'PK' makes history in China, earns over Rs 83 crore

May 10: Azaan is an integral part of the faith, not the gadget, says veteran writer-lyricist Javed Akhtar, asking that the Islamic call to prayer on loudspeakers should be stopped as it causes "discomfort" to others.

In a tweet on Saturday, Akhtar wondered why the practice was 'halaal' (allowed) when it was, for nearly half a century in the country, considered 'haraam' or forbidden.

"In India for almost 50 years Azaan on the loud speak was Haraam. Then it became Halaal and so halaal that there is no end to it, but there should be an end to it. Azaan is fine but loud speaker does cause of discomfort for others. I hope that atleast this time they will do it themselves (sic)," Akhtar tweeted.

When a user asked his opinion on loudspeakers being used in temples, the 75-year-old writer said everyday use of speakers is a cause of concern.

"Whether it's a temple or a mosque, if you're using loudspeakers during a festival, it's fine. But it shouldn't be used everyday in either temples or mosques.

"For more than thousand years Azaan was given without the loud speaker. Azaan is the integral part of your faith, not this gadget," he replied.

Earlier in March, Akhtar had supported the demand to shut mosques amid the coronavirus outbreak in the country, saying even Kaaba and Medina have been closed due to the pandemic.

He had also appealed to the Muslim community to offer prayers from home in the holy month of Ramzan, which began on April 24.

"I request all the Muslim brothers that now that Ramzan is coming, please say your prayers but make sure that this doesn't cause problems to anyone else. The prayers that you do in the mosque, you can do that at home. According to you, the house, the ground, this all has been made by Him. Then you can do your prayers anywhere," he had said.

Mumbai, Jun 15: Actor Sushant Singh Rajput's death has reignited the discussions around the struggle of survival in Bollywood, with many insiders highlighting "cruel and unforgiving" nature of the industry, particularly tough on outsiders.

Rajput was found hanging in his Bandra apartment on Sunday.

According to a police official, Mumbai Police found out during the probe that the 34-year-old actor was under medication for depression.

An engineering student, Rajput left his course at the Delhi Technological University in the early 2000s and rose from a background dancer to a TV star with soap opera Pavitra Rishta, which gave the "outsider" his breakout show in 2009.

In 2013, he made his Bollywood debut with Kai Po Che! and went on to star in films such as Shuddh Desi Romance, Raabta, Kedarnath, Sonchiriya and Chhichhore.

But his most prominent role came as cricketer Mahendra Singh Dhoni's in the 2007 biopic, MS Dhoni: The Untold Story.

In a telling tweet, veteran actor Dharmendra wrote despite not knowing Rajput personally, his death served as a reminder that the industry could be "cruel".

"Pyaare Sushant, naa film dekhi na kabhi mila tum se... par tere achaanak chale jaane se bada sadma laga. This beautiful beloved 'show business" is very cruel. I can imagine your unbearable pain. I share the pain of your loving family and friends," Dharmendra wrote.

Actor Meera Chopra penned a powerful, poignant note about the loneliness one feels working in an industry, which is "cold and ruthless".

"We all knew well that Sushant was going through depression since long, but what did we do? Where was his close circle, the directors and producers he's worked with, his close friends? Why nobody came out and helped, gave him the kind of love, the work that he wanted - because nobody cares," she wrote on Twitter.

The Section 375 actor, who has been vocal about feeling suffocated by the constant judgement from the industry colleagues, said nobody in Bollywood cares about what one's going through and artistes are just a flop away from being alienated.

Chopra said the industry has "failed" Rajput and Bollywood will now never be the same.

"True, Bollywood is a small family, but a kind of family which is never there when you need them. He had to take his life for that family to realise the kind of pain and need he was in. An outsider will always feel like an outsider here.

"I just want to say to my industry that help people when they need it, and you know when they need it. There is no point tweeting when they are no more. Don't pretend to be sad when you guys didn't do anything when he was sad. Stop being such a hypocritical society," she added.

Gulshan Devaiah said, as an actor, one could understand why Rajput would've taken the step to end his life.

"As actors, somewhere deep down inside, we think we know why he did it and that’s why it so disturbing even if you didn’t know him at all. It’s a hard game to play and he played it very well but the game won in the end," Devaiah wrote.

Quoting Chopra's tweet, the Mard Ko Dard Nahi Hota star dismissed the idea of Bollywood being a family.

"If one thinks it’s a family, there is the problem. Bollywood is an imaginary name for a place of work, that’s it. I am really not trying to put anybody down here and sorry if it seems," he wrote.

On Sunday, actor-producer Nikhil Dwivedi posted a strongly-worded tweet calling out the "hypocrisy" of the industry after people from the film fraternity wrote they regretted not staying in touch with the "Chhichhore" star.

"High and mighty announcing they should have kept in touch with Sushant. Come on, you didn't! And that's because his career dipped. So STFU! Are you in touch with Imran Khan, Abhay Deol and others? No! But you were, when they were doing well," Dwivedi said.

Similar sentiment was echoed by filmmaker Anubhav Sinha, who, without taking names, said the "Bollywood Privilege Club" must sit down and think hard.

"Now don't ask me to elaborate any further," he tweeted.

Addressing outsiders, filmmaker Hansal Mehta wrote a long thread about the two ends of an artiste's time in the industry - the glorious successes and the crushing lows.

"There are many young 'outsiders' in this industry. Remember this - there is an establishment that will make you feel like the next big thing until they need you. They will drop you and mock you as soon as you falter. Do not fall for the trap. The ones that celebrate you will celebrate your downfall some time later," he tweeted.

Mehta said it's important for those who don't come from a film family to not force themselves to fit in.

"Just be authentic, follow your heart and stop seeking acceptance from anybody. Your connection should be with your art, your craft and with your audience. Nothing else matters. Over the years you will succeed, you will stumble.

"But remember that nothing is more important than you. Look after yourself. And know that you matter. The world is much bigger and wiser than what you perceive. So are opportunities. If you stay they will be yours. Lots of love. Never lose heart," the filmmaker wrote.

Celebrity hairstylist-turned-director Sapna Bhavnani claimed that Rajput's battle with mental health was out in the open and yet the industry chose to look the other way.

"It’s no secret Sushant was going through very tough times for the last few years. No one in the industry stood up for him nor did they lend a helping hand. To tweet today is the biggest display of how shallow the industry really is. No one here is your friend," she wrote on Twitter.

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.