Aamir Khan's Lagaan Song ‘Radha Kaise Na Jale' Gets Shoutout From Oscars' Official Instagram Handle
New Delhi: Aamir Khan, one of the most celebrated and iconic actors in Indian cinema, is known for delivering films that resonate both nationally and internationally. Among his many acclaimed works, Lagaan (2001) remains a timeless classic. The film didn't just make waves in India—it earned global recognition, even securing a nomination for Best Foreign Language Film at the 74th Academy Awards.
Starring Aamir Khan as the brave and inspiring Bhuvan, the film was lauded for its powerful storytelling, compelling performances, and unforgettable music. One of its most cherished songs, Radha Kaise Na Jale, featuring Aamir and Gracy Singh in a vibrant dance sequence, has now been spotlighted by the Oscars. The official Instagram handle of the Academy shared a clip from the song, once again honoring this cinematic gem.
The Academy wrote:'Love, longing and a little bit of fire in her eyes. Aamir Khan and Gracy Singh performing 'Radha Kaise Na Jale' (vocals by Asha Bhosale and Udit Narayan) from Ashutosh Gowariker's Lagaan. The film was nominated for Best Foreign Language Film (India) at the 74th Oscars.'
Lagaan (2001) is a critically acclaimed Indian epic sports drama directed by Ashutosh Gowariker and produced by Aamir Khan under Aamir Khan Productions. The film stars Aamir Khan, Gracy Singh, Rachel Shelley, and Paul Blackthorne. Set in British-ruled India, it tells the story of a small village that challenges British officers to a game of cricket in a bid to avoid paying unjust taxes (lagaan).
As for what's next, Aamir Khan is set to star in Sitaare Zameen Par, a spiritual sequel to his beloved film Taare Zameen Par. Produced under his banner, Aamir Khan Productions, the film is slated for release on June 20, 2025, and is already highly anticipated.
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Indian Express
16 minutes ago
- Indian Express
Kamal Haasan and Mani Ratnam's Nayakan is not timeless, nor has it aged well; let that sink in
Ok, first things first. My intention is not to dismiss or disregard the impact and influence Nayakan (1987) has had, nor the contributions Mani Ratnam and Kamal Haasan have made to Indian cinema, both of which have inspired many to pursue filmmaking and acting. These are well-documented facts. However, the Nayakan effect on the masses has been so strong, unwavering even with time, that it almost (just almost; not necessarily exactly) feels like a bandwagon effect, where a critical evaluation of the film rarely occurs. You're free to conclude that I have a contrarian bias and move on. But Mani Ratnam himself told The Indian Express back in 1988, 'Whenever I see a film, I view it critically.' Yet, I honestly don't think Nayakan is a bad movie. In fact, it contains several commendable elements, some never-before-seen in Indian cinema. So, let's keep aside the blind devotion to the crime drama, take a step back and ask: Is Nayakan truly 'peak cinema'? Has it aged well? And where all did it falter? Now that Kamal Haasan and Mani Ratnam gear up for their first movie in 37 years, Thug Life, this is the right time. For this, let's work our way inward from the surface by analysing the film's narrative and technical aspects. Undoubtedly one of the finest movie dialogues in Tamil cinema, and one that has repeatedly found its way into pop culture, is the question posed by Sakthivel 'Velu' Nayakkar's (Kamal Haasan) grandson to him at the end, 'Neenga nallavara kettavara? (Are you a good person or a bad person?),' which shatters the old man. As Mani Ratnam once remarked, it 'puts across the moral dilemma of the man in a nutshell'. This is despite Velu's lifelong adherence to his guiding motto, 'Naalu peru saapida udhavumna, edhuvume thappille (If your actions help feed four people, then there's nothing wrong with it).' Although the movie abstains from offering a direct narrative answer to this question, its very title, Nayakan, is a significant giveaway. Yes, one could argue that it's a variation of his surname, Nayakkar (also written as Nayakar, Naikar, Nayaka, Naik, et al) — which also highlights his dominant caste background — but it literally translates to 'Hero' in English. True, its hero cannot be confined to the binaries of good or bad. However, considering the era in which the movie was made and Indian audiences' long-standing obsession with on-screen male heroes, particularly when portrayed by beloved stars, naming a film that seemingly refuses to take a clear stance on its protagonist's morality 'Hero' was an avoidable move. Unless, of course, the intention was a kind of reverse psychology. One of the biggest shortcomings of Nayakan is its overt and unabashed