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Ustad Rahat Fateh Ali Khan set to perform in London at special charity gala for Barnardo’s

Globally reknowned Qawali singer Ustad Rahat Fateh Ali Khan will perform a special intimate set at London’s world famous Dorchester Hotel this month, as part of a fundraising gala for Barnardo’s. The gala event takes place on Saturday 18th November and will see an array of stars grace the red carpet at the iconic Dorchester Ballroom.

The event, conceptualized by Pme, will see business leaders and gatekeepers from the British Asian community come together to give back to Barnardo’s, the UK’s largest and most recognized children’s charity. The charity has helped hundreds of thousands of vulnerable children and the unique event offers attendees a chance to join a roster of incredibly talented and dedicated ambassadors and supporters, in an effort to truly give back to children in the UK.

Ustad Rahat Fateh Ali Khan, a global ambassador for Barnardo’s, will perform a special 90 minute Qawali set to enthrall attendees.
See full article at Bollyspice »

Actress Shakila passes away!

Veteran actress Shakila passes away at the age of 82 in Mumbai on Wednesday (September 20, 2017). She was often described as the ‘fairy queen of Indian films’.The actress who appeared in famous songs such as Babuji Dheere Chalna, Neend Na Mujhko Aaye and Leke Pehla Pehla Pyaar, appeared in films such as Hatim Tai, Guru Datt’s Aar Paar, Cid and with Shammi Kapoor in China Town.

The news of her death was reportedly revealed by her nephew Nassir Khan who is also the son of yesteryear comedian Johnny Walker. On this sad occasion, we share our condolences with the...
See full article at Behindwoods »

Book Excerpt: “Nancy Meyers”

Nancy Meyers: BAFTA Guru/YouTube

The following is excerpted from Deborah Jermyn’s “Nancy Meyers,” which will be released July 27.

May 2014. A BBC journalist was on the phone. It was shortly to be the twentieth anniversary of the release of “Four Weddings and A Funeral” (Newell, 1994), one of the best loved, most successful British films and romantic comedies in film history. There was going to be a lot of coverage in the British media marking this milestone. I’d published a number of articles and a co-edited collection on romantic comedy, and taught Film degree classes on it — could the BBC interview me for a story?

I felt like a bit of a fraud as I told them that not only had I not seen the film in years, but also I was that strange thing — a British person who didn’t really like the film. To be honest, my overwhelming memory was of being a bit annoyed by it. Not to worry, said the journalist. We want to interview you for a story called “Why is the term romcom used so negatively?” and I agreed this was a thorny question that had often troubled me and one that I would happily talk about.

So an interview took place, where I spoke about how the pejorative use of the term was often imbricated with the assumption of an undiscerning female audience, and of mindless formulaic repetition which failed to acknowledge the capacity of the genre to make social comment; and I noted that this had not been the case with historical predecessors like the screwball comedy which were often received enthusiastically by both critics and public.

I mentioned that, like all genres, romcom had to keep bringing new inflections to bear to avoid becoming stale, and that “It’s Complicated” (Meyers, 2009) was a good example of this for the way it had centred on an older “love-triangle,” where a middle-aged divorced couple rekindle their relationship and have an affair. An accessible and pretty sympathetic story raising some of these issues appeared on the BBC website where I was cited alongside others who were presumably invested in thinking about the romcom as a genre with the capacity to be textured and intelligent, while simultaneously entertaining and amusing.

Billy Mernit, author of “Writing the Romantic Comedy” (2000), who has taught the genre on the UCLA Extension Writers’ Program, and Ben Palmer and Tess Morris, the director and screenwriter of “Man Up” (2015), the British romcom starring Simon Pegg and Lake Bell in production at that time all featured. The story when it came out was not groundbreaking. Nevertheless, it was rather refreshing and unusual, I thought, to see an article make an effort to be even-handed in considering the appeal and the possibilities of the much-maligned romcom, to try to unpack where the instant derision of it springs from, rather than just add fuel to it.

Then the journalist (@yasmeenkhan1) tweeted news of her story with a link to the website. The exchange that ensued, though brief, was intriguing. The first response went as follows, before others replied in these ways:

– “Great article — despite praise for It’s Complicated!:) #beige.”

– “Nancy Meyers has done a fair bit to damage perception of the genre. Too long, bland.”

– “But Meryl has Such an awesome house in that film.”

– ‘The Holiday, for example, is seven hours long. And nothing happens.”

