logo
R Madhavan reacts to doubts over Dhurandhar co-star Ranveer Singh's 'end of career': 'Couple of not so good films...'

R Madhavan reacts to doubts over Dhurandhar co-star Ranveer Singh's 'end of career': 'Couple of not so good films...'

Pink Villa17-07-2025
Ranveer Singh, who was last seen as the main lead in Karan Johar's 2023 film, Rocky Aur Rani Kii Prem Kahaani, is gearing up for the upcoming movie, Dhurandhar. It also stars Akshaye Khanna, R Madhavan, Arjun Rampal, and Sanjay Dutt. Now, R Madhavan has reacted to the doubts regarding a notion about Ranveer's 'end of career'.
R Madhavan talks about his Dhurandhar co-star Ranveer Singh
According to a report by The Indian Express, R. Madhavan recently opened up about Ranveer Singh's career, saying that he was never written off. "A couple of 'not so good' films doesn't end an actor's career," R Madhavan shared.
Praising his Dhurandhar co-star Ranveer, R Madhavan called him an "extraordinary" actor. He added that the media "keeps writing people off and bringing them back".
R Madhavan says Ranveer Singh doesn't have an 'insecurity' about losing his market
R. Madhavan stressed how Hollywood stars like Tom Cruise and Tom Hanks don't work in 50-60 films in their lifetime. The Shaitaan actor pointed out how they prefer quality over quantity by not going beyond 15 movies.
R Madhavan then admitted that he and his co-star Ranveer Singh don't have an insecurity about losing their market if they don't shoot for three months.
A brief about Dhurandhar
Directed by Aditya Dhar, Dhurandhar is set to hit the screens on December 5, 2025. The film stars Ranveer Singh as the main lead. He is paired opposite Sara Arjun. The spy action thriller is set against the backdrop of a high-stakes intelligence operation.
Ranveer Singh's career in recent years
Ranveer Singh has experienced some career fluctuations in recent years, with notable releases including 83, Cirkus, and Jayeshbhai Jordaar. Ranveer bounced back with Karan Johar's Rocky Aur Ranii Ki Prem Kahaani two years ago, which turned out to be a hit. He was last seen in Ajay Devgn's cop drama, Singham Again, in 2024.
Ranveer is best known for movies such as Band Baaja Baaraat, Bajirao Mastani, Padmavat, Lootera, Goliyon Ki Raasleela Ram-Leela, Dil Dhadakne Do, Befikre, Simmba, and many others.
On the personal front, he is married to actress Deepika Padukone. The couple has a daughter, Dua.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Farhan Akhtar's Latest Throwback Pic From Childhood Days Goes Viral, Fans React
Farhan Akhtar's Latest Throwback Pic From Childhood Days Goes Viral, Fans React

News18

time6 hours ago

  • News18

Farhan Akhtar's Latest Throwback Pic From Childhood Days Goes Viral, Fans React

Last Updated: Farhan Akhtar is currently working on the third film in the franchise, with Ranveer Singh and Kriti Sanon as the new leads. Farhan Akhtar took a nostalgic trip down memory lane as he shared a priceless throwback photo from his childhood on social media. The picture, which has since gone viral, gives fans a rare glimpse of the multi-talented star during his early years. Taking to his Instagram handle, Farhan Akhtar shared a photo from his childhood album. He is sitting on the chair and listening to the conversation. 'Always had big shoes to fill #bachpan #80s #bandraboy #foundaphoto," read the caption. One of the fans wrote, 'Wow what a wonderful memory this!!!! Thanks for this share." Another wrote, 'legend". Recently, Farhan Akhtar took to Instagram and shared a picture of Chandra Barot along with a sweet note. While sharing the picture, Farhan wrote, 'Saddened to learn that the director of the OG Don is no more. RIP Chandra Barot-ji. Deepest condolences to the family." Farhan Akhtar, who had revived the famous Don franchise in 2006 with Shah Rukh Khan and Priyanka Chopra in the lead roles, is currently working on the third film in the franchise, with Ranveer Singh and Kriti Sanon as the new leads. Kiara Advani, who was initially set to play the female lead opposite Ranveer Singh, stepped away from the project after welcoming her first child, a daughter with Sidharth Malhotra, making space for Kriti Sanon to step in. Meanwhile, rumour mills are abuzz about new potential villain candidates. Vikrant Massey has officially exited the film, leaving room for a new face. Actor and Bigg Boss 18 winner Karan Veer Mehra has now emerged as a leading contender for the antagonist role. Reports suggest that although nothing is signed yet, filmmakers are impressed with Karan's recent performances and screen presence, especially after his gritty role in Silaa. At the time of his passing, Chandra Barot had been battling pulmonary fibrosis for several years and was undergoing treatment in Mumbai. He leaves behind a legacy that continues to inspire generations of filmmakers and fans alike. Apart from this, Farhan Akhtar's 120 Bahadur is slated for a grand release this November. It has already created a wave of excitement among fans. Adding to the buzz, sources suggest that Excel Entertainment is gearing up to unveil the teaser of 120 Bahadur in August. The teaser of 120 Bahadur is set to hit the big screens on August 14, 2025, coinciding with the Independence Day weekend. It will be attached to the release of the action-packed spectacle, War 2. First Published: July 27, 2025, 18:08 IST Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.

