SCOOP: Dhurandhar vs Avatar: Fire And Ash showdown – Single-screens and two-screen cinemas yet to start bookings due to reservations over ‘all shows’ demand

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The biggest Hollywood film of the year, Avatar: Fire And Ash, is all set to release tomorrow, that is, Friday, December 19. While advance booking commenced on December 5, several cinemas, especially one-screen and two-screen cinemas, have yet to begin advance booking. Bollywood Hungama spoke to trade and exhibition sources to understand the reason behind it. A trade source told Bollywood Hungama, “Disney, the studio releasing Avatar: Fire And Ash, has asked single-screen theatres that they want all shows for their film. In two-screen cinemas, they have asked for 5 or 6 shows. However, exhibitors are not comfortable with this directive as Dhurandhar is running very successfully. They are confident that even in its third week, the Ranveer Singh-starrer will find a huge audience, as evident by the steady footfalls the film has generated in the weekdays.” The source continued, “The exhibitors have requested that they’d like to divide shows equally between the two films. After all, they r...
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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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