Neetu Kapoor denies news about Kapoor family copyrighting Rishi Kapoor's name

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A recent news report claims that the Kapoor family obtained the necessary permission to copyright the actor’s name posthumously. The decision, according to the report, ensures that any individual or organisation seeking to use Rishi Kapoor’s name in commercial, professional, or public contexts must first obtain approval from the family. However, when this writer contacted the late actor Rishi Kapoor’s wife Neetu Kapoor, she admitted she had no knowledge of any such move by the family. Mrs Kapoor replied, “Hi Subhash, I am not aware of this.” When I asked if this was false news, she replied. “I think so. I am not sure.” Close family friend and singer Nitin Mukesh said, “I don’t think this can be true. I mean Chintu, who was like my brother, didn’t have a stylized personality, unlike Raj uncle (Rishi Kapoor’s father Raj Kapoor) who was known for his mannerisms that were universally copied. Chintu was….how do I put it…inimitable.” Of late, there have been some actors known for thei...
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Napoleon review – Joaquin Phoenix makes a magnificent emperor in thrilling biopic

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Ridley Scott dispenses with the symbolic weight attached to previous biopics in favour of a spectacle with a great star at its centre

Many directors have tried following Napoleon where the paths of glory lead, and maybe it is only defiant defeat that is really glorious. But Ridley Scott – the Wellington of cinema – has created an outrageously enjoyable cavalry charge of a movie, a full-tilt biopic of two and a half hours in which Scott doesn’t allow his troops to get bogged down mid-gallop in the muddy terrain of either fact or metaphysical significance, the tactical issues that have defeated other film-makers.

Scott cheekily imagines Napoleon firing on the pyramids in the Egyptian campaign as well as witnessing the execution of Marie Antoinette (but not the humiliation of Louis XVI by the Tuileries mob, which he might actually have seen). Out of deference moreover, Scott and his screenwriter David Scarpa suppress all mention of Napoleon’s reintroduction of slavery into the French colonies. But above all, there’s a deliciously insinuating portrayal of the doomed emperor from Joaquin Phoenix, whose derisive face suits the framing of a bicorne hat and jaunty tricolour cockade. Phoenix plays Napoleon as a military genius and lounge lizard peacock who is incidentally no slouch on horseback. Others might show Napoleon as a dreamy loner, but for Scott he is one half of a rackety power couple: passionately, despairingly in love with Vanessa Kirby’s pragmatically sensual Josephine. Scott makes this warring pair the Burton and Taylor of imperial France.

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