Entertainment

Today’s deal is from a recent tournament in Turkey. South was Turkey’s Ismail Kandemir. His fourlevel opening was on the aggressive side, but he was rewarded with a wonderful dummy. 10 tricks looked easy, provided he could pick up the spades without a loser, and there might be an overtrick available from the club suit. Despite the rosy outlook, Kandemir played the hand very carefully.

He won the opening heart lead with dummy’s ace and made the far-sighted play of ruffing a heart at trick two. The ace of spades brought the disappointing news that he had a trump loser, but he could still make his contract if West held the ace of clubs. His careful play continued when he decided to eliminate both red suits from both hands before leading a club. A diamond to the ace was followed by a ruff of dummy’s last heart. Kandemir led a diamond to the king and ruffed dummy’s remaining diamond. He cashed the king of spades and now, his set-up complete, led a club, inserting the 10 from dummy when West played low. East won with the jack, but had the unhappy choice of yielding a ruff-sluff or giving dummy the king of clubs. 10 tricks either way after a well-played deal.

There is this thing about Rajinikanth films. The buzz. The hype. The multiple fan theories.

All that has increased with Coolie , his latest film with director Lokesh Kanagaraj.

What if Coolie was part of his much celebrated LCU? What if there was some connection to his earlier superhit film with Kamal Haasan, Vikram? All these thoughts swirl as I enter the cinema hall for Coolie . I have just finished my breakfast – Pongal at Palmgrove Hotel, which incidentally happens to be Rajinikanth’s favourite – and I am all set for a celebration of the Superstar.

There is a cool introduction card for Rajinikanth, a celebration of his 50 years in cinema, which was a journey that started way back in 1975 with Apoorva Raagangal. 

But Coolie – atleast the first half – is not just about celebrating the man. It begins with Dhaya (Soubin Saahir), who’s the main henchman in a port. There is some shady business involved and Simon (Nagarjuna) is at the helm. With a police informers among the thousands of workers, it is Soubin’s job to find out who the rat is. The first few minutes set up this premise, and the rat is found and executed fast enough.

But…what if there were more rats?

Enter Deva (Rajinikanth) who is running a mansion, far away from all this madness. He does not get a grand introduction sequence – his first dialogue is as simple as “Sollu da Kumar” (Tell me Kumar)…and that is an indication of things to come.

Coolie – atleast the first half – isn’t all about Rajinikanth. It does have slow-mo fights in a hostel and a bit of sermonising, but to Lokesh’s credit, he sucks you into the story. He chronicles friendship (an arc between Rajinikanth and Sathyaraj that we wish to know more about), and a supposed betrayal turned friendship (an arc between Shruti Haasan and Rajinikanth)and some shades of grey (Nagarjuna, always amidst smoke and liquor bottles).

Of course, there’s composer Anirudh’s tracks – like ‘Monica’ and ‘Powerhouse’ – adding to the flavour in good measure.

How will the second half fare? Watch out for our full review.

Netflix has unveiled the trailer for Steve, a drama starring Oscar-winner Cillian Murphy as the headteacher of a struggling reform school. Based on Max Porter’s 2023 novel Shy, the film follows a decisive day in the life of Steve, a man fighting to keep his institution alive while confronting his own mental health struggles.

The story unfolds against the backdrop of a “last-chance” school for students who have been failed by traditional education systems. Alongside Steve’s fight to protect the school from closure, the film introduces Shy, played by Jay Lycurgo (Generation Z, The Batman), a troubled teenager torn between his violent impulses and a desire for redemption.

The cast also features Tracey Ullman (The Actor), Simni Ajikawo (Top Boy, Venom: Let There Be Carnage), and Emily Watson (The Legend of Ochi, Dune: Prophecy).

Steve reunites Murphy with several past collaborators. He previously worked with director Tim Mielants on Peaky Blinders and the 2024 drama Small Things Like These. Murphy also has a history with Porter, starring in a 2019 stage adaptation of the author’s Grief Is the Thing With Feathers and appearing in their 2021 short film All of This Unreal Time.

The screenplay is written by Porter, who also serves as an executive producer. The film is produced by Alan Moloney, Murphy, and Tina Pawlik, with a score by Ben Salisbury and Geoff Barrow.

Steve will premiere in select U.S. theaters on September 19 before its Netflix release on October 3.

A24 has released the first trailer for Marty Supreme, Josh Safdie’s 1950s-set sports dramedy starring Timothée Chalamet as a table tennis player chasing respect and recognition. The film marks Safdie’s first directorial effort since co-helming Uncut Gems with his brother Benny, and his first solo feature in more than a decade.

