It was the trailer launch of AR Murugadoss directed Sikandar. Salman Khan with childlike enthusiasm brought Kollywood’s grizzly actor Sathyaraj to meet his dad Salim Khan — the iconic script and screenplay writer, celebrity half of Salim-Javed. “Pappa, Kattappa,” said Salman while introducing Sathyaraj to his dad. Sathyaraj, who plays the role of a transgender villain in Sikandar said, “Salim Sir has been my hero from my college days. I have worked for 47 years in 258 films. Today, I have fulfilled the wish to meet him in person.” He was delighted that Salman introduced him by his famous character’s name. Sathyaraj reiterated that his multi-dimensional role in Sikander may well be another Kattappa. At the event Salman got an opportunity to unburden his angst. “We see Rajni and Chiranjeevi films and welcome South Indian productions wholeheartedly. But find that though Bollywood stars are celebrated down South, our films don’t get the same overwhelming reception.” Bahubali made the Pan India trend into vogue. So, is Salman on the cusp of another EID Mubarak? His future is riding on Sikandar. He must have longed for that thumping box office success of earlier times when his career seemed it would never tank. But five years of a barren streak, and his efforts to keep his premium slot intact have been obvious. Sikandar’s muqaddar is set to change. At the Press meet Salman said that “Kitna bhi log bole…mere fans 100 crore toh pahuncha dete hai”.

The simultaneous release of three films, Tumko Meri Kasam directed by Vikram Bhatt, Pintu Ki Pappi by Shiv Hare and Baida by Sudhanshu Rai seems to have skidded at the box office. These films are emblematic of a troubling trend in the industry, characterized by poor marketing, lack of visibility, and minimal audience excitement. Tumko Meri Kasam features Adaah Sharma, Ishwak Singh, Isha Deol and Anupam Kher. However, it suffers from a lacklustre promotional strategy that fails to generate buzz. The film’s dark and dull poster does little to entice potential viewers, making it feel like a B-grade production rather than a cinematic offering worth watching. Similarly, Pintu Ki Pappi is struggling with a title that fails to convey its essence, leaving audiences confused and uninterested. With Ganesh Acharya as the producer and newcomers Sushant and Jaanya Joshi in leading roles, this film too lacks the marketing push to draw the audience. A title like Pintu Ki Pappi may be catchy, but without context or appeal, it risks alienating potential viewers. In the case of  Baida, a supernatural thriller that despite its intriguing premise, has not garnered attention. Directed by Sudhanshu Rai who also stars in the film, it suffers from a lack of awareness and visibility. All three films represent small-budget productions that have entered the market without effective marketing strategies or brand recall. The absence of excitement and visibility raises serious questions about how these films expect to attract audiences to theatres. The only commonality among these releases is their dismal box office performance, highlighting the urgent need for filmmakers to prioritize marketing and audience engagement if they hope to succeed in an increasingly competitive landscape.

The two amazing Malayalam superstars clash at cinemas but Mohanlal undertakes a tough pilgrimage to Sabarimala to pray for Mammootty. Suddenly Mollywood is agog with “news” and communiques about superstar Mammootty’s health. He is spending the Holy month of Ramzan quietly and not making public appearances. But when Mohanlal aka Lal Ettan undertook the challenging pilgrimage to Sabarimala and offered special pooja for Lord Ayyappa in Mohammad Kutty’s name, the news spread wider and wilder. Mohanlal also did a special pooja for his wife Suchitra too.  And those who knew the inside goings on, reminded the “soothsayers” to think of Mohanlal’s just to be released film, Empuraan. Don’t stars pray for the box office success of their film? But then, why would Mohanlal convey to Mammootty that he was on the Sabarimala trip to pray for him, a pilgrimage undertaken after 10 years. Even as surmises were flying thick and fast, yet another news about Mammootty made his fans sit up and salivate. The superstar had lived for 45 years in Cochin’s Pannapillai Nagar on KC Joseph Street and his son Dulquer Salmaan was born there and got married in that house. Now that Mammooka has moved to another house, he has plans to turn his old house as a vacation home for fans. It is learnt fans can stay in the same rooms the Mammootty had lived in…they could order the favourite dishes that he liked. For cinema crazed fans, any bit of news makes the day.

Why Ollywood’s two big stars, former Kendrapara BJD MP Anubhav Mohanty now in the BJP camp and ex-wife Varsha Priyadarshini grabbing headlines in Odisha?  Anubhav Mohanty had married Varsha in 2014 but it did not work and some six years later, Varsha filed a domestic violence case against Anubhav in 2020. In response, Anubhav filed divorce petition in July 2020 and was granted the same by the Cuttack High Court. Why did Anubhav’s marriage with Varsha fail? Anubhav says it was because of non-consummation of marriage and this fact was brought to light by the Odisha High Court’s findings. However, Varsha’s fans don’t believe it to be true.  With court granting him divorce, Anubhav has moved on by marrying his biographer Jagruti Shukla.  It seems the public sympathy is with Anubhav’s ex-wife Varsha; she is a role model in Odia cinema. Looks like the trouble for Anubhav is not over as Varsha has now released a movie titled Wife that brings to the public what really happened in their marriage. For a star-politician this could dent his image among his fans and vote banks.

The legendary trio of Bollywood—Aamir Khan, Shah Rukh Khan, and Salman Khan—continues to command the spotlight as they gracefully embrace their sixties this year. Recently, Aamir celebrated his 60th birthday (Mar 14), generating headlines not only for this milestone but also for announcing a new relationship, which underscores his enduring appeal and the public’s fascination with his personal life. This news resonated throughout Indian media, highlighting the unmatched influence these three superstars wield over the industry. Whenever Shah Rukh, Salman, or Aamir makes a statement or announcement, it instantly becomes a headline, reinforcing their formidable presence in the entertainment landscape. They are not merely actors; they are cultural icons whose words and actions resonate deeply with fans across generations. SRK, with his recent box office triumphs, has reaffirmed why he remains one of the most sought-after stars, effortlessly drawing audiences to theatres. Salman, the perennial Eid favourite, consistently reigns at the box office, with even his less successful films crossing the coveted Rs 100 crore mark—a testament to his box office magic. Though Aamir faced setbacks with his last two films, he remains undeterred, gearing up for exciting projects like Sitare Zameen Par and a collaboration with Lokesh Kanagaraj. Each Khan possesses a unique charm and business acumen that keeps them relevant in an ever-evolving industry. Their timeless appeal mirrors that of legends like Amitabh Bachchan and Rajinikanth, who have crossed 60 long ago, yet remain socially and culturally relevant through their work. As they continue to redefine success, it’s clear that the magic of the Khans remains undiminished, proving that age is merely a number in the realm of Bollywood stardom.

In Tollywood, filmmakers are moving from one group to another in a quiet but calculated migration that began as a conflict over policy and ideals. The Directors’ Association of Eastern India (DAEI) and the East India Motion Pictures Association (EIMPA) are two important organizations at the centre of this change. Once linked to legends like Satyajit Ray and Mrinal Sen, EIMPA is a legacy organization that has mostly lain dormant in recent years. Conversely, DAEI was established as a more modern substitute and has been associated with the Federation of Cine Technicians and Workers of Eastern India. It is ironic that the directors who led demonstrations against Federation rules are now favouring EIMPA. Last year, a disagreement between filmmaker Rahul Mukhopadhyay and the Federation resulted in a standoff. The Chief Minister had to step in as the tension turned into a complete work halt. Leading directors, including Parambrata Chatterjee, Raj Chakraborty, Kaushik Ganguly, Srijit Mukherji, and Shiboprosad Mukherjee, had publicly challenged the Federation’s management of industrial matters. When Federation president Swaroop Biswas controversially claimed that 60% of Tollywood’s directors were accused of sexual harassment, things took an unpleasant turn and further divided the Federation and DAEI. As a result, the Federation’s workers declined to work for Kaushik Ganguly’s film bringing production to a standstill. In response, Ganguly distanced himself from DAEI and settled his conflict with the Federation. Now, EIMPA has re-emerged as a significant entity led by president Anup Sengupta and Swaroop Biswas has been appointed as an advisor.  The central issue that emerges is whether these changes stem from authentic ideological shifts or is it survival instinct. A director revealed that the coercive strategies of stopping production have led filmmakers to fall in line. 

