Sharmila Tagore on missing out on Rocky Aur Rani Kii Prem Kahaani with Dharmendra, “I fell ill and couldn’t do the film”

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“We shared the same birthday. He was my co-star in seven films. I knew he was not keeping good health. But the news of his passing is still very saddening,” said Sharmila Tagore, who worked in films as far-ranging as Satyakam and Chupke Chupke with Dharmendra. She reflected on their screen togetherness. “We first worked together in Devar and then during the same year in Anupama. Two very serious subjects, followed by an out-and-out commercial film Mere Humdum Mere Dost. Shooting with him was a breeze. He was as effortless on screen as he was off it. He was never ‘The Star’ on the sets, always his natural self. There was nothing put-on about him.” Sharmila Tagore recalled her first meeting with Dharmendra. “Before we worked together, we met when I was shooting with Yash Chopra’s Waqt. I don’t know in what context he was there. But I remember he was dressed… how shall I put it… not like a star at all. When s...
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Springsteen: Deliver Me from Nowhere review – solid biopic both embraces and avoids cliche

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New York film festival: Jeremy Allen White is a convincingly tortured rock star in this smartly narrow and specific look at a particular chapter of music history

The genre of the musical biopic is one that, as Timothée Chalamet acknowledged while accepting a Sag award for playing Bob Dylan earlier this year, “could be perhaps tired”. The beats of the genre – the initial obstacles, the double-edged sword of success, the actors’ pursuit of industry awards for spirited impersonation – are by now so familiar that you’re almost expected to enter with more than a bit of skepticism, even when the artist at hand is one as widely beloved as Bruce Springsteen.

Like A Complete Unknown, in which Chalamet portrayed Dylan from 1961 until his pivot to electric in 1965, Deliver Me from Nowhere, Springsteen’s authorized biopic starring Jeremy Allen White, tries to thread a difficult needle between offering the standard treats and subverting expectations, between narrativizing genius and resisting hagiography. This may be an impossible task, given that the magic and cliches of popular music often go hand in hand, and Deliver Me from Nowhere certainly has its spoof-worthy moments. I went in braced for success montages, leaden flashbacks and capital-R Realizations, and at times met them. (Though to be clear, the expected treat of watching White, of the Bear and Calvin Klein underwear ad fame, tear up the stage as The Boss is still exactly that.) But more often I was won over by its diversions in form – its specificities, its smallness and its portrait of mental fragility.

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