Chhabra's background score gels well with the film. Amit Roy's cinematography is quite great in some sequences. But in some close up shots, it is not upto the mark. Suman Roy Mahapatra's production design is quite stylish, especially in present day portions. Aki Narula's costumes are quite appealing, especially the ones worn by Sara and by Kartik in present day track. Aarti Bajaj's editing is sans complaints. On the whole, LOVE AAJ KAL is strictly for the youth and romantic at heart. At the box office, it will start on a positive note on the account of its novel cast and the festive (Valentine’s Day) period. The business will be decent across urban multiplexes while business at single screens may remain average.

Over the last three decades, Bollywood has come up with quite a few films on homosexuality like FIRE [1996], MY BROTHER NIKHIL [2005], EK LADKI KO DEKHA TOH AISA LAGA [2019], ALIGARH [2016], MARGARITA WITH A STRAW [2015] etc. Aanand L Rai and T-Series are now all set to bring SHUBH MANGAL ZYADA SAAVDHAN and unlike other gay-themed films, this one is light-hearted and looks quite commercial. Moreover, it stars Ayushmann Khurrana, who has become a brand in himself. So does SHUBH MANGAL ZYADA SAAVDHAN manage to entertain? Will it succeed in becoming the first legitimate LGBT-themed hit film of Bollywood? Or does it fail to succeed? Let’s analyse. <img class="aligncenter size-full wp-image-1077035" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/02/Shubh-Mangal-Zyada-Saavdhan-1-26.jpg" alt="" width="720" height="450" /> SHUBH MANGAL ZYADA SAAVDHAN is the story of two men in love in Section 377 era. Aman Tripathi (Jitendra Kumar) is the son of Shankar Tripathi (Gajraj Rao) and Sunaina (Neena Gupta), who are based in Allahabad. Aman works in Delhi and unknown to his family, he's a gay and is living in with Kartik (Ayushmann Khurrana). Jitendra's cousin sister Goggle (Maanvi Gagroo) is getting married and Neena calls Aman to come back to attend her marriage. Aman at first refuses but then gives in. Kartik also joins him and they meet the entire Tripathi family in a marriage special train called Vivah Express. In the train, Aman and Kartik kiss when they assume that no one is looking. Sadly for them, Shankar sees them and he gets the shock of his life. He doesn't tell anyone about it out of shame. At Goggle's marriage, Aman, in front of everyone, kisses Kartik, thus astonishing the Tripathi family. Thanks to this development, Goggle's to be husband refuses to get married. In anger, Goggle runs away. Kartik is asked to leave and Shankar's brother and Goggle's father Chaman (Manurishi Chadha) drops him off to Allahabad station. At the railway station, Kartik bumps into Goggle and stops her from ending her life. She tells Kartik that he shouldn't run away and that he should fight for his love. This motivates Kartik and he decides to return to win over not just Jitendra but the entire Tripathi family. What happens next forms the rest of the film. Hitesh Kewalya's story is decent and had the potential to be a game-changer. Hitesh Kewalya's screenplay however is a big culprit. Under the pretext of making situations funny, he resorts to too many difficult-to-digest situations. This was prevalent in SHUBH MANGAL SAAVDHAN as well but there, they kept a nice balance. Here, the balance is just not there. The first half is still decent. But in the second half, it all goes downhill. Hitesh Kewalya's dialogues are witty but some of them are just over the top. It won’t be wrong to say that even the one-liners, which are supposed to be funny, take away the realism from the film. Hitesh Kewalya's direction is weak. The film has lot of subplots but he doesn’t put it together well. A major chunk of the film is about rift within the family and during such times, the principle homosexuality angle takes a backseat. Also, he should have succeeded completely in two aspects – comedy and messaging. Sadly in both these areas, he doesn’t do justice. Even the black cauliflower angle that provided laughs initially proved to be the biggest downer of the film in the climax. It gave a bad déjà vu of the ‘kala bandar’ angle of DELHI-6 [2009]. On the positive side, he handles few scenes with élan and some scenes genuinely raise laughs. SHUBH MANGAL ZYADA SAAVDHAN’s starts off on a funny note and the subplot of black cauliflower appears hilarious. Devika's (Bhumi Pednekar) scene too adds to the fun. The scene where Shankar Tripathi catches the lovers kissing brings the house down. Scenes like Aman kissing Kartik in full public view and Aman talking to his parents about dopamine and other such stuff keep the interest going. Post interval however, the film drops. The scenes are supposed to be funny but don't make you laugh. Also it becomes too preachy and unconvincing. The makers try their best to make things interesting but it doesn't work. <span style="text-decoration: underline;"><strong>Shubh Mangal Zyada Saavdhan | Public Review | Ayushmann Khurrana | Jitendra Kumar | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/shubh-mangal-zyada-saavdhan-public-review-ayushmann-khurrana-jitendra-kumar-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Ayushmann Khurrana shockingly is not in his usual form. He has always played the victim but here, he plays the instigator and an actor of his calibre should have hit the ball out of park. Shockingly, he goes overboard. The other bigger shocker is that his screen time is very limited. Believe it or not, Gajraj Rao has the maximum screen time followed by Jitendra and then comes Ayushmann! Gajraj Rao however is too good as always and performs as per the script. Jitendra Kumar fits the role to the T and few of his scenes in the first half are great. Neena Gupta is average. Manurishi Chadha and Sunita Rajwar (Champa) do justice to their respective parts. Pankhuri Awasthy (Kusum) is quite funny. Maanvi Gagroo raises few laughs. Neeraj Singh (Keshav) is decent. Bhumi Pednekar is passable while Gopal Dutt (Doctor in the train) is okay. Music is peppy and gels with the film. <em>'Pyaar Tenu Karda Gabru'</em> is the best followed by <em>'Arey Pyaar Kar Le'</em>, which is played in the end credits. <em>'Ooh La La'</em> comes at a great point while <em>'Mere Liye Tum Kaafi Ho'</em> is forgettable. The recreated version of <em>'Kya Karte The Saajna'</em> sounds great but is not utilised well. Karan Kulkarni's background score adds to the quirkiness of the film. Chirantan Das's cinematography is appropriate. Ravi Srivastava's production design is in sync with the film’s setting. Ankita Jha's costumes are realistic and special mention should go to Ayushmann’s look. Ninad Khanolkar's editing is sans complaints. On the whole, SHUBH MANGAL ZYADA SAAVDHAN is a decent attempt and makes an interesting comment on homophobia which exists in our country. At the box office, it has the chance to work with the urban audiences, especially the youth. However, it will be a challenge to bring in family audiences and the audiences from small towns and cities. The presence of Ayushmann Khurrana may give a boost to its collections.

