Friday, January 31, 2020

Fan claims Thappad poster copied from After Lucia; Diet Sabya calls out Love Aaj Kal song Haan Main Galat

Taapsee Pannu's upcoming drama Thappad has received positive reactions after its trailer launch. Directed by Anubhav Sinha, the story charts a wife's struggle to get justice after her husband physically abuses her.

However, the poster of the film has garnered considerable flak on social media, as some followers pointed out the similarity with the After Lucia poster.

Both the striking images show a girl in motion while being hit.

Check out the two posters

Many are alleging the Thappad poster might be a derivative of the 2012 Mexican drama. Meanwhile, the social media veteran in calling out copies of brands — Diet Sabya — has recently called out Love Aaj Kal song 'Haan Main Galat', featuring the lead pair of Kartik Aaryan and Sara Ali Khan. The online page has released a mash-up of a segment from an Apple advertisement, directed by Spike Jonze, with the song. Composed by Pritam, 'Haan Main Galat' has lyrics are penned by Irshaad Kamil. Singers Arijit Singh & Shashwat Singh have lent their voice to the track. The song features Kartik, Sara and Arushi Sharma let go, and match steps to the peppy track. Set across a quirky background, with neon-themed lights, flashy graffiti the foot-tapping almost feels like a nostalgic ode to 'Twist,' with Sara and Kartik also performing the hook step from the original song. Check out Diet Sabya's post

Meanwhile, Love Aaj Kal hits theatres on 14 February and Thappad on 28 February.

Check out posts on the two films

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ICC U-19 World Cup 2020: Pakistan opener Mohammad Huraira says he will treat semi-final against India like a 'normal' game

Benoni: Pakistan opener Mohammad Huraira says he will treat the high-pressure semifinal of the U-19 World Cup against arch-rivals India like a normal game.

Pakistan posted a six-wicket win over Afghanistan on the back of debutant Huraira's match-winning knock in the fourth quarterfinal to set up a last-four date with India.

Mohammad was adjudged the Player of the Match against Afghanistan. ICC Media

"The India-Pakistan rivalry has always been there. There will be a bit more pressure, but we'll get used to it," Huraira said after Pakistan's win on Friday.

"Myself, should I play, I'll try and play it like a normal game, and we look forward to it," he added.

Defending champions India are the most successful side in the tournament, winning the title a record four times.

Pakistan have been crowned champions twice -- 2004 and 2006 -- which made them the only side to defend the title. They defeated India by 38 runs in the 2006 final in Colombo.

Huraira, who was adjudged the Player of the Match against Afghanistan, hit a delightful 76-ball 64. However, his innings was brought to an end in a controversial manner as Afghanistan left-arm wrist spinner Noor Ahmad 'Mankaded' him in the 28th over.

Talking about his performance the youngster said, "The coaches and the support staff gave me a lot of confidence."

"I also had a lot of self-belief that whenever I get a chance, I will do my best. Today it came off all thanks to the Almighty," he added.



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NBA: Los Angeles Lakers return after Kobe Bryant's death, lose 127-119 to Portland Trail Blazers aided by Damian Lillard

Los Angeles: The Los Angeles Lakers dried their eyes and took the Staples Center court for the first time since Kobe Bryant's death with a resolve that would have made him proud.

Portland Trail Blazers guard Damian Lillard, right, drives to the basket while Los Angeles Lakers guard Danny Green defends during the first half of an NBA basketball game in Los Angeles, Friday, Jan. 31, 2020. (AP Photo/Kelvin Kuo)

Damian Lillard played through the basketball world's collective heartbreak with his own remarkable effort.

Lillard scored 48 points and the Portland Trail Blazers beat Los Angeles 127-119 on Friday night in the Lakers' first game since Bryant, his daughter Gianna and seven others died in a helicopter crash.

Lillard hit seven 3-pointers and added 10 assists and nine rebounds in a phenomenal performance that sent the Blazers to a win over an opponent still dealing with the trauma of the crash five days earlier.

Both teams stood on the court during a poignant pregame tribute to Bryant including songs, Kobe highlights and a stirring speech by LeBron James. Highlights of Bryant's career played during every break, but Lillard put on a show between the whistles.

Lillard's seven 3-pointers gave him 40 in his last five games, setting an NBA record. But even the Blazers star knew results were secondary this time.

"Nobody is going to win tonight," Lillard told ESPN during the game. "Kobe is gone. His family isn't going to get him back. This is just basketball."

James had 22 points, 10 assists and eight rebounds, and Anthony Davis had 37 points and 15 boards in the Lakers' first game since last Saturday.

Hassan Whiteside scored 30 points, and C.J. McCollum added 19 for the Blazers.

The entire evening was likely both profoundly painful and cathartic for anyone who loves the Lakers or Bryant, who won five championships while playing his entire 20-year NBA career in purple and gold.

Bryant retired in 2016, but he remained a franchise icon and an inspiration to the current players, who learned about his death on their plane ride home from an East Coast road trip. Their next game against the Clippers was postponed, and the Lakers franchise persevered through a brutal week of coping with the loss.

The Lakers finally got back to basketball after a pregame ceremony honoring Bryant's life and his impact on basketball. Several Lakers teared up during the ceremony, as did the Blazers — but after both teams took 24-second and 8-second violations off the opening tip, they lifted the heavy moment with grace.

Davis began the game with red eyes, but managed to score 18 points in the first quarter alone. The Lakers committed 13 turnovers in the first half while playing with an obvious surfeit of energy. Lillard, the gifted California native, went wild in the third quarter, scoring 23 points and hitting six 3-pointers in a virtuoso display of offensive skill. The Lakers then trailed by 12 in the fourth quarter before a "Kobe! Kobe!" chant broke out. They promptly made a 9-0 run, but the Blazers stayed steadily ahead. The ceremony began in a darkened arena with Usher singing "Amazing Grace." Staples Center then showed a video of Bryant's highlights narrated by his own voice.

James then took the microphone, discarded his prepared speech and commanded the crowd with stirring words from the heart. James joined the Lakers in 2018, and he spoke to Bryant several hours before the crash when Kobe congratulated LeBron on moving past him into third place on the NBA's career scoring list.

"So in the words of Kobe Bryant, 'Mamba out,'" James said. "But in the words of us, 'not forgotten.' Live on, brother."

Lakers public address announcer Lawrence Tanter then introduced each of the Lakers' five starters as Kobe Bryant, drawing tears and cheers from the sellout crowd.

The Lakers, the Clippers and the NHL's Kings all lost their first games at Staples Center after the death of Bryant, who played his final 17 seasons in the downtown arena.

TIP-INS

Trail Blazers: Carmelo Anthony missed the game for what the Blazers called personal reasons. Anthony and Bryant were close friends. ... Lillard became the third player in league history with at least six 3-pointers in five straight games.

Lakers: Quinn Cook, who idolized Bryant, was visibly affected by the ceremony. He checked into the game in the second quarter wearing his new No. 28 jersey, which represents Gianna (2) and Kobe (8). ... Alex Caruso played despite neck soreness.



