SCOOP: Batwara’s special promo, featuring Sunny Deol and Karan Deol, expected to be unveiled on Father’s Day

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About two months remain before the release of Batwara, and the film's team is gearing up in full force to unveil the much-anticipated teaser. Recently, it was reported that the asset will be launched on June 15. Bollywood Hungama has now learned that the makers are putting together another interesting promo, which will also be out this month itself. A source told Bollywood Hungama, “Batwara stars Preity Zinta, Shabana Azmi and Ali Fazal, and it also features Sunny’s son, Karan Deol. This is the first time that the father and son will share screen space, and they have an interesting dynamic in the film. The makers wanted to present the same to the audience. Hence, a special promo is being designed to highlight their bond.” The source continued, “Father’s Day will be celebrated on June 21. Hence, the team of Batwara 1947 felt that it would be an apt day to bring the father-son asset out. A final call will be taken in the coming week, but as of now, the Father’s Day asset plan is on....
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Tod Browning: the film-maker who brought the carnival to Hollywood

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A new retrospective offers another chance to appreciate the daring and often deranged films made by a director who was once the centre of a moral panic

When a kid threatens to run away and join the circus, perhaps upon being forced to eat broccoli or go to bed, they’re fantasizing about more than just independence. The traveling carnival offered an alternative way of life that appealed specifically to those uninvested in the politenesses of the grownup world. No one can make a carny shower, wear a tie or go to church. This liberation from the strictures of civilized society was a must for an ethically spotty line of work reliant on a mix of trickery, hucksterism, prurience and morbid fascination, a low art form that attracted a certain kind of scuzzy personality. The tents of the sideshow provided a home to thieves, oddballs, creeps, chiselers, dope fiends, conmen, women of ill repute, leches, lushes and any other species of degenerate in need of a paycheck. If vaudevillians were the rock stars of the pre-cinema era, then circus folk were van-dweller punks cutting a swath of blithe misbehavior from gig to gig.

Just before the turn of the 20th century, at the ripe age of 16, a bricklayer’s son named Charles Albert Browning Jr decided that these were his people and abandoned his well-heeled family to join their grubby ranks. He would spend 10 years cutting his teeth as a barker, song-and-dance man, clown and contortionist before rechristening himself Tod, the German word for “death”, conferring a ghastly gravitas. Three years later, he’d take leave of the stage with sights set on the burgeoning silent film industry, but he’d carry the lurid spirit of the big top with him through the rest of an illustrious, disreputable career.

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