The art of theory
Art and commerce are closely intertwined, so how can artists be truly free and radical? What is the relationship of the artist to the nation-state? How does decolonisation influence cultural practices? What are the modes of artistic dissent? These are some of the animating concerns in Speech Acts, a new anthology by the art critic, theorist and curator Geeta Kapur. The collection, featuring essays, talks and interviews, addresses and interrogates themes that Kapur has tackled in her storied career.
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Time of India
2 days ago
- Time of India
CA-turned-famous movie director Shekhar Kapur says his cook taught him one of the most invaluable lessons of his life
In an era dominated by science, spectacle, and streaming documentaries, filmmaker Shekhar Kapur stumbled upon a profound truth—not in a lab or lecture hall, but in his London kitchen. What began as an innocent moment of nostalgia while rewatching the 50th anniversary of the moon landing turned into an eye-opening exchange with his cook, Suresh, that left the acclaimed director questioning not the science of space, but the philosophy of perception itself. Kapur, in a deeply reflective Instagram post, recalled how he eagerly pointed to the television screen as historic footage of Neil Armstrong's iconic 'one small step' played out. Expecting admiration, he instead got quiet scepticism from Suresh, who, rooted in spiritual belief, expressed doubt. 'How could man land on the moon? I worship the Moon,' he said, firmly separating scientific fact from sacred symbolism. The filmmaker took Suresh to the British Science Museum , hoping to replace disbelief with empirical evidence—replicas of Apollo 11 , space suits, and all. But even after the visit, Suresh smiled and softly responded, 'Yes, sir, man went to the moon… but to your moon, not mine.' That quiet reply shifted something in Kapur. In that moment, he realised he wasn't just debating facts—he was witnessing the beauty of subjective truth. 'I had just been given the greatest lesson in Quantum Physics ,' Kapur wrote. 'The universe is as you observe it to be.' by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like New Container Houses Indonesia (Prices May Surprise You) Container House | Search ads Search Now Undo View this post on Instagram A post shared by @shekharkapur The story ends with Suresh returning to the kitchen to cook his signature Saturday-night fish curry—unshaken in his belief, and quietly, perhaps unknowingly, having delivered a philosophical masterclass that blurs the line between spirituality and science . Kapur's post has since resonated widely, reminding readers that perception shapes reality—and that even the moon, in all its distant glory, might look different depending on who's looking. Netizens react One user called the post profound, dedicating it to teachers around the world and expressing a desire to know where Suresh is now. Another reflected on the deeper implications of the story, questioning who truly decides what is rational. A third simply appreciated the storytelling, describing it as perfectly expressed. About Apollo Landing On July 20, 1969, Apollo 11 fulfilled President John F. Kennedy's goal of landing humans on the moon and returning them safely to Earth. Astronauts Neil Armstrong and Buzz Aldrin landed on the Moon. Armstrong became the first person to walk on the moon, followed by Aldrin. They planted a U.S. flag, collected lunar samples, and returned on July 24. Armstrong's words—'one small step for a man, one giant leap for mankind'—became an iconic moment in history. About Shekhar Kapur's work Shekhar Kapur has delivered some of the most memorable films like Masoom, Mr India, and Dil Se (as a producer). His last directorial is What's Love Got to Do with It? Meanwhile, on the acting front, he was last seen in the Tamil film, Vishwaroopam II.
Indian Express
31-05-2025
- Indian Express
Ek Doctor Ki Maut: Put some respect on Pankaj Kapur's name and give him that Padma Shri; he's a national treasure
It's Pankaj Kapur; he's the secret sauce that brings it all together. In India, even the best actors are rendered helpless without proper direction. Only a few of them can deliver dependably strong performances regardless of how skilled the filmmaker supervising them might be. This is the difference between Manoj Bajpayee and Nawazuddin Siddiqui, between Alia Bhatt and Taapsee Pannu. It is up to you to figure out who falls in which category. Kapur, however, can instinctively understand the tone of the project he's in, figure out his position in it, and then mould his performance accordingly. Over the course of his decades-long career, he has proven himself to be uncommonly chameleonic. In the cult comedy classic Jaane Bhi Do Yaaro, he played the cartoonish villain Tarneja; a dastardly man with a Napoleon complex so comical that his entire body seemed to be revolting against it. In Vishal Bhardwaj's Maqbool, he communicated more through a silent closeup than others could with a soliloquy; in Anubhav Sinha's IC-814: The Kandahar Hijack, his one look was enough to inspire faith in an institution as untrustworthy as government. Kapur was doing television before it became cool (even in Hollywood). And yet, when lists are made about the greatest Indian actors of his generation, for some reason, his name isn't at the top of them. Naseeruddin Shah won a Padma Shri in 1987, and a Padma Bhushan in 2003. Kapur, 71, has won neither. Also read – Kapurush: The most underrated film of Satyajit Ray's career predates Past Lives by decades, but is even more stirring Perhaps the greatest metaphor for his career is the plot of the film Ek Doctor Ki Maut, directed by Tapan Sinha and released at the end of the parallel cinema movement; Aditya Chopra and Ram Gopal Varma were right around the corner, ready to drive Hindi movies to an entirely foreign destination. In the film, the detestable Dr Dipankar Roy claims to have invented a vaccine that could wipe leprosy off the face of the earth. But he's made to run around in circles by professional rivals, jealous colleagues, and petty superiors. In the end, he throws in his weapons and concedes defeat, allowing foreign scientists to claim a victory that was rightfully his. The biggest question that Ek Doctor Ki Maut leaves you with is this: had Dipankar been a more pleasant fellow, would he have avoided getting wrapped up in red tape? Would he have been honoured for his achievements? The biggest hurdle in Dipankar's path to success, the movie suggests, is his personality. He doesn't drink a drop of alcohol in the film, but Kapur