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Nayanthara joins Rajinikanth's Thalaivar 168, will collaborate with superstar after Chandramukhi and Darbar

Actress Nayanthara has been roped in for Rajinikanth's highly-anticipated next, tentatively titled Thalaivar 168. This is the third time Nayanthara will collaborate with Rajinikanth for a film. Earlier, the duo worked together on Chandramukhi (2005) and Darbar (2019).

Nayanthara was also seen in cameo appearances in Rajinikanth's movies Sivaji (2007) and Kuselan (2008).

Apart from Nayanthara, the film boasts of a sprawling ensemble cast, including Khushbu, Keerthy Suresh, Meena, Prakash Raj, and Soori.

It is being reported director Siva is planning to release the film on Diwali 2020 as the family entertainer would attract the target audience during the festival weekend.

The film is rumoured to be set in the backdrop of a village.

The two other films that Nayanthara is scheduled to feature in are Netrikann and Mookuthi Amman. Before Darbar, Nayanthara was seen opposite Vijay in Bigil.

The music of Thalaivar 168 is reportedly being composed by D Imman, making it his first film with Rajinikanth. Imman has worked in the past with Siva on several projects, including the latest being Viswasam.

The makers made the official announcement of Nayanthara joining the cast on their social media handle.

Check out the announcement

Another interesting casting choice by Siva is Prakash Raj, who has only acted in one scene with Rajinikanth in his entire illustrious film career. Raj did a cameo in Padayappa in 1999. After two decades, the National Award-winning actor will share screen space with the superstar in Siva’s film.

Soori, who earlier acted in Siva’s Vedalam, takes care of the comedy portions in the film. It will the artiste's first collaboration with Rajinikanth.

Siva’s choice of casting Meena and Khushbu, the blockbuster yesteryear heroines of Rajinikanth, has surprised many in the industry. Meena and Khushbu paired opposite Rajinikanth in films like Yejaman, Muthu, Veera, Pandian, and Annamalai.



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India A vs New Zealand A: Visitors left with uphill task to save first 'Test' after hosts pile up mammoth first innings total on third day

Christchurch: India A were left with an arduous task of saving the first unofficial Test after New Zealand A notched up a mammoth 562 in their first innings on Saturday.

Responding to India A's first innings total of 216, the hosts declared shortly after losing their seventh wicket on the third and penultimate day at the Hagley Oval.

In their second essay, the visitors were 127 for two when bad light ended play four overs early, having reduced the deficit to 219 runs.

Dane Cleaver pulls one during his innings of 196. Getty

At the close of play, Priyank Panchal and Shubman Gill were batting on 67 and 33, respectively.

Starting the day on a comfortably-placed 385 for five, overnight batsmen Dane Cleaver and Mark Chapman consolidate their team's position with a 268-run partnership for the sixth wicket.

Batting on 111 overnight, Cleaver went on to make 196 off 344 balls, while Chapman, who started the day 15 short of century, made 114 off 245 deliveries.

Wicketkeeper Cleaver hit 20 boundaries and a six while spending 482 minutes at the crease, while Chapman found the fence 11 times in his 377-minute stay in the middle.

Batting at number eight, Cole McConchie made an unbeaten 50 off 74 balls while adding 114 runs for the seventh wicket with Cleaver, propping up their team's total.

The Indian bowlers toiled hard with Ishan Porel and Sandeep Warrier getting two apiece.

When they came to bat for the second time in the game, the visitors again lost their prolific opener Mayank Agarwal for nought, in the very first over.

Abhimanyu Easwaran fell for 26 to leave India A at 59 for two.

Brief Score:

India A: 216 and 127/2 in 37 overs (Priyank Panchal 67 batting, Shubman Gill 33 batting)

New Zealand A: 562 for 7 in 160.3 overs (Dane Cleaver 196, Mark Chapman 114; S Sandeep Warrier 2/91, Ishan Porel 2/90).



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Jawaani Jaaneman box office collection: Saif Ali Khan's coming-of-age drama makes Rs 3.24 cr on opening day

Jawaani Jaaneman has had a satisfactory opening day at the box office. The film, starring Saif Ali Khan, Tabu, and Alaya, F made Rs 3.24 crore on the first day of its box office run.

Trade analysts have stated the film performed better many of Saif 's earlier solo movies. In fact, the multiplexes saw a spike in footfalls towards the evening.

However, it needs to pick its pace up during the weekend to secure a healthy weekend collection.

Saif's other film this month, Tanhaji: The Unsung Warrior, featuring Ajay Devgn in the lead, has been having a dream run at the ticketing counters. The film, as per latest reports, has Rs 240.64 crore currently in its kitty.

Check out the latest box office figures of Jawaani Jaaneman

Jawani Janeman is directed by Nitin Kakkar, who had previously directed Filmistaan and Mitron. The film went on floors in London on 18 June, and features Saif as the middle-aged bloke Jazz, who shirks at the mention of responsibility. His life takes a dramatic turn when Alaya's character Tia finds him in an alley, and tells him there is a possibility he is her father. Soon, Tabu's character also finds her way into Saif's house, and it comes to the fore Tabu is Tia's mother.

Speaking to Firstpost about his expectations out of the commerce of this film, Kakkar said, "I have actually not given importance to box office till now. Maybe I should because that might change things in my filmmaking (laughs). I should make films that people want to watch."

Saif has co-produced the film under his banner Black Knight Films, along with Jackky and Vasu Bhagnani's Pooja Entertainment and Northern Lights Films.



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Jawaani Jaaneman, Aswathama, Bad Boys For Life's HD prints leaked by Tamilrockers within hours of release

Most recent Indian blockbusters have been leaked online by the piracy portal Tamilrockers. Saif Ali Khan's Jaawani JaanemanWill Smith's Bad Boys for Life, and Naga Shaurya's Aswathama have been the latest victims of online piracy. As per reports, high definition prints of the films have been leaked by Tamilrockers within hours of their release.

Posters of Jawaani Jaaneman (left) and Aswathama. Images from Twitter

Piracy has been a major problem for filmmakers as the film's box office collections get affected. Tamilrockers has become infamous for leaking a slew of highly anticipated South Indian, Hollywood, and Bollywood films within a day of their theatrical release. Despite several complaints, ban, and strict action by the court, the filmmakers have failed to fight the menace of piracy, particularly by Tamilrockers.

A lot of attempts have been made to stop the menace of online piracy. However, websites like Tamilrockers operate with impunity. Earlier this year, members of the Film Federation of India (FFI) had also asked for the Cinematograph Act to be amended in February.

The government, in its response, introduced a bill in Rajya Sabha to impose a strict penalty to combat piracy. The Indian Express previously reported that the website keeps switching its domain extension to avoid being caught, and can only be accessed through a proxy server.

While Jawaani Jaaneman narrates the story of an estranged daughter and her not-so-young father, Bad Boys for Life is an American action comedy film featuring Will Smith and Martin Lawrence, and is the sequel to Bad Boys II (which released in 2003) in the Bad Boys franchise. The film iss directed by Abdil and Bilall.

Naga Shaurya's Aswathama deals with a troubled protagonist's angsty search for a serial perpetrator of women.

In the recent past, major big-budget films, including Dream Girl, KaappaanSaahoJudgementall Hai KyaKabir SinghBharat, India's Most WantedKalank, Gully BoyDe De Pyaar DeStudent of the Year 2Thugs of Hindostan, Adithya Varma and Simmba were victims of piracy.



