Entertainment

‘War 2’ movie review: Hrithik Roshan and Jr NTR battle it out to keep this bloated sequel afloat


Hrithik Roshan, Jr NTR and Kiara Advani headline the cast of ‘War 2’.

Hrithik Roshan, Jr NTR and Kiara Advani headline the cast of ‘War 2’.

In childhood, we were attracted to comic digests by their girth. One used to believe that the more the stories, the more the fun. The pages were glossy, and the packaging used to be fetching. However, the excitement often dissipated into disappointment when one discovered that it was a marketing gimmick, where the publishers added only a couple of new adventures of our favourite characters, the rest were just a repetition.

Ayan Mukerji’s sequel to War gives the same feeling of a recycled product that shines. It starts with a bang but soon becomes a rudderless star vehicle. In the race to populate the spy universe, screenwriters have compromised on substance, indulging in hero worship and flag-waving to pass the box office test. Yes, the trailer looks attractive, the stars shine bright, and the post-credit scenes are appetizing. However, when it comes to telling a story, the makers prove more successful in highlighting Kiara Advani’s curves than in conveying the contours of the storyline. It features a variety of stunts with a script that appears to be powered by artificial intelligence.

War 2 (Hindi)

Director: Ayan Mukerji

Cast: Hrithik Roshan, Jr NTR, Kiara Advani, Anil Kapoor, Ashutosh Rana

Runtime: 170 minutes

Storyline: Secret agent Kabir is accused of betraying the nation when he infiltrates a cartel, and his erstwhile mate Vikram is assigned the task of catching him

Hrithik Roshan returns as Kabir, a secret agent like no other, who infiltrates a powerful global syndicate that wants to rule the world. The film feebly suggests that democracy is an outdated idea for the corporate villain. For a change, it promises to put Hrithik in a morally ambiguous space, but as the mood is jingoistic and the star wants to play safe, the not-so-secret sauce of the script is ‘nation first’.

ALSO READ: ‘War’ review: Astonishing action, slick screenplay and a killer Hrithik-Tiger bromance

Soon, the narrative takes a straitjacketed, predictable path where the only obstacle in Kabir’s way is agent Vikram. The two have a history, and as they take on each other, sparks fly. Jr NTR. makes a bombastic entry into Bollywood. He impresses with his screen presence and emotional depth, but he needs to work on his diction. The two jostle on land, air, and water to match the screen time, not realising that stunts too demand a script and parity in screen time paralyses the narrative. None of the stars seems to be interested in testing their image. So the writers contort the story to keep serving their purpose. While the gist of the story is ‘nation before self,’ the crux of this kind of filmmaking is ‘star before story,’ with makers prioritising fans over the audience.

Hrithik Roshan and Kiara Advani in ‘War 2’.

Hrithik Roshan and Kiara Advani in ‘War 2’.
| Photo Credit:
YRF/YouTube

The story takes root in the second half, when we learn the backstory of Kabir and Vikram. One hails from the gentry, and the other comes from the road. Here is a passage where writers Shridhar Raghavan and Abbas Tyrewala make their presence felt, as an interesting battle of two points of view promises to unfold. However, the conflict remains cosmetic. It doesn’t grow on us and gradually devolves into a mere rhetorical war of words.

Hrithik tries to be a brooding Bond, but the writing doesn’t give him enough emotional heft to translate his elasticity on the dance floor into the character’s spine. He has been consistently eye-catching, but there is more to him than his larger-than-life persona, which needs to be tapped. In a short screen time, veteran Anil Kapoor shows how to look menacing and sound meaningful with hollow words.

ALSO READ: Jr NTR-Prashanth Neel movie gets a release date

You can see that a lot of money has been spent on choreographing action sequences in global tourist hotspots, but none of them have the intensity that could bring one to the edge of one’s seat. Curiously, the camera cuts to Jr. NTR’s face in the middle of the action, slowing down the sequence unnecessarily. The face-offs between Kabir and Vikram look like variants of a soft drink commercial, where the star would come up with a punchline about winning over your fear. It’s cinema without fizz!

War 2 is currently running in theatres.



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‘Coolie’ movie review: Rajinikanth, Soubin Shahir shoulder Lokesh Kanagaraj’s dull crime drama


Very few moments in life match the excitement you see in the days ahead of a Rajinikanth film. In a career that has now reached the milestone of 50 years, the superstar is a brand that’s as large as cinema itself. So when a Rajini film is arriving on screens, the anticipation is rarely for how Rajinikanth has performed — Helios never needed a torch to blaze — but whether the director at the helm has managed to achieve what less than a handful have in recent years: the difficult task of making a modern ‘Superstar’ film that is made with present-day filmmaking standards and yet with a star we are most familiar with. And now, in Coolie, the player in the game is Tamil mass action cinema’s modern messiah, Lokesh Kanagaraj. This was a formula you could bet on. Lokesh, a filmmaker who dares to take on multi-starrers, is inching for a comeback to form after Leo.