Chalamet plays Marty Mauser, a gifted but underestimated ping pong player whose ambitions take him on a turbulent journey toward greatness. Along the way, he begins an affair with a glamorous movie star, played by Gwyneth Paltrow, while navigating the personal and professional challenges of life on the road. The ensemble cast includes Fran Drescher as Marty’s mother, rapper Tyler, the Creator, magician Penn Jillette, Odessa A’zion, Shark Tank investor Kevin O’Leary, and filmmaker Abel Ferrara.

Co-written by Safdie and longtime collaborator Ronald Bronstein, Marty Supreme is a fictionalised retelling inspired by the life of Marty Reisman, a five-time World Table Tennis Championships bronze medalist who became a showman for the sport.

Chalamet reportedly underwent extensive training to capture the physicality and technique of a professional player. Cinematographer Darius Khondji noted earlier this year that the actor “wanted to be like a real [professional] ping pong player when he started shooting.”

The film is produced by Safdie, Bronstein, Eli Bush, Anthony Katagas, Chalamet, and A24.

Chalamet, who has previously praised the Safdie brothers’ “raw and untethered” approach to filmmaking, now takes center stage in one of the year’s most anticipated releases. Marty Supreme is set to open in theaters on December 25, positioning itself as both a holiday release and a potential awards contender.

A collective roar of wolf-whistles went up in theatres across Ernakulam district in Kerala as the iconic title card of ‘Superstar Rajinikanth’ backed by peppy music composed by Deva for his 1992-blockbuster flick Annamalai flashed across the screens. The Tamil actor’s much-anticipated movie Coolie, directed by Lokesh Kanagaraj opened with multiple fan shows on Thursday (August 14, 2025) at 6 a.m.

That the movie, 171th in his career, also marked the actor’s golden jubilee in the tinsel town was another reason for Rajinikanth fans to celebrate.

The excitement around the movie lived up to the hype even before its release, as advance bookings witnessed an unprecedented high. Starting from 6 a.m. up until midnight, nearly 350 shows across 32 theatres and multiplex screens in Ernakulam, all of them houseful, have been scheduled for the opening day. A multiplex in Kochi city packed in as many as 30 shows, followed closely by another with 27 shows.

With an extended weekend beginning with Independence Day on Friday, tickets have become a prized possession. “This will be one of the biggest openings for a movie. Screens have packed in shows without break till midnight. And the rush is not just confined to theatres and multiplexes in the city, but in the suburbs as well,” said K. Vijayakumar, president of Film Exhibitors United Organization of Kerala (FEUOK).

With positive word-of-mouth following the initial shows, buzz around the movie is already strong. “The swag Rajinikanth, who is well into his 70s, is still able to bring on screen is unbelievable,” said Manoj Kumar, before walking in to watch the fan show in a multiplex at Maradu.

Coolie has an added draw for Kerala audiences, with Malayalam actor Soubin Shahir’s dance in the song ‘Monica…’ going viral ahead of its release.

It is easy to slot actors into clichés, and often, Rajinikanth slips into that zone. The tossing of his hair backwards, the flick of a cigarette into the mouth, and lightning-quick dialogues have all become part of a template. But within these visible external props resides a fine actor, who can hold your attention in a tight close-up.

His eyes emote, and a forehead twitch conveys much more than expansive two-page speeches. As the superstar, who has seen 74 summers, turns 50 in his celluloid career, it is time for Chennai and the rest of the world to welcome his latest action flick Coolie, set to release in theatres today, Thursday (August 14, 2025).

The aura remains undiminished, and it is a trait that has been in vogue since his debut in 1975. Back in Madras, then, tickets had to be physically bought after standing in long queues. Online sales, deferred OTT release, and the digital economy did not exist, and this whole culture of carpet-bombing a film across theatres was never practised.

Demand for a big film was funnelled into four to five theatres, and Rajini’s flicks were no exception. His fans were the primary audience before word-of-mouth drew in families, and as a film grew across weeks, the Rajini-effect was there for all to see. 

At times, even after a fortnight, ticket sales remained on an upswing, and as women and children thronged the noon shows on weekdays, current booking counters often displayed the ‘house-full’ board. Upset tiny tots keen on watching the film would bawl their heads off, one kid even rolled on the floor at Wellington, an iconic theatre of those days.

The promise of seeing the movie on another day hardly registered with children fixated on the ‘here and now’, while flustered mothers were at their wits’ end. It was also a stage where duopolies ruled, Rajini-Kamal (Haasan) being a case in point. That this duo is still around is a testament to their skill and longevity.

In the 1980s, Mount Road, as Anna Salai was called then, had massive film cutouts. Rajini snarling astride a motorcycle or sauntering in with a pistol in his hand were all part of the visual stimuli on the arterial road that held Madras together.