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ISL 2019-20: Mumbai secure vital victory with spirited display as NorthEast United's winless streak extends to nine matches

Mumbai City FC registered a much-needed 1-0 victory over NorthEast United in Friday’s clash at the Mumbai Football Arena, and the win could not have come at a better time for Jorge Costa’s men.

With all the top teams vying for the playoff spot, this was a morale-boosting performance from the hosts, amidst a few unfortunate injury concerns.

Mumbai City FC jumped to fourth sport in ISL after win over NorthEast United. Sportzpics for ISL

The only change Costa made for this game from their disappointing draw against Hyderabad FC was the return of Moudou Sougou, who was returning from injury after missing out on the previous game. However, the joy of his return was short-lived after receiving a yellow card for initiating a challenge on Lalengmawia. Sougou will now miss Mumbai's next clash.

Although both the teams looked scrappy in the initial few minutes, the hosts showed more intent and put up a more spirited performance with brilliant attacking display, which was in a stark contrast to NorthEast United’s continued midfield woes.

Speaking of which, the hosts had already created a couple of chances in the first 15 minutes, with a great co-ordination between Mohammad Larbi and Diego Carlos with one of them having Larbi run down from the left flank and crossing the ball to the centre of the box to Carlos, whose header missed the goal just by a whisker.

Another opportunity for the hosts came in the 23rd minute, when Amine Chermiti won a free kick following a foul from Wayne Vaz. Once again, the Mumbai striker showed intent but it ended as a wasted effort after he smashed the ball directly to the wall.

Carlos was the most formidable of all attackers during the course of the match, and although he received a yellow for a rash tackle on Raegan Singh early on in the match, he broke the deadlock just before half-time to cheer up the home fans. Again, co-ordination was key to  this goal as Larbi whipped a cross to Carlos, who scripted a left-footed shot from inside the left side of the box to find the net.

Mumbai made two substitutions before the start of the second-half, with one of them being forced after Subhashish Bose suffered a niggle. The defender had to be substituted out for Bipin in the second half.

The other substitution was Bidyananda Singh coming in for Sourav Das.

The hosts continued the trend of dominating the contest in the second half as well, with Sougou narrowly missing out on doubling the lead in the hour-mark after winning the ball at the right flank and running through inside the box. He attempted the shot from a very narrow angle, but just missed the far pole. Chermiti, too was running in towards the far pole, but Sougou missed the chance to pass the ball to Chermiti and utilise a potential opportunity.

United's woes continued after Reagen was sent-off for a reckless challenge on Mumbai's Carlos in the dying stages of the match.

After the match, Costa admitted that his team was playing under tremendous pressure and revealed that some of the players who started were not fully fit. However, he seemed a satisfied man after the win.

“We are playing under a lot of pressure. We have to win and we don’t have any other option. My players have to deal with the pressure and if they can’t there are other professions – they can work in the bank or supermarket,” the coach said at the post-match press conference before adding that Sarthak Golui is ruled out till the end of season.

“We are also facing some physical problems, some players who started today were not 100 percent fit. What matters most, in the end, is the three points. Sarthak is out until the end of the season. He has a knee injury and will be out for 4-6 weeks," he added.

For United coach Robert Jarni, this was the fourth consecutive game in which his team has failed to score at all. The last goal his team scored came in a 1-1 draw in Kochi against Kerala Blasters in December.

Once again, he admitted that, his players kept losing control and lamented the wasted chances.

“We had many chances in the first half. We couldn't score. In the second half, we could play patiently to get behind them. We kept losing control in our search for an equalizer,” he said after the match.

“We played a good game. We need to work on the finishing. But for now, the future is there. We have good foreign players but they will take some time to adapt. It is a difficult situation,” the coach added.

The result leaves NorthEast winless in nine matches, while Mumbai cruise back to the top four with 23 points, two more than fifth-placed Odisha.



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LaLiga: Barcelona sign Francisco Trincao, Matheus Fernandes; Yannick Carrasco returns to Atletico Madrid

Barcelona: Barcelona signed two young players to join the club after the season and Atletico Madrid announced the return of Yannick Carrasco on Friday, the final day of the transfer window in Spain.

Barcelona said it completed deals to bring Portuguese forward Francisco Trincao and Brazilian midfielder Matheus Fernandes into its squad on 1 July.

Barcelona said it agreed to pay Portuguese club Braga 31 million euros ($34 million) to acquire the 20-year-old Trincao after the season ends for five years.

Since debuting with Braga in December 2018, Trincao has scored three goals in 29 matches. He has played for Portugal’s youth teams and helped it win the Under-19 European Championship in 2018 as its top scorer with five.

Barcelona described him as a “talented and quick player with a good left leg” who can play as a winger on either side of the attack.

Barcelona said it paid Brazilian club Palmeiras 7 million euros for Matheus, who will play the remainder of this season on loan at Valladolid. He will then sign five seasons for Barcelona.

Atletico will hope to boost its goal production immediately with the return of Carrasco, a Belgium forward who played for the Spanish club from 2015-18 before leaving for China.

He returns on a loan deal until the end of the season from Chinese club Dalian Professional.

Carrasco scored 23 goals, including one in the 2016 Champions League final that Atletico lost to Real Madrid. He made 124 appearances in his first stint with Atletico.

Villarreal presented striker Paco Alcacer on Friday, a day after securing his move from Borussia Dortmund.

Sevilla also presented midfielder Jesus “Suso” Saenz two days after he joined the club on loan from AC Milan for this season and the next.

“I really wanted this to happen,” the 26-year-old Suso said. “We all made a huge effort and I am here, which is what I and my family wanted. I have been away since I was 16 and it is important to come back home.”



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Serie A: Juventus offloads midfielder Emre Can to Borussia Dortmund; AC Milan recalls Diego Laxalt from Torino

Rome: United States left back Antonee Robinson underwent medical exams with AC Milan in an attempt to transfer from Wigan but the deal fell through before the window closed on Friday.

Instead, Milan recalled Diego Laxalt from Torino, where the Uruguay fullback had been on loan.

Juventus midfielder Emre Can transfer is reportedly worth as much as $29 million. AP

Juventus was relatively quiet on the transfer market, with little-used Emre Can moving to Borussia Dortmund on deadline day in a deal that could be worth as much as 26 million euros ($29 million). Mario Mandzukic signed for Qatari club Al-Duhail after being dropped by coach Maurizio Sarri, and third goalkeeper Matteo Perin was loaned to Genoa for the rest of the season.

Juve's biggest deal was signing 19-year-old midfielder Dejan Kulusevski from Atalanta in a deal that could end up being worth as much as 44 million euros. But Juventus then immediately sent Kulusevski to Parma on loan.

Roma loaned captain Alessandro Florenzi to Valencia, where the versatile fullback and winger is aiming for more playing time in order to keep his place on Italy’s squad for the European Championship.

Zlatan Ibrahimovic’s return to AC Milan and Christian Eriksen’s move to Inter Milan were the most high-profile signings in Italy during the transfer window.

