When Anil Kapoor & Parmeet Sethi missed a flight mid-sauna in Istanbul #10yearsofDilDhadakneDo
As 'Dil Dhadakne Do' marks its 10th anniversary, actor
Parmeet Sethi
reminisced about a hilarious travel mishap that involved co-star
Anil Kapoor
during the film's shoot.
In a conversation with SCREEN, Parmeet opened up about the unforgettable incident that unfolded while the two were en route to the film's international shoot location.
A Mediterranean Dream Turned Comedy of Errors
Parmeet Sethi described the shoot of 'Dil Dhadakne Do,' set largely aboard a luxurious cruise ship in the Mediterranean, as one of the most enriching and unique experiences of his career. 'We were all together as an ensemble cast, shooting on a ship… it felt like a rare, special project,' he said. But amidst the camaraderie and scenic settings, one travel misstep still stands out a decade later.
The Sauna That Cost Them a Flight
Recalling a layover in Istanbul en route to Barcelona, Parmeet narrated how he and Anil Kapoor were unwinding in the business class lounge, unaware that time was slipping away. 'We were chatting and enjoying the food. Then there was a sauna and steam room, so Anil said, 'Chalo kapde utaarte hain, jaate hain araam se',' Parmeet laughed.
He had misread the Turkish display, mistaking the flight's departure time for the boarding time.
by Taboola
by Taboola
Sponsored Links
Sponsored Links
Promoted Links
Promoted Links
You May Like
임플란트 최대 할인 지원해드려요
임플란터
더 알아보기
Undo
The two actors were mid-spa when an airline staff member rushed in to alert them their flight was about to leave. 'Anil was in a towel, and I had to drag him out. We ran nearly 2-3 km through the airport, but the gate had closed,' Parmeet recalled with a mix of humour and regret.
Anil Kapoor's Calm Response
Though visibly embarrassed by his blunder, Parmeet said Anil Kapoor reacted with grace. 'I kept apologising, but he said his staff should have called him. He didn't blame me at all,' he shared. The duo ended up spending an unplanned night in Istanbul, making it a travel tale they'd never forget. 'It was a rookie mistake. Even now, I laugh about it, but I still can't meet anyone's eye when I think of that day,' Parmeet admitted.
Anil Kapoor's Airport Swagger Leaves Paps Stunned
Check out our list of the
latest Hindi
,
English
,
Tamil
,
Telugu
,
Malayalam
, and
Kannada movies
. Don't miss our picks for the
best Hindi movies
,
best Tamil movies,
and
best Telugu films
.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Indian Express
31 minutes ago
- Indian Express
5 feminist reads that put women's voices front and center
(Written By Prachi Mishra) In the world of storytelling, women have long been relegated to the margins, either to the status of goddesses or ghosts, muses or martyrs. Yet, there are stories where women do not merely step into the tale, they are the tale. These are books that do not just have women in them, rather they unravel their worlds, their wounds, and their wonders. These books do more than just present women as characters; they breathe life into their struggles, dreams, tragedies, and triumphs. They work from myth, history, or the present day to weave a rich tapestry of feminine experience and offer the reader subtle representations of womanhood. Let us step into these pages where the woman refuses to wait in the wings and stands at centre stage as the ink-stained heroine of her tale. R. Parthasarthy, renowned scholar, who translated the text from Tamil to English language notes that 'Silappadikaram is to Tamil what Iliad and Odyssey are to the Greek.' Silappadikaram (translated as 'The Tale of an Anklet'), is one of the earliest Tamil epics. Part of Sangam literature, the epic covers the story of Kannagi, who is a testament of love, sacrifice and resilience. She is presented as a gentle wife for the most part of the epic highlighting the patriarchal set-up as she longs for her husband, Kovalan, even after he cheats on her with a courtesan Madhavi. But her character arc changes drastically when she transforms herself into a fierce embodiment of righteousness. Her fury knows no bounds when Kovalan is accused of theft even though he is innocent, and this brings us to the epic scene where she cuts off her breast and curses the entire city. There have been multiple movies based on the epic Silappadikaram including the 1942 movie titled