Hrithik Roshan to headline Don 3 after Ranveer Singh exits franchise? Here’s what we know!

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Fresh developments are emerging around Farhan Akhtar’s highly anticipated action thriller Don 3 as Bollywood buzz intensifies regarding a change in the film’s lead casting. After widespread media reports suggested Ranveer Singh might be stepping away from the project, industry sources now indicate that Hrithik Roshan is being considered to take on the iconic role — though discussions are at an early stage. Reportedly, the producers behind Don 3 have begun exploring possible replacements after the reported departure of Ranveer Singh from the film. While neither the makers nor the actors involved have issued official statements, an insider told Filmfare that Hrithik Roshan has emerged as a strong contender to headline the third instalment of the franchise. The speculation follows recent industry chatter linking Ranveer’s possible exit from Don 3 to his career trajectory after the success of Dhurandhar. Initial reports suggested that Ranveer — who has been enjoying significant box offic...
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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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