Ibrahimovic has already made a major impact at Milan, which has gone unbeaten in six matches — four in Serie A and two in the Italian Cup — since he signed a free transfer at the end of December. The 38-year-old striker has two goals in five matches and, more importantly, added a sense of belief for the long-struggling seven-time European champion.

Eriksen, meanwhile, is being relied on at Inter to help reduce the three-point deficit behind eight-time defending champion Juventus. The Denmark playmaker signed a five-season contract after joining from Tottenham this week in a deal reportedly worth 20 million euros ($22 million).

All three of Inter’s signings this month came from the English Premier League. Ashley Young joined from Manchester United and Victor Moses signed from Chelsea, although he spent the past year on loan at Turkish club Fenerbahc.



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NBA: Roses, Usher, Boyz II Men, LeBron James speech and 24.8 seconds silence for Kobe Bryant as LA Lakers return to court

Los Angeles: Red roses adorned the courtside seats where Kobe and Gianna Bryant sat at the last Los Angeles Lakers game they attended. On the overhead video board, photos of Bryant in action for the Lakers alternated with those of the other seven people who were killed alongside him and his 13-year-old daughter in a helicopter crash.

Los Angeles Lakers' LeBron James, center, and Quinn Cook wipe their faces while watching a video tribute to Kobe Bryant, before the Lakers' NBA basketball game against the Portland Trail Blazers in Los Angeles, Friday, Jan. 31, 2020. AP

Friday night at Staples Center was unlike any other.

Longtime public address announcer Lawrence Tanter introduced the entire Lakers lineup the same way: "From Lower Merion High School, No. 8, Kobe Bryant."

In a ceremony before the Lakers' first game since the crash on Sunday, Usher stood at center court of the darkened arena in front of No. 8 and No. 24 yellow rose arrangements to sing "Amazing Grace." Cellist Ben Hong from the Los Angeles Philharmonic performed while video of Bryant talking about his life and career played.

Fans interrupted the silence with chants of "Kobe! Kobe!" and "MVP! MVP!"

Boyz II Men, from Bryant's hometown of Philadelphia, sang the national anthem.

LeBron James, wearing No. 24, wiped his eyes as the anthem ended. He and Anthony Davis, wearing No. 8, hugged.

The crowd stood for 24.2 seconds of silence as the shot clocks ticked off the time until the horn blared. Spotlights shone on the empty seats set aside for Bryant and his daughter. His had a black-and-white Mamba jersey and hers a No. 24 jersey.

Los Angeles Lakers' LeBron James, wearing a No. 24 jersey, speaks about Kobe Bryant prior to an NBA game between the Lakers and the Portland Trail Blazers on Friday, Jan. 31, 2020, in Los Angeles. Bryant, the 18-time NBA All-Star who won five championships and became one of the greatest basketball players of his generation during a 20-year career with the Lakers, died in a helicopter crash Sunday. (AP Photo/Ringo H.W. Chiu)

James stood at center court and read the names of the nine crash victims, ending with Bryant. He told the crowd he had remarks prepared and pulled a piece of paper from his sweatpants. But then James tossed it to the floor.

"Laker Nation, I would be selling you short if I read off this (expletive), so I'm going to go straight from the heart," he said.

"The first thing comes to mind is all about family. As I look around this arena, we're all breathing, hurt and heartbroken," James said. "The best thing you can do is lean on the shoulders of your family."

James noted there will be a memorial at some point for Bryant. "I look at this as a celebration tonight," he said. In the couple of hours leading up to the game there was mostly silence. The electric atmosphere that surges through the arena before NBA games was nowhere to be felt. Media talked quietly among themselves without the usual music playing. Somber ushers took up their positions with black ribbons attached to their purple work shirts. Grief counseling was offered to arena staff and one female usher pulled tissues out of her pocket that had been provided.

Singer Usher performs during a memorial for Kobe Bryant, prior to an NBA basketball game between the Los Angeles Lakers and the Portland Trail Blazers in Los Angeles, Friday, Jan. 31, 2020. (AP Photo/Kelvin Kuo)

Inside the Lakers locker room, Bryant's No. 24 gold jersey hung on a wooden hanger from a fire alarm next to James' locker. It was Bryant's locker when he helped the team win five NBA championships during his 20 years in Los Angeles. "He's been really a tower of strength for all of us," Lakers coach Frank Vogel said of James. "We're following his lead." Dwight Howard sat at his locker with earbuds in. None of the players spoke before the game. Back in the arena, Jeff Nadal was among the early arriving fans. Nadal rolled up a giveaway No. 24 T-shirt in his hand and rested his chin on it, staring into space. "It doesn't really feel like you're here for a game," the 26-year-old middle school teacher from Whittier said. "It feels like you're here for something a lot bigger than that. We didn't even know the guy, but we feel like we did."

The music began playing once the public flowed through the doors. Several fans donned the gold T-shirts at their seats; others took pictures of the video board and the electronic ribbon scrolling the victims' names around the upper level.

"We know it's going to be a heavy-hearted night," Vogel said. "It's our job to manage our emotions and honor Kobe, Gianna and the other victims the right way."

Across the street from Staples Center, large crowds continued to gather for informal public mourning at a plaza loaded with flowers, balloons and hand-written messages, many on the pavement, honoring Bryant and his daughter.

Large poster boards covered in signatures and messages were moved to the middle of the blocked off street separating the arena and the LA Live entertainment district.

The Lakers will wear a "KB" patch on their jerseys the rest of the season.



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Thappad trailer dubbed by Twitterati as 'an apt answer' to Arjun Reddy, Kabir Singh's 'misogynistic idea of love'

Netizens have dubbed Anubhav Sinha's upcoming film Thappad, featuring Taapsee Pannu in the lead, an apt answer to the Telugu blockbuster Arjun Reddy and its Hindi remake Kabir Singh.

The dialogue began with the release of the official trailer of Thappad on Friday. The trailer took a deep dive into normalisation of domestic violence in India, by focusing on one particular incident when a husband slaps his wife.

A still from Thappad trailer

Here are some of the tweets comparing Thappad and Arjun Reddy/Kabir Singh

 

Kabir Singh, which released on 21 June, 2019, created an uproar for its portrayal of the lead character and its unabashed endorsement of toxic masculinity.

A still from Kabir Singh. YouTube screengrab

Sandeep Reddy Vanga, the director of Kabir Singh and its Telugu counterpart, also got acute backlash for defending violence against women in the movie. After the release, Vanga had said in an interview, "If you can’t slap, if you can’t touch your woman wherever you want, I don’t see any emotion there. (sic)"

The trailer seems to take a dig at Vanga's statements as a character is heard saying, “Thodi bahut maar-peet to expression of love hi hai na sir,” according to an India Today report.

Taapsee had also taken a dig at Vanga when his statement surfaced. She shared a news report of a man slapping his wife on Twitter, writing in the caption that the action must have been a result of his love for the woman.



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Jackie Shroff joins Akshay Kumar, Katrina Kaif in Rohit Shetty's cop drama Sooryavanshi

Jackie Shroff is the newest actor to join the cast of Rohit Shetty's upcoming cop drama Sooryavanshi, reports Mid day.

The actor's inclusion, says the report, was a complete surprise even for the leading actors, Akshay Kumar and Katrina Kaif.

Kumar had, in fact, posted about the wrap of the shoot in November last year.

