Aryan Khan reveals that he DUBBED for Salman Khan in The Ba***ds Of Bollywood; adds, “When Shah Rukh Khan’s on set, EVERYONE behaves exceptionally well

It’s been more than two months since the release of The Ba***ds Of Bollywood and it continues to be talked about. It was Aryan Khan’s debut vehicle, and he impressed one and all not just with its storytelling but also with its humour and subtle Bollywood references. He recently gave an interview to GQ India, where he shared a very fascinating trivia. The GQ Interview India revealed that Aryan Khan can mimic really well. On this, Aryan said, “Fun fact, in the show, when Salman Khan says, ‘What party? Bullshit party,’ that’s actually me!” Besides Shah Rukh Khan, The Ba***ds Of Bollywood had cameos by several other stars including his father, superstar Shah Rukh Khan. The others who make a special appearance are Karan Johar, Ranveer Singh, Siddhant Chaturvedi, Disha Patani, Orry, Shanaya Kapoor, Ibrahim Ali Khan, Rajkummar Rao, Sara Ali Khan, Aamir Khan, S S Rajamouli, Badshah and Ranbir Kapoor. Emraan Hashmi had an extended special appearance and that also became a rage. The actors wit...

The Virgin Suicides review – Sofia Coppola’s debut rereleased with solemn trigger-warning

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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