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Jackky Bhagnani returns to acting after six years with Independence Day anthem 'Tere Rang Mein': "I wanted the street credibility and respect of Gen Z"

Jackky Bhagnani has returned to acting after a six-year gap with the Independence Day anthem 'Tere Rang Mein,' released under his music label Jjust Music. The actor-producer said the song offered him an opportunity to return to the screen with a project that was personally meaningful to him. Bhagnani described himself as a patriot and said the nature of the song played an important role in his decision to face the camera again. “I am a patriot by heart. It’s been quite some time since I faced the camera. So, I thought the best way to come back is with the right cause,” Bhagnani said. The actor's return comes after several years of focusing primarily on film production. According to Bhagnani, stepping away from acting was a conscious decision as he worked behind the scenes and became more involved in producing films. Jackky Bhagnani on focusing on film production Bhagnani said his experience as a producer made him rethink the way he wanted to approach his acting career. He ...
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Frankenstein review – Guillermo del Toro reanimates a classic as a monstrously beautiful melodrama

Venice film festival
Oscar Isaac and Jacob Elordi star as the freethinking anatomist and his creature as Mary Shelley’s story is reimagined with bombast in the director’s unmistakable visual style

Guillermo del Toro has created a movie about a grotesquely unnatural attempt to make a human being shocking in his physical strangeness … but that’s enough about his film version of Pinocchio. Now Del Toro has written and directed a bombastic but watchable new version of Mary Shelley’s great novel and makes of it a stately melodrama, starring Oscar Isaac as the anatomist and passionate freethinker Victor Frankenstein and Jacob Elordi as his creature: no passé neck-bolts or big fringey forehead, of course, and if you compare him with portrayals by other actors – Boris Karloff, Peter Boyle, Robert De Niro – he is, for all the picturesque prosthetic scars, the nearest this iconic figure has come to being a bit of a hottie.

It’s an epic bromance between scientist and monster, both of whom speak with plummy British accents, the monster’s one having a touch of John Hurt in The Elephant Man. The visual style of the movie is utterly distinctive and unmistakably that of Del Toro: a series of lovely, intricate images, filigreed with infinitesimally exact cod-period detail; deep focus but also strangely depthless, like hi-tech stained glass or illustrated plates in a Victorian tome; pictures whose luxurious beauty underscores the film’s reverence for the source material and for itself, but which for me impedes the energy of horror. For all the guignol, this movie is not going to risk actual bad taste, unlike the brilliant and far more interesting film on the Frankensteinian theme: Yorgos Lanthimos’s Poor Things.

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