Aamir Khan Productions, Kabir Khan Films and Australia’s Mind Blowing Films announce Silkyara 41 based on Uttarakhand tunnel rescue

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Aamir Khan Productions, Kabir Khan Films and Australian banner Mind Blowing Films have officially announced Silkyara 41, a feature film inspired by the extraordinary rescue operation at the Silkyara Tunnel in Uttarakhand. The project will chronicle the dramatic mission that led to the safe rescue of 41 trapped workers and highlight the contribution of internationally renowned tunnelling expert Professor Arnold Dix. The announcement was made on July 9 in Melbourne and Mumbai, coinciding with a significant moment in India-Australia relations as both nations continue to strengthen bilateral ties. The makers have described Silkyara 41 as a landmark Indo-Australian collaboration that brings together creative talent, storytelling traditions and production expertise from both countries. The film will be directed by Kabir Khan, known for films such as Bajrangi Bhaijaan and '83, while the screenplay has been penned by acclaimed Australian writer Andrew Anastasios, whose credits include The...
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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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