1. THE SHAWL: The easiest way to wear a scarf! Just drape it around your shoulders and let it hang down on each side in front. 2. THE COWGIRL: Fold the scarf in half so you have a triangle. With the long side of the triangle facing you, pull the two corners around your neck until the scarf touches your chin. Loosely knot in front. 3. THE CELEB KNOT: Place the scarf around your neck and drape one end back around. Tie the two scarf corners together in a loose half knot. 4. THE FRENCH KNOT: Just fold the scarf


I Saw Criminal Justice 2 After All The Hype & It’s Way Better Than I Imagined

I know I am late to the party but I just had to talk about the Disney+Hotstar web series #CriminalJustice2 , Behind Closed Doors starring #PankajTripathi and #KirtiKulhari . The series which is based on the BBC Series with the same name has led to many polarising reactions. I hope you like the Criminal Justice 2 Review & Analysis.



If You Liked Tandav On Amazon Prime Video, Here’s 5 Other Political Dramas You May Enjoy

Here’s our list of five films and series set in the world of politics which you might want to dive into next if you enjoyed Tandav. The post If You Liked Tandav On Amazon Prime Video, Here’s 5 Other Political Dramas You May Enjoy appeared first on Film Companion.
Anupama Chopra . January 10, 2021

Karnan, Starring Dhanush, Is The Rare “Hero Story” That Resists Easy Highs While Redefining The Mahabharata

The best of screenwriters cannot imagine writing something like the Mahabharata because there are so many plots, subplots, and characters. And one of the most fascinating characters is Karna, who is born a demi-god. He is the son of a queen (Kunti) and a god (Surya). But he’s abandoned by his mother and raised by people from oppressed communities. So it’s no wonder he’s often seen as an outsider; a tragic figure who never gets what he wants. He doesn’t get to be with his mother, brothers, or even the woman he loved (Draupadi, in some versions of the epic). 
My favorite film version of the Mahabharata is Shyam Benegal’s Kalyug. He sets the tale between two feuding industrial families, and Shashi Kapoor plays the Karna character. But Tamil viewers are probably more familiar with Mani Ratnam’s unofficial “biopic” of Karna, Thalapathi. The film has all the familiar characters — Karna, Draupadi, Kunti, Duryodhana — but Karna is the hero of the story, rather than the traditional Arjuna. And then we have the actual biopic called Karnan, starring Sivaji Ganesan and made by BR Pathulu in 1964. 

