Latest news with #SardarUdham
NDTV
22-05-2025
- Entertainment
- NDTV
Rajkummar Rao To Star In Shoojit Sircar's Two-Hero Comedy? Details Inside
New Delhi: Seems like Shoojit Sircar, who is credited with films like Piku, October, Sardar Udham, and Vicky Donor, is gearing up for a satirical comedy with Rajkummar Rao. Shoojit Sircar's last directorial was I Want To Talk with Abhishek Bachchan in the lead. The film did not garner big numbers at the box office, however, Abhishek's performance and the poignant storyline were much appreciated. Pinkvilla has now exclusively learnt that Shoojit Sircar has locked the script for his next project which will be a two-hero comedy with Rajkummar Rao in the lead. The shooting of the same is going to begin in the second half of 2025, and the director is currently on the lookout for a second male lead. The source told Pinkvilla, "The brief is simple - a credible actor, with some comic timing. Shoojit also wants to work with secure people, who don't interfere much in the process of filmmaking. Two-hero films are tricky, and it's crucial to work with the right energies. Shoojit has found Raj, who aligns with his sensibilities and the hunt for parallel lead is underway." The official date will be announced once the second male lead is also finalised. On the work front, Rajkummar Rao is currently gearing up for the release of Bhool Chuk Maaf where he will be seen alongside Wamiqa Gabbi. The Stree actor is also busy shooting for two projects for his home production KAMPA Films which will be OTT releases on Netflix. Rajkummar's wife, actress Patralekhaa is also a partner in this home production venture.
Pink Villa
22-05-2025
- Entertainment
- Pink Villa
EXCLUSIVE: Rajkummar Rao teams up with Shoojit Sircar for a two-hero comedy; Hunt for co-star in progress
Over the years, Shoojit Sircar has directed films like Vicky Donor, Madras Café, Piku, October, and Sardar Udham among others. The filmmaker has created his own niche in the audiences, and has shifted from one genre to the other at regular intervals. His last directorial with Abhishek Bachchan, I Want To Talk, was a box office failure and ever since, there have been chatters in the industry on what next for Shoojit Sircar. And Pinkvilla has exclusively learnt that Shoojit Sircar has locked the script of his next and is all set to start shooting from the second half of 2025. According to sources close to the development, Shoojit Sircar's next is a two-hero comedy film, and the maker has locked Rajkummar Rao to play one of the two leads. 'Rajkummar Rao and Shoojit Sircar have been jamming about a probable collaboration for a while now, and the energies have finally aligned on this yet untitled satirical comedy. Rajkummar has given a go ahead to the script, with the intent of starting the shoot towards the end of 2025,' revealed a source close to the development. Shoojit is now looking to cast a parallel lead alongside Rajkummar Rao. 'The brief is simple – a credible actor, with some comic timing. Shoojit also wants to work with secure people, who don't interfere much in the process of filmmaking. Two-hero films are tricky, and it's crucial to work with right energies. Shoojit has found Raj, who aligns with his sensibilities and the hunt for parallel lead is underway,' the source added. The exact shoot dates will be locked once the parallel lead is locked. Meanwhile, Rajkummar Rao is presently gearing up for the release of the Dinesh Vijan produced Bhool Chuk Maaf. He is also shooting for two of his home productions, scheduled to premiere direct on Netflix. Stay tuned to Pinkvilla for more updates.
India Today
16-05-2025
- Entertainment
- India Today
6 best movies of Vicky Kaushal
6 best movies of Vicky Kaushal Credit: Instagram/VickyKaushal09 Vicky Kaushal is known for his versatility and knack for choosing strong, impactful roles. On his birthday today, let us take a look at his best movies. The historical action based on the life of Sambhaji Maharaj, cemented his position more stronger in the Indian cinema. The movie also starred Akshaye Khanna and Rashmika Mandanna in key roles. Chhaava The 2019 war action by Aditya Dhar is an account based on the real story of the retaliation to the 2016 Uri attack. It stars Vicky along with Yami Gautam. Uri The war drama is based on the life of India's first field marshal, Sam Manekshaw. It stars Vicky in the titular role. Sam Bahadur The National-award winning drama is based on the life of Udham Singh, who assassinated Michael O'Dwyer in London to avenge the 1919 Jallianwala Bagh massacre in Amritsar. Sardar Udham The film stars Alia Bhatt, alongside Kausha. It is an adaptation of Harinder Sikka's 2008 novel Calling Sehmat. Raazi The film starring Richa Chadda and Vicky is the actor's debut Hindi film, and also the directorial debut of Neeraj Ghaywan. Masaan
Time of India
15-05-2025
- Entertainment
- Time of India
IIT to acting to serious relationship confession: Amol Parashar's love life just got interesting after being spotted with Konkona Sen Sharma
Tired of too many ads? Remove Ads From IIT to acting and now a serious relationship confession Amol Parashar 's love life just got a lot more interesting. The actor, known for his roles in Sardar Udham and other projects, has long kept his personal life under wraps. But recent sightings alongside the talented Konkona Sen Sharma have stirred up buzz, suggesting the duo might be ready to step into the spotlight together. As fans eagerly watch, Amol opens up about his relationship and why he's been hesitant to share it publicly—until Parashar and Konkona Sen Sharma's rumoured romance has been quietly simmering, sparking curiosity across the entertainment world. Konkona, a revered actress-turned-filmmaker known for her nuanced performances, and Amol recently made their first joint appearance at the special screening of Amol's new web series Gram Chikitsalay , held at Excel Entertainment in Khar. The event quickly became a highlight for fans as Konkona impressed in a sleek grey power suit, exuding confidence, while Amol looked sharp in a blue striped suit. Their warm interaction and shared smiles left little doubt about their the growing speculation, both stars had remained tight-lipped about their relationship. However, in an interview with TOI, Amol opened up about why he's kept his love life private. He emphasised that nothing stops him from sharing, but he values the 'sanctity' and 'purity' of a real relationship, preferring to express his emotions through his work rather than public declarations. Amol said he wants people to focus on his craft, with his personal feelings and vulnerabilities coming to life in his roles, not the also revealed that he and his partner aren't hiding their relationship. They attend social events and mingle openly, but don't feel the need to broadcast it. 'This is my longest relationship so far,' he shared, reflecting on how they've weathered challenges together, including the lockdown. With their bond growing stronger and more serious, it seems only a matter of time before Amol and Konkona officially confirm their romance. Until then, fans can only enjoy their subtle but undeniable chemistry whenever they appear together.
