Hai Jawani Toh Ishq Hona Hai trailer launch's most EMOTIONAL moment: David Dhawan gets teary-eyed and says, "Everybody should have a son like Varun"

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Varun Dhawan, Pooja Hegde, Mrunal Thakur, David Dhawan, Ramesh Taurani, Anu Malik, Sameer, Maniesh Paul, Chunky Panday, Rajesh Kumar, Jimmy Sheirgill, Rajat Rawail, Ali Asgar, Girish Kumar, Kumar Taurani, writer Rumy Jafry and cinematographer Ayananka Bose attended the trailer launch of Hai Jawani Toh Ishq Hona Hai in Mumbai on May 23. David Dhawan was celebrated and every member of the cast spoke highly of him. Meanwhile, the most emotional moment of the launch was when David Dhawan got teary-eyed. Varun Dhawan said, “It’s amazing that this man (David Dhawan) is making a film at this age. We are living in times when every Friday, we are questioning cinema. We all love cinema, but we do ask, ‘Kya yeh film chalegi’. All I want to say is that this is a David Dhawan film. Yeh film inke conviction pe bani hai. It's an all-out entertainer to make you laugh. If my family has had one motto, it is to make people laugh. Mere father logon ko bas hasana chahte hai.”   View this post on Inst...
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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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