– “… and The Holiday is really a softcore designer-porno about two beautiful homes in love.”

– “The only bit I choose to remember from that film is the Jack Black ‘boob graze.’”

– “I remember the general Jack Black ‘Wtf am I doing in this piece of treacle?!’ gaze.”

I watched, bemused, as what was meant to be a social media plug for a story outlining a more considered approach to thinking about the romcom morphed instead into a forum for bashing Nancy Meyers and her work. The director of just five films at this time (namely, “The Parent Trap” (1998); “What Women Want” (2000); “Something’s Gotta Give” (2003); “The Holiday” (2006); and “It’s Complicated” (2009), a body of work which has since grown to include “The Intern” (2015)), the predominance of romantic comedy in her oeuvre has earned her the moniker of Hollywood’s “romcom queen,” along with other regal monikers like “Hollywood’s queen of the chick flick,” “queen of the late-in-life-love story,” and “Queen of saccharine.”

Yet with still such a relatively small body of directorial work to her name, and given the extended periods that have passed between her films, it clearly is not the vast volume of romantic comedies she has made that has bestowed the title “romcom queen” upon her. Rather, for those familiar with the genre, she has developed a distinctive “brand” that they now identify and anticipate.

Hers is a mode in which lovingly drawn mise-en- scene combines with an affection for the golden age of Hollywood elegance and classical style, contemplative dialogue and story turns (hence the repeated complaint her films are “too long”), and characters and settings drawn from a privileged (and resolutely white) milieu.

Indeed, the Screen International review of “The Holiday” boiled it down even more simply to say Meyers has “established her own brand of contemporary rom-com: guilty pleasure fantasies of love and longing set among successful people in their multi-million dollar residences.” Crucially, though, this characteristic attention to lavish sets and the upper middle class has become a stick to beat her with, as much as a descriptive marker of a “Meyers style.”

Furthermore, anyone with an interest in box office results will know her romcoms stand out among her peers too, not just for their distinctively tasteful design, but for having generated a great deal of profit. “What Women Want” became both the most commercially successful romcom of all time and the most commercially successful film of all time directed by a woman at the point of its release (making just shy of $183m in the United States alone).

But in this Twitter exchange, Meyers’s name is evoked only to signal what is wrong with romantic comedy; it is an opportunity for snappy jibes about how her films are annoying, how they are “#beige” and “bland,” rather than pleasurable. And this is the case even among people who seemed ostensibly to be open-minded about the gratifications and the attractions of the romcom — who critiqued its “bad press” in Khan’s article — yet who also, it seemed, enjoyed the occasion to share disdain for Meyers and her films.

Obviously some of this has to do with the nature of Twitter and its trade in “pithy” rejoinders. But the short exchange of 140- character messages actually revealed a number of traits that I have come to see as common in the reception of Meyers in the process of researching this book about her.

These are traits which I will unravel at greater length in what follows, as I trace how one of the most significant women practitioners in post-classical Hollywood has been the subject both of academic neglect and continued critical denigration, and as I make the case for a more nuanced, comprehensive and measured consideration of her work than has as yet been undertaken.

In this Twitter exchange, there is nothing recognizing how enormously popular her films have been, or contemplating the possible pleasures of her work. They are all about empty gloss, about superficialities, not substance we learn.

Indeed, as shall become evident in this book, reviewers return repeatedly to the issue of how Nancy Meyers’s films look; in particular her films’ (professedly overly opulent) houses. These have taken on a kind of cultural currency of their own, pored over on design websites and blogs by interior design professionals, journalists, and fans. Yet at the same time, they are regularly maligned by film critics who see her devotion to intricate texture, color, and style coordination as a kind of empty and shallow distraction. In this way, a skill, a distinctive quality that one can well imagine would be remarked on as “an eye for detail” in a male director, is used in Meyers’s case to imply she can’t really “do” more substantial work like original character or plot (consider, for example, how Douglas Sirk’s lavish use of Technicolor became seen as a marker of the masterful and expressive emotive range of his films rather than merely a similarly predictable and ostentatious gimmick).

And her films are saccharine, we are told — in this exchange, compared to “treacle” — which is to say, sickly sweet nonsense. Such food metaphors are again prevalent in the reception of her work (The Guardian, for example, called “The Holiday” “the celluloid equivalent of having melted Mars Bars poured down your throat”), as they are in romcom broadly. They suggest that there is no nourishing artistic sustenance to be had here, often conjuring up an image of women audiences lacking restraint and willpower gorging themselves on sugary goodies they should know aren’t good for them.

