Saif Ali Khan Case: Auto-rickshaw driver who rushed Saif Ali Khan to hospital unaware of actor’s identity; says, “A man who was covered in blood came out…”

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A day after actor Saif Ali Khan was stabbed by an intruder at his Bandra residence, an auto-rickshaw driver Bhajan Singh Rana, who took him to the Lilavati Hospital, said he was not aware that the passenger he was taking to the Hospital was film actor Saif Ali Khan. He said, “I drive my vehicle at night. It was around 2-3 am when I saw a woman trying to hire an auto but nobody stopped. I could also hear calls for a rickshaw from inside the gate. After I took a U-turn and stopped my vehicle at the gate, a man who was covered in blood came out. 2-4 people also accompanied him.” He added, “They put him in the auto...They decided to go to Lilavati. I dropped them off there...I then came to know that he is Saif Ali Khan...I saw him bleeding from his neck and back.” #WATCH | Attack on #SaifAliKhan | Mumbai: Bhajan Singh Rana, autorickshaw driver who rushed the actor to Lilavati Hospital after the attack, says, "I drive my vehicle at night. It was around 2-3 am when I saw a woman tryi...
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Streaming: the best films set in Venice

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As the Venice film festival turns 80, we pick the titles that capture the city’s allure, from desolate Don’t Look Now to romantic Summertime and Top Hat’s cheery glamour

This time next week I’ll be packing my bags for Venice, where the 80th edition of its annual film festival will unveil new films by Sofia Coppola, Ava DuVernay, Yorgos Lanthimos, David Fincher, Ryusuke Hamaguchi, Bradley Cooper, the late William Friedkin – an especially glistening lineup for an event never short on gloss. But even without such attractions, Venice would remain my favourite festival: it’s the faintly unreal allure of the city itself, the spray from the Vaporetto as you leave the airport, the sense that you’re arriving into an eternal film location rather than just an industry event.

You can’t arrive on the Lido, the drowsy barrier island where the festival unfolds, and not recall the yearning melancholy and faded finery of Luchino Visconti’s Death in Venice – that the Grand Hotel des Bains, where Dirk Bogarde’s wilting composer Gustav von Aschenbach saw out his days, has been unoccupied since 2010 underlines the isle’s ghostly air of glamour. Although Visconti’s film is set in summer, you’d be forgiven for remembering otherwise. It’s Nicolas Roeg’s devasted, desolately wintry Don’t Look Now (ITVX), of course, that best captures Venice in its off-season. Its misty, depopulated maze of alleys and canals laden with threat match the mindset of Donald Sutherland’s grief-stricken parent.

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