Apart from the knack to marry mass with realism, he is also known for inventive fan service — a requisite for a 2020s Rajini film — which is why I had to visit Rajinikanth’s 1981 Deewar remake, Thee, which found renewed interest since the trailer of Coolie tipped its hat to the R Krishnamoorthy directorial. Lokesh takes a leaf out of Thee and spruces it up to suit the star power of today’s Rajikanth; the many flashbacks sprinkled throughout the 170-minute Coolie show Rajinikanth as a young Deva, a blue-collar worker at a port who stands up for his fellow labourers. This spares Lokesh the struggle to sell the character’s backstory or use screen time to revive Rajinikanth as the hero of the proletariat. Now the weight of the film falls entirely on the story mounted over this fascinating backdrop, and unfortunately, Coolie ends up with a bag of mixed results. It neither matches Lokesh’s standards nor would satisfy the Rajini fan hungry for appeasement.

Rajinikanth in a still from ‘Coolie’

Rajinikanth in a still from ‘Coolie’
| Photo Credit:
Special Arrangement

Interestingly, this is easily the most plot-heavy first half we have seen in a Rajinikanth film in a long time, which is not necessarily a good thing, or bad. Coolie kickstarts with a sampling of the iron fist with which the ruthless Dayalan (Soubin Shahir) operates a port for his boss, Simon (Nagarjuna Akkineni), a crime kingpin who deals in luxury watches. A police infiltrator is hanged, and there’s talk of more such sheep in the herd. Meanwhile, we are introduced to Deva, now the owner of a mansion. You can’t help but stay glued to the superstar, who now looks tired. A close-up shot on a mirror shows his ageing, and it dawns how our 74-year-young superstar can no longer fight or dance like he used to — or that’s what you thought! We get the hero introduction song, Chikutu, in which he performs a leg sweep with his back on the floor! And yet, there’s this unmissable weariness in the close-ups, which thankfully here, adds to the pathos of his character Deva, who quickly learns that his best friend Rajasekhar (Sathyaraj; interestingly, Rajasekhar was Rajini’s name in Thee) has passed in a heart attack.

Deva, learning that Raja’s death wasn’t natural, vows to find out who killed his friend and why, which entangles him with Dhayalan’s crew, who had been doing business with Raja. Who killed Raja, and what business did watch smugglers have with Raja? Why is Rajasekhar’s daughter Preethi (Shruti Haasan) so annoyed at Deva? Why did Rajasekhar do what he did? Coolie explores these questions in a grounded yet haphazard manner.

Coolie (Tamil)

Director: Lokesh Kanagaraj

Cast: Rajinikanth, Nagarjuna Akkineni, Soubin Shahir, Upendra

Runtime: 170 minutes

Storyline: A mansion owner investigates the death of his friend, which puts him in the cross hairs of a crime syndicate

The chief issue with the first half is how there is hardly a sense of urgency or impending danger in these proceedings, at least until the terrific pre-intermission sequence that begins at a graveyard. It’s also largely bereft of the Rajinisms you expect in this phase of a Rajini film — there are, of course, reminders of it, like in a hilarious fight scene at a women’s hostel. While the intermission sequence ends on a high note, the second half also finds Deva and Preethi in some very dull stretches, with Preethi pushed around like a pawn on the board. An arc that begins with Simon’s son Arjun’s (Kanna Ravi) romance with his girlfriend (Rachita Ram) seems interesting on paper, especially with how it helps tie the knots in the end, but it drags on, and the final effect is not worth the effort.

For much of the second half, Nagarjuna’s character Simon recedes to the background as it is Dhayalan who pulls the weight. In fact, Soubin is easily the performer to watch out for in Coolie — even in a speed-breaker like the item-number ‘Monica,’ Soubin compels your attention with his eccentricities. His Dhayalan also ends up as the most well-rounded character in Coolie, all thanks to the many extremes his arc takes. Nagarjuna, on the other hand, appears menacing and quite convincing as the villain, but there isn’t enough on paper to tap into his villainy. Also impressive is Shruti, who, despite bringing her A-game whenever required, gets a character who ends up underserved by the plot.

