This weekend, we lost Diane Keaton, that piece of American heart, Hollywood's darling hummingbird. Thank God she is still alive in her films. Aseem Chhabra on the Hollywood star he was in love with.
Despite the Oscars, the box office glory, and the universal acclaim, Francis Ford Coppola, I am sure, remembers The Godfather with as much frustration as pride. Like Michael Corleone, he got into it with the best of intentions, and got out of it on top but lost in the heights. Sreehari Nair revisits the film as it turns 50 this month.
'This project that we began 50 years ago with really the most extraordinary collaborators, many of them legends and so many of them that I can't take the time to list them all, but you know them all well.'
Glimpses from the launch of Raja Sen's first book, The Best Baker In The World.
Animal's violence isn't for the fainted-hearted unless you have an appetite for Korean style mayhem, like Sukanya Verma.
Everybody knows he's a master of sublime, but Mani Ratnam's brilliance in escalating drama delivers a goosebumps-inducing impact when bolstered by A R Rahman's musical gravitas,
In March 1972, The Godfather was first screened in a New York theatre. The movies were never the same again. Forty six years later, longtime Rediff film critic Raja Sen talks about why that film means that much, and how it led him to a unique tribute.
'My journey as an actor started to evolve when Web series started blowing out in a big way.' 'I lucked out because Inside Edge was one of the first big shows so that gave me a good platform, and led to more opportunities.' 'Web series have an ensemble star cast, and the characters are well written.' 'It's not only about a hero or a villain.'
... And sometimes, that's enough, says Sreehari Nair.
How do you even define a movie that primarily exists as an invitation to its audience -- an invitation to come and merely laze around with a set of interesting characters, asks Sreehari Nair.
Aseem Chhabra lists his favourite Indian films of 2021.
They have inherited their parents' good genes.
'This is a movie made with this gaze fixed on its immediate well-wishers, while at the same time it squints hard looking for those swaying back and forth on the fence,' notes Rohit Sathish Nair.
Ram Gopal Varma is back with Part Three of that series, which presented to us the first clear evidence that the great man was slipping, rues Sreehari Nair.
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