Manoj Bajpayee replaces Govinda in Bhagam Bhag 2: Report

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Bhagam Bhag 2, the sequel to one of Bollywood’s enduring comedies, has seen a notable change in its cast as production advances toward a scheduled start. Reports emerging from industry sources indicate that Manoj Bajpayee will join stars Akshay Kumar and Paresh Rawal for the follow-up, while original cast member Govinda is not expected to return. The original Bhagam Bhag (2006) featured Akshay Kumar, Govinda and Paresh Rawal in memorable comic roles and became a cult favourite over the years. As the sequel moves closer to production, the casting list is shifting. According toa report by Variety India, acclaimed actor Manoj Bajpayee is set to take on a significant role alongside Kumar and Rawal. Govinda, who played one of the lead comic roles in the first film, is reportedly not part of the new instalment. The report noted that discussions with him did not materialise into a confirmed role for Bhagam Bhag 2, and the casting change marks a departure from early expectations. The sequel...
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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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