EXCLUSIVE: R Madhavan sneaks into Mumbai’s Chitra Cinema to watch Dhurandhar The Revenge; here’s how he made sure moviegoers didn’t realize he was seated among them

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For a celebrity, watching their own film in a theatre is always a risk, as there’s the fear of being recognized by the audience, which can lead to chaos. This is especially true in single-screen cinemas. But at the same time, that’s where one gets to witness the most electric audience response. Two days ago, on April 1, R Madhavan weighed the pros and cons and took the plunge. He watched his film, Dhurandhar The Revenge, with the audience at a single-screen theatre in Mumbai. Usually, actors prefer visiting G7, aka Gaiety-Galaxy. However, R Madhavan chose Chitra Cinema in Dadar instead. Yesterday, on April 2, film exhibitor and distributor Akshaye Rathi posted a story where the actor can be seen enjoying the film. Sometime later, he also posted a picture where R Madhavan is seen posing with Akshaye Rathi and a few more friends in the lobby of Chitra. After the story and post were uploaded, Bollywood Hungama spoke to Akshaye Rathi. He said, “R Madhavan was keen to get a first-hand exp...
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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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