Kaduva: Kerala Court Orders Suspension of Film Works on NRI’s Complaint

The makers of Kaduva, the upcoming Malayalam film starring Prithiviraj Sukumaran, were ordered by the Irinjalakuda Sub Court in Thrissur, Kerala on April 8 to suspend the film’s production and promotions after an NRI filed a complaint against the producer.

Kaduva, set to be directed by Shaji Kailas, is written by Jinu Abraham and produced by Prithiviraj’s home banner Prithviraj Productions and Listin Stephen for Magic Frames Company. The film centres around a character called Kaduvakunnel Kuruvachan, a native of Pala in Kerala.

According to a report by Onmanorama, Anurag Augustus said that in 2018, Jinu gave him the script of Kaduva in exchange of Rs 10 lakh. Jinu, however, gave the script to Kaduva’s producers without Anurag’s permission.

In October 2020, the Kerala High Court had banned actor-turned-politician Suresh Gopi’s 250th film, Ottakkomban, which is also based on Kaduvakunnel Kuruvachan while it gave clearance to Kaduva. The verdict came after Jinu had approached the Ernakulam District Court claiming that Ottakkomban was plagiarised from his film. The magistrate had asked the makers of Suresh’s film to stop all the work, and the high court restrained them from making the film.

Written by Shibin Francis, Ottakkomban was being directed by debutant Mathews Thomas and produced by Tomichan Mulakuppadam’s banner, Mulakuppadam Films.

Listin was recently convicted in a cheque bounce case along with actor-politician Sarath Kumar and wife-actor Radikaa Sarathkumar. Along with the couple, Listin has been sentenced to one year of imprisonment and Rs 5 crore penalty.

Kaduva’s technical team consists of music by Thaman and Ravi K Chandran as the cinematographer. While Shameer Muhammed is serving as the editor, Mohandas is the art director. The film is expected to be a mass entertainer set in the 1990s. The film, originally set to go on floors in December 2020, came to a halt due to the Covid-19 pandemic. However, in March, Prithiviraj had shared that the film will begin shooting soon.

Silverscreen India tried to contact Jinu and Anurag for their comments, but they were unavailable.

Searching for Sheela: Documentary on Ma Anand Sheela to Premiere on Netflix on April 22

Ma Anand Sheela‘s documentary titled ‘Searching for Sheela‘ will premiere on Netflix on April 22, the streaming platform announced on Monday while releasing the documentary’s trailer.

Ma Anand Sheela, also known as Sheela Biernstiel, is an Indian-born Swiss national who was the former secretary of late Indian godman Bhagwan Rajneesh, aka Osho, and spokesperson for the Rajneesh movement. She worked with Osho to establish a utopian city named Rajneeshpuram in Oregon for his followers.

She was convicted in the 1984 Rajneesh Bioterror attack in Oregon and was also accused of arson, wiretapping, attempted murder, and mass poisonings. She was sentenced to 20 years of imprisonment and was paroled after serving 39 months on terms of exhibiting good behaviour.

The documentary is produced by director-producer Karan Johar‘s Dharmatic Entertainment.

According to Netflix, the documentary will focus on Sheela’s “homecoming” to India after 34 years of exile.

In a statement, Sheela said that the documentary will give a glimpse of her life and its evolution over the last 40 years.

The film’s executive producer Shakun Batra said that the documentary was “not an investigative piece” but an observation of a person with a questionable past and how she grapples with society’s expectations of an ex-convict and attempts to re-brand the public opinion of herself.

In 2019, Johar had interviewed Sheela during her first visit to India in over three decades, following which Netflix announced that Sheela will star in a new documentary on their platform. Priyanka Chopra Jonas had announced on The Ellen DeGeneres Show that she will be starring in Sheela’s biopic which will be directed by Barry Levinson. However, Sheela later revealed that she didn’t give Chopra Jonas permission for the film and had sent a legal notice. She added that she preferred Alia Bhat to essay her role instead.

 

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In 2018, Netflix released a documentary titled Wild Wild Country that focused on the controversial godman Osho, his close aid Sheela and the rise and fall of Rajneeshpuram. Following the development, there were rumours that Aamir Khan had been approached to play the role of Osho.

BAFTA Awards 2021: ‘Nomadland’ Leads With 4 Awards, Including Best Film

Nomadland, the English film directed by Chloe Zhao starring Frances McDormand, bagged four awards out of seven nominations at the British Academy of Film and Television Awards (BAFTA), including the Best Film award, on April 11. The 74th edition of the BAFTA was held in two parts- the craft awards on April 10 and performance awards on April 11.

Zhao and McDormand won the Best Director and the Best Leading Actress Awards, respectively. The film, that revolves around the life of a female nomad, also picked the award for best cinematography. On April 11, Zhao became the first woman of colour to win the best Directorial Directors’ Guild of America Award.

Following Nomadland, films like Promising Young Woman, Rocks, Soul, Sound of Metal, The Father, and Ma Rainey’s Black Bottom, won two awards each. Ma Rainey’s Black Bottom, starring Chadwick Boseman and Viola Davis, made its mark at Golden Globes, Critics Choice, and the Screen Actors’ Guild Awards. While the film bagged no titles in the acting categories, it took home awards for the best costume, and hair and make-up.

Anthony Hopkins of The Father won the Best Leading Actor Award, breaking late actor Boseman’s posthumous winning streak. The film also won the Best Adapted Screenplay prize, the same category which saw the nomination of The White Tiger featuring Priyanka Chopra Jonas, Rajkummar Rao, and Adarsh Gourav. Gourav received his first BAFTA nomination in the leading actor category.

Promising Young Woman won in the outstanding British film and original screenplay categories. Contrary to expectations of another win for the Korean-American family drama Minari, the Danish film Another Round won in the best foreign language film, or Film Not in the English Language category. However, Minari‘s Yuh-Jung-Youn picked the golden mask in the best supporting leading actress category and Daniel Kaluuya won in the male counterpart category for Judas and the Black Messiah.

BAFTA Fellowship, the organisation’s highest honour, was awarded to filmmaker Ang Lee by Hugh Grant, for his contribution to cinema through films like Crouching Tiger, Life of Pi, Sense and Sensibility, and others.

The event was conducted, and hosted by Edith Bowman and Dermot O’Leary, virtually from the Royal Albert Hall in London and was broadcast on BBC channels. Prince William, Duke of Cambridge, presides over BAFTA’s committee, but he was unable to attend the event this year following the death of his grandfather, Prince Philip, on April 9.

The 2020 BAFTA Awards was criticised for having all-white nominees in its performance categories, especially in acting. Social media brimmed with #BAFTAsSoWhite and raised questions on inclusion and diversity. Its chair, Krishnendu Majumdar, addressed the issue in a 2020 review, and stated, “The 2020 Film Awards nominations earlier this year highlighted some uncomfortable truths for BAFTA and represents its own moment of reckoning,” adding that the 2020 nominations “showed we are a long way from where we want to be.”

A year after facing flak for not nominating non-white actors, the BAFTAs saw the most diverse nominations. The awards committee claimed so in its press release that read, “In a first for BAFTA, four women have been nominated in the best director category. Three of the nominated directors are also nominated for Film Not in the English Language.”

A total of 21 of the total 24 names in the performance categories are first time nominees.

