Deepak Tijori shuts down rumours surrounding Rahul Roy’s well-being: “He is perfectly safe and fine”

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Actor Deepak Tijori has spoken out in support of his longtime friend and Aashiqui co-star Rahul Roy, dismissing recent speculation surrounding the actor’s health and well-being. Rahul Roy has been in the spotlight in recent weeks after several social media videos featuring him went viral. The clips sparked mixed reactions online, with some fans expressing concern about his physical condition and speech, while others criticized the content. The discussions gained momentum due to Rahul's history of a brain stroke in 2020, from which he has been recovering over the past few years. Amid the ongoing conversation, Deepak Tijori has clarified that there is no cause for concern and that Rahul is doing well. Speaking to IANS, Deepak said, “I am in regular touch with Roy. Roy is still my brother, my friend, and he is perfectly safe; he is perfectly fine. It's just people making news for no reason. There is no such thing that has been written about him.” The statement comes shortly after...
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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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