Rajkumar Hirani-Aamir Khan’s Dadasaheb Phalke biopic to go on floors in March 2026 after script revisions: Report

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Aamir Khan and filmmaker Rajkumar Hirani’s much-anticipated Dadasaheb Phalke biopic has seen a shift in its production timeline. While the project was earlier expected to go on floors in January 2026, the makers are now planning to begin filming in late March 2026. In September 2025, Mid-Day had reported that the film was gearing up to roll early next year, with Khan reportedly moved to tears while revisiting key moments from Phalke’s life. However, plans have since changed as the actor-director duo have decided to further refine the screenplay before taking the film on set. According to industry insiders, a fresh draft of the script is currently being developed, one that aligns with both Hirani and Khan’s creative vision while doing justice to the journey of Dhundiraj Govind Phalke, widely regarded as the Father of Indian cinema. The intent, sources say, is to ensure that the narrative resonates with contemporary audiences without compromising on historical authenticity. A source t...
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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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