Tiger Shroff has been in the industry since just six years but he has already become a force to reckon with thanks to his stylised and risky action stunts and a cool style. His fans have particularly loved him in the BAAGHI franchise. The first part, released in 2016, was a runaway success from day 1. BAAGHI 2 [2018] was an even bigger success, embarking upon a terrific opening [Rs. 25.10 crore] and lifetime total [Rs. 164.38 crore]. Hence, the expectations are tremendous from BAAGHI 3 where the action and scale has gone many notches higher. Interestingly, this time, Tiger’s character Ronnie is all set to battle an entire country! So does BAAGHI 3 manage to entertain and give the audiences a gala time? Or does it fail to impress? Let’s analyse. <img class="aligncenter size-full wp-image-1081397" src="https://www.bollywoodhungama.com/wp-content/uploads/2020/03/Movie-Review-Baaghi-3.jpg" alt="" width="720" height="450" /> BAAGHI 3 is the story of a man against a terrorist organization. Ronnie (Tiger Shroff) is the younger brother of Vikram (Riteish Deshmukh). Their father was a cop, Charan Chaturvedi (Jackie Shroff), who had died when both were young. Charan knew that Ronnie is braver out of the two and hence he made Ronnie promise that he'll take care of Vikram. When they grow up, Vikram joins the police force at Lohamandi Police Station, Agra. On his first day of joining, a goon named Bajwa sets a person on fire inside Lohamandi Police Station premises. Bajwa's senior IPL (Jaideep Ahlawat) comes to the rescue and the cops don't press any charges. This is because IPL is a feared criminal by locals as well as the police. IPL's main business is into kidnapping the entire families but he never asks for ransom. This has always baffled the cops. What the police doesn't know is that IPL works for Abu Jalal Gaza, the leader of Jaish-E-Lashkar, the biggest terrorist organisation of the world. They operate out of Syria and have almost taken over the country. Back in Agra, the Lohamandi Police Station gets a kidnapping complaint. Knowing that it's committed by IPL, they fear taking action. Hence, they decide to send Vikram as scapegoat. Vikram is terrified and he asks Ronnie for help. Ronnie accompanies Vikram at IPL's factory, where the kidnapped people are held. Ronnie bashes up IPL's goons by shutting off the lights. Everyone assumes that Vikram is the one responsible for beating them and for rescuing the hostages. He becomes an overnight hero. Vikram meanwhile gets married to Ruchi (Ankita Lokhande). Her sister is Siya (Shraddha Kapoor) and she starts dating Ronnie. Life is going good until the Ministry Of External Affairs sends Vikram to Syria. He's given the responsibility of getting IPL arrested and facilitate his extradition process. It seems like a fairly easy task. Vikram reaches there and this is when he gets abducted by Abu's men. With no other option, Ronnie now decides to go to Syria to rescue Ronnie. What happens next forms the rest of the film. BAAGHI 3 is partly inspired from the 2012 Tamil hit film, VETTAI. Sajid Nadiadwala's story adaptation is entertaining but stands on a weak plot. Farhad Samji's screenplay (additional screenplay by Sparsh Khetarpal, Tasha Bhambra, Madhur Sharma) is only effective in the first half. There's also a bit of novelty in terms of action and situations and that keeps the interest going. Farhad Samji's dialogues are very entertaining and witty. Ahmed Khan's direction is average. He handles the scale and grandeur with panache. BAAGHI 2 focused more on nationalism but that isn't the case here. There’s also a nice comment made on India-Pakistan brotherhood instead. Khan keeps the pace in control to ensure the film never drags. His direction is passable in the first half but in the second half, he slips. The biggest problem is that it doesn't seem like Ronnie is against a country. Also, it wasn't really a country that he is against. It is a township at best which the makers want audiences to believe is a 'country'. BAAGHI 3 begins on a bit awkward note. To show a kid Ronnie bashing up older kids violently, in a heroic style, doesn't seem convincing. However, Chaturvedi's death scene makes for a nice emotional moment. The entry of Siya is hilarious while that of adult Ronnie is too good and would be lapped up by fans. The