EXCLUSIVE: After OMG Oh My God and 102 Not Out, Umesh Shukla's acclaimed play Madhuri vs Dixit to be made into a film

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Umesh Shukla has been a popular name among Gujarati audiences for several years and since 2012, he has also enjoyed nationwide popularity. That was the year when OMG Oh My God, an adaptation of his cult Gujarati play Kanji Viruddh Kanji, was made as a Bollywood film. Starring Paresh Rawal and Akshay Kumar, the devotional courtroom drama emerged as a sleeper super-hit. Six years later, he made 102 Not Out (2018), an adaptation of the Gujarati play of the same name. The film adaptation, starring Amitabh Bachchan and Rishi Kapoor, was also a success. And now, Umesh Shukla is all set to adapt yet another of his acclaimed plays for the big screen – Madhuri vs Dixit. Madhuri vs Dixit is a Hindi play and its premiere took place on April 26 in Mumbai. Interestingly, it was earlier staged in Gujarati, with the title Madhuri Dixit. It stars Riddhi Shukla and Jaideep Shah in leading roles. Interestingly, the former is also the wife of Umesh Shukla. Unnati Gala and Harshad Patel feature in suppor...
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After 10 years, I'm stepping down as the Observer's film critic. Here are my top films from the decade | Mark Kermode

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As I leave the post, I look back on how cinema has changed since 2013 and, below, pick a favourite movie from each year of my tenure – as well as a turkey

This week, I filed my final column as chief film critic for the Observer. I’m stepping down after exactly 10 years in the role, making way for the brilliant Wendy Ide to take over the reins and put her own inimitable stamp on the paper. A longstanding colleague and friend, Wendy is an exceptional critic and I look forward to reading her insightful and elegant reviews in these pages for years to come. In the meantime, looking back at my own experiences over the past decade, I’m struck by how much the moviegoing landscape has changed.

When I took over from the great Philip French in September 2013, Kathryn Bigelow was still the only woman to have won the Oscar for best director, having made history when she triumphed with her tense war drama The Hurt Locker in 2010. The Academy Awards have, of course, always been inherently ridiculous (remember: Citizen Kane didn’t win best picture, but Driving Miss Daisy did). For better or worse, however, this very American shindig tells us something about the way the mainstream film industry views itself. And since the first Oscars ceremony back in 1929, the Academy has overwhelmingly celebrated and prioritised white male film-makers. Yet in the past 10 years, things have at least begun to shift in encouraging ways.

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