Two endings in Housefull 5 – will it prove to be a game-changer or backfire? Trade experts share their views

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The trailer of Housefull 5 is out and during the launch, producer Sajid Nadiadwala confirmed that 2 versions of the comic caper will be released. He said, “So, if you see at Gaiety, you'll see a character playing a killer but in Galaxy, the culprit will be somebody else. In PVR Audi 4, you'll have one killer but in PVR Audi 5, you'll see a version with a different killer. Even in the same audi, different show timings will have different actors playing the killer. This is happening in the world for the first time.” We asked the trade experts if this move could be a game-changer or will it backfire? Trade veteran Taran Adarsh said, “It remains to be seen how people react to it. I don’t think it has happened before. People have shot two endings, like what happened with Sholay (1975). But with Housefull 5, there are two versions and they’ll also be available to the audience. That would be very interesting.” He added, “I’d love to watch it twice as I would want to know what th...
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Ziggy Stardust and the Spiders from Mars review Bowie bids farewell to an icon in legendary gig

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DA Pennebaker’s documentary offers moving moments and raw immediacy as the musician takes on his final performance as Ziggy Stardust

DA Pennebaker’s record of David Bowie’s final concert on the Ziggy Stardust tour at London’s Hammersmith Odeon in 1973 (Bowie is part of the reason we will never be reconciled to saying “Eventim Apollo”) is rereleased after a restoration. It was the legendary “all killer no filler” gig at which, in the presence of the Spiders from Mars – Mick Ronson (guitar), Trevor Bolder (bass), Mick Woodmansey (drums) – he retired his Ziggy Stardust persona, announcing to a stunned crowd that it was the last time he would ever play (as Ziggy).

The show itself, in which Bowie and band members appear starkly key-lit in darkness, with the crowd glimpsed briefly and almost stroboscopically, looks intriguingly intimate, like something at a much smaller club venue. The concert is straightforward and almost minimalist in its staging and Bowie’s cheeky theatrical genius and rackety exotica has something panto about it. Often, the piano and sax lines in Changes give the event a Vegas-residency feel, although no Vegas residency, even in 1973, would be so austerely presented. (Aladdin Sane is incidentally, along with “the Beatles”, a phrase which has transcended its own wordplay origins.)

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