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There are minor callbacks in this Karnan to those earlier films, which may be unintentional. There’s a scene with the sun shining in the background as the mother rocks a child in a cloth cradle. The frame gives us a mother, father, child dynamic happening in the same frame, even though this particular child is not Karnan. There’s also a scene where characters are wearing a T-shirt with Rajinikanth from Thalapathi. 
But this retelling is very different. The song ‘Kanda Vara Sollunga’ says that Karnan might not have the traditional markers like kavasa-kundalam, but he had a sword and he fought with it. I thought the film might be a rousing story about a “saviour” saving his oppressed  community. Seen in the broadest possible way, it is kind of that story. But this is also a story of the tragedy of the community. 
At the start of the film, a little girl lies on the road, dying. Passing buses don’t stop. That’s one of the many, many metaphors in the film. The village where Karnan’s community lives has no bus stop of its own. So, the people have to hitch rides on vehicles passing by. The subtext is that the lack of a bus stop prevents these people from travelling too much. It keeps them “contained” in their village. And that’s where (and how) the dominant caste wants them.
When speaking to Film Companion South, Mari Selvaraj said Karnan is a lifestyle movie. I didn’t fully understand it then, but I think I get it now. The first half of the film is dedicated to the lifestyle of the community. The way they live, the games they play, the death ceremonies, customs and rituals, the joy the neighbouring (dominant) community derives from oppressing this community, and especially how people who die transform into native gods.
And even as this “lifestyle movie” unfolds around us, we begin to get the arc of transformation of Karnan (Dhanush). At first he is the kind of guy who sees an eagle taking away a chicken and says that this happens every day and there’s no point fussing about it. It’s a metaphor about how the powerful always prey on the weak. But as atrocities against his community increases, his anger also begins to increase. A girl is humiliated, there’s an unfair kabaddi match, a conductor humiliates his village — all of this builds and builds until we get a spectacular intermission moment.
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But this is very unlike the usual intermission moment in a “hero” movie, which leaves us with a high. This one leaves us with mixed feelings even though Karnan technically “wins” and takes charge of the moment and unleashes his anger to the fullest. This doesn’t feel like a rousing moment at all. And this moment, too, involves a bus, the thing that refuses to stop at their village, the thing that restricts them to where they are.
In a way, Mari Selvaraj’s second film is very different from his first. Pariyerum Perumal was all about having a discussion; Karnan is about people being oppressed and their retaliation. And yet, both films are similar in one way. They’re not celebratory films. They are not about one community “winning” over the other, or the “hero” conquering the villain. In fact, at the very end, when we get a celebratory dance, Karnan is forced into it and he’s dancing with tears in his eyes. It’s a mixed kind of happiness that the film ends with.
In the second half, Karnan’s anger has been unleashed. He literally becomes a “pariyerum perumal”, a god or a savior sitting on a horse. There may be another subversion here: in the epics, it was the kshatriyas who used horses while the ‘lower’ communities were foot soldiers. If Karnan was angry in the first half, he really wakes up now. This is where the film differs from Thalapathy which was a closed drama with a one-on-one conflict between Arjuna and Karna characters. 
Here, even if Karnan is the one who’s really fighting, even if he is a savior, he is inseparable from his community. So, the whole community gets involved in the war — the equivalent of the Kurukshetra war — that Mari Selvaraj stages in the second half. On the one side, we have members of Karnan’s village and on the other, we have the police force, which represents government, politics, even society. The leader of the cops, brilliantly played by Natarajan Subramaniam, the cinematographer, plays the Krishna character. He is literally named Kannabiran. 
There’s an inevitable comparison when a director makes a film as unique as Pariyerum Perumal. You want to know what the second movie is, whether it’s going to measure up. I think I found Pariyerum Perumal much more powerful because it’s the story of a single man’s angst and the anger that boiled inside him like lava was the driving force of the movie. Here, because it’s the story of a community and because Karnan is never separated from this community, there are many, many characters—and the screenplay doesn’t do justice to all of them.
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 Some characters really stand out. Kannabiran, for one. (I wished he had been introduced earlier.) Lakshmi Priyaa Chandramouli plays a very good role as Karnan’s elder sister. But Karnan’s love interest (the Draupadi equivalent, with the same name) played by Rajisha Vijayan could be taken out of the movie and you would never miss her at all. Azhagam Perumal who plays the dominant leader of a village, too, has very little to do. We all know what a great actor Lal is. This isn’t an especially challenging performance for him but he’s very good on screen. He plays the best friend equivalent of Karnan even though he is much older and I wish he had been given more shades. He’s this guy who is solid and is always by Karnan’s side, but you kind of don’t get a sense of him as being more than a kind of BFF. 
The screenplay also doesn’t expand some touches it sets up. There’s a chilling and fascinating moment in the first half where Karnan’s father is visited by the goddess-spirit of his dead daughter. He seems to be able to communicate with her in a way that other people in the house don’t seem to be able to. I thought that would have a big payoff in the second half when Karnan is walking away from the war in his village. I thought the father would ask him to go back into the village, because he has had a visitation from his daughter. But these payoffs don’t happen, and the set-ups remain set-ups.
There’s another moment that wasn’t used, as well. Karnan’s mother throws his sword in the river and he finds it immediately. That could have been a really rousing mythical moment, but maybe because the film was already a bit too long and had to be cut short, it doesn’t quite have the impact you want it to have. 
But there are other mythical moments that work fantastically. There’s a moment when Karnan has to slice a fish into two. It’s this big “heroic” moment, though (again) it involves the community. In the Mahabharata, during Draupadi’s swayamvara, Arjuna hits the eye of a fish and wins her hand. Here, the heroic act with the fish is performed by Karna. 
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I felt the most overdone bit of symbolism in the movies was the presence of so many creatures. You see pigs, a horse, a snail, a dog like karuppi, a donkey which is the “spirit animal” of the hero and the community. You get the point that we are all one and we share this world with everybody. But the visual symbolism seems overdone, though perhaps a second viewing will settle some of the doubts in our mind. 
At the same time, there are other touches that work wonderfully, even though they may appear only once or twice, unlike sustained motifs. Early on, we hear the use of the Alai Osai song ‘Porada Vaalendhada’, which is actually about asking the oppressed community to rise. That’s exactly what Karnan does. And my favourite scene in the film is when Karnan is in a running race for military selection. You’d think he’d be happy because he is one of the few who have passed the finish line. But Mari Selvaraj turns the camera to Karnan’s point of view and shows us the man behind Karnan, the man who almost made it. He makes us see that even if we win it comes at the cost of another person’s loss. This is when you realize what a wonderful humanist Mari Selvaraj is.
And the big moments work beautifully. I am not talking just about action scenes or the big confrontation scenes. I’m talking about the scene where Dhanush barges into a police station and wants to find some people from his village; when he actually finds them, it’s an overhead shot and the sun is shining. I had gooseflesh the way the whole incident was framed.
There’s so much to talk about Karnan, not just from a political standpoint which I’m sure a lot of people will do, but from a cinematic point of view as well. As a masala movie fan, we all know that one of the big moments is the face-reveal. But here, the actual hero is in custody with his face hooded, while the face-reveal happens as his image is drawn on a wall. We get the masala trope of people praising the hero but we don’t see the person, only the representation of this person.
And just as Karnan’s face is hooded, a Buddha statue is headless, a mural begins to be painted on the wall but its face is not painted until the end. Kannabiran loses his face because he is beheaded. This has to be about identity, because the minute you lose your face you lose your identity. 
Like Pariyerum Perumal was carried by Kathir, Karnan is carried by Dhanush. This is a fantastic performance which is not very surprising but what surprises you is how many variations he brings in. When a friend of his dies, we get a closeup of his eyes with tears, but before that we actually see a closeup of his face. His reaction has the look of not just tragedy but also the futility of it all. It’s so magnificent that you can’t imagine anyone but Dhanush pulling it off.
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I love the fact that though Dhanush does his share of hero roles, when he gets the right director or a director he respects, he completely lets go of his ego. In Asuran he went and fell at everyone’s feet. Here he allows himself to be slapped by his sister and a cop. There are natural things that happen to characters but the hero character in our films is so built-up and unreal and godlike that when these small things happen without interference, you get this feeling that the hero is allowing himself to be a normal person. 
But the real hero of the film is of course Mari Selvaraj who proves that Pariyerum Perumal was no fluke. Most people work on their first story all their lives and once they’ve put it out they struggle to find a second story. That doesn’t happen here at all. He keeps giving us touches and metaphors and bits of subtext that one viewing is simply insufficient. Take this: Kannabiran is the villain of the piece. But at first, he seems like the only guy who is interested in the village. You think he might actually be a good guy. Like with the Krishna character, Mari Selvaraj names people from Karnan’s community Abhimanyu and Duryodhanan and makes us wonder why the children of farmers can’t bear the names of kings.
 Most mainstream directors aim to leave the audience with a high at the end. Mari Selvaraj prefers to leave us with mixed feelings. He says that a movie can’t solve everything but at least it can make us ask questions.


