Prasanth Varma’s Mahakali to also release in Hindi following Akshaye Khanna’s popularity after Dhurandhar

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Akshaye Khanna is being very selective after Dhurandhar, as he used to be even before his resurrection. In his next release Mahakali, Akshaye Khanna plays Shukracharya, a manipulative sage, marking his entry into Tollywood. The film, part of the Prasanth Varma Cinematic Universe (PVCU), is directed by Puja Aparna Kolluru. Said producer Prashanth Varma, “We had signed Akshaye Sir much before Dhurandhar. He is the highlight of Mahakali.” Varma intends to highlight Akshay Khanna’s presence in the North Hindi speaking belt. Earlier, the plan was to release Mahakali in Telugu only. But now after Dhurandhar, there will be a Hindi version highlighting Akshaye Khanna in the marketing. Also Read: Feroz Abbas Khan on birthday boy Akshaye Khanna’s performance in Gandhi My Father, “His emotional investment to play the part was palpable, he has made Harilal memorable in cinema” from Latest Bollywood News | Hindi Movie News | Hindi Cinema News | Indian Movies | Films - Bollywood Hungama h...
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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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