Other winners include:

Best FilmNomadland

Outstanding British FilmPromising Young Woman

Outstanding Debut by a British Writer, Director or Producer– Remi Weekes (His House)

Film Not in the English LanguageAnother Round (Danish)

DocumentaryMy Octopus Teacher

Animated FilmSoul

Director– Chloe Zhao (Nomadland)

Original Screenplay– Emerald Fennell (Promising Young Woman)

Adapted Screenplay– Christopher Hampton and Florian Zeller (The Father)

Original Score– Jon Batiste, Trent Reznor, Atticus Ross (Soul)

CastingRocks

Editing– Mikkel E.G. Nielsen (Sound of Metal)

The list of winners is linked here.

Theatres in New Delhi to Function at 50% as City Reels Under Surging Covid-19 Cases

All cinema halls, theatres and multiplexes in New Delhi will function at 50% seating capacity till April 30 as per new orders issued on April 11.

In the wake of the second wave of Covid-19, the department of disaster management authorities of the government of NCT Delhi also ordered 50% of seating capacity in restaurants and bars along with several other restrictions for social gatherings, travel and transport, educational institutions.

According to the Central government record, New Delhi recorded 34,341 active cases of Covid-19 till April 11, taking the number of confirmed cases to 7,25,197 and 11,283 deaths in the city.

In the wake of the Covid-19 pandemic in 2020, theatres were shut across the country from March the same year following a nationwide lockdown. In October 2020, when the Centre permitted theatres to reopen with 50% seating occupancy across the country, New Delhi and some states like Maharashtra, West Bengal observed the same maintaining the set of Standard Operating Procedures issued by the Central government.

Following a steady decline in the number of cases since October 2020, theatres in states like West Bengal, Tamil Nadu, and Telangana were allowed to function at full seating capacity towards the beginning of 2021. While there were no notifications from the Centre permitting 100% seating capacity in theatres, the state governments urged the Centre to issue orders regarding the same.

Later in January, the Ministry of Home Affairs further eased the restrictions and issued new guidelines, permitting 100% occupancy in the cinema halls, theatres and multiplexes across the country.

Ever since the second wave of the pandemic has been gaining momentum in the country, Maharashtra, Karnataka, Tamil Nadu, New Delhi have issued new guidelines and imposed restrictions and night curfews in their respective states, with 50% occupancy in cinema halls, restaurants, bars, pubs and clubs, metro coaches and certain government offices. Other orders include restrictions on all social, political, sports, entertainment, academic, cultural, religious, festival related and other gatherings with sports events being held without spectators and swimming pools being used only for the training of sportspersons who are participating in national and international events.

Qala: Irrfan Khan’s Son Babil Khan to Debut in Anushka Sharma-Produced Netflix Film

Qalathe upcoming Hindi film directed by Anvitaa Dutt, will mark the debut of late actor Irrfan Khan‘s elder son Babil I Khan, Netflix announced on Saturday. The film will also feature Tripti Dimri and Swastika Mukherjee.

The film is being produced by actor Anushka Sharma and her brother Karnesh Ssharma’s banner Clean Slate Filmz, who have also produced Paatal Lok on Amazon Prime Video.

The streaming platform released the first look of the actors and a clip on the making of the film. The film revolves around a daughter’s efforts to earn a place in her mother’s heart.

Talking about the film, Dutt said, “Mother-daughter relationships are sacred and often complicated. Qala is a beautiful, heart-breaking story about a daughter who craves her mother’s love. I am ecstatic to have such incredible actors on-board and cannot wait for the world to discover the film with Tripti, Babil and Swastika.”

Dimri took to social media to announce the wrap of the film’s first schedule.

Babil Khan announced his debut on social media as well.

Qala will mark the second collaboration of Netflix, Clean Slate Filmz, Dutt and Dimri, who last worked on the 2020 film horror-drama film Bulbbul.

“With Bulbbul, we found imaginative creative partners in Clean Slate Filmz to bring to life the stunning vision of Anvitaa Dutt. We are thrilled to reunite with them for Qala, and once again tell an intricate tale of a woman that we hope will resonate with many. We are also excited that the incredibly talented Tripti Dimri will be back on Netflix, this time with the promising Babil I Khan, the newest addition to the growing Netflix family,” said Srishti Behl Arya, director, international original Film, Netflix India.

Karnan Review: Mari Selvaraj’s Powerful Anatomy Of A Rebellion

The most striking aspect of Karnan is how director Mari Selvaraj films the village of Podiyankulam. For the state, it is non-existent; a kaadu (forest). On the dusty floor right outside Yaman’s (Lal) hut, a pack of pigs wrestle. An eagle hovers over the village, eyeing a clutch of chickens on a granny’s courtyard. A young boy brings home a stray horse because he wants to rear it. A donkey hobbles around the village, exchanging glances and whispers with a little goddess who guards the place. Sometimes the camera moves off from a scene of violence or tension to take note of a butterfly perched on a wall. A scene of streetfight is cut abruptly to the shot of a tranquil pond at a distance.

These images bring to the anthropocentric mainstream space a distinct way of life and the memory of a culture otherwise not acknowledged. The film’s drama doesn’t arise just out of human interaction but also from how Selvaraj integrates human existence to the village’s geography, myths and history. The pigs and stray dogs aren’t a nuisance but co-owners of the village. When the hero arrives on a horse, the cheers are not just for the man but also the beast.

In Karnan, Selvaraj departs from a dark and realistic narration that has come to be the most preferred style in south Indian cinema for socio-political dramas. His approach is expressionistic. The visuals (cinematographer Theni Easwar) and the soundscape are carefully designed to express the film’s rich emotional narrative. The scream of a woman in labour reverberates in the air as a group of armed cops goes about unleashing violence in the village. An instance of the body taking the toll of the birth of a new life. Selvaraj opts for montage cuts, compressing many layers into one scene, using contrasting images. There are areas in the narrative that are universally appreciable. And there are doors only those who have insider information could unlock.

The film is about a village’s uprisal against systemic violence and apathy. In one of the pivotal scenes, several streams of actions converge. A heavily pregnant woman and her family await a vehicle by the side of a highway. When a public bus refuses to stop, her elder son, a little boy, hurls a stone at it in protest. The seemingly minor incident snowballs into a clash, the venting of anger bottled up over a long time. There is poetry in Selvaraj’s picturisation of the rampage. Like a map that solves the mystery of a labyrinth, the scene charts the anatomy of a rebellion.

Podiyankulam, overlooked in the state’s development plan, is without a concrete road or a bus stop. The elders have invested all their hope for a better future in the village’s youngsters. But it isn’t easy to get out of structural oppression. There is an instance where you see Karnan waiting for hours under the hot sun to hitch a ride to the city to attend a physical test to enrol in the armed forces. Despite passing the test, his face sinks into a strange sense of despair as he spots a fellow Dalit candidate who couldn’t qualify. A profound pain he doesn’t know how to overcome.

Karnan looks at caste as not just a residual problem that could be wiped away through developmental measures by the state but something ingrained in the public mind. What enrages the police officer (Natraj Subramaniam) isn’t the act of vandalism but the name of the village head (Duryodhanan) and the village’s refusal to bow to his upper-caste identity. When Karnan ascends a horse and raises his sword to the sky, he challenges not just the militants on the ground but the mythological and pop-cultural representations of a Dalit man.