scenes of Abu Jalal Gaza seem superficial but thankfully, the focus in the first half is on madness happening in Agra. And this makes for an entertaining watch especially how Ronnie is doing the bashing while Vikram taking the credit. The humour quotient is also nicely maintained. The scene where IPL's men abduct Ronnie and the way the latter pretends to be scared is hilarious. And then there's also an emotionally fulfilling scene involving Vikram and Tripathi (Virendra Saxena). The intermission point is when Vikram is taken away. One expects the film to go many notches higher especially with Ronnie reaches Syria. The introduction of Akhtar Lahori (Vijay Varma) also adds to the film. But from here, things get quite unconvincing especially the way Ronnie easily defeats the whole army of Abu Jalal. Zaidi seems tough but gets eliminated so easily and also foolishly. The climax has a twist that might be enjoyed by viewers. <span style="text-decoration: underline;"><strong>Baaghi 3 | Public Review | Tiger Shroff | Shraddha Kapoor | First Day First Show</strong></span> <iframe id="jwiframe" class="playerFrame" src="https://www.bollywoodhungama.com/videos/first-day-first-show/baaghi-3-public-review-tiger-shroff-shraddha-kapoor-first-day-first-show/?jwembed=1" width="800" height="340" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Talking of performances, BAAGHI 3 rests on the tough shoulders of Tiger Shroff and he pulls it off like a pro, as expected. The same also goes for his comic timing. And of course, his action is simply out of the world and in that regards, his fans will surely get their money’s worth. Shraddha Kapoor looks gorgeous and gives a decent performance. She goes a bit overboard in a scene or two but overall, she seems convincing as a foul-mouthed person. However, her screen time is very limited. Also, she plays an aggressive character and ideally, she should have been given a chance to indulge in action. Riteish Deshmukh plays his part well and also adds to the fun and madness. He would be loved in the climax. Interestingly, he did a similar role in his Marathi production MAULI [2018] as well which was also a partial remake of VETTAI. Ankita Lokhande gets limited scope but has a fine screen presence. Vijay Varma is highly entertaining. Jaideep Ahlawat suits the part and has a crucial role in the pre-climax. Jameel Khoury is okay as the villain but could have been more menacing. Shifuji Shaurya Bharadwaj (Mishra) is wasted. Virendra Saxena is dependable as always. Satish Kaushik (Commissioner Chatora) and Farhad Samji (Man in toilet) raise laughs. Manav Gohil (Asif), Shriswara (Hafeeza), Danish Bhat (Bilal), Ivan Kostadinov (Abu’s henchman), Sunit Morarjee (Sharad Kute), Amit Sharma (Bajwa) and Karan Singh (Zaidi) are fair. Jackie Shroff’s cameo contributes well to the film. Disha Patani is sizzling. The music of BAAGHI 3 is decent. <em>'Dus Bahane 2.0'</em> is a great remix and is played in the end credits. <em>'Bhankas'</em> is well picturised. <em>'Do You Love Me'</em> is passable; the situation demanded a fast-paced dance song. <em>'Get Ready To Fight - Reloaded'</em> is played during action scenes. <em>'Tere Jaisa Yaar Kahaan'</em> doesn’t work. Julius Packiam's background score however elevates impact. Santhana Krishnan Ravichandran's cinematography is stunning not just in capturing Syria but also the action scenes.  Ahmed Khan's action design and Ram Chella, Laxman Chella, Kecha Khamphakdee's action choreography is splendid and keeps viewers engaged. The action gets a bit gory but a limit is maintained and visually looks great. Manini Mishra's production design is topnotch. One can see that a lot of money has been spent in ensuring that the film looks like a top-class product. Aki Narula, Karishma Gulati and Ashish Sharma's costumes (with styling by Tanya Ghavri) is appealing. Redefine, NY VFXWaala, Resonance Digital and Red Chillies.VFX's VFX is more or less fine. Rameshwar S Bhagat's editing is slick but in some places, it is needlessly jerky. On the whole, BAAGHI 3 has a terrific combination of Tiger Shroff’s powerful performance, superlative action and stunning visuals. At the box office, it will surely appeal to its target audience - the Tiger Shroff fans and the audience in smaller town and cities who relish action entertainers.

