Deepak Tijori shuts down rumours surrounding Rahul Roy’s well-being: “He is perfectly safe and fine”

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Actor Deepak Tijori has spoken out in support of his longtime friend and Aashiqui co-star Rahul Roy, dismissing recent speculation surrounding the actor’s health and well-being. Rahul Roy has been in the spotlight in recent weeks after several social media videos featuring him went viral. The clips sparked mixed reactions online, with some fans expressing concern about his physical condition and speech, while others criticized the content. The discussions gained momentum due to Rahul's history of a brain stroke in 2020, from which he has been recovering over the past few years. Amid the ongoing conversation, Deepak Tijori has clarified that there is no cause for concern and that Rahul is doing well. Speaking to IANS, Deepak said, “I am in regular touch with Roy. Roy is still my brother, my friend, and he is perfectly safe; he is perfectly fine. It's just people making news for no reason. There is no such thing that has been written about him.” The statement comes shortly after...
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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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