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Mail & Guardian
19 hours ago
- Automotive
- Mail & Guardian
Rhythm, culture and class: The Mercedes-Benz CLE cabriolet is a Bollywood special
The Mercedes-Benz CLE cabriolet During my childhood, Bollywood movies were an important part of growing up. I am almost certain that I knew who Shah Rukh Khan was before I knew about Mufasa and Simba. In fact, I am almost certain that I was singing songs from the movie Dilwale Dulhania Le Jayenge before I knew the words to any nursery rhyme. That movie is actually still running at the Maratha Mandir Theatre in Mumbai — and it was released in 1995. It holds the record for the longest-running film and somehow still enjoys 50% occupancy on weekends and holidays. The movie actually ignited a small fantasy that I have finally managed to fulfill. During the song Ho Gaya Hai Tujhka To Pyaar Sajna in the movie, Khan drives his convertible Mercedes-Benz R129 SL on a country road with the Swiss Alps in the background. Being one of my childhood movie heroes, I always told myself that one day I would also drive a convertible Mercedes-Benz on a country road with the top down. When I received the Mercedes-Benz CLE 300 cabriolet on test, you can imagine what I did. Almost immediately, I put the top down, got onto Welgedacht Road here in Springs and drove to the tune of the Ho Gaya Hai Tujhka To Pyaar Sajna. One childhood fantasy fulfilled — but there was a difference. The song refers to how Khan's character has fallen in love with the female protagonist. For me, the song was referring to how I had fallen in love with the car. This vehicle completely epitomised the essence of the Bollywood movies that I grew up with — and continue to watch. They all stick to the culture of the industry, have infinite class and unmatched rhythm. Culture To begin with, Mercedes-Benz has continued with its tradition of four-seater open-top cars. The CLE is based on the CLE coupe but the marque has incorporated elements of both the C-Class and E-Class into the design of the vehicle. From the front, it takes the shape of the E-Class with a short overhang and long bonnet. I like how this makes the car dazzle from the front. The back takes a more minimalist approach, just as the old C-Class and E-Class coupes did, with the Mercedes-Benz badge in the centre of the trunk. However, the strip across the back that connects the tailights is a new addition from those coupes and, while it keeps the minimalist approach, it does just add a touch of pep to the back of the vehicle. It comes fully equipped with the AMG line body, giving the vehicle a sporty feel. The CLE keeps with the tradition of good-looking, upmarket vehicles that Mercedes-Benz has produced throughout the years. Class The CLE does its best work inside the vehicle. Aesthetically, it is a shining star when you enter. From the fully digital driver display to how the ambient lighting flows effortlessly throughout the cabin, the vehicle embodies class from the moment the door opens. As well as the driver display, there's an 11.9-inch infotainment screen called the Mercedes-Benz User Experience (MBUX). The MBUX offers a new level of personalisation with automated convenience functions. For example, 'Cold days' (seat heating switches on at a certain outside temperature) or 'Date night' (romantic music plays via Bluetooth audio; the ambient lighting turns pink). The class continues with the generous space offered in this two-door, which is actually quite lengthy. Backseat passengers benefit from these dimensions. But it doesn't stop there. We are used to heated and cooled seats in most vehicles these days but it is still rare to find vehicles with massaging chairs. The driver and passenger can enjoy a number of different massages. For a sport addict like myself, this was especially helpful during the long drives back to the tip of the East Rand after an intense game of padel. The cold weather meant that, even during the day, I was reluctant to put the roof down and cruise. Mercedes-Benz has added features to assist with that but the aircap system, which is meant to deflect wind, was not particularly effective. Although the cold air was not slapping me across the face, it didn't make much of a difference. However, the 'airscarf' system built into the headrest, which blows hot air to your neck and around your throat, assisted big time in keeping me warm while I had the roof down. Rhythm The rhythm in the CLE cabriolet starts off with the optional 3D Burmester surround sound