SCOOP: Salman Khan’s look in Dil Raju’s next gets the Dhurandhar touch; Preetisheel Singh joins the project

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Salman Khan is back, and all focused on making a solid comeback, lining up back-to-back exciting projects. The superstar is currently shooting for producer Dil Raju's next film, directed by Vamshi Paidipally in Mumbai. Bollywood Hungama has exclusively learnt that Dil Raju and team are leaving no stone unturned to deliver an honest and solid theatrical experience for the audience. According to reliable sources, Dil Raju and Vamshi Paidipally have roped in Preetisheel Singh to do the make-up for Salman Khan in the film. "Salman Khan sports multiple looks in the film, and they have been designed to perfection by Preetisheel under the guidance of Vamshi Paidipally. Singh has previously worked on Dhurandhar with Aditya Dhar, which won acclaim all across for its authentic prosthetics and make-up. She has created a never-before-seen look for Salman." The source further informs that Salman too is very happy with the makeover given to his aura, and is all charged up to lead this...
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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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