9 films were incomplete after Divya Bharti's death, were later offered to..., made huge box office collections, films were…
Divya made her debut in Tamil cinema with the film Nilli Panne (1990). After this, the actress made her Tollywood debut and then entered Bollywood in the year 1992 with the film 'Vishwatma'. In her short film career, Divya gave hits like Shola Aur Shabnam, Deewana, Balwan and Rang. It is worth mentioning that the film Laadla was released 11 months after Divya's death (17 March 1994), which proved to be a superhit. Divya had shot half of the film, but after her death, the film went to Sridevi. Which actresses got the film after Divya's death?
After Divya Bharti's death on 5 April 1993, her films which were left incomplete include Sridevi in Laadla (1994), Karisma Kapoor in Dhanwan (1993), Raveena Tandon in Mohra (1994), Tabu in Vijaypath (1994), Mamta Kulkarni in Andolan (1995), Juhi Chawla in Kartavya (1995), Manisha Koirala in Kanyadaan (1993), Kajol in Hulchul (1995) and Pooja Bhatt in Bodyguard (1995).
Let us tell you about Divya Bharti that when she was in 9th class, she started getting offers for modeling and films. During this time she was 14 years old. After doing Tamil and Telugu films, Divya made a splash in Bollywood in 1992 with Rishi Kapoor and Shahrukh Khan starrer film 'Deewana'. Divya Bharti is still popular for her party song Saat Samandar from her Bollywood debut film Vishwatma.
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Hindustan Times
19 minutes ago
- Hindustan Times
‘Overperforming' security guard stops Shruti Haasan from going into Chennai theatre for Coolie: ‘I'm the heroine sir!'
Actor Shruti Haasan went to the theatres in Chennai on Thursday to catch the first day, first show of her film Coolie, directed by Lokesh Kanagaraj. While the actor was excited to make her way inside, she first had to hilariously plead her case to an overzealous security guard who stopped her from going in. (Also Read: Shruti Haasan on standing out in a Rajinikanth film like Coolie; discussing acting with dad Kamal Haasan) Shruti Haasan's friend, rapper Yung Raja, posted a video of how they were stopped by a security guard. Shruti Haasan stopped by security at theatre In a video posted by Singaporean-Tamil rapper Yung Raja on his Instagram stories, Shruti is seen sitting in a car and trying to go to a show of Coolie with her friends. A security guard stops them from entering, seemingly not recognising her. Shruti hilariously tells the guard, 'I'm in the movie. Please allow me, anna (brother). I am the heroine, sir,' cracking up everyone with her. The security eventually let them inside. Rakesh Gowthaman, proprietor of Vettri Theatres in Chennai, re-shared the video on X (formerly Twitter), mentioning in the caption that their security 'overperformed' his duty. He captioned it, 'My man Raayal over performed his duty. Hilarious moment. Thanks for being with us @shrutihaasan mam... Hope you enjoyed the show!!! #CoolieFDFS in #Vettri.' People thought it was funny and sweet that Shruti had to plead her case. One fan wrote on Instagram, 'I love the way she calls Sir, respect towards people.' Another joked, 'Shruti Haasan - Heroine (cross emoji) Audience (tick emoji).' A fan even wrote, 'Anna is like: No more free tickets.' A fan commented, 'Andha anna romba strict nga (That brother is very strict).' Many also wrote it's 'cute' how she was respectful in the scenario. About Coolie Shruti played Preethi in Coolie, which also stars Rajinikanth, Nagarjuna, Soubin Shahir, Sathyaraj, Upendra and Aamir Khan. The film is produced by Sun Pictures and has music composed by Anirudh Ravichander. It was released in theatres on 14 August and clashed with Ayan Mukerji's War 2. It made ₹150 crore worldwide on its opening day.