Rajinikanth in a still from ‘Coolie’

Rajinikanth in a still from ‘Coolie’
| Photo Credit:
Special Arrangement

A big drawback we feel in connecting to some of these characters is how we hardly get good scenes that feature them with Deva, which is a problem for a story mounted on his wide shoulders. This is also why, after their introduction shots, the characters in the cameos do not appear real. It’s also time Lokesh understands that a mere cameo in the end can no longer work — yes, it worked in Vikram, but as we see in Coolie, merely foreshadowing a villain throughout the film and having an actor with a diametrically opposite image play him aren’t enough. The logic behind Dahaa’s (Aamir Khan’s not-so-surprising cameo) equation with Deva goes for a toss, and you are left searching for the menacing flashback of Deva that everyone’s talking about.

In fact, one feels compelled to say that perhaps it’s time for Lokesh to renew most of his signature flourishes — the use of a ‘90s song feels off here, and can the Mocobot be finally put to rest? For all the hype that an ‘A’ certificate Rajini got pre-release, the violence in Coolie isn’t the gratifying kind, nor shot with cinematic taste, nor manages to shock you — you wouldn’t expect Lokesh to repeat shots, of a man hanging on a noose or a man bleeding out, to manufacture shock. The action set pieces too, for the second time in a Lokesh Kanagaraj film, feel bland. The technician who shines the most is ace composer Anirudh Ravichander, whose pulsating music keeps you engaged throughout.

Coolie, on paper, must have had the promised potential. It’s a grounded crime action drama with Rajini moments to keep it going. But if Lokesh’s previous films — like Kaithi, Master, and Vikram — say something that it is that a strong emotional core is the necessary ingredient to make a realistically-shot action drama feel real and present, and this core is what is missing in Coolie.

It’s disappointing how so many underperforming star vehicles in Tamil lose out on the emotional quotient — Coolie is following up on Thug Life, which you are reminded of when you think of the many similarities between Thee and Nayakan. In the end, after a sobering Rajini film (consecutively after Vettaiyan), you are left asking one pertinent question — where is the Rajini-Lokesh film that was promised?

Coolie is running in theatres

Published – August 14, 2025 04:59 pm IST



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Rajinikanth 50 years superstar Coolie Apoorva Raagangal


Superstar Rajinikanth, one of the biggest stars to grace the silver screen, is completing 50 years in his long and prolific film career on Friday, August 15.

The star, a veteran with over 170 titles to his credit, has become a cornerstone in the cultural fabric of Tamil Nadu. To celebrate his golden jubilee in films, here are a few rare stills of the superstar from over the years

Photo:
Scanned in Chennai R.K.Sridharan

Rajinikanth in a still from ‘Thai Meethu Sathyam’

Photo:
STAFF

Rajinikanth and Jayalakshmi in a still from ’Mullum Malarum’

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STAFF

Rajinikanth and Jayalakshmi in a still from ’Mullum Malarum’

Photo:
UNKNOWN

Jaishankar and Rajinikanth in ‘Murattu Kalai’

Photo:
Scanned in Chennai R.K.Sridharan

Sumithra, Sivakumar and Rajinikanth in a still from ‘Bhuvana oru Kelvi Kuri’

Photo:
HINDU PHOTO ACHIVES

Rajinikanth and Ambika in a still from ‘Naan Sigappu Manithan’

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HINDU PHOTO ACHIVES

Rajinikanth in a still from ‘Bairavi’

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HINDU PHOTO ACHIVES

Rajinikanth and Shoba in a still from ‘Thee’

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HINDU PHOTO ACHIVES

Rajinikanth and Sridevi in a still from ‘Chaal Baaz’

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HINDU PHOTO ACHIVES

Rajinikanth and Manjula in a still from ‘Kuppathu Raja’

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HINDU PHOTO ACHIVES

Rajinikanth and Amala in a still from ‘Maapillai’

Photo:
STAFF

Rajinikanth and Jayalakshmi in a still from ’Mullum Malarum’

Photo:
HINDU PHOTO ACHIVES

Rajinikanth with Meena and Roja in ‘Veera’

Photo:
MAIL PIC DCV

Rajinikanth with K Balachander on the sets of ‘Thillu Mullu’

Photo:
HINDU PHOTO ACHIVES

Rajinikanth and Madhavi in ‘Un Kannil Neer Vazhinthal’

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HINDU PHOTO ACHIVES

Rajinikanth and Sripriya in ‘Thai Meethu Sathyam’

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HINDU PHOTO ACHIVES

Rajinikanth and Saritha in ‘Thappu Thaalangal’

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HINDU PHOTO ACHIVES

Rajinikanth, Sripriya and Gokulnath in ‘En Kelvikku Enna Badhil’

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HINDU PHOTO ACHIVES

Rajinikanth and Manjula in ‘Kurinji Malar’

