Sunny Deol to honour real-life changemakers during Batwara 1947 promotional tour across India: Report

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The promotional campaign for Batwara 1947 is underway, with the film's cast travelling across multiple cities ahead of its theatrical release on August 14, 2026. Now, a new report suggests that the makers have planned a unique initiative during the city tour, with lead actor Sunny Deol expected to honour individuals who have made noteworthy contributions to society. Directed by Rajkumar Santoshi and produced under the banner of Aamir Khan Productions, Batwara 1947 stars Shabana Azmi, Sunny Deol and Preity G Zinta in leading roles. Set against the backdrop of the Partition of India, the film explores the human stories that emerged during one of the most defining moments in the subcontinent's history. According to a source associated with the project, the promotional campaign will go beyond conventional film events by recognising real-life changemakers in every city the team visits. “Makers has planned a very special initiative during the Batwara 1947 promotional city tour. In e...
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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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