The report adds Jackie's portions in the film were shot in Ooty, and he did not shoot with either Kumar or Kaif. The actor instead shared screen space with the main antagonist Abhimanyu Singh.

Confirming the news to Mid-Day, Jackie said, "I have worked with Rohit's father (late action choreographer Shetty), whom I respected a lot. Now, I am proud to work with Rohit. I can't disclose my character, but it's an interesting role."

Rohit also made a formal announcement on social media regarding this development.

Check out Rohit Shetty's tweet on Sooryavanshi

Ever since the film went on floors, Akshay has been constantly posting behind-the-scenes pictures and videos from the film. The actor posted a video of where he was seen performing action sequences, with Rohit in the director’s chair. He also shared the news of shooting the rehashed version of his iconic song 'Tip Tip Barsa Paani' with Katrina.

It was earlier rumoured Sooryavanshi would be a Hindi remake of Theeran Adhigaaram Ondru. However, director Rohit Shetty released a statement, dismissing the rumours, and underscoring the fact Sooryavanshi is an original project.

The film is a part of Rohit's cop universe, which also includes Ajay Devgn's Singham and Ranveer Singh's Simmba. Both the cops will be seen alongside Akshay in the climax of Sooryavanshi.

Sooryavanshi is scheduled to release on 27 March.



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The Forgotten Few: New book remembers birth of the Indian Air Force, its first pilots to conquer the air

"...Great chap, with a party — and he was always ready to pick a fight with a Britisher. He just didn’t like the British. I don’t know why - they were grand chaps. But Ranjan would, find some excuse to — we’d be walking down the corridor, [someone would brush past]. He’d turn around and say, “Mind where you’re going, can’t you see I have two glasses in my hand?” He’d say, “One minute,” put the glasses down and punch the chap. And before you knew it, there was a fight. And the fight would be, British chaps versus Indian chaps..."

This was how "Phil" Philip, one of the Indian Air Force's (IAF) first Spitfire pilots, described his accomplished, combative squadron-mate Ranjan Dutt, during the period they served together in the Burma Front in World War II.

Against the enemy, though, it was all very different. The War had broken out in 1939 and while on duty, the Indians and the British flew side by side as part of the Allied forces that took on the Axis – the Germans, the Italians, and in Asia, the Japanese. Young men like Ranjan Dutt — who held a commercial pilots' license, spoke impeccable English, and chased flying as a passion — were instantly picked up by the British, drafted into the then-new, still-tiny Indian Air Force. Some of them, including Dutt, were sent to the United Kingdom to train with the Royal Air Force (RAF). And once equipped with the necessary skills to engage in aerial warfare, ardent youngsters like Dutt and Philip were assigned to RAF and IAF squadrons, to take on the Axis powers.

While a lot has been written about the contribution of the Indian Army during World War II, The Forgotten Few by KS Nair, is a rare account of the Indians who participated in the war in the air, alongside British and other Allied pilots. A passionate war buff since his childhood, Nair realised the need for the book only after travelling outside India as part of his day job.

“When I visited some other countries that had participated in World War II, I realised that the War was so vital to their identity even after 70 years," says Nair.

"It was a huge marker of social, economic and political change, and a huge contributor to their independence. In India, there was already an Independence movement in place, and the War simply accelerated the move for independence, though few seem to acknowledge this fact,” he adds.

The first military flight recorded in India goes as far back as January 1916 — five years after commercial flights and air mail had been introduced in the country. That was during World War I, when the British need for manpower saw Indian troops join the action on ground in Europe. During that war, a handful of Indian pilots took to the air as part of the Royal Flying Corps (RFC), the predecessor of the RAF. The first Indian military pilot, Hardit Singh Malik, was among that handful who saw action in France and Belgium. By the time the war was over, men like him had made a case for India to have its own Air Force, though it took a while to set these plans in motion.

Ranjan Dutt, 1940

“A lot of army generals at the time believed that aircraft would not add any military value, because they could barely get into the sky and could break down at any moment. But a few privileged individuals, such as the Tatas and Engineers, besides several Maharajas of princely states, had already taken up flying as a hobby. Men like these stepped up to aid the British in their war efforts,” Nair says.

In that period, only a handful of Indians had had the opportunity to train with the British RFC, which, in 1918, became the RAF. Despite a lot of opposition in the corridors of power, in the late 1920s, the Skeen Committee proposed that Indians be drafted into a new Indian Air Force, while also building other Indian military capabilities. After the Indian Air Force Act was passed in 1932, the Indian Air Force (IAF) was established the following year, and flying got underway with the formation of the No 1 Squadron, comprising around six Indian and two British officers, and about 20 Indian airmen or havai sepoys.

However, things were anything but easy during those early days. During those first few years of their existence, No 1 Squadron was confined to insignificant roles like message deliveries, rather than combat roles. Indian pilots were made to play second fiddle to their British counterparts and made to fly inferior aircrafts; the airmen had no roles in maintenance and were initially asked to only keep the aircraft clean. Nair highlights moments where a few Indians dared to indulge in unofficial contests against British pilots, all in a bid to prove their worth.

Ranjan Dutt with nurse, 1945

“It’s actually quite a story on how they overcame all those prejudices, until the British accepted their abilities and treated them as closer to equals. For instance, they were handed down second or third-hand Hurricanes, which struggled to match up against the enemy aircraft, even as the British started converting to the more effective and prestigious Spitfires. So it was an uphill fight every step of the way and you really have to admire the spirit and determination of those who passed the test,” Nair says.

What drove those young pioneers, to endure that discrimination, only for the privilege of risking their lives in combat? “For some of those early pioneers, it was an opportunity to fly rather than fight. A few were genuinely committed to opposing fascism, while others signed up for the privilege of serving as commissioned officers, a valuable position in those days, since it was fairly clear that independence was coming, though they were still unsure on when it would unfold,” he adds.

Early IAF action was restricted to maintaining peace along the restive borders of the North West Frontier Province. Even until the end of 1941, India was largely a peaceful rear base in World War II, as the Allies looked to expand their military capabilities and set up facilities to train pilots in India and Ceylon.

Amrit Hurricane's cockpit

However, a few IAF personnel did see action in the theatres of Europe and North Africa, while a majority was mobilised for operations closer to home in Burma, where fighting broke out in 1942 as Japan entered World War II. The IAF played key roles in the turnaround from initial defeats to eventual victory in Burma, where the Japanese were made to surrender. Some of them were engaged in carrying out evacuations once Partition was announced, and poignantly, a few found themselves on opposite sides of the border after Independence.

The book is filled with exciting encounters and the unrecorded exploits of these daredevils, unearthed through Nair’s research over the last 15 years, besides personal interviews with about 20 World War II veterans including Dutt, the aggressive Spitfire pilot described at the start of this article.

Post Independence, Dutt was the youngest officer to rise to the ranks of Group Captain and Air Vice-Marshal of the IAF. He was awarded a Vir Chakra for his heroics in a single-seater aircraft during the 1947-48 skirmishes. He was also the hardest to track down for Nair.

