Deepak Mukut claims Do Aur Do Paanch remake rights; reveals, “I wanted to remake it with Bobby Deol and Abhishek Bachchan”

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Amid reports suggesting that Rohit Shetty’s Golmaal 5 would adapt the 1980 classic Do Aur Do Paanch, producer Deepak Mukut has set the record straight. Mukut, who owns the remake rights to the film, confirms that he, and not Shetty who is developing a new version of Do Aur Do Paanch, and intends to take it on floors soon. “I don’t know where or how the news of someone else doing Do Aur Do Paanch came from. I had to issue a public notice to prevent anyone else from remaking it. I am very serious about doing the film. For nearly ten years, I wanted to remake it with Bobby Deol and Abhishek Bachchan,” says Mukut. The original film, directed by Rakesh Kumar, featured Amitabh Bachchan and Shashi Kapoor as two small-time crooks posing as schoolteachers in a plot to kidnap a wealthy businessman’s son. Hema Malini played a genuine teacher at the same school, adding romance and comic tension to the caper. Interestingly, when Do Aur Do Paanch released in 1980, it turned out to be a rare box-o...
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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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