Cut to the present, fans who grew up alongside Rajini, as well as modern converts, will all be present to see how Lokesh Kanagaraj has presented the star in Coolie. To dominate the box office from 1975 to the present is never easy, and Rajini has done that with his inimitable swagger. Through his unique way, the former Bengalurean remains a strong thread that binds Madras and Chennai together.

Veteran Bengali actor Basanti Chatterjee, who featured in over 100 films, breathed her last at her residence, family said.

Chatterjee, 88, was suffering from cancer for a long time. She died on Tuesday (August 12, 2025) night.

In a career spanning over five decades, she acted in more than 100 films, including critically acclaimed and popular movies such as Thagini, Manjari Opera, and Alo.

Chatterjee also featured in popular TV serials such as Bhutu, Boron, Durga Durgeshari to name a few.

Condoling her demise, Chief Minister Mamata Banerjee said in a post on X, “Her death is an irreparable loss to the world of cinema and stage. My deepest condolence to her next of kin.”

Chatterjee had spent months in the ICCU of a hospital before being discharged, as doctors advised that she be kept at home under the supervision of nurses at this stage, a spokesperson from the West Bengal Motion Picture Artists’ Forum informed.

ALSO READ: Fresh impasse at Kolkata Film Industry amid 70% drop in film production

Her last television appearance was in the serial Gita LLB, during the filming of which she fell seriously ill. Chatterjee had also been a regular in stage plays during her younger days.

Condoling her death, actor Bhaswar Chatterjee said, “She had been experiencing a lot of physical pain lately.” He said despite falling health and advanced age, her craft was irreplaceable.

It is heartening to see musicians turning organisers as their artistry comes through in the curation. So it was with the Malhar Utsav held recently in Delhi. It was put together by tabla exponent Ustad Akram Khan’s Tabla Academy of Ajrara Gharana.

The first concert was a jugalbandi between Imdadkhani gharana sitarist Shakir Khan, and Kirana gharana vocalist Arshad Ali Khan. They were accompanied on the tabla by 22-year-old Zargham Akram Khan, scion of the Ajrara gharana.

Shakir and Arshad have collaborated on stage before, though this was their first performance in Delhi. Shakir is the son of sitar maestro Ustad Shahid Parvez, with an impressive eight generational musical legacy. Arshad is a child prodigy, belonging to the family of the founders of the Kirana gharana, Ustad Abdul Karim Khan and Ustad Abdul Wahid Khan. Though the camaraderie was visible, this performance had both artistes showcasing their taalim and riyaaz. The concert was not about musical one-upmanship, the two artistes made it exciting by matching each other’s prowess.

They chose the raag of the season, Mian Malhar. Shakir the older and senior started the concert with his gharana’s customary flourish; Arshad responded by going straight to the ‘sa’ in the lower octave, a difficult feat for any vocalist before the voice warms up. They rendered a brief alap as per the instrumental tradition, then moved onto the composition. The concert was short, under 60 minutes, but every minute was used well.

The composition was a traditional vocal bandish on Mughal emperor Mohammed Shah Rangile. Arshad’s guru Ustad Mashrur Ali Khan is well-known for his treasure trove of rare old bandish. Shakir held his own, not needing the prop of the evocative lyrics to make his point, musically. The ‘choot’ taans that Shakir effortlessly played, in lightening speed, were stunning. These were matched by Arshad’s long and intricate taans in three octaves. Zarkham on the tabla was not over-awed by his senior co artistes. His sangat was mature and most appropriate. The concluding tarana again was an old composition with a beautiful ‘antara’, which sadly Arshad sang only once, probably due to time constraints.

Striking the right note

Abhisek Lahiri on the sarod is another talented young artiste. Having learnt from his father Alok Lahiri, he is apparently trained in the sarod’s three traditions — Maihar, Shahjahanpur Senia and Bangash.

Starting with raag Megh, the original raag of the monsoons, which predates Malhar, Abhisek created a serene ambience. His ‘jor’ was in the dhrupad style, his ‘jhala’ extensive, crystal clear and immensely satisfying. It was a pleasure to hear a solid performer who not once resorted to gimmicks to attract audience’s attention.

Switching to raag Surdasi Malhar, Abhisek was joined on the tabla by Ustad Akram Khan. Surdasi Malhar has a distinct, concise character. The Jhaptaal gat was composed by Abhisek’s father, with an unusual pick up of the ‘mukhda’ from the 8th beat; during his solo piece. Akram too ended on the mukhda instead of ‘sam’.

The ‘sawaal jawaab’ between the two was refreshing. One admired Abhisek for the control over the instrument, and his effortless layakaari. His artistry was a reminder of the music of an earlier era.