20th anniversary EXCLUSIVE: Madhur Bhandarkar says corporate booking, in a healthy manner, began with Corporate: "Half-day was declared in some offices; employees were encouraged to watch the film"; reveals, "Many people STOPPED consuming soft drinks after watching it!"

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Corporate (2006) completed 20 years on July 7 and it’s a film that Madhur Bhandarkar considers his favourite. Starring Bipasha Basu, Kay Kay Menon, Raj Babbar and Rajat Kapoor, the film was loved for its subject, shocking climax, performances, music, etc. Despite dealing with the complex worlds of corporate business and the stock market, the narrative was easy to understand, an aspect that was widely praised by audiences and critics alike. On Corporate’s 20th anniversary, Madhur Bhandarkar went down memory lane and shared fascinating trivia. You had made Page 3 (2005) and it was a sleeper-hit. What made you make a film on the corporate world at that stage? Corporate was a film which was ahead of its time. It was a very different world for me. I didn’t have a story. The title fascinated me and I decided to make Corporate, obviously based on the corporate world. I collaborated with writer Manoj Tyagi, who had written Satta (2003) and Page 3 with me. He was an MBA guy and had a lot of kn...
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Maria review – Angelina Jolie plays the diva in magnificent stroll around the cult of Callas

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Venice film festival
Jolie is a painting to be stared at in Pablo Larraín’s opulent drama, tottering around Paris in the 70s and drawing us in to tragedy as thoroughly as Bellini or Pucchini

Hide the overflowing ashtrays and move that infernal grand piano – Maria Callas, La Diva, is granting a valedictory TV interview. She’s pacing the halls of her Paris apartment, feeding her poodles and strung out on pills. The visiting journalist is called Mandrax, named after her favourite medication. He takes a seat and checks the mic. By way of introduction, he says, “I’d like to walk with you through your life.”

Callas’s life whisked her from the slums of Nazi-occupied Athens to the concert halls of Europe and the US, through a torrid relationship with Aristotle Onassis to collaborations with Pasolini and Zeffirelli. But Pablo Larraín’s opulent Maria shrewdly homes in on the soprano’s final days, showcasing a stiffly dignified Angelina Jolie as the lioness in winter, four years retired and a legend in her own lunchtime. “Make me an appointment with a hairdresser who doesn’t speak,” she orders her doting servants. “Book me a table at a restaurant where the waiters know who I am.” She is in the mood, she adds, for adulation.

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