
Vijay Deverakonda's Kingdom release date out, film to hit cinemas in July
On February 12, the makers unveiled the title teaser of 'Kingdom'. The film stars Bhagyashree Borse and Satyadev in key roles. Backed by Sithara Entertainments and Fortune Four Creations, the film boasts a strong technical team, including cinematographers Girish Gangadharan and Jomon T John, music by Anirudh Ravichander, and editing by Naveen Nooli.Watch the teaser here: Directed by Gautham Tinnanuri, 'Kingdom' is an action film with a premise presumably set around the refugee crisis borne out of the post-Independence Sinhala-Tamil conflict.The film's release has been postponed twice. Initially slated for a summer release on May 30, it was later rescheduled to hit cinemas on July 4. The makers attributed the delay to heightened India-Pakistan tensions following the Pahalgam terrorist attack on April 22 and the subsequent Operation Sindoor. However, the release was pushed back once again.- EndsMust Watch
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Indian Express
12 minutes ago
- Indian Express
From Rocky Aur Rani to Aap Jaisa Koi: Bollywood, please stop stereotyping Bengali women
Hindi films have always thrived on regional stereotypes in portraying Punjabi, Tamil, Gujarati or Bengali characters, shoving their distinct culture into a cubbyhole of stereotypes. Filmmakers set the camera lens for the audience rather than let the audience find their own lens to read the character or even trust the character to win hearts. The latest victim of this cinematic trope is the liberal Bengali woman. The pendulum has been swinging between the old-world grace of a goddess-like Paro in Devdas or Lalita in Parineeta to the schizophrenic and mysterious Manjulika of Bhool Bhulaiyaa. That's why when Piku Banerjee burst on the screen with her cotton kurtas, her everyday elegance, her straightforwardness and her fierce choice to be her father's caregiver, she seemed so anchoring. Piku is a woman first, a Bengali second. However, the same cannot be said of her descendants, Rani Chatterjee in Rocky and Rani Kii Prem Kahaani and now Madhu Bose of Aap Jaisa Koi, both from producer-director Karan Johar's stable. Each one is a sassy, self-assured, outgoing and fiery woman, daring to choose lesser men, even drawing them out of their shell of patriarchy. They reclaim agency and sexuality with the same elan, though one should not be a metaphor for the other. They end up being clones of each other with gossamer saris hugging their contours, heavily-kohled eyes, junk jewellery, bindi and flowing hair. What is problematic is the sexiness of their attire and image being a metaphor for their intellectualism and free spirit. In our society, the right to be seen and heard is still out of reach for most women, hoping to grasp any opportunity, golden or not. Even more problematic is the fact that they are all upper caste Bengali women, coming from a privileged, elite background and an enabling environment that automatically lends them a voice. They haven't had to earn their place as such. This rarefied context puts them leagues above the majority of women who still haven't found a voice in the mainstream. It is in that sense that both Rani and Madhu become a shell, a filmmaker's pretence of gender parity, rather than holding up a mirror to society. Contrast this with Bengal filmmakers Basu Chatterjee and Hrishikesh Mukherjee, who humanised their women protagonists, Bengali or not, with working-class sensibilities and an everydayness, with meet-cutes at the bus stop and romances in a rained-out city, all of them working in offices, taking the bus and train, munching peanuts. In fact, Bengali women were among the first in India to actively pursue education and enter the workforce, particularly in the late 19th and early 20th centuries. The women's renaissance in Bengal was not only led by the empowered women of the privileged elite, like the Tagores of Jorasanko, but by ordinary women. Rokeya Sakhawat Hossain was not formally educated in English but became a leading writer and activist. Sarala Ray founded the Gokhale Memorial School and championed women's access to higher education. Binodini Dasi, born into a poor family, became a courtesan, but awestruck by the stage, she became an actor when she was only 12. Forced to quit the stage at age 23, she documented the social prejudice faced by women like her in her autobiography. Bengal's revolutionaries comprised women from both the lower strata and middle classes, most of whom did not have access to formal education. Matangini Hazra, a peasant woman, and 15-year-old widow Nanibala Devi, who was a runaway and learnt English at a Christian mission, took to armed struggle against colonial rule. The Tebhaga movement had women peasants demanding their rights as sharecroppers. Pritilata Waddedar and Kalpana Datta, both from ordinary families, not only became armed revolutionaries but managed underground networks and courier runs for the resistance movement. This mass women's participation challenged traditional gender roles. In fact, middle-class Bengali women began to be part of the urban workforce late 1940s onwards despite bigger challenges of acceptability. This evolution of the modern Bengali woman is important in understanding why she should not be trivialised or forgotten. Challenging patriarchal ideologies and constructs, the early pioneers did not wage a war but just stood up to be counted. In his novel, Ghare Baire (The Home and the World), Rabindranath Tagore had himself articulated this when he wrote. 'For we women are not only the deities of the household fire, but the flame of the soul itself.' And that flame doesn't need a bralette, a wispy saree or high heels. Sensuousness is about the fullness of a lived experience, not just the right to show a cleavage. If anything, the mainstream film industry has ended up propping cardboard cutouts instead of celebrating flesh-and-blood women.