Why Promising Young Woman Should Be Essential Viewing

In the trailer for Promising Young Woman, a chilling violin rendition of ‘Toxic’ by Britney Spears, coupled with stills of Cassie (Carey Mulligan) smearing hot red lipstick and smashing a car, sets the stage for what we’re in for. It seems like a pulsating no-nonsense revenge saga comparable to the likes of Kill Bill. However, the very first scene of Promising Young Woman subverts our expectations when we find ourselves chuckling to slow-motion shots of men busting moves to Charli XCX’s ever catchy ‘Boys’. The first shot is a mere precedent for what is to follow. Nothing is what it seems. Underneath the veneer of an innocent and almost Barbie-esque candy-coloured palette lies a gritty narrative – an underbelly with horrid realities of a patriarchal system so incapable of seeing the truth that it would rather marinate in its own vicious ignorance.
When such a system humiliates, silences and eventually fails Nina Fisher as a victim of sexual abuse, the trauma arising from her death propels our protagonist, and Nina’s best friend, Cassie, to embark on a vigilante mission of sorts. By night, the otherwise girl-next-door medical school dropout who seems to have no direction morphs into a harsh reality check for men who seem to live in a bubble that they’re the ‘nice guy’. As Cassie herself observes, every night that she pretends to be blacked out drunk, the nice guy creature emerges from his den of chivalry, takes her home and inevitably takes advantage of her – up until the point when Cassie drops the charade and reveals that she is in fact not drunk. The chivalrous beast touching her cannot even recall her age or name. So much for being Mr Nice Guy.

Also read: Promising Young Woman and the Art of Narrative Deception
The engines of the narrative however rev into their full potential when Cassie begins to act upon a more personal vendetta – directly confronting those involved in Nina’s abuse. Interestingly, it is when the film gets more personal, leading us into what exactly happened with Nina that it serves to function as a true exposé of facets of a larger society, which, out of selfishness and convenience, gives room for abusers to roam scot-free. Facing consequences for their actions is a far cry: they don’t even have to live with them. When Cassie meets those who knew about Nina, the ignorance they feign and the excuses they come up with coalesce to form a system that serves to be a soft cushion to protect pristine careers and put up an untainted front. The cost? Leaving those like Nina to be forgotten names and her loved ones marred with survivor’s guilt and haunting memories. It’s cruel and unfair. Sprinkled consistently throughout the narrative are indicators of what Nina and Cassie could have been. At the top of their class in medical school, they were promising young women in every sense of the words, now reduced to merely forgotten college gossip.
The gut-punch of the film however comes in the form of Ryan Cooper, Cassie’s love interest. Ryan can be comparable to a siren that lures us in with his charming disposition but unfortunately ends up being one of the many men Cassie knows all too well. The lovebirds jamming to Paris Hilton in a pharmacy store seems to be a montage from an early 2000s rom-com, making us believe for a split second that maybe Cassie can move on and leave her past behind. Yet, the film jarringly pulls the rug out from beneath our feet, bearing us back to the cold touch of reality when Cassie is handed a tape from the past which evidences Nina’s abuse and those involved. From this point onwards, there is no turning back. The events in the third act leave us horrified. We feel defeated, frustrated and helpless, a testament to director Emerald Fennell’s prowess to make the audience feel empathy for victims of abuse. While Fennell generously gives us a silver lining by the end, acting as a small redemption and catharsis, we are still rooted in our seats, paralysed and overwhelmed when the end credits roll.
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Promising Young Woman feels like a fresh breeze. In a world where feminism has somehow garnered a bad rep and ambiguity clouds cases of abuse, Promising Young Woman serves as a fitting response to what is wrong and what needs to change. Cassie is fiercely independent, intelligent and could well be a poster child for what one could consider the modern young woman. Yet, despite her numerous attributes, the film makes us aware of the fact that the scales are not titled in her favour. In a system where walls are built relentlessly to silence victims, one cannot help but feel like a martyr walking into a fire if one were to take matters into one’s own hands. Oftentimes, films have a tendency to be akin to a public service announcement when trying to reflect social issues. Emerald Fennell however gives the narrative gusto and rhythm with thriller-like revenge-saga beats that consistently keep the audience on its toes. Unpredictable and raw, Promising Young Woman is an important and unforgettable experience that does not hold back.

Disclaimer: This article has not been written by Film Companion’s editorial team.


Symbols That Define Karnan’s World, Explained

Spoilers ahead…
Karnan is a humanist retelling of parts of the Mahabharata and the legend of King Arthur and his sword, Excalibur. Both are fused together in a superb myth-making scene at the beginning of the film: Karnan (Dhanush) slices a fish and becomes the custodian of the community’s sword and wins over Draupadi’s (Rajisha Vijayan) heart. But Mari Selvaraj fashions mythology into something that represents Podiyankulam and the oppressed community that’s confined to it. 

Arthur’s Excalibur gives him the right to rule Britain; Karnan is merely the custodian of a collective property, the sword doesn’t give any power or right. In fact, throughout the film we see him sharing it with others. He won the sword in a competition and there isn’t anything predestined about it. More importantly, King Arthur needed the right to rule while Karnan’s people needed the right to survive. Superficially modeled on the Anglo-Saxon legend, Karnan is in an inverted image of King Arthur; Karnan has no destiny save for the one he chooses. 
When Karnan bisects the fish and wins the sword, it looks like he’s thrusting it into the clouds and opening a small crack of light. This is not a weapon from heaven, but one that opens it. 

