King becomes a REUNION bonanza: Shah Rukh Khan to share screen with Anil Kapoor after 31 years, Rani Mukerji after 20 years and Jackie Shroff after 12 years

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It’s been almost six months since the first look teaser of King was unveiled on the occasion of Shah Rukh Khan’s 60th birthday. Yet, the excitement around the film has remained constant, even though its release is still nearly seven months away. Recently, we came across a tweet by an SRK fan that made an interesting observation – the superstar is collaborating with several members of King’s ensemble cast after a very long gap. While he is reuniting with some after a decade, others are sharing screen space with him after nearly 20 or even 30 years. In this article, Bollywood Hungama takes a closer look at this nostalgic reunion factor. Anil Kapoor will feature in a crucial role in King and he was last seen with Shah Rukh Khan in Trimurti (1995), which was released 31 years ago. This is the only film that featured both actors. With Saurabh Shukla, SRK has worked thrice — in Baadshah (1999), Hey Ram (2000) and Mohabbatein (2000). Hence, both will be seen together in a film after 26 years...
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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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