Dhurandhar actor Nadeem Khan arrested for alleged 10-Year sexual exploitation of domestic worker on false marriage promise

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Actor Nadeem Khan, who was recently seen in the film Dhurandhar, has been arrested by Mumbai Police following serious allegations made by his former domestic worker. The case pertains to claims that the actor repeatedly sexually assaulted the woman over nearly a decade, allegedly luring her with a false promise of marriage. Khan, who portrayed the character Akhlak—cook to the dacoit Rahman—in Dhurandhar, was taken into custody by Malvani Police on Thursday. Officials confirmed that he is currently in police custody as the investigation progresses. According to police sources, the complainant is a 41-year-old woman who has worked as a domestic help at the residences of several actors over the years. In her statement, she said she first came into contact with Khan in 2015. What began as a professional association allegedly developed into a personal relationship, during which the actor is said to have assured her that he would marry her. Relying on this assurance, the woman claimed she...
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Golda review – lifeless Meir biopic hides Helen Mirren’s talent in a cloud of cigarette smoke

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As a drama about the Yom Kippur war, this film is bafflingly dull. As a portrait of Golda Meir, Israel’s prime minister at the time, it’s even worse

Helen Mirren’s latexed and enhanced portrayal of Golda Meir, Israel’s “Iron Lady” prime minister during the 1973 Yom Kippur war, has been overtaken by a debate about “Jewface” casting because Mirren is not Jewish – addressing why Jews are casually excluded from the otherwise fiercely policed sensibilities about authenticity and identity on screen. (Would they get a white actor, for example, to black up as President Anwar Sadat?) It’s a valid and important question, but not exactly the problem in this stately, stuffy and at times almost comatose TV-movie-type drama about tension in Israel’s corridors of power as the Yom Kippur war exploded and the country faced off against Egypt, Syria and Jordan in a battle for its very existence.

Mirren, normally such a sparkling performer, is lumbered with a grey wig, false nose and jowls, with occasional headscarf and handbag, making her look as if she is playing the Queen doing an impression of Richard Nixon. This Golda Meir impassively chainsmokes her way through wooden potted-history dialogue scenes with her military top brass, while everyone blows cigarette smoke at each other; occasionally she takes a break to lie prostrate on a hospital bed, stoically smoking and dying of cancer. Is she going to die? Why not? The film is flatlining.

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