Women assume supporting roles in the film. Lakshmipriya Chandramouli and Gouri G Kishan represent two of the many faces of the village’s resistance. Droupadi (Rajisha Vijayan) doesn’t have an identity other than her affair with Karnan and what her name points at (unlike Droupadi in Mahabharat, she is in love with Karnan). But the warmest romantic moment in the film is reserved for an unusual pair, Yaman and his lady friend who trades a ten-rupee note for a kiss on her forehead.

Lal is fabulous here, as the amiable grandfather who should rebuild himself to become Karnan’s comrade. Selvaraj once again uses Yogi Babu as a great character artist who has an untapped talent for underplaying.

Throughout the film, there are mentions of a redeemer who would steer the village out of its misery. After winning a prized sword in one of the initial scenes, Karnan mounts an elephant. He is a king, but without a kingdom. The film charts his trajectory from a short-tempered youngster to a hero who gives himself up for his people in great details.

Dhanush delivers an exemplary performance, a mix of thoughtful control and natural charisma, personifying the pathos, the deep-seated exasperation and outrage that form the basis of the film’s screenplay. And with this mighty second film, Mari Selvaraj claims a unique position in the Tamil cinema space, whose stories of human suffering aren’t morbid and cerebral but humane and fascinatingly guileless.

****

The Karnan review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the film. Silverscreenindia.com and its writers do not have any commercial relationship with movies that are reviewed on the site.

Chloe Zhao Becomes First Woman of Colour to Win the Directorial Director’s Guild of America Award for ‘Nomadland’

Chloe Zhao, the director of Nomadland, won the Director’s Guild of America Award (DGA) for Outstanding Directorial Achievement in Theatrical Feature Film for 2020, becoming the second woman and the first woman of colour to win the title.

Kathryn Bigelow was the first woman to win the prize in 2008 for The Hurt Locker.

The virtual ceremony was held on Saturday and is considered to be a bellwether of the Oscars. Zhao and Nomadland have already won the Golden Globe Awards for best film and best director, as well as the Critics Choice Awards in the same categories.

In her speech, Zhao thanked her fellow nominees, including David Fincher for Mank, Lee Isaac Chung for Minari and Emerald Fennell for Promising Young Woman, all of have been nominated in the Best Directing category for the Oscars along with Zhao.

Apart from praising all of them, she said, “Thank you for teaching me so much and showing me your support.”

The 73rd edition of the DGA saw several women filmmakers earning nominations, including Radha Blank (The Forty-Year-Old Version) and Regina King’s (for One Night in Miami).

Darius Marder won the best directorial award in the first-time feature film category for the film Sound of Metal. Marder’s film also won the British Academy for Film Awards for the best sound.

In the television segment, Lesli Linka Glatter won for Homeland, Susanna Fogel won for HBO Max’s The Flight Attendant, and Amy Schatz’ We Are The Dream: The Kids of the Oakland MLK Oratorical Fest for HBO.

While creator Scott Frank won the directorial award for the Golden Globe winner The Queen’s Gambit, Michael Dweck and Gregory Kershaw won in the documentary category for The Truffle Hunters.

Winners in other major categories include:

Outstanding Directorial Achievement In Theatrical Feature Film-Chloé Zhao (Nomadland)

Outstanding Directorial Achievement Of A First-Time Feature Film Director – Darius Marder (Sound of Metal)

Outstanding Directorial Achievement in Documentary – Michael Dweck & Gregory Kershaw (The Truffle Hunters) (Sony Pictures Classics)

Outstanding Directorial Achievement in Movies for Television and Limited Series – Scott Frank (The Queen’s Gambit) (Netflix)

Outstanding Directorial Achievement in Variety/Talk/News/Sports – Regularly Scheduled Programming – Don Roy King (Saturday Night Live), “Dave Chappelle; Foo Fighters” (NBC)

Outstanding Directorial Achievement in Variety/Talk/News/Sports – Specials – Thomas Schlamme (A West Wing Special to Benefit When We All Vote) (HBO Max)

Outstanding Directorial Achievement in Reality Programs – Joseph Guidry (Full Bloom), “Petal to the Metal” (HBO Max)

The full list of winners is linked here.

Thalaivi: Jayalalithaa’s Biopic Starring Kangana Ranaut Postpones Release

The release of Thalaivi, the upcoming biopic of late actor and former Tamil Nadu Chief Minister J Jayalalithaa featuring Kangana Ranaut has been postponed due to the alarming rise of Covid-19 cases in the country, the film’s makers announced on social media on Friday.

The film was slated to release in theatres on April 23.

“Since the film has been made in multiple languages, we would like to release it in all languages on the same day. But with an alarming rise in COVID-19 cases, subsequent precautions and lockdowns, even though our film is ready for release on 23rd April, we want to extend all the support towards the government rules and regulations and have decided to postpone release of Thalaivi,” the makers said in the statement.

Thalaivi was simultaneously shot in Hindi, Tamil, and Telugu under the same title.

The makers have not yet announced the new release date.

Directed by AL Vijay, the film is produced by Vibri Media along with Karma Media and Entertainment and Zee Studios. It began shooting in November 2019 and was initially supposed to release in June 2020 but was halted due to the Covid-19 pandemic and resumed shooting in October 2020. The film also features Arvind Swami, Madhoo, Nassar, Bhagyashree, Samuthirakani, among others.

Besides Thalaivi, other films that postponed their release include the Akshay Kumar-starrer Sooryavanshi (slated to release on April 30), Amitabh Bachchan’s Chehre (scheduled to release on Friday), and Rana Daggubati’s Haathi Mere Saathi (March 26). All the films cited the spike in Covid-19 cases as the reason for their delay in release.

Till 10 am on Saturday, India registered 10,46,631 active cases of Covid-19 while the country recorded the highest single-day spike on Wednesday by reporting 1,15,736 cases. While a total of 9,80,75,160 have been vaccinated, states such as Maharashtra and Tamil Nadu, have implemented restrictions such as night curfew (8 pm-7 am) and 50% seating capacity in theatres and multiplexes, respectively.

 

Nayaattu Review: Martin Prakkat and Team Deliver a Masterful Film that Holds the State Culpable

In one of the first scenes in Martin Prakkat’s Nayaattu (Hunt), a police station comes alive in vivid details. The handheld camera (by cinematographer Shyju Khalid) moves dextrously from room to room, watching minuscule pieces of drama unfold at every corner. Like a factory bustling with activities, manufacturing goods for an invisible consumer, the station goes about executing the grimiest requirements of the state. The scene simmers with chaos and a sense of straight-faced detachment, setting the tone for the rest of the film.

Nayaattu, written by civil police officer Shahi Kabir, looks at the state- the giant faceless authority- through the eyes of its mercenaries that ensure its efficient running. A well-crafted searing critique of the system.

The movie opens with Praveen Michael (Kunchakko Boban), a police constable merely two months into the job, being assigned to drive sub-inspector Mani (Joju George) around. During their first ride, Praveen squirms in his seat as the latter go about painting an unpleasant picture of his father in an affectionate tone. A monotonous stream of a police radio fills in the background. A scene later, Mani invites him home, treats him to ripe jackfruits and introduces him to his little daughter, as he beams with pride while taking about her.

