EXCLUSIVE: Not just the mirror mistake, Dhurandhar The Revenge's new print also censors some abuses; Sanjay Dutt's abusive dialogue and few other abuses muted

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A few days ago, Bollywood Hungama exclusively informed readers that a revised print of Dhurandhar The Revenge has been sent to cinemas since last weekend. The earlier print of the Ranveer Singh-Sanjay Dutt-R Madhavan-Arjun Rampal starrer had a minor blunder – the cameraman’s reflection was visible in the mirror in a crucial scene in the second half featuring Hamza aka Jaskirat Singh Rangi (Ranveer Singh) amd Gurbaaz Singh aka Pinda (Udaybir Sandhu). This blunder was rectified in the revised print. Bollywood Hungama has now learned that the makers have made one more change as well. A source told Bollywood Hungama, “In the earlier version, some abuses were muted but many of them were left untouched. In the new print, more cuss words have been censored. The dialogue where (Sanjay Dutt) says ‘L***d c******a kya’ in the Operation Lyari sequence has been muted, though the gesture made by the actor while mouthing the dialogue remains. The abuse, ‘B******a’, said by Rakesh Bedi while getting ...
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American Graffiti at 50: a classic hangout comedy with a surprising melancholy

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George Lucas’s 60s-set tale of California teens offers some freewheeling fun but also a lingering sadness

Ninety-nine times out of 100, the postscripts that get tucked in before the closing credits, telling us where the characters’ lives have gone from there, are totally unnecessary, especially in a fictional story where their fates are better left to the viewer’s imagination. But in George Lucas’s American Graffiti, which turns 50 this week, they are the most important part of the film, not least because two of the four characters don’t have much longer to live. We can feel that darkness lingering around the edges of Lucas’ dusk-till-dawn nostalgia piece about the last night of summer vacation in 1962 Modesto, California, even while its teenagers are getting into mostly light-hearted forms of trouble. This night has to end, and when the sun comes up, their entire world turns back into a pumpkin.

From the opening shot of Mel’s Drive-In, set to Bill Haley and His Comets’ Rock Around the Clock, American Graffiti seems to unfold inside a snow globe, an idealized past with invisible borders that separate it not only from the outside world, but from the future itself. It’s one of those films, like its spiritual successor Dazed and Confused, that has the quality of a hangout comedy, loose-limbed and goofily episodic, but laced with an air of melancholy that’s so subtle you miss it entirely. (That’s why the postscript is such a slap in the face.) It aches for a scene that had passed just a decade earlier, before the tumult of the Vietnam war and counter-culture, but must have seemed, even then, like ancient history.

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