Farhad Samji switches gears; writes screenplay and dialogues for film adaptation of Safed Khaki; based on police inspector Subhash Shinde and his cricket achievements

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Farhad Samji is known for directing mass-appealing and often comical films like Bachchhan Paandey (2022), Kisi Ka Bhai Kisi Ki Jaan (2023), Housefull 4 (2019), etc. and writing (along with brother Sajid) memorable films like Singham (2011), Bol Bachchan (2012), Housefull 2 (2012), Chennai Express (2013), etc. However, with his next project, he is all set to switch genres. It has come to light that Farhad has written a film on Senior Inspector Subhash Shinde who contributed to cricket. The film in question is an adaptation of the book 'Safed Khaki' written by Atharwa Shinde, daughter of Subhash Shinde. In an interview to Mid-Day in November 2025, she revealed that Nishikant Kamat of Mumbai Meri Jaan (2008) and Drishyam (2015) fame was impressed by the story and wanted to make a film at one point. But the project was stalled after his demise in 2020. But later, Farhad Samji came on board and he, along with Piyush Singh, has now written the screenplay and dialogues. Atharwa 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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