“He left the IAF and India around 1960. Nobody knew where he was for a good 30 years, until I heard he was back in India and chased him for a meeting. I could finally spend two lovely evenings with him when he told me about his experiences. He was frail and confined to a wheelchair by the time I met him, but his swashbuckling personality was evident even then. And when he said he didn’t want to talk about something, there was little that you could do about it,” he recalls.

And though Nair was able to document a lot of these timeless stories, some have been taken to their grave by charismatic men like Dutt. Some of the stories that he did manage to record figure in his book, The Forgotten Few.



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Australian Open 2020: With no time to rest, Dominic Thiem takes on 'King of Australia' Novak Djokovic in hardest test

As Dominic Thiem attempts to recover from the physical and emotional effort he has put into his last two matches and faces up to the task of taking on Novak Djokovic in the final of the Australian Open, he has found an encouraging ally in Alexander Zverev. Moments after Thiem put paid to Zverev's hopes of making his first-ever major final, the young German backed him to go all the way.

"I think he has a chance," said Zverev of Thiem's impending clash against seven-time Australian Open champion Djokovic. "He's playing the best tennis of his life. I do believe he's playing good enough."

Dominic Thiem got better of his close friend Alexander Zverev in semi-final to reach Australian Open final. AP

One of the heaviest hitters on the men's tour, Thiem has played some remarkably intense tennis to reach his first non-clay Grand Slam final. The Austrian won a slugfest against Rafael Nadal; outplaying and out-defending the world No 1 to script a 7-6 (3), 7-6 (4), 4-6, 7-6 (6) victory in Wednesday's quarterfinals. Though he was sluggish to start with in the semi-final against Zverev on Friday, the 26-year-old weaved his way back for a 3-6, 6-4, 7-6 (3), 7-4 (4) win.

"I played four hours and 10 minutes against Rafa, who is the most intense guy on Tour," said Thiem. "Almost every rally was so intense and long. I was in bed around 5 a.m. two days ago, so it was not easy to recover, then once the adrenaline came today, and by the time I walked into the full stadium I was fine. I had some trouble in the first set, we were both nervous I think and there were two breaks each. It was a tough start for me. I felt nerves, having put in so much energy. My stomach was rebelling a bit. It's not nice to play return games, when he's hitting so many first serves. I didn't have a look, really, in the fourth set…
Thank goodness there is a tie-break in tennis, otherwise we'd still be playing."

Having spent close to eight hours on the court in his last two matches, the big question is whether Thiem will have enough left in the tank for Sunday's final. It is not ideal preparation against Djokovic, who not only is the most successful male player at the Slam, having won seven titles already, but will physically make it as tough as possible for Thiem to win his first. The Serb, seeded second, has dropped only one set enroute the title clash, has an extra day to recover and is almost impossible to break. In a final. In Australia.

Thiem, meanwhile, had never gone past the fourth round in Melbourne before this year. The odds against him are almost as high as those he faced in the last two major finals: when he took on Nadal at his beloved French Open in the final in 2018 and 2019.

"I have been twice in the Roland Garros final, twice facing Rafa, and now I am facing Djokovic, he is the 'King of Australia'," said the Austrian. "I will try my best and do everything I can to win. But if I walk off the court in two days' time a loser, I will be patient and trust the process and continue to work hard."

Like the rest of the tennis world, Thiem too understand that the gulf in experience may be too much to bridge on Sunday. Djokovic, who could very well end up being the most successful men's player in Grand Slam history, has already contested 25 finals and won 16 of them. He has a winning record over two of his biggest rivals: 29-26 over Nadal, and 27-23 over Roger Federer. Even though both Federer and Nadal are ahead of his in the Slam count, they have had little success over the Serb in majors. Nadal last beat him in the 2014 French Open final, while Federer last defeated Djokovic in 2012 Wimbledon semi-finals. At the 2019 Australian Open final, Nadal could win only six games against the Serb.

Serbia's Novak Djokovic has dropped only one set enroute the title clash in Australian Open. AP

"I think there is more advantage to have the experience than disadvantage," said Djokovic, 32, after his semi-final win over Federer on Thursday.

"I think it's better obviously coming into the Grand Slam final to have some experience behind you. At the same time if you don't have that experience maybe then you don't have the expectations or you don't have the pressure of being in the finals that you need to win. The younger players (are) now coming up and challenging us oldies to get to the Grand Slam finals. It's happening already. It's inevitable it's going to happen more frequently in the future."

But Thiem v Djokovic promises to be more than a battle of generations. The Austrian has become increasingly difficult for Djokovic to shake off in recent times. Though the defending champion leads their head-to-head series 6-4, he has lost the last two matches that turned out to be absolute epics.

At last year's French Open semi-finals, Thiem battled Djokovic, and the elements, over two rain-interrupted days to score a dramatic 6-2, 3-6, 7-5, 5-7, 7-5 win. A few months later, at London's O2 Dome, he defeated Djokovic 6-7(5), 6-3, 7-6 (5) at the ATP World Tour Finals. He had rallied from 1-4 down in the third set tie-break to beat the Serb on hard courts for the very first time. Even though one of the best defensive players, Djokovic has, like Nadal did a few days before, found Thiem's relentless aggression too much to handle.

On Friday, Zverev explained what's been working so well for the Austrian this tournament: "He flattens his shot out much more. Before he was a complete clay court player. A lot of movement, a lot of running around, stuff like that. Now he has a complete hard court game, he's a much different and much better player.'

Add to that, Thiem has an incredible work ethic and went through some, well-documented, 'gladiator training' in the pre-season. "It's amazing how he practices," former player Nicolas Massu, who joined Thiem's coaching staff in 2019, told the ATP website. "All the time, 100 per cent, he's very focussed all the time. He tries to improve every day, so for me as a coach it's amazing because he's a guy who wants to win all the time."

The Austrian has drawn from all that training to earn his place in Sunday's title clash. But with little time to recover, the final step is bound to be the hardest.



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Bigg Boss 13 Day 115 highlights: Vishal, Mahira have a fallout during this week's captaincy task

The day at the Bigg Boss 13 house was filled with housemates and their connections trying to outdo each other during the captaincy task.

For Aarti, it was her sister-in-law Kashmera Shah, Himanshi for Asim, Vikas for Sidharth, Shehbaz Gill and Kunal Singh for their siblings Shehnaz and Vishal respectively.

As per reports, Vishal, Kunal, and Mahira fell out within hours of the task. Vishal supported his brother, and confronted Mahira, warning her not to misbehave with Kunal. This provoked Mahira, and she began agitating Vishal further. Kunal then commented on Mahira's father.

The fight intensified, and Mahira lashed out at Kunal, saying he could not break properties in the Bigg Boss house, otherwise Bigg Boss would "break" him. Hearing this, Shehnaz's brother Shehbaz intervened and questioned Mahira as to how she could speak to Kunal this way.

Paras also joined the fight in some time, and made a comment on Kunal, after which Shehbaz called Paras, "Mahira ka pappu." This resulted in Mahira screaming at Shehnaz but the latter refused to engage in a fight.

Asim, who currently seems to be quite enamoured by Himanshi, had in several previous episodes, confessed his love for her. However, Himanshi on the other hand, had always been hesitant. Vishal and Rashami spoke to Himanshi about this issue, and asked her to clearly spell out if she had romantic inclinations towards Asim or not. Pressurised by them, Himanshi was heard confessing to the two that someone close to Asim outside the house had requested Himanshi not to openly confess her feelings for him.

