'Fake news': South Indian superstar Mammooty's PR team denies cancer rumours
South Indian superstar Mammooty's PR has refuted rumours surrounding the actor's illness in a statement released to Mid-day.
During the past few days, there were rumours circulating about the star being diagnosed with cancer and that he would be taking a break from acting.
The 73-year-old's PR team dismissed the 'fake news' in a statement. "It is fake news. He is on vacation because he is fasting for Ramzan. He is on a break from his shoot schedule as well because of that. In fact, after the break, he will go back to shooting for Mahesh Narayanan's film with Mohanlal."
Prior to the clarification, some social media posts suggested that the actor, whose original name is Muhammad Kutty Panaparambil Ismail, was in the early stages of colon cancer, which led to the spread of rumours among fans.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Gulf News
23-04-2025
- Gulf News
Pahalgam terror attack in Kashmir: Indian, Bollywood actors Akshay Kumar, Janhvi Kapoor and Mohanlal condemn killings
Dubai: The film industry in India has come together to condemn the terror attack near Pahalgam that killed at least 26 civilians and injured over 20 others. The attack took place on Tuesday afternoon in Baisaran valley, a popular tourist destination in Kashmir, where terrorists descended from the hills and opened fire on a group of tourists around 3pm. The incident, described by Jammu and Kashmir Chief Minister Omar Abdullah as 'much larger than anything we've seen directed at civilians in recent years,' has drawn widespread outrage across the country — including from voices in both Bollywood and South Indian cinema. Actors, directors, and filmmakers took to social media to express shock and grief, while demanding accountability and justice for those killed. There was a consistent tone of sorrow, disbelief, and fury at the senseless loss of life. Akshay Kumar called the killings 'sheer evil,' stating he was 'horrified to know of the terror attack on tourists in Pahalgam,' and added, 'Prayers for their families.' Vicky Kaushal expressed sympathy for the victims' families, saying he couldn't imagine the pain of losing loved ones in such an 'absolutely inhumane act of terrorism.' Janhvi Kapoor described the attackers as 'cowardly, trigger happy, soullessly conditioned monsters' and questioned whether any justice would be enough 'to quell this seething anger caused by such repeated acts of terror and evil.' She said she was 'shocked and heart broken for the innocent lives lost,' adding that she mourns with the victims' families and prays 'gods strength' helps them cope with the 'unimaginable pain.' Sidharth Malhotra, who is currently filming in Kerala, called the shooting of innocent civilians a 'cowardly act' and expressed confidence in India's armed forces to bring justice. 'My prayers and thoughts are with the families of the innocent victims,' he wrote, ending with 'Jai Hind.' The demand for action came through strongly in Sanjay Dutt's response. Referring to the killings as being carried out 'in cold blood,' he wrote that 'this can't be forgiven,' and urged India's political leadership — including the Prime Minister, Home Minister and Defence Minister — to 'give them what they deserve.' Sonu Sood called the attack a 'dastardly act' and said 'terrorism should not have any place in a civilized world.' He extended his 'deepest condolences' and prayers for a speedy recovery of the injured. Veteran actor Anupam Kher shared a video in which he recalled past violence against Kashmiri Hindus. Referring to the attack as a 'narsanhar' (massacre), he said he had 'seen this happen far too many times in [his] life." Actress Raveena Tandon responded with a call for unity, stating there were 'no words to express the anguish.' She said it was 'time we all let go of petty in-house fighting, UNITE and realise the true enemy.' Hina Khan, currently in Kashmir, reacted in real-time via Instagram Stories with a brief but powerful message: 'Pahalgam… Why… Why.' South Indian cinema voices also joined in condemnation. Malayalam actor Mohanlal said his 'heart goes out to the victims' and that 'no cause can ever justify the taking of innocent lives.' He urged the country to stand together, adding that 'the entire nation stands with you in mourning.' Kamal Haasan called the killings 'heinous' and said 'India stands united — in grief, in resolve, and in our commitment to uphold law, order, and national security.' Filmmaker and actor Farhan Akhtar, who recently hosted a film screening in Srinagar, said the attack was a 'senseless act of violence against innocent lives' and must be 'condemned in the strongest possible terms.' The government has launched a full investigation into the incident. In response to the scale of the attack, Prime Minister Narendra Modi cut short his state visit to Saudi Arabia to return to India. As Kashmir reels from the deadliest attack on civilians in recent memory, voices from India's entertainment industry have made it clear — the pain is being felt across all sectors of public life, and there is an urgent, united demand for justice.