Kannagi and the 1964 Poompuhar. The story also features in the popular television series Bharat Ek Khoj. Also Read | 'They shoot the White girl first': Toni Morrison's opening line from 'Paradise' first hooks, then haunts 'The pages of a book have to be turned, but the leaves of fate turn by themselves.' Women and suffering goes hand in hand, and no other woman character falls near to Draupadi in this matter. Pratibha Ray's rendition 'Yajnaseni: The story of Draupadi' was written originally in Odia and then later translated by Pradip Bhattacharya into English. Ray beautifully portrays this widely known tale of Mahabharata through the lens of the female protagonist Draupadi giving it a female perspective. Through a long, intimate letter to Krishna, she pours out the anguish of being born of fire (hence the name Yajnaseni), shared by five husbands and then gambled away like property by her own husband Yudhisthir. But her plight doesn't end here. It is her who is blamed for the danse macabre, the epic battle of Kurukshetra to which she lost all her sons. 'What is love if not a hunger?' Rao's novel is a tour de force, exploring the lives of Poornima and Savitha, two young girls from a village in Andhra Pradesh. Their bond of friendship becomes the lifeline that drives them through a series of harrowing events of poverty, abuse, trafficking, and separation. But, what's interesting to note is the fact that despite their suffering, both women never stopped searching for one another. The beauty of this novel lies in that the two female characters nurture their happiness from rather simple, dreary things like indigo clothes or yogurt rice. Each had brought on thousands of memories. The telling being from two perspectives, it is a story that is grave yet hopeful, a small lamp glimmering at the tunnel's end, showing the female spirit against unimaginable odds. Very raw and wild in its approach, the novel touched subjects that at times can be very discomfiting, leaving the reader uncertain whether to continue reading or put it down. However, curiosity usually gets the better of the reader, and one just has to know the story. 'I am not the representative of any one caste, one religion, or one society. I am the representative of the entire clan of women who have, for centuries, endured ill-treatment.' Originally written in Malayalam language, about a place in Kerala that basks under the suffocating gaze of tradition, the novel Agnisakshi (translated as Fire, My Witness by Vasanthi Sankaranarayanan) tries to light the flame. Unlike other women, Lalthambika's protagonist Thankam, a namboodiri woman, longs for liberation of her soul and self and never desires a blossoming love or earthly riches. Amidst the confines of orthodoxy and rigid social structures, Thankam's voice challenges the tradition of her time. And an important thing to note is the fact that it is not a sword-to-sway kind of rebellion, rather it is a revolution of whispers. Thankam does not burn with anger but with quiet conviction, and her fire is witnessed in rather private acts of escape than in public uprisings. A film adaptation of the novel was released in the year 1999, titled the same as that of the novel, Agnisakshi. 'Fame: it's a drug more potent than opium' In her beautifully rendered historical novel, Divakaruni shares with the world the forgotten story of Maharani Jindan Kaur, the last queen of Punjab and the wife of Maharaja Ranjit Singh. The novel tells of her rise to power, beginning from humbler origins, her strong resistance against the British Empire after her husband's death, and her sorrowful separation from her son. Under Jindan light has dawned as a symbol of defiance and motherly courage in colonial India. What is important to note is that instead of idolizing Jindan, Chitra focuses on humanizing her character. Moreover, the beauty of the novel is exhibited with the use of proper Punjabi terms and Divakaruni makes it a point to not indianize this story. 'I may be injured; I may even be wounded to the heart; but I'm not defeated yet' and 'If Jindan wants something badly enough, she can make it happen. She believes this completely', through these lines the reader is very well made aware of the kind of character Jindal has, a woman who simply refuses to be silenced by the events of history, and as a woman who is too bold to be forgotten.
