Boman Irani joins Khosla Ka Ghosla 2 shoot in Delhi; quips "Aap party hai ya broker"

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Boman Irani is back as Kishan Khurana — a character that continues to live rent-free in the hearts of audiences. The actor recently shared a picture from the sets of Khosla Ka Ghosla 2 with Anupam Kher and Ranvir Shorey, and one line was enough to trigger instant nostalgia: “Aap Party Hai Ya Broker?” The moment served as a reminder of why the film remains a cult favourite even today. Stepping back into Kishan Khurana’s shoes, Boman reunites with Anupam Kher’s Kamal Khosla and Ranvir Shorey’s Bunty, recreating the magic of a trio that audiences have cherished for years. Kishan’s sharp humour, confidence, and everyday cleverness were among the most memorable aspects of the original film, making Boman’s return particularly special.   View this post on Instagram   A post shared by Boman Irani (@boman_irani) The on-set reunion has sparked excitement among fans and film lovers alike, with expectations high for the sequel to retain the heart, humour, and relatability that define...
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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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