system. Loudspeakers level with the head restraints create a particularly personalised and immersive music experience, with Dolby Atmos and spatial audio close to the ear. This premium sound system has a total of 17 loudspeakers. This meant that when I went onto the open road with the top down, and sang my heart out to my Bollywood tunes, I didn't have to increase the volume because of outside noise. When the roof is up, you really feel like you are a part of the song. However, the actual rhythm of the CLE cabriolet comes with the drive. Both variants, the CLE 200 and 300 come with a four cylinder, 2-litre, turbocharged petrol engine, paired to a mild hybrid system. Each has an integrated starter-generator and 48-volt on-board electrical system. The CLE 200 delivers 150kW of power and 320Nm of torque, while the CLE 300, which is a four-wheel drive, delivers 190kW of power and 400Nm of torque. But the power is not what this vehicle is about. Yes, it has enough, and can be quick when you need it to, but this is a luxury cruiser. Even on heavy inclines, the cruise remains effortless. There's just something about a cabriolet that can move around so effortlessly and has the level of comfort that the CLE has. The fuel consumption was also not bad. I managed 7.7 litres/100km with open road and urban driving combined. That is the exact figure Mercedes-Benz claims on the CLE 300. The car also has the ability to open and close the roof when driving up to 60km/h. Verdict Mercedes-Benz has produced a special vehicle with the CLE cabriolet. I am pretty certain the vehicle won't prove as timeless as Dilwale Dulhania Le Jayenge , but just like that movie, it is an industry leader and an innovative, exceptionally put together product that has the ability to make you fall in love with it. But cabriolets are not common in South Africa these days and it won't be a top seller. It also does not fit into the category of a sports car, so if you are looking for a comfortable, luxurious, open-top cruiser, the CLE cabriolet is for you. It is fairly priced as well. The CLE 200 cabriolet starts from R1 515 350 and the CLE 300 starts from R1 573 651.
India Today
26-05-2025
- Entertainment
- India Today
When cinema was a carnival: A love letter to India's single-screen theatres
It usually started a few days in advance. Someone would bring it up over dinner, maybe your father, circling the newspaper, saying, "That new Amitabh film is out. Let's go this Sunday." And just like that, plans were mother would start mentally preparing, which saree to wear, and what time to leave. You'd wonder if you'd get a Gold Spot during the interval. Your siblings would fight over who got to sit near the aisle. Sometimes, an uncle, cousin, or neighbor's child would be added to the plan, and no one day felt like a festival. You'd dress up, shoes polished, hair neatly parted. The journey to the theatre itself was part of the magic. Some piled into an old Fiat or Ambassador, some caught a crowded bus, and in smaller towns, families rode up in horse carts, tying the reins outside the theatre like it was a weekly fair. Delite Cinema, New Delhi By the time you reached the theatre, the smell of hot samosas and fresh paint on hand-painted posters would hit you. People from every walk of life there were men in safari suits, women in bright cotton sarees, kids clutching popcorn lines were long, but so was the excitement. And once the lights dimmed and the projector flickered to life, the whole hall, hundreds of strangers, laughed, cried, and clapped like one big wasn't just a movie. This was cinema, Indian style. A tradition that made theatres more than just buildings. They were memories in motion. Ask anyone who grew up in the '70s, '80s, or even the early '90s, and chances are their voice will soften, their eyes will mist just a bit, and they'll begin a sentence with: "There used to be this theatre near our house..."Ratan Chaturvedi, 65, Retired School Teacher, Kolkata (formerly Calcutta):"In those days, life moved slower - but emotions ran deep. I watched every film that came to the theatres, sometimes sneaking out of school with my friends just to catch the matinee show at New Empire or Lighthouse. My mother was a film lover too , we'd hold hands, take the tram, and queue up for tickets, hoping we'd get balcony seats. I still remember the thrill of black tickets being sold outside , and how those very films are now booked with a tap on Paytm. Some of my happiest schooltime memories were made inside those single