Particularly interesting, though, is the familiar and belittling invoking of her work as a form of lifestyle porn, a description which again comes up repeatedly in reviews of her work. While the popular and flippant usage of the “-porn” suffix has become common in the vernacular of postfeminist discourses, it is striking here for the insidious manner in which it operates as a reminder that the person behind these films is a woman.

The flippant suggestion that Meyers makes “softcore designer-pornos” glibly denigrates her skills as a female director (and, by extension, questions and undermines the tastes of her audiences), slyly reminding us in the process that she is out of place in having achieved such mainstream commercial momentum in Hollywood, that the “proper” territory for women in film lies not somewhere behind the camera or in command of it, but in the realm of sexualized spectacle.

In some ways, appropriately enough for a woman director whose career predates and spans the shift from second wave feminism to postfeminism, the use of the porn “metaphor” is the ultimate postfeminist putdown of her work; if you don’t think it’s funny or see it’s meant “ironically” then the problem is with (uptight) you, not the (cool) person using it to take a shot at Nancy Meyers.

In the series of tweets above, none of the exchanges begin to engage with how significant her achievements are in an industry that has consistently marginalized and excluded women filmmakers. Instead, what this moment from the Twitterverse postulated is that there is a reason why the contemporary romcom gets a bad rap, there is someone who sums up (or at least, who we can blame for) this scorn for the genre — and that is Nancy Meyers.

Deborah Jermyn is a Reader in Film and Television at Roehampton

University, UK. She is the author and editor of numerous books

exploring women, feminism, and popular culture including “Female

Celebrity and Ageing: Back in the Spotlight” (2013), “Sex and the City

(2009), and “Hollywood Transgressor: The Cinema of Kathryn Bigelow

(2003).

Book Excerpt: “Nancy Meyers” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Meet the Norwegian Cowboy Being Chased by 300 Angry Investors Over a Failed Western

Meet the Norwegian Cowboy Being Chased by 300 Angry Investors Over a Failed Western
On June 22, Ryan Wiik walked into a conference room at an Oslo law firm and faced down a large group of his former friends. They were carpenters, plumbers and mechanics, mostly from his seaside hometown of Drobak.

They had invested millions of kroner — in some cases, their life savings — in his dream to build a billion-dollar movie company. Wiik planned to produce and star in a Western based on the “Morgan Kane” series of novels, which were popular in Scandinavia. But a decade had gone by, and no film had materialized. A few days earlier, two investors had reported him to the Norwegian police.

As he took his seat in the conference room, a young man walked up. “Ryan Wiik?” he asked.

“Yes,” replied Wiik. The man dropped a fraud lawsuit in his lap. “In your face,” someone said, in English, as the crowd snickered.

Wiik had come to the annual meeting to try to set the
See full article at Variety - Film News »

Tiger Shroff: Baaghi (2016) Review

Two years after his debut film Heropanti, India’s rising star Tiger Shroff is back in his second feature film, Baaghi, also known as Baaghi: A Rebel for Love. While his debut film was an entertaining first performance of the young star, there was still a lot of room for improvement. With his second film, Shroff again teamed up with Heropanti‘s director Sabbir Khan to bring an action-filled flick.

Baaghi follows Ronny (Shroff), a young rebel who doesn’t listen to anyone and does his own thing. He joins a martial arts school to be disciplined, fulfilling his father’s dying wish. It would have done the film good to focus primarily on Ronny’s development as a human being as he transforms from a rebel without a cause, to a rebel with a cause. Unfortunately, this part of the story kind of lingers in the background, as the
See full article at AsianMoviePulse »

“Running Shaadi is a feel good type of film” – Subhash K Jha Review

Running Shaadi

Starring Amit Sadh, Tapsee Pannu

Directed by Amit Roy

What do you call these? Haan, the Pheelgoood type of film. Running Shaadi keeps the proceedings running at a hectic ace. With a shaadi happening every ten minutes you’d expect a certain strain monotony to waft into the proceedings. But no. Debutant director Amit Roy knows how to make every shaadi look fresh…or freessss, as our Bihari hero would say.

And hey, this is as good a place as any to tell you, Amit Sadh’s Bihari accent is bang-on. Neither overdone, nor too casual it fits the character’s lackadaisical personality like a hand in glove. Ram Bharose—yup, that’s our Bihari Baba’s name—a Bihari migrant in Amritsar, loves the feisty Punjabi girl Nimmi.