Indian Express
07-05-2025
- Entertainment
- Indian Express
Even as Akshay Kumar's Kesari Chapter 2 shows an imagined past, it ends up confronting the present
If anything has come close to capturing the horrors of Jallianwala Bagh, it is the final thirty minutes of Sardar Udham. Shoojit Sircar's version is intimate, visceral, unlike anything Hindi cinema has attempted before. Mind you, it is not a recreation but a reckoning. The violence isn't staged; it unfolds. You're not watching from a distance; you're placed within the frame of 13 April 1919, as if history bleeds into the present. There's Vicky Kaushal, who delivers one of the most physical performances in recent memory, and DOP Avik Mukhopadhyay's camera, which too seems to be grieving. But at the heart of it all is Sircar's gaze — almost journalistic in how it observes, almost elegiac in how it refuses to look away. Now, when you watch Karan Singh Tyagi's rendition in the newly released Kesari: Chapter 2, the depiction feels comparatively dated. The problem isn't the mainstream gaze; it's the tiredness of the form. There's a clear effort, like Sircar, to personalise the moment through the eyes of a young boy, but the impact is dulled by the choices around it. The cuts are rushed, the score overwrought, the slow-motion indulgent. What could have been genuinely affecting is lost to noise. What unsettles more is its distorted sense of the past. Or more accurately, an imagined one. Kesari: Chapter 2, as the credits state reads, is based on the book, The Case That Shook the Empire by Raghu Palat and Pushpa Palat. Yet the story it chooses to tell is neither part of the book, nor of the historical record. The film fabricates a trial where Sir Sankaran Nair (Akshay Kumar), a prominent lawyer of his time, takes on the British Empire — specifically Brigadier General Reginald Dyer — for the Jallianwala Bagh massacre. There's no crime in blending fact with fiction. History, at times, invites interpretation. But when a film claims to be based on a real account and then veers into invention, it becomes something else entirely. Not a reimagining, but a rewriting. For argument's sake, one might call it creative liberty or a loose adaptation. But there's a difference between bending the truth and inventing your own. If you anchor a story to a book, you must be prepared for the weight of that choice; for the questions it demands, and the responsibility it brings. In reality, Nair never fought a legal battle with Dyer. His conflict was with Sir Michael O'Dwyer, the former Lieutenant Governor of Punjab and one of the key architects behind the Jallianwala Bagh massacre. O'Dwyer appears just once in the film. The blame is placed squarely on Dyer, painted in broad, villainous strokes (with a hint of backstory thrown in, perhaps, for a touch of nuance). The choice is puzzling. Maybe it's because Dyer is the more familiar name, easier to centre a story around. What's clear is this: for a film that insists on the importance of remembering the truth, that calls out the erasures of colonial history, to then offer its own version of revision feels… confounding. View this post on Instagram Shared post on Time Perhaps they could've simply called it historical fiction. Instead, it's positioned and marketed as a historical legal drama, with the entire second half devoted to courtroom theatrics. But even if one sets aside questions of authenticity, the trial itself plays out in broad strokes: predictable and familiar. R. Madhavan, as Adv. Neville McKinley, representing the crown, is positioned as a formidable adversary to Nair. Yet, he never truly delivers a strategic blow. His arguments lack bite, his strategies fall flat. And whenever he does make a move, Nair always seems to have an ace hidden up his sleeve. What makes the courtroom portions fall apart isn't just their flatness, but the fatigue of the genre itself. We've seen it all before, from The Good, The Bad, and The Ugly to countless other iterations. And with Kumar at the centre of it — an actor who's already done this more compellingly in Jolly LLB 2 — the film begins to resemble less a piece of history, and more a franchise. This is not to say that Kumar's casting feels misplaced. If anything, it's what adds a necessary layer to the film. There's something about the arc of Nair — and the way Kumar plays him — that speaks less about history and more about the present. For most of the first half, Nair is shown as a British loyalist. His first scene has him labelling an Indian revolutionary poet a terrorist. He dines with the Empire. He's knighted by the Crown. It's only when the massacre unfolds that something changes. His certainties crack. What follows is the story of a man confronting the system he once stood by. On paper, it's a conventional arc. But with Kumar in the role, it becomes harder to ignore the subtext. For over a decade now, he's been seen as an actor closely aligned with the establishment: endorsing its leaders, echoing its slogans. Which is why watching him, for much of the first half, play a man who slowly begins to question his silences, his allegiance feels charged with some meaning. It's a clever piece of casting not because it flatters him, but because it implicates him. Given the state of mainstream Hindi cinema today, it means something when a film's leading man goes on a spree — invoking free speech, the right to protest, the right to hold power accountable. It means something when that very man stands up for a Muslim civilian crushed by a draconian ruler. It means something when that very film dares to question the violence unleashed on dissent, when it wonders aloud how easily revolutionaries are branded as terrorists. Historically, it may not be an authentic rendering of colonial India's complexities, but its subtext speaks of naya Bharat.
