Mallika Sherawat reacts to mandali singing Bheege Honth in Mumbai local. Watch
Watch the video here: 'Bheege Honth Tere' is a romantic song from the 2004 hit film 'Murder', starring Mallika Sherawat and Emraan Hashmi. At the time of its release, the song became extremely popular for its bold scenes and strong on-screen chemistry between the lead actors. Sung by Kunal Ganjawala and composed by Anu Malik, it stood out for its melody and daring visuals, becoming one of the most talked-about tracks of the early 2000s.Mallika, who became a household name with her role in 'Murder', continues to stay active on social media, often sharing fun and nostalgic moments. She was last seen in the film 'Vicky Vidya Ka Woh Wala Video', which starred Rajkummar Rao and Triptii Dimri in the lead roles.Meanwhile, Emraan Hashmi was last seen in 'Ground Zero', a military action drama directed by Tejas Vijay Deoskar. He portrayed the role of Narendra Nath Dhar Dubey, a Border Security Force (BSF) officer.- EndsTrending Reel
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India Today
44 minutes ago
- India Today
Jr NTR speaks legacy, and why he pushes his sons to write their own future script
Jr NTR featured on his first-ever magazine cover. The popular pan-India star talked about the legacy of his father, Nandamuri Harikrishna, and his grandfather, NT Rama Rao, in an interview with Esquire. The 42-year-old cast a shadow on the future of the family's cinematic legacy, by saying he is not sure if his sons want to become said, "I don't know what's going to happen with the legacy of films in the family. Or who's going to hold the baton after me. I haven't planned for all that."advertisementHe went on, "I do not want to be one of those fathers who says: 'Tumko bhi actor banna hai (You need to become an actor too)'. I don't believe in that; I want to be a bridge rather than a barrier, someone who gives them exposure to the world and other cultures. I want to give them the opportunity to go out and experience it for themselves." While he lives and breathes cinema, it's important for Jr NTR, now that he is in his late 40s, to spend as much time as possible with his family. The new villain in YRF's spy universe highlighted that he never misses any opportunity to be with his sons, or at least consciously reserves Sundays to spend time with said, "Earlier, I used to shoot seven days a week, 30 days a month. But now I insist on taking Sunday off and spending time with Abhay and Bhargava, because that is the only day I have with them."The actor, who's playing a negative role alongside Hrithik Roshan in Ayan Mukerji's 'War 2', added, "As they get older and move to higher grades in school, that whole mahaul (environment) of bonding thoda kam ho jaata hai (it gets smaller every time). That's why I make it a point to take time off on major festivals because I want to teach them the culture behind them."While NTR is aware of the magnificent legacy that he has to celebrate every day of his life, he is also conscious of the legacy that he wants to leave behind. For the popular Telugu superstar, the idea is to be remembered for his work, but more for the kind of person he is."I feel there are two images that we portray: the reel and the real. I prefer the real. The more real you are, the more you connect with the masses. I want to be remembered for telling stories that resonate. But most of all, I want to be remembered as an honest man with emotions," he explained.'War 2' is Jr NTR's big Bollywood debut. The film is a prominent piece from YRF's spy universe, which also features Salman Khan's 'Tiger' series and Shah Rukh Khan's 'Pathaan'. The film also stars Kiara Advani and Ashutosh Rana, among others. It is hitting the screens as the big Independence Day release this year on August 14.- EndsTrending Reel
Pink Villa
an hour ago
- Pink Villa
7 Best Comedy Movies To Watch On JioHotstar: From Housefull 4 to Golmaal Again