She is the doughty Sardarni who at the beginning of the film asks her father’s helpful employee to help her with an abortion.
See full article at Bollyspice »

Salman Khan Blackbuck case: Celebrities to record their statements in Jodhpur

Salman Khan, who is accused of hunting endangered Chinkara in 1998 near Jodhpur while filming for ‘Hum Saath Saath Hain’ appeared at the court few days before and now, his co-stars/co-accused film stars Saif Ali Khan, Tabu, Sonali Bendre and Neelam arrived in Jodhpur to record their statements before the magistrate. Blackbuck is a protected animal under the Wildlife Protection Act and two of them were killed on the outskirts of Kankani village near Jodhpur. On January 25, the Jodhpur Court deferred the hearing in the Blackbuck poaching case that allegedly involved Salman Khan till January 27. The prosecution had already submitted the recording of the witnesses’ statements in the court. In 2006, Salman had been convicted by the trial court and handed sentences of one and five years respectively for allegedly poaching Chinkaras in two separate instances. Khan has already served time in the Jodhpur jail twice – in April 2006 and August 2007. Later,
See full article at FilmiPop »

Jia Zhangke talks new projects, arthouse distribution

  • ScreenDaily
Jia Zhangke talks new projects, arthouse distribution
Speaking at Mumbai Film Festival, where he’s receiving the Excellence In Cinema Award, director Jia Zhangke reveals plans for China’s new arthouse circuit and details of his new company Fabula.

It’s one of the ironies of China’s booming theatrical market that award-winning and prestige films, from either Chinese auteurs or overseas directors, struggle to secure a theatrical release. Even when they do manage to reach screens, they are usually programmed in unfavourable time slots.

Mountains May Depart had around 1.2 million admissions when it was released in cinemas, but more than ten million views online,” says Jia Zhangke, referring to his last feature, which played in competition at Cannes in 2015.

“There’s an audience out there but we have to figure out how to reach them. Previously the arthouse audience was just confined to the big cities, but it’s now moving to smaller cities and provincial capitals.”

Speaking to Screen
See full article at ScreenDaily »

UK Readers: Win Tickets to Ustad Rahat Fateh Ali Khan’s Concert August 14th at the O2!

Yes, music fans you can win the chance to see Pakistan’s most famous Qawwali singer Ustad Rahat Fateh Ali Khan live when he takes to the O2 stage to perform his greatest hits on Sunday 14 August at 7pm.

Ustad Rahat Fateh Khan, the nephew of the late, world-renowned singer Ustad Nusrat Fateh Ali Khan has outstandingly continued the traditions of qawwali music, a form of Sufi devotional popular in South Asia. He has gone on to be one of the most popular singers in music with his work in Bodyguard, My Name is Khan, Dabangg, Bajrangi Bhaijaan, Drishyam, the Hollywood film Apocalypto and many more. Rahat’s Zaroori Tha has crossed 100 Million views on Youtube, which is a record, for an independent single.

Most recently his soulful performance of Jag Ghoomeya from the Salman Khan starrer Sultan, has been number 1, across all Asian charts! He also moved people with
See full article at Bollyspice »

Versatile actor Razzak Khan passes away

Versatile actor Razzak Khan passes away
One of Bollywood's versatile actors Razzak Khan, who is best known for his various comic acts in films, is no more. No sooner Khan suffered a massive heart attack at 12.30 midnight yesterday, he was immediately rushed to Holy Family hospital in Bandra. The doctors declared him dead on arrival. The Khan family is awaiting the arrival of Razzak Khan's son Assad Khan, who works in Croatia. The funeral of (late) Razzak Khan will be held tomorrow at Narialwadi Kabaristan at Byculla. Readers may recall seeing Razzak Khan in films like Action Jackson, Kyaa Super Kool Hai Hum, Phir Hera Pheri, Nayak, Haseena Maan Jaayegi amongst others. Bollywood Hungama wholeheartedly prays that the departed soul to rest in eternal peace.
See full article at BollywoodHungama »

Ustad Rahat Fateh Ali Khan Coming to London’s O2 with The Greatest Hits Live

Pakistan’s most famous Qawwali singer Ustad Rahat Fateh Khan, the nephew of the late, world-renowned singer Ustad Nusrat Fateh Ali Khan, will perform his greatest hits live for the first time at The O2 on Sunday 14 August 2016.