plays him like a drunk. Dipankar is prone to outbursts; they're typically directed at his long-suffering wife, Seema, played by Shabana Azmi. He doesn't seem to have any friends, although he finds companionship of a kind in a young reporter, played by Irrfan Khan. His anger and frustration erupts with worrying regularity; he doesn't much care for the basic necessities of life, such as food and leisure. Dipankar isn't a happy man, not even when he's tinkering away in his home-made laboratory. There's probably more than one undiagnosed mental illness lurking in his psyche. It's a waste of his time, he says, to be put through the rigmarole by middle-managers and the like. Everybody in his community seems to either be jealous of him or furious at him. It isn't that they doubt his claims; he could've cured cancer for all they care. They simply don't want someone like him to succeed. But then, there's evidence to suggest that they'd have probably have treated him similarly had he been a nicer person. Kapur himself toyed with this alternate scenario in the show Office Office, which trapped an altogether more agreeable man in a web of bureaucracy. What Dipankar needed to be, it becomes clear as the movie goes along, is a sycophant. Read more – Sikandar: Anurag Kashyap's right; Bollywood is doomed if stars like Salman Khan enable the Snapchat-ification of cinema It's no secret that one's ability to navigate the system plays a role in their being considered for an award. Eligibility is secondary; talent is tertiary. Not always, but often. There is no way of knowing how astute Kapur is in these matters. But, as Ek Doctor Ki Maut asserts, Indian society has an odd relationship to fame. Poor behaviour is forgiven (at least publicly) the moment someone hits a certain level of popularity and power. Like everything else, their reputation often rests on their ability to make others money. And since fame and finances are usually in bed together, it's common for folks who've outlived their usefulness to be discarded without a thought. These are all ideas that Ek Doctor Ki Maut contemplates, but struggles to express; at least not as lucidly as IC 814: The Kandahar Hijack, yet another project featuring Kapur that put 'babugiri' on blast. Dipankar is mature enough to understand the ways of the world, and yet, because of his misplaced idealism, he finds it near-impossible to fit in. He is a recluse; he leaves home only to tend to his patients. That, too, with a clinical dispassion. He finds it easier to channel his frustration into hate for an inanimate disease than empathy for a living being. He's a complex character with exactly two dimensions, the sort that sounds impossible to play on screen. And this is why Kapur's performance is so memorable, and his effortless talent so underappreciated. Post Credits Scene is a column in which we dissect new releases every week, with particular focus on context, craft, and characters. Because there's always something to fixate about once the dust has settled. Rohan Naahar is an assistant editor at Indian Express online. He covers pop-culture across formats and mediums. He is a 'Rotten Tomatoes-approved' critic and a member of the Film Critics Guild of India. He previously worked with the Hindustan Times, where he wrote hundreds of film and television reviews, produced videos, and interviewed the biggest names in Indian and international cinema. At the Express, he writes a column titled Post Credits Scene, and has hosted a podcast called Movie Police. You can find him on X at @RohanNaahar, and write to him at He is also on LinkedIn and Instagram. ... Read More
Time of India
30-05-2025
- Time of India
Chargesheet filed against Dubai woman for entering Bollywood actor's house
Mumbai: The Khar police filed a chargesheet on Wednesday against a 47-year-old Dubai resident who illegally entered actor Aditya Roy Kapur 's Bandra (West) flat on May 26. Gajala Siddiqui, who is married to a businessman, claimed to be a devoted fan of Kapur and said she had met him at a Dubai institution's inauguration in 2017, although the actor does not remember this encounter. She said she obtained the actor's address through an internet search. The incident happened between 6pm and 7.30pm when Siddiqui travelled by taxi from Mumbai International Airport after arrival and reached Kapur's home in Rizvi Heights. "The chargesheet was filed after we gathered details about Siddiqui's intention and purpose of her visit and how she managed to get hold of the actor's address. She claimed she discovered the actor's residential address through an internet search, travelled to Mumbai on Monday without informing her family," said a police officer of the Khar police station. The filed chargesheet includes statements from the actor's house help, Sangita Pawar (49), the society manager, and his manager, along with CCTV evidence. "Our investigation revealed that Siddiqui departed without her mobile phone. Her family and husband were unaware of her location until the police station contacted them about the case. She is currently in Byculla Women Jail following her court appearance after police custody. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Kickstart your new journey with the Honda Shine 125 Honda Learn More Undo Her husband and family are expected to arrive in the city," said the officer. The officer indicated that the court will decide about releasing her passport and permitting her return to Dubai. Siddiqui informed police that she took a cab from the airport to the address she found online. At 6pm, Siddiqui entered the flat after convincing the house help, Sangita Pawar (49). In the complaint, Pawar said: "I was alone at home. At 6 pm, the doorbell rang. When I answered, I found a woman at the door. The woman asked if it was the residence of actor Aditya Roy Kapur. When I confirmed it, the woman said she had brought clothes and other gifts for the actor. I believed her and let her in after I informed that the actor is out for shooting." When Kapur returned, he was told about the visitor but said he did not recognise her. "She tried to approach the actor, prompting him to leave the house and contact society manager Jayashree Dunkdu. Dunkdu then informed the actor's manager, Shruti Rao, who quickly arrived in the flat and contacted the Khar police. When I asked the woman to leave, she refused and insisted on staying at the actor's residence," Pawar said in the FIR. The situation continued for 90 minutes at Kapur's residence before his house help alerted his managers and the police. Siddiqui, who brought gifts and clothing for Kapur, would not leave without meeting him.