This switching from impersonal to the personal realm, from the coldness of the system to the warmth of human connection, recurs in Nayaattu. For the constables and officers in the lower ranks, life in the police force is less lived than quietly endured. The everyday humiliation and the prick of consciousness must be quickly overlooked and moved on. The orders from the top order, regardless of their ethics, must be obeyed.

The narrative shifts gear when Mani, Praveen and a fellow constable, Sunitha (Nimisha Sajayan), are forced to flee to the unknown, fearing persecution for a crime they didn’t commit. But like animals in a zoo, they have no option but to turn around to face the master at the end.

The narrative is tightly packed, relentlessly leaping forward towards a cliff. The tragedy could be traced back to a seemingly juvenile clash of male egos, later set afire by an ugly mix of electoral politics and misogyny. The mise-en-scene is persuasive. The movie’s primary location, beside the police station featured in the initial scenes, is the long, dark road. The chief minister (Jaffer Idukki), the head of the police force and the members of a political party trying to capitalise on a friend’s accidental death sit in a place many miles away, designing an alternate truth that suits their reality.

Prakkat does not approach the film in an entire miserabilist fashion. His portrayal of the characters’ flight from their colleagues is underlined with delicate details of human survival. The interpersonal dynamics are superbly described. At a point, in the middle of nowhere the men get into a scuffle, driving Sunitha to the brink of killing herself. She, the daughter of a single mother living in a semi-concrete house in an impoverished colony, knows that she has no one to fall back on. The tumultuous scene ends in an embrace, the acknowledgement of a shared dread and hopelessness.

The police procedural part of the film is seamless, taking the viewer into the underbelly of the policies that drive the police force. A team of crime-branch officers led by an IPS officer (Yama Gilgamesh) takes over the case. Using subtle aspects ﹣like the one hard-hitting close-up shot towards the end ﹣ the film expresses the isolation and helplessness she must face in a mostly masculine force.

The film depicts the media as a mindless scavenger who creates a convenient filter for the public to see the world through. In a telling scene, the police van carrying two innocent individuals framed as criminals pass a polling station. You see a media-favourite image of a young party member helping a senior citizen cross the road and reach the booth. The camera goes back to the individuals’ bleak face, registering the cruel irony.

The film boasts an excellent cast. Joju is fantastic as Mani who, despite the self-alienating atmosphere he functions in, regards himself as a father first. Kunchakko plays Praveen with incredible restrain and beauty. An introvert with a hardened exterior, his expressions of vulnerability is brief and hesitant. Nimisha, whose career is on an excellent streak, delivers yet another powerhouse performance.

Nayaattu has a lot of things to say. In the film’s heartwrenching final sequence, the characters try to choose justice over injustice. A memory over a future. But the state, in the guise of a neatly dressed officer, sits them down and reminds them of their powerlessness. Meanwhile, at a corner of the room, a grotesque lie gets a makeover to be the truth everyone can agree with.

In Goldcoin Productions’ previous film, Ayyappanum Koshiyum, the narrative was diluted to impress the gallery and create heroes. Here, Prakkat and Kabir pick the unpleasant. Shyju Khalid’s images are unapologetically grainy. Close on the heels of an election, at the time when the film industry is clamouring for happy entertainers, Nayaattu offers to scathe and unsettle. For its finesse and forthrightness, one can’t help but take it.

****

The Nayattu review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the film. Silverscreenindia.com and its writers do not have any commercial relationship with movies that are reviewed on the site.

Andhra Pradesh Caps Ticket Prices in Its Multiplexes and Single-Screen Theatres

The Andhra Pradesh government issued a notice on Thursday regarding maximum ticket prices at both multiplexes and single-screen theatres. This came soon after the announcement of providing relief measures to the state’s film industry and movie theatres to help them recover the losses incurred during the Covid-19 pandemic and the subsequent lockdown.

The rates fixed for admission varies from Rs 30-75 in economy class, Rs 50-150 for deluxe class and Rs 80-250 for premium class in multiplexes under the Gram Panchayat, municipality area, Nagar Panchayat area to the municipal corporation area. It varies from Rs 10-40 in economy class, Rs 15-60 for deluxe class and Rs 20-100 for premium class in single theatres (AC) and Rs 5-20 in economy class, Rs 10-40 for deluxe class and Rs 15-60 for premium class in non-AC single theatres.

The order advised theatre managements on making provisions for online ticketing which should not be more than the maximum permissible admission rate for that class in that particular area.

Among the refreshments sold in the theatres, the government ordered compulsory free drinking water and not exceeding the maximum retail price while selling refreshments.

While the order permits the management to charge lesser than the maximum rate after informing the authorities concerned, the order mentioned that any violation of the maximum ceiling rates will hold the management liable to action taken by the License Authority. It would include a show-cause notice and a personal hearing ahead of a penal consequence.

The state government has also mandated that the state government’s short films/slides and public interest messages including those supplied by the State Film TV & Theatre Development Corporation Ltd, must be screened for 120 seconds before the start of every show and for 30 seconds during the interval of every show.

Besides several other directions regarding the staff training drills, entry and exit, the order also mentioned the GST or taxes payable along with the tickets to the show organised for raising funds.

The state government had earlier waived fixed electricity charges of the theatres and provided financial support to the stakeholders through an interest subvention scheme to restart their operations.

After staying shut for almost a year due to the pandemic-induced lockdown, theatres in Andhra Pradesh are set to reopen with new restrictions on ticket prices from the government with Vakeel Saab and Sulthan releasing in theatres on Friday.

Netflix Acquires First Pay Window Deal to Stream Sony Pictures’ Films from 2022

Netflix and Sony Pictures Entertainment have signed a multi-year deal for an exclusive first pay window in the US for theatrically releasing feature films starting from 2022, the companies announced on Thursday. 

According to the deal, Netflix has reserved the rights to stream films such as Morbius, Uncharted, Where the Crawdads Sing and Bullet Train after the completion of theatrical and home entertainment releases slated for 2022.

The rights also include the streaming of the sequel of Oscar-winning Spider-Man: Into the Spider-Verse and several more Sony films, featuring Marvel characters, including future instalments of Venom and Spiderman, and expected follow-ups for the Jumanji and Bad Boys franchises.

The agreement is built upon Netflix’s existing output deal with Sony Pictures Animation films and it has replaced an output arrangement with Lionsgate-owned Starz dating back to 2005. 

According to a Deadline report, in the wake of the Covid-19 pandemic, the studio had earlier sold Tom Hank-starrer Greyhound to Apple TV+ as theatres in many regions were closed. Under the new deal, Netflix would get the first chance to release such films. Netflix and the Sony Studio had signed deals for the release of  Kevin Hart‘s film Fatherhood

Netflix will also license rights to select titles from Sony’s vast movie library and will include all Sony Pictures film labels and genres. The Sony Pictures Motion Picture Group will also offer Netflix a first look at films it intends to make directly for streaming or decides later to license for streaming.  Any such direct-to-streaming projects will be added to Sony’s full theatrical film slate, which will “continue at its current volume”.

Scott Stuber, Netflix’s head of global films said in the statement that this deal would establish a new source of first-run films for Netflix viewers worldwide.

