Saif Ali Khan Case: Auto-rickshaw driver who rushed Saif Ali Khan to hospital unaware of actor’s identity; says, “A man who was covered in blood came out…”

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A day after actor Saif Ali Khan was stabbed by an intruder at his Bandra residence, an auto-rickshaw driver Bhajan Singh Rana, who took him to the Lilavati Hospital, said he was not aware that the passenger he was taking to the Hospital was film actor Saif Ali Khan. He said, “I drive my vehicle at night. It was around 2-3 am when I saw a woman trying to hire an auto but nobody stopped. I could also hear calls for a rickshaw from inside the gate. After I took a U-turn and stopped my vehicle at the gate, a man who was covered in blood came out. 2-4 people also accompanied him.” He added, “They put him in the auto...They decided to go to Lilavati. I dropped them off there...I then came to know that he is Saif Ali Khan...I saw him bleeding from his neck and back.” #WATCH | Attack on #SaifAliKhan | Mumbai: Bhajan Singh Rana, autorickshaw driver who rushed the actor to Lilavati Hospital after the attack, says, "I drive my vehicle at night. It was around 2-3 am when I saw a woman tryi...
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November review replay of Bataclan terror response is good PR for French cops

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Cédric Jiminez’s focus on police operations in the aftermath of the 2015 Paris terrorist attacks doesn’t give a real sense of who any of the agents involved are

Artistic responses to the 2015 Paris terrorist attacks – including You Will Not Have My Hate, Paris Memories and the excellent You Resemble Me – have rightly erred on the side of the contemplative, though even that couldn’t excuse last year’s soft-rock stage musical For You I’d Wait. With November, the director and co-writer Cédric Jiminez, who excavated the origins of The French Connection in his 2014 thriller The Connection, zeroes in on the police operation in the immediate aftermath of the attacks when the terrorists were still on the run. Jiminez’s Connection star Jean Dujardin oversees the hunt, calling his wife to say “Give the kids my love” before five solid days of barking at suspects and pointing at maps.

Deploying the standard Jason Bourne vocabulary of swish-pans, shaky-cam and jittery editing, the film mercifully avoids restaging the attacks themselves and instead catalogues the surveillance operations, false leads, interrogations and high-speed pursuits. Despite reliable work from a wiry-looking Jérémie Renier as a scowling cop and Anaïs Demoustier as a novice agent, we don’t get to know much about these (fictional) heroes who are pulling pizza-and-Alka-Seltzer all-nighters. A gun-runner (Hugo Dillon) with a colourful if dubious defence – “Don’t blame my Kalashnikovs, blame pussy politicians!” he fumes – comes more sharply into focus than anyone else here.

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