The recent release Mere Husband Ki Biwi has bombed at the box office, collecting less than Rs 5 crore in its opening three days against a hefty making cost of around Rs 60 crore. This underwhelming performance marks yet another flop for producer Vashu Bhagnani. Bhagnani, once celebrated for his successful films, has seen a string of failures such as Ganpat, Mission Raniganj and Bellbottom. He has faced financial setbacks with projects like Bade Miya Chhote Miya and is currently embroiled in a legal dispute with its director. The direction of Mere Husband Ki Biwi was helmed by Mudassar Aziz, known for his earlier works like Khel Khel Mein, Pati Patni Aur Woh and Happy Phirr Bhag Jayegi. The film’s lead actor, Arjun Kapoor, has struggled to find success as a solo performer, with his recent projects—including The Lady Killer, Kuttey and Bhoot Police — failing to make a mark at the box office. Similarly, the leading actresses, including the likes of Bhumi Pednekar, have also faced a streak of underwhelming films like The Lady killer, Afwaah, Bheed, and Rakshabandhan and thus making it difficult for Mere Husband Ki Biwi to generate excitement among viewers. Rakul Preet Singh is known for other disappointments like Thank God, Doctor G, Runway 34, Attack and Marjaawan. With a cast and crew associated with a series of unsuccessful films, the expectations from Mere Husband Ki Biwi were understandably low. Despite attempts to engage audiences with remixed songs, the film has failed to captivate, illustrating that audiences are no longer willing to watch films that lack compelling narratives and star power.

Indians are compulsorily global now …travel, gourmet food, curated art, Boston Brahmin lifestyles, wine connoisseurs and of course elevating music crowned by symphonies and operas. This maestro is 82, has composed music for 1,000 films in nine languages and is considered as the Kohinoor of music. Ilaiyaraaja is our national treasure and his own pride and exhilaration was hard to hide as he spoke to the press on his way to London to record and launch his first symphony, Valient on 8th March. It is not an effort to denigrate pop and filmi music but composing a symphony puts him in that elite list of iconic names starting with Joseph Hayden (who created his first symphony in 1700), Beethoven, Brahms, Tchaikovasky and Mahler; legends who took this very structured and elevated creation to heights that few could emulate. Tamil Nadu chief minister MK Stalin called on the genius composer at his home to congratulate him on this achievement. Indeed, it is a matter of pride that India can boast of such a genius. For those of us who want to know why a symphony is special, systemised and soothing. It has four large pieces or “movements”, the first is the Sonata, the highlight of this structured music creation. The second, Scherzo is a slow and gentle exposition that calms your mind. The third is a dance, light and lively, preparing the audience for the fourth …the Finale, an exuberant crescendo culminating with high notes. At the recording, the emcee and music interpreter called Valient “a texturally brilliant piece of music”. Play the video and participate in the creation of Ilaiyaraaja.

Despite the release of contemporary Bengali films, audiences in Kolkata are gravitating towards the re-released classics of Satyajit Ray. Mahanagar and Nayak, restored and re-released by RD Bansal Productions, have drawn huge crowds to theatres across Kolkata, Delhi, Mumbai, and Bengaluru. Uttam Kumar and Sharmila Tagore starring Nayak originally released on May 6, 1966, was Ray’s second original screenplay after Kanchenjungha (1962). Mahanagar, first released in 1963, offers a powerful depiction of Kolkata’s transition into a capitalistic society. The restored versions, presented in 2K and 4K, have not only enhanced their visual appeal but also reaffirmed their timeless relevance, attracting both nostalgic viewers and first-time audiences. In contrast, the re-release of Chander Pahar (2013), directed by Kamaleswar Mukherjee and starring Dev, saw a lukewarm response despite commemorating the 130th birth anniversary of author Bibhutibhushan Bandyopadhyay. Similarly, Shudhu Tomari Jonyo, a multi-starrer romantic drama produced by SVF, failed to garner significant attention. The success of Ray’s films has reignited interest in classic Bengali cinema, with discussions underway for re-releases of Joi Baba Felunath and other masterpieces. Meanwhile, Saat Pake Bandha (1963), starring Suchitra Sen and Soumitra Chatterjee and later adapted into Kora Kagaz (1974), is undergoing restoration. The resurgence of Mahanagar and Nayak in cinemas underscores the lasting impact of Ray’s storytelling, proving that masterful filmmaking continues to captivate audiences across generations.  

A 30-year-old man from Bengaluru, Abhishek MR, has made headlines after winning Rs 65,000 in compensation from PVR Cinemas, INOX, and BookMyShow for what he described as a waste of time due to lengthy advertisements before a movie screening. The consumer court ruled in his favor, highlighting the principle that “time is money” and labelling the practice as “unfair trade.” This landmark decision has resonated with many moviegoers who often voice their frustrations over ticket prices, the cost of food and beverages, and the excessive time spent watching ads before their favourite films. In 2023, Abhishek booked three tickets to see the film Sam Bahadur, scheduled to start at 4:05 pm. However, the screening was delayed by nearly 30 minutes due to a barrage of advertisements and trailers, prompting him to take legal action. His case has sparked a conversation about the growing dissatisfaction among consumers regarding the overall cinema experience, which often feels marred by high costs and lengthy pre-show content. This ruling has instilled confidence in the average consumer who frequently complains about the escalating expenses associated with a trip to the multiplex. With cinema chains like PVR INOX already facing criticism for their pricing strategies, this decision may serve as a wake-up call for these establishments to reconsider their advertising practices. Many patrons feel that after paying a premium for tickets, they should not have to endure an extended advertising session before the film begins. As multiplexes continue to generate revenue from box office sales, food and beverages, the pressure to provide a more satisfying experience for customers is mounting. This ruling could potentially lead to restrictions on the length and frequency of advertisements, ultimately enhancing the movie-watching experience and restoring consumer trust in the industry.

Thirty six year old Vicky Kaushal is rapidly emerging as the new superstar of the Indian film industry, particularly following the phenomenal success of Chhaava directed by Laxman Utekar. The film has made waves at the box office, grossing over Rs 400 crore plus in just 10 days, marking a significant relief for the exhibition industry, which has been in dire need of such a blockbuster. Chhaava’s success reinforces Kaushal’s status as a leading figure in contemporary cinema. Examining his filmography reveals a trajectory of impressive versatility. While his previous film, Bad News was met with average reviews, his performances in Sam Bahadur and Zara HatKe Zara Bachke showcased his ability to connect with audiences. Kaushal’s breakout role in Uri: The Surgical Strike catapulted him to commercial success, and he has since delivered commendable performances in supporting roles in films like Sanju, Dunki and Raman Raghav 2.0. Vicky’s filmography is a testament to his range, encompassing biopics like Sardar Udham Singh anthology films like Lust Stories and commercial ventures such as Govinda Mera Naam. His journey began as an assistant to Anurag Kashyap, and he has since evolved from art-house films to mainstream cinema. As the veteran superstars — Aamir Khan, Shah Rukh Khan and Salman Khan — become increasingly selective with their projects, and with contemporaries like Ranbir Kapoor and Ranveer Singh also taking fewer roles, Vicky Kaushal stands poised to fill that void. His versatility and consistent performances suggest that he is not just a rising star but a potential new pillar of the industry. 

There are movie stars, and there are movie stars who want to be a part of society and its serious concerns. R Madhavan (54) has consistently come through as a middle class mascot and muse for social issues. His film Rocketry: The Nambi Effect — a sensitive work to lay bare how politics impacts individual brilliance, focussed on the need to bring controversy to closure. His Railway Men, series on the 1984 Bhopal Gas tragedy was an effort to highlight the same puerile political interferences that leave a trail of human tragedy behind. His very first Tamil film AlaiPayuthey was directed by Mani Ratnam in which he played the romantic hero. After this movie, Madhavan became every girl’s chocolate hero. Try as he could, his middle class Jamshedpur upbringing and morally upright, wholesome image could never be dented by filmi pretentiousness. So, it did not come as a surprise that he recently launched his socially conscious app, Parent Geenee with an impassioned plea for parents to become more involved with their children’s way of life. Today’s kids are overly precocious, almost shedding their childhood and innocence, an integral part of growing up. And games like Blue Whale and Port Knight send shivers down the spine… every child is in his own world, his parents lost to any communication or bonding. This app is meant to be a responsible “seeing eye” to parents, giving them elbow room to know and be aware of what their offspring is up to. In an era where film folks make news for broken marriages and stormy lives, here is a hero who wants to be with his audience as a silent force in bringing up children. There are heroes but a socially conscious hero is special.