screens, laughing, crying, and dreaming big with my friends."INDIA'S ICONIC SINGLE SCREENS Maratha Mandir cinema in Mumbai Some of India's oldest single-screen theatres were more than just places to watch films , they were landmarks of time. Maratha Mandir in Mumbai, still echoing with the romance of Dilwale Dulhania Le Jayenge, holds the record for the longest continuous run of a film in Indian cinema history. In Chennai, the grand Sathyam Theatre stood as a symbol of Tamil cinema pride, while Kolkata's Elite and Metro once screened classics to packed halls of trench-coated theatres weren't just venues , they were rituals. People queued up for hours, sometimes days, to catch blockbusters like Sholay, Mughal-e-Azam, or Hum Aapke Hain when there were no streaming apps or spoiler alerts, these theatres were the only way to step into another world - and once a film played there, it didn't just live on the screen. It stayed with you. In the songs you hummed, the dialogues you repeated, and the way your heart felt full long after the credits Pillai, 84, Former Postmaster, Chennai:"I watched 'Sholay' 14 times at Sathyam Theatre. People would shout dialogues before the characters even said them. And during the action scenes? The whole hall became a stadium. You won't find that kind of madness in today's silent multiplexes."advertisementTHE BALCONY, THE BENCHES AND THE BOX Theatre seating was a mirror to society - sharply divided, yet united by circle: The dress circle drew office-goers and college students. And the stalls or benches - oh, what energy they had! Young boys whistled at dialogues, threw coins at the screen, and knew every line by heart. It was loud, chaotic, and utterly balcony was for families, dating couples, and the occasional local VIP. Parents carried sleeping toddlers and tiffin when tragedy struck on screen, everyone fell silent together. And when the hero triumphed, the entire hall erupted in applause - as if they'd all won something then there was the box , tucked away at the top corner of the theatre like a secret little cabin. As kids, we were keen to catch a glimpse behind the glass, wondering who was inside. Maybe a rich businessman, maybe someone famous. Those seats weren't just about a better view - they came with a sense of quiet Joshi, 82, Retired Railways Clerk, Mumbai:"Back then, a balcony ticket at Maratha Mandir was a luxury. We'd save for weeks. But the real fun was in the stalls - whistles, claps, someone even dancing in the aisles when a song came on. The theatre was alive. You didn't just watch the movie, you felt it with everyone around you."COLD DINKS, CHEEPS AND CUTLIS! The food wasn't gourmet, but it was unforgettable. Glass bottles of Gold Spot were sold at the seat with a clicking noice of bottle opener. Oily samosas, cutlets, and butter popcorn sold from steel trays by uniformed vendors shouting, "COLD DINKS! CHEEPS! CUTLES"Outside, the queues often stretched down the block. People planned movie days like weddings - booking tickets in advance, dressing up, carrying water bottles, sometimes even homemade theplas or sandwiches for the Khan, 75, Homemaker, Hyderabad:"We used to plan our entire Sunday around the show at Liberty Cinema. My husband would take me there when we were newly married. It wasn't just a film - it was our date, our escape. The samosas in the interval, the big ceiling fans, the hush when the national anthem played everything had its own magic."ARRIVAL IN STYLE - OR WHATEVER WORKEDOn any given movie day, the parking lot outside was a gallery of had families arriving in gleaming Impalas and Fiats, drivers waiting outside with steel lunchboxes. Right next to them were folks hopping off trams, buses, and even horse carts in smaller towns. Rickshaw drivers yelled over honking cars, hawkers sold movie-themed keychains, and ticket touts whispered sly deals near the didn't matter how you got there. What mattered was that you made it in time for the CALL: THE SLOW FADE With the rise of multiplexes in the 2000s, single screens began to fade , some converted into shopping complexes, others turned into warehouses, or simply left to crumble. The whistles died down. The ticket counters shut. The giant posters the memories? They linger. Memories of the smell of fresh paint on cut-outs. The chill of a steel armrest. The slight buzz in your ears from mono sound. The uncle who always shushed everyone. The child who screamed when the lights went out. Most of all, memories of a time when going to the movies wasn't just about watching , it was about