Shraddha Kapoor joins Aamir Khan in Rahul Mody’s Ashneer Grover biopic: Report

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Actor Shraddha Kapoor is reportedly set to play Madhuri Jain Grover in the upcoming biopic on BharatPe co-founder Ashneer Grover, which is expected to feature Aamir Khan in the lead role. Filmmaker Rahul Mody is developing the film. According to a report by Mid-Day, Kapoor has been associated with the project since its early stages. A source told the publication that it had been decided early in development that she would play the female lead and had closely followed the screenplay’s evolution over time. The film is reportedly based on Grover’s journey as an entrepreneur and the controversies surrounding his exit from BharatPe in 2022, when allegations surfaced that he and members of his family had misused company funds. Madhuri Jain Grover had served as the company’s Head of Controls before her termination the same year. Mody has been working on the screenplay for nearly three years. The filmmaker previously contributed as a writer to Sonu Ke Titu Ki Sweety (2018). He is also rumou...
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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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