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HINDU PHOTO ACHIVES

Rajinikanth and Radha in ‘Sivappu Suriyan’

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HINDU PHOTO ACHIVES

Rajinikanth and Sridevi in ‘Priya’

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HINDU PHOTO ACHIVES

Rajinikanth with Anuradha (now Anuradha Sriram) and Khaja Sheriff in ‘Kaali’

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HINDU PHOTO ACHIVES

Rajinikanth and Raghuvaran in ‘Mister Bharat’

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HINDU PHOTO ACHIVES

Rajinikanth and Radhika in ‘Nallavanukku Nallavan’

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HINDU PHOTO ACHIVES

Rajinikanth and Pramila in ‘Chaturangam’

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HINDU PHOTO ACHIVES

Rajinikanth with Madhavi in the Tamil film ‘Thillu Mullu’

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HINDU PHOTO ACHIVES

Rajinikanth with Sujatha in ‘Avargal’

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HINDU PHOTO ACHIVES

Rajinikanth with Nathiya in ‘Rajathi Raja’

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HINDU PHOTO ACHIVES

Rajinikanth with Jothi in ‘Pudhukavithai’

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HINDU PHOTO ACHIVES

Rajinikanth with Gouthami and Chinni Jayanth in ‘Raja Chinna Roja’

Photo:
Scanned in Chennai R.K.Sridharan

Rajinikanth with Lakshmi in ‘Netrikan’

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Scanned in Chennai R.K.Sridharan

Rajinikanth and Mammootty in a still from ‘Thalapathi’

Photo:
Scanned in Chennai R.K.Sridharan

Rajinikanth and K.S. Ravikumar in ‘Padayappa’

Published – August 14, 2025 04:54 pm IST



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‘Alien: Earth’ series premiere review: Noah Hawley’s fresh engine of fear keeps the Xenomorph hungry


The first minutes of Noah Hawley’s Alien: Earth are a strangely beautiful conjuring act carved from chrome and bone that feel merciless. This is a magic trick that works even as it shows you every card up its sleeve. We’re back in the antiseptic corridors of a Weyland-Yutani vessel, with its white panels glowing like bone, consoles chattering ominously in green text, and crew members swapping casual complaints over breakfast. The USCSS Maginot isn’t the Nostromo, but you can almost feel Hawley grinning ear-to-ear as he leans into the resemblance. Sixty minutes later, the old pas de deux between fragile humans and a universe that couldn’t care less is back in motion, and the music is loud enough to drown out the sound of us being eaten alive by dread.

Hawley has made a career out of respectful trespassing. Fargo treated the Coen Brothers’ snow-swept noir as a state of mind, and Legion turned the superhero drama inside out until it resembled a lucid dream. With Alien: Earth, he repeats the move, absorbing Ridley Scott’s methodical dread and James Cameron’s kinetic bravado, then twisting them into a strange, disquieting new shape. The first two episodes are, in large part, a deliberate echo of Alien’s beats, condensed and re-lit to a familiar lull before the real terror begins.

Alien: Earth (English)

Creator: Noah Hawey

Cast: Sydney Chandler, Alex Lawther, Essie Davis, Samuel Blenkin, Babou Ceesay, Adarsh Gourav, Timothy Olyphant

Episodes: 2 of 8

Runtime: 55-60 minutes

Storyline: When a mysterious space vessel crash-lands on Earth, Wendy and a ragtag group of tactical soldiers make a fateful discovery that puts them face-to-face with the planet’s greatest threat

If the films have traditionally confined their horror to dark corridors and airlocks, Hawley expands the geography. The year is two ticks before Ripley’s own misadventure, but Earth has already surrendered itself to corporate dominion. Five megacorporations divide the planet like a Monopoly board, extending their reach to the Moon and beyond. The sci-fi trappings only barely outpace our headlines, as the premise feels more and more like an inevitability.

The inciting event of the Maginot limping home with live specimens in tow is staged with a mischievous reverence. Babou Ceesay’s Morrow, a cyborg security officer with the morality of a man already half-machine, takes the Nostromo’s sacrificial logic to a new extreme, crashing the ship into New Siam to preserve the prize. The Weyland-Yutani wreck lands in the lap of a rival: Prodigy, run by Samuel Blenkin’s Boy Kavalier, a barefoot, silk-pyjama-clad CEO who fancies himself as a technocrat Peter Pan.

A still from ‘Alien: Earth’

A still from ‘Alien: Earth’
| Photo Credit:
FX

From here, Hawley pivots into the grotesque. The xenomorph is rendered with a brutality the franchise hasn’t mustered in decades, but it’s only one monster among several. There’s “The Eye,” an ocular nightmare on tentacles that prefers its hosts to be eye sockets deep. A menagerie of other specimens are also teased, all with the kind of anatomical inventiveness that suggests the props department had no adult supervision.

