'Bajrangi Bhaijaan', 'Bajirao Mastani' bag top honours at IIFA

Mumbai, Jul 17: Megastar Amitabh Bachchan who is currently getting treated for coronavirus in Mumbai's Nanavati Super Speciality Hospital on Friday expressed gratitude towards his fans for their prayers for his well being.

Bachchan took to Twitter to thank his fans and also said that he is receiving messages from his concerned fans on all of his social media platforms.

"I receive all your blessings and love and prayers for our well being .. on SMS, on WhatsApp, on insta on Blog .. and all possible social media," he tweeted.

"My gratitude has no bounds .. Hospital protocol is restrictive, I cannot say more .. Love," his tweet further read.

Fans of the superstar have been organising special prayers in different parts of the country for his speedy recovery.

Besides Big B, his son, actor Amitabh Bachchan, daughter-in-law, actor Aishwarya Rai Bachchan and granddaughter Aaradhya Bachchan also tested positive for COVID-19 earlier this week.
His actor wife, however, actor Jaya Bachchan, tested negative for the virus.

Jerusalem, Jun 17: Calling Sushant Singh Rajput as "a true friend", Israel has expressed its deepest condolences at the passing away of the young Bollywood star.

Rajput, 34, was found dead in his Bandra apartment on Sunday.

On Tuesday, Gilad Cohen, deputy director-general of Israel's foreign ministry, took to Twitter to mourn the actor's sudden demise.

"Sending my deepest condolences on the passing of Sushant Singh Rajput, a true friend of Israel. You will be missed!" Cohen wrote while sharing the link of the song "Makhna" from the actor's last film "Drive".

Sushant and his co-star Jacqueline Fernandez had shot the song in Israel as part of its ongoing efforts to bring Bollywood to the country.

Feb 10: Bong Joon-ho’s film “Parasite” starts in a dingy, half-basement apartment with a family of four barely able to scratch out a life. There must be no place to go but up, right? Yes and no. There’s nothing predictable when the South Korean director is on his game.

This dark, socially conscious film about the intertwining of two families is an intricately plotted, adult thriller. We can go up, for sure, but Bong can also take us deeper down. There’s always an extra floor somewhere in this masterpiece.

It tells the story of the impoverished four-person Kim family who, one by one, and with careful and devious planning, all get employed by the four-person affluent Park family — as a tutor, an art teacher, a driver and a housekeeper. They are imposters stunned by the way wealth can make things easier: “Money is an iron. It smooths out all the creases,” says the Park patriarch with wonder.

Bong, who directed and wrote the story for “Parasite,” has picked his title carefully, of course. Naturally, he’s alluding to the sycophantic relationship by a clan of scammers to the clueless rich who have unwittingly opened the doors of their home on a hill. But it’s not that simple. The rich family seem incapable of doing anything — from dishes to sex — without help. Who’s scamming who?

Bong’s previous films play with film genres and never hide their social commentary — think of the environmentalist pig-caper “Okja” and the dystopian sci-fi global warming scream “Snowpiercer.” But this time, Bong’s canvas is a thousand times smaller and his focus light-years more intense. There are no CGI train chases on mountains or car chases through cities. (There is also, thankfully, 100% less Tilda Swinton, a frequent, over-the-top Bong collaborator.

The two Korean families first make contact when a friend of the Kim’s son asks him to take over English lessons for the Park daughter. Soon the son (a dreamy Choi Woo-sik) convinces them to hire his sister (the excellent Park So-dam) as an art teacher, but doesn’t reveal it’s his sis. She forges her diploma and spews arty nonsense she learned on the internet, impressing the polite but firm Park matriarch (a superb Jo Yeo-jeong.)

The Park’s regular chauffer is soon let go and replaced by the Kim patriarch (a steely Lee Sun-kyun). Ditto the housemaid, who is dumped in favor of the Kims’ mother (a feisty Jang Hye-jin.) All eight people seem happy with the new arrangement until Bong reveals a twist: There are more parasites than you imagined. The clean, impeccably furnished Park home will have some blood splashing about.

Bong’s trademark slapstick is still here but the rough edges of his often too-loud lessons are shaved down nicely and his actors step forward. “Keep it focused,” the Kim’s son counsels his father at one point. Bong has followed that advice.

There are typically dazzling Bong touches throughout. Just look for all the insect references — stink bugs at the beginning to flies at the end, and a preoccupation with odor across the frames. And there’s a scene in which the rich matriarch skillfully winds noodles in a bowl while, in another room, duct tape is being wrapped around a victim and classical music plays.

Bong could have been more strident in his social critique but hasn’t. There are no villains in “Parasite” — and also no heroes. Both families are forever broken after chafing against each other, a bleak message about the classes ever really co-existing (Take that, “Downton Abbey”).

“Parasite” is a worthy winner of the Palme d’Or at the Cannes Film Festival, the first South Korean movie to win the prestigious top prize. The director has called it an “unstoppably fierce tragicomedy.” We just call it brilliant.