Once a bed of colourful flora, the famous Kaas plateau in Maharashtra is now witnessing less blooms, worrying officials, tourists and nature lovers alike. The plateau, recognised by the UNESCO World Heritage Committee as a heritage site in 2012, is home to around 350 flowering plants, including some rare and endemic species.

Kaas Plateau. File pic

With the flowering already going down, a couple of fire incidents last month in the area, causing a damage to the flora at the site in Satara district, has now set off alarm bells for the administration. The state government has thus decided to take up a slew of measures, like better guarding of the place and inviting researchers to study why this picturesque site in the Western Ghats is losing its blooms, which were a big tourist attraction.

According to forest officials, human negligence, possibly lit cigarettes, could have caused the twin fires that gutted a portion of the world famous plateau recently. "The forest department, along with a joint management committee of forest officials and local villagers-turned-volunteers, has now decided to take certain safety measures to avoid incidents which could endanger the flora of the Kaas plateau," the range forest officer, Sachin Dombale, said.

He said those guarding the plateau have now been provided hand-held pressure water sprayers. "The plateau does not have big trees or plants. It is actually a grassland, so even if the grass catches fire, it can be doused with the help of these sprayers," he said. Earlier, six people used to guard the entire plateau of around 1,800 hectares. After the fire incidents, now 12 people are manning it in the day and six at night, he said.

Now, the visitors are frisked at the entry gate of the tourist site and are not allowed to carry inside combustible items like cigarettes, matchbox or lighters, he said. Somnath Jadhav, the president of the joint committee, said they have also started putting up "firebreaks" along the roadsides. "For the firebreaks, we burn the vegetation and grass in five metres of area along the roadside, so even if someone throws a combustible object, there won't be a fire," he said.
However, due to unavailability of power supply in the forest area of the plateau, they have not been able to put up CCTVs for keeping a watch.

"But, we are now thinking of using solar panels to address the power issue, Jadhav said. He said the gram sabhas of five villages (the locals of which are part of the committee), have also decided to put forth their proposals to safeguard the plateau and conserve its biodiversity and flora. One of the committee members said the state government should provide funds for proper maintenance of the site.

"We have to depend on the fees collected from visitors during the season, which is only for two months (September and October), to pay for the maintenance and salaries of the people working to guard the place," he said. "We seek government's attention, cooperation and funds so that this plateau of flowers can be conserved," he said. Jadhav said for last three to four years, the growth of some species of flowering plants on the plateau is on a decline, thereby calling for a study to find out its reason and restore the beauty of the place.

"We are now planning to write to various universities in Maharashtra to send some researchers and students of botany to study the reason behind this," he said. "We are making all-out efforts to conserve the plateau, which is home to some rare, endemic and threatened species of flowering plants, as it would then also lead to an increase in the number tourists at the site," he added.

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Some of the band members saw snow for the first time in Gulmarg

It's rare for a young band, new on the scene, to get the traction that the Mumbai-based Aankh Micholi has got in the last year. Formed in 2015 at the True School of Music, the alternative folk fusion has been performing all over the city and country in 2018, gathering praise for their soulful music, which they describe as "a marriage between powerful lyrics and compelling storytelling". Recently, the five members - Osho Jain, 23, Bharat Chandore, 20, Pankaj Pathe, 26, Akshay Dabhadkar, 21, and Hansel Dias, 23 - performed at Winterfell Café in Srinagar, which is known for musical performances.

The band also used a sled as a percussion instrument

"We had heard about the café and we just took a chance and called them, and said, 'would you like to host us?', and they couldn't have been happier. They also told us that we were the first non-Kashmiri band to have played in the Valley. The band, Parvaz, had performed before us, but all its members are Kashmiri," Jain tells us. We asked the band why they think the Valley should be our next travel destination and this is what they had to say.

And sang a few songs, which they shared on Facebook

'The people are amazing'
We literally haven't met better people ever before. Firstly, at the café, which takes its inspiration from the Game of Thrones, a crowd of over 50 turned up, which is great for that area. This café has a lot of things happening all the time - open mics, storytelling, all performance-based art. The music that we were playing was very different from the kind of music they are exposed to, which is basically Kashmiri folk music. This was very new to them, but they just loved it, and responded with such gusto. People are just nice everywhere you go, and help is at hand whenever you need it.

A select few airlines offer direct flights from Mumbai to Srinagar, or you can fly to Delhi and take a connecting flight

As soon as we landed, we just dumped our bags at our hotel, and headed to the Dal Lake. We then sat in the shikaras, and started playing our guitars and singing our original songs. We were entertaining people, and they were loving it. After a while, people joined us in the singing. It was one of our most overwhelming moments.

