Rita Bhattacharya BREAKS SILENCE after Kumar Sanu’s Rs 50 crores defamation suit, calls for peace

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Singer Kumar Sanu and his former wife Rita Bhattacharya are once again in the spotlight as a legal dispute unfolds years after their divorce. The veteran playback singer filed a defamation suit in the Bombay High Court against Bhattacharya, alleging that recent interviews she gave contained defamatory remarks that harmed his reputation and violated the terms of their divorce agreement. In his petition, Sanu’s legal team, led by advocate Sana Raees Khan, has sought damages reported to be Rs 50 crores and has demanded that the interviews in question be taken down from various entertainment platforms. The suit claims that Bhattacharya’s statements breach a clause from their 2001 divorce settlement that prohibited either party from making allegations against the other in public. Reacting publicly for the first time since the notice was issued, Bhattacharya described her shock at the legal action, particularly the financial demand involved. In an interview with ETimes, she said, “The pape...
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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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