In South India, February is definitely a lean month for movie releases. Especially after big releases during Pongal week and Republic Day. However, this Pongal had few releases, especially films starring the big sharks…Vijay busy with his political outfit. Ajith racing formula cars. So, the shortest month with the leanest audience has inspired some avant garde films, made on shoestring budgets and rubber bands has surprisingly drawn the millennium kid viewers. Dhanush has bravely directed his home production film, Nilavuku En Mel Ennadi Kobam…this long title has been accordion-pleated into an origami NEEK. Dhanush has introduced a total cast of newbies especially his nephew Pavish. Oh, we must mention that Dhanush’s older son Yatra has collaborated in the lyrics. Dhanush has motivated the audience to encourage these newcomers. But the real surprise is Dragon which has drawn much appreciation for the performance of hero Pradeep Ranganathan under the gripping direction of Ashwath Marimuthu. The film raises many questions about the GenNext rebellion and “couldn’t care less” attitude. Ranganathan is bound to go places. Bad Girl has already made news by its theme of a teenager discovering the nuances of hormones and sex. It has been panned for its racist, class divide …such bordering on erotic does not need a lean month to bring in voyeurs. Ramam Raghavam is probably a film to think about that may appeal with Samuthirakani as the pivot father who wants to mould his son is a story that may resonate with every generation. The filmi cauldron has to dip into time-tested formulae…love, rejection, conflict, resolution, compromise and aspirations. With tight budgets, it’s brave of such productions to risk their all on unique stories and hope to hit that pot of gold. 

The recent release of Chaava, featuring Vicky Kaushal and Rashmika Mandanna, has ignited significant discussions around the intersection of art and political scrutiny in India. While the film has garnered considerable buzz and attention at the box office, it has also faced backlash from various political groups, often dubbed as the “moral police.” This scrutiny particularly intensified around a promotional song featuring a traditional lezim dance that depicted the historical figure Sambhaji Maharaj in a manner some deemed inappropriate. Critics argued that the portrayal of the king dancing was historically inaccurate and disrespectful, prompting Maharashtra Minister Uday Samant to advocate for a review by historians to preserve the dignity of the Sambhaji Maharaj. In response to this pressure, director Laxman Utekar met with political leader Raj Thackeray and ultimately decided to remove the contentious scene. This incident reflects a growing trend where political entities feel entitled to intervene in Bollywood productions, raising concerns about the freedom of expression for artists. This pattern is not new; previous controversies, such as the uproar over the song “Besharam Rang” from Pathaan and the backlash against the song “Malhari” from Jodha Akbar which faced criticism for its use of the phrase “Vaat Laavli,” underscore the inconsistent responses from the industry and authorities. Sanjay Leela Bhansali, known for his grand historical narratives, has frequently found himself at odds with political outfits, from Jodha Akbar to Padmaavat to Gangubai Kathiawadi. This trend illustrates a troubling reality where the creative landscape is increasingly shaped by political agendas, often at the expense of artistic integrity and historical representation. As the lines between art and politics blur, it raises critical questions about the future of creative freedom in India. 

The silent war for supremacy claims between Rajini and Vijay’s fans has been smouldering for a few years now. Vijay has conquered that top slot in box office status which Rajini and Kamal shared. Who is the highest paid actor is the bone of contention…obviously the commercial success of Vijay’s formula padded high-octane films is hard to ignore, harder not to acknowledge it. Recently, it took an ugly turn when the X (formerly Twitter) handle of Rajini fan clubs carried an unsavoury threat to Vijay. The plan was to chuck rotten eggs at Vijay in his political meetings. The rotten eggs were to be sourced at bulk rates from Namakkal. This audio caused a major flutter and Rajini’s PR mouthpiece condemned the plan. “A genuine fan of our Thalaivar would never think of such base actions. Mutual respect for fans is what we profess. Don’t make cinema a divisive force”. Another distasteful event had preceded this one on February 7 when Ajith’s long-awaited Vidaamuyarchi hit the screens. Suddenly at the Nellai’s Ram theatre, a bunch of diehard Vijay fans and newly minted party acolytes came, waving TVK flags and matching swag to impress the crowd about their leader. A few Ajith fans caught hold of the enthusiasts and thrashed them, saying you want to watch a movie, do so without pomp and flag fare. Even when celebrity stars don’t resort to cheap publicity, the fan clubs bring a bad reputation. And when cine glitz transforms into politics, the stakes are higher. 

In Bollywood a new trend is emerging. The traditional approach of the big launch of star kids via big screen is history. For instance, Saif Ali Khan’s son Ibrahim Ali Khan’s debut film Nadaaniyan will be released on Netflix with the usual marketing drive. According to film historian Dilip Thakur, “Gone are the days when big launches would happen for newcomers or star kids; the last big launch was that of Hrithik Roshan…that was 25 years ago.” There is not going to be any superstar with the advent of OTT culture and GenNext seems okay with it. Junaid Khan and Khushi Kapoor’s film Loveyapa is their first theatrical release; both have already made their debut on OTT with Maharaj and The Archies. Junaid’s father Aamir Khan is going around promoting them. Unlike Janhvi kapoor, Khushi had a rather quiet launch with The Archies but her acting prowess was noticed. Both are somewhere sure that they have been accepted and therefore fine with it. Thakur says the business of cinema is all about the first weekend and that the game is over unless it is Pushpa or a Pathaan.  Besides the exposure to OTT is more than the cinema and only spectacles are going to work in cinemas and the generation next knows it and is practical about it. Hypothetically, if they don’t make their cut in acting, the paparazzi culture has already made them influencers so they will be around in some form connected with Bollywood.

The re-release of Sanam Teri Kasam, a 2016 romantic drama starring debutants Harshvardhan Rane and Mawra Hocane,has been surrounded by an intriguing wave of drama and fanfare. Recently, a passionate group of fans gathered outside the office of producer Deepak Mukut, accompanied by actor Harshvardhan Rane, fervently urging him to re-release the film. In a surprising turn of events, Mukut not only confirmed the film’s re-release but also announced a sequel, generating significant buzz in the industry. Initially launched to lacklustre box office performance, Sanam Teri Kasam was deemed a disaster upon its first release. However, the film’s soundtrack, featuring hit songs, kept it alive in conversations, gradually transforming it into a cult favorite. Now, with its re-release across 400 to 500 screens, Sanam Teri Kasam finds itself in direct competition with two fresh titles: Loveyappa, starring Junaid Khan and Khushi Kapoor, and Himesh Reshammiya’s Badass Ravi Kumar. Interestingly, while both new films struggled to make a significant impact at the box office, Sanam Teri Kasam has shown promising advance bookings, leading many exhibitors to consider increasing its showtimes over the weekend. This resurgence is particularly noteworthy for a film that was initially dismissed, highlighting a curious trend in the industry where previously overlooked content receives a second chance. Adding to the irony, the film’s popular music was composed by Himesh Reshammiya, who is simultaneously competing with his own project, underscoring the unpredictable nature of audience preferences and the evolving landscape of Bollywood.

In recent times, Bollywood has seen a noticeable shift, with many newcomers struggling to leave a lasting impression on audiences. This decline can be traced back to a variety of factors, including the selection of projects that fail to resonate with viewers. Gone are the days when iconic films like Betaab, which introduced Sunny Deol or Rocky which launched Sanjay Dutt, captivated audiences and launched the careers of these stars. So too Jackie Shroff with Hero. In contrast, today’s newcomers like Suraj Pancholi, Siddhant Kapoor and Sasha Agha find themselves lost in films that do not provide them with the platform to showcase their talents effectively. The recent film Azaad featuring Aaman Devgan and Rasha Thadani serves as a case in point. Aaman Devgn, nephew of Ajay Devgn has struggled to make a significant impact, while Raveena Tandon’s daughter Rasha Thadani managed to capture some attention with her performance. Many of the films do not offer the newcomers a fair opportunity to shine; often focusing more on star power than on storytelling. For instance, in Azaad, the narrative centres around the titular horse rather than the lead pair, which diminishes the impact of the human characters. This misalignment can lead to a lack of engagement from the audience, making it difficult for the actors to connect with viewers. Aaman’s performance, despite being camera-friendly, lacks the emotional depth and histrionics that are often necessary to truly engage the audience. In contrast, Rasha stands out with her strong screen presence and impressive dance moves, showcasing a talent that could potentially elevate her career. Ultimately, even when a film does not resonate with audiences, a standout performance can create opportunities for newcomers to prove themselves.

Armed with a landslide majority in Maharashtra, the BJP, it is learnt, is now strongly pushing its coalition partners up against the wall. Not only has it launched a strong attack against Ajit Pawar’ party deputy leader Dhananjay Munde but it is keeping Eknath Shinde on the edge too. While the knives have been sharpened against controversial minister Dhananjay Munde demanding his resignation for the alleged involvement of his aide in the murder of Beed sarpanch Santosh Deshmukh. Munde and his party have been resisting and fighting it against all odds. While Ajit Pawar may have strongly backed Munde for now, he realises that the BJP may not stop at him and could launch fresh salvo against his other deputies. Hence, Pawar has directed his men to maintain a clean slate and even demanded that freshers be vetted before giving entry in his party. His contemporary, Eknath Shinde too is not having it easy with BJP ministers like Ganesh Naik eyeing his Thane stronghold and launching a worker engagement campaign clearly with an eye on the forthcoming local body polls. While Shinde chose to brush aside concerns, his workers have threatened to do a quid pro quo by launching similar exercises in BJP’s constituencies. Shinde did not attend the cabinet meeting last week, while Munde is believed to have left mid-way. The BJP strategy seems to be to keep the coalition partners constantly on the edge.

