Who Is Sara Arjun? Ranveer Singh's 20-Year-Old Dhurandhar Co-Star Was Once India's Highest-Paid Child Actor
She Started Acting Before She Turned Two
Sara Arjun was born on June 18, 2005, in Mumbai and entered showbiz before she could even form full sentences. She began her career in advertisements as a toddler, appearing in over 100 TV commercials by the time she was five. From big brands like McDonald's and Maggi to detergent and chocolate ads, Sara was a familiar face in Indian households long before she became a movie star.
Her First Movie Turned Heads Across the Country
Sara became a household name with her debut film Deiva Thirumagal (2011), a Tamil drama where she starred alongside actor Vikram. At just six years old, her portrayal of Nila — the daughter of a man with special needs — moved audiences and critics alike.
She Works in Multiple Languages
After winning hearts in Tamil cinema, Sara quickly branched out into Hindi, Malayalam, and Telugu films. She was seen in Ek Thi Daayan, 404, Jazbaa, and The Song of Scorpions in Hindi, and also played pivotal roles in Tamil hits like Saivam, Sillu Karupatti, and Mani Ratnam's epic duology Ponniyin Selvan: I & II, where she played a younger version of Aishwarya Rai's character. She's known for picking emotionally challenging roles across different languages.
Also see: Ranveer Singh Unleashes Wrath In Dhurandhar First Look: 'Bigaadne Ka Waqt Aa Gaya Hai'
The Big Leap: Her First Adult Lead Role
Now 19, Sara is making headlines once again—this time for her reported role opposite Ranveer Singh in Dhurandhar, an action-spy film directed by Aditya Dhar. This will be her first major role as a leading lady in a Bollywood blockbuster, marking a significant leap from child actor to mainstream heroine. The film, expected to release in 2025, could be a game-changer for her career.
She Comes from an Acting Family
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New Indian Express
28 minutes ago
- New Indian Express
Iron Man to Thunderbolts*: How Marvel went from genius to 'generic' and how they can fix it
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Marvel ruled the zeitgeist in the 2010s. But come the 2020s, and they're just a notch better than the fare DC turned out in the 2010s. Sure, Thunderbolts* isn't the worst offender in the superhero genre, but let us also not pretend it is Iron Man reborn. Ah, Iron Man. Remember 2008? When Tony Stark crash-landed into our hearts with his outrageous ego, AI tools before AI was cool, and a geopolitical conscience? That film wasn't just explosions and snark; it pointed a finger at American hubris, wrapped in a full metal jacket (pun intended). Fast-forward to Thunderbolts*, where the stakes are… uh… something something world-ending macguffin? Yawn!!! The magic of early Marvel was its microscopic focus: Tony saving himself, Cap punching Nazis (and nationalism), and Civil War turning heroes into squabbling siblings over a Sokovia-sized guilt trip. Those films had texture; they were political thrillers with a coating of spandex. But post-Endgame, most Marvel's scripts seem penned by aliens who've only heard of Earth via garbled intergalactic podcasts. Eternals? A snooze-fest of celestial taxidermy. Multiverse of Madness? More like Multiverse of Meh-ness. And Quantumania? Let's just say it made the quantum realm feel as exciting as a spreadsheet. These films float in a narrative tesseract, untethered from reality, emotions, or basic logic. Remember when Marvel villains had motives deeper than 'muahaha, destruction'? Thunderbolts* tries. It really really does. There's a Tulsi Gabbard-esque politician, and a half-baked metaphor about talking to evil to quell it and a desperate attempt to reheat the old trope of washed-out, has-been, or could-have-been superheroes redeeming themselves. Yet, somehow the results don't match the desperation, and we get a film that's all sizzle, no steak; a fireworks display where the fireworks are CGI and the fuse is a damp matchstick. Writing action movies is tough. 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In cinema, when you prioritise spectacle over soul, when a green screen outshines your hero's journey, sorry, but you've lost the plot. Now, here's the thing. It's fun to simply critique, but can I offer Marvel any solutions? As a screenwriter and film geek, I think I can. In 2008, Marvel was the scrappy underdog, not the behemoth ordering audiences to 'assemble' like a corporate retreat. Iron Man wasn't just a film; it was a dare. A dare to care about a narcissistic weapons dealer with a heart condition. The genius? It didn't ask us to love Tony Stark; it asked us to root for his redemption. His villain wasn't some alien warlord; it was his own weapons, his greed, his America. The film's climax wasn't a city-levelling laser fight (okay, fine, there was a big fight and a few buildings were indeed damaged), but Tony Stark admitting, 'I am Iron Man,' mind-blown because it was a confession that felt like a middle finger to secret identities and a handshake with accountability. 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