Mint
an hour ago
- Mint
'Coolie' review: Not enough Lokesh Kanagaraj in Rajinikanth's latest
There are four key pieces of information on the Coolie poster. Above the title: 'Superstar Rajinikanth'. And below: 'Written & directed by Lokesh Kanagaraj', 'An Anirudh musical', 'An Anbariv action'. In the end, the film ends up less than the sum of these imposing parts. It isn't sterile, it has something of all their personalities, but no one brings their A-game. The film starts with its best idea: Soubin Shahir as the heavy. He plays Dayal, an enforcer at a Visakhapatnam dockyard, responsible for keeping workers afraid and details of his employer's smuggling racket from leaking out. It's inspired casting, transforming the mild-looking Malayalam actor into a loathsome sadist. Shahir jumps in headfirst, radiating mean little guy malevolence as he hacks, bludgeons and gurgles psychotically. Rajinikanth's Deva tumbles sideways into the film. After an old friend, Rajasekhar (Sathyaraj), dies of a heart attack, he turns up to pay his respects. Another friend of the deceased tells him Rajasekhar had invented a 'mobile cremator' that could turn a body to dust in seconds. This brought him to the attention of Simon, head of the smuggling syndicate, who began using his services to dispose of corpses that would pile up due to his and Dayal's hair-trigger tempers. Deva, whose past is revealed later but is clearly a 'man of respect', starts to dig into what he suspects is his friend's murder. That portable electric chair has the Lokesh stamp—pulpy, off-kilter, darkly funny (the manner of its relaying, a flashback with Deva as onlooker, is a trick he used in Vikram to greater effect). Yet, apart from this and a couple of other moments—a miraculous escape from death ('Lazarus syndrome', it seems), an artful flashback styled like a Rajini film from the '80s—the pre-interval stretch felt less Kanagaraj in spirit than anything I've of his seen. Maybe the director tamped down on his outré instincts in deference to his star, but it didn't feel like a full-blown Rajinikanth film either. Unlike the headlong rush of Kaithi and Vikram, this felt quite linear, alternating between Simon and Dayal's excesses and Deva as an avenging force about to explode. The film gets messier and less careful as it goes on, and thus closer to the Kanagaraj style. His brand of fetishistic details start to pile up—a gangster's safe accessed through a cubicle in a public toilet, Dayal's wrist handcuffed to a chain around his neck. There's a revelation that's almost as good as Agent Tina in Vikram. Kannada star Upendra shows up and breaks stuff. Aamir Khan clowns around amiably at the end; the crowd I saw it with got a kick out of him speaking Tamil. It would've gone a long way if Simon was more interesting, but Nagarjuna's final boss is an unworthy adversary (Dayal's fate is also disappointing, given how much of a headache he proves through the film). Like a lot of popular Tamil cinema today, Kanagaraj tells stories of great men, terrible men, and all the men in between. Women must make do, as Shruti Haasan does here playing Rajasekhar's daughter Preethi. There's a scene shortly after her father's funeral when she tells Deva she isn't interested in what happened to him and just wants to be left alone with her two sisters to live a quiet life. Rajinikanth laughs, says 'Super' sarcastically, and restates his desire for revenge. And, of course, that's what happens, with Preethi having to be rescued multiple times. It's almost a parody of Tamil action film gender dynamics—woman makes reasonable point, man dismisses her concerns and makes it about himself. Stunt coordinators Anbumani and Arivumani, who go by Anbariv, are as skillful as anyone in Indian cinema in creating action for ageing stars (they worked brilliantly around Kamal Haasan's limitations in Vikram). But Coolie is surprisingly short of good action ideas. Anbariv and Kanagaraj had earlier worked on Kaithi, Vikram and Leo, each with elaborate, startling set pieces. Coolie feels like the trio on autopilot, especially disappointing since cinematographer Girish Gangadharan (Jallikkattu) is more than capable of rolling with complex choreography. In his 171st film as lead actor, Rajini is solid rather than electrifying. It's telling that the loudest cheers in my screening came for his de-aged self in the flashbacks; this is always the Rajinikanth that's expected. Coolie isn't Kanagaraj at his fearless best. But after the antiseptic War 2, it's a relief to see something that, even at its most frustrating, could never be mistaken for a film by committee.
The Hindu
an hour ago
- The Hindu
‘Coolie': Rajinikanth-Lokesh Kanagaraj starrer earns over ₹150 crore at box office on first day
Coolie, featuring superstar Rajinikanth, has collected over ₹151 crore at the worldwide box office on its first day, emerging as the highest Tamil film ever to make the record. Directed by Lokesh Kanagaraj, the director behind projects such as Karthi's Kaithi, Vijay's Master and Leo, and Kamal Haasan's Vikram, the film released in the theatres worldwide on Thursday. The makers shared the box office numbers on the X handle on Friday. The film features Rajinikanth in the titular role of a coolie who stands up to a corrupt syndicate that exploits and abuses his former colleagues in a port town. The star-studded cast also includes Soubin Shahir, Upendra, Shruti Haasan, Sathyaraj, with Nagarjuna as antagonist and Bollywood star Aamir Khan in a special appearance. ALSO READ: Film review | Here's what 'Coolie' and 'War 2' could learn from 'Sholay' Coolie is Rajinikanth's 171st film as a lead actor and also marked his first collaboration with Lokesh. Backed by Sun Pictures, the film is distributed by Pen Studios.
