REVEALED: Haunted – Echoes Of The Past got NCLT nod for June 12 release; makers directed to deposit all revenues in separate bank account

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On June 10, the National Company Law Tribunal (NCLT), Mumbai Bench III, permitted the release of Vikram Bhatt's horror film Haunted – Echoes Of The Past on June 12, even as the project remains embroiled in an insolvency-related legal dispute. However, the Tribunal has imposed strict conditions to safeguard the interests of the ongoing Corporate Insolvency Resolution Process (CIRP). The order was passed in connection with proceedings involving K Sera Sera & Vikram Bhatt Studiovirtual World Pvt. Ltd. and Hare Krishna Media Tech Pvt. Ltd. While hearing the matter, the NCLT noted that the Resolution Professional (RP) had sought to restrain the film's release and prevent the creation of third-party rights in the movie. The Tribunal also allowed the RP to implead four additional respondents in the matter and directed them to file their replies before the next hearing. A Resolution Professional is an insolvency professional appointed by the NCLT to manage the affairs of a company...
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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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