The many meanings of S H Raza's iconic bindu: From point of origin to place of refuge
The many meanings of S H Raza's iconic bindu: From point of origin to place of refuge

Indian Express

time6 hours ago

  • Indian Express

The many meanings of S H Raza's iconic bindu: From point of origin to place of refuge

For most of his life, artist Sayed Haider Raza called France his home: after moving to Paris to study art in 1950, he made a permanent return to India only in 2010, at the age of 88. In the 1970s, by which time Raza was an acclaimed painter of the Parisian School, the artist looked to re-connect to his roots. 'He wasn't happy about his artistic identity. He felt there wasn't much of India in his work,' Ashok Vajpeyi, Raza's longtime friend and author of Celebration & Prayer: Life and Light in Raza's Art (2025), told The Indian Express. 'He began searching for a singular motif that could hold multiple meanings and spiritual possibilities. And from this search emerged the bindu, satisfying both his artistic needs and spiritual quest,' Vajpeyi said. For more than four decades, the bindu, which can be translated as 'dot' or 'point', served as an anchor for most of Raza's artistic compositions. Despite being criticised by some for being repetitive, Raza, who passed away in 2016, remained unapologetic till the very end. 'With repetition, you can gain energy and intensity — as is gained through the japmala, or the repetition of a word or a syllable — until you achieve a state of elevated consciousness,' he told Vajpeyi during an interview for Celebration & Prayer. Shades of bindu 'Is bindu par dhyaan do (pay attention to this dot),' a primary school teacher once told an eight-year-old Raza, in a bid to curb the young boy's restlessness. 'It was difficult at first, but then I got his point. Gradually, blotting out much else, my mind settled down to focus solely at that centre. It was uncanny. Savouring every one of its essential requisited colour, line, tone, texture and space. I found myself riveted,' Raza wrote in a 1989 article in the Illustrated Weekly of India. Thus began a life-long fascination with the bindu. Growing up in the jungles of Madhya Pradesh where his father served as a forest officer, Raza's initial work was heavily influenced by nature. In the mid-1950s, he was largely painting landscapes, devoid of figures. The earliest hints of his iconic bindu would appear at this time, most notably with his 1953 painting The Black Sun, depicting a black orb that towers over a geometricised cityscape. The 1968 painting Black Moon had a deep black circle stand out amid fluid strokes in warm shades. As central motif It was in the 1970s, however, that Raza's bindu became a central feature of his work. By this time, Raza's palette had become denser and he had gravitated towards spiritual abstraction, inspired by the likes of Mark Rothko and Jackson Pollock. In Bindu (1981), Raza had a black circle dominate the canvas divided into equal quarters, and encased within frames of geometric borders. The subsequent years saw several works in the Bindu series, with the motif rendered within defined frames. The Germination series reflected on the bindu as the womb of the earth, with infinite potential for life. Painted in 1981, his seminal canvas Maa was Raza's letter to his motherland through which he professed his longing for home. Incorporating lines from Vajpeyi's poem Maa, lautkar jab aaunga, kya laaunga? (Mother, when I return home what should I bring?), the composition had the black orb accompanied by fluid strokes in vibrant colours, evoking memory and emotion. Talking about his work in the 1980s, Raza once said: 'My present work is the result of two parallel enquiries. Firstly, it aimed at pure plastic order, form-order. Secondly, it concerns the theme of nature. Both have converged into a single point and become inseparable. The point, the bindu, symbolises the seed bearing the potential of all life…' (Artists Today: East-West Visual Arts Encounter, 1987). Many meanings 'The bindu emerged as an icon that came to signify many things. It was the point of origin from where everything began, whether a line or a form. It became the concentric circle that emanated energy and radiated outward, a still center of concentration, meditation and reflection. On another plane, it also became a point of withdrawal and solitary refuge from the chaos of the world,' Vajpeyi said. Over the years, as Raza created his own universe around the bindu, he also imbibed it with themes such as the tribhuj (triangle) and prakriti-purusha (the female and the male energy). Though predominantly rendered in black, the bindu also appeared in other colours — including the intense blue center in the oil Blue Bindu (1983) and the white core in Shanti Bindu (2007). 'In his creative process, bindu could both be the starter and the concluding form. Sometimes he would begin with the concept of the bindu and build the composition around it, bringing it alive as the vital epicenter. At other times, he would do something and then place the bindu within,' Vajpeyi said. Painted months before he passed away, Raza's very last canvas, Swasti (2016), had a central bindu surrounded by concentric circles and radiating lines. As Vajpeyi put it, 'It is a work bidding farewell, an offering of good wishes for all.' This is a part of a series on Indian masters and the motifs that appear repeatedly in their works. NEXT: Himmat Shah's Heads