The year 1952 saw the release of a cult movie and a classic coming together of two names that shaped Dravidian cinema indelibly. A talented writer from Thirukkuvalai …the indomitable M Karunanidhi (DMK founder) and a firebrand actor who set the template for Tamil cinema…Sivaji Ganesan. These two cinema debutants made Parasakthi, an evergreen movie still remembered by connoisseurs of this powerful medium. Suddenly, Parasakthi is in the news. Two Kollywood producers are claiming the title Parasakthi. Vijay Antony (actor-producer-director-music director) claims that his 25th movie under production, Sakti Thirumagan has been already registered as Parasakthi for its Telugu version in July 2024. His posters were splashed on X. Imagine the shock that Town Pictures and avant garde director Sudha Kongara got on hearing that their Sivakarthikeyan’s 25th film Parasakthi has an ostensible me too. This was no filmi coincidence. A high decibel legal battle is being averted by Akash Bhaskaran, emissary of Kongara who met Antony to resolve the issue. AVM Pictures also endorsed that the title was given to Kongara’s team and all concerned were just heaving a sigh of relief. Then for Kongara trouble came from an entirely unexpected quarter. The legal heirs of Perumal Mudaliar, National Pictures, original Parasakthi producers decided to digitalise the 1952 hit and re-release it. This claims that the Krishnan Panju directed original has allotted only distribution rights to AVN for a few areas, that no other house could use the title. Avowedly, the Sivaji craze and the Kalaignar charisma guarantee big crowds.

The perception that January is a challenging month for the film industry is not without merit. Historically, this month has often been viewed as a “jinx” for film releases, primarily due to the post-holiday dynamics that affect audience behaviour and box office performance. As people transition from the festive season to their regular routines, several factors contribute to the underperformance of films released in January. Films released in December often enjoy extended viewership due to the holiday season, leaving little room for new releases.  Several films released in January have struggled to resonate with audiences, reinforcing the notion that this month is not ideal for cinematic success. For instance, Chhapak, which was released in January 2020, faced challenges at the box office despite its critical acclaim and social relevance. Similarly, in January 2023, films like Fighter and Mai Atal Hu failed to garner the expected audience turnout, highlighting a consistent trend of underwhelming performances during this month. The recent January releases, such as Emergency, featuring Kangana Ranaut, and Fateh, starring Sonu Sood, also struggled to find traction despite significant promotional efforts. This pattern suggests that even with star power and marketing campaigns, films released in January may face an uphill battle to attract viewers. Given the historical challenges associated with January releases, filmmakers and studios may need to reconsider their marketing and timing strategies. To mitigate the risks associated with January releases, studios could explore alternative strategies, such as targeting specific demographics or leveraging unique marketing campaigns that resonate with the post-holiday mindset. As the film industry continues to evolve, understanding the dynamics of audience behaviour and timing will be crucial for maximizing box office potential.

On Republic Day, Vijay’s last film’s title and first look were announced — Jana Nayagan (hero of the masses) cracking a whip with the tagline Naan Aanai Ittal. Besotted MGR fans, even 37 years later were intended to be captivated hook, line and sinker by this iconic song and MGR’s cult charisma. TN’s DNA is conjoined twins — cinema and politics, a   predictable, popular combo that has enthralled the cinema hungry and politics punched denizens of this state. Vijay who floated his party TVK in 2024 to harvest the votes in 2026 has it all planned. Or so it seems. This popular actor was launched by his father S A Chandrasekhar in 1984. After 68 films, Vijay now considers himself worthy of the crossover to TN’s throne, a charismatic Lord of the rings. There was a time when Vijay cannily shifted his MGR style to clone superstar Rajinikanth … .action, style and mass appeal, of course with a watchful eye on the box office take. If imitation is the best form of flattery, then it has to be acknowledged that Vijay reaped rich rewards in terms of fan following. So his last film is planned to carry a significant payload…MGR’s legacy as the cult Samaritan, forever ready to wipe the tears of the poor and pull them up from mired poverty. For which Vijay needs power, endorsement and legitimacy. He has carefully trained his virulent guns on the DMK so far, not pricking the AIADMK. Soothsayers say, at best he can divide and divert votes from both the behemoths. Can Vijay take an MGR incarnation?

Ajith Kumar, Tamil films gentle hero, is often praised for his courteous behaviour and helpful nature; he will help any needy person in the film world. Even when the competitive race between him and superstar Vijay heated up, raising the stakes for the most bankable, he kept his cool and did not resort to cheap gimmicks for publicity. In fact, his huge fan following gave him the sobriquet, Thala, a leader worthy of worship. The scripts he chose reflected his humane attitude and realistic expectations in the world of make believe. Even though his film Vidaamuyarchi was much delayed, Ajith believed in his director Magizh Thirumeni’s ability to bring the film to the cinemas. And February 6 will showcase this Ajith-Trisha starrer. No wonder Thirumeni at an event in Kochi to release the teaser of Mohanlal’s film Lucifer’s sequel said, “I am fortunate to be yet another person in need of help at the right time. Proud to say that Ajith held my hand and believed in my skill”.  But what Regina Cassandra, a co-star of Ajith says is even more commendable. She says Ajith is a doer not a talker and does everything that has an impact. Unlike Vijay, he abhors politics. He has passion for car racing and his team won third place at the popular 24H Dubai 2025. A man with military discipline was recently awarded the Padma Bhushan.

As the year begins, the Federation of Cine Technicians and Workers of Eastern India (FCTWEI) finds itself at the centre of a fresh controversy in Tollywood. Reports suggest that director Kaushik Ganguly’s upcoming film has encountered hurdles with the Federation, raising concerns about whether the shooting will commence as scheduled. Sources indicate that the shoot for Kaushik’s new project was set to begin on January 27 in North Bengal, however, complications over crew members have allegedly created friction between the director and the Federation. Rumours have also surfaced suggesting that the Federation has “blacklisted” Kaushik. This follows past disputes between Tollywood directors and the Federation, tracing back to July of last year, when director Rahul Mukhopadhyay faced a similar standoff, leading to the suspension of his Puja film’s shoot. Rahul’s case escalated tensions between the Federation and the Directors’ Guild, which was later mitigated by Chief Minister Mamata Banerjee after her intervention. Meanwhile director Joydeep Mukhopadhyay is facing similar issues as he prepares to start filming later this month. However, director Arindam Sil has got the green signal from the Federation even though he was suspended by the director’s guild over sexual harassment issue. Talk about selective treatment. Another layer to this controversy involves Federation President Swaroop Biswas’ earlier comments on workplace harassment. Last year, he claimed that 60% of directors faced allegations of sexual misconduct, coinciding with the city’s outcry over the rape and murder of a young doctor. Now, it is learnt that TMC minister Aroop Biswas, brother of Swaroop Biswas, might intervene to resolve the matter.

Vignettes from the greatest devotional gathering on earth are flowing in by the minute. Even social media enthusiasts are unable to keep up with the variety and speed with which scenes and stories are sprouting from the Maha Kumbh. Imagine the absolute stunning effect a 16-year old gorgeous girl had on all those who sighted her, selling bead necklaces in the surging crowd in Prayagraj. Meet Monalisa Bhosle from Indore, who had come with her family to pitch their tent and peddle bead necklaces and garlands, hoping to make a decent take from the huge crowd looking for bric a brac and mementos to carry home. Instead most stood transfixed by this girl’s dusky chocolate complexion and her unusual coloured eyes, her grace and absolute spontaneity in peddling her beads. She quickly turned into a sensation — crowds started milling around her, photos clicked by the hundreds, podcasts even more profuse. Monalisa Bhosle quickly retreated into her shell, overwhelmed by the attention and focus on her, she was not used to. Her father went a step further and packed her off to Indore fearing fame flooding his female offspring and the potential for trouble. Monalisa had only an unusual name for fame. It has started…the kite fliers who spread all kinds of news. Monalisa was whisked to a beauty parlour to transform her. There was talk about her playing second lead to Jahanvi Kapoor in a movie led by Ram Charan. If this were to happen, definitely a game changer for the Menaka of Mahakumbh. She came, she stood, and she transfixed all spotting her.