Time of India
38 minutes ago
- Time of India
When Rajesh Khanna admitted envy of Amitabh Bachchan's action films: reflected on Bollywood's shift, acknowledged complex rivalry
is known as India's first superstar and is still remembered as a legend in Hindi cinema. His rise to fame was amazing, and fans loved him deeply. People would gather in large numbers to see him, his car was covered with lipstick marks, and many homes had his pictures. Tired of too many ads? go ad free now But like all fame, his popularity didn't last forever. When came on the scene as the 'Angry Young Man,' he became more popular, replacing 's romantic image. Rajesh's fame was quick and bright, but Amitabh's success lasted much longer and continues even today. In an old interview, Rajesh admitted he felt jealous of Amitabh's lasting success. Rajesh Khanna Reflects on Amitabh Bachchan's Rise According to an interview with Indian Express, Khanna reflected on Bachchan's remarkable rise in the film industry, saying, 'Amitabh started working with me in and now he has reached such great heights of fame. I not only congratulate him but also only wish the best for him. Always happy to see him grow. I envy him that he started with us and has come a long way. It's a matter of great pride for me and everyone in the industry.' A Shift in Bollywood Cinema: From Romance to Action At the same time, Rajesh subtly pointed out the change in cinematic trends during Amitabh's era, particularly the move toward action-packed films. Speaking about his own career, he said, 'I always acted as a romantic hero. Never did action, nor did I have any ambition to do action films. Always did films which were high on emotions. Did romance, did comedy, did family. And to be honest, what's greater emotion than romance? What a greater emotion than love? So I'm happy that I took that path. ' Insights from on the Rivalry The famous rivalry between Rajesh Khanna and Amitabh Bachchan is still talked about a lot by fans and movie experts. Actress Moushumi Chatterjee, who worked with both stars and speaks openly, has shared her thoughts on their relationship. She said Amitabh worked very hard and becoming a superstar changed how he acted. She also said Rajesh could be a bit proud sometimes, but that was because he was loved by so many people—something very few actors have experienced.
Time of India
38 minutes ago
- Time of India
Silk and sparkle: Inside the stylishly intimate wedding of Akhil Akkineni and Zainab Ravdjee
Akhil Akkineni and Zainab Ravdjee's wedding at Annapurna Studios was a masterclass in understated elegance, blending Telugu tradition with quiet luxury. The guest list included South Indian cinema royalty and political figures, celebrating the union. Zainab, an artist and perfume alchemist, brought her unique style to the event, hinting at a future of Nizami-inspired fashion. Who needs a Bollywood big fat wedding when Tollywood's golden boy, Akhil Akkineni, just delivered the most refined celebration of the year? On June 6, 2025, under the nostalgic roof of Annapurna Studios, built by his legendary grandfather, Akkineni Nageswara Rao, the actor tied the knot with entrepreneur and artist Zainab Ravdjee in a ceremony that married old-school charm with understated elegance. Ditching over-the-top theatrics for timeless tradition, Akhil stepped into marital bliss in a classic white shirt and pancha, radiating the quiet confidence of a man rooted in legacy. Meanwhile, Zainab stunned in an ivory silk saree, glimmering with diamond jewellery, looking every bit the modern goddess in a bridal moment that redefined less-is-more sophistication. The traditional Telugu wedding was a fashion study in restraint and regal simplicity. No couture excess here, just graceful drapes, heritage jewels, and a glowing bride and groom whose chemistry did all the talking. But don't be fooled, while the styling was minimalist, the guest list was maximalist. It read like the Met Gala of the South: Chiranjeevi, Ram Charan and Upasana, Sobhita Dhulipala, Daggubati Venkatesh, and director Prashant Neel all arrived in full festive flair. Political royalty like Telangana CM Revanth Reddy and Andhra Pradesh CM Chandrababu Naidu were also sent personal invites by hosts Nagarjuna and Amala Akkineni because when an Akkineni gets married, everyone shows up. As for the bride, Zainab Ravdjee is no ordinary 'plus-one turned wife.' A perfume alchemist and contemporary artist, she's carved a chic, creative lane for herself far removed from her family's construction empire. Her recent exhibit, Reflections, drew a fashionable crowd from Hyderabad to London, and her olfactory creations have earned her cult status among the city's elite. From the sacred rituals to the dancing groomsmen to the subtle sparkle of heirloom diamonds, this was a wedding steeped in sentiment, style, and the soft power of restraint. While Akhil may have found his forever, we found our favourite wedding aesthetic of the year: quiet luxury, South Indian style. Watch this space, if Zainab's wedding wardrobe is any clue, her post-wedding fashion is about to be a masterclass in new-age Nizami elegance. One step to a healthier you—join Times Health+ Yoga and feel the change
