aaj tak - Rajkummar Rao takes it as a compliment when compared to Ranveer Singh and Ranbir Kapoor

Rajkummar Rao takes it as a compliment when compared to Ranveer Singh and Ranbir Kapoor

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If there is one actor who has made a mark in Bollywood with films having great content, it is Rajkummar Rao. The actor started his career with Love Sex Aur Dhokha, and since then, he has never looked back. His journey in Bollywood led him on to some great films which established him as one of the most talented actors of the current lot. His last film Stree went on to become a part of the 100-crore club and put him the league of A-listers from the industry. Amidst all this, Rajkummar still says he is the same and doesn’t let things get to his head. 

In a recent interview, Rajkummar was asked about his reaction to being compared with Ranveer Singh and Ranbir Kapoor. The Stree actor expressed that he always considers it as a compliment as both of them are great actors. He said, “I take it as a compliment. I'm a huge fan of both Ranbir and Ranveer, they are doing tremendously good. I'm looking forward to 'Gully Boy' and 'Brahmastra'. It's overwhelming, I take it with a lot of gratitude because you're comparing me with two great actors.”

(Also Read: Rajkummar Rao: Anurag Basu is a genius & magician as he can transform the actors into something different)

Rajkummar Rao was recently seen on Koffee With Karan 6 where he spoke about his work and how his success hasn’t changed him personally. Now, we will get to Rajkummar Rao play the role of a director-writer in Shelly Chopra Dhar’s directorial debut Ek Ladki Ko Dekha Toh Aisa Laga. The movie also stars Anil Kapoor, Sonam K Ahuja and Juhi Chawla in the lead roles. The trailer of the film left the audiences in awe of Rajkummar and Sonam’s performances, and now, we can’t wait to watch the film which is slated to release on February 1, 2019.

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lottery sambad - Deepika Padukone appointed as chairperson of 21st MAMI Mumbai Film Festival

Deepika Padukone appointed as chairperson of 21st MAMI Mumbai Film Festival

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Deepika Padukone who is having a great time in her personal life and doing extremely well professionally, is appointed as chairperson of the 21st MAMI Mumbai Film Festival. Deepika while commenting on the same said to a daily newspaper, “It’s an absolute honour and a huge responsibility. I believe in MAMI’s vision & we are committed towards creating a community that cinema lovers & creators of a film-passionate nation like ours truly deserve.”

Deepika Padukone is currently one of the most powerful actors in the industry and it is miraculous how she grew from being a model to a solid performer, making every film count in her career.

The actress who recently got married to Ranveer Singh is currently enjoying her marital bliss. Deepika recently returned from Paris after shooting for a brand. The actress will start filming for Meghna Gulzar’s Chappak where she plays the real life character of acid attack survivor Laxmi Agarwal. The film also stars Vikrant Massey who will play her love interest.

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cricbuzz live score - Parvathy, Asif Ali to star in Sidhartha Siva's next

Parvathy, Asif Ali to star in Sidhartha Siva's next

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Parvathy and Asif Ali will be teaming up again for two-time National Award-winning director Sidhartha Siva’s upcoming film. The untitled flick marks the fourth collaboration of Parvathy and Asif, who have shared screen space in critically acclaimed Take Off (2017) and upcoming films Uyare and Virus.

The project is expected to hit the floors in March and it will be bankrolled by Bency Productions.

The son of acclaimed filmmaker Kaviyoor Sivaprasad, Sidhartha started his career making short films. He made his first feature film 101 Chodyangal in 2012, which gave him his first National Award for best debut director. His 2013 film Ain added another National Award in his kitty. His last directorial outing was Sakhavu (2017), a political drama starring Nivin Pauly in the lead role.

In the meantime, the shooting of Parvathy’s Uyare will come to an end in the next few days. Parvathy is playing an acid-attack survivor in the film, which is helmed by late filmmaker Rajesh Pillai’s assistant Manu Ashokan.

