EXCLUSIVE: Vishal Bhardwaj reveals why Aamir Khan has been thanked in O'Romeo: “His suggestion changed so many things for me; wanted to thank Aamir from the BOTTOM of my heart”

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Shahid Kapoor’s O'Romeo is having a decent run at the box office and is enjoying a good word of mouth. Moviegoers, who ventured out to see the film on the big screen, were surprised to see the mention of Aamir Khan in the opening disclaimer. Many expected that the superstar might have a cameo in the crime drama. However, Aamir is not present in the film and this made many moviegoers curious about his connection to O'Romeo. Bollywood Hungama has learned the reason behind the special thanks to Aamir. Director Vishal Bhardwaj exclusively told us, “Aamir wanted to hear the script of O'Romeo. And when he heard it, he gave me this idea, that someone should be killed at a crucial point in the film.” Vishal Bhardwaj further revealed, “Killing the lawyer Anjum Ansari (Resh Lamba) in the restaurant was his idea. This is the reason why I thanked him. This suggestion changed so many things for me. Because from there, the protagonist, Ustara (Shahid Kapoor) gets attracted towards the ...
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‘It’s like Game of Thrones!’ The return of India’s ancient superhero fantasy epic

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In the 1980s, Peter Brook’s adaptation of The Mahabharata enchanted audiences on stage and screen. As Brook’s son presents a restored print at the Venice film festival, he and his team discuss the work’s extraordinary journey

When Antonin Stahly was nine years old, his mother took him to the Théâtre des Bouffes du Nord in Paris to see a production of the ancient Indian epic The Mahabharata, which translates loosely as “the great story of mankind”. More than 20 actors from 16 countries performed on a stage steeped in red earth and scarred by a water-filled trench; fire also played a leading role. Directed by Peter Brook, whom the RSC founder Peter Hall called “the greatest innovator of his generation”, and adapted by Luis Buñuel’s former co-writer Jean-Claude Carrière, this spectacular Mahabharata weighed in at nine hours, plus intervals. Even at that length, it represented a massive compression of its source text, which runs to 1.8m words. Brook and Carrière’s version has been likened to summarising the Bible in 40 minutes.

Audiences could devour The Mahabharata in three parts over successive evenings or as an all-day weekend marathon; in some outdoor venues, such as the limestone quarry in Avignon where the production premiered in 1985, it began at dusk and climaxed just as the dawn sun lit up the sky. Stahly saw it in a single noon-to-midnight sitting. “It was like a superhero fantasy,” he says, still sounding awestruck. “It had Bhima, the strongest man on Earth, and Bhishma, who has the power to live for ever. Arjuna was the best warrior. And then there were all the gods. It was amazing for me, because I’m half Indian, but I wasn’t brought up in an Indian context.”

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