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This actress married a Muslim against her family's wishes, brother of superstar, then made serious allegations against him, Salman Khan came to support; She is…

This actress married a Muslim against her family's wishes, brother of superstar, then made serious allegations against him, Salman Khan came to support; She is…

India.com5 days ago
Remember Eva Grover? She appeared in the film Ready alongside Salman Khan and was a popular face in both films and television. However, Eva Grover's personal life was quite painful. She eloped and married Aamir Khan's stepbrother, Haider Ali Khan, as their families were against the relationship. After marrying a Muslim, Eva experienced hardships that led her to regret the decision. She later made serious allegations against her husband. Eva was Hindu and Haider was Muslim; the family was against the relationship. Eva Grover and Haider Ali Khan's failed marriage
Eva Grover had described her marriage as abusive in the 'Coffee Unfiltered' podcast and said that she had suffered a lot in that marriage. She said, 'We eloped and got married in just 18 days. My mother didn't want me to marry him because it was an interfaith relationship. But by the fourth day, I realised marriage wasn't what I thought it would be.'
Grover did her best to save her marriage and even had a child, hoping things would be better, but nothing worked out. She added that he wasn't mature enough to handle a marriage. She stated, 'The divorce thankfully happened, my daughter lived with me till she was 3 years old. One day I came back from shoot and asked my mother where my daughter was and she said she gave her to her father. I lost my daughter and didn't get to see her for 10 years. She now lives with her aunt. I meet her occasionally and have stayed with her. I tried to financially support my in-laws also. But at that time, I was going through depression, with too much anger and questions in my head. I had no one to talk to.'
How Salman Khan helped Eva Grover?
Eva revealed Salman Khan helped her in those terrible times. She stated that he offered her Bigg Boss and told her that if she did, then she wouldn't have to do anything. Salman was the one who took her in the film, Ready . However, she declined his offer to Bigg Boss as she wasn't ready. 'Salman was very supportive at that time. In fact, he offered me the opportunity to come on the Bigg Boss show. People from his end actually told me that all I had to do was to be part of it, and they'll ensure I'd be there for a long time. But I wasn't able to do it, said Grover.
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Salman Khan's new look with moustache and buzz cut for 'Battle Of Galwan' steals the show as the actor gets spotted in the city: PICS
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Salman Khan's new look with moustache and buzz cut for 'Battle Of Galwan' steals the show as the actor gets spotted in the city: PICS

Salman Khan turned heads in Mumbai on Wednesday night when he stepped out in a completely new look, leaving fans buzzing with excitement. The actor, who has been dropping hints of his transformation through intense gym videos on Instagram, was finally spotted in his full avatar for the upcoming patriotic film, 'Battle of Galwan'. Salman 's striking new look Wearing a plain black T-shirt and seated in his SUV, Salman kept things simple but impactful. What immediately caught everyone's attention was his cropped buzz cut and a thick moustache – a clear nod to his military role in the film. His serious facial expression and noticeably bulked-up body only added to the commanding vibe, convincing fans that he's already deep into his prep for the big role. First glimpse of 'Battle of Galwan' Just days earlier, the makers of 'Battle of Galwan' had unveiled the motion poster on social media, which showed Salman with bloodstains on his face and his signature moustache. The intense visuals hinted at a raw and emotional performance filled with patriotism and sacrifice. With a setting more than 15,000 feet above sea level, the film promises to be a gripping war drama with high emotional stakes. Filming starts soon According to a report by Mid-Day, Salman is all set to begin shooting in early August. The film will kick off with a schedule in Mumbai, before the team heads to Ladakh for the more intense scenes. A source close to the production revealed that a large set is currently being built at Mehboob Studio, which should be ready by the end of July. The source shared, 'The Mehboob Studio schedule is crucial as [the team] has to shoot some of the early character-building moments there before the team heads to Ladakh for the high-octane action. '

