SCOOP: Anil Kapoor buys rights to his cult film Nayak; aspires to make its sequel

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Anil Kapoor has had an illustrious career and has delivered several memorable films. One film that stands out in his filmography is Nayak (2001). The political drama didn’t work in cinemas but became a cult film later on. Fans have long demanded a sequel to Nayak and Bollywood Hungama has learned that the plan might finally materialize. A source told Bollywood Hungama, “Producer Deepak Mukut of Sanam Teri Kasam (2016) fame held the rights to Nayak. It is said that Anil Kapoor has bought the rights from him. He plans to hold the rights as it’s a film close to his heart. Also, he aspires to make a sequel to it. He is fully aware of the love he has garnered for the film over the years and he also is of the belief that the subject of Nayak has tremendous potential for a second part.” We contacted Deepak Mukut to find out if he has sold the rights of Nayak to Anil Kapoor but he was unavailable for comment. In an exclusive interview with Bollywood Hungama in March 2024, Deepak Mukut told ...
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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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