EXCLUSIVE: Tamannaah Bhatia signs Siddhant Chaturvedi-starrer Chitrapati V Shantaram

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Bollywood Hungama was among the first ones to inform the viewers that the biopic of the legendary film personality V Shantaram is in the making and that Siddhant Chaturvedi will play the lead role in this film, which has been titled Chitrapati V Shantaram. We now bring to you another exciting news from this upcoming film. We have now learned that Tamannaah Bhatia has also come on board. A source told Bollywood Hungama, “Tamannaah Bhatia is on a high at present and has proved that she can essay varied kinds of roles. Just like Siddhant Chaturvedi, Tamannaah also essays a real-life character and moreover, it's a crucial role to the narrative. Tamannaah is excited as the role is challenging and viewers would get to see her in a new light.” The source also revealed, “Chitrapati V Shantaram will be directed by Abhijeet Deshpande, who made the successful Marathi biopic, Ani... Dr. Kashinath Ghanekar (2018), and also wrote the memorable Marathi film Natsamrat (2016) and Hindi titles lik...
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The Virgin Suicides review – Sofia Coppola’s debut rereleased with solemn trigger-warning

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Sunlit suburban calm masks the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie

Nearly a quarter of a century ago, Sofia Coppola made her feature directing debut with this adaptation of the literary sensation of its day: Jeffrey Eugenides’s novel about five teen sisters in 70s suburban Michigan who take their own lives. Now it is rereleased with a solemn trigger-warning disclaimer at the beginning about certain historic attitudes which might now cause offence; these are unspecified, but appears to mean the entire premise of the film, up there in the title, but which is treated more circumspectly nowadays in the context of new ideas around self-harm and “suicidal ideation”.

This was a movie which mystified as many as it entranced, and it would be honest of me to admit that I didn’t quite understand it back in 2000, and maybe don’t quite now. But I can perhaps appreciate with more clarity its artistry and poise and the confident way Coppola allows her film to be serenely mysterious and almost affectless in its sunlit suburban calm, a reticence which appears to mask the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie.

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