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Watch: Befikre released new song “You And Me”

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You-And-Me-Befikre

Mumbai, nov 16: Aditya Chopra directorial venture “Befikre” launched it next songs “You and Me”,Amazing there is any kissing-wissing in the song, and is all about having fun, which is the Befikre mantra.

Befikre is a 2016 upcoming romantic crime drama film written, directed, and produced by Aditya Chopra under his Yash Raj Films banner.

Watch here Befikre song You and me.

“You And Me” has been composed by Vishal and Shekhar and Sung by Nikhil D’Souza and Rachel Varghese.

The film set to hit on screen December 9 which is also coincidently director Aditya Chopra’s baby girl Adira’s first birthday.

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Mahesh Bhatt to direct daughter Alia, Aditya Roy Kapur in ‘Sadak 2’

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Sadak 2
Photo Credit- Instagram

Mumbai, Sep 20: On the special occasion of Mahesh Bhatt’s 70th birthday today, daughter and actor Alia Bhatt dropped the teaser of Sadak 2, which marks the veteran filmmaker’s return to direction after 19 years.

A sequel to his 1991 superhit film Sadak, the romantic thriller will star Sanjay Dutt, Pooja Bhatt, Aditya Roy Kapur and Alia Bhatt in the lead roles.

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Alia took to her Instagram handle to share a sneak peek into the upcoming film. In the video she posted, one ne can see the glimpses of ‘Sadak’ and how the story will be taken forward by Alia and Aditya. The video also announces the release date of the movie. It will hit the screens in March 2020.

In the last few seconds of the video, it is Alia who is sweetly humming in the background. The actress, who has six songs to her credit as a vocalist, has apparently sung the song Hum Tere Bin Kahin Reh Nahin Paate that featured in the prequel. It is on this tune that she is seemingly humming.

Along with the teaser, doting daughter Alia also wrote a heartfelt birthday note for her father. Sharing an image of him with an owl, she wrote, “Dear Daddy, on your 70th Birthday you have given me the greatest present I could ask and dream for. You are directing me! Sadak 2 is a dream come true. What I thought will never be possible you have made possible. Thank you daddy from the bottom of my heart, soul and bones. This will be a journey of discovery. Of life, movies, feeling and most of all. Of a father and daughter. I love you my not-so-old man! Happy Birthday.”

For the first time, the ‘Raazi’ star will be directed by her father in the remake of his 1991 blockbuster movie, ‘Sadak’ which starred Sanjay Dutt, Pooja Bhatt, Sadashiv Amrapurkar, Deepak Tijori, and Neelima Azeem.

Sadak 1

The film saw Sanjay playing the character of a young man who falls in love with a prostitute (essayed by Pooja) and bails her out of the clutches of a transgender pimp-lord Maharani played by late veteran actor Sadashiv Amrapurkar in an iconic negative role.

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Anushka Sharma receives Smita Patil award, grab eyeballs in emerald green saree

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Mumbai, Sep 20: Actress Anushka Sharma was conferred with prestigious Smita Patil Award on Wednesday.

The Sui Dhaaga actress was wearing an emerald green Benarsi saree for the event. She kept her makeup minimal and tied her hair into a neat bun.

Anushka was presented with the award by Union Minister Nitin Gadkari.

Earlier, actresses Juhi Chawla and Katrina Kaif were also honored with the prestigious award.

The saree Mrs. Kohli was wearing, is made by local artisans. It seems like Anushka has really gotten into the skin of the character she’s playing in Sui Dhaaga.

Anushka sharma

Addressing the media here at the 34th edition of the Priyadarshini Academy Global Awards 2018 on Wednesday, Anushka said: “It’s a special day for me because I completed 10 years in the industry on this day. So receiving this award validates the choices that I made in my career.

“I don’t come from a film background. I didn’t have anyone to guide me in my journey. My parents also don’t belong to this industry so they also don’t know how the industry works,” she said.

The actress, who is gearing up for the release of her film “Sui Dhaaga”, made her debut opposite Shah Rukh Khan in “Rab Ne Bana Di Jodi” in 2008.

She thanked all the writers and directors for playing a key role in her successful journey.

“I also want to thank all the writers who wrote amazing roles for me and the directors who envisioned me in those roles. I don’t think any actor’s career is complete without the contribution of these two people.

“I want to thank every supporter of mine all over the world who supported me and accepted me for who I am.”

While receiving the award, Anushka said,: “It’s a great of honour to have watched the work of great Smita Patilji. She has been a true inspiration, not just for me but many actresses and many women for her bold, difficult and fearless choices that she made with her work.

“She managed to be disruptive and not adhere to norms of the industry where rules are usually set by others. So, I really appreciate and admire her.”

“Sui Dhaaga” is inspired by the Make in India campaign that was launched by the government in 2014 aimed at promoting the country’s indigenous industries including textile.

Sui dhaaga Made In India

Anushka stars opposite Varun Dhawan in the Sharat Katariya directorial that is produced by Maneesh Sharma under the Yash Raj Films banner. Varun plays the role of a tailor, while Anushka plays an embroiderer in the film, which is all set to release on September 28.

