SHOCKING: 66 hard disks containing Made In Heaven, Ghost Stories and unreleased footage go missing from Zoya Akhtar-Reema Kagti's Tiger Baby office; staffer allegedly sold drives for Rs. 15,000-20,000 each

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A major data-theft case has emerged from Tiger Baby Digital LLP, the production house of filmmakers Zoya Akhtar and Reema Kagti. As per a report in Mumbai Mirror, as many as 66 hard disks containing important production material have allegedly gone missing from the company’s Bandra office. Some of these drives reportedly contained unreleased footage and work-in-progress content, making the matter serious for the production house. The complaint was filed by Mehjabeen Mushtaq Shaikh, who works as the executive assistant and HR administrator at the company. Acting on her complaint, the Bandra police registered an FIR against Mohammad Shahid Azim Khan and Ritesh Suresh Shah, a 44-year-old Borivali resident. The police confirmed to Mumbai Mirror that both have been arrested and sent to police custody till May 29. The issue was discovered on May 21, when the staff needed certain hard disks for ongoing work but could not find them. This led to an internal check of the office storage area. Du...
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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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