feeling. Together. In the dark. Under the spell of a silver VS NOW: WHEN GOING TO THE MOVIES MEANT SOMETHING MORE There was a time when going to the movies felt like a mini festival. You didn't just decide last minute , it was planned days in advance. Moms packed homemade snacks in foil, dads checked the show timings in the newspaper, and everyone wore their best stood in long lines, hoping the "House Full" board wouldn't go up before your turn. And if it did, there was always that one man whispering "do ticket black mein hai" near the it's all just convenient. A few taps on an app, a QR code scan, and a movie in air-conditioned silence. It's cleaner, faster, easier - but sometimes, it feels like we left something behind in those creaky seats and echoing halls. Something noisy, messy, joyful - and deeply image credit: Vani Gupta
Hindustan Times
14-05-2025
- Entertainment
- Hindustan Times
Shah Rukh Khan surprises cast of Come Fall in Love - The DDLJ Musical in London; drops in for rehearsals
Aditya Chopra's Dilwale Dulhania Le Jayenge (DDLJ) is one of the most iconic films in Shah Rukh Khan's filmography. The 1995 Hindi film will be adapted for stage soon as Come Fall in Love – The DDLJ Musical. Shah Rukh, who played Raj in the original, dropped by during rehearsals of the play, ahead of its premiere this month-end. (Also Read: Yash Raj Films unveils title track for Come Fall In Love - The DDLJ Musical ahead of premiere) Shah Rukh Khan, dressed in a simple white t-shirt and denims, even posed for a picture with the two leads of the musical - Jena Pandya and Ashley Day. The picture has been shared by the musical's official Instagram account. Come Fall in Love – The DDLJ Musical is set to make its UK premiere at Manchester Opera House from May 29 to June 21 this year. A press night will be held on June 4. The musical is set in UK and India, much like the film, and is also directed by Aditya. Jena Pandya, who plays Simran – a role originally played by Kajol – reflected about meeting Shah Rukh and said, 'Meeting Shah Rukh Khan and having him in the rehearsal room was such an honour. He was so generous with his time and support for the show. Being able to show him some of the iconic scenes that he and Kajol originally established was an incredible feeling and will be a long-lasting memory for me. I can't wait to head to Manchester next week and put this story on stage!' Ashley Day, who plays Roger, a play on Shah Rukh's Raj, said, 'When he arrived in our rehearsal room and met the full company, it was a moment that quietly landed on all of us, special in a way that didn't need words. Watching everyone take him in, I could feel how meaningful it was. He greeted us all with such love and genuine excitement about what we've been building. I can't imagine what it must feel like to see a project—beloved by millions—being reimagined as a musical 30 years later. And yet, he kept asking to see more! The words we shared privately are for one Raj to another Rog—but I will say, he was very happy. It was an unbelievable afternoon. I'll never forget it.' A post shared by Come Fall In Love - The DDLJ Musical (@comefallinlovemusical) The stage adaptation is based on the film, which is the longest-running title in Indian cinema, having continuously played at the Maratha Mandir theatre in Mumbai since its release in 1995. Three decades after its release, Vishal and Sheykhar have come on board to compose 18 all-new English songs for the new adaptation, taking on from Jatin-Lalit. Vishal Dadlani remarked about Raj meeting Rog and said, 'Having Shah Rukh visit our workshop was an amazingly positive experience for all of us. Raj met Rog, so to speak! What a wonderful moment in time. Of course, crucially for us, he loved the songs, the voices and the energy of the performances! He met and engaged with every single person after watching the rehearsals and even re-lived his musical theatre experiences from his early days.' Sheykhar Ravijani remarked, 'Shah Rukh Khan's visit on the sets of Come Fall In Love was a surprise that I think the entire cast and crew will cherish forever! His aura and sheer presence aside, meeting the original 'Raj' was an absolute delight for all of them. Theatre holds a very special place for Shah Rukh Khan as his career began there, and every member of the cast and crew could feel his pure love for theatre and the craft.' The DDLJ musical also stars Irvine Iqbal, Kara Lane, Harveen Mann-Neary, Amonik Melaco, Millie O'Connel, Ankur Sabharwal, Kinshuk Sen and Russel Wilcox.