obsession with Kamal Haasan. In a way, Nayakan could be seen as an 'Aandavar fanboy sambavam' by Mani Ratnam, decades before the phrase even entered the Indian cinema vocabulary. Almost every element in the film seems designed to give the actor a moment to deliver an extraordinary performance, whether in the same shot/scene or the subsequent one(s). Considering this was still Mani Ratnam's early period as a filmmaker — having debuted just four years earlier, though impressively directing five films in that time — he had yet to master the art of preventing the star/actor from overshadowing the narrative itself. He revealed recently that they didn't have a bound script for Nayakan initially. By the time he made Thalapathi (1991), Mani had developed a better grip on this balance. The script for Thalapathi reflected his significant growth as a writer, weaving together diverse elements that connected meaningfully to the film's core, which was not Rajinikanth the star-actor. However, in Nayakan, Kamal is the film's soul, the air it breathes and its all-encompassing lordship. While Mani did manage to draw exceptional work from all involved, particularly Kamal, composer Ilaiyaraaja, cinematographer PC Sreeram and editors B Lenin and VT Vijayan, the film ultimately revolves around the actor and his exceptional skill set, especially his ability to emote through facial expressions and body language. Even before Velu becomes Nayakkar of Dharavi — while he is still just a boy who fled his hometown of Thoothukudi after stabbing a police officer who murdered his union-leader father — Nayakan's focus is singularly on him. After the film opens with the murder of Velu's father and his escape to Mumbai, and once the young Velu appears, the film's fixation on Kamal begins immediately. It doesn't spend time offering exposition about young Velu; instead, it jumps straight into showcasing Kamal's acting prowess. From the moment he is arrested by the police for 'acting smart' during a forced eviction in the slums, the camera and script begin to serve the actor's range more than the character as such. Mani Ratnam crafted each shot from this point onwards to highlight the actor's many strengths, even if that meant compromising the script by making everything be about Kamal and not Velu. While the film features a handful of characters here — some named, most not — they are only relevant when in relation to Velu. They lack agency or defined identities when not in his orbit. Even as the movie progresses and we see Velu becoming Dharavi's Nayakkar — inspired by real-life Mumbai mafia don Varadarajan Mudaliar — saving the people, Nayakan doesn't care much to actually show who these people are. They all end up serving merely as contributors to his evolving character arc. The savarna saviour complex here is so pronounced that only the saviour occupies the foreground, while those Mani Ratnam deems in need of saving — members of oppressed communities — are, as usual, relegated to the background, appearing only as part of crowds. Even characters who have names and belong to Dharavi, such as Hussain (MV Vasudeva Rao), the man who raised Velu and meets a tragic end, his daughter Shakila (Tara), and Velu's friend Selvam (Janagaraj), exist solely through their connection to Velu. Although Selvam is almost always by the 'hero's' side and is the only one who has the guts to call him 'Velu' to his face even after he became Nayakkar, he, too, is just a background character with no story of his own. Despite Dharavi having enough people, we also see one 'Iyer' (Delhi Ganesh) appearing out of nowhere and becoming Velu/Nayakkar's source of knowledge. Once Velu becomes 'the chosen one' (self-appointed by the way; no one voted), Mani also cleverly overlooks Velu's illegal businesses, despite the clear historical knowledge that while the dominant caste people may run the operations, it is the marginalised who will ultimately bear the consequences (and they do as well in Nayakan, time and again). 'Naalu perukku udhavumna, edhuvume paavamille (If it helps four people, there's no sin in it)' is the line he keeps repeating. But when the situation demands, he is financially secure enough to send his children, Charumati (Karthika) and Surya (Nizhalgal Ravi), to Madras for safety. What about those without names, identities or financial backing? What about the rest of Dharavi? Nayakan simply doesn't care. Though he is positioned as a saviour, the 'celebration' of which happens in the scene where he refuses to sleep with the underage sex worker Neela (Saranya Ponvannan) after learning she has an exam the next day and wants to study, is he truly one even for his dear ones? Despite knowing her aspirations, Velu soon chains her with a thaali (mangalsutra) without her consent. She lived the rest of her life as a housewife before ultimately being killed by her husband's enemies. Even later, when Charumati questions his system of running a parallel government, Nayakkar insists that he can't stop since he never chose this life of his own free will. 