Malayalam film actor Shine Tom Chacko's father dies in road accident in near Bengaluru, filmstar hospitalised
Renowned Malayalam actor Shine Tom Chacko's father Sibi Chacko, aged 70, tragically passed away in a car accident near Bengaluru in the early hours of Friday.
According to Manorama, the actor was also injured, and he was quickly transported to a nearby hospital for treatment. His mother, brother, and the driver of the car are also being treated.
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Hans India
an hour ago
- Hans India
Injured actor Shine Tom Chacko to undergo surgery after father's funeral on Monday
Thrissur: Malayalam actor Shine Tom Chacko, who was injured when his car crashed with a lorry at Dharmapuri in Tamil Nadu, will need to undergo surgery on his left hand, according to doctors attending on him. Speaking to the media here on Saturday, doctors attached to a private hospital in Thrissur said the surgery will take place anytime after the funeral of Chacko's father on Monday. "The actor and his mother were brought from Dharmapuri late on Friday night. Chacko has left humerus multiple fractures, an issue in the backbone's vertebrae, besides having multiple concussions on his body," said Sujoy, the treating orthopaedic surgeon. "All his vitals are stable, and when we informed him about the need for surgery, he said that since his father also passed away in the car crash, the funeral is fixed for Monday," added Sujoy. "His mother also has injuries. She is also stable. She has suffered hip injuries and a minor head injury. She will need rest," added the surgeon. "Chacko asked us when he can resume shooting, and we told him that he needs rest and rehabilitation for six weeks after surgery. He can resume light shooting activities after six weeks, but for doing fight scenes, he will have to wait for three months," said Sujoy. The accident took place on Friday at 6 a.m., and Chacko's father passed away while he was being taken to the hospital. The car occupants included the actor, his father, mother, brother and driver. The family which left from here in the wee hours on Friday was on its way to Bengaluru for the treatment of the actor, who is presently undergoing de-addiction rehabilitation. The actor was in the news since April after he was arrested after nearly three hours of questioning under Sections 27 and 29 of the Narcotic Drugs and Psychotropic Substances (NDPS) Act.
Indian Express
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Solving Crime: How a woman's murder probe led Karnataka cops to a ‘Drishyam'-inspired crime that stayed hidden for 5 years
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The couple's separation had been bitter. That August evening, Umesh had called Lalitha to discuss the divorce, Balaraju told the police. Umesh suggested they meet near the Basavanna temple close to Magadi to discuss matters 'amicably', he allegedly said. Lalitha agreed, but sensing something amiss, she shared her live location on WhatsApp with Balaraju's wife, Uma, before she left, borrowing a two-wheeler from him. The live location that Lalitha shared told a chilling story. In the FIR, Balaraju said that at 6.17 pm, Lalitha's location signal ended abruptly near Honnapura Lake. When Uma tried calling Lalitha and Umesh, neither answered. At 8.12 pm, Balaraju told the police, Umesh returned the borrowed two-wheeler, claiming he had accompanied Lalitha and put her on a bus home. But 19 minutes later, at 8.31 pm, Umesh allegedly called Balaraju confessing that he had killed Lalitha and begged him not to tell anyone. 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'He could have done it anywhere close to his place.' When pressed, Umesh allegedly revealed that choosing the remote location had been Kiran's idea. This detail sparked Giriraj's curiosity about Kiran's background, especially since no family members had visited him after his arrest. The breakthrough came when a constable contacted Kiran's mother-in-law, Gowramma, who lived in Tavarekere, Bengaluru. When asked about her daughter Pooja, Gowramma's story differed from Kiran's narrative, the police said. She said Pooja had disappeared five years ago—not 10—and that Kiran had filed a missing person's complaint with Magadi police. A quick check of police records, however, revealed that no such missing complaint had ever been filed. When confronted with this discrepancy, Kiran allegedly claimed he had come with two friends to file the complaint. The police tracked down these alleged friends, who categorically denied accompanying Kiran to any police station. 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The story took an even more bizarre turn when Kiran revealed how Drishyam 2 also allegedly influenced his actions. Two years after the murder, forest department officials began digging trenches in the area to prevent elephants from entering nearby villages. Fearing his crime might be discovered, Kiran took inspiration from the sequel, he allegedly told the police. He allegedly secretly excavated Pooja's remains, burnt the bones and teeth, and reburied them at a farm. Like the movie's protagonist, he believed destroying evidence would eliminate any possibility of detection, the police said. On August 26, 2024, based on Gowramma's complaint, the police registered a murder case against Kiran. He led investigators to the burial site, where forensic experts and Tahsildar Sharath Kumar oversaw the excavation. The burnt bones and teeth were recovered and sent for DNA analysis, with samples from Gowramma taken for comparison. The Magadi police later filed charge sheets in both murder cases. 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Hindustan Times
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Aabhyanthara Kuttavaali movie review: Asif Ali ably anchors this misguided film on men's rights and Section 498A
Malayalam actor Asif Ali has been having a dream run at the box office with films like Kishkindhakandam and Rekhachitram turning blockbusters. His choice of roles has been astute, and that's one reason perhaps why the audience looks forward to every release of his. Debutant director Sethunath Padmakumar has now given us Aabhyanthara Kuttavaali, which, like the trailer depicts clearly, is the story about a husband (Asif Ali) who is charged with Section 498A denoting dowry harassment and domestic abuse. Sahadevan (Asif Ali), who is a government temp worker in a cooperative society, is over the moon when he is going to get married to Nayana (Thulasi) and is all set for a happily married forever after on their wedding day. Unexpectedly, Sahadevan ends up with a gift of 100 sovereigns of gold from his father-in-law, and when his wife files a case against him for dowry harassment and domestic abuse, his entire world turns upside down. Sahadevan and Nayana's marriage isn't going perfectly, but what compels her to file a case of Section 498A against him? Hauled off to the Anthikad police station, Sahadevan desperately tries to prove his innocence by recounting events that took place in their short marriage. Nayana is very aloof, preferring no intimacy of any kind with him and insists she wants to go to the Netherlands to study. She suggests that the gold her parents gave can be sold off to fund her education, and when an unsuspecting Sahadevan objects to this, things go haywire. Nayana gets back at him by injuring herself and filing a domestic abuse case. The director then takes us through how Sahadevan struggles to prove his innocence in the courts. There have been numerous real-life incidents when women have misused Section 498A of the IPC and framed their husbands, and director Sethunath Padmakumar presents us one such case through his film. He bats for men's rights, and Sahadevan, along with two other men (Peter and Makkar), who are affected by a fake dowry case, are the vehicles through which he highlights this critical issue. However, what the director has also – wittingly or unwittingly – done is show that these men are extremely good-natured and can do no wrong, even if they have small vices like drinking. The women, on the other hand, are uniformly portrayed as evil with shallow values. And the director uses numerous instances to highlight this as well. But can men and women just be painted as black or white with no shades of grey? To soften the stance about women, there is a narration of various women, including Nayana, about the issues they face – but none of these issues are the serious ones like real domestic abuse, sexual harassment or ill-treatment that they deal with on a daily basis. One must commend Asif Ali for doing a fine job as Sahadevan on the quest for justice. But Sethunath Padmakumar has taken one aspect alone in this story – how a fake case of dowry harassment and domestic abuse is foisted on a good man - and built a case against the law. The story is not juxtaposed against the real cases of scores of women facing domestic abuse and how they struggle to get justice. Moreover, claiming that Section 498A is a bane for all men as it is misused by women is regressive and a slight to all the women who have and are undergoing this plight. Aabhyanthara Kuttavaali has the right idea of talking about men's rights, but the director and the story are truly misguided.