In purdah, Kerala film producer protests ‘male domination'
In purdah, Kerala film producer protests ‘male domination'

Indian Express

time20 hours ago

  • Indian Express

In purdah, Kerala film producer protests ‘male domination'

Sandra Thomas, one of the few women producers in the Malayalam film industry, filed nomination to contest for the post of president of Kerala Film Producers' Association (KFPA) on Saturday, intensifying her battle with the leaders of the association. She arrived at the KFPA office in Kochi wearing a black purdah to file her nomination to contests in the upcoming executive committee elections scheduled for August 14. Speaking to The Indian Express, Thomas said her gesture was a mark of protest against the 'male-dominated' association and purdah was the 'most appropriate attire to wear' based on her past experiences with people leading the producers' body. 'The producers' association has been run by a coterie of 10-15 men for the last several years. There is no representation for women. They don't even invite women to give a flower to someone on a dais during a function,' said Thomas, 38, who owns Sandra Thomas Productions. She has previously filed a police complaint against four office-bearers of KFPA — president Anto Joseph, secretary B Rakesh, executive committee members Anil Thomas and Ouseppachan Valakkuzhi. In her complaint, she alleged that they used derogatory language during a meeting on film distribution. A Special Investigation Team (SIT) probing the case filed the chargesheet before a court in Kochi in April. The KFPA office-bearers were booked under IPC Sections 354A (sexual harassment), 509 (word, gesture or act intended to insult the modesty of a woman), 506 (criminal intimidation) and 34 (acts done by several persons in furtherance of a common intention). 'Those named in the case are set to contest the elections even as the trial is yet to begin. Ideally, they should stay away from the elections,' said Thomas, whose run-ins with the KFPA began after she wrote a letter to the executive committee questioning the office-bearers for their silence over the findings of the Hema Committee report on the issues faced by women in the Malayalam film industry. 'I was sent a show-cause notice for my remarks, and I sent my explanation twice. Citing the explanation unsatisfactory, they expelled me from the producers' association in November 2024,' said Sandra. She, however, got a reprieve from a court in Kochi as it stayed the KFPA decision to revoke her primary membership in December 2024. 'They also harassed me by sending a fake story about me to all producers in the annual report of the body,' said Thomas, who promised that she would break the monopoly and bring in positive changes if she got a chance to helm the body. 'The producers' association had over 600 members in 2016. Now, it has come down to 316 members with voting rights. It is being run on the whims and fancies of a select few who expel anyone expressing dissent over their actions. They are not giving membership to new people. The bye-law says that even if you have produced only one film, you are eligible for membership,' she said. Thomas also alleged that the KFPA is not making efforts to help struggling producers and is denying pensions to them while giving them to wealthy producers. Meanwhile, KFPA vice president Suresh Kumar dismissed the allegations as baseless. 'This is all part of a publicity stunt. Has any other woman producer raised the issue of discrimination? As for the criminal case against our office-bearers, there is no law barring people accused in cases from contesting in elections of an association. In our country, even public representatives have cases against them,' said Kumar. He also said it is wrong to say that the KFPA has not done anything for its members, 'The producers association built a modern building in Kochi with assets worth over Rs 15 crore. It has the facility to make the master copy ready for digital distribution, such as UFO and Qube. It helps producers save the immense cost associated with content mastering,' said Kumar. Thomas co-founded the production company, Friday Film House, with actor-producer Vijay Babu, and they produced movies such as Amen, Philips and the Monkey Pen and Aadu. Thomas and Babu parted ways in 2017. She is married to businessman Wilson John Thomas, and the couple has twin daughters.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store