The snow is magical
On the second day we were there, we headed to Gulmarg. It wasn't supposed to snow that day, and hasn't snowed for the last 20 days. But, as soon as we got there, it started snowing, and even the locals were surprised. Some of us had never seen snow before. We were on the slopes and we were sledding. We also used the sled as a percussion instrument, and sang a few songs as we did a Facebook live from the slopes.

Binge on Kashmiri Noon chai
Since most of were vegetarian, food was a bit of an issue. But, we all fell in love with the kahwa. That sweet, sweet tea, really hit the spot in the cold. We also sampled the Kashmiri noon chai, also called sheer chai, gulabi chai, which is a traditional tea made with salt, milk and baking soda. It's very different to taste, and it would be right to say that it's an acquired taste. But we loved it.

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What pushes you to include indie sounds in film music?
It's exciting. We hear so much of template music each day. It sounds too similar, and gets boring eventually. Indie music gives you the edge to experiment and push the envelope. I follow my instinct.

Singer-composer Amit Trivedi

What will we hear at your performance at The Red Bull Tour Bus-Off The Roof gig?
I make alternate and mainstream Bollywood music, and you'll hear more of alternate sounds at this gig. I'll play music from Udaan, Lootera, Dev D and even Rukh [an upcoming film starring Manoj Bajpayee]. Mainstream songs will include tracks from Ayesha, Ishaqzaade and Shaandar. Divya Kumar, Arun Kamath and Yashita Sharma will accompany me. Expect a bit of Coke Studio-kind of sound as well.

What was it like working on Secret Superstar and Rukh? And exchanging notes with Aamir Khan?
I dealt with two different worlds. While Secret Superstar is the story of a mother and daughter, Rukh is the story of a father and son. The songs in Secret Superstar are from a 15-year-old's viewpoint. They are light and breezy; it can't be party music. Now, this is something important - a lot of people complain on social media about their dislike for a song. What they don't understand is that we make music for cinema, which is storytelling and where characters are involved. It is not necessary that every film needs to have a blockbuster song. And that's the beauty of Aamir Khan [producer of Secret Superstar]. He puts all his energy into every aspect of the film. Usually, the songs that get popular are romantic or melancholic, or club songs; this film has none of it.

Do you take social media seriously?
Earlier, there was a gap between the celebrity and the audience. Now, it's seamless. Everybody has a phone and an opinion. And this access is taken for granted. People say whatever sh*t they want. So, I just look at the good side of it. Bombay Velvet was a commercial disaster but till date, I get good reviews for the music.

Tell us about your interest in folk music.
When I was a kid, my mom would sing a lot of Gujarati garba songs. The environment [to nurture music] was appropriate. I've got many favourites - Tara Vina Shyam, Kaho Poonam Na Chand Ne, Sonal Garbo Shire, Ek Vanjari Julan Julti Thi, Krishna Bhagwan Halya Dwarika Ne.

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In 1996, when lyricist Nitin Raikwar dropped by on the set of Aamir Khan's Ghulam, on the recommendation of actor and filmmaker Neeraj Vora, it was to craft gimmicky dialogues for Khan's next film, Sarfarosh. "They wanted me to write funny shayaris for one of the characters in the film," he says. The shoot was at Sanpada in Navi Mumbai, and due to a technical snag, the crew had plenty of time to kill. "I noticed that Aamir was relatively free at that point, so I went up to him and requested that he give one of the songs I had written a listen. He heard it, and immediately called director Vikram Bhatt. They both thought the song was unusual but nice," recalls Raikwar. That song was Aati Kya Khandala, eventually sung by Khan himself, becoming a number that would make it to every Bambaiyya Hindi song list after.

Nitin Raikwar, sought to capture the mood of Goa. Pic/Satej Shinde

Raikwar went on to continue to use the slang in some of his memorable songs including Apun Bola Tu Meri Laila from Josh (2000), Excuse Me Kya Re from Style (2001) and the iconic Khallas from Ram Gopal Varma's Company (2002). Raikwar has also worked on children's films, and penned lyrics for Chota Chetan (1998), Jajantaram Mamantaram (2003) and others like Pyar Tune Kya Kiya (2001), Aankhein (2002) and Main Madhuri Dixit Banna Chahti Hoon (2003). "I think what worked for me at that point was the novelty factor. People dig variety. For instance, we may love our vada pav, but when the burger made an entry in early 2000, we started queuing up for it. It's the same with songs," he says. These days, Raikwar is working on his debut album for which he has collaborated with Shrikant Ahire, one of Maharashtra's foremost shadow dancers. He plans to release a single from it next month. The song is called Khan Sahab Apne Ladke Ko Sambhal. "I thought I'd write in a manner that people identify with. I can't write in a flowery and larger-than-life way. It's not me."