The cost of the deal has not been disclosed by the companies. However, a report by Variety stated that the new theatrical output deal with Netflix, which only covers the US, will run about five years and would be worth hundreds of millions of dollars to the studio over the term.

The deal, however, does not stop Sony Studio from selling direct-to-streaming titles to other streaming platforms. However, it would be possible when the streaming platform passes on the project back to Sony. 

Love Story: Makers Postpone Release of Naga Chaitanya and Sai Pallavi-Starrer Romantic Drama Film

The makers of Love Story, the upcoming Telugu romantic drama film which was slated to release theatrically on April 16 in Telugu, Malayalam, and Kannada, have postponed its release due to the recent surge in Covid-19 cases, the makers announced in a press conference on Thursday.

The new release date of the film has not yet been announced.

The film, which features Naga Chaitanya and Sai Pallavi in the lead roles, has been written and directed by filmmaker Sekhar Kammula. Love Story is produced by Sekhar’s production banner Amigos Creations and Sree Venkateswara Cinemas LLP. The film’s technical crew consists of Pawan Ch as the music composer and cinematography by Vijay C Kumar. The film’s editor is Marthand K Venkatesh.

Speaking at the press meet, Sekhar said, “We waited for a year to release the film due to the pandemic. But during post-production, we consulted the distributors and got know that Covid-19 cases are increasing. After consulting with everyone, we thought it would be best to postpone the release. We have been getting a good response for the audio we released earlier.”

The director added that the the film will release “as soon as possible” and the team has been looking for the “closest best date when normalcy returns”.

Talking about the film’s postponed release, Naga Chaitanya said, “In recent days, there has been a spike in number of cases. At a time like this, we thought it will not be right to release the film. Be it mine or Sekhar garu’s films, family audiences have made them a huge success. Hence, it is not right for us to expect the family audience to come to theatres to watch the film now. Health is the priority now. We will decide on the next best date.”

Speaking to Silverscreen India, the film’s publicity manager Srinivas said, “The release date cannot be confirmed now due to the Covid-19 situation. But, the film will be simultaneously released in all languages and will have a pan-Indian release.”

Srinivas added that while the Tamil version will skip a theatrical release and directly debut on a streaming platform, the Kannada and Malayalam versions will release in theatres.

Love Story’s Telugu version will release on Aha Video subsequently,” he said.

Both the Telugu-speaking states- Andhra Pradesh and Telangana- recorded a spike in Covid-19 cases. As per Thursday’s medical bulletin, Telangana witnessed 2,055 positive cases, the highest the state had recorded in seven months, while Andhra Pradesh on Thursday saw 2,558 positive cases, the state’s highest since November 2020.

Tom Holland to Star in Apple TV’s ‘The Crowded Room’ Series on Mental Health

Tom Holland, the actor best known for his film Spider-Man: Homecoming, will be seen in Oscar-winning screenwriter Akiva Goldsman’s series on mental health, Apple TV announced on Wednesday. Titled The Crowded Room, the first season of the anthology series is based on the biography The Minds of Billy Milligan by Daniel Keyes.

Goldsman won the Academy Award and the Golden Globe Award for the best Adapted Screenplay for the 2001 film A Beautiful Mind, starring Russell Crowe. While Goldsman will be creating the first instalment, he will also be the first season’s executive producer along with Holland.

“The Crowded Room is a gripping anthology series that will explore the true and inspirational stories of those who have struggled and learned to successfully live with mental illness,” Apple TV’s synopsis said.

“The anthology’s 10-episode first season is a captivating thriller, inspired by the award-winning biography The Minds of Billy Milligan by Daniel Keyes. It tells the story of Billy Milligan (Holland), the first person ever acquitted of a crime because of multiple personality disorder (now known as dissociative identity disorder),” the statement said.

The series is a co-production between Apple Studios and New Regency. Goldsman will serve as executive producer through his Weed Road Productions banner. The series will also be executive produced by Alexandra Milchan for EMJAG Productions and New Regency’s Arnon Milchan, Yariv Milchan and Michael Schaefer.

Holland was earlier seen in the film Cherry, which released in February. Directed and co-produced by Anthony Russo and Joe Russo, the film was digitally premiered on Apple TV on March 12. The film is based on a couple (Cherry, played by Holland and Emily by Ciara Bravo) and revolves around Cherry coping with Post Traumatic Stress Disorder (PTSD) and the couple’s journey through opioid addiction.

The Russo brothers, known for directing four films from the Marvel Cinematic Universe, worked with Holland on Captain America: Civil War (2016), Avengers: Infinity War (2018), and Avengers: Endgame (2019).

Holland will also be seen in Spider-Man: No Way Home and Uncharted.

Yuvarathnaa: Puneeth Rajkumar-Starrer Kannada Film to Premiere on Amazon Prime Video on Friday

Yuvarathnaa, the Kannada action drama film, will release on Amazon Prime Video on Friday, the streaming platform announced on Thursday during a press conference.

The film, starring Puneeth Rajkumar, Sayyeshaa, Prakash Raj, Sonu Gowda, Dhananjay in pivotal roles, is written and directed by Santhosh Ananddram and produced by Vijay Kiragandur under the banner Hombale Films. Yuvarathnaa will mark its digital premiere eight days after its theatrical release. Sayyeshaa makes her Kannada debut in Yuvarathnaa.

According to the streaming platform’s statement, the film “revolves around a reputed college that is now on the verge of closing due to the privatisation of the education system linked to politics. The principal of the university fights against privatisation and Arjun aka Puneeth Rajkumar who joins Rashtrakuta University as an engineering student supports his mission.”

 

Producer Vijay Kiragandur said that they decided to premiere the film on a streaming platform keeping in mind the Covid-19 situation in Karnataka.  In a bid to curb the surging Covid-19 cases, the Karnataka government on April 2 released a new set of SOPs that implemented 50% seating occupancy in cinema halls. According to the state health and family welfare department, the state reported 6,570 new cases on Wednesday, taking the number of active cases to 53,395.

According to a report by India Today, Rajkumar had requested the government to rethink the guidelines for theatres as his movie released just a day before the new guidelines were issued. However, later the makers decided upon a digital premiere to reach larger audiences.

Rajkumar said that the film highlights “relevant and important topics”.  The director-actor duo had earlier collaborated for Raajakumara, a 2017 Kannada action-drama film.

 

Yuvarathnaa’s technical crew consists of Venkatesh Anguraj as cinematographer and Jnaneesh B Matad as the editor. The film’s music is composed by S Thaman.

Rajkumar has another action drama film James in the pipeline.

Tamil Nadu Theatres to Function at 50% Seating Occupancy as Covid-19 Cases Rise in the State

The Tamil Nadu government on Thursday announced that standalone theatres and multiplexes will have to operate at 50% occupancy. The revised guidelines were announced as a part of the state government’s revised guidelines in the wake of a spike in Covid-19 cases in the state.

The guidelines have mandated 50% seating capacity in restaurants and tea shops, recreation clubs, entertainment and amusement parks, zoological parks, museums, and shopping malls. On Wednesday, 3,986 people in Tamil Nadu tested positive for Covid-19, while Chennai accounted for the highest numbers in the state with 1,459 positive cases.

