BREAKING: Dhamaal 4 ends with the promise of the next installment – Dhamaal 5

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The much awaited Dhamaal 4 is all set to release tomorrow, July 10, and the excitement is tremendous due to the casting, hilarious trailer and popularity of the franchise. It seems like the makers are very confident that just like the previous parts, the fourth part of the Dhamaal franchise will also be a hit. This is because they have ended the film with a hint of a sequel. A source told Bollywood Hungama, "At the end of Dhamaal 4, there's a scene which indicates that Dhamaal 5 is also in the offing. And just like the first four parts, Dhamaal 5 is also expected to be a madcap, crazy entertainer, going by the sequence." Directed by Indra Kumar, Dhamaal 4 brings back the franchise’s core cast, including Ajay Devgn, Riteish Deshmukh, Arshad Warsi, Sanjay Mishra, and Jaaved Jaaferi. The ensemble cast also features Esha Gupta, Sanjeeda Shaikh, Anjali Anand, Upendra Limaye, Vijay Patkar, and Ravi Kishan, adding new faces to the comedy series. Dhamaal 4 is presented by Gulsha...
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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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