#carry on jatta

[bolllywoodhungama]

Aamir Khan will release the trailer for Punjabi film Carry On Jatta 3, which stars Gippy Grewal and Sonam Bajwa.

Aamir Khan to launch the trailer of the highly anticipated Punjabi film Carry On Jatta 3. The star-studded event will feature the film's cast.

Fans of the superhit Punjabi film franchise Carry On Jatta have reason to rejoice as the third instalment of the series is gearing up to hit the screens soon. Promising a wave of laughter and unadulterated joy, Carry On Jatta 3 is expected to win hearts with its rib-tickling humour. Amidst the growing buzz, the makers have announced an exciting event to mark the launch of the film's trailer. Adding star power to the occasion, the trailer will be unveiled by none other than Bollywood superstar Aamir Khan.

Click here to read more.

[playermagic23]

Box Office 2023: Punjabi films grossed Rs. 235 crores, Marathi films grossed Rs. 201 crores, Bengali films grossed Rs. 66 crores in 2023

Of late, Bollywood Hungama has reported on the box-office performance of Bollywood, Hollywood, Tamil, Telugu, and Kannada cinema in 2023. In this article, we shall discuss the box-office figures of Punjabi, Marathi and Bengali films in the domestic market.

Punjabi films had a historic 2019 as collections went up to Rs. 249 crores, the highest ever. In 2020, the figure was a mere Rs. 19 crores while it was Rs. 91 crores in 2021. 2022 was a bit disappointing as the total collections were Rs. 147 crores.

2023 figures were the second best of all time as it jumped to Rs. 235 crores. It is lesser than the 2019 numbers but the signs of improvement are there. The footfalls also grew from 1.50 crores in 2022 to 2.3 crores in 2023, which is almost at par with 2017 levels (2.3 crores). The biggest hit of the year, Carry On Jatta 3, was also the biggest Punjabi hit ever, collecting Rs. 54 crores gross. This was followed by Mastaney (Rs. 33 crores) and Kali Jotta (Rs. 21 crores).

The Marathi box-office performance, meanwhile, was underwhelming. It went on a record high of Rs. 268 crores in 2022. But the figure reduced to Rs. 201 crores in 2023. Footfalls are also down from 2.60 crores in 2022 to 2 crores in 2023.

2023 saw Marathi cinema delivering Baipan Bhari Deva, which exceeded all expectations. Backed by Jio Studios, this woman-centric film collected Rs. 92 crores gross in cinemas. It is also the second-biggest Marathi grosser of all time. Sadly, this was the only major blockbuster of the year. The second biggest grosser, Subhedar, collected Rs. 18 cores. Jhimma 2 collected as much as the first part - Rs. 14 crores. It suffered from mixed word of mouth and if the reports were encouraging, it had the potential to cross the Rs. 20 crores mark. What's unfortunate is that a film like Vaalvi got all-round acclaim and yet, it didn't even cross the Rs. 10 crores mark.

The Bengali industry similarly saw a drop in collections - from Rs. 77 crores in 2022 to Rs. 66 crores in 2023. While the footfalls were 70 lakhs in 2022, it was 60 lakhs a year later. Chengiz, the Eid release which was also the first Bengali film to release in Hindi, was the biggest hit of 2023 followed by Raktabeej and Dawshom Awbotaar.

[denimbex1986]

Former Disney India head and producer of Sony LIV hit “Rocket Boys,” Siddharth Roy Kapur has hailed the reinvigorated Indian box office and robust streaming space. Nevertheless, he sees challenges ahead...

The Indian box office caught fire in the June-July period with hits including the Hindi-language “Satyaprem Ki Katha,” Marathi-language “Baipan Bhaari Deva,” Punjabi-language “Carry On Jatta 3,” Telugu-language “Bro” and “Baby” and Tamil-language “Maaveeran” keeping the turnstiles ticking over.

