EXCLUSIVE: As Hai Jawani Toh Ishq Hona Hai hits theatres, Tips Films wraps its next starring Pulkit Samrat

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As Tips Films celebrated the release of David Dhawan’s Varun Dhawan-Mrunal Thakur-Pooja Hegde starrer Hai Jawani Toh Ishq Hona Hai yesterday, June 5, the production house has already completed filming an exciting upcoming project. The banner’s next film, starring Pulkit Samrat and directed by Sneha Taurani, has officially wrapped principal photography. According to sources, the film has completed its shoot, with only a song sequence remaining to be filmed. The project has now entered its final phase of production, bringing it one step closer to audiences. The development highlights Tips Films’ busy and ambitious slate. Even as Hai Jawani Toh Ishq Hona Hai arrives in theatres, the banner has quietly wrapped another significant project, ensuring its momentum continues well beyond its latest release. The film also marks an exciting collaboration between Pulkit Samrat, director Sneha Taurani and producer Ramesh Taurani. Though the makers have yet to officially unveil the project, industry...
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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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