(Agencies)

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mia khalifa - Why Prithviraj is not part of 'Madhura Raja'?

Why Prithviraj is not part of 'Madhura Raja'?

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Pokkiri Raja was a 2010 hit, which had Mammootty and Prithviraj in the leads roles and the film also marked the debut of director Vysakh.

The sequel to Pokkiri Raja is now on the floors, titled Madhura Raja. But curiously, Prithviraj, who played Mammootty’s younger brother in Pokkiri Raja is not part of the sequel.

In a recent interview with IndiaGlitz, Prithviraj said that “I would have loved if I were part of Madhura Raja because Pokkiri Raja was a film that I really enjoyed. But I am not there in Madhura Raja and I wasn’t invited for it.”

Obviously the question arises on why Prithviraj was not invited for Madhura Raja.

The normal logic takes us back to 2012, when Vysakh announced Mallu Singh with Prithviraj as the hero. The actor did a photo shoot as well but days later, he was suddenly not part of the film. Though the reasons are unknown, Prithviraj was replaced by Unni Mukundan. Mallu Singh went on to become a big hit.

Prithviraj has not been part of Vysakh’s movies thereafter. Is this the reason why he was not included in Madhura Raja? Well, your guess is as good as ours.

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khatrimaza - Raashi Khanna opposite Vijay Sethupathi!

Raashi Khanna opposite Vijay Sethupathi!

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Raashi Khanna who was last seen in ‘Jayam’ Ravi’s Adangamaru has been roped in to play as Vijay Sethupathi’s pair in his next with director Vijay Chander of Vaalu and Sketch fame. Vijaya Productions which produced films with many legendary Tamil superstars is bankrolling the film.

Musical duo Vivek and Mervin will be composing the music for the untitled film. Comedy actor Soori who took a break after Seema Raja has been roped in to take care of the comic portions. The principal shoot of the film will begin in March, says a source close to the team.

Vijay Sethupathi is currently busy with Seenu Ramasamy’s Maamanithan in which he plays an auto driver. The actor also has Super Deluxe, Sindhubaath and Telugu biggie Sye Raa Narasimha Reddy in the pipeline.

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aadhar card - 'Mukherjee Dar Bou' first teaser is here to redefine the typical 'saas-bahu relationship

'Mukherjee Dar Bou' first teaser is here to redefine the typical 'saas-bahu relationship

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This Women’s Day, on March 8, delve deeper into the everyday lives of women in our society when debutant director Pritha Chakraborty’s ‘Mukherjee Dar Bou’ hits the theatres. This refreshing take on the typical shashuri-bouma relationship will surely make you think twice. The first teaser of the intense relationship drama, bankrolled by Windows Production, is already here and the heart-wrenching dialogues from Anushua Majumder playing the mother-in-law will definitely give you a reality check. It somehow reflects the true essence of the age-old cold war between saas-bahu.
Check out the teaser here:

Beside Anushua, Koneenica Banerjee will be seen as the daughter-in-law. Biswanath Basu plays Mukherjee Da. While Rituparna Sengupta plays a psychologist, Badshah Moitra and Aparajita Auddy will also be seen in pivotal roles. The music of this film is being composed by Indraadip Dasgupta and there will be four songs including a Rabindra Sangeet.
“The main character of Mukherjee Da’s wife Aditi is played by Konineeca. It’s about a dysfunctional family and the complex yet caring relationship between a daughter-in-law and her mother-in-law,” the director had earlier told us while elaborating on the film’s subject.
Before making a full-length feature film, Pritha Chakraborty had earlier made a short film ‘Baba’ra Thaake Ei Bhabe Nisshobde’ starring Mir and Paran Bandhopadhyay.

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guru randhawa - In 'Soni', Two Women Fiercely Emerge From the Long Shadows of Patriarchy

In 'Soni', Two Women Fiercely Emerge From the Long Shadows of Patriarchy

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Ivan Ayr’s Soni, a new Netflix film, revolves around a young Delhi cop, Soni (Geetika Vidya Ohlyan), battling a unique predicament: of being a saviour and a survivor. She and her supervisor, Kalpana (Saloni Batra), a superintendent of police, are planning an operation that will make Delhi safe for women. But the city’s men, who first see Soni as a single woman and then as a police personnel (if at all), repeatedly invade her personal space and harass her.