Comedy movies are perfect for a good laugh and a fun time. JioHotstar offers a great mix of Hollywood and Bollywood comedies that can lift your mood. Here's a list of seven must-watch comedy films, including The Hangover, Knocked Up, The 40-Year-Old Virgin, Crazy, Stupid, Love, Golmaal Again, Housefull 4, and Bhool Bhulaiyaa. Each movie brings something unique, from wild adventures to heartfelt humor. Based on our recommendations, decide which film you would want to watch for a good laugh. 1. Housefull 4 Director: Farhad Samji Runtime: 2 hours 25 minutes Housefull 4 is a wild Bollywood comedy about reincarnation and mistaken identities. Three couples in modern times discover their love stories are linked to a royal past from 600 years ago. Farhad Samji has directed this chaotic comedy and the huge star cast includes Akshay Kumar, Riteish Deshmukh, Kriti Sanon, Kriti Kharbanda, Pooja Hegde and Bobby Deol. The humor is loud and silly, perfect for fans of over-the-top Bollywood comedies. Despite mixed reviews, its goofy charm and catchy songs make it a decent time-pass watch. 2. Golmaal Again Golmaal Again is a Bollywood blockbuster that blends comedy with supernatural fun. Five friends return to their childhood orphanage and get caught in a spooky yet funny adventure involving ghosts. Rohit Shetty's direction brings his signature over-the-top humor, colorful visuals, and action-packed scenes. Ajay Devgn, Arshad Warsi, Parineeti Chopra, Tusshar Kapoor, and Tabu keep the laughs coming. The mix of comedy and horror makes Golmaal Again a great pick for family entertainment. 3. Knocked Up Director: Judd Apatow Runtime: 2 hours 9 minutes Knocked Up is a funny yet heartfelt comedy about an unexpected pregnancy. Ben, a laid-back slacker, meets Alison, an ambitious TV host, at a bar. One drunken night leads to a surprise pregnancy, and they must figure out how to make it work. Judd Apatow blends humor with emotion, making this a relatable story about love and growing up. Seth Rogen and Katherine Heigl deliver great performances, while Paul Rudd and Leslie Mann add extra laughs. 4. The Hangover Director: Todd Phillips Runtime: 1 hour 40 minutes The Hangover is a hilarious Hollywood comedy about a bachelor party gone wrong. Four friends namely Phil, Stu, Alan, and Doug, head to Las Vegas for a wild night. They wake up with no memory of what happened. The story follows their chaotic journey to find their missing friend Doug, before the wedding. Todd Phillips has directed this laugh-out-loud film with perfect pacing. Bradley Cooper, Ed Helms, and Zach Galifianakis shine with their comic timing. It's a great pick for anyone who loves absurd humor and epic misadventures. 5. The 40-Year-Old Virgin Director: Judd Apatow Runtime: 1 hour 56 minutes This classic comedy follows Andy, a shy 40-year-old who has never been in a serious relationship. His coworkers find out and try to help him find love, leading to hilarious and awkward situations. Directed by Judd Apatow, The 40-Year-Old Virgin is packed with sweet humor, memorable lines and heartfelt moments. Steve Carell is perfect as Andy, with a great supporting cast including Seth Rogen and Paul Rudd. 6. Crazy, Stupid, Love Director: Glenn Ficarra, John Requa Runtime: 1 hour 58 minutes Crazy, Stupid, Love is a romantic comedy with a lot of heart. Cal is a divorced dad. He learns to navigate single life with help from a charming playboy, Jacob. Meanwhile, multiple love stories unfold, including Cal's son crushing on his babysitter. Directed by Glenn Ficarra and John Requa, this film mixes humor with emotional depth. Steve Carell, Ryan Gosling, Emma Stone and Julianne Moore lead this stellar cast and deliver laughs, along with romance. 7. Bhool Bhulaiyaa Director: Priyadarshan Runtime: 2 hours 39 minutes Bhool Bhulaiyaa is a Bollywood horror-comedy that's both spooky and hilarious. An NRI couple moves into a haunted ancestral mansion, ignoring warnings about ghosts. Strange events lead them to call a quirky psychiatrist, Rooh Baba, played by Akshay Kumar, to solve the mystery. Priyadarshan's direction blends suspense with laugh-out-loud moments, making it a cult favorite. Vidya Balan's chilling yet funny performance as Manjulika steals the show. Which comedy movie from the ones recommended are you watching tonight? Stay tuned to Pinkvilla for more such recommendations.
