Marathi actor accuses Kapil Sharma of misbehaving with her

Mumbai, Jan 7: Actor Anil Kapoor, who next will be seen onscreen in Malang, revealed that he always tells superstar Aamir Khan not to stop working with filmmaker Rajkumar Hirani.

Kapoor was interacting with the media at the trailer launch of Malang along with his co-actors Adtiya Roy Kapur, Disha Patani, Elli AvRam, film's director Mohit Suri and producers Luv Ranjan, Bhushan Kumar, Ankur Garg and Jay Shewakraman on Monday in Mumbai.

Anil Kapoor has worked with many directors and producers in his 40-year acting career.

Talking about camp culture in the Hindi film industry and praising makers of Malang, Kapoor said, "I feel we need producers like Ankur (Garg) and Luv (Ranjan). I have told Mohit (Suri) to continue doing films with them. I always tell Aamir Khan by calling him on the phone to say that you should not leave Raju Hirani (Rajkumar Hirani). Whenever I see films of both of them, I tell Aamir not to leave him."

He continued, "I feel whenever you make a good team then you should hold on to it. Team is very important and there are certain stars that come together to make something interesting and exciting."

Kapoor gave an example of Hollywood actors and filmmakers while backing his viewpoint.

"If you see Martin Scorsese, Robert De Niro, Leonardo DiCaprio they do so many films together. They can work with others, too, but they keep working with each other. There is some magic, obviously. You have to go with the casting but somewhere I feel teams should stand by each other," the actor added.

Malang stars Aditya Roy Kapur, Disha Patani, Anil Kapoor and Kunal Khemu in lead roles. It is scheduled to release on February 7.

Bengaluru, Jun 9: There’s no denying the fact that Sudeep is one of the most popular and sought-after names in Kannada cinema. The versatile actor has won the love of fans due to his ‘pan-India’ look and impressive selection of roles. A self-made star, he paid his dues before making it big in Sandalwood. The Bachchan actor had, some time ago, told Film Companion that his initial years in the industry were anything but easy.

 The mass hero revealed that his first two movies never saw the light of the day as they were abandoned midway. Following the setback, he finally made his Kannada debut with V Umakanth’s Thayavva and began a new chapter in life. Sadly, the film sank without a trace and was removed from theatres within three days of its release.

“My first two films did not see the light of the day while the third one did not see people,” he added.

Sudeep ultimately tasted success with the 2001 release Huchcha and the rest is history. Over the years, ‘Deepanna’ has starred in several commercially successful movies and proved that he is a certified ‘A-lister’. The star has also made an impact in non-Kannada movies like Rann and Eega, expanding his fanbase big time.

Coming to the present, Sudeep was last seen in the Bollywood biggie Dabangg 3 that did decent business at the box office. The actioner saw him share screen space with Salman Khan, giving fans a reason to rejoice. The cast included Arbaaz Khan and Sonakshi Sinha.

He will be turning his attention to the Kannada biggie Kotigobba 3, the third instalment of the Kotigobba series. The film, directed by Shiva Karthik, is one of the biggest movies of the year. It features Shraddha Das, Madonna Sabastian and Aftab Shivdasani in key roles.  He  will also be seen in the Anup Bhandari-directed Phantom.

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.