Never said India intolerant or wanted to leave country: Aamir Khan

Mumbai, Mar 28: Bollywood superstar Akshay Kumar has donated Rs 25 crore to Prime Minister Narendra Modi''s initiative PM CARES Fund to lend support to the ongoing battle against the coronavirus pandemic.

Akshay wrote on Twitter: "This is that time when all that matters is the lives of our people. And we need to do anything and everything it takes. I pledge to contribute Rs 25 crores from my savings to Narendra Modi ji''s PM-CARES Fund. Let''s save lives, Jaan hai toh jahaan hai."

Earlier, the government set up the Prime Minister''s Citizen Assistance and Relief in Emergency Situations Fund, or the PM CARES Fund, with the objective of dealing with emergency situations such as the ongoing COVID-19 pandemic. Contributors to the fund will enjoy tax benefits, it has been announced.

"People from all walks of life expressed their desire to donate to India''s war against COVID-19. Respecting that spirit, the Prime Minister''s Citizen Assistance and Relief in Emergency Situations Fund has been constituted. This will go a long way in creating a healthier India," PM Modi announced in a tweet on Saturday.

The Prime Minister is the chairman of the trust that includes the home minister, the finance minister the defence minister

Chennai, Feb 5: The popular cine actor Rajinikanth has defended the Union Government on the Citizenship Amendment Act, saying it will not affect the Indian Muslims.

In a brief interaction with reporters this morning in Chennai, the matinee idol said if the Muslims are affected by the CAA, he would be at the forefront in their defence. He asked how will the legislation affect the Indian Muslims when they chose to stay back in the country to make it their motherland. Mr Rajinikanth also supported the National Population Register saying it has been in force even in the past.

On the NRC, Mr Rajinikanth said the Government has already made it clear that its nationwide rollout has not been even discussed so far. Mr Rajinikanth is nourishing political ambitions and has made it clear that he would plunge into politics ahead of the Tamil Nadu Assembly Elections in the state which is due in 2021.

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.