New Indian Express
an hour ago
- New Indian Express
Director's Cut vs. Producer's AI Hack: Why Sholay Got Fixed, Raanjhanaa Frankensteined
In Sholay, Gabbar Singh asks his men, 'Kitne aadmi the?' 50 years later, fans of another flick, Raanjhanaa, are asking its producers: 'Kitne AI use kiye the?' as they look to punish them for their cinematic sacrilege. Welcome to the year of altered endings, where two beloved Hindi films are getting a rerun facelift – one hailed as justice, the other decried as digital vandalism. Both Sholay and Raanjhanaa are Bollywood cult classics. Both are having their endings tinkered with in 2025. But fan reaction to each is as different as when Jai and Veeru try to steal Thakur's safe versus when they save villagers. First up, the feel-good story. You might no longer remember, but Sholay had committed a cardinal sin: releasing during the Emergency. The autocratic mood of Mrs. Indira Gandhi balked at the idea of an ex-cop, Thakur Baldev Singh, taking justice into his own hands… well, feet, technically. Censor dictum led to Gabbar Singh being arrested instead of being killed by Thakur. For half a century, it remained the cinematic equivalent of a magnificent feast ending with a spoonful of stale dessert. Director Ramesh Sippy and Salim-Javed always envisioned Gabbar's violent comeuppance. So, the news that the 2025 re-release will feature this original ending has everyone: audiences, critics, historians, perhaps even the ghosts of Gabbar's three fallen 'aadmi', cheering. Why? Because it is seen not as an alteration but a restoration of the original vision. Now, this is exactly the opposite of what fans are feeling for the Raanjhanaa (Ambikapathy in Tamil) re-release. A film that attracted a massive following with a flawed, obsessive protagonist, Kundan (Dhanush), whose unrequited love ends in a tragic, self-inflicted death. Its producers, wielding their legal rights like a butcher's knife, have decided Kundan deserves a happier ending. Live, maybe even get the girl? Sounds simple? Even noble? Not at all. To draw a Sholay parallel, it'll be like Gabbar not just surviving, but living happily ever after with Basanti and Radha, as Jai rots in prison. And crucially, the outrage isn't just about what they changed, but how they did it. Director Aanand L. Rai and writer Himanshu Sharma, the creative forces behind Kundan's poignant, messy journey, were reportedly blindsided. Instead of human collaboration, the producers opted for… Artificial Intelligence. That's right. They've essentially hired a digital ghostwriter to sneak into the film's emotional climax and perform narrative barbarism. The level of creative violation the industry feels has them outraged. Aanand L. Rai has, understandably, lashed out. The sentiment across Bollywood is near-universal condemnation – this is disfigurement. However, as the ever-diplomatic observer who's seen the horrors of extremes, I'll refrain from grabbing a pitchfork and try to bring some perspective to this digital dumpster fire. My slightly controversial starter: Do I inherently mind producers fiddling with endings? Not absolutely. But (and it's a big Brazilian "but,"), it hinges on two crucial pillars. First is creative consensus. Did they ask the folks who gave birth to the story? Did Rai or Sharma agree this was a meaningful exploration, a "what if?" worthy of celluloid? Like the Sholay team's joyful reunion? If yes, the problem is solved before it even brews. Happy ending (ironically) for everyone! But if consensus is impossible (artists tend to be protective of their babies, who knew?), but the producer really wants a new version… why not just remake the darn film? Call it Raanjhanaa: The Optimist's Cut. Recast, reshoot, reimagine! Spiderman has had three live-action and one animated reboot since 2002, together making over $9 billion, and nobody bats an eyelid. Use AI to de-age Dhanush if you must, but make it a new product, clearly labelled "Alternative Universe." Don't sneak into the original vault and swap the narrative diamonds for streetside pebbles. Heck, I don't even mind the producers making an entirely new film using just AI. Yes, yes – go ahead, cancel me, but that day of AI making an entire film, and a good one at that, will soon be here, so why not 'Make in India' instead of fake-ending in India. Now, here's where my worry – as a dedicated AI observer and reporter – deepens, beyond the immediate artistic hara-kiri. This Raanjhanaa fiasco risks giving AI a spectacularly bad name. It's like blaming the hammer because someone used it to smash a priceless Ming dynasty vase. The villain