Soni, in response, retaliates: she slaps, punches and socks their jaws – resulting in a police inquiry and transfer.

But Soni, we soon find out, is a much quieter film. When Soni returns home from a rough night shift, she waters her plants, lights an agarbatti and washes her face. We follow her from one room to another – the camera filming the scene in one long take – seeing a person, devoid of labels, getting on with her day. It then cuts to Kalpana, who is questioned by her mother-in-law for coming late and her commitment to the family. She deflects that with a gentle smile as the family sits for breakfast.

Much of the drama in Soni lies in these mundane moments, elevating it from the simplistic morass of heroes and villains. The perpetrators roam around the city, cat calling and abusing and smirking. Soni and Kalpana, aware of them, know how to put them in place. But what should they do about their own people – a seemingly progressive bunch flinging insinuations and taunts – whose worldviews are similarly disconcerting?

Kalpana’s husband, Sandeep (Mohit Chauhan), is a senior policeman. They live in a plush part of Delhi, enjoying the privileges of the sophisticated elites. And yet he defines her style of work in narrow, gendered terms: She’s “soft”, “sentimental”, “gets attached” to her subordinates – in short, not man enough. At a party, Kalpana’s sister-in-law, while serving dinner, casually interrogates her about her maternity plans. Kalpana keeps quiet, but we figure out the larger implication – Ayr baring the mechanics of Indian patriarchy: sometimes explicit (on streets, by outsiders, assuming a crass form) but often implicit (in the home, by the family, seeming much benign).

Soni deals with familiar motifs, but its methods are home-grown and original. As the film dives deep into the protagonists’ personal lives, we see relationships, and snatches of scenes, that have eluded Hindi cinema for long. Soni’s only close friend is Huma (Gauri Chakraborty), an elderly woman in her building close to her mother’s age, who bonds with, and cares for, her in the most ordinary ways: offering help to get a new gas cylinder; drawing curtains in the living room, guarding her privacy; sharing safety tips.

Then there’s the friendship between Kalpana and her niece, who talks in hashtags and calls her aunt by her first name. And finally – the film’s most beautiful segment – the relationship between Kalpana and Soni, incorporating different shades: of a boss and a subordinate, an older and a younger sister, a pragmatic and a naive friend.

There’s a sense of wholeness to these people and, consequently, this film. When Soni and Kalpana are at an upscale restaurant, we get a hint of their class difference. Ayr, in the above family dinner scene, reveals the segregation perpetuated by the Indian upper-middle class: men downing whiskey, women sipping chai, and their collective classist attitudes towards their domestic help and Soni.

This is a stunning debut. The writing here is so confident – so wonderfully understated – that you’re constantly intrigued, compelled to figure out this film on your own. It’s aided by superb cinematography (by David Bolen), which relies on long fluid takes, dissolving the separation between the audiences and the characters. You always get the sense that you’re with Soni and Kalpana – in their homes, their workplace, their brawls with ruffians.

Besides, Ayr isn’t the only notable debutant in Soni. Its leads, Ohlyan and Batra, are making their acting debut in films, too. They complement each other, making Soni truly memorable. Batra, the taller and the sturdier of the two, commands the frame, castigating and advising Soni.

Batra essays Kalpana with a fierce front but not without empathy and warmth, understanding the peculiarities of her hot-headed subordinate in a way only one working woman can understand the other. Ohlyan brings to Soni a long-festering exasperation and anger, someone who has been on the edge for so long that she isn’t afraid of falling. And yet, when Kalpana talks, Soni listens, occasionally muttering a “thank you” or a “sorry”: two women, emerging from the long shadows of patriarchy, unafraid of seeing the blinding sun.

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