While the revised guidelines are applicable from Saturday, Dhanush‘s upcoming Tamil period film Karnan, helmed by filmmaker Mari Selvaraj and produced by Kalaippuli S Thanu, is scheduled for a theatrical release on Friday.

Karnan will release as per schedule and the reduced occupancy will not affect the film’s release, Kalaippuli wrote on Twitter. Seeking support from the audience, the producer assured that the film will be screened in theatres following safety precautions. Some theatres announced that while bookings will not be changed for Friday, there will be a revised schedule for Saturday and Sunday.

Tamil Nadu Theatre and Multiplex Owners’ Association president Tirupur Subramaniam expressed his disappointment over the state government’s decision and told Silverscreen India that theatres might be forced to shut down.

“How can we run a business with just 50% occupancy? We have already suffered for the past 10 months. Now, if the government goes back to 50% occupancy, we cannot run a business as no films will release. We will not be able to pay salaries to our employees. The government has not provided us with any concessions. At the same time, we cannot run our business also and we should also pay our taxes. We will have to run the films that have already released and shut down later,” he said.

In the wake of the Covid-19 pandemic and the consequent nationwide lockdown in 2020, theatres were shut down across the country from March the same year. In January 2021, the Tamil Nadu government had allowed theatres to run at 100% occupancy, ahead of the release of Vijay-starrer Master.

The Big Bull Review: A Painfully Ordinary Film on Harshad Mehta

Why can’t Bollywood get a period setting right? It is disconcerting to think the late 80s and early 90s now qualify as “period setting” but with all that budget, Hindi cinema still comes short. They can mask the overhead drone shots or get away with interior shots but take this medium shot in Kookie Gulati’s The Big Bull.

We see a busy market and the BEST bus makes a tricky turn. We have only seconds to register before it cuts but the whole thing looks artificial and something out of a school play. It looks too clean, saturated and embellished. Maybe the embellishment comes from making tens of medieval, royal period dramas that anything set in a different era now calls for embellishment. But the late 80s and early 90s were periods in India’s history that calls for the exact opposite.

There is a striking line that Meera Rao (Ileana D’Cruz) says at the beginning of the film – Uski soch uski ameer hone se pehle hi ameer hone lagi. That speaks volumes about Harshad Mehta on whom this film is based on but The Big Bull, written by Gulati and Arjun Dhawan, is also too ameer (rich) to be authentic.

D’Cruz plays the embellished version of Sucheta Dalal. As a journalist, she wears spectacles and in 2020 – during a release event of her book on Hemant Shah (Abhishek Bachchan) – she has white streaks flowing over her temple and long, straight hair. Comparisons with Scam 1992, the web series based on Mehta are impossible to avoid, what with the two works coming in quick succession, but there the ordinariness and lassitude of a generation during pre-liberalisation India reflected in the plainness of its visuals.

The Big Bull cannot recreate that low-key-ness and almost treats that choice as undesirable. Of course, this is a film and that was a multi-episode web series so we can give The Big Bull some leeway with the time it has to cover the complete story arc of Shah. It is quick in its documentation of Shah’s rise, his insider trading ways with the help of union leaders of public companies and there are appealing scenes, like the one representing the reel life versions of Anil and Tina Ambani.

But the scene also represents something else. Shah’s character is written as an ambitious man who wanted to reach the top very fast but with his share of arrogance that he lets out in the open, like the mild paunch Bachchan wears. Bachchan is also great in the portions where he needs to play it down, when he is not in the boss’s seat but in the opposite one trying to negotiate a deal. Like the scene with trade union leader Rana Sawant (Mahesh Manjrekar). He displays charm and innocence, born out of years of economic struggle that veils the chutzpah that’s waiting to explode. But when he switches seats and that chutzpah isn’t so veiled anymore, Bachchan is found wanting. It’s probably why his best performances are in the quiet but smooth characters – Bluffmaster and Manmarziyaan come to mind.

Meera is written as someone who needs to be guided by her editor to look deeper into Shah’s rise. It’s not necessarily a bad choice, writers and journalists need their editors all the time but in a film like The Big Bull, a Shah needed a more hands-on Meera as the antagonist, making the choice disingenuous. The film has some stand out imagery, like the one where Shah is perched at the edge of his penthouse, the sea at his side. He takes out his glasses from his pocket while loose notes of currency swirl around him with the sea breeze. It’s the country’s money, straight from the treasury but it does nothing to a film that’s always in a rush to tick checkboxes in Harshad Mehta’s Wikipedia subheadings. It has some smart lines but also some hilariously simplistic ones.

In the end, Meera says that today the country is in the hands of “professional MBAs” and points to the audience. Apart from being a dense thought, it adds a nationalistic fervour to a film that was otherwise about an individual. Apparently, today, a Hindi film cannot be made without this form of chest-beating. The Big Bull is not a bad film. It is just a painfully ordinary one.

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The Big Bull review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the film. Silverscreenindia.com and its writers do not have any commercial relationship with movies that are reviewed on the site.

Vikram: Fahadh Faasil Joins Cast of Kamal Haasan’s Upcoming Tamil Film Directed by Lokesh Kanagaraj

Fahadh Faasil, the Malayalam actor whose latest film Joji premiered on Amazon Prime Video on Wednesday, will be seen in Kamal Haasan‘s upcoming Tamil film Vikram, Fahadh confirmed during an interview with Film Companion on Wednesday.

Vikram will be directed by Lokesh Kanagaraj, whose latest Tamil film Master became the first big-budget film to release after the Covid-19 pandemic.

There has been no official announcement regarding the casting yet. Fahadh is also making his Telugu debut as the antagonist in Allu Arjun‘s Pushpa.

Kanagaraj announced the beginning of the shoot of Vikram on Wednesday with the phrase Aarambikkalaangala, the catch-phrase of the film’s title teaser that released in November 2020.

Tentatively titled Kamal 232, the film’s music will be composed by Anirudh Ravichander and will be produced by Haasan’s Raaj Kamal Films International. Sathyan Sooryan and Phiomin Raj are the cinematographer and editor of the film, respectively.

Co-incidentally, Haasan appeared in another film titled Vikram in 1986. The actor who is also the chief ministerial candidate from his political party Makkal Needhi Maiam (MNM), played a RAW agent in the film. It is unsure if Kanagaraj’s film will be a sequel to 1986 film.

While Faasil made his Tamil debut with Sivakarthikeyan’s Velaikaran, he also appeared in the National Award-winning Tamil film Super Deluxe. Vikram, his third Tamil film, will mark his first collaboration with Haasan. Besides Joji, Faasil’s recent releases include Irul, that released on Netflix. Both films are thriller, a genre that the actor seems to have become a face of over the years. With films like Kumbalangi Nights, Trance, C U Soon, Maheshinte Prathikaram, and now Joji, Faasil has carved out a niche in the genre and as an actor. His next Malayalam release is Malik with C U Soon director Mahesh Narayanan.

Vikram is expected to release in theatres in 2022.

Centre Abolishes Film Certification Appellate Tribunal, ‘Sad Day for Cinema’ Say Filmmakers

The Film Certification Appellate Tribunal (FCAT), a statutory body constituted to hear appeals of filmmakers aggrieved by the Central Board of Film Certification (CBFC), was abolished by the Ministry of Law and Justice on Tuesday with immediate effect, the Film Information reported. Several filmmakers including Hansal Mehta, singer, scriptwriter and director Vishal Bhardwaj, lashed out at the Centre for the sudden decision and raised their voices on social media.