here isn't the technology; it's the intent and the execution. Blame the producers wielding the AI hammer with reckless disregard, not the hammer itself. AI is a tool, potentially revolutionary for restoration, animation, and soon, even making entirely new films. But using it to overwrite the original artistic intent of a living filmmaker without consent? That's not innovation; it's digital grave-robbing. And the plot thickens! Why only alter the Tamil version? Is Dhanush, a powerhouse in Tamil cinema, pulling strings? Or is it a cynical market calculation? This brings us to a fundamental truth: Just because you can do something, doesn't mean you should. Society runs on these unspoken rules. I can wear a Krrish mask and dance on Bandra streets to 'Main Aisa Kyun Hoon' to wish Hrithik Roshan, but unless I am Ranveer Singh, I shouldn't, if for no other reason than to save people from the monstrosity that'll unfold from my two left feet. Bollywood can theoretically remake Die Hard on the Bombay Stock Exchange building, but laws exist (unless you're in the 1980s and 1990s), for a reason. Art needs similar guardrails. Ownership rights are legal; artistic integrity is moral. They don't always align, and when they clash this spectacularly, it leaves a bad taste like typhoid caused by tasty street paani-puri (yup, that happened to me). The Sholay re-release is a joyful homecoming. The Raanjhanaa alteration feels like the first, clumsy attempt to rewrite cinematic history for commercial gain, bypassing the creators entirely. And that's the terrifying precedent. If this stands, what's next? Will Humphrey Bogart finally get the girl in a "new, improved" Casablanca?: "Ilsa, I think this is the beginning of a beautiful second marriage... and here's the prenup!" Will Titanic fans get their long-demanded justice, with Jack clambering onto that damn door because an AI meticulously calculated the buoyancy? ("Room for two, Rose! Basic physics, luv!"). And who in Bollywood, if not Raanjhaana, will turn the Billy Joel song 'We didn't start the fire' to claim that yes, we did start the AI wildfire? Because I suspect the flashpoint for a war between artistic reality and algorithmic revisionism will be lit right here in Bollywood. But the repercussions, the all-consuming wildfire, will spread globally. Soon, the tech will be so cheap and accessible that you could download Raanjhanaa and, by breakfast, generate your own ending where Kundan morphs into the vengeful Gabbar Singh from Sholay. Fan fiction hits hyperdrive or creative liberation meets nuclear destruction of shared cultural experience? Think of it in terms of our great epics. The Ramayana has been retold countless times across millennia from Afghanistan to Malaya – different emphases, new characters, regional flavours. But Ravana always dies. The Mahabharata's core tragedy, the pyrrhic victory of the Pandavas amidst universal devastation, remains. Same with the thousand retellings of Shakespeare (most of which were themselves reinterpretations of existing tales). Romeo and Juliet, and indecisive Hamlet, always die. The endings are sacrosanct anchors. But AI? It doesn't just allow you to retell; it allows you to rewrite. Imagine an AI-polished Ramayana where Ravana wins, written with such linguistic beauty it makes Valmiki weep. If you could, does it mean you should, or that you would? Pandora's AI Box is creaking open. Of course, let's don our cynic hats. Maybe this whole Raanjhanaa debacle is a masterstroke of marketing genius. Controversy sells! In the age of "no publicity is bad publicity," maybe the producers want the outrage. Maybe they're counting on furious fans and curious onlookers to pack the theatres just to witness the heresy. If that's the game, they've already won. Mission accomplished, regardless of the film's fate. Profit over posterity. Whatever the truth may be, on the ground, it feels like 'cinematic universe' is passe; it's the age of 'cinematic alteration'. Sholay got a much-needed repair, restoring its original shape. Raanjhanaa is getting an unsolicited, ill-fitting addition sewn on by an AI tailor who never met the original owner. One feels respectful; the other a violation. The Bollywood cult of re-release has collided head-on with the cult of AI, and the result is messy, fascinating, and terrifying. The question isn't just about how these films end now, but where this path leads for the stories we thought we knew, and who gets to hold the AI hacksaw. In this brave new world of AI, is anything truly sacrosanct? Only time, and perhaps the whims of a producer with an AI subscription, will tell.