Apun Bola from Josh, which was written by Nitin Raikwar

Writing in tapori language was a skill that Raikwar developed after he moved to Mumbai from Pune in 1987. By then, he had already tried his hand at singing in orchestras, something his father wanted him to do since he was a successful show organiser. "But I didn't see myself singing in orchestras all my life. I was aware of the risk and struggle involved in Bollywood, but I was adamant to make it," he says. With little money to spend, Raikwar's story reads like that of so many others who move to Mumbai from smaller towns to try their luck. "When a man is struggling, he spends time with people who are like him. So I would sit at chai tapris and talk to rickshawallas, drivers and daily wage labourers. Because I'm talkative and an extrovert by nature, I could strike up a conversation with just about anyone. That's how I picked up the slang," he says. Even when he didn't have projects, Raikwar would write and seek feedback from his friends, some of whom were already working in the film industry as supporting actors. And it's through their assistance that he finally met Anil Kapoor on the sets of Ladla. "I consider that the turning point in my life.

Anil Kapoor felt I had potential and introduced me to directors and filmmakers," he says. Raikwar's first song was Teri Tirchi Nazar Main Hai Jaadoo for Anil Kapoor-starrer Loafer in 1996. But it was Aati Kya Khandala that earned him fame like no other. In fact, it helped him bag a Shah Rukh Khan film soon after. "I remember writing Apun Bola in 15 minutes after I heard the script. I wanted it to reflect Goan culture so I included words like kokum curry. You'll also find words like 'hoinga' and 'karenga', just the way a Catholic aunty would say them," he says.

In 2014, Raikwar had to put all work on the backburner for two years due to an illness. It began with bouts of headache, and he was later diagnosed with subdural hematoma of the brain. "The clots had to be removed through surgery. For a long time, I couldn't work because of the illness. I'm fine now, and hope to get back to what I do best," he says.

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Kashmiri filmmaker Rahat Kazmi is best known for his film Mantostaan

When Rahat Kazmi first shared the idea of making a film on Lihaaf with Tannishtha Chatterjee and Sonal Sehgal, they asked him if he would really dare to do such a thing. After all, Lihaaf has been fodder for controversy ever since Ismat Chughtai wrote it. It has been an uphill road for this Kashmiri filmmaker, who is best known for his film Mantostaan, that was based on four short stories by Saadat Hassan Manto. Kazmi's Lihaaf, that recently unveiled its first look at the Cannes Film Festival, has the world's attention now, especially, since Marc Baschet, Academy Award-winning producer came on board. Things are looking much more grand than Kazmi had imagined a year ago.

"I read Lihaaf for the first time as a teenager. I have always been drawn towards Urdu literature, having grown up in Kashmir. Stories of Chughtai and Manto are always fascinating. When you read them at a young age, they seem obscene, but as you grow older, you know better. My friends and I experienced something similar too. And I would keep going back to Lihaaf," says the 36-year-old. Having read it in English, Kazmi hunted down the Urdu version too, which was not easy given the controversy surrounding it. After it was published in 1942 in Urdu literary journal Adab-i-Latif, Chughtai had to defend herself in Lahore Court having being charged with obscenity. Kazmi's film, in fact, starts at the point where the police comes to Chughtai's house in [then] Bombay to summon her.

A still from the film

"The film has two parallel tracks — that of Lihaaf, the story, and that of the trial which is the outcome of the story. It's interesting that the story itself is a true account. Ismat's family confirmed to me that she indeed knew a begum on whom the story was based. And later, a grown up Ismat met her when she had remarried, and had children too," Kazmi says. It was not easy for him to convince Chughtai's family to grant him permission to make the film. "It's difficult for them to trust anyone. I met her daughter Sabrina and her grandson, Ashish Sawhny. When they got to know about Mantostaan, and the recognition it got internationally, they saw in me someone they could trust," he says.

In the film, Chatterjee plays Chughtai while Sehgal, Begum Jaan. Interestlingly, Baschet wanted to associate with the film after he saw the first cut. Until then, it was an independent production shot in three months. Lihaaf, Kazmi stresses, is not as much about homosexuality as it is about alternate sexuality. "This is a common misconception. Begum Jaan falls for her masseuse Rabbo only after she fails to find love in her husband. It's more about love and the need for physical affection." The visuals are a mix of risqué and suggestive. "The best thing about Chughtai and Manto is that they don't judge their characters. I have tried to do the same," he says. Now, as the film prepares for a world premiere — the choice is between Toronto and Venice — we ask Kazmi if he's concerned about reactions on home ground. "For me, it was cathartic to make it. As far as controversies are concerned, let's cross that bridge when we come to it," he says.

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India women’s cricketer Smriti Mandhana posted this picture to her two million Instagram followers, enjoying lunch with her parents during the Coronavirus lockdown. “Nothing compares to Maa ke hath ka khana and Papa ki kahaniya sunna [food cooked by mom and listening to dad’s stories],” she captioned the post that went on to receive nearly four lakh ‘likes’ within a few hours.