Just like efforts to tie-up helter-skelter loose ends of a plot to reach the climax, film promo events offer chances to hit back at those who failed you. In Need. Tamil film’s classy director Gautham Vasudev Menon found just such a moment. It was his promo for the Mammootty starring Dominic And The Ladies’ Purse, a pink Panther like detective theme. Menon could not control his angst as he poured out “would it have made a difference for Suriya if he had acted in Dhruva Natchathiram as originally planned?” He reminded Suriya about the two hits Kaakha Kaakha and Vaaranam Aayiram that marked turning points in Suriya’s filmograph. With Surya’s exit, Dhruva Natchathiram then passed on to Vikram but some financial glitches delayed the film inordinately, though Menon was gung ho about its release, soon. So why was he tying up seemingly disconnected loose ends now? The release of Vishal starrer Madh Gaja Raja (after a 12-year delay for ditto reasons) and its runaway success buoyed up Menon, appreciably. So what if Suriya went out of the film? Lead actors are replaced many a time. And the Kanguva failure would have taught Suriya many a lesson…cinema is more often misses than hits. Just as Suriya is investing all his resources in Retro, Dhruva Natchathiram will shine like the Pole Star, says a confident Menon.

1st May 2025 is the release date of Kartik Subburaj’s Stone Bench Productions and Suriya’s 2 D Studios of their movie Retro. After the disaster of Kanguva, it’s widely talked about that Suriya must recover the lost ground via this new release directed by Subburaj himself. Suriya, it is learnt, was not keen to take any chance experimenting with new themes and avant garde story lines. Is that why they have hit upon the title Retro? The movie title is a bit mystifying and quaint for a romantic and action-filled movie whose teaser has set Suriya’s fans gushing over his talent for romance and action, a throwback to his highly acclaimed Kaakha Kaakha, Singam sequels, Pitamagan and Soorarai Pottru. Obviously, the team is not taking any chances. Suriya’s eager fans are rooting for a hit. Retro has to shine, shake and sell in the time frame when Ajith’s Good Bad Ugly and Dhanush’s much touted Idly Kadai will also draw eager fans to cinemas. Whatever the commercial and critical outcome, Suriya, Dhanush, Sivakarthikeyan are targeting that space left vacant by Vijay and Ajith. Vijay has launched his own political party.  Ajith is getting more involved in racing events as he has launched his own team. He recently won third place at the popular 24H Dubai 2025 race and caused a flutter when his car did a top spin after hitting a barricade. Seasoned actor that he is, Suriya knows the intricacies of unravelling a story and living his role as the mainstay. Who can predict…Retro might bring back the 90s and millennial styles.  

The suicide of Chandramouli Biswas, former bassist of the renowned Bengali band “Fossils”, has not only left Bengal’s music fraternity in shock but also opened a Pandora’s box about the challenges faced by Bengali musicians. Biswas was found hanging in his Kolkata residence and suicide note suggest the artist was battling depression. Sidhu, a member of the iconic band “Cactus,” lamented the lack of infrastructure in Bengal’s independent music scene. He noted that while the film industry has producers and structured promotion systems, independent musicians struggle to gain visibility. According to him, radio stations no longer play Bengali songs, and decisions about playlists are made by offices in Mumbai, sidelining local artists. Eminent singer Raghav Chattopadhyay added that the supply of music far exceeds the demand where gaining recognition in the music industry has become unpredictable, with some talented musicians struggling for opportunities while others achieve overnight fame without formal training. Another concern highlighted by contemporary musician Debdeep Mukhopadhyay is the lack of respect for instrumentalists. Chandramouli, according to his bandmate Mahul Chakraborty, was working on a new project, “Golok,” with plans to release an album before focusing on live performances. However, the lack of a producer and promotional support made the journey challenging. The lack of sustainable opportunities and acknowledgment for musicians has raised broader questions about the state of Bengal’s music industry. While legendary bands like “Fossils,” “Cactus,” and “Chandrabindu” paved the way, newer bands struggled to gain traction. The disparity between the thriving demand for international performances in Kolkata and the stagnation of local talent underscores the industry’s challenges.

Come to think of it, one does not really see yesteryear popular stars like Reena Roy or Jaya Prada getting publicity…save for some guest appearances on reality shows. The same cannot be said of the 70-year old husky sexy popular star Rekha. From time to time she is visible in the social media space and makes dramatic appearances at the big event. The paparazzi loves her because she has struck a good chemistry with them…goes that extra mile to pose for them. But ironically, she is not friendly with any journalists. That’s why you only see her…don’t read her interview. An insider said, “She is a costly affair when she agrees to participate in an event or award function and goes into details like Amitabh Bachchan.”  Rekha who has acted in more than 180 films is nostalgic, mystical and continues to have a big draw wherever she goes. Just recently she was spotted at Raj Kapoor’s 100th birthday celebration. Here too the actress pleased all the paps… even gave a photo of Raj Kapoor sweet kiss. Sources say she is keen to get back to acting. Any Bollywood producers listening?

Old timers may still reminisce about that 1964 runaway Tamil comedy hit, Kadhalikka Neramillai. Tamil audience is in for yet another namesake of this film, Kadhalikka Neramillai, directed by Kiruthiga Udhayanidhi, wife of Tamil Nadu deputy CM, to be distributed by husband’s Red Giant Movies. So when the film’s cute heroine Nithya Menen said in the music promo and trailer event, “I just don’t like the filmi world I am in. Just when I decided to quit and look for another career (pilot), destiny dropped the National Award for best female lead in Thiruchitrambalam, in my lap”. An award she richly deserves. Even as she goes from strength to strength as a bankable actress, she wonders why she continues … .no freedom to move, an image to be kept up. How many aspiring leading ladies would happily exchange places with her! Nithya comes from an agnostic family based in Bengaluru. But now she strongly believes that there is a “supreme power and destiny that presides over our lives”. She admits that she has turned into a believer. Is she practising the essence of Gita philosophy? Do your duty to the best of your ability, be detached and don’t depend on outcomes. She is sought after in all South Indian languages, delivers the best that a character demands. Her all-time favourite is the 2023 Kolaambi. O Kadhal Kanmani brought her many accolades. This sparkling lady is sure to find “kadhalikka neram” soon. 

Sundar C’s Madh Gaja Raja, a project in the works for 12 long years is at last ready for release this Pongal. As if its jinxed image and optics were not enough to tarnish a good entertainer, hero Vishal attended the promo and audio launch event with high viral fever…a pitiable sight to watch his hands and voice trembling as he took the mic. MC Divya Dharshini had the presence of mind to make him sit along with Sundar, the Director and other members of the film unit. It was enough fodder for a news hungry social media and trolls to go after his reputation, and level all kinds of surmises. Vishal made his debut in 2004 with Chellamae, soon gave successive hits with Sandakozhi, Thimiru, Thaamirabharani, Malaikottai and other hits. An action hero with compelling talent and screen presence. But his aggressive and angry attitude soon came to the fore …keeping pace with his angry young man image. Tamil Film Producers Council charged big misappropriation which he stoutly denied. He took a potshot at the censor board for delay in release of his film Mark Antony. The personal life of this 47-year old star too was in turmoil, even as he acted in over 25 films. Every person has highs and lows …a film star is more vulnerable. His close friend actor Jeyam Ravi is confident that “Vishal will overcome this bad patch and get his lion-like stride back”. Till then Vishal needs empathy not brutal trolls.

As Hrithik Roshan completes 25 years in the films, another 8 star kids are set to enter Bollywood. Starting this month are Ajay Devgn’s nephew Aaman Devgn and Raveena Tandon’s daughter Rasha Thadani who is already a social media star even before her launch in Azaad. Saif Ali Khan’s son Ibrahim has been making news for dating Shweta Tiwari’s daughter Palak even before the release of his first film. Ibrahim who has assisted Karan Johar has three films that are under production and will see his debut in this year. One cannot miss Ishq co-stars Aamir Khan and Ajay Devgn at the launch party of director Indra kumar’s son Aman whose  debut film Tera Yaar Hoon Main will be directed by Milap Zaveri. Sanjay Kapoor’s daughter Shanaya Kapoor who was to be launched by Karan Johar will have to wait longer as that movie has been put on hold but she will hit the big screen in Mohanlal starrer Vrushabha. She has been doing studio rounds for the last four years. Ananya Pandey’s cousin Ahan Pandey has been waiting in the wings to be launched by YRF and hopefully it will happen this year. Veer Pahariya, grandson of veteran Congress leader Sushil Kumar Shinde will be seen in Skyforce with Akshay kumar. Last year we saw star kids in Archies which was a disaster but both Khushi Kapoor and Vedang Raina have bagged movies. Khushi will be in Loveyappa with Junaid Khan, Aamir Khan’s son who made his debut in Maharaj. For star kids getting entry into Bollywood is easy. But, how many can make it big like Hrithik, Aamir, Kajol and Ranbir?