On February 13, Union Finance Minister Nirmala Sitharaman introduced The Tribunals Reforms (Rationalisation and Conditions of Service) Bill, 2021 in the Lok Sabha that sought to dissolve certain existing appellate bodies and transfer their functions to other judicial bodies that included the Cinematograph Act and the Copyright Act, among others which are yet pending.

The Tribunals Reforms (Rationalisation and Conditions of Service) Ordinance, 2021 was promulgated by President Ram Nath Kovind on April 4, which means that filmmakers will now have to approach high courts instead of FCAT if they are dissatisfied by the CBFC’s decision.

What is the FCAT?

Headquartered in Delhi, the FCAT  was constituted vide Section 5D of the Cinematograph Act 1952 by the Ministry of Information and Broadcasting, headed by a chairperson and assisted by four members, including a secretary who is appointed by the Centre.

Public exhibitions of films under the provisions of the Cinematograph Act are regulated by the CBFC, which is also a statutory body under the Ministry of Information and Broadcasting.

How did the FCAT work?

The Tribunal’s role was to hear the appeals filed under Section 5C of the Act, under which any applicant for a film certification unhappy by an order of the CBFC, can file an appeal directly. On refusal to grant an ‘A’, ‘S’, ‘UA’ certification or any directions to carry out any excisions or modifications in the film, filmmakers could appeal to the Tribunal within 30 days of the CBFC’s order or within further 30 days in case of a relevant cause that prevented them from filing the appeal in the initial 30 days.

The FCAT has previously overturned the CBFC’s decision in several films such as Lipstick Under My Burkha, Babumoshai Bandookbaaz, No Fathers In Kashmir, Bandit Queen. 

Film fraternity’s reaction

Agitated Indian filmmakers raised concerns over the government’s decision, calling it “a direct attack on freedom of expression”.

Vishal Bhardwaj, the acclaimed director of films such as Maqbool, Omkara, and Haidertweeted: “Such a sad day for cinema.”

While Hansal Mehta, maker of the web series Scam 1992: The Harshad Mehta Story, raised a number of questions on the decision and its timing, the show’s co-director Jai Mehta tweeted: “What the hell?! The Film Certification Appellate Tribunal has been abolished?! How does this happen overnight? Did anyone see this coming? #CBFC #FCAT”

Independent filmmaker and writer Sudipto Roy, who directed Bengali films such as Kia and Cosmos, Tahser Ghawr, Paanch Phoron, tweeted against the decision.

Sanjay Gupta (Shootout at Lokhandwala, Shootout at Wadala) also expressed his anger at being unaware of the decision and accused the Centre of taking “away the democratic right” of the film industry.

Questioning the government’s “interference”, actor and producer Vindu Dara Singh tweeted: “Too much of govt interference in everything will make a mockery of democracy!!! Film certification can’t start going to courts too . Every dept poking into public only increases bribes & corruption. Make a strict law against Bribes & corruption @rsprasad ji. @PrakashJavdekar ji.

In an ironic contrast to India, Italy on Thursday abolished film censorship after 108 years. Italian filmmakers will now classify their own films based on the age of the audience. Hundreds of films from all over the world have been censored in Italy in the past century, for political, “moral,” and religious reasons. According to a survey by Cinecensura, a permanent online exhibition promoted by the Italian Culture Ministry, 247 Italian films, 130 American films, and 321 movies from other countries have been banned in Italy since 1944, while more than 10,000 were modified or trimmed in some way, the latter including the works of directors like Federico Fellini.

While the Indian government curbs “freedom of expression” by abolishing the FCAT, the government of Italy abolished film censorship to “end state intervention in the freedom of artists”, The Guardian reported.

What’s New This Week: 10 Films and Shows Releasing on Streaming Platforms This Week

The past week saw an alarming rise in Covid-19 cases in India, with many states calling for drastic measures. While the Karnataka government implemented 50% seating occupancy in cinema halls as part of its revised guidelines, the Maharashtra government on Sunday declared a total weekend lockdown in the state till April 30. Following this announcement, the share prices of INOX Leisure and PVR dipped 8% each.

As people are being encouraged to stay indoors and practice safety protocols to curb the spread of the virus, audiences can now take the time to unwind with their favourite streaming platforms. Here are 10 films and shows releasing on OTT platforms this week:

1. Joji – Amazon Prime Video (April 7)
Inspired by Shakespeare’s tragedy Macbeth, Joji presents a twisted version of a plot filled with greed, ambition, murder and mystery. The story revolves around Joji, an engineering dropout and the youngest son of the rich plantation family who lives with his aspirations of becoming a wealthy NRI. But his father looks down on him and thinks of him as nothing more than a loser. Driven by greed and blind ambition, Joji finally decides to execute his plans following an unexpected event in the family.

2.Them – Amazon Prime Video (April 9)
Them is a limited anthology series that explores terror in America. The first season centres on a Black family who moves from North Carolina to an all-white Los Angeles neighbourhood during The Great Migration in the 1950s. The family’s idyllic home becomes ground zero where malevolent forces, next-door and otherworldly, threaten to taunt, ravage and destroy them.

3. Hello Charlie – Amazon Prime Video (April 9)
Hello Charlie showcases the funny antics and chemistry between a gorilla named Toto and a simpleton called Charlie. The film takes the audience on an immersive journey when a billionaire’s escape results in a series of comedy of errors and strange situations.

4. Well Done Baby – Amazon Prime Video (April 9)
Well Done Baby is a story inspired by a real family. The film is about a young modern-day couple who are struggling to find a purpose in their marriage, till destiny actually gives them one.

5. The Big Bull – Disney+ Hotstar (April 8)
The Big Bull is based on India’s securities scam of 1992. The film is loosely based on stockbroker Harshad Mehta’s life and his involvement in financial crimes from 1980 to 1990.

6. Big Shot – Disney+ Hotstar (April 9)
After getting ousted from the NCAA, a men’s basketball coach is given a chance for redemption with a coaching position at an elite private high school. He soon learns that the teenage players require empathy and vulnerability, foreign concepts for the stoic Coach Korn. By learning how to connect with his players, the coach starts to grow into the person he’s always hoped to be. The girls also learn to take themselves more seriously, finding their footing both on and off the court.

7. Thunder Force – Netflix (April 9)
Thunder Force revolves around two childhood best friends, who reunite as an unlikely crime-fighting superhero duo when one invents a formula that gives ordinary people superpowers.

8. Night In Paradise – Netflix (April 9)
Night in Paradise is a South Korean film about a man, targeted by a criminal gang, who meets a woman cornered to a dead end in life.

9. The Big Day: Collection 2 – Netflix (April 7)
The Big Day is a two-part collection follows the journeys of different, and differentiated, couples as they take the reins of planning the wedding of their dreams. The second season showcases three more extravagant Indian weddings.

10. This Is A Robbery: The World’s Biggest Art Heist – Netflix (April 7)
In 1990, two men dressed as cops con their way into a Boston museum and steal a fortune in art. The show takes a deep dive into this daring and notorious crime.