Check out posts on Bigg Boss 13

 



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Fast & Furious 9 trailer charts rivalry between brothers, played by Vin Diesel, John Cena; film to release on 22 May

Universal has released the first official trailer of Fast & Furious 9, director Justin Lin’s next chapter in the long-running saga of car theft and bank heists.

The trailer charts the rivalry between Dominic Toretto (Vin Diesel) and his brother, Jakob (John Cena). Dominic is seen getting used to retired life with his wife Letty (Michelle Rodriguez), and their young son Brian (who is named after the late co-star Paul Walker’s character.)

Jakob is described as "a master thief and an assassin," who is tasked by the cyber-terrorist Cipher (Charlize Theron) to murder Dominic. The brothers face off with each other in the backdrop of a bustling London, complete with car chases and high-octane street fights.

Check out the trailer here 

Jordana Brewster, Tyrese Gibson, Nathalie Emmanuel, and Chris "Ludacris" Bridges will return to the action series, with new entrants Cena, Finn Cole, and Anna Sawai. Charlize Theron and Helen Mirren are also set to return for Fast & Furious 9. Theron will reprise her role of Cipher, who was introduced in the 2017 movie Fate of the Furious, while Mirren's character made her debut in the same film as Magdalene Shaw, the mother of Jason Statham's character Deckard Shaw. Lin, who was at the helm of third, fourth, fifth, and sixth instalments of the franchise, has directed the new film. It has been scripted by Dan Casey from a story by Lin and Alfredo Botello. The film, the ninth instalment in the franchise, is scheduled to release on 22 May. Here are the latest posters from the film 

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The Fountainhead: How Ayn Rand's wildly popular novel got made into 1949 Gary Cooper-Patricia Neal film

'At the Movies' is a fortnightly column on Hollywood's Golden Era (1920s-50s) revisiting films of historical, cultural and/or aesthetic significance. Read more from the series here.

***

Adapted from Ayn Rand’s 1943 novel, The Fountainhead (1949) is the story of Howard Roark (Gary Cooper), a genius modernist architect whose refusal to accept established styles and conform to public standards make him a pariah among his peers.

Roark declares that his primary quest is his work itself, not its possible beneficiaries. He does not accept the judgment of collectives and knows that no “group, board, council or commission” would give him projects. Recognising his greatness, but lacking the courage to be by his side, are Dominique (Patricia Neal), an architecture critic in love with Roark’s work (and thus Roark), and Wynand (Raymond Massey), a self-made media baron trying to regain the strength of character he lost on his way to the top. Running the crusade against Roark is Toohey (Robert Douglas), a social-minded critic at Wynand’s publication who is convinced of Roark’s genius and wants to break him down for that very reason.

Much of the drama of the script, adapted from the novel by Rand herself, passes through a romantic triangle. Dominique is in love with Roark, but is afraid that the world will grind him down. To protect herself from the heartbreak, she marries Wynand, who also loves Dominique. Wynand is a very nuanced figure, an antagonist trying to redeem himself, who sees in Roark the man he could have been, but was too scared to become. Roark, for his part, is a cipher, an emotional monolith who refuses to compromise his work, whatever be the personal and professional cost of that attitude. The characters’ attraction to each other is modulated less by erotic fervour than their appreciation of each other’s moral outlook.

There’s a starkly new style of acting afoot in King Vidor’s film, no doubt informed by the nature of the material at hand. Unusually for a Hollywood hero, Roark is not someone the viewer identifies with. Vidor’s direction divorces our perspective from that of Roark, whom we get to know only through information supplied by other characters. In the opening volley of exchanges, Roark stands as a silhouette at the edge of the frame, as his varying interlocutors describe his personality by way of cautionary advice: stubborn, uncompromising, visionary, individualistic, too idealist for this business. Throughout the film, we hear about the brilliance of Roark’s Frank Lloyd Wright-like designs, but we’re never told why they are so.

The Fountainhead (1949) is the story of Howard Roark (Gary Cooper), a genius modernist architect whose refusal to accept established styles and conform to public standards make him a pariah among his peers

The Fountainhead (1949) is the story of Howard Roark (Gary Cooper), a genius modernist architect whose refusal to accept established styles and conform to public standards make him a pariah among his peers

Cooper, in turn, dials down his already minimalist style and turns the character into a near-mythical figure. Many shots present him from the back, his obscured profile lending him a larger-than-life presence. Rand’s story constantly compares buildings to people and locates the integrity or inauthenticity of architects in the designs they produce. Roark, like his creations, is solemn, impassive, upright, impenetrable and flawless. Cooper is really playing a slab of marble here. He stands tall, hardly moves and performs very few actions. Except for a pair of gestures involving his fingers, his hands always remain close to his body or in his pockets. Whatever reactions he has, he conveys using microscopically calibrated facial expressions. His general unflappability becomes a moral quality, set against the neurotic body language of characters like his frazzled, coveting peer Keating (Kent Smith). This idea of laconic speech and reduced physical movement conveying a superiority of character was already present in Cooper’s role in Mr Deeds Goes to Town (1936), and it’s taken to its philosophical extreme in The Fountainhead, thanks in no small part to Rand’s scenario.

Similar principles are at work with Patricia Neal’s character. In the initial stretches of the film, Dominique is dead-eyed, never blinks or moves her pupils when she fixates on something. She is cold and removed, her distance an expression of self-protection and a fear of loss of control. In her first scene, she tosses away a pretty statue because, she says, it’s too beautiful for this wretched world. Her melancholy defiance and whip-wielding dominance, of course, melt away when she lays eyes on Roark’s chiselled body drilling down a marble. As a result, Neal’s eyes become progressively warmer, her hands less in control. Vidor cranks up the sexual tension to untenable levels, curiously sublimating it in architecture talk. The dynamic culminates in the proto-fascist iconography of the final scene where Dominique, now wholly submitted to her love, ascends via a fork lift towards Roark, who stands atop a skyscraper looking down at her, his hands on his hips.

This melodramatic framework is fundamental, and not incidental, to Rand’s script. In direct opposition to Freud, Rand believed that a person’s emotional life was founded on a bedrock of reason and that one could direct one’s sentimental life by rational analysis. “A man falls in love with and sexually desires a person who reflects his own deepest values,” she wrote. In flagrant contrast to the Hollywood model, Roark and Dominique fall in love with each other through an appreciation of each other’s moral, intellectual virtues. A long scene of romantic confession takes the shape of Dominique’s admiration for Roark’s nonconformism. This notion of an amorous relationship based on “rational self-interest”, if it isn’t given a lie by Rand’s own love life beset by passion and jealousy, at least makes for odd drama.