In the Mahabharata, Karna is spurned by Draupadi during a competition to choose her suitor on account of his birth. In Karnan, Draupadi is in love with Karnan and hopes that he would win the sword. She judges based on actions, not birth. She would have judged Karnan above even King Arthur. 
The counterpoint to Karnan’s sword are the several headless figures in the film. The titles appear over a headless Bodhisattva, it’s head commonly lost due to vandalism. But it’s also believed to represent a personality without identity. There’s a painting of Che Guevara without a face. Even the blood-thirsty police officer, Kannabiran (Nataraj Subramanian), who is killed by Karnan is reduced to a chalk drawing of the body and a splatter of red for head in the end. 
In addition to this grand, mythical framing, Karnan also has minor, fascinating narratives that add layers of interpretation to what seems to be the usual mythical journey of a hero.
The staring goddess is the keeper of Podiyankulam’s memories
The death of Karnan’s sister is just one death in government statistics. Barely ever noticed, the system is now only too eager to also forget her. When both life and death lack dignity, the goddess restores it. Just as Jesus saves humanity in the Bible by giving them his own flesh as bread, the local goddess of Podiyankulam gives the statistic without identity a face—her own. She becomes the head of those who are deceased, as a way of making sure their suffering isn’t forgotten. She’s the head of those forsaken by the headless Bodhisattva. 

And in fact, the chain of events leading to the smashing of the bus and the rebellion in Podiyankulam begins with a dream. Collective memories gather force with a momentum individual brains cannot, and Karnan’s sister — now with the goddess’s head — appears in her father’s dream, pointing to hidden treasure in their house. They do find treasure —a few coins.
But this scene foreshadows Karnan’s destiny: he will dig out his people’s treasure—their freedom. Their goddess has buried it under them and seems to represent the insistent thrust forward of Podiyankulam’s past. She’s not merely a deity to whom they supplicate for favors. She’s a living presence of their lives—and deaths.
In ‘Uttradheenga Yeppov’ children wear masks of the goddess as the village prepares for a faceoff with the police. So far, village elders had prevented children from knowing or reacting to the community’s past, so they could move on and get government jobs. But the goddess won’t let them, the peoples’ own subconscious won’t, and the children dance as goddesses to reclaim their identity.
By using the device of a dream, Mari Selvaraj connects the religious and psychological. A lofty god in the sky is replaced by one that is a kind of collective conscience. It’s as if injustices of the past can be forgotten but never erased permanently from the mind. The native religion of Podiyankulam appears to be an organic expression of their lifestyle. Their gods are as humble and practical as the people. 
A donkey rides a horse: metaphors for Karnan’s past and future
You could read Karnan as the story of a donkey learning to ride a horse. Early on in the film, we are introduced to a donkey with its front legs tied (to prevent escape). It hasn’t given up, though. Once in a while, it lifts up its front legs but can’t free itself.
We also meet a horse belonging to a little boy, the first and only horse in Podiyankulam. He treasures it, but never rides it. It’s practically a donkey for him. 

When Karnan frees the donkey it gracefully gallops like a horse (though the horse in the film hasn’t) and climbs a hill to stand next to his sister with the goddess’s face. Karnan has allegorically freed his own mind through the donkey; but can a donkey ever become a horse, even with untied feet? 
Later in the film, when Karnan mounts a horse (like the donkey climbed the hill) towards his destiny, you see how the ‘donkey’, a thankless beast of burden, now has the skill to commandeer a ‘superior’ animal after it’s shackles are removed. What’s interesting is that Karnan is not the first person in his village to mount the horse. 
It’s the little boy who keeps the horse who figures it out. This makes sense in a film that often puts the collective before the personal. In ‘Thattaan Thattaan’ the words ‘jeyichidu kannu’ might be addressed to Karnan, but the image we see as we hear the words is that of the hopping donkey.
Human conflict in a world of animals
Though the donkey and horse bear most of the metaphorical load in the film, we get frequent episodes with or intercuts to various other animals. The mere fact that Podiyankulam has an elephant angers a caste group. We get visuals of eagles swooping to steal chickens with Karnan arguing that there’s no point in begging eagles to be kind. That’s the first scene of the film and also its whole in a nutshell.
And it’s not just that animals are used as ornamental metaphors.  Pariyerum Perumal was set in a law college which provided an ironic backdrop for a film on caste discrimination. Karnan, especially in the first half, feels like a story of people set in a world of animals. It’s as if Mari Selvaraj wanted us to think of natural law and not constitutional law as the solution to the problems depicted in Karnan. 

For example, in a scene where the village is gathered in the commons to decide on a response to a specific instance of everyday injustice — no bus stops in Podiyankulam — you hear the bleating of goats which stops once the group agrees to take risky action. The goats seem as much a part of the conversation as the people who can often sound as scared. Members of the oppressing caste have their meetings in spacious and well-appointed homes, totally cut off from nature. 
A fight between Dhanush and members of the opposing group happens in the middle of a herd of buffaloes. Their intergenerational conflict — implacable as a buffalo — forces them to fight amidst the suffocation. Crows, snails, cats, fights, they all play a role in the film as a reflection of the world view of people who live in close contact with animals and hence, likely to think of the world in terms of them. 
In the second half of the film, once the State has taken over the conflict, we don’t see as many animals. Animals recede as the human war intensifies and breaks both human and natural laws.


