EXCLUSIVE: After OMG Oh My God and 102 Not Out, Umesh Shukla's acclaimed play Madhuri vs Dixit to be made into a film

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Umesh Shukla has been a popular name among Gujarati audiences for several years and since 2012, he has also enjoyed nationwide popularity. That was the year when OMG Oh My God, an adaptation of his cult Gujarati play Kanji Viruddh Kanji, was made as a Bollywood film. Starring Paresh Rawal and Akshay Kumar, the devotional courtroom drama emerged as a sleeper super-hit. Six years later, he made 102 Not Out (2018), an adaptation of the Gujarati play of the same name. The film adaptation, starring Amitabh Bachchan and Rishi Kapoor, was also a success. And now, Umesh Shukla is all set to adapt yet another of his acclaimed plays for the big screen – Madhuri vs Dixit. Madhuri vs Dixit is a Hindi play and its premiere took place on April 26 in Mumbai. Interestingly, it was earlier staged in Gujarati, with the title Madhuri Dixit. It stars Riddhi Shukla and Jaideep Shah in leading roles. Interestingly, the former is also the wife of Umesh Shukla. Unnati Gala and Harshad Patel feature in suppor...
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Below the Clouds review – a ghostly yet luminous cinematic mosaic of Naples crowns a superb trio

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Venice film festival
There is a real end-of-days quality to Gianfranco Rosi’s utterly distinctive documentary of war, violence, cynicism and the climate crisis in an uneasy city

Gianfranco Rosi has made a movie that could be thought of as the last of a conceptual trilogy about normal life and spiritual life in Italy: the first was his Sacro GRA from 2013 about Rome, for which Rosi won the Venice Golden Lion; the next was Fire at Sea about the migration crisis as experienced in Lampedusa in Sicily. Now there is Below the Clouds, in luminous black-and-white. It’s another of his brilliantly composed docu-mosaic assemblages of scenes and tableaux, shot from fixed camera positions without any camera narration.

The title is taken from Jean Cocteau: “Vesuvius makes all the clouds in the world.” Rosi reports from Naples, a city uneasily preoccupied with the earthquakes and volcanic eruptions for which it is famed, and with the great catastrophe of AD79 that buried nearby Pompeii. We see the archaeological digs that are still disinterring vital material – and clips from Rossellini’s Journey to Italy on the subject, playing in an eerily deserted cinema (which would appear to be Rosi’s one “fictional” contrivance, but which chimes with genuine scenes of firefighters grimly clearing charred debris from a burnt-out cinema).

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