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Worth Checking Out On The OTT

A Simple Murder(SonyLIV): The young desperately ambitious couple in this fair-to-fine series Manish and Richa typify the can’t-do-without-can’t-do-with type of relationship where sparks fly and bullets roar.No matter how many times this hotheaded couple is torn apart by circumstances(read: screenwriters, and there are two of them here) Manish and Richa cannot let by-guns be by-guns. To our amusement they are constantly at each other’s throat, with guns drawn.
Bhai, nozzle na lag jaye! This is a couple with greed guiding them into a ruinous self-destructive relationship.As Manish and Richa, Mohammed Zeeshan Ayyub and Priya Anand bring a dash of chutzpah to the table.Ms Anand looks pretty in close-ups, of which she gets plenty. There is another pair of love birds in the series who are on the run from the girl’s powerful politician papa.
Honour killing, anyone? I must say the killings in A Simple Murder are undertaken honorably.The violence is interestingly staged ,and one chase and shootout in a Cineplex is an instant classic. Made me wonder why the narrative squanders away time in superfluous banter which includes lyrics from songs thrown between two murderous ruffians, in a mood of lethal playfulness.The aforementioned ruffians are played by Amit Sial and Sushant Singh.Both masters of their craft, they infuse their characters and situations in the plot with a purpose and an energy beyond what it deserves. Sial is specially superb with his raucous mix of ruthlessness and mischief.If there is a next season I want to see much more of Sial and Singh.
Gopal Singh as a cop who may not be as corrupt as he seems, does a rare thing with his character: he turn a stereotypical Simmba into something more.Yashpal Sharma as a gangster moonlighting as a goodman is also very funny even when he knocking down victims with ill-concealed glee.But the glistening surface some of the performances is weighed down by what lies underneath.Attempts to be sharp and alert are successful only to a point. After a while it falls apart.The midriff sags and the grand finale is so clumsily staged it negates almost every good thing that crops up in the plot once in a while.
Mee Raqsam(Zee5) : In the idyllic village of Mijwan there lives a Muslim girl whose heart beats for the Bharat Natyam dance form. Bharat Natyam??!!! Her family and the village community are aghast. Yeh to kafiron ka kaam hai. How can a decent 15-year old do….this!! Shame!!!
I loved the twinkle-eyed irreverence embedded in debutant director Baba Azmi heartwarming nugget. Brimming over with affection warmth and humour Mee Raqsam takes a tender and evocative look at the risky task of cultural crossovers in India , without any political agenda.
When the films’s bright intelligent protagonist Mariam takes to Bharat Natyam her favoured mood is neither green nor saffron. Writer-director Baba Azmi portrays Mariam’s relationship with her father (Danish Hussain) with the same indelible affection that one saw between Ashok Kumar and his screen-daughter Sarika in Hrishikesh Mukherjee’s Aashirwaad.The shared moments of filial action suffuses the heart with a feeling of pure love seldom seen in our cinema. When Danish Hussain’s Salim catches his daughter trying out some Bharat Natayam postures at home she coaxes him into joining her . For a few precious second it’s just the blissful beti and baap giggling and dancing.My favourite moment between father and daughter is the one just before Mariam’s big climactic dance recital when ‘Abba’ Salim insists on putting alta(red colour) on his daughter’s feet reasoning, ‘Ammi ko manaa karti kya?’. The tender moment embodies the widower father’s determination to play the roles of both parents.
Watching this father from an ultra-conservative community stretching himself to give his daughter the freedom to be be happy, to live her life the way she wants to, I was reminded of a 2015 British film Eye In The Sky where an impoverished Kenyan father lets his little girl do what she wants in their home but warns her to be reined-in before the villagers.
In Mee Raqsam the father goes further. He takes on the local frowners and lets his daughter dance on stage. Here is where politics seeps into this uncontaminated film. While Naseeruddin Shah as a hardliner Mullah is a masterclass in restrained bigotry his Hindu counterpart a middling politician Jayaprakash (Rakesh Chaturvedi Om) is purely uni-dimensional villainy insisting as he does on calling Mariam ‘Sultana’ and insulting Mariam’s father at every given opportunity.