Mahabharat actor Satish Kaul dies due to COVID-19 complications

Veteran actor Satish Kaul, who had 300 Punjabi and Hindi films to his credit and played the role of Lord Indra in the TV show Mahabharat, passed away due to coronavirus-related complications on Saturday in Ludhiana. He was 74.
Kaul’s sister Satya Devi told, “He had fever for the last five-six days and wasn’t keeping well. So, on Thursday, we admitted him to Shri Rama Charitable Hospital here and then we learnt he had tested positive for coronavirus,” she said, adding the actor’s funeral will take place on Sunday. Kaul is survived by his sister.
The actor had spoken to PTI last year about his financial woes, which he had mentioned had only gotten worse due to coronavirus-induced nationwide lockdown. “I’m struggling for medicines, groceries and basic needs. I appeal to the industry people to help me. I got so much love as an actor, I need some attention now as a human in need,” the actor had said.

Kaul started an acting school after moving to Punjab in 2011, he said in his interview to PTI. The project, however, didn’t fly. “It came to a halt and whatever work I was doing later was affected after I fractured my hip bone in 2015. For two and a half years, I was bed-ridden in the hospital. Then I had to check in to an old age home where I stayed for two years,” Kaul had said.
The actor began his career in the early ’70s, juggling between Hindi and Punjabi films. While his popular Bollywood films include Ram Lakhan, Pyaar Toh Hona Hi Tha and Aunty No 1, his Punjabi career was more flourishing and lasted longer with credits like Maula Jatt, Sassi Punnu, Ishq Nimana, Suhag Chooda and Patola. On television, besides Mahabharat, Kaul was known for 1985 Doordarshan series Vikram Aur Betaal.


How the Second Wave Has Thrown Bollywood Film Shoots Into Logistical Chaos

How do you know that the second wave of the Covid 19 outbreak is upon us? Just take a look at the list of movie stars who’ve got it in the past few of weeks. Akshay Kumar, Aamir Khan, Ranbir Kapoor, Alia Bhatt, Katrina Kaif, Vicky Kaushal, Bhumi Pednekar, Manoj Bajpayee, Kartik Aaryan. Directors such as Sanjay Leela Bhansali. Some of them were in the middle of shooting their films, others in other stages of production. One way or another, the Hindi film industry is working on full swing. The numbers were going down, vaccination is on. But the unprecedented spike in cases (currently counting at over a lac per day, with the Government declaring the next four weeks as critical) has meant that film shoots—one of the most complex collaborative endeavours involving a large number of people—have become even more difficult.
Increasing number of cases among actors, directors, technicians and other staff have sent productions into a logistical chaos. The film shoots, divided into Zones, as prescribed by the directives of the government of Maharashtra, have upped their precautionary measures. Some productions have made it mandatory to test every alternate day—with new people joining the cast and crew can only do so after they have tested negative twice.

When the director of a film tested positive, this is what happened. According to the creative producer of a major studio who was working on it, “every single thing had to be relooked at.” Owing to a delay of two weeks, the first things to be affected were the location and the availability of actors, whose dates were arrived at after rounds of permutation combination. The booking dates for the location on the other hand also expired. As a result, the shoot had to be rescheduled. A new location had to be scouted. Then there was the problem of matching the actor’s dates with that of the heads of the different departments. 
When the lead actors, directors (and maybe the cinematographer)—people without whom the shoot just won’t happen—test positive, the trickle down effect is huge. For example, even when there is no shoot, the team of assistant directors and daily wage staff have to be paid because they’ve been hired on a monthly basis. Same with people who have to be replaced, for example the VFX guy. He still has to be paid, even though you have to hire a replacement. All this has shot up the budgets. 
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In another production, to keep the budgets in check, a supporting actor was replaced after he tested positive, even though he had already shot for a day. “I had to let go of this actor and cast another person because if I lost the location, then I would have lost about 15 lakh a day. We reshot that footage that the actor had previously shot with a new actor. That meant getting the location, the actors and the crew together for one additional day of shooting,” said the creative producer on the project. 
The new curfews in Maharashtra have added to the complication. “I have had to make a 100 versions of the schedule,” said Pooja Kadam, an assistant director at Excel Entertainment, “Like earlier night shoots could happen, now they cannot. We cannot do split days anymore; you can’t shoot from 2PM to 2AM because after 2AM the crew can’t go back home. Till recently, we were hopeful of being able to shoot on the weekends and now we’ve found out that we can’t.”
Despite all the adversities, the shoots are on. Filmmaker Vikramaditya Motwane started shooting his next four days ago. Even though no one has tested positive on his set yet, the director of such films as Udaan, Lootera and AK Vs AK is fully aware that things can go “haywire”. “Everybody is mentally aware what you are planing to be a 4 month shoot is going to be a 6 month shoot, a one year project is going to be a 14 months project. Everybody is just figuring that this is the reality,” he said. 
(Inputs by Gayle Sequeira and Sankhayan Ghosh)


Taapsee Pannu thanks Kangana Ranaut for pushing boundaries in her acceptance speech at FilmFare Awards – Bollywood Hungama

Actor Taapsee Pannu recently won the Best Actress FilmFare award for her performance in Thappad. Recently, a video clip of Taapsee’s acceptance speech went viral on social media . In the clip, Taapsee is seen thanking her fellow nominees including Kangana Ranaut.”Thank you so much Kangana for pushing the boundaries. The benchmark of your performances just keeps going higher every year,” Taapsee is heard saying in the speech. The Thappad actress also thanked Deepika Padukone, Vidya Balan and Janhvi Kapoor in her speech.A fan of Kangana Ranaut tagged the star and shared the video. Responding to the video clip, Kangana wrote, “Thank you @taapsee well deserved Vimal elaichi filmfare award…. no one deserves it more than you.”Thank you @taapsee well deserved Vimal elaichi filmfare award…. no one deserves it more than you ????— Kangana Ranaut (@KanganaTeam) April 9, 2021For the unknown, Taapsee and Kangana have been at loggerheads for quite some time. There have been some harsh exchanges of words between the two actresses during interviews and even on social media.ALSO READ: Taapsee Pannu shows who wears the pants in her houseBOLLYWOOD NEWSCatch us for latest Bollywood News, New Bollywood Movies update, Box office collection, New Movies Release , Bollywood News Hindi, Entertainment News, Bollywood News Today & upcoming movies 2020 and stay updated with latest hindi movies only on Bollywood Hungama.