Gulf Today
22-04-2025
- Gulf Today
Pope's legacy of love will inspire generations, says actor and minister Suresh Gopi
Tamil Nadu Deputy Chief Minister Udhaynidhi Stalin and Union Minister of State for Tourism & Petroleum and Natural Gas Suresh Gopi were among several south Indian film industry professionals who condoled the demise of Pope Francis, who passed away on Easter Monday at the age of 88 at his residence in the Vatican's Casa Santa Marta. Producer, former actor and the current Deputy Chief Minister of Tamil Nadu Udhayanidhi Stalin, in his condolence message, said, "I am deeply saddened by the sudden demise of Pope Francis. His passing is a profound loss to the Catholic world and beyond. He was a true servant of peace, compassion, and humanity. Pope Francis's enduring legacy of love, humility, and service will continue to inspire generations across the globe. #PopeFrancis." His legacy of love will inspire generations: Suresh Gopi Actor and Union Minister of State for Tourism & Petroleum and Natural Gas Suresh Gopi too expressed his condolences. Taking to his X timeline, Suresh Gopi said, "Mourning the loss of Pope Francis. Heartfelt condolences to the global Catholic community. His legacy of love, compassion and service will inspire generations. May his soul rest in peace and guide us towards kindness and understanding." Several other south Indian film celebrities too expressed their condolences. Telugu actor Vishnu Manchu too took to his X timeline to pay homage. He wrote, "Deeply saddened by the passing of His Holiness Pope Francis. A towering symbol of compassion, humility, and peace. He touched millions with his grace and moral courage. The world has lost a spiritual giant. May his soul rest in eternal peace." A towering beacon of spiritual hope: Gautami Actress and politician Gautami Tadimalla, in her condolence message, said, "I mourn the passing of His Holiness Pope Francis, a towering beacon of spiritual hope and a most gentle reformer who sought to heal his flock in many ways. His mercy, humility and dedication to uplifting those most shunned and overlooked, shall inspire humanity for generations to come. My deepest condolences to the Catholic community and I pray that His soul may forever rest in God." Indo-Asian News Service
Gulf News
18-04-2025
- Gulf News
Kesari Chapter 2 Review: Akshay Kumar roars, Madhavan scores in this flawed but fiery courtroom showdown
There's a long-standing belief that Bollywood often gets its portrayal of South Indians wrong — and Kesari: Chapter 2, Akshay Kumar's borderline-jingoistic courtroom drama, does little to change that. But honestly, that's the least of my concerns. This overcooked courtroom procedural introduces its hero with a jingle blaring lyrics like 'lion roar' — subtlety clearly left the chat (and the courtroom) — setting the tone for the Bollywood bombast that follows. Akshay Kumar, long seen as the flag bearer of saffron-tinted cinema pushing a hyper-patriotic agenda, continues to march forward in iron boots — loud, forceful, and unapologetically on-brand. He plays Malayali lawyer Sankaran Nair, who dares to take on the British Crown and General Reginald Dyer, the man responsible for the 1919 Jallianwala Bagh massacre in Amritsar. Nair accuses Dyer of genocide, and the film chronicles his courtroom theatrics and legal crusade with more flair than nuance. South Indian actor R. Madhavan, who plays Kumar's adversary in the courtroom, feels far more convincing in his role than Akshay Kumar. Note to directors: smearing vibudhi on the forehead, making him a Kathakali dancer, and tossing in a poorly-accented one-liner in Malayalam toward the end does not equate to authentic representation. Instead, it comes off as painfully performative and on-the-nose. At times, it feels like the filmmakers are dabbling in cultural appropriation rather than celebrating a culture. Perhaps Akshay Kumar is seen as the more bankable star — but nearly every scene reminds you this film would've worked far better if their roles had been reversed. Former friends turned estranged peers face off in court — but let's not forget why they're sparring in the first place. The film opens with the Jallianwala Bagh massacre, where General Dyer orders the brutal killing of unarmed Indians in Punjab. He believes he's done the world a favour by flushing out what he sees as suppressors. Initially, Sankaran Nair is portrayed as an anglicised lawyer, seemingly out of touch with the plight of his people — hand-in-glove with the British Viceroy's Commission, accepting a