Time of India
21 minutes ago
- Time of India
Vijay Deverakonda Hospitalised With Dengue Just Before 'Kingdom' Release
Actor Vijay Deverakonda Has Been Hospitalised After Testing Positive For Dengue, Just Ahead Of His Highly Anticipated Action Thriller 'Kingdom' Scheduled To Hit Theatres On July 31, 2025. He Is Under Medical Care And Expected To Be Discharged In A Few Days, With His Family By His Side. The Film's Production Team Is Continuing Promotions, And Fans Are Sending Wishes For His Quick Recovery As The Countdown Begins.


The Hindu
42 minutes ago
- The Hindu
‘Junior' movie review: Genelia, Kireeti-starrer is a partly-entertaining, albeit dated drama
A protagonist who is almost always cheerful reiterates his desire to make memories — stories he can one day narrate to his children, and look back on fondly when he is 60. But what if this idea of memory, initially lighthearted, later becomes a haunting echo? What if a memory is so deeply hurtful that it renders another character emotionally withdrawn? Director Radhakrishna Reddy's Telugu-Kannada bilingual film Junior explores these possibilities through a drama that nods to the mainstream Telugu cinema of a decade or two ago. Some plot points evoke the emotional world and writing style of Trivikram Srinivas, the veteran of family dramas. While several scenes entertain and build intrigue, the film's contrived moments might also leave seasoned viewers with a nagging sense of déjà vu. Junior (Telugu) Director: Radhakrishna Reddy Cast: Kireeti Reddy, Sreeleela, Genelia Deshmukh, V Ravichandran Run time: 154 minutes Story: A son struggles to deal with the possessiveness of his father, and he has to heal a few emotional scars. Junior ambitiously attempts to tackle ageism, complex family dynamics, girl child empowerment, digital literacy in rural India, and corporate social responsibility, all while doubling as a launchpad for Kireeti Reddy, son of politician Gali Janardhana Reddy. The opening campus scenes are loud and glossy, with composer Devi Sri Prasad setting a high-energy tone. Abhi (Kireeti) quite literally leaps into the frame, sprinting through college corridors in what feels like an action hero entry, minus the actual conflict. He is portrayed as the all-rounder who can ace academics, sports, and even parkour stunts, all while his perfectly gelled hair does not move an inch. A prologue introduces parents who embrace late parenthood and face ageist remarks, setting the stage for a father-son dynamic between Abhi and his doting father (V Ravichandran). Their relationship — marked by the father's overbearing affection and Abhi's growing claustrophobia — is played out with humour and warmth. The light-hearted tone continues into Abhi's courtship of Spoorthi (Sreeleela), which unfolds in formulaic fashion. The comic relief is largely powered by Abhi's gang of friends, especially Harsha, who steals the show in a moment that even sparks Spoorthi's envy. The plot shifts gears with the arrival of Vijaya (Genelia Deshmukh), making a return to Telugu cinema after 13 years. Her character initially teeters on cliché — the stern, unapproachable boss — until her backstory adds emotional depth. These segments echo the tone of a Trivikram Srinivas family drama, and while the writing attempts nuance, the narrative feels too contrived to truly land. Kireeti's breezy presence contrasts sharply with the emotional heft Genelia is tasked with. Known for her bubbly roles in films like Bommarillu, she brings maturity and restraint here. It is a pleasure to watch her on screen, once again. Some of her scenes with Kireeti are thoughtfully written, but both actors are constrained by a plot that becomes increasingly predictable. There are glimmers of smart storytelling, like a moment involving a photograph, but overall, the film misses the opportunity to explore relationships with a fresher lens. Cinematographer KK Senthil Kumar and Devi Sri Prasad deliver within the constraints of the material. Meanwhile, Sreeleela's character vanishes after the early portions, only to resurface for the 'Viral Vayyari' dance number, featuring a blink-and-miss cameo by Brahmanandam. In the end, Junior plays out like an extended showreel for Kireeti Reddy, highlighting his screen presence, dancing chops, aptitude for action, and ability to well up on cue. All while that gelled hair never falters.