Specials – England in Chepauk Tests, Part 3

In the third and final part of this series, we look back at England’s last three Test matches at Chepauk heading into the ongoing series against India, each of which resulted in defeat.
A tame series surrender – Second Test, 1992-93
Smarting from an eight-defeat at Calcutta, England were dealt a further setback when captain Graham Gooch had to pull out due to sickness, presumably due to eating prawns the previous night. Opener Navjot Singh Sidhu scored 106 after India elected to bat, sharing in stands of 108 for the second wicket with Vinod Kambli (59) and 147 for the third wicket with Sachin Tendulkar, who continued to add to the visitors’ woes.
Tendulkar put on 118 for the fifth wicket with Pravin Amre (78) before falling for a fine 165. Kapil Dev’s quickfire 66* swelled the total to 560/6, at which point India declared late on the second day. Stand-in captain Alec Stewart (74) and Graeme Hick (64) added 111 for the second wicket in response, before left-arm spinner Venkatapathy Raju (4/103) and off-spinner Rajesh Chauhan triggered a collapse from 157/1 to 179/6.
Neil Fairbrother (83) pushed the total to 286, after which India enforced the follow-on. Kapil removed Stewart and Hick for ducks early, and though opener Robin Smith scored 56, England crashed to 99/6. Chris Lewis, batting at number seven, hit an a rapid 117 on his 25th birthday, which took the match into the final day. England were duly bowled out for 252, with leg-spinner Anil Kumble collecting figures of 6/64.
A chase to remember – First Test, 2008-09
Andrew Strauss laid a strong platform for England in this first of two Tests through an opening stand of 118 with fellow left-hander Alastair Cook (52). But India fought back with regular wickets to have the score at 229/6, Strauss being fifth out for 123. Matt Prior propelled the eventual total to 316 with an unbeaten 53. India wobbled to 37/3 in reply, with debutant off-spinner Graeme Swann taking two of those wickets. 
Virender Sehwag was named Man of the Match in the 2008-09 Chepauk Test, for his 68-ball 83 that set the tone for India’s memorable chase against England (source – Times of India)
Captain MS Dhoni (53) was joined by Harbhajan Singh at 137/6, and the pair added 75 for the seventh wicket. But it was not enough to prevent England from taking a 75-run lead. England were then reduced to 43/3, before a fourth-wicket stand of 214 between Strauss (108) and Paul Collingwood (108) steered them to a declaration at 311/9. Strauss had the satisfaction of scoring twin hundreds, but it would be in a losing cause.
India’s target was a stiff 387. However, Virender Sehwag smashed 83 in just 68 balls in an opening stand of 117 with Gautam Gambhir (66). Just after lunch on the final day, Yuvraj Singh (85*) joined forces with Tendulkar at 224/4. They forged an unbroken stand of 163, with a four from Tendulkar (103*) bringing up his hundred as well as a famous six-wicket win for India. This is currently the seventh highest successful Test chase.
Record-breaking India run amok – Fifth Test, 2016-17
As was also the case in the fourth Test at Mumbai, England somehow went on to lose heavily despite a promising start. Their first-innings total of 477 eventually went down as the highest for a team losing by an innings. The visitors, already down by 3-0 in the series, slipped to 21/2 before Joe Root (88) and Moeen Ali put on 146 for the third wicket. Moeen kept going, and was the seventh man out at 321 for 146.
Debutant Liam Dawson (66) and Adil Rashid (60) frustrated India by adding 108 for the eighth wicket. India displayed their run-scoring intentions from outset, as openers Lokesh Rahul and Parthiv Patel (71) put on 152. Rahul also added 161 for the fourth wicket with Karun Nair, and agonisingly fell on the verge of a double ton, for 199. Nair was in his element, as he deflated England with an incredible performance.
Playing only his third Test, Nair became the second man to hit a Test triple ton for India. He stayed unbeaten on 303 from just 381 balls, sharing in stands of 181 for the sixth wicket with Ravichandran Ashwin (67) and 158 for the seventh wicket with Ravindra Jadeja (51). India amassed a gargantuan 759/7 – their highest Test total. The left-arm spin of Jadeja (7/48) dealt the final blow to England, who were dismissed for 207.