Hollywood enjoys a 10% market share in India and, after the success of “Fast X” in May, the twin releases of “Barbie” and “Oppenheimer” in July saw audiences surging into cinemas. Multihyphenate Karan Johar’s star-studded “Rocky Aur Rani Kii Prem Kahaani” hit cinemas in the wake of the “Barbenheimer” juggernaut and is on its way to becoming a major hit...

“‘Rocky Aur Rani’ is wonderful for the industry, it’s a mainstream commercial Karan Johar film that’s going from strength-to-strength day-after-day in its collections. ‘Oppenheimer’ is another very interesting result because for a three-hour drama — a Christopher Nolan very layered and complex film, not a dubbed version — it’s mainly the English business that’s really driving the film, not really any known stars in the Indian market, like Tom Cruise or Brad Pitt, and a narrative and a subject itself that can be pretty dry. For that to be working as spectacularly as it is at the Indian box office gives a lot of hope for genres like drama, which a lot of people had written off and said, ‘This has become a streaming genre.’ That actually gives a lot of hope that if you do drama in a way which is cinematic and compelling, people will still come,” Roy Kapur says.

Roy Kapur says that while “Barbie” and “Rocky Aur Rani” are “cinematic experiences and spectacles,” films like “Zara Hatke Zara Bachke” and “Satyaprem Ki Katha” have worked in the smaller cities and metros respectively. “And then you’ve got an ‘Oppenheimer,’ which breaks all the rules and is non-sequel, non-IP, that holy grail of pure cinema,” he says.

India is the only major market where “Oppenheimer” has outgrossed “Barbie” 3:1, with 3:30 a.m. screenings being sold out. “We should take a lot of pride in that — ‘Oppenheimer’ has reversed the ‘Barbenheimer’ trend of ‘Barbie’ being on top,” Roy Kapur says. “All the signs are very positive and I am very optimistic about the next few months as well.”...'

[punjabiaddablog]

Carry On Jatta 3 — Punjabi Adda Blog

On Thursday, Punjabi actor Gippy Grewal revealed the official teaser of the highly anticipated comedy movie ‘Carry on Jatta 3’. The teaser was shared on Gippy’s Instagram account along with a caption that read, “The unstoppable laughter begins.

[musicverse11]

Gippy Grewal’s Impact on Punjabi Culture

Gippy Grewal, a name synonymous with Punjabi music and cinema, is a shining example of perseverance, passion, and talent. From humble beginnings in a small village in Punjab to becoming a global icon, Gippy’s journey is nothing short of inspiring. His ability to excel in multiple domains — be it music, acting, or filmmaking — makes him one of the most versatile entertainers in the Indian entertainment industry. This article delves deep into the milestones of Gippy Grewal’s career and explores how he managed to carve out a niche for himself in the competitive world of entertainment.

Early Life and Background

Born as Rupinder Singh Grewal on January 2, 1983, in Koom Kalan village, Ludhiana, Punjab, Gippy grew up in a modest household. Despite limited resources, his family nurtured a love for Punjabi culture, which influenced him profoundly. He completed his schooling at Nankana Sahib Public School and later pursued a degree in hotel management from Panchkula. While his education pointed him toward a career in the hospitality industry, his heart was set on music.

From an early age, Gippy displayed a keen interest in music, often performing at local events and family gatherings. He idolized Punjabi legends such as Kuldeep Manak and Gurdas Maan, drawing inspiration from their soulful renditions and cultural pride. His passion for music was evident, but breaking into the Punjabi music industry was a daunting challenge for a newcomer with no industry connections.

The Struggles and Breakthrough in Music

Gippy’s professional journey began in 2002 when he released his debut album Chakkh Lai, produced by Atul Sharma. The album didn’t achieve the commercial success he had hoped for, but it marked the beginning of his journey as a professional singer. He didn’t let the lukewarm response deter him and went on to release subsequent albums like Mele Mitran De, which began to garner attention.