But Alien: Earth’s most unsettling creation isn’t even a beast at all. Sydney Chandler’s Wendy, a sickly child whose consciousness is transplanted into a synthetic adult body, is a superhuman victim. She’s a being of terrifying potential still thinking, impulsively, like a little girl. As the moral hinge of the series, Wendy embodies its questions about what’s worth saving, and what’s worth sacrificing, when the line between human and machine has been blurred to the point of abstraction.

Hawley keeps circling themes of corporate amorality, the violence of exploitation, and the perverse elasticity of family, that the franchise has always pondered, but here they play out in an overtly capitalist theatre. Kavalier’s “Neverland” is a literal research island stocked with “Lost Boys” (hybrids named Slightly, Tootles, Smee, Curly, Nibs) and run with a cheerfully sadistic paternalism. Timothy Olyphant’s Kirsh, an android mentor with the air of a babysitter two hours past his shift, brings a welcome vein of dry humor.

The production itself is as tactile and deliberate as the films that spawned it, with claustrophobic set designs, lingering dissolves, and an unpredictable editing rhythm that sometimes slips into Westworld-style opacity. When it works, the unease is eclipsing, and every angled corridor or hiss of steam seems to carry the hint of a shadow just out of sight. When it falters with overzealous needle drops, and a particularly strained recurring pop-culture reference, the spell wavers.

A still from ‘Alien: Earth’

A still from ‘Alien: Earth’
| Photo Credit:
FX

What’s remarkable, even this early, is how Hawley manages to both embalm and electrify the franchise. The callbacks to Alien are affectionate without being inert, and the expansion into new narrative territory feels organic. If the plotting occasionally sprawls, and the dialogue sometimes hammers themes that could be more subtle, the texture and ambition more than compensate. 

By the end of the second hour, it’s hard not to see Alien: Earth as more than just a strong television debut, because it feels like a recalibration for the entire franchise. Last year’s Alien: Romulus proved the old haunted-house-in-space formula still works when handled with care, and later this year Predator: Badlands will test whether these two cinematic apex predators can circle each other again without drifting into camp. 

With Alien: Earth, the franchise is learning to shed its weakest skins and grow in new, unpredictable directions. Through it all, H.R. Giger’s biomechanical nightmare remains untouched by time. It’s still elegant, still obscene, and still the most beautiful thing you’d never want to meet in a dark corridor.

Alien: Earth is currently streaming on JioHotstar. New episodes drop every Wednesday

Published – August 14, 2025 04:41 pm IST



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‘Coolie’: Does Upendra make an impact in Rajinikanth-Lokesh Kanagaraj film?


Cut outs of Rajinikanth and Upendra from ‘Coolie’.

Cut outs of Rajinikanth and Upendra from ‘Coolie’.
| Photo Credit: Sun Pictures/YouTube

When Upendra was roped in for Rajinikanth’s Coolie, expectations around his character were sky high. In multiple interviews, director Lokesh Kanagaraj had confessed to being a fan of the maverick actor-filmmaker. Now that Coolie is out in theatres, has Lokesh and team done justice to Upendra’s presence? Does Upendra’s cameo in the multi-starrer make an impact?

When the trailer for Coolie was out, Upendra appeared in a retro avatar. His role was kept as a mystery, but the actor seemed to be playing a member from the labourers union, headed by Deva, the role essayed by Rajinikanth. It was assumed that he plays Rajinikanth’s close aid in the movie. What stood out in the trailer was one shot of the trademark ferocious movement of the eyes of Upendra. The scene reminded people of Upendra’s cult hit Upendra (1999), a psychological thriller drama.

After the completion of the first few shows of Coolie, what’s the buzz around Upendra’s character among the Kannada audience? Going by the initial response, people are impressed with the actor’s stylish appearance in the movie. At 56, Upendra still maintains the charm.

The idea of cameos from neighbouring industries in a Rajinikanth movie worked well in Jailer, Nelson’s 2023 blockbuster. Morever, Shivarajkumar’s memorable cameo in Jailer, which earned him fans across the country, made Upendra’s casting appear like a fascinating decision.

However, fans are divided over his character development in Coolie. Upendra is known for his eccentricities on screen. His characters come with a delightful unpredictability and ironic humour. Lokesh and his writers have failed to cash in on his trademark idiosyncrasy of the actor. It remains to be seen if his character, named Kaleesha, will be talked about in the coming days.

