Celina Jaitly responds after Delhi High Court disposes plea over brother’s refusal to communicate

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Actor Celina Jaitly has reacted after the Delhi High Court dismissed her petition seeking communication and legal assistance for her brother, Major (Retd.) Vikrant Jaitly, who is currently detained in the United Arab Emirates. According to a reports, the court disposed of the plea after being informed that Vikrant Jaitly had declined to communicate with his sister and preferred to make legal decisions in consultation with his wife, Charul Jaitly. The court was also told that he had been granted consular access on multiple occasions and had refused legal representation offered to him, including pro bono assistance. Responding to the development, Celina Jaitly shared a note on Instagram expressing concern while acknowledging the court’s decision. She wrote, “Today was the last hearing of my writ petition. I had approached the Hon’ble Court out of deep concern for the safety, security & well being of my brother.” She added, “He is in a foreign nation & as his sister, I felt it w...
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Last Tango in Paris at 50: Bertolucci’s controversial drama remains troubling

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The Italian director’s knotty drama remains a provocation, a film filled with lyrical beauty but also repulsive cruelty

Revisiting films on the occasion of major anniversaries can be a disorienting reminder of time’s too-swift passage: that film is now 20/30/40 years old? How can that be? Why does it still feel so much younger than I do? In other cases, however, the film wears its advanced age in a way that makes complete sense, and so it is with Last Tango in Paris, released in cinemas in 1973. Now a half-century old, Bernardo Bertolucci’s lightning rod for scandal and debate has dated in many of the ways you might expect, but that’s not quite what I mean: at 50, the film’s age has now caught up with the overriding air of middle-aged despair and disarray that it always carried. In a sense, it was a film made to be forgotten, and then remembered with bittersweet, conflicted feelings, its significant beauty curdled over time.

Bring up Last Tango in Paris in cinephile circles today – especially those reckoning with the gender politics of the artform post-MeToo – and you won’t hear that many fond endorsements. When it’s brought up at all, the conversation swiftly narrows to its most notorious scene: the one where Marlon Brando’s Paul, a recently widowed American abroad, holed up in a desolately furnished Parisian apartment, forces himself on Maria Schneider’s Jeanne, a 20-year-old ingenue whose name he refuses to learn. Grabbing a dab of fridge-cold butter for lubrication, he anally rapes her.

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