SCOOP: Sanjay Dutt-starrer Aakhri Sawal unlikely to release in cinemas on May 8 due to censor issues; makers eye May 15 release

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Bollywood Hungama has exclusively learned that Aakhri Sawal, which was all set to release in cinemas on May 8, is unlikely to make it to theatres on the scheduled date due to censor certification issues. We were the first ones to report last week that even the trailer has not yet been cleared by the Central Board of Film Certification (CBFC). The trailer, like the film, is still awaiting clearance from the Censor Board. A source told Bollywood Hungama, “The nature of the film and its plot is such that the CBFC members are being cautious. The makers have explained to the CBFC committee that their film is based on historical events and records and hence, deserves to be released. The discussions between the makers and the CBFC have taken a lot of time. Hence, the producers of Aakhri Sawal felt that it would be wise to push the film to a later date.” The source continued, “At present, the makers are considering releasing their film on May 15. Of course, this will be subject to receiving t...
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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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