The performance will coincide with Pakistan and India’s independence weekend celebrations and will be Ustad Rahat Fateh Khan’s only London show this year. Discussing his forthcoming show Ustad Rahat Fateh Khan said, “I’m very excited to be performing at The O2, London, for the second time, following my sold out tour in 2013.

“Coming to the UK is always a thrill for me and my performance is timed to fit the Independence Day celebrations for both Pakistan and India. I have a fantastic team of musicians joining me and will be performing my greatest film hits and new material, as well as my esteemed Uncle, Nusrat Fateh Ali Khan’s popular Qawwali numbers,
See full article at Bollyspice »

Ghayal Once Again trailer to be attached with Dilwale and Bajirao Mastani

Ghayal Once Again trailer to be attached with Dilwale and Bajirao Mastani
Well, if the teaser of Ghayal Once Again left you wanting for more, gear up to watch the full-fledged trailer of the movie! The trailer of Ghayal Once Again will be attached with two of the most awaited films' of this year - Dilwale and Bajirao Mastani. Though the trailer will be out on December 17, it will play in the theaters from December 18, with these two films. Dharmendra presents, written and directed by Sunny Deol, Ghayal Once Again stars Sunny Deol and 4 young kids - Rishabh Arora, Shivam Patil, Daina Khan and Anchal Munjal in lead roles. The movie releases on January 15, 2016.
See full article at BollywoodHungama »

Deepika Padukone didnt call Shah Rukh Khan to sort Dilwale-Bajirao Mastani clash

Deepika Padukone didnt call Shah Rukh Khan to sort Dilwale-Bajirao Mastani clash
There is talk in the industry that Deepika Padukone has personally taken on herself the task of sorting out the impending clash between her starrer Bajirao Mastani and Shah Rukh Khan's Dilwale. But sources close to the Bajirao Mastani project completely deny any such overture on Deepika's part. "She would never dare to pick up the phone and ask Shah Rukh to move his film forward. This is completely opposed to the reverence that she feels for Shah Rukh. She may be chummy with him. But, she sees him as her senior and mentor for having introduced her opposite himself in Om Shanti Om," says a source close to Deepika from the Bajirao Mastani team, who adds there is no move on the film's team's part to express any anxiety or panic over the rival film. "Bajirao Mastani will release on 18th December. We don't know about the other film's plans,
See full article at BollywoodHungama »

Salman Khan flies in private jet dances on stage at Chiranjeevis bash

Salman Khan flies in private jet dances on stage at Chiranjeevis bash
At the 60th birthday bash for Telugu matinee idol Chiranjeevi organized by son Ramcharan at the Park Hyatt in Hyderabad, a very close family-friend of the Chiranjeevi family, Salman Khan flew in from Mumbai on a private jet and had himself a ball. A VIP guest spills the beans, "Salman is very close to both Chiranjeevi and his son. He flew in for the celebrations and danced to a medley of Chiranjeevi's hits on stage. Chiranjeevi was thrilled to bits." And where but at a celebration for a mega-icon like Chiranjeevi would you find arch enemies Salman Khan and Vivek Oberoi in the same room? Khan and Oberoi have exchanged public vitriolic over Aishwarya Rai Bachchan. And yes, Salman and Vivek both involved with Aishwarya Rai in the past shared the venue space with Abhishek Bachchan who flew in to the party with his mom Jaya Bachchan. Mr. Amitabh Bachchan was unwell and couldn't attend.
See full article at BollywoodHungama »

Kriti Sanon out of Sultan Not quite

Kriti Sanon out of Sultan Not quite
Kriti Sanon who made her debut opposite Tiger Shroff in Heropanti has apparently gone on from Tiger Shroff to Ek Tha Tiger's Salman Khan. Reports that she is no more in the reckoning are not only misleading, they are also malicious attempts by the PR team of other actresses interested in the coveted role to downsize Kriti's success. A filmmaker very protective of Kriti says, "Doosri ladkiyon ko dekha nahin jaa raha hai. The A-lister heroines can't digest Kriti's instant success. They are eager to spread the news that Salman doesn't want to work with her. There are a number of heroines Salman doesn't want to work with. Kriti is not one of them." If reliable sources within the industry are to be believed this pretty Delhite will be paired with Salman Khan in Ali Abbas Zafar's Sultan after all. Kriti Sanon however is under strict instruction to
See full article at BollywoodHungama »

Shah Rukh Khan’s Red Chillies Turns Distributor With ‘Dilwale’

London — Bollywood superstar Shah Rukh Khan’s production company Red Chillies Entertainment (Rce) will expand into film distribution with “Dilwale.” Khan toplines the action-comedy-musical, while co-stars include Kajol and Varun Dhawan.