knighthood with pride while thousands of his countrymen are slaughtered. But the infamous 'Dogs and Indians not allowed' sign outside an elite club gives him pause. Apparently, nothing riles up a colonial loyalist quite like being denied club entry — and just like that, we have a rebel with a cause. Pushing him onto his righteous path is the young, doe-eyed, and inexperienced lawyer Diljeet Gill, played with earnestness by Ananya Panday. Just as Sankaran Nair prepares to leave Punjab, she reminds him that she fought against her own family to pursue law. He firmly counters that fighting for education and equal rights at home isn't quite the same as challenging the British Crown in court. In the courtroom, he says, there is no right or wrong — only winners and losers. That credo is repeated so often, it makes you wonder whether we, the audience, are the real losers for putting our money on this film. It's not a badly made film — just a loud one, about as subtle as the judge's gavel that keeps pounding away. The film finally finds a pulse when R. Madhavan — a colonial loyalist thirsting for British validation — is yanked out of his whisky-soaked sabbatical and plonked into court to take on Sankaran Nair. These scenes actually crackle with tension. Even when he's made to hum the same mournful tune the Titanic guests sang — a not-so-subtle dig that his old friend is about to go down like that epic ship — Madhavan delivers it with straight-faced gravitas. It's the kind of scene that should sink, but he keeps it afloat with sheer presence. One of my biggest pet peeves? The British trying to speak Hindi. It almost always feels painfully fake and put-on. Barring a few rare exceptions — like Rang De Basanti, where Alice Patten's presence was actually digestible — it just comes off as caricaturish. It's not about racism; it's about believability. Seasoned British actor Simon Paisley Day tries his best to channel the sadistic, racist General Dyer, but it all ends up feeling cartoonish and over-the-top. His performance lacks menace and instead borders on panto villain territory — complete with sneers and snarls that feel better suited for a stage parody than a historical courtroom drama. While the opening scenes depicting the massacre are beautifully staged, there's something unsettling about how stylised it all feels. The brutal reality of unarmed protestors being gunned down, and women leaping into wells to escape a trigger-happy British officer, is glossed over by the film's almost lyrical visual treatment. Here's my issue: when real-life tragedy and bloody carnage are shot like a perfume ad — with slow-motion, pristine frames, and stylised chaos — it becomes difficult for viewers to actually feel the pain. The horror feels cosmetic, almost sanitised. And that's a disservice to the gravity of what really happened. The ever-dependable Akshay Kumar, one of Bollywood's most bankable stars, surprisingly struggles in the emotionally charged moments but comes alive when he's called on to scream, roar, and flex his hyper-macho persona. He seems most at home when he's being potty-mouthed, yelling at the British to get out of his country. The film ends on the predictable but pointed note that India is still waiting for a simple apology — 'sorry.' While it's a powerful message, and yes, we do feel the weight of that historical injustice, we're somehow left emotionally unmoved. And then there's that one scene that truly triggered me — Akshay, dejected after a courtroom loss, turns to his wife (played by Regina Cassandra) and declares defeatedly , 'Let's go home,' in awkwardly accented Malayalam. It was meant to be tender. It landed like a thud. The writing is also painfully on the nose — every emotion, every takeaway, is spelled out for the audience as if we can't be trusted to feel it ourselves. Scenes feel engineered for effect rather than earned. Take, for instance, the young boy who witnesses the Jallianwala Bagh massacre, only to be later found with his wrists slit. It's powerful imagery, yes, but stripped of emotional buildup or nuance, it lands hollow. The intent is clear, but the context — the soul — is somehow missing. While both Madhavan and Akshay Kumar did manage to convince me — even stir anger over the criminal and brutal injustices committed by our colonisers — I couldn't bring myself to feel anything for the principal players. Their performances had moments, but the emotional core felt undercooked. In the end, it was a wasted opportunity to tell a story that deserved more depth and authenticity.
