Aamir Khan Productions, Kabir Khan Films and Australia’s Mind Blowing Films announce Silkyara 41 based on Uttarakhand tunnel rescue

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Aamir Khan Productions, Kabir Khan Films and Australian banner Mind Blowing Films have officially announced Silkyara 41, a feature film inspired by the extraordinary rescue operation at the Silkyara Tunnel in Uttarakhand. The project will chronicle the dramatic mission that led to the safe rescue of 41 trapped workers and highlight the contribution of internationally renowned tunnelling expert Professor Arnold Dix. The announcement was made on July 9 in Melbourne and Mumbai, coinciding with a significant moment in India-Australia relations as both nations continue to strengthen bilateral ties. The makers have described Silkyara 41 as a landmark Indo-Australian collaboration that brings together creative talent, storytelling traditions and production expertise from both countries. The film will be directed by Kabir Khan, known for films such as Bajrangi Bhaijaan and '83, while the screenplay has been penned by acclaimed Australian writer Andrew Anastasios, whose credits include The...
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Donald Sutherland was an irreplaceable aristocrat of cinema

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The late actor was a commanding and versatile presence on the big screen, perfecting everything from villainy to sensuality in films such as Don’t Look Now and Klute

Donald Sutherland was an utterly unique actor and irreplacable star: possessed of a distinctive leonine handsomeness that the white beard of his latter years only made more majestic: watchful, cerebral, charismatic, with a refinement to his screen acting technique comparable perhaps only to Paul Scofield and his Canadian background (together with his early stage training and experience in England and Scotland) gave his American roles a certain touch of Anglo-international class. Sutherland was commanding and exacting, he gave each of his roles and films something special: he addressed his co-stars and the camera itself from a position of strength.

Even playing a weak or absurd character, as he did starring as the preposterous womaniser in Federico Fellini’s Casanova in 1976, finally reduced to the job of a librarian in a German count’s castle, brooding grotesquely over the phantoms of past lovers, Sutherland was still strong, still mesmeric, his intelligent face still sympathetic as Casanova, even though resembling a non-priapic gargoyle. For Bertolucci in his Italian epic 1900, he played an actual fascist, the gruesomely named Attila, and though certainly very far from sympathetic, he played the role with a sickeningly twinkle-eyed dynamism.

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