'Are we doing all this because we actually want to? We have no other option, dear,' he tells her. But didn't he? Despite wielding enormous influence, political connections and wealth, we never see him attempting to uplift the broader living conditions of Dharavi's marginalised population, which would have allowed him as well to slowly give up everything. 'I'll buy five ambulances for Dharavi. They won't ply for the rich, only for the poor,' he says at one point. But even after this, we never see Nayakkar stepping back to reflect on or challenge the deeper social stigma against the people of Dharavi. Instead, he grows wealthier by the day, while the marginalised remain his loyal foot soldiers, ever ready to lay down their lives for his protection (they literally do this as well towards the end). So, is there really any doubt left about whether he's a good person or a bad one? While Nayakan presents one of its central themes, 'he who lives by the sword shall perish by the sword', through Velu's gradual downfall, including the loss of his son Surya as well following his wife's murder, Charumati leaving him, and his eventual death on the street after being shot by Inspector Kelkar's son Ajit (Tinnu Anand) whom Velu had been raising ever since he killed Kelkar himself, another question arises: Was the overt humanisation of a man involved in numerous illegal activities really necessary? Although Francis Ford Coppola's The Godfather (1972), based on Mario Puzo's novel and an inspiration for Nayakan, also delved into the inner world of mafia bosses, particularly their interpersonal relationships, it did not overtly humanise them. Their moral ambiguity remained intact and unsoftened. However, in Nayakan, partly because the role was played by Kamal Haasan and partly due to the Indian audience's penchant for melodrama and hero worship, Mani Ratnam un/knowingly infused the character with such a level of drama and cues to make the audience subconsciously perceive Nayakkar as the hero. Circling back to the intro, I wouldn't call Nayakan 'peak cinema'. Pandering to a largely savarna audience, who made up the lion's share of the movie-going public at the time since watching new releases regularly was a luxury only the privileged could afford, and to 'Aandavar' fans does not inherently make a film great. At the same time, completely disregarding the masses among whom the story is set is nothing short of ignorance. And no, the film hasn't aged particularly well. That said, Nayakan is undoubtedly a good film, where the blending of words and visuals happens organically and beautifully, with Ilaiyaraaja's music, as always, elevating the entire experience. One of the strongest aspects of Mani Ratnam's script is how efficiently it omits the unnecessary and includes only what is needed to deliver the filmmaker's vision; unlike the current trend of overwriting and over-filming and mindlessly splitting a movie into multiple parts. Kamal Haasan's performance is undoubtedly exceptional, so much so that it has helped mask many of the film's flaws over the years, leading audiences to blindly believe that Nayakan is 'the one'. He won his second National Film Award for Best Actor for his performance here. Nonetheless, Nayakan proves that just because a movie is good, it doesn't mean it's great or free of flaws. And it's important to analyse cinema critically — to call a spade a spade — and point out its shortcomings and misrepresentations. After all… Cinema cannot exist in a vacuum; it's all about the discussions that follow. In the Cinema Anatomy column, we delve into the diverse layers and dimensions of films, aiming to uncover deeper meanings and foster continuous discourses. Anandu Suresh is a Senior sub-editor at Indian Express Online. He specialises in Malayalam cinema, but doesn't limit himself to it and explores various aspects of the art form. He also pens a column titled Cinema Anatomy, where he delves extensively into the diverse layers and dimensions of cinema, aiming to uncover deeper meanings and foster continuous discourse. Anandu previously worked with The New Indian Express' news desk in Hyderabad, Telangana. You can follow him on Twitter @anandu_suresh_ and write (or send movie recommendations) to him at ... Read More
Time of India
32 minutes ago
- Time of India
Aamir Khan talks about his red flags in relationships, recalls making ex-wife Kiran Rao cry: ‘Whenever I was hurt or heartbroken..'