The turning point in his career came with the release of his iconic song Phulkari, a track that resonated with audiences across Punjab. The song became a sensation, and Gippy’s name became synonymous with high-energy beats and meaningful lyrics. Phulkari not only gave him a foothold in the industry but also established him as a trendsetter in Punjabi music.

Gippy’s ability to blend traditional Punjabi folk with contemporary beats set him apart from his peers. Songs like Angreji Beat, a collaboration with Yo Yo Honey Singh, showcased his versatility and gained widespread popularity, even finding its way into Bollywood films like Cocktail. This strategic move helped him tap into a wider, pan-Indian audience.

A Bold Transition to Acting

After conquering the music scene, Gippy ventured into acting — a move that many considered risky at the time. His debut film Mel Karade Rabba (2010), where he played an antagonist, was well-received, but it was his lead role in Jihne Mera Dil Luteya (2011) that solidified his position as a bankable actor. The film’s commercial success proved that Gippy was not just a singer but a complete entertainer capable of excelling in acting as well.

Over the years, he delivered several hit films like Carry on Jatta, Manje Bistre, and Ardaas. Each project showcased a different facet of his talent, whether it was his impeccable comic timing or his ability to portray emotionally intense characters. His performance in Ardaas, which he also directed, was particularly lauded for its depth and message.

The Entrepreneurial Side: Humble Motion Pictures

Gippy’s ambition didn’t stop at performing. In 2016, he launched his production house, Humble Motion Pictures, to take creative control of his projects. Through this venture, he produced critically acclaimed films like Ardaas and Ardaas Karaan, which addressed social issues and showcased his storytelling prowess. His production house became a platform for nurturing fresh talent and delivering meaningful cinema.

A Global Icon

One of Gippy’s most commendable achievements is his ability to take Punjabi culture to a global stage. With concerts across Canada, the UK, and the USA, he has managed to connect with Punjabi diaspora audiences worldwide. His international collaborations, such as Angreji Beat, further cemented his position as a global entertainer.

Key Strategies Behind His Success

Gippy’s career is a masterclass in strategic growth. He has consistently reinvented himself, whether by experimenting with new music genres or taking up challenging roles in films. His collaborations with established names like Yo Yo Honey Singh and his ventures into Bollywood demonstrate his willingness to adapt and innovate.

Another critical factor is his ability to stay connected with his roots. Despite his global fame, Gippy’s music and films often carry themes of Punjabi culture, values, and traditions, making his work relatable and timeless.

A Role Model for Aspiring Artists

Gippy Grewal journey is a testament to the power of hard work, passion, and strategic thinking. From a budding singer struggling to make a mark to a celebrated icon in the Indian entertainment industry, he has achieved what many only dream of. His multifaceted career serves as an inspiration to aspiring artists, showing that with the right mindset and determination, one can overcome any obstacle.

What’s your favorite Gippy Grewal song or movie? Share your thoughts in the comments below! For fans and aspiring artists alike, Gippy’s story offers valuable lessons in perseverance and creativity. To explore more about his life, career, and growth strategies, check out the detailed insights available on Deliver My Tune.

Stay tuned for updates on Gippy’s upcoming projects, and don’t forget to listen to his music and watch his films to experience the magic firsthand!

[my-music-1460]

Gippy Grewal's Impact on Punjabi Cinema

Gippy Grewal, a name synonymous with versatility and talent, has become one of the most celebrated figures in the Punjabi entertainment industry. From a hotel management graduate to a renowned singer and actor, his journey is nothing short of inspirational. The evolution of Singer Gippy Grewal reflects a perfect blend of dedication, passion, and a relentless pursuit of his dreams. In this article, we explore the fascinating story of how Gippy transitioned from a small-town boy to a Punjabi music icon. His life is a testament to how determination and love for art can lead to greatness.

Early Life and Education

Gippy Grewal, born as Rupinder Singh Grewal on January 2, 1983, in Koom Kalan, Ludhiana, Punjab, spent his early years surrounded by the vibrant culture of his hometown. Raised in a middle-class family, Gippy was deeply influenced by Punjabi folk traditions and music. His schooling at Nankana Sahib Public School in Kot Gangu Rai laid the foundation for his disciplined approach to life.