I wish we could magically erase the dirty politics that separates the two communities and bars a young girl from pursuing her dreams. But then, as in art so in life the beautiful and the ugly must co-exist.I would rather carry with me Danish Aslam’s look of pride on seeing his daughter achieve her dream than the hardliner’s evil look of disappointment as his diabolic designs are decimated by the magic that can only happen in cinema. Mee Raqsam celebrates the triumph of love innocence and amity over the religious divide. An unassuming but relevant drama reflective of our times.
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Pathaan Collects 55 crore nett in India On Day 1

YRF’s Pathaan has apparently wiped out all previous records as it collected 55 crore nett in India and recorded the biggest ever Day 1 for a Hindi film. The total collections of Pathaan on Day One is 57 crore nett (Hindi – 55 crore and dubbed versions 2 crore).
It is the widest Hindi release of all time in India and also the highest grossing 1st Day for a Hindi film.It is also the highest grosser on the first first for a non-holiday release. Pathhan is also the highest opener for Shah Rukh Khan.
Akshaye Widhani, CEO of Yash Raj Films, says, “It is a historic day for Indian cinema and we are humbled to see the love and appreciation that is flowing for Pathaan globally. For Pathaan to shatter records in this fashion on a non holiday, just proves that the theatrical business is here to stay, provided we make films that entice people to come to the cinemas to witness a never seen before experience that entertains them thoroughly.“
He adds, “We, at YRF, are thrilled with the start that the film has got across India and we are hopeful that Pathaan brings joy to cine-goers globally in the days to come! Pathaan is the fourth film of our YRF Spy Universe and we are thrilled that we have been able to elevate the cinematic experience of audiences with each film from this franchise. We humbly share this moment with all the stake-holders of the film who have given their blood, sweat and tears to give people a movie-going experience like never before.”
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“Professionally, What A Year It Has Been For Me,” Raveena Tandon On Her Padma Shri

Raveena Tandon feels she is in a dream. “I woke up today to the news that I have been awarded the Padma Shri by my Government. I felt all my years of hard work has finally come to fruition.I can’t wait to get back to Mumbai.”
Raveena is in Bhopal attending a wedding. “I woke up on Thursday morning to the good news. My husband(film distributor Anil Thadani) who is in Mumbai had no clue about it. I had to inform him that his wife is now Padma Sri Raveena,” she laughs heartily.
She then grows melancholic. “The past one year has been a whirlwind for me. Professionally, it couldn’t get any better. My webseries Aranyak on Netflix and then the bigscreen blockbuster KGF 2 where I played one of the protagonists , became huge successes.Sadly,it was also the year that I lost my father(well-known producer-director Ravi Tandon). It was the severest blow of my life.I am still processing the loss. The Padma Shri would have made my Dad so proud.”
Remind her she is still young and already a Padma winner and Raveena expresses her happiness. “I guess I am lucky to have received the honour at the midpoint of my life and career. I am also very happy that M M Keeravani Sir has also received the Padma Shri.His Naatu naatu has the world dancing to his tune. But even before Naatu naatu he has done such exemplary work.”
Getting nostalgic Raveena says, “I started working when I was 17.I have done every kind of cinema, balancing out a Chote Miyan Bade Miya with a Shool, a Rakshak with a Ghulam-e-Mustafa, a Bulundi and a Khauff with a Daman and an Aks. It’s always been my endeavour to be be seen in escapism and real cinema. Some people think dancing around trees and doing the masala stuff is easy. It is not! In fact being real on screen is far easier.”
Raveena feels the good days are back in the entertainment industry. “I saw Pathaan and I whistled and clapped the loudest. It is an out-and-out mass entertainer and bound to revive the sagging fortunes of our industry. While the Padma Shri is a personal triumph, the success of Pathaan is a happy occasion for the entire industry.So yeah, I am on top of the world,”
Raveena’s fans would like to know her khubsoorati ka raaz.