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Movie Review: Nawazuddin’s ‘Manto’ echoes Guru Dutt’s ‘Pyaasa’

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Manto

New Delhi, Sep 20: Film: “Manto”

Starring: Nawazuddin Siddiqui, Rasika Duggal, Tahir Raj Bhasin

Director: Nandita Das

Rating: 4.5/5 stars

“Jaane woh kaise log the jinke pyar ko pyar mila…” Echoing the disenchantment of a post-Nehruvian generation trapped between Partition and modernisation, Guru Dutt in “Pyaasa” epitomised the poet’s disenchanment with a world he never asked for. “Yeh duniya agar mil bhi jaye toh kya hai?”

Saadat Hasan Manto was a poet posing as a prose writer. He thought and responded to social stimuli like a true poet. When his best friend Shyam, the matinee idol of the 1940s who died young after falling off a horse, blurts out that during the post-Partition communal riots he would have killed any Muslim, including Manto, Manto knew it was time to quit India.

When Nandita Das’s Saadat Haasan Manto leaves Mumbai for Lahore, the film and the protagonist falls into a melancholic meditative mood mourning the passing of an era when the country and its people were split into two messy halves.

Nawazuddin Siddiqui’s “Manto” taps into every feeling and mood of his complex erudite character.

The actor doesn’t miss a single heartbeat of his character. Nawazuddin takes proprietorial control of Manto, not letting go of his grip over the obstinate genius’ glorious grammar of inspired rebellion. It is as though Nawazuddin was destined to play Manto from the day they both were born. The literary genius and the actor.

Manto

Nandita Das shoots Manto’s life and writings as vignettes of invaluable splendour. We are provided insightful glimpses into the man’s private life with a supportive but disenchanted wife, played with sensitivity and affection by Rasika Duggal, trying hard to cope with the financial constraints, trying to wrap her spousal instincts around the mind of a man who was not only ahead of his times, but also not afraid of defying norms even if it meant taking on the law and the government.

Her colour palate for the 1940s is a striking deep, rich selection of carefully chosen shades that range from the sepia of nostalgia to the crimson of the blood that flows when two communities decide they abhor one another enough to embrace barbarism.

Rita Ghosh’s production design and Kartik Vijay’s cinematography are impeccably understated.

Nandita has a propensity for played-down periodicity. She barely resorts to using the songs of the era (the oldest and simplest cinematic trick to recreate an era).And the one time that Jaddab Bai (played unremarkably by Ila Arun) bursts into a song at a party, we feel the flavour and flair of the times more in the reaction of the guests than the song or singer.

The vibrancy and vitality of Mumbai in the 1940s comes alive more through the characters’ zest for seizing the day than through strained attempts at getting the period details right. Not a single shot of an old gramophone playing 78 rpm records! Miracle!!

Nandita Das invests in her characters. They bring alive the theme and the protagonist’s deepest thoughts and flaws with a fluency that is impressively underplayed and quietly consistent.

The film has some of the most inspired casting I’ve seen in recent times. Rasika Duggal, of course as Manto’s wife. She is always a delight to watch. But also Tahir Raj Bhasin as the matinee idol Shyam. Bhasin plays the superstar with such arresting elan, why don’t we see more of this actor? And how on earth did the director think of Bhanu Uday Singh as the actor par excellence Ashok Kumar? Dadamoni has one disarming moment when potential Muslim rioters recognise him and give him right of way.

Remarkably a slew of brilliant actors make a lasting impression in fleeting appearance: Rishi Kapoor as an abominably lecherous producer, Paresh Rawal as a slimy pimp, Tillotama Shome as a tired prostitute (who just wants to sleep alone for a change), Divya Dutta as a fiercely jealous Punjabi wife whose husband has come home after raping a corpse (the inspiration for Manto’s story “Thanda Gosht”) and most surprising of all, writer Javed Akhtar (making his acting debut) as poet and educationist Ali Abid Ali who exonerates Manto of obscenity charges in the courtroom.

These actors collectively sparkling in this archingly defiant film reminded of a line in Orson Welles’ “Citizen Kane” where a character says he once saw a woman on the ocean when their boats crossed. “Not a day has passed when I haven’t thought of her.”

These actors in “Manto” create equally strong impressions even in a fleeting moment, like when Purab Kohli smiles at a girl-child whom three men intend to rape later on. But God, has other plans. And who knows this better than Manto?

As played by Nawazuddin, Manto is a magnificent mix of suppressed rage and expressed bitterness.

The authority with which he articulates lines from Manto’s stories made me wonder if Manto wrote his stories so that one day an actor of Nawazuddin’s skills would own them. Indeed the director with her astute yet subtle eye for historical and period detail couldn’t have hoped for a better actor to play Manto.

Nandita makes sure Nawazuddin gets into the skin of the character. This is an invasion of Manto’s private world but an exceedingly affectionate and reverent invasion.

“Manto” is a work of many virtues and minor vices. On the negative side, the Lahore portions in the second-half lack the pulsating seductiveness of the Mumbai episode where the beau monde comes alive in scattered montages of teasing hedonism .

Maybe by the time he was forced to migrate to Lahore, Manto’s heart was just not in it.

IANS

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