People’s disappointment might also be stemming from the fact that the teaming up of Lokesh and Upendra felt like an ideal development. Upendra is known for his raw treatment of his characters and he rose to fame with intense violent dramas such as A (1998), Upendra and Om (1995). Lokesh is also known for his love for the violent genre. Also, as mentioned by Rajinikanth in his speech during the audio launch of Coolie, Upendra is a master of experimenting the narrative structure of a film, a quality seen in Lokesh as well.

ALSO READ: 50 years of Rajinikanth: Behind the ‘family-friendly’ superstar’s turn towards gritty narratives

Does Upendra get enough screen time in a movie also starring Nagarjuna, Shoubin Shahir, Sathyaraj and Shruti Haasan? Does he have memorable portions with Rajinikanth? Watch Coolie to find out but for fans of Upendra, it will help if their expectations are in check.



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Art historian Naman Ahuja on the repatriation of the Piprahwa Buddha relics


In the spring of 1897, William Claxton Peppé, an estate manager, ordered the excavation of a stupa in Piprahwa, a village in modern-day Uttar Pradesh. Piprahwa is widely believed to be the site of ancient Kapilavastu, the historical seat of the Buddha’s family clan, the Shakyas.

Peppé’s team unearthed bone fragments, soapstone and crystal caskets, a sandstone coffer, and offerings of gold ornaments and gemstones. An inscription in the Brahmi script on one of the caskets confirmed that these were relics of the Buddha. While the bone relics were gifted to the King of Siam (Rama V) and some portions allocated to temples in Mynamar and Sri Lanka, the rest was divided between the Indian Museum in Kolkata and the Peppé family.

When Chris Peppé, great-grandson of William, decided to auction the relics in his family’s possession at Sotheby’s Hong Kong on May 7 this year, there was a furore. Buddhist scholars, monastic leaders, and historians, including Naman Ahuja, condemned the move. The auction was postponed after the Indian government issued a legal notice to Sotheby’s Hong Kong.

Following diplomatic intervention and mounting pressure from the government and Buddhist organisations, the auction house returned the relics to India on July 30.

In this interview, Ahuja, curator, editor of the art magazine Marg, and professor of Indian Art and Architecture at Jawaharlal Nehru University, speaks of the importance of the repatriation of the relics, one of the most significant archaeological discoveries in Buddhist history. Edited excerpts:

Art historian Naman Ahuja

Art historian Naman Ahuja

Q: Why are these particular relics significant?

A: For millennia, traditional belief has it that the Buddha gave permission for the worship of his relics, albeit reluctantly. Relics constituted the focus of theistic worship in Buddhism. Scholarly consensus is that the relics from Piprahwa have every reason to be a part of the original share of the cremated remains of the Buddha that were entrusted to the Shakyas — the Buddha’s paternal family. The archaeological dating and context fits this and an ancient Brahmi inscription on one of the relic caskets found inside the stupa at Piprahwa corroborates this view. Further, the gems that the Shakyas interred with the cremated remains are cut using tools that were also known to be used only in very ancient times. There can be little dispute about their antiquity or significance.

Q: Now that the relics have been repatriated, in what ways would they have to be taken care of? And does India have the necessary resources, manpower, and will to do so?

A: Yes, we do. Even in ancient times, their trusteeship was passed on with care, and entire monastic administrative machineries were in place to look after these matters. Ashes or charred remains of a person, their bodily relics, were treated with deep respect in antiquity — whether by the megalith builders or in Vedic or Buddhist cultures. They form the core of stupas that attract pilgrims. Elaborate rituals were held around them.

A part of the Buddha’s relics at National Museum, New Delhi.

A part of the Buddha’s relics at National Museum, New Delhi.
| Photo Credit:
V.V. Krishnan

However, I must hasten to add that alongside the religious importance of these relics, we must also recognise their importance for history. They mattered to the Shakyas, who committed them to public benefit and built monasteries around them. They come from Piprahwa, a site in the original Buddhist holy land, which is a region that many emperors maintained. That region deserves our attention again now.

Modern India has put administrative functions in place for museums, research, archaeology and Buddhist affairs, and this case should catalyse the functioning of these departments. These relics have mobilised extraordinary research in modern times. That function is an equally important one to maintain.

Q: You had said in a talk that repatriation should not be motivated merely by national chauvinism.

A: No, the desire for merely possessing an object is only a manifestation of materialism. As instruments of history, or of spiritual edification, however, they have to be able to inspire diverse public stakeholders. Indeed, we must be careful to remember that for millions of Buddhists in East Asia, Southeast Asia, or anywhere else in the world, the relics of the Buddha hold profound spiritual significance. India and the current owners have an opportunity to be of service to them.

Q: Do you think India’s stance in this case should be its position regarding all religious relics?