Suddenly Kollywood is facing an existential crisis after its 2024 stocktaking. A Telugu sequel, Pushpa 2 hauled in Rs 1500 crore in just a few weeks. But Kollywood is shell shocked and stunned by the math –it trotted up Rs 1,000 crore loss in 2024. Where did it go wrong? Of 241 films released, 223 were either flops or performed badly. Even as Malayalam films faced Rs 700 crore loss, Kollywood could reap only Rs 2,000 crore. Of its repertoire, 18 films satisfied big outlays and stars … Amaran, GOAT, Meiyazhagan, Aranmanai 4 and a few more. 186 small and medium budgets like Demonte Colony 2, Romeo, Andhagan, Vaazha, Lubber Pandu and Pechi did good business on modest outlays. Tamil Film Producers Council Secretary, K Rajan said “Of the 241 films released in 2024, only 7% have brought cheer to the producers and all other stakeholders. We need quality films backed by strong scripts and stories”.  Looks like the much celebrated Kollywood factory seems to be facing a creativity hiatus. Can’t blame fickle audiences and non performing cast who earn astronomical remuneration. Actually, there are many conflicting pulls…OTT, attention deficit, lack of time to watch a film unravel for 2-plus hours, and myriad other digital distractions. Time to change according to the ecosystem. Nayakan, Thalapathi, Thillana Mohanambal, Sankarabharanam, Thevar Magan and past film hits underscore the creativity of Kollywood to give gripping films. Will Kollywood reinvent itself?  

The year 2024 belonged to the horror comedy genre and the South Cinema which helped box office get respectable numbers. Trade analyst Atul Mohan says 2024 will go down as one where horror films emerged as the unlikely saviors of Bollywood. With movies like Shaitaan, Munjya, Stree 2 and Bhool Bhulaiyaa 3 collectively raking in Rs 1,200 crore — almost 50% of the year’s total box office collections — the genre proved its mettle in a challenging year for the industry. Prabhas and Allu Arjun films including some south films dominated the box office and it does seem like a trend that will go into 2025. `While the South Indian blockbusters Kalki and Pushpa 2 dominated the Hindi belt, Bollywood struggled to deliver consistent hits. The absence of the Khans from the big screen was conspicuous and some highly anticipated films like Bade Miyan Chote Miyan, Maidaan, Sarfira, Vedaa and Jigra fell short of expectations. Some of the big stars like Askhay Kumar, Ajay Devgn, Tiger Shroff, Alia Bhatt failed miserably at the box office clearly indicating that you cannot take your audience for granted. The Khans absence was clearly felt at the box office. However, the year wasn’t without its surprises. Films like Munjya, Crew and Madgaon Express turned out to be unexpected crowd-pleasers, providing a glimmer of hope amidst the gloom.

For Tamils, Pongal is the height of inviting prosperity into homes. It is also the time when wallets are thrown open generously for entertainment, especially movies. So along with the controversial Jallikattu (Bull taming), families eagerly await new film releases. This Pongal Ajith Kumar and his much delayed Vidaamuyarchi is the film that all his adoring fans are eagerly waiting for. Already, much news was aired about Ajith’s illness, the stop-start shooting schedules in Azerbaijan and the many challenges that director Magizh Thirumeni had to face in completing this film. With the ravishing Trisha as his co-star, recent first look pictures have been praised sky high…Arjun, and Regina Cassandra are also in the film which has been already snapped up by Netflix after its cinema run. At November end, Lyca Productions aired a silent teaser video, in which a trim, suited and booted Ajith and a slim and svelte Trisha hit the high notes, hand in hand. With his overwhelming competitor, Vijay out of the film world, the often acrimonious and acerbic competition for biggest following of both, no longer exists. Yes, outsider Sivakarthikeyan has gained huge strides after his rocking performance in Amaran and Ajith could be back again on that treadmill. But Ajit has a unique fan following for his suave looks, underplayed roles and a sophisticated aura no other South star has touched. Suddenly, out of the blue, director Aadik Ravichandran aired some first looks of another Ajith film, Good, Bad and Ugly. Serendipity…cheap copy of that classic Clint Eastwood cult spaghetti Western?  Can Ajith pull off a hit with this and make it a double treat for Pongal?

Salman Khan is undeniably one of the most iconic figures in the Indian film industry whose impact transcends mere box office statistics. With a career that spans over three decades, his films–regardless of critical reception — frequently surpass the Rs 100-crore mark signifying his extraordinary appeal and star power. Throughout his illustrious career, Salman Khan has found himself at the centre of numerous controversies and has come unscathed. With a net worth estimated at around Rs 2,900 crore, he is an immensely sought-after star for brand endorsements. However, in recent years, his forays into guest appearances in films such as Baby John, Singham Again, Godfather and Antim have not garnered the kind of response one might expect from the audience. While his cameo in Pathaan was well-received, his lead role in Kisi Ka Bhai Kisi Ki Jaan released on Eid, faced significant criticism and was largely snubbed by both critics and fans alike. Looking ahead, the anticipation surrounding his upcoming film Sikandar is palpable. Directed by AR Murugadoss, this film marks a significant moment in his career, as it will be his first mainstream lead release following Tiger 3. Sikandar represents a pivotal juncture in his career, especially after a series of mixed receptions for his recent projects. Rumours are rife that he is in talks with well-known south director Atlee. Despite his immense charisma and dedicated fan base, a pressing question lingers in the face of ongoing controversies, and the challenges posed by a rapidly evolving industry: whether Sallu bhai at 59 can still captivate the new generation of moviegoers?

For over a year now the social media has been on an overdrive about Aishwarya and Abhishek’s marriage. Mirroring this sentiment, shortpost.in on December 22, 2023 ran a story headlined “Aishwarya And Abhishek: Rocky Marriage Or Only Hiccups? Now, Aishwarya and Abhishek have shut the mouth of rumour mongers after the two were spotted together at their daughter’s Aaradhya birthday party. Then tongues started to wag that Aishwarya is having issues with her in-laws. What gave credence to this rumour is her solo appearances with her daughter at Ambani wedding and other events. So the Bachchans took the opportunity to clear the air with Amitabh Bachchan making it to Aaradhya’s annual school day function. The video that went viral shows Aishwarya all smiles when Amitabh Bachchan steps out of the car.  But, many say that it was done for optics as grandmother Jaya Bachchan was missing from the scene. So too were Aaradhya’s cousins (Shweta Nanda’s children). All these clearly indicate all is still not well but amends are being made. The reports about fallout began when a news report said that the actress had walked out of the Bachchan’s Jalsa bungalow and moved into Amu which is in close vicinity. Although there was no official statement but once Abhishek showed his wedding ring to the media to indicate all is well. Sources say that Aishwarya is slowly getting back to doing more work. This should be music to ear for her diehard fan.

The massive success of Pushpa 2, has reignited the debate over screen allocation in West Bengal’s single-screen theatres. While the blockbuster continues to dominate the box office, its stronghold has created challenges for four Bengali films— Khadaan, Shontaan, Chaalchitro, and 5 No. Swapnamoy Lane—which targeted Christmas Day for their releases. The overlap has sparked a heated controversy over securing adequate slots in single-screen theatres, which remain a key audience base for Bengali cinema. Single-screen theatres across Bengal are grappling with the balancing act of accommodating these films while catering to the massive demand for Pushpa 2. Tollywood’s Christmas lineup has been significantly impacted, with producer-actor Dev expressing frustration on social media. He alleged that Khadan’s shows and advance bookings were disrupted due to the overwhelming presence of Pushpa 2. Arijit Dutta, owner of Priya Theatre, reported dividing slots among the films: Khadaan (two shows), Chaalchitro (one), 5 No. Swapnamoy Lane (one), and Pushpa 2 (one). However, veteran actor Mithun Chakraborty’s Shontaan was left out entirely, sparking outrage from its director Raj Chakraborty, who criticized the lack of consistent support for Bengali cinema. A distributor, speaking anonymously, blamed the simultaneous release of multiple Bengali films during the festive season, suggesting a lack of coordination among producers. He pointed to Bollywood’s strategy of staggering releases as a model Tollywood could emulate. Star Theatre owner Joydeep Mukherjee called for better planning within the Bengali film industry to avoid internal competition. Interestingly, allegations have resurfaced about Shontaan‘s producer, pressuring hall owners to prioritize its films. This history has led some distributors to side with independent producers in the current clash.