Specials – England in Chepauk Tests, Part 2

Having revisited England’s first three Tests at Chepauk in the first of this three-part series, we move on further through the 1970s and into the 1980s in the second part.  
A commanding series success – Third Test, 1976-77
Holding a lead of 2-0, England pocketed the series with two matches left. They won the toss on a pitch with uneven bounce, but slumped to 31/3. Roger Tolchard retired hurt two runs later, at which point Mike Brearley (59) and captain Tony Greig (54*) joined for a stand of 109.Wicketkeeper Alan Knott chipped in with 45, even as Greig’s opposite number Bishan Singh Bedi (4/72) chipped away with his left-arm spin.
The innings closed at 262, which was to be the highest total of the Test by far. India had an even worse start, crashing to 17/3 against the pace duo of Chris Old and John Lever. Left-armer Lever ended up as the wrecker-in-chief with 5/59, as India conceded a substantial lead of 98. The innings was marred by controversy, when Lever was alleged to have made use of Vaseline to alter the condition of the ball.
Leg-spinner Bhagwat Chandrasekhar (5/50) and off-spinner Erapalli Prasanna (4/55) combined to bowl England out for 185, but a target of 284 was going to be a tall order. After Dilip Vengsarkar retired hurt, India caved in from 40/0 to 83 all out, then their lowest total at home. The pick of the bowlers was left-arm spinner Derek Underwood (4/28). This 200-run victory gave England only their second series triumph in India.
Viswanath shines in stalemate – Fifth Test, 1981-82
The streak of draws in the six-match series continued – India had prevailed in the first Test and would win the rubber 1-0. England scalped the openers to make the score 51/2, but Vengsarkar (71) put on 99 with Gundappa Viswanath before retiring hurt, bringing Yashpal Sharma to the crease. The pair shared a record stand of 316, then India’s best for the third wicket and still their all-wicket best against England.
Mike Gatting scored a career-best 207 in England’s nine-wicket win at Chepauk in 1984-85 (source – Bob Thomas/Getty Images)
Sharma fell for 140, but Viswanath carried on to 222, then the highest score by an Indian against England. Replying to India’s 481/4, openers Graham Gooch (127) and Chris Tavare put on 155. England were 279/3 late on the fourth day, but were bowled out for 328 early on the final day, left-arm spinner Dilip Doshi returning a tidy 4/69. India declared for the second time at 160/3, with debutant Pranab Roy scoring 60*.
Foster, Fowler and Gatting script famous win – Fourth Test, 1984-85
The five-match series was well poised at 1-1. Fine swing bowling from Neil Foster, playing his first Test in India, got rid of captain Sunil Gavaskar and Vengsarkar, which contributed towards reducing India to 45/3. Mohinder Amarnath (78) added 110 for the fourth wicket with Mohammad Azharuddin, while Kapil Dev hit a brisk 53. But Foster (6/104) kept striking to ensure that the hosts were restricted to 272.
The English top order cashed in on better batting conditions and poor Indian fielding. The left-handed Graeme Fowler added 178 with Tim Robinson (74) for the first wicket and 241 with Mike Gatting for the second, before falling for 201. Gatting piled the runs in a fourth-wicket stand of 144 with Allan Lamb (62), helping himself to 207, a career-best performance like Fowler’s. England declared at a colossal 652/7.
This is England’s highest total in India and the highest by a visiting team in a winning cause in India. The efforts of Amarnath (95), Azharuddin (105) and Syed Kirmani (75) were not enough, as Foster took 5/59 to notch his only Test ten-for. England duly achieved the target of 33 to win by nine wickets. The last Test was drawn, meaning that England became the first visiting side to win a series in India after being behind.


Specials – England in Chepauk Tests, Part 1

Coming off series wins in Australia and Sri Lanka respectively, India and England will commence their four-Test battle for the Anthony de Mello Trophy on 5th February. The first two Tests will be played at the M.A. Chidambraram Stadium in Chennai (formerly Madras), more popularly known as the Chepauk Stadium because of the locality in which it is situated.
England have played 11 Tests in Chennai, of which nine have been at Chepauk (they played two Tests at the Corporation Stadium in 1961-62 and 1963-64). Their record at the ground stands at three wins and five losses, besides a draw. Through this three-part series, we look back at each of these nine Tests, some of which have featured significant results and performances.
Verity wreaks havoc – Third Test, 1933-34
This was the final match of the first ever Test series to be played in India. England, holding a 1-0 lead after having won by nine wickets in the first Test at Bombay, were provided with an opening stand of 111 between Alfred Bakewell (85) and Cyril Walters (59). At 167/1, England seemed to be aiming for a big total. However, the pace duo of Amar Singh and Lala Amarnath sparked a collapse to send the score to 208/7.
Captain Douglas Jardine, in what would be in his last Test, revived the innings by scoring 65 and putting on 97 for the eighth wicket with Hedley Verity, who made a valuable 42. Amar ended with figures of 7/86, taking the wicket of Harry Elliott to end the innings at 335. Verity’s left-arm spin then took centre stage – he captured 7/49 to condemn India to 145 early on the third day. No batsman scored more than 26.
Walters (102) cemented England’s position, enabling a declaration at 261/7. Amar’s new-ball partner Nazir Ali returned figures of 4/83. With opener Naoomal Jaoomal retiring hurt in the first innings, India were already a man short. Verity (4/104) and fellow left-arm spinner James Langridge (5/63) duly bowled England to victory by 202 runs, even as Amar (48) and the Yuvraj of Patiala (60) showed some resistance.  
India finally break the duck – Fifth Test, 1951-52
Vinoo Mankad returned match figures of 12/108 to star in India’s maiden Test win (source –
Prior to this series finale, India had not recorded a single win in 24 Tests since their debut in 1932. While England were led by Donald Carr in place of an unwell Nigel Howard, the hosts, under Vijay Hazare, made five changes from the side that played the fourth Test. Richard Spooner (66) and John Robertson (77) anchored the innings after England won the toss, guiding the score to 224/5 at the end of the first day.
The second day was declared as the rest day due to the death of King George VI. When play resumed, Vinoo Mankad made short work of the lower order. The great leg-spinning all-rounder snared the last five wickets on his way to a haul of 8/55, which helped restrict England to 266. When India batted, opener Pankaj Roy rose to the task with a fluent 111. But it was Polly Umrigar who diminished English hopes.
Batting at number seven, Umrigar hit an unbeaten 130, adding 104 with Dattu Phadkar (61) for the sixth wicket and a further 93 with Coimbatarao Gopinath for the seventh wicket. India declared at 457/9, after which Mankad (4/53) and off-spinner Ghulam Ahmed (4/77) secured India’s historic win by an innings and eight runs before tea on the fourth day. This result ensured that the series was drawn 1-1.
England succumb to spin – Third Test, 1972-73
The five-match series stood at 1-1 following India’s 28-run win in the second Test at Calcutta. England were undone by the spin trio of leggie Bhagwat Chandrasekhar (6/90), left-armer Bishan Singh Bedi and offie Erapalli Prasanna, who combined to leave the score tottering at 110/7. But Keith Fletcher (97*) rallied well with the tail. His ninth-wicket stand with Norman Gifford fetched 83, taking the total to 242.
India wobbled to 28/2 in reply, before the middle order shared in vital partnerships. Mansur Ali Khan Pataudi, brought into the eleven at the expense of Abid Ali, came in when captain Ajit Wadekar (44) was third out at 89. The Nawab top-scored with 73, which was the cornerstone of the Indian total of 316. Armed with a handy lead, India rode on four-wicket hauls from Bedi (4/38) and Prasanna (4/16) in the second innings.
England managed 159, with Mike Denness (76) doing the bulk of the scoring. Set 86 to win, India were tested in the chase. Sunil Gavaskar did not open due to a finger injury, and with only 11 on the board, Chris Old ousted Farokh Engineer and Wadekar. Salim Durani steadied the ship, but Pat Pocock (4/28) gave a late scare. The off-spinner sent the score from 44/2 to 78/6, before India sealed a four-wicket win.


