Karisma Kapoor’s kids push for forensic review of Sunjay Kapur’s will; court seeks explanation from Priya Sachdev

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The legal battle over late businessman Sunjay Kapur’s estate—valued in thousands of crores—has intensified, with Karisma Kapoor’s children, Samaira and Kiaan, now questioning why their stepmother Priya Sachdev Kapur is opposing a forensic examination of their father’s alleged will. Siblings Seek Forensic Scrutiny of Will Earlier, Samaira and Kiaan moved the Delhi High Court asking for permission to inspect the original copy of Sunjay Kapur’s will. The document was submitted in a sealed cover by its named executor, Shradha Suri Marwah. The siblings have argued that the will is “forged and fabricated,” and claim it contains several inconsistencies that cannot be verified through the certified copy they were given. They also say the signature must be examined closely—which is why they sought a forensic inspection. Priya Sachdev Objects to Forensic Review The matter took a sharper turn when Priya Sachdev opposed the request for forensic analysis. This surprised many, because such scrutin...
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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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