After completing his schooling, Gippy pursued a degree in Hotel Management from the North India Institute of Hotel Management in Panchkula, Haryana. During these years, his love for music never faded. He was often found performing at local events and participating in bhangra competitions, showcasing his inherent flair for performance.

First Career Steps: Hospitality to Music

Following his graduation, Gippy worked in the hospitality industry in Delhi. However, the allure of music kept pulling him back. With his heart set on a creative career, Gippy decided to take the plunge into the music industry.

In 2002, he released his debut album, Chakk Ley Ft. Jagdev Mann. Though the album did not achieve significant commercial success, it marked the beginning of his journey in Punjabi music. This initial step proved crucial, as it allowed Gippy to understand the industry and refine his craft.

The Turning Point: “Phulkari”

The release of Gippy’s fourth album, Phulkari, was the turning point of his career. The title track became an instant hit, gaining immense popularity across Punjab and among Punjabi-speaking audiences worldwide. The album’s success catapulted him to stardom, earning him a loyal fan base.

This milestone proved that Singer Gippy Grewal was not just another name in the industry but a force to be reckoned with. Songs like “Phulkari” resonated deeply with listeners for their authentic Punjabi essence, making Gippy a household name.

Chart-Topping Hits and Global Recognition

As Gippy’s career gained momentum, his versatility began to shine through. He collaborated with Yo Yo Honey Singh on the iconic track “Angreji Beat,” a fusion of modern beats and Punjabi lyrics. The song became a global sensation, featuring in Bollywood films and club playlists worldwide.

Following this, Gippy released a series of chart-topping hits, including “Oscar,” “Velna,” and “Car Nachdi.” Each track reflected his evolving style, as he skillfully balanced traditional Punjabi sounds with contemporary music trends. These songs not only cemented his position as a leading artist in the industry but also introduced Punjabi music to a broader audience.

Acting Career and Contribution to Cinema

Not one to be confined to a single domain, Gippy Grewal ventured into acting in 2010 with his debut film Mel Karade Rabba. His natural flair for performance quickly made him a sought-after actor in Punjabi cinema. Films like Jihne Mera Dil Luteya, Carry On Jatta, and Manje Bistre showcased his comedic timing and dramatic abilities.

Gippy didn’t stop at acting. He took on the roles of producer and director, further contributing to Punjabi cinema. Through his production house, Humble Motion Pictures, Gippy produced critically acclaimed films like Ardaas, a movie that addressed social issues with sensitivity and depth.

Gippy Grewal: The Multifaceted Entertainer

Beyond his roles in music and film, Gippy Grewal has proven himself as a multifaceted entertainer. His live performances are known for their energy, engaging audiences across the globe. As a father, he often shares glimpses of his personal life, making him relatable to fans.

Gippy’s success is also reflected in his ventures outside the entertainment world. From endorsing major brands to collaborating with international artists, his efforts have brought Punjabi culture and music to the forefront on global platforms.

Conclusion

The incredible journey of Singer Gippy Grewal from a humble beginning to an icon in the Punjabi entertainment industry is truly inspiring. His ability to embrace challenges and reinvent himself has made him a role model for aspiring artists. Gippy’s unwavering commitment to his craft, coupled with his deep connection to Punjabi culture, has established him as a pioneer in music and cinema.

Whether it’s his heartfelt songs, blockbuster films, or charismatic personality, Gippy Grewal continues to leave an indelible mark on millions of fans worldwide. His story is a powerful reminder that passion, hard work, and perseverance can turn dreams into reality.

[indianmovielinks]

A confusion starts when Jass lies to Mahie about his family so that she agrees to marry him and somehow Honey has to be the part of Jass`s lie. They continue to tell lies upon lies just to hide that one lie. For how long can they carry on like this?

