EXCLUSIVE: Kumar Mangat Pathak CONFIRMS Jaideep Ahlawat's entry in Drishyam 3: "We have got a BETTER actor than Akshaye Khanna and most importantly, we have got a better person than Akshaye"

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Sometime back, Bollywood Hungama broke the internet as it exclusively spoke to Kumar Mangat Pathak over Drishyam 3’s casting. The reputed producer complained of Akshaye’s unprofessionalism and also revealed that he plans to sue the Dhurandhar actor. He also confirmed that Jaideep Ahlawat has replaced Akshaye. Kumar Mangat Pathak told Bollywood Hungama, “Drishyam is a very big brand. It doesn’t matter whether he is in the film or not. Now, Jaideep Ahlawat has replaced him. By the grace of God, we have got a better actor than Akshaye and most importantly, we have got a better person than Akshaye as well. I had produced one of the first films of Jaideep's career, Aakrosh (2010).” The producer then said, “I have suffered losses because of Akshaye Khanna’s behaviour. I am going to take legal action. I have already sent him a legal notice; he’s yet to reply to it.” Kumar Mangat Pathak revealed, “When Akshaye heard the script in his Alibaug farmhouse, he liked it so much that he told u...
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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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