See the full post below.

 

 

 

View this post on Instagram

Nothing compares to Maa ke hath ka khana and Papa ki kahaniya sunna😇🥰

A post shared by Smriti Mandhana (@smriti_mandhana) onApr 14, 2020 at 9:48am PDT

Smriti Mandhana is part of the Indian women's cricket team and is one of the most instrumental batswomen in the team. Smriti Mandhana won the  International Woman Cricketer of the Year in 2019. In the same year, Mandhana also became the third-fastest women's player to score 2,000 runs in ODIs. At age 22, she was also the youngest women's T20I captain for India eves. She has 4 centuries and 17 fifties in women's ODIs.

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Australia's limited-overs captain Aaron Finch feels the dreaded COVID-19 pandemic might lead to a postponement of this year's T20 World Cup by up to three months.

The T20 World Cup is scheduled in Australia from October 18 to November 15. Finch doesn't see that holding up given the current health crises affecting lakhs of people worldwide. "I think we might have to get our heads around a T20 World Cup that might be postponed for a month, two months, three months, whatever it has to be," Finch told 'SEN Radio'. Finch said he wouldn't mind seeing the game resuming without fans once the pandemic is brought under control.

"But as long as we can get live sport up and running. Whether that's with crowds or not, I don't think that makes any difference to the players. "We played one ODI against New Zealand with no crowd (and it) was really strange for first four or five overs, but then you got into your work," he said. Apart from the T20 World Cup, Australia is also set to host India for a bilateral series which includes a four-Test rubber. The ICC's Chief Executives Committee (CEC) is meeting on Thursday to discuss the financial implications of COVID-19 and also the contingency planning for all ICC global events, including the T20 World Cup, over a conference call. Finch feels authorities will need to be "creative" while rejigging the international schedule.

"I think we might have to get a little bit creative with how we do that (as part of a new-look schedule). Whether that's setting up and playing two Test matches in one hub or something like that," he said. Fast bowler Josh Hazlewood had suggested that the entire Border-Gavaskar Trophy be held at one venue -- the Adelaide Oval -- to ensure that the rubber does go ahead. Cricket Australia is exploring options to save the series in the wake of the pandemic which has led to global travel restrictions as well.

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Australia cricketer David Warner has been in rich vein of form as far as keeping his followers entertained on popular social media platforms Instagram and Tik Tok is concerned.

With no cricket being played due to coronavirus pandemic, the southpaw has been keeping himself busy by putting out hilarious content for the fans on social media.

 

 

 

View this post on Instagram

Let’s see if you can better this @aaronfinch5 lol 😂 thoughts??

A post shared by David Warner (@davidwarner31) onMay 4, 2020 at 2:21am PDT

In his latest video, Warner came up with his own rendition of Michael Jackson's popular song 'Billie Jean', featuring a coffee mug. He then challenged Australia's white-ball skipper Aaron Finch to try and do better.

His post read: "Let's see if you can do better than this @AaronFinch lol, thoughts." Warner also revealed it took him 17 tries to come with the best version of the video.

Finch hit back straight away and wrote: "Challenge accepted." Former Australia footballer and Everton legend Tim Cahill joined in on the fun and wrote: "Love this lads."

In normal circumstances, Warner and Finch would have been currently playing in the 13th edition of the Indian Premier League (IPL) but due to coronavirus the tournament was postponed by the BCCI.

Players across the globe have made it clear that they are hoping that the league can be played out later in the year when normalcy returns.

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Stephen England, 40, is really dedicated to the fitness lifestyle. England has run 90 marathons and ultramarathons so far. When the Boston marathon got postponed to September 14, owing to the ban on gatherings to contain the Coronavirus, he came up with an inspiring solution to honour his commitment. He jogged on the rooftop of his building, literally running in circles and achieving the 42 km target, while sticking to social distancing guidelines.

The aid station with water bottles and a finisher's medal

The historic race has been held every year since 1897 without fail. "The Boston Marathon is a huge part of my life," he told the New York Post. "I've done it seven times and was there during the 2013 bombing. So, as soon as it got postponed, I knew I had to do something to honour Marathon Monday," added the marathon enthusiast.

England poses with his dog Miles, as he proudly displays the finisher's certificate. Pics/@rundiabetes, Instagram

England started running at 6 am on Monday morning. He even set up a makeshift aid station on a table, as is customary, with water bottles, energy gels and a finisher's medal. He took 5 hours, 29 minutes and 37 seconds to finish the marathon, a far cry from his best Boston Marathon time of 2 hours and 45 minutes. If there is one thing his sprinting spree has taught us, it's that human tenacity knows no bounds, no matter how tough times get.

