Hrithik Roshan signs with Anonymous Content; Global media giant to represent Bollywood superstar across international ventures

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Hrithik Roshan has added another significant milestone to his illustrious career by signing with Anonymous Content, the renowned global media company known for producing premium content and representing some of the world's most acclaimed directors, writers, and actors. One of Indian cinema's most celebrated stars, Roshan has carved a remarkable legacy over the past two-and-a-half decades with a string of blockbuster films and critically acclaimed performances. The actor is widely recognized for headlining the successful Krrish superhero franchise, where he plays the titular superhero, as well as the action thriller War, in which he essayed the role of a rogue spy agent. His filmography also includes landmark films such as Zindagi Na Milegi Dobara, directed by Zoya Akhtar, and Karan Johar’s family drama Kabhi Khushi Kabhie Gham. Roshan's journey to superstardom began in 2000 with Kaho Naa… Pyaar Hai, the blockbuster action-romance that instantly established him as a househo...
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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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