This video of Varun Dhawan’s interaction with the Union Home Minister Amit Shah at the Aaj Tak Agenda 2024 event has gone viral wherein he respectfully said people call Amit Shah “Chanakaya in politics but I would like to call Amit Shah, the Hanuman of country as he serves the nation selflessly.” Loud clap and applause followed and this is what the 37-year old actor is hoping that his Christmas release movie Baby John too will get at the theatres. According to Girish Wankhede, Trade Analyst, “For Varun the movie holds immense significance, marking a pivotal moment in his career.” The Christmas season release is a prestigious window for Bollywood which historically has been graced by all Khans — Aamir (Dangal, PK, Dhoom 3), Salman (Dabangg 2, Dabangg 3) and Shah Rukh Khan (Don 2, Dilwale). Varun who entered Bollywood in 2012 with Karan Johar’s Student Of The Year was lucky to have 11 consecutive box-office successes between 2012 and 2018.  Post that he has faced numerous challenges. Despite his commendable cameos in films like Stree 2 and Munjya, his recent projects — such as Bhediya, Bawal and Jugjugg Jeeyo have struggled to make a significant impact at the box office. With a few flops like October and Sui Dhaaga in his filmography, it’s clear that he has not experienced a major hit since the successes of Badrinath Ki Dulhania and Judwaa 2. This makes the Christmas release of Baby John not just another film for Varun, but potentially a game-changing opportunity that could redefine his standing in the industry feels Wankhede.

It was something that the Congress couldn’t stomach easily. Perhaps the party was surprised that the Raj Kapoor family had chosen to interact with PM Modi. A day after the social media and TV channels were awash with PM Modi’s interaction with members of the Kapoor family, a very senior Congress leader ventured to put out a snarky social media post questioning the meeting. For some odd reason he completely chose to ignore the context of the meeting. “We have been asking PM Modi to visit Manipur. But he has instead found time to meet with Kareena Kapoor.” Soon good sense prevailed and he deleted his crude post. Guess he must have realised that his post was outright offensive. The Kapoor family had called on PM Modi on December 10 to invite him to the legendary actor-filmmaker’s Film Festival. The festival is to commemorate Raj Kapoor’s 100th birth anniversary, an iconic figure in Indian cinema who passed away in 1988. Ten Raj Kapoor films are going to be showcased across 40 cities in 135 cinemas .The Kapoor family, including actors Ranbir Kapoor, Riddhima Kapoor Sahni, Neetu Kapoor, Kareena Kapoor Khan, Alia Bhat and Saif Ali Khan met the PM. “This is a special day for us. We enjoyed the conversation. He spoke to us in a friendly manner. He made all of us feel very comfortable,” said actor Ranbir Kapoor. His cousin actor Kareena Kapoor Khan said that it was her dream to sit next to PM Modi and talk to him. “His energy is so positive and he is truly a global leader.” PM Modi inquired about the third generation of Kapoors — and autographed for Kareena’s children Tim and Jeh. December 14 marks the 100th birth anniversary of Raj Kapoor.

Reel heroes don’t care about the media. That’s what came to light at the recent episode where a phone of a senior journalist was snatched by security personnel of actor Allu Arjun and no apology was offered either by the actor or his PR team. One has to wait and watch whether the journalist Vibha Kaul Bhat of ABP News will take the fight forward. More. Recently at the trailer launch of Kanguva, the bouncers of Tamil film’s popular star Suriya pushed the media who were waiting for the actor for over two hours. But, here one must say the actor had decency to apologise. Ranbir Kapoor now enjoys a good equation with the paparazzi but it may be recalled that the same actor in the past had snatched the camera of a paparazzi. A few years back Kangana Ranaut sent a legal notice to the Entertainment Journalists Guild of India and the Press Club of India for supporting PTI journalist Justin Rao. There are stories and stories about Dharmendra, Anupam Kher and other stars how they got into fights with journalists. In recent times Shah Rukh Khan was mightily upset with paparazzi for staking out his house when his son Aryan was arrested in connection with a drug-on-cruise case. Their overdrive saw King Khan carrying a green umbrella to hide his face making it difficult for paps to shoot him. During Ambani’s wedding the film fraternity went that extra length to pose for the paparazzi. Ironically, while the entire fraternity including Big B has had problems with paparazzi, Sanjay Dutt and Jackie Shroff have been their darling since the time they entered Bollywood. Time for other stars to learn their mantras.  

The latest petition from the Tamil Film Producers’ Association, is perplexing. Justice S Sounthar refused to grant an interim stay adding that film criticisms are part of freedom of speech and expression that cannot be curtailed. It’s not hard to delve into why this gag order is sought legally. The recent disaster of Kanguva at the box office is probably the reason for this drastic demand. High stakes and high jinx political grandstanding. The sop…journos are invited for a press show before the release either in a preview theatre or regular ones. And the press note gives the synopsis, star cast etc. The reviews in print or digital are read by people who decide — given today’s looming OTT presence — whether they want to see it or wait for a week or two. …it seems most decide to wait. Amaran is yet to debut on OTT….5th December after much demand. Because the film is still running to decent shows not managed by incentives Amaran came quietly with a feel good heart touching theme all could relate to. Kanguva thundered “Audience will lap it up. Open mouthed”. We rest our case.

Making his appearance on a reality show Indian Idol the 50-year old Fardeen Khan, son of successful actor-producer Feroz Khan, looked boyish and subdued. Indeed, he has quietly made a comeback on the big screen and OTT after 14 years of self-imposed exile. Although he was signed by Sanjay Gupta for Visfot which took a really long time to release as there were no takers for Gupta’s films; Covid-19 was the main culprit. But it helped Fardeen who got a chance to work with one of the biggest OTT shows Heeramandi directed by Sanjay Leela Bhansali which signalled his comeback in 2024. This was followed by Khel Khel Mein with Akshay Kumar which didn’t do well. But Fardeen who played the role of gay man certainly impressed the audiences and critics in a big way. Fardeen made his debut in 1998 with Prem Aggan. Post that he signed up for several films. Overall his career graph did not pick up. In 2010 after the release of Dulha Mil Gaya he took a break from acting. During this long hiatus he worked on his craft. Fardeen who was married to yesteryear actor Mumtaz’s daughter Natasha now separated has a daughter and son. He often brings his children to the sets. Currently, he is working with Akshay Kumar in Housefull 6 which is set for 2025 release. He may have missed out on No Entry Mein Entry. Will Feroz Khan’s son make a big impact in his second innings?

Kolkata’s cultural calendar is abuzz as the 30th edition of the Kolkata International Film Festival (KIFF) approaches, set to run from December 4 to 11. However, this year’s celebration of cinema is overshadowed by controversies and protests within the Tollywood industry. The festival, showcasing 175 films from 41 countries with a spotlight on French cinema, has been relocated from the sprawling Netaji Indoor Stadium to the smaller Dhanodhanya Auditorium by chief minister Mamata Banerjee’s government. The shift in venue, coupled with a reduced guest list, reflects the tension brewing between Bengal’s film industry and TMC government. This uncurrent stems largely from the aftermath of the RG Kar hospital rape incident, which sparked a citizen’s movement involving many prominent Tollywood stars coming out in open against the government. Party insiders revealed that Didi expressed dissatisfaction with Tollywood, remarking that the stars’ involvement had fuelled public outrage. Adding to the friction, a faction of directors and producers is protesting against Swarup Biswas, president of the Federation of Cine Technicians & Workers of Eastern India, accusing him of running a “syndicate raj.” Legal disputes, including defamation cases have escalated tensions further alienating a significant section of the film industry. This year, a notable portion of Tollywood has reportedly boycotted the festival, marking a shift in its traditionally warm relationship with Didi. Over the years, Didi fostered strong ties with Tollywood, even nominating several actors to political office. Yet, the current unrest signals a growing rift, with critics suggesting the RG Kar protests lent momentum to public dissatisfaction with her administration. This has strained the once-strong bond between Didi and the industry.