In flagrant contrast to the Hollywood model, Roark and Dominique fall in love with each other through an appreciation of each other’s moral, intellectual virtues

In flagrant contrast to the Hollywood model, Roark and Dominique fall in love with each other through an appreciation of each other’s moral, intellectual virtues

Another aspect of Rand’s script that goes against the grain of classical Hollywood is its unapologetic verbosity. Rand adores reiterating her declarations against mass culture (incriminating Hollywood indirectly), collectivism, altruism, solidarity and common standards in exceptionally lofty, impossibly articulate dialogue. She puts her most scandalising lines in the mouth of Roark’s rival Toohey, whose cigar-blowing critic is a caricature of the New York intellectual. This writerly excess reaches its crescendo in an extended courtroom scene where Roark spells out his (and the film’s) philosophy in unequivocal terms. Like Roark, Rand sold the film rights on the condition that not one word of any of this be changed.

All the same, Vidor activates the material with a vertiginous imagery scored to Max Steiner’s thunderous score. Vidor’s style here can justifiably said to be baroque. His strong, rectilinear compositions in deep space make dazzling use of Edward Carrere’s modernist interiors and the highly directional lighting. A scene set at a marble quarry is a veritable series of minimalist canvases harnessing the straight edges of rock formations to great effect. Vidor’s eye for geometry is visible in minor scenes like an idyllic interlude of three characters relaxing under a tree. The filmmaker’s characteristic camera movements impart a dynamism to scenes threatened by Rand’s wordiness. Even the long-winded courtroom speech is made snappy thanks to Vidor’s fluid sequencing and Cooper’s deadpan line delivery.

Warner Brothers had bought the rights to Rand’s novel during the war, but it couldn’t be made into a film because of America’s pro-Russia stance at the time. In 1949, however, things were markedly different. The Cold War had begun and anti-communist sentiment was in the air. The House of Un-American Activities Committee (HUAC) pursued its investigation into leftist infiltration of Hollywood. At the famous HUAC hearings of 1947, Cooper and Rand were summoned as friendly witnesses to denounce communism, which they did in their own unmistakable manner. First among those promising cooperation and clean-up was Jack Warner, the head of the studio that saw a major workers’ strike in 1945. It’s something of a bitter irony that Warner Brothers, known for its socially-conscious cinema and films about the little man, would go on to make a work that decried these very values. But the climate had changed, and one thing that the old Hollywood moguls understood well was which direction the winds blew. The Fountainhead was fashionable once more.

Srikanth Srinivasan is a film critic and translator from Bengaluru. He tweets at @J_A_F_B



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Control ALT Delete 2020: Seven exciting acts for Mumbai's indie music faithful at upcoming festival

While other music festivals may pride themselves on a big-ticket headliner, crowdfunded music festival Control ALT Delete – now in its 12th edition – has always been about discovery. Taking place in a month when the calendar points to heavyweights such as Mahindra Blues Festival and Vh1 Supersonic, Control ALT Delete has slowly begun drawing attendees from across the country and Mumbai’s indie music faithful. If you want a glimpse of some of the must-see new talent waiting to be discovered this week at Roaring Farms in Malad, tune in below.

Letters

The Mumbai scene has often been dominated by thrash metal and death metal bands, but it’s seen a healthy resurgence of modern progressive rock and metal bands. While an instrumental act like The Jatin Talukdar Project is also performing at Control ALT Delete, we also recommend five-piece act Letters. Offering a shimmering, often mind-blogging instrumental blend of prog metal that doesn’t shy away from mellowing out, Letters have released two songs so far, 'Toad' and 'Microchip Cookie', leading with electronic-tinged riffage and odd time signatures that’ll click with you if you dig the likes of TesseracT, Animals As Leaders and Plini.

Park Circus

What started out as punk rock eventually found its space in irreverent, psychedelic hip-hop with a hit of funk for Park Circus. Releasing their debut self-titled record last year, there’s a wry sense of humour from rapper BC Azad, over beats by producer National Animal. Sample this line from their introductory track 'This Is Park Circus': “Nachenge London mein like Vijay Mallya/Don’t really care I’m like Ranveer and Alia/Selfie with PM/I don’t really vote/Send me a Khat man/Cuz I’m taking notes.” Performing at CAD with bassist Joy Roy, vocalist Rohini Bhose and DJ Valentine Gomes, expect truth bombs galore in Bengali, Hindi and English, especially their latest single 'Krantikari'.

Honey’s Dead

Formed in 2015 but active with a solid lineup since 2017, Honey’s Dead released their first single just last week, called 'Dreamer'. Recalling the likes of Sonic Youth, Dinosaur Jr, Jesus and Mary Chain and more, there’s a warm yet melancholic amalgamation of shoegaze, punk and alt rock heard on the song that’s off their upcoming EP Gone Today. Comprising members who shuttle between Kerala and Mumbai, Honey’s Dead are playing their first gig in a long time, which makes them effectively new and certainly lesser known on the festival lineup. Catch them with Rahsaan Kably on vocals and guitars, drummer Amith Nambiar, guitarist Apurv Agrawal, bassist Utkarsh Jaiswal and guest vocalist Anokha Kumar.

The Pirate Radio

Created by guitarist-producer Chaitanya Bhalla (who’s been in reggae bands like The Ska Vengers but also post-hardcore unit Grammy Winning Effort) as perhaps an outlet where he can get into electro rock n’ roll, The Pirate Radio are one of the few acts at CAD without a release out yet, but a glimpse of it tells us that this is going to be a rager. The New Delhi act – completed by drummer Shardul Mehta, guitarist Shashvat Pandit and harmonica player/vocalist Udayraj Singh – dig into soaring solos, psychedelic rock over a bed of stomping garage-rock riffs and an electro-informed rhythm section that’ll make for all kinds of dance moves.

Full Power

Rappers Frappe Ash aka Akshay Rawat and Yungsta aka Yash Chandra are coming straight out of Delhi throwing as many punches as possible with their project Full Power. First collaborating together in 2017 for the song ‘Sahi Hai’, the duo have released surefire songs like 'Shauk Nahi' featuring Mumbai’s rising rapper MC Altaf, which we might see performed live at the festival’s hip-hop stage. Songs like 'Sahi Hai' and 'Flex Babe' showcase a range that might just turn things upside down at CAD, with two MCs spitting bars in a familiar yet powerful Hinglish style. Also expect their newly released single 'Baba Bruce', the quick paced tribute to comedian Lenny Bruce.

Sameer Rahat

Mumbai singer-songwriter Sameer Rahat played bass and sang for Urdu prog rock band Joshish, but his solo project leans heavily on Urdu poets like Jaun Elia and a bluesy solo set. Releasing his upcoming debut solo album Aamad, Rahat will perform sombre songs that talk about love lost but also explores his staunchly political consciousness as a musician. Songs like 'Gyaan' and 'Kya Lena' are two completely different moods about similar things – dissent against political oppression, questioning the powers that be and more. While Rahat is likely to have an early set in the day, his Urdu blues has no better home than a place like Control ALT Delete.

Serpents of Pakhangba

The auteur of all things avant-garde with bands like Amogh Symphony, Mumbai composer, producer and multi-instrumentalist Vishal J Singh teams up with vocalist Aruna Jade, bassist Manas Chowdhary and drummer Fidel Dely Murillo to launch the live debut of Serpents of Pakhangba at the festival. On home ground too, Serpents of Pakhangba clearly level in the weird, unsettling and unpredictable. Their latest song 'Headhunters' flitters from odd-time riffage to folksy rhythms and a next-level vocal range from Aruna Jade who can play coy and then dig right into what sound like low growls.



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