SCOOP: Salman Khan’s look in Dil Raju’s next gets the Dhurandhar touch; Preetisheel Singh joins the project

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Salman Khan is back, and all focused on making a solid comeback, lining up back-to-back exciting projects. The superstar is currently shooting for producer Dil Raju's next film, directed by Vamshi Paidipally in Mumbai. Bollywood Hungama has exclusively learnt that Dil Raju and team are leaving no stone unturned to deliver an honest and solid theatrical experience for the audience. According to reliable sources, Dil Raju and Vamshi Paidipally have roped in Preetisheel Singh to do the make-up for Salman Khan in the film. "Salman Khan sports multiple looks in the film, and they have been designed to perfection by Preetisheel under the guidance of Vamshi Paidipally. Singh has previously worked on Dhurandhar with Aditya Dhar, which won acclaim all across for its authentic prosthetics and make-up. She has created a never-before-seen look for Salman." The source further informs that Salman too is very happy with the makeover given to his aura, and is all charged up to lead this...
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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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