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Review: Muslim Identity in Hindi Cinema by Mohammad Asim Siddiqui
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The pervasive influence of new information and communication technology has transformed culture, literature, the fine arts, and other forms of entertainment into powerful transnational productions. Now, cinema serves as a reflective mirror to our rapidly evolving social landscape, illuminating and informing us about significant societal shifts. Ranveer Singh as Khilji in Padmavat. 'An unprecedented surge in structuring films on themes related to Muslim rulers reveals a sense of naivety on the part of the directors, who seem to believe that retelling the past or the imagined past settles the question of cultural identity.' (Film still) Films with their vivid characterisation, intriguing visuals, and gripping storylines transcend fantasies of desire and reveal what lies beneath the vicissitudes of life. Cinema appears to be the site of every twist in collective life, upending our settled understanding of lived experience. The postmodern era has given rise to transformational cinema, queer cinema, and politically charged films that lend a voice to subcultures, fostering a sense of empathy and inclusivity. 185pp, ₹3145; Routledge The widely admired portrayal of fervent nationalism has given rise to a new notion, 'cine patriotism,' which is essentially a stagnant concept. It resonates with Bollywood, which often constructs identity within a particular national and religious context. Identity is a slippery and multilayered concept, and when it pertains to those people who, in Franz Fanon's vivid phrase, are without any anchor, without horizon, and colourless, it becomes more complex. For Indian cinema, national identity can only be constructed if it is contrasted with a less-than-desirable, if not loathsome, other. It is the other's ghostly presence that goes well with the gullible audience. In cinematographic projection, the other is the Muslim, who is fictionalised and plays the assumed role. The narrative and visuals fix him in violence, hostility, and aggression. His story is constructed through fantasy, myth and falsification, which leaves him experiencing himself as the other. The portrayal is done through two vectors – cultural difference and social rupture. Negotiation of identity among Muslims remains a shifting motif, serving as a potential tool for othering by contemporary Hindi cinema. Right now, this is how our film industry treats the second-largest Muslim population in the world. How does the expropriation of cultural and religious identity hinder the understanding of a community? Indian cinema addresses this by focusing on a simplified and often distorted representation that fails to capture the complexity of identity. An unprecedented surge in structuring films on themes related to Muslim rulers reveals a sense of naivety on the part of the directors, who believe that retelling the past or the imagined past settles the question of cultural identity. Pran and Amitabh Bachchan in Zanjeer. 'The issue of the Muslim gangster is explored in the fourth chapter, which provides a close reading of Zanjeer (1973), Angaar (1992), and numerous other films.' (Film still) The diacritics of cinematic aporia call for an objective delineation and insightful analysis, and it is what Asim Siddiqui's recently published book, Muslim Identity in Hindi Cinema does with academic rigour. The author rightly considers cinema a site of hybridity, diversity, and splitting, where relations, assimilations, and syncretizations are negotiated and renegotiated. Hindi films also did this in the portrayal of Muslim identity over the last eight decades. Now, however, the situation has changed. This book attempts to analyse 'how the inclusive vision presented in films like Mughal-e Azam (1960) has been replaced by a Hindutva vision in many films using history as a backdrop where Muslims appear in the image of the other.' Comprising six terse and incisive chapters, the book provides a panoramic yet invigorating view of the representation of Muslims in new social settings and idioms. Siddiqui discovers, excavates and discusses the changing perception of Muslim identity from the historical films of the 1940s down to the recent movies that perpetuate stereotypical notions of Muslim identity. With critical acuity and social and cultural sensitivity, he unravels the representation of global Muslim identity in a post–9/11 world and emphasises the need for a more nuanced understanding. The first chapter, From History to Circus: Politics of Genre and Muslims' Representation in Hindi Films enumerates historical, political, social and cultural aspects of Muslim identity, and discusses issues relating to Partition, to Muslims into a secular nation, interreligious marriages, ever growing communalism, militancy in Kashmir, and the subjugation of Muslim women. The second chapter goes well beyond the paraphrasing of themes and cursory interpretation of visuals, costumes, lyrics, music, and sound effects. The author sensitively reads the films of Raja Kumar Hirani and Zoya Akhtar, where the predictable markers of identity hardly work. A dispassionate analysis is presented in the third chapter, which examines the portrayal of Hindu-Muslim hostility and violence in films. Author Mohammad Asim Siddiqui (Courtesy the subject) The issue of the Muslim gangster is explored in the fourth chapter, which provides a close reading of Zanjeer (1973), Angaar (1992), and numerous other films. The figure of the gangster has now been replaced with that of a terrorist and has produced the terrorist genre of Hindi films. The author takes pains in chewing over the globalisation of terror and the setting of terrorist films in Afghanistan, Turkey and London. The last chapter provides a panoramic view of the representation of Muslim women characters in Hindi cinema. 'Muslim women also appear in many interreligious romances where the man usually happens to be a Hindu and the girl a Muslim,' Siddiqui correctly points out, adding that the pattern 'guided by the demands of political correctness and market forces, reveals deep-rooted sexual anxiety about protecting and preserving women from defilement.' In sum, the book presents an insightful and multilayered analysis of the representational aspects of Hindi cinema. Shafey Kidwai, a bilingual critic, is the director of Sir Syed Academy, Aligarh Muslim University.

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