Aamir Khan , often called 'Mr Perfectionist' in Bollywood, has always impressed fans with his dedication to his work. But off-screen, the actor has also started opening up more about his personal life and past mistakes. In a recent chat with podcaster Raj Shamani, Aamir spoke honestly about the emotional challenges he faced in his marriage with filmmaker Kiran Rao . Letting his guard down, the 'Lagaan' actor reflected on moments that still haunt him, especially one where he admitted to unintentionally hurting Kiran so deeply that she broke down in tears. 'Being a workaholic was a red flag' When asked if he had shown any red flags in his relationships, Aamir didn't hold back. He admitted that being a 'workaholic' was one of his biggest faults. He shared that in the earlier stages of his life, he was completely consumed by work. Emotional immaturity, he said, often took control of him. Aamir revealed that whenever he felt emotionally hurt, he would completely withdraw. He said he would not speak to anyone for days and explained, 'Whenever I was hurt or heartbroken, I would shut down completely—like the shutters would come down all around me. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Realize planos com o banco BV Banco BV Saiba Mais Undo After that, it was impossible for anyone to reach me.' 'I was so hurt, I stopped talking to Kiran' The 'PK' actor recalled a specific disagreement he had with Kiran Rao, saying it was a typical husband-wife argument. He admitted he didn't even remember what it was about anymore, but it had affected him deeply at the time. He felt so hurt that he completely shut down. Even though they were sharing the same house, sleeping in the same room, and even on the same bed, he refused to properly speak to her. He said he only gave her short, curt replies. He described this as his indirect way of showing her that he was unhappy. Four days passed, and one night, Kiran tried to speak to him again. But Aamir still wasn't ready to respond. That's when she broke down in front of him. He remembered her words clearly as she cried and said, 'Mujhe samajh nahi aa raha ki main kya karoon, aap toh bilkul respond hi nahi kar rahe ho.' 'Deep hurt… ego is the right word for it' The '3 Idiots' actor admitted that even though he knew the situation had gone too far, he was still held back by a mix of emotions. He said the main reason he couldn't make peace was his ego. 'Deep hurt… ego is a very right word for that,' he said. He confessed that he wanted to make things better, but emotionally, he wasn't in the right place to take the first step. It was only much later, through therapy, that he began to realise this pattern in himself. He called it a red flag—his inability to forgive when he felt deeply hurt. Sitaare Zameen Par | Song - Sar Aankhon Pe Mere Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
Indian Express
35 minutes ago
- Indian Express
‘For a while, Wall Street wasn't about finance…': DJ Arjun Shah on 400-strong baraat bringing NYC's money hub to a stop, landing Virat Kohli-Anushka Sharma wedding gig, and more
Not a campaign rally, not a protest march — an Indian wedding managed to bring New York's financial district to a halt, with 400 odd baaraatis dancing to upbeat tunes in their designer best. At the helm of it all, DJ Arjun Shah spun his magic and sent the party into frenzy, snippets of which found their way to social media and made headlines right away. 'Watching 400 people dance and celebrate in the middle of New York City's financial district was something I never imagined I'd be part of. The energy was next level, dhols echoing off skyscrapers, guests completely immersed in the moment, and passersby stopping to take it all in. For a while, Wall Street wasn't about finance, it was all about joy, music, and culture,' said Shah — better known as DJ AJ. With over two decades in the industry, he has become the go-to name for wedding entertainment. His impressive portfolio includes some of the biggest weddings in Bollywood and beyond, from Anant Ambani and Radhika Merchant's Europe cruise celebration to Virat Kohli-Anushka Sharma, Alia Bhatt-Ranbir Kapoor, Priyanka Chopra-Nick Jonas, Athiya Shetty-KL Rahul, Sonam Kapoor-Anand Ahuja and Kiara Advani-Sidharth Malhotra nuptials. Recalling how he landed the Wall Street gig, Shah revealed that he was booked to perform for a multi-day wedding, and at the time, was only given the dates and details of the functions, not the actual venues. 