Dilwale” recently completed principal photography in Bulgaria and is due for release on December 18. The film is a Red Chillies co-production with director Rohit Shetty’s Rohit Shetty Productions. Shetty and Khan teamed for 2013 hit “Chennai Express” that collected $62 million worldwide.

Red Chillies will distribute the film in India. While the company is yet to decide on the number of screens, chief revenue officer Gaurav Verma told Variety, “our aim is to make it the widest release for any Indian film so far.” Red Chillies will also work closely with overseas distributors, Verma said.

Moving into distribution is a logical next step for Rce. Besides film production, Red Chillies has interests in television and commercials production, a VFX house,
See full article at Variety - Film News »

Scoop Eros Kishore Lullas secret meet with Shah Rukh Khan in La

Scoop Eros Kishore Lullas secret meet with Shah Rukh Khan in La
A huge deal seems to be cooking up between Shah Rukh Khan and Eros Entertainment. And the deal could sway the way the competition between Sanjay Leela Bhansali's Bajirao Mastani and Shah Rukh Khan-Rohit Shetty's Dilwale goes this Christmas when the two release simultaneously on December 18. According to a well-placed source in the Us, the meeting took place last month. Says the source. "Kishore Lulla flew down to Los Angeles for the meeting with Shah Rukh Khan to discuss if Eros Entertainment could come on board for Dilwale, produced by Shah Rukh Khan's Red Chillies and Rohit Shetty. Lulla discussed a potential collaboration on Dilwale. Since Eros is the co-producer of Sanjay Leela Bhansali's Bajirao Mastani, a collaboration with Shah Rukh over Dilwale could sort out the issue of the simultaneously release date for the two films." While the details of the meeting are not known,
See full article at BollywoodHungama »

Feast for Eid and teary-affair: How Shah Rukh Khan and Aamir Khan connected with Salman Khan!

The weekend gone by was eventful. And why not? when the Salman Khan's much-spoken-about movie Bajrangi Bhaijaan released on the occasion of Eid. Moreover, it was that time again when Salman, Shah Rukh and Aamir made headlines! Check out how...

What made Salman Khan sad and Aamir Khan cry?

The festival of Eid brought in a lot of happiness as well as tears for the biggest superstars - Salman Khan and Aamir Khan.

Salman Khan's Bajrangi Bhaijaan that released in Eid left Aamir Khan teary-eyed. Aamir was spotted getting so emotional that he couldn't contain his emotions even on a micro-blogging site. The 'Pk' star wrote, "Just came out of Bajrangi Bhaijaan. Outstanding! Salman's best film till today! Salman's best performance till today! Amazing story, superb screenplay, heart-warming dialogues! Great writing! Kabir Khan has made a truly special film! Must see!!! And that little girl is too too good!
See full article at GlamSham »

I will be happy if ‘Bajrangi Bhaijaan’ breaks ‘Pk’ record: Aamir Khan

  • indicine
Aamir Khan is not known to be lavish with praise, but the superstar has hailed ‘Bajrangi Bhaijaan’ as Salman Khan’s best film ever and said he would be happy if the film breaks the record of ‘Pk’.

The two actors, who shared screen-space in 1994 cult classic ‘Andaz Apna Apna’, said “Just came out of Bajrangi Bhaijaan. Outstanding! Salman’s best film till today! Read More
See full article at indicine »

Shah Rukh Khan Sets Date With ‘Fan’

Shah Rukh Khan Sets Date With ‘Fan’
Fan,” one of the next major films starring Indian superstar Shah Rukh Khan, will be released on April 15, 2016.

The much-delayed film sees Khan perform dual roles as a major star and as a lookalike.

Principal photography began in May 2014, and the film was initially scheduled to release this year. It was postponed to August 2015, ostensibly due to knee injuries Khan sustained during the filming of “Happy New Year.” Complex visual effects were blamed for a further delay to early 2016.

The film is directed by Maneesh Sharma and produced and distributed by Yash Raj Films. Oscar winner Greg Cannom was responsible for the prosthetic make-up effects.

Khan is also set to appear in Rohit Shetty’s “Dilwale,” which is currently shooting and has an unconfirmed 2015 release date.
See full article at Variety - Film News »
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