In Focus – An exhilarating epic for the ages

Over the years, the Border-Gavaskar Trophy has had no dearth of extraordinary cricket and riveting drama. But what transpired in Brisbane on 19th January 2021 was in a different realm altogether. Embattled by injuries and forced to field a greenhorn bowling unit, defending champions India entered the fortress of the Gabba needing at least a […]


Record Book – Top Indian performances at the Gabba

With Border-Gavaskar Trophy holders India pulling off a gripping draw at the Sydney Cricket Ground, the battle for the series is still alive going into the fourth and final Test at the Gabba in Brisbane. The visitors, hit by a spate of injuries, face a tall ask at the venue, famously referred to as the […]


21 Made In India Skincare Brands You Should Support In 2021

Hello Hello! I’m back! Today I’ll be sharing a list of 21 skincare brands that are made in India and are worth your money money  🇮🇳

SHREYA JAIN . November 24, 2020



1. BUBBLE BRAIDS: This style is best achieved on long hair with several elastics. Gather a ponytail, secure it with an elastic band, then, tease


LTK Spring Sale

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March Instagram Round Up

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The privacy of those who visit this web site is of primary concern to Cella Jane. We automatically collect some data from everyone who visits our site. None of this information is shared with outside parties other than our sponsors and or affiliates.
Cella Jane  is a part of affiliate advertising programs. This means that if you click and/or make a purchase through certain links on this site or any related social media platforms, I have the potential to make a commission from that click and/or purchase. All opinions are my own. If you wish to know more about our Privacy Policy, click here.


My New Collection with Amazon is LIVE!

Today is the day!
My collection with The Drop just launched and will be live for the next 30 hours.
Yes, you heard that right. Just 30 hours!
I couldn’t be any more excited to share these pieces we’ve worked so hard on. I put extra love and thought into designing pieces that I felt truly represented my closet and pieces I thought would fit seamless into yours too.
If you’re unfamiliar with The Drop, here’s how it works.
You have 30 hours {really emphasizing this ha!} to shop the collection featuring 8 pieces I’ve designed for Amazon. The collection just went live and you will be able to shop until tomorrow 4/7 at 3pm PST.
Here’s an inside look into my favorite ways to style these versatile pieces and the little details I am just in love with.
The Striped Button Down
This is probably my favorite piece. I love everything about this top. The high-low cut, the stripes, the fabric. I can’t wait to wear this now and all summer long. Once it heats up, this will be so cute over a swimsuit, and it’s perfect right now to layer underneath pretty much anything. I would take a size XS.

The Floral Midi Dress
I wanted something super feminine in this collection and this dress is definitely it. I love a dress that can be easily thrown on and look put together all on its own. I will definitely be pairing this with sandals or a cool pair of sneakers or if your climate hasn’t started to heat up yet, then I’d wear over the knee boots or booties with a leather jacket over. I am wearing an XS.

The Black Blazer
It was very important to me that this blazer had exactly the right details. The sleeves needed to be scrunchable, the cut needed to be perfect to wear on its own or over a top, and it needed to have buttons in all the right places. And boy oh boy am I happy with how it came out. I am wearing an XS in the photos.

The White Button Down
You know I’m the biggest sucker for the perfect crisp white top. I am absolutely obsessed with the feminine details in this one and the cut is just perfect. If this isn’t the epitome of a closet staple, I don’t know what is!

The Little Black Dress
Here’s another piece that’s ideal for layering. I love that this dress can be worn professionally or out to drinks. It’s the perfect example of a day-to-night piece. It’s great on its own or over either of the button down shirts in this collection. Get creative!

The Floral Top
I fell so in love with the floral print from the midi dress, that we just had to make it into a second piece in the collection. I really do think this is the perfect summer top. With its slightly puffy sleeves and pretty neckline, this top will look so good paired with just about any denim.

The Drop Waist Dress
Another black dress? Yes ma’am! This one brings a completely different vibe but I love it just the same. You know I am a true sucker for a drop waist dress. I just think they are adorable and so flattering.

The White Tank
Can you have a complete collection without a simple white tank? I think not. This one is basic enough to be worn with anything {seriously anything!}, plus it has the sweetest cut and bow in the back for a little extra something-something.

What’s your favorite piece from the collection? Cannot wait to hear what you think and see the way you all style the pieces!

xoxo jacey