Jaideep Ahlawat confirms role in Shah Rukh Khan’s King; says, “Who could say no to Shah Rukh Khan”

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In 2023, Shah Rukh Khan made a major impact at the box office with three consecutive blockbusters — Pathaan, Jawan, and Dunki. Now, anticipation is building around his upcoming film titled King. While Saurabh Shukla had earlier confirmed his role in the project, actor Jaideep Ahlawat has also revealed in an interview with Lallantop that he is part of the film. Jaideep Ahlawat confirmed his involvement in Shah Rukh Khan’s upcoming film King and shared how he became part of the project. He recalled, “SRK sir kaafi time se soch rahe the iss cheez ko, jaisa mujhe pata laga hai, but Siddharth Anand bhai thoda hichak rahe honge ki chota part hai to offer after Jewel Thief. But Khan saab being Khan saab, he said I’ll talk to him. Ab unki baat kaun nakarega (SRK sir had been thinking about this for quite some time, as far as I know. But Siddharth (Anand) bhai was a bit hesitant to offer it since it was a small role after Jewel Thief. But Khan saab being Khan saab, he said, ‘I’ll talk to him.’...
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Oh, Canada review – Paul Schrader looks north as Richard Gere’s draft dodger reveals all

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Cannes film festival
A dying director who fled from the US to Canada agrees to make a confessional film in Schrader’s fragmented and anticlimactic story

Muddled, anticlimactic and often diffidently performed, this oddly passionless new movie from Paul Schrader is a disappointment. It is based on the novel Foregone by Russell Banks (Schrader also adapted Banks’s novel Affliction in 1997) and reunites Schrader with Richard Gere, his star from American Gigolo. Though initially intriguing, it really fails to deliver the emotional revelation or self-knowledge that it appears to be leading up to. There are moments of intensity and promise; with a director of Schrader’s shrewdness and creative alertness, how could there not be? But the movie appears to circle endlessly around its own emotions and ideas without closing in.

The title is partly a reference to the national anthem of that nation, which is a place of freedom and opportunity which may have an almost Rosebud-type significance for the chief character, an avowed draft-resister refugee from the US in the late 60s, who becomes an acclaimed documentary film-maker in his chosen country. Maybe Vietnam was his real reason for fleeing and maybe it wasn’t. This central point is one of many things in this fragmented film which is unsatisfyingly evoked.

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