The 55th edition of the International Film Festival of India (IFFI) held in Goa every year was bigger in scale and ambition. There were more venues for screenings. Besides Panjim there were places like Porvorim including beach screenings at Anjuna and Miramar. The 9-day celebration showcased over 200 films from 75 countries. But, the glamour quotient was missing. Telugu superstar Allu Arjun whose name was sent out by the media cell of the festival did not turn up instead asked his Pushpa 2 co-star Rashmika Mandanna to stand in for him. Although IFFI is about the convergence of cinema from all over the world, the perception is always made by the big Bollywood and international names attending. And this was not impressive. The only big names from Hollywood were Hugo Weaving and Chuck Russell who are no longer part of the mainstream cinema. Every year there are huge delegate queues waiting to watch films but that was missing this year, an indication that cinephiles are losing interest in the festival. A few complained that the booking app showed it was houseful but the reality was just the opposite. The Film Bazaar, the biggest marketplaces,a big attraction for young filmmakers and storytellers seems to have attracted less number of buyers — both Indians and foreigners. The Indian Express in its editorial said that various institutions “over the years, pumped in funds and energy into making the IFFI as prestigious as the Cannes Film Festival — as envisioned when Goa was selected as the festival’s permanent home in 2004. Yet, 20 years on, unlike its model on the French Riviera — whose selections and winners go on to dominate the international festival circuit and awards season — the IFFI is far from shaping global cinematic imaginations and sensibilities.”  

Will Telugu sensation Allu Arjun do an encore? Pushpa 2 releases and the film trade is saying it will rewrite the box office history.  It may be recalled that Pushpa: The Rise became a sensation and his mannerisms became very popular. It emerged as the highest-grossing Indian film in 2021 and ranked among the highest-grossing Telugu films of all time. The film also earned Arjun his first National Film Award. A clued-in trade analyst says that after KGF Chapter2 Allu Arjun’s Pushpa 2 will create the same type of buzz. Unlike RRR, this is a contemporary movie and more people can relate to it. Common man can relate to the character Pushpa, who rises from the bottom. It’s a masala story that’s bound to click. It is learnt that Allu Arjun is travelling all over to promote his film. His event at Patna has increased the curiosity amongst the audience in the Northern belt. The music of the film is already a big rage and the 42-year old star who has connect with the audience is definitely going to create a bigger market for his films and himself. Exhibitors like Girish Wankhede feel that the Hindi collection of Pushpa 2 is expected to be a major surprise. It has the potential to surpass the post COVID-era benchmark of Rs 66 crore on its opening day, with projections indicating that it could reach between Rs70-75 crore for its Hindi version. The total collections may exceed Rs 250 crore worldwide.

December 4th is a red letter day for the Hyderabadi glitterati. Nag Chaitanya and Shobhita Dhulipala are to solemnise their marriage at a lavish ceremony to be held at the Annapoorna Studios, the Akkineni family’s heritage studio named after the late Akkineni Nageswara Rao’s wife. Sentiment, scale, spend and super social event to mark this second wedding of 38-year old Nag Chaitanya, divorced from Samantha Ruth Prabhu in 2021. The talk is that 32-year old Shobitha has been gifted specially woven Kanjivaram saree and choli in gold lace and stunning jewellery befitting the Akkineni family. The ceremony is to run over 8 hours. The big buzz is that this gala event’s filming and exhibition rights have been sold to Netflix for Rs 50 crore! Rings a bell? Nayanthara and Vignesh Sivan’s wedding event and its OTT telecast. Even as the camera greedily laps up the stunning costumes and staggering jewellery on display, the long line of filmi invitees waiting to pose in their boast worthy bling are on view. And OTT streamers have their own original edited content. And the families earn back the money spent on the weddings. Business Schools have yet to teach this ROI. The only troubling thought …after all this, why are divorces taking place so often? Even as Nag Chaitanya and Shobitha Dhulipala soon to be streamed wedding events are making news, Dhanush and Aishwarya Rajinikanth are given the family court’s verdict. Divorced.

The Nayanthara-Vignesh Shivan wedding in 2022 was much talked about, kindled oodles of curiosity and news. Okay, Nayan is known as the Lady Superstar of Kollywood and this couple were newsmakers for a long time …speculations and guesswork rife over whether it was yet another Nayan dalliance in her longline of ditched paramours Prabhudeva, Simbu in that list. Finally the wedding was celebrated with pomp and style, Netflix signed a deal for OTT rights at an astronomical figure, no one could corroborate. Then, all concerned moved on … .Nayan is now mother to two cute boys. The wedding footage and other highlights of Nayan’s films were curated to make a biopic, Nayanthara, Beyond The Fairy Tale, and it went OTT live with many expectations that it would hit the high jinx for Nayan…actually it has not garnered much praise. But the Fairy Tale turned into a Horror Story when she was slapped with a notice to pay Rs 10 crore for a 3-second clip from her movie Naanum Rowdy Thaan, a hit movie from Dhanush’s home production. Nayan was livid. Adding insult to injury, Dhanush further insisted that the clip be deleted immediately. Currently Dhanush is directing Idli Kadai produced by Akash Bhaskar. His recent wedding attended by Sivakarthikeyan, Anirudh, Dhanush and Nayanthara, husband in tow turned viral worthy … .the angry vibes both conveyed made news. The protagonists were sitting poles apart and faces turned away. Karma, it is said, has a way of punching holes in egos.

A major controversy has erupted in Tollywood as over 233 directors from films, TV and independent media have filed a defamation suit against Swarup Biswas, president of the Federation of Cine Technicians and Workers of Eastern India. The Rs 23-crore lawsuit follows Biswas’s contentious remarks alleging rampant sexual harassment in the film industry, with 60% of complaints purportedly against directors and producer-directors. The hearing will take place on January 10. Swarup, the younger brother of Aroop Biswas, Bengal’s Power and Housing Minister and a close aide of chief minister Mamata Banerjee, finds himself at the centre of an unprecedented protest by Tollywood’s creative community. This is, perhaps, the first time that Tollywood has publicly challenged the Federation. Directors and producers have also criticized what they call “red-tapism” and “arbitrary demands” imposed by the Federation, including its control over unit sizes, pay scales, working hours, and technician selection. At the Eastern India Motion Picture Association’s (EIMPA) recent AGM, Swarup Biswas proposed that producers deposit Rs 5 lakh each as security to ensure timely technician payments, citing Rs 50 lakh in pending dues. Producers have outright rejected the demand, questioning the Federation’s accountability and EIMPA’s silence on the matter. Veteran actor-director Aparna Sen has publicly questioned Swarup Biswas’s credentials, asking for proof of his contributions to the industry. Biswas holds an assistant director’s card, which is reportedly issued only to those involved in at least two films. Actor-politician Roopa Ganguly also criticized the Federation, accusing it of politicizing the industry and questioning why filmmakers often seek the CM’s intervention during crises.

Are the re-runs slowly becoming a revenue model both for producers and exhibitors who have been grappling to bring back the audiences to cinema halls? Diwali turned out to be decent but then again we are gone back to re-release of films. Shah Rukh Khan’s Veer Zara re-release has been appreciated. Rakesh Roshan plans a re-release of Karan Arjun with a huge number of screens after 30 years of its release. This again has Shah Rukh Khan and Salman Khan coming together for the first time on screen. SRK’s Kal Ho Naa Ho and Pardes too are re-releasing in cinemas. Those in the trade feel that re-release of Tumbbad, Rehna Hai Tere Dil Mein and Laila Majnu have given courage to producers to cash on re-runs. The re-runs have stirred both excitement and curiosity. Traditionally, re-releases were reserved for timeless classics, but now more recent films are being revived, prompting questions: Is this trend purely nostalgic, or is there a deeper strategy at play? According to Trade Analyst Saurabh Varma, the re-release phenomenon is benefiting the cinema industry in multiple ways. For producers, re-releasing films is a cost-effective option. The marketing and distribution expenses are far lower than for new releases. Re-releases tap into the large fan bases of iconic films, giving long-time fans a chance to relive their favourite stories on the big screen. Furthermore, these revivals provide a unique opportunity for younger viewers who may have missed these films during their initial release. The combination of nostalgia and iconic music resonates deeply with audiences.

Tamil film producers and their financial backers are now rethinking this model — big money, big stars, big projects but no guarantee that it will reap profits. So the new strategy…safe and secure than spend thrift and sorry. Can small budget films do big business? A resounding yes to three of 2024s baby budget films that warmed the cockles of producers’ hearts. Three films of this year, Lover, Lubber Pandhu and Vaazhai have pulled in amazing profits and massive margins. Lover’s budget was a mere Rs 5 crore, and plus other expenses added the total cost to Rs 6 crore. Hold your breath! It made a profit of Rs 13 crore. But Lubber Pandhu (Rubber Ball), a title that would have gone unnoticed, made the biggest rake in for Prince Pictures who earned Rs 35 crore in TN gross alone — 300% profit. Vaazhai was no sneeze over either…it brought Rs 12 crore profits in TN. Film making costs and exhibition/promo expenses can zoom up dangerously, and after paying the incredible star salaries, if the film’s overflow is modest, stakeholders have no insurance cover to fall back on. Small is big is fast becoming the new open sesame for Kollywood to stay safe.