She laughs, “It’s nothing more than sleeping and eating right. I try to eat correctly. I have only organic food. More importantly,I am happy and secure in life. If you are content within it is bound show on your face.”
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5 Most Relevant Patriotic Songs

- Ae mere watan ke logon: Lataji speaks on the most beloved patriotic song of the country: “Kissko pataa tha yeh gaana logon ko itna pasand ayega?(who knew the song would be so much liked by people?).When Ae mere watan ke logon was being created we never thought it would become such an imperishable patriotic anthem.I recall vividly that cold winter evening in Delhi when I sang the song as part of the Republic Day celebrations in front of an audience that comprised President S. Radhakrishnan, Prime Minister Jawaharlal Nehru, Indira Gandhi and so many other distinguished guests. It was Pradeepji,the poet who wrote the immortal lyrics , who came to me and asked me to sing the song. I declined because there was no time to rehearse and prepare to sing it in front of so many distinguished personalities.You see,at that time I was working round-the-clock. To give special attention to one song seemed impossible.We had very little time to get Ae mere watan ke logon ready.Rather than do a rush job I wanted to opt out. But Pradeepji said if I don’t sing Ae mere watan ke logon he would scrap the idea. I agreed. But I suggested we format the song into a duet with me and Asha. But Pradeepji wanted it to be a solo.I insisted that we do it as a duet.In fact Asha had even rehearsed for the song. But then days before we were to fly to Delhi she came to me and said, ‘Didi. I’m not coming to Delhi.’ I tried to convince her to change her mind arguing that her name had even been printed in the newspapers as one of the singers for Ae mere watan. But she was adamant.I told composer-singer Hemant Kumar who had actually orchestrated the whole Ae mere watan ke logon project about Asha’s decision to not accompany us to Delhi to perform the song. Hemantda also tried to convince Asha. Lekin woh nahin manee. Then it was left to me to rehearse alone for the song.Pradeepji told C Ramachandra who was composing the tune for Pradeepji’s words,about my predicament. C, Ramachandra informed us he had to be in Delhi at least 4-5 days in advance before our performance. So he was unable to rehearse the song with me. Instead he gave me a tape of the number.I picked up the tune from the tape and flew to Delhi on 26 January with all the big names from the film industry. Dilip Kumar, Raj Kapoor, Mehboob Khan, Shankar-Jaikishan, Madan Mohan…we were all in one aircraft. I was listening to the tape with C Ramachandraji’s rendition of Ae mere watan ke logon all through the flight from Mumbai to Delhi.I was accompanied by my best friend Nalini Mhatre.When we reached Delhi in the night I had a stomach ache. I asked Nalini how I’d sing in my condition. She told me not worry, everything would be fine.On 27 January we reached the venue. I sang two songs. The Bhajan Allah tero naam followed by Ae mere watan ke logon. I was much relieved to get it over with.After I finished my two songs, I went backstage to relax with a cup of coffee unaware what an enduring impact the song had created. Suddenly I heard Mehboob Khan Saab calling for me.He caught hold of my hand and said, ‘Chalo, Panditji(Jawaharlal Nehru) ne bulaya hai’. I wondered why he wanted to see me.When I went out everyone including Panditji, his daughter Indiraji, Radhakrishnanji stood up courteously to greet me. Mehboob Khan Saab said, ‘Yeh rehi hamari Lata.Aapko kaisa laga usska gaana?’ Panditji said, “Bahut achcha . Mere aankhon mein paani aa gaya’. They all complimented me. Then we were all invited to Panditji’s home for tea.Some of us from the film industry including Shankar-Jaikishan, Raj Kapoor, Mehboob Khan, Dilip Kumar proceeded to Panditji’s residence. While the rest of the entourage spoke eagerly with Panditji I stood in a dark corner by the corner hesitant to make my presence felt. Suddenly I heard Panditji say, ‘Lata kaha hai?’. I kept standing where I was. Then Mrs Indira Gandhi came and took my hands saying, ‘I want you to meet two of your little fans.’ She introduced me to little Rajiv and Sanjay Gandhi. They did Namaste and ran away.Then Panditji again asked for me. Mehboob Khan Saab came and took me near Panditji . Panditji asked, ‘Are you going to go back to Mumbai and sing Ae mere watan ke logon?’ I replied, ‘No, it was meant to be a one-off thing’. He wanted a picture with me. We posed for a keepsake and then I quietly left .I had to rush back because it was my sister Meena’s wedding in Kolhapur. When I returned to Mumbai the next day with my friend Nalini I had no idea that Ae mere watan ke logon had already become a rage. When we reached Mumbai the city and the media were buzzing with the impact that the song had made in Delhi, how Panditji broke down, etc, etc. I attended a film premiere for a Marathi film where I had composed the music and the following day left for Kolhapur for my sister’s wedding .Away in Kolhapur I had no idea that the song was taking over the nation’s psyche. Who was to know that the song composed for a Republic Day function would have such an enduring impact? Only Pradeepji had faith in the song. He had prophesied to me, ‘Lata, tum dekhna yeh gaana bahot chalega. Log hamesha ke liye issey yaad rakhenge.’ I didn’t take it that seriously.Since it was not part of a film I thought it would have a limited impact.Ae mere watan ke logon became my signature tune. No show of mine, no concert or event is complete until I sing Ae mere watan ke logon.I give full credit to Pradeepji for writing such powerful words. He wrote words that reverberated across the nation. We had just come out of a war defeat with China. Ae mere watan ke logon triggered emotions of great patriotic pride in every Indian.My regret is that Pradeepji had not been called for the Republic Day function where I sang the song to immortality.If he was there he would have seen with his own eyes what impact Ae mere want ke logon had created.”
- Kar chale hum fida jaan-o-tann saathiyon(Haqeeqat): Kaifi Azmi wrote this song for the soldiers who lost their lives in the 1962 Indo-Chinese war. Jiyo Kaifi Azmi. Jiyo Madan Mohan. Jiyo Mohd Rafi! Haqeeqat director Chetan Anand wanted a patriotic song that mankind would remember forever.He got it. Mohd Rafi poured his soul into this paean to patriotism written by Kaifi Azmi for Chetan Anand’s war film Haqeeqat. The long song is still so strong on sentiments, it moves listeners to tears every time.Madan Mohan loved composing desh bhakti songs. His other Rafi salaam to the nation was Meri awaaz suno in the film Naunihal composed when Pandit Jawharlal Nehru passed away.Says Kafi Saab’s daughter Shabana Azmi, “It is my favourite patriotic song. Kar chale hum fida jaan-o-tan saathiyon is the most definitive of all the patriotic songs. It gives me gooseflesh every time I hear it.My father and Chetan Anand were part of the same likeminded circle of friends . They believed cinema could change society.”