'It was only later that I discovered one of those events would happen on Wall Street. That's when I realized this was going to be something really special. I wasn't part of the planning process, just brought on to handle the music, but I'm grateful to have been involved in such a standout moment,' he said. Known for his ability to curate dynamic, high-energy performances across genres like Bollywood, Hip-Hop, R&B, and Techno, Shah transforms weddings into unforgettable experiences. He has also shared the stage with global music icons such as David Guetta, Katy Perry, Pitbull, The Backstreet Boys, and The Chainsmokers. caught up with him at length to discuss the rapidly evolving wedding industry, his creative process, and the unforgettable moments from celebrity weddings. Edited excerpts below: Arjun Shah: The experience at the Adani wedding was amazing. It was a high-energy crowd that truly loved their Bollywood music. The couple enjoyed a few English mashups that I played, especially my own production—Tere Liye x I Adore You. Arjun Shah: Their wedding playlist was primarily Bollywood-heavy, especially featuring songs from their own movies—the ones they had danced to on screen. Arjun Shah: I was approached by an event company for the wedding, but they didn't reveal the couple's name or any details—just that it was a huge opportunity. At the time, I was attending my best friend's wedding, scheduled on the same dates, so I initially turned it down. A few days later, they reached out again for the reception, and luckily, I was available. All I knew was that I would be performing at The St. Regis, Mumbai. When I arrived, I noticed a lot of paparazzi outside but still had no clue who the couple was. It was only when I saw the couple's logo outside the banquet that I realised it was Virat-Anushka. That moment was truly unforgettable. I do recall playing a lot of Punjabi and Bhangra tracks that night. The energy was incredible! A post shared by DJ AJ (@djajmumbai) Arjun Shah: I usually start with a brief from the couple to understand their musical preferences. Then, we set up a detailed call to get a sense of their vision, audience, and the vibe of the event. We also check if the couple is open to experimenting with different genres. This helps me curate a playlist that aligns with their expectations while also incorporating my own creative touch. Arjun Shah: I've genuinely loved working with all of them. But as a DJ, one wedding I can never forget is Farhan and Shibani's. It was at their house in Lonavala, and the couple danced their hearts out—whether it was English, Bollywood, or Hip-Hop blasting through the speakers. Their energy was unreal. Arjun Shah: My journey started when I was 15, after being selected by my school to DJ at an event. From there, I participated in War of DJs competitions and won five consecutive years. That's when I knew this was my passion. To hone my skills, I attended Point Blank Music School in London, where I learned the technical aspects of DJ'ing. Initially, I started playing at nightclubs, but my first wedding gig happened by chance—it was a family wedding. It turned out to be such a hit that it led to more bookings within the family, and soon, word-of-mouth brought me new clients. Arjun Shah: In recent years, couples have started blending global music genres with Indian music, creating a unique fusion at weddings. Bollywood classics are now being seamlessly mixed with international sounds like Afro House, Techno, and EDM—giving wedding playlists a fresh vibe. India definitely has a huge market for wedding DJ'ing. Weddings here are grand, and music is a core part of every celebration. Millennial and Gen Z couples especially love having a DJ curate unique sets for their wedding events. Arjun Shah: Couples want personalised, immersive experiences. Two years ago, I introduced my hologram act in India—a visual experience that fuses EDM, Techno, and Bolly-Tech, elevating live sets. This trend has taken off, and moving forward, we'll see production become even more technology-driven. Acts like holograms will only get bigger and better, with advancements in AI, augmented reality, and interactive visuals becoming part of wedding entertainment. Digital marketing and social media reels will play an even bigger role in shaping wedding music. Viral mashups are already influencing couples' playlists, and DJs will continue to create custom edits inspired by trending sounds. The focus will be on creating moments that look and sound great on social media, making wedding music not just about the live experience but also its digital impact. Arjun Shah: Seeing the event go viral has definitely been special. The moment already felt big in person, but watching how it resonated with people online, across the world, has added another layer to it. I think moments like these help shine a light on how powerful and joyful cultural celebrations can be, even in the most unexpected places. It's definitely encouraging as I look ahead. Ishika Roy is a is a Trainee Sub Editor for the lifestyle desk at The Indian Express. She shares a keen interest in reading, writing and researching on all things beauty, entertainment, pop culture and lifestyle. Ishika holds a Bachelor's degree in Sociology from Miranda House, Delhi and a Post-graduate degree in Journalism from Symbiosis Institute of Media and Communication, Pune. ... Read More