1,098
No. of laps Stephen England ran across his rooftop

Corona se daro

An Indonesian politician quarantined citizens in 'haunted houses' for violating social distancing norms

Representational picture

Tired of people not adhering to self-quarantine guidelines, a politician from Indonesia's Sragen regency decided to lock rule breakers in abandoned houses believed by the locals to be haunted, to set an example and discourage others from following suit. Sragen saw a lot of people entering its territory, as major cities are under lockdown. "If they disobey self-isolation orders, several villages have asked for my permission to quarantine them in abandoned elementary schools or houses. I gave my permission. If need be, they should be locked inside—in a haunted house if necessary. But we'd still feed them and monitor them," said Kusdinar Untung Yuni Sukowati, the head of the regency, to Coconuts Jakarta. Sepat village picked a long-abandoned house and turned it into a quarantine centre for three people.

Grandpa goes grunge

Pics/Lydia L. Arshadi, Facebook

A nonagenarian, Guy Whidden, is making waves on social media for getting his granddaughter to shave his hair into a mohawk. Whidden, a military veteran, last sported the hairstyle during WWII, and decided to get the sharp cut again as a "wake-up call" during the Coronavirus crisis. He can be heard saying "I feel like a young buck!" in a video that has been viewed and shared thousands of times.

Museums show off their creepiest Artefacts

Pic/@profdanhicks, Twitter

In a Twitter thread that's not for the faint hearted, museums from all over are competing to see who has the creepiest object in their collection. The thread is part of the Yorkshire Museum's weekly curator battle, and until now, has seen a hair bun from the burial of a Roman lady, a sheep's heart stuck with pins and nails, and a cursed children's toy.

Lady becomes unicorn to cheer neighbours up

Pic/@atsumi.fashion, Instagram

A resident of Tampa, Corey Jurgensen, 40, donned an inflatable unicorn costume to cheer up her neighbours, who are stuck indoors due to the Coronavirus pandemic. Jurgensen, a massage therapist, wore the seven-foot-tall costume and danced around the streets near her house, to spread some smiles and help people relax.

Pup wants to play with pals

Pic/@RaeElle, Twitter

An English bulldog named Big Poppa is heartbroken about not being able to play with his friends, his favourite activity according to his owner, Rashida Ellis. Ellis told Buzzfeed News that, "He loves children and then other dogs and then adults. In that order." She shared a now-viral photo of him on Twitter, where he is sitting in the balcony dejected, with the caption: "Big Poppa has been so sad..."

Bra cups to the rescue

Pic/@atsumi.fashion, Instagram

A Japanese company specialising in the manufacture of women's undergarments, Atsumi Fashion Co., decided to mix things up by applying their designs to make face masks during the Coronavirus. Every (sexy) bit counts, right? Their product was sold out within moments of being launched, leaving customers asking for more. Each face mask was priced at Rs 1,000.

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Rotana, one of the leading hotel management companies in the region with hotels across the Middle East, Africa, Eastern Europe and Turkey, announced that it will take over the management of DAMAC Towers Arjaan by Rotana in Riyadh on 15 March, with the property set to open in early April. The announcement follows a partnership signed between the company and DAMAC Hotels and Resorts last year. Located on King Fahd Road, the twin-tower architectural landmark offers a total of 448 luxurious rooms, suites and penthouses. The hotel features state-of-the-art amenities such as meeting and events facilities, a wellness and fitness centre, separate temperature-controlled swimming pools for men and women, and a well-equipped gymnasium, among others. The new property brings Rotana's total tally in the Kingdom to seven hotels and 2,087 keys with a strong development pipeline including Centro Corniche, Al Khobar and Dana Rayhaan by Rotana, Dammam. The two properties are also scheduled to open durin...

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The pre-release event of Sudeep and Aakanksha Singh's Pailwaan was held at an upscale hotel in Bengaluru recently.

Here are the photos of Raai Laxmi aka Lakshmi Rai from her upcoming Tamil movie Miruga.

Pawan Kalyan, SS Rajamouli and many others attended the pre-release event of Chiranjeevi's Sye Raa Narasimha Reddy.

Allu Arjun has watched his uncle Chiranjeevi's Sye Raa Narasimha Reddy with his wife Sneha Reddy and son Ayan.

Here are the pictures of Tamannaah Bhatia from her upcoming movie Petromax.

Here are some hot and sexy picture of Raai Laxmi aka Lakshmi Rai in colourful bikinis.

Kamal Haasan turned a year older on 7 November.

As part of Kamal Haasan's birthday celebration, the statue of his mentor K Balachander was unveiled at the new RKFI (Raaj Kamal Films International) office in Alwarpet.

Here are the latest pics of Tamannaah Bhatia from her photoshoot.

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Ungal Naan, a musical event by Ilaiyaraaja to celebrate the 60 years of Ulaganayagan in film industry. The event was graced by who’s who of Kollywood that includes Tamil superstar Rajinikanth.

Raai Laxmi, who was earlier called as Lakshmi Rai, raises the temperature in white monokini.