A: In the case of those relics where it can be reasonably established whose relics they are, where the land, site or people from whom they have been taken are known, and when they hold the kind of enormous spiritual significance that these ones do, then yes, they should be repatriated.

Buddha head from the 5th century C.E. at National Museum, New Delhi.

Buddha head from the 5th century C.E. at National Museum, New Delhi.

However, as a museums person, I know how enormously difficult, specialised and expensive taking care of objects, paintings and buildings can be. Taking care of relics that combine the needs of devotees with historians, scientists, geologists and others is going to be that much harder. It is better to take on these responsibilities only to the extent they can be performed properly. Otherwise, one comes across as an insatiable child whose insecurities and perceived deprivation just make it want more and more without any idea of what looking after those things entails. It would be horrible if these relics were turned into a flavour of the month, only to be replaced by some other ‘object’ quickly enough.

Q: After being flown in from Hong Kong, the relics were taken to the National Museum in Delhi. Relics are not objects. Is a museum the best place for them?

A: Fabulous question! And a tough one, too. I have had to mull over this question for the past few months, and I can address it from two perspectives. Ancient relics were once paraded and put in transparent caskets of rock-crystal in which they could be seen. History shows their aura was sensed through different means: their energy could come through a stupa of mud, brick and stone; at the same time, through acculturation and suggestion cognition came into play when the remembrance or memory of a life respected by many was communicated; and then of course, they were visually beheld. Museums can perform all three functions.

This brings me to the second part of the answer, and this involves the evolving functions of museums in society. These are institutions that showcase our highest civilisational achievements. That showcasing is now informed by profoundly knowledgeable communication. Again, I believe the presence of the relics offers India an opportunity to build its capacities on these fronts.

Novice monks offer prayers at the World Heritage Mahabodhi Temple in Bodh Gaya, Bihar.

Novice monks offer prayers at the World Heritage Mahabodhi Temple in Bodh Gaya, Bihar.
| Photo Credit:
PTI

Q: While arguing for the repatriation of these relics, you have also maintained the stance that “not all things taken from India need to be repatriated”. When do you think it is necessary or even crucial to repatriate things, whether objects or relics, and when do you think they are better off not being repatriated?

A: I’d like to clarify your question here. I don’t believe the situation in India is so hopeless that the objects are better off abroad. I am not here to take sides on behalf of countries. My commitment is to the safety of objects and their capacity to communicate. Artefacts and artworks are invaluable evidence of history. And yes, it is necessary to speak up when that evidence is neglected, made unavailable to the public or if it is no longer able to reinforce cultural connections or is denied to scholars to reinterpret history. India can perform these roles. It has looked after the sacred relics from Buddhist sites, but now an opportunity has come to vastly improve research and display.

I’d also like to place on record that museums all over the world with collections of Indian artefacts have inspired many universities’ scholars to study the languages and culture of India and have shaped perception and policy towards India. They have safeguarded and looked after invaluable heritage. Often, this is overlooked on social media and everything abroad is presented as ‘loot’ when this need not always be the case. It is imperative that a calibrated position is taken in each case after examining the history behind something’s removal from India. Secondly, before repatriating something, we must ask if we already have many similar pieces in India, and will that repatriation fill a major gap? When our museums and the Archaeological Survey of India are so cash-strapped, there’s little point adding to our expenses with objects we aren’t able to mobilise for the benefit of researchers or the public.

Q: During a visit to Thailand earlier this year, Prime Minister Narendra Modi had announced that India would once again loan sacred relics of the Buddha to Thailand. What do you think about relics being used as a diplomatic tool?

A: I think it is a very good idea. Such relics and objects must be shared as widely as possible. After all, they were originally endowed for the public in a stupa. Calling them a diplomatic “tool”, however, is a little cynical or even harsh, in fact. Indeed, many diplomats and administrators have to use their tools to enable a communication of narratives of religion, memory and history, of auras and aesthetics. These are not normally a diplomat’s tools.

Q: Did the attempt to auction the Buddha’s relics perpetuate colonial violence? What does this particular case say about broader post-colonial politics?

A: I believe the U.K. government did not find it necessary to take any moral or ethical action to assist India’s endeavour in protecting the sale of the Buddha’s bodily relics. Their state made the rules by which the despoliation of the stupas and private ownership of the Buddha’s relics were granted to its colonial functionaries. Yet, without any official statement on the matter from them, it seems they are protecting the agencies of colonialism, Sotheby’s and the Peppé family’s monetisation of the relics.