Sarath Kumar and Radikaa Sarathkumar Get 1-Year Imprisonment, Rs 5 Crore Fine in Cheque Bounce Case

Sarath Kumar, the Tamil actor turned politician, and his wife, actor Radikaa Sarathkumar were sentenced to one-year imprisonment in connection with a cheque bounce case by a special court constituted for hearing cases against MPs and MLAs in Chennai on Wednesday, Live Law reported.

The couple have also been fined Rs 5 crore as penalty. The case was being heard by Judge N Alicia.

In 2018, Radiance Media Private Ltd filed a plea against the couple. The couple and producer Listin Stephen, who are partners of film production company  Magic Frames Company, produced the Tamil film Idhu Enna Maayam (2015) starring Vikram Prabhu and Keerthy Suresh and directed by AL Vijay.

Listin, Sarath Kumar, and Radikaa had borrowed Rs 1.5 crore from Radiance in November 2014 and had issued two cheques, each worth Rs 75 lakh, to repay the loan. Sarath Kumar had also borrowed Rs 50 lakh and issued five cheques worth Rs 10 lakh each. However, according to Radiance Media, all the cheques bounced when they were placed for realisation in March 2017. As the trio failed to pay, Radiance Media approached a fast track court in Saidapet, Chennai, and filed a petition against Magic Frames Company.

In May 2019, the couple and Listin approached the Madras High Court and sought to quash the criminal proceedings against them. However, the court declined to do so and the case was transferred to the special court which was directed to complete the trial within six months. Subsequently, the court ordered one-year imprisonment and a fine to Sarath Kumar, Radikaa, and Listin on Wednesday.

However, the judgement was kept in abeyance for 30 days after Sarath Kumar and his wife appealed seeking a suspension of the order.

Speaking to the media, Sarath Kumar said, “The agreement we had with the company comes to an end only in June 2019 and they have presented the cheque beforehand, was our side of the argument. Even the agreement clauses say that the matter will be internally discussed but they have made it as a cheque bounce case. Even then, the amount is covered. I have a bank guarantee of Rs 2 crore, Rs 4.5 crore worth property and have given a cheque of Rs 1.5 crore too. Despite all these, they have gone to the court so we are not happy and will go for an appeal.”

Sarath Kumar floated his political party All India Samathuva Makkal Katchi in 2007 and allied with Kamal Haasan’s Makkal Needhi Maiam in the recently held 16th Tamil Nadu Legislative Assembly elections. Asked if there was a political implication in the judgement after he quit the alliance with the AIADMK, Sarath Kumar said: “I don’t want to escape by saying it has got political implications to it. It is purely a business matter. This case should have been dismissed and had no relation to my political alliance. I thought they will dismiss the case and that is why I came to court. We will approach the high court.”

He said his wife, Radhikaa, had just taken the vaccine for Covid-19 and was suffering from fever and headache.

Radikaa took the vaccine on March 2.

“The arrest warrant will be quashed and I have produced her medical certificate too,” he said.

Jathi Ratnalu: Hit Telugu Comedy Film to Premiere on Amazon Prime Video on April 11

Jathi Ratnalu, the critically-acclaimed Telugu comedy film which released in theatres on March 11, will release on Amazon Prime Video on Sunday, the streaming service announced in a statement on Wednesday.

Written and directed by Anudeep KV, Jathi Ratnalu was director Nag Ashwin’sdebut venture as a producer. The film stars Naveen Polishetty, Priyadarshi, and Rahul Ramakrishna. The film, riddled with madcap comedy, revolves around three youngsters who are naïve and hail from Jogipet in the Sangareddy district in Telangana. After the three happy-go-lucky men move to Hyderabad for a better life, they get framed for a political crime they did not commit.

Calling Jathi Ratnalu a “shining example” of Swapna Cinema, that has backed the film, Vijay Subramaniam, director and head, content, Amazon Prime Video, India said in the statement that he was glad to bring “one of the finest comedy films in recent times” to the streaming platform.

Anudeep, who had earlier told Silverscreen India that he would helm the film’s sequel, said in the statement, “The movie’s real charm lies in the lead characters, their effortless and innocent humour; and how they manage to wriggle out of weird situations.”

Anudeep had told Silverscreen India that his inspiration to write comedy derives from his friends’ circle, daily life environment, and his native place Sangareddy. “There were a lot of characters there and observations made. That is where I derive my characters from. They are more innocent and dumber than being street smart,” Anudeep had said.

Nag Ashwin called Jathi Ratnalu a “two-hour hilarious drama” with “no logic and only magic”. The makers of the film said that the film’s debut in the OTT platform would increase its reach to the audience.

Jathi Ratnalu is still running in theatres. Within the first week of its release, the film grossed Rs 45 crore.

The film’s music has been composed by Radhan, with cinematography by Siddam Manohar. Abhinav Reddy Danda is the film’s editor.

Actor Ray Fisher Alleges ‘Justice League’ Executives Did Not Want “Angry Black Man” as Film’s Central Character

Ray Fisher, who was cast as Cyborg in Justice League, in an interview with The Hollywood Reporter said that former DC Films co-chairman and Justice League producer Geoff Johns, ex DC Films co-chairman Jon Berg, Warner Bros. studio chief Toby Emmerich and other top executives expressed concerns about having “an angry Black man” at the centre of the Justice League movie.

In 2020, Fisher who also played Cyborg in Batman v Superman: Dawn of Justice (2016) opened up about his experiences with director Joss Whedon took over from director Zack Snyder during the post-production. The actor had accused Whedon of “gross, abusive” behavior on Twitter in July 2020.

Whedon had overseen the reshoots, editing, and visual effects on Justice League for Snyder, who had stepped aside after the death of his daughter.

In his latest interview, Fisher talked about his discomforts with Whedon and said, “I didn’t have any intention of playing him as a jovial, cathedral-cleaning individual. It was like he was assuming how Black people would respond rather than taking the advice from the only Black person – as far as I know – with any kind of creative impact on the project.”

“That was the last creative conversation about anything that Geoff Johns and I had. I knew I was on my own,” Fisher said.

The actor said that Johns threatened his career when he spoke up about his treatment during the reshoots. Fisher alleged that after his agent reached out to Warner studios chief Toby Emmerich about his treatment, Johns asked Fisher if he wanted to make “a bad name for [himself] in the business”.

After the interview was published, Fisher reiterated his side of the story on Twitter. “They didn’t want ‘an angry black man’. They ended up with a motivated one. I’m not going anywhere. Accountability>Entertainment,” he wrote.

Fisher told The Hollywood Reporter that he felt the need “to explain some of the most basic points of what would be offensive to the Black community” to Whedon. The example he cited was his character saying the catchphrase “Booyah”.

“It seemed weird to have the only Black character say that,” Fisher said.

He alleged that under Whedon’s direction he had to say the catchphrase “booyah”, and it was used in the film as well. However, the line was not used in Snyder’s cut of the film.

Fisher’s initial comments led WarnerMedia to launch an investigation into accusations of misconduct during the filming of Justice League. On December 11, WarnerMedia announced it had completed the investigation and had taken “remedial action”.

In February, Whedon was also accused by Charisma Carpenter, Sarah Michelle Gellar, and three other actors of the television show Buffy the Vampire Slayer, of bullying and abuse of power.