Ali Fazal reveals he instantly said yes to Thug Life; says, “A Mani Ratnam film isn’t something you get offered every day, and certainly not alongside someone as iconic as Kamal Haasan”

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Actor Ali Fazal is set to make his South Indian cinema debut in Mani Ratnam’s upcoming film Thug Life. Starring Kamal Haasan in the lead, the film brings together a cast of actors from both Hindi and South Indian industries. It is scheduled for a theatrical release on June 5 in Tamil, Hindi, Telugu, Malayalam, and Kannada. Marking a pivotal new chapter in his versatile career, Ali Fazal revealed that it didn’t take him more than a second to say yes to the project. “There are some calls you get in your life that you know instantly are meant to change the course of your journey — this was one of them,” said Ali. “When you hear the name Mani Ratnam, you don’t just think of cinema — you think of legacy, you think of storytelling that’s transcendent, timeless, and deeply rooted in human emotion. I didn’t have to think for a moment before saying yes to Thug Life. A Mani Ratnam film isn’t something you get offered every day, and certainly not alongside someone as iconic as Kamal Haasan. The...
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Frederic Forrest obituary

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Consummate character actor who came close to stardom in the 70s with roles in Apocalypse Now, The Conversation and The Rose

“He’d kill us if he got the chance.” Those words, spoken by a bespectacled, beige-suited young man (Frederic Forrest) as he wanders through Union Square in San Francisco with his lover (Cindy Williams), are secretly recorded by the surveillance expert Harry Caul (Gene Hackman) in The Conversation (1974). Their meaning, mulled over at length, becomes vital in unlocking the story’s mysteries. One of the key thrillers of its decade, Francis Ford Coppola’s film was also an eloquent expression of paranoia in a country reeling from Watergate.

Forrest, who has died aged 86, was the ideal actor to throw certainties into doubt. In The Conversation, he is bookish, furtive and opaque. The audience never becomes properly acquainted with him, though recordings of his voice and image are repeatedly offered up for our scrutiny so that the act of studying his expressions and intonations becomes central to experiencing the film. Without realising it, we channel a good deal of energy into deciphering his motives.

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