I am told that without any support, India was left with no choice but to take the course of action it did in asking a philanthropist to step in. “Post” colonial, you ask? The textbook definition of colonialism remains. You take something for free from the colony and sell it back to the colony at a price you stipulate.

radhika.s@thehindu.co.in



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Easy like Sunday morning quiz on borders


A molecular biologist from Madurai, our quizmaster enjoys trivia and music, and is working on a rock ballad called ‘Coffee is a Drink, Kaapi is an Emotion’. @bertyashley

Quiz: Easy like Sunday morning – All about borders

A view of the Indian side at the Wagah border closure ceremony.

START THE QUIZ

1 / 10 |
On August 17, 1947, a demarcation line between two recently independent countries was published. Known as the Radcliffe Line, it was named after Cyril Radcliffe, who was the joint chairman of the boundary commissions. What two countries does the 3,323-km line separate?



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UAA’s play Lights On is a humorous whodunit


From UAA’s Lights On.

From UAA’s Lights On.
| Photo Credit: Special Arrangement

UAA’s play Lights On (script: Venkat; dramatisation and direction: Y.Gee. Mahendra) was first staged in 1998, and has been revived now. The play is based on a story by Telugu novelist and film director Gollapudi Maruti Rao. In the play, staged recently at Vani Mahal, we are introduced to a drama troupe. Sabhas are ready to give dates to the troupe, but when it comes to payment, they are tightfisted. This captures the present-day scenario — drama troupes either have to operate on a shoestring budget or find generous sponsors. The members of the troupe are discussing a prospective play, when the heroine dies. Is it suicide or murder? The playwright, who happens to be her lover, is determined to find out the truth. Every member of the troupe has a motive to kill the heroine. So by a process of elimination, he has to rule out those with valid alibis.

From Lights On.

From Lights On.
| Photo Credit:
Special Arrangement

Lights On served up a lot more humour than thrills, making the suspense seem like an adjunct. There was a hilarious definition of copyright — Playwright Taiwan Santhanam (D.S. Ram) borrows ideas from other languages, but claims ‘copyright’ for his copied plays. Producer Panjumon (Y.Gee. Mahendra) asks him if copyright means a right to copy ideas.

The play tended to drag at times, and could do with some editing. The opening scene in a hospital had no connection to the main story. Mahendra gave a spirited performance, shoring up the play whenever the pace slackened.

The scene depicting Panjumon being touchy about his financial position and boasting about his potential every time someone doubted his pecuniary credentials was funny but repetetive.

Hussain was hilarious as the hero Mudikondan, brilliantly conveying his mock dignity and inflated sense of self-importance. The ending was a total surprise, as indeed it should be in a whodunit. On the whole, Lights On was well-directed and entertaining.



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Sandra Thomas Case: Spat between producers Sandra Thomas, Vijay Babu escalates on social media hours before KFPA polls


Vijay Babu and Sandra Thomas

Vijay Babu and Sandra Thomas

The spat between actor-producers Vijay Babu and Sandra Thomas, old partners in a film production company, continued just hours before the election to the Kerala Film Producers Association (KFPA) on Thursday (August 14, 2025).

The latest barb came from Mr. Babu who posted on Facebook that the pet dog he adopted since he had dissolved the partnership with Ms. Thomas was “more trustworthy.” The post featuring the image of the pet further said he hardly had time for “Sandra’s dog show.”

Soon, Ms. Thomas responded, also on Facebook, remarking that “Vijay Babu can trust the dog. I am concerned about the dog trusting Vijay Babu.”

The two had been at each other’s throat on social media ever since the election to the KFPA was declared and Ms. Thomas’ nominations to the posts of the president and treasurer were rejected on grounds that her production house has produced only two movies and not three as required as per the bylaw. This had led to heated exchanges between Ms. Thomas and executive committee members, including the incumbent president Suresh Kumar, that went viral on social media.

She had then approached the court. However, her nomination to the executive committee was earlier accepted.

Shortly after the rejection of her nominations, Mr. Babu took to social media claiming that Ms. Thomas can no longer represent Friday Film House, which was initially run by the two in partnership, and contest in ineligible posts, reminding her that she had quit the production house in 2016. He curtly asked her to “stop fake narratives and try to hog limelight by taking the names of successful people.”

To this, Ms. Thomas responded that the court “hardly considered Mr. Babu’s certificate” but the association bylaw.

Mr. Babu took a potshot at her by playing back her post when the Ernakulam Sub Court dismissed her plea challenging the rejection of her nomination to contest for the post of president. He said he had “nothing more to say than what she herself had said in that post” and mockingly advised her to be “more circumspect to avoid being publicly humiliated.”

Meanwhile, the election to the executive committee of the KFPA is set to be held later on Thursday afternoon and the results are expected to be out in the evening.



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