- Mere desh ki dharti (Upkar): Manoj Kumar who directed and starred un Upkar recalls, “Meri desh ki dharti (‘Upkar’) happened when lyricist Gulshan Bawra and I gone to a shrine to pay our respects. When we returned from the shrine in the car, Gulshan was singing Mere desh ki dharti sona ugley… jawanon bhar bhar lo jholiyan… khushi se bolo boliyan?. I kept quiet as he hummed these lyrics.Two-three years later when I made Upkar, I went to music composer Kalyanji and narrated the script. I called Gulshan home and told him the situation. I recalled the lyrics I had heard him hum near the shrine?. It had stayed in my mind? I saw it as a great idea that needed to be improvised.But I didn’t like the lines Jawanon bhar lo jholiyan, khushi se bolo boliyan.I removed it from my Upkar song. Instead we had Meri desh ki dharti sona ugley ugle heere-moti. Both Kalyanji and Gulshan were hesitant. They said the ‘mukhda’ of a song couldn’t be of one line. But I was adamant.An hour later Gulshan, who was sitting in the next room jumped and said, ‘This is great’. Every filmmaker while writing a screenplay comes to a landmark point in the plot where he thinks a scene can be narrated musically. That situation is given to the lyricist and explained. That was how ‘Mere desh ki dharti’ happened.I always had the lyrics first, then the tunes. Gulshan had written another song Har khushi hai wahan in Upkar. He couldn’t write the whole song because he had to take my brother to college in Ajmer. Gulshan himself told the media that the second stanza of Har khushi hai wahan was written by Aziz Kaifi and Manoj Kumar. Gulshan Bawra and I were from the same village near Lahore (now in Pakistan). My chief assistant Sikandar was Gulshan’s cousin. So we bonded much beyond cinema. Filmmaker Kewal Sharma, cricket player Manmohan Sood, Gushan and I? we were good friends. Gulshan has only gone away physically. He was a wonderful man. He was a friend to everyone, never gossiped.,” Manoj Kumar recalled.Concludes Manoj, “Gulshan Bawra alive in every word of Mere desh ki dharti.That song is imperishable. When Mahendra Kapoor-ji, who sang Mere desh ki dharti, expired our former prime minister Manmohan Singh said he would always be remembered for Mere desh ki dharti. It hurts to know so many people connected with that song – Kalyanji, Mahendra Kapoor and Gulshan Bawra – are no more.”
- Jo samar mein ho gaye amar(non-film) : Every Indian knows Lataji’s Ae mere watan ke logon. How many know this equally beautiful peerless paean to patriotism composed by the great and underrated Jaidev? Jo samar mein ho gaye amar , written by Narendra Sharma , one of the most favourite poet-lyricists of Lataji,is a profoundly moving tribute to our soldiers who give up their lived to keep us safe. Narendra Sharma writes, “Laut kar na aayenge vijay dilane wale veer/Mere geet anjali mein unke liye nayan neer..” Wah! Lataji sings the words with emotions that cannot be gauged in words. In my opinion, this is a superior patriotic number than the rightly celebrated Ae mere watan ke logon.Why? Because the words are sharper and more devastating. The tune to this non-film song is exceptionally elegant. And Lataji has seldom sounded better.There is one more reason why this immortal Jaidev number is exceptionally special.Both the illustrious Mangeshkar sisters Lata Mangeshkar and Asha Bhosle have sung separate versions of the same Jaidev composition. Take your pick.\
- Mere Dushman Mere Bhai(Border): J. P. Dutta’s post-glasnost song of Indo-Pak unity sung with immense affection and anguish by Hariharan had Anu Malik pulling out all stops to create the perfect tune for Javed Akhtar’s outstanding poetry on across-the-border brotherhood.Says JP, “It wasn’t easy writing a song in Border that pleaded for sanity and amity between the two countries at a time when politicians were baying for blood. But I believe we needed a voice of sanity. I certainly didn’t project anti-Pakistan sentiments in Border. The film was born out of my anguished comprehension of a complicated and tangled relationship between India and Pakistan. We’re brothers and yet we’re enemies.”
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Salman-Shah Rukh’s Hilarious Take On The Khan Hegemony

One of the highlights of watching Pathaan is to see and hear Salman Khan and Shah Rukh Khan discussing their dominance at the top of the game for what seems like a very long time.
They admit to one another that they are boneweary. But they also admit that there is little they can do to change the status quo ,because there is no one else to take over from them.
“What about that one?” Salman asks SRK without naming anyone.
“What about the other one?” asks Shah Rukh.
Then they both sigh and shake their heads in the negative.
The entire end-credits exchange between the two Khan superstars in Pathaan has taken the film industry and the audience aback.
Upon discreet inquiries on how that this ‘Tiger-Pathaan’ conversation was incepted, it is revealed that the idea of a self-deprecatory conversation on their longevous stint was producer Aditya Chopra’s idea.
“He just wanted to make a point, that the Khans have their own untouchable place in the film industry. The younger actors are doing their own thing. But Salman-Shah Rukh-Aamir are in a league of their own. Pathaan proves it,” says a source in the know.
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