[a-film-app]

Punjabi Powerhouses: Top Punjabi Actors Making Waves in Bollywood

With their skill, charm, and adaptability, Punjabi performers have been impacting Bollywood the Hindi film industry. With their captivating performances, these Punjabi performers have made a name for themselves in the cutthroat world of Bollywood, giving Indian cinema a distinct taste. Let's examine some of the leading Punjabi Bollywood actors who are currently becoming well-known in Bollywood in more detail.

Punjab's Rising Stars

Diljit Dosanjh

Background of Diljit Dosanjh

Originally from Dosanjh Kalan in Punjab, Diljit Dosanjh began his professional life as a singer before acting.

Success in Bollywood

Diljit made his screen debut in "Udta Punjab" and has since given outstanding performances in films such as "Phillauri" and "Good Newwz"

Unique Selling Proposition

He has gained the affection of Indian viewers thanks to his endearing demeanour, skill as an actor, and beautiful voice.

Gippy Grewal

Background of Gippy Grewal

Although he is most recognised for his work in Punjabi film, Gippy Grewal has also succeeded in Bollywood.

Bollywood Ventures

Gippy's performances in movies like "Carry On Jatta 2" and "Lucknow Central" left viewers in awe.

Versatility

He has a devoted following in Bollywood thanks to his ability to easily transition between comedic and intense roles.

Jassi Gill

Jassi Gill is another rising Punjabi star. Renowned for his contributions to Punjabi cinema, Jassi Gill has garnered appreciation for his roles in films such as Mr & Mrs 420 and Sargi. Thanks to his talent and personality, he is now a rising celebrity in the entertainment business, demonstrating the breadth of potential Punjab still has to offer the film industry.

Well-known names in Bollywood

Jimmy Sheirgill

Background of Jimmy Sheirgill

Jimmy Sheirgill is a seasoned Punjab actor who has worked in Bollywood for several years.

Bollywood Journey

Jimmy has acted in several films, including "Tanu Weds Manu" and "Mukkabaaz." He is well-known for his powerful performances.

Performer with Consistency

His commitment to his art and versatility as a character actor have earned him recognition in Bollywood.

Neeru Bajwa

Background of Neeru Bajwa

Well-known for her roles in Punjabi films, Neeru Bajwa has also established herself in Bollywood.

Bollywood Stunt

In movies such as "Jatt & Juliet" and "Special Chabbis," Neeru demonstrated her acting prowess.

Female Representation

Her outstanding performances have brought attention to Punjabi actors' abilities and promise in Bollywood.

Punjabi actors' influence in Bollywood

Cultural Representation

Punjabi actors in Bollywood's customs, language, and storytelling add a distinct cultural viewpoint to the business.

Box Office Success

Punjabi performers' popularity in Bollywood has resulted in their films doing well at the box office, drawing viewers from all over India.

Talent and hard work can overcome obstacles in the film industry, as demonstrated by the success of Punjabi performers in Bollywood, which motivates aspiring artists from Punjab and other areas.

Bollywood's Prospects for the Future Punjabi Performers

Role Diversification

Punjabi performers in Bollywood are expected to take on a greater variety of parts due to their increasing popularity, which has shattering prejudices and breaking limits.

Collaborations

More cross-cultural interactions and collaborations are anticipated as the cooperation between the Punjabi and Bollywood industries grows.

Global Recognition

Punjabi actors who are making waves in Bollywood are becoming more well-known both domestically and abroad, which adds to the attraction of Indian cinema on a worldwide scale.

In conclusion, Punjabi actors have greatly influenced Bollywood, adding to the industry's depth of culture, talent, and personality. These cinematic titans will undoubtedly have a greater impact on Indian cinema as long as they are on the big screen, motivating new generations of filmmakers and viewers alike. Punjabi Actors in Bollywood are here to stay, creating a lasting impression on the colourful fabric of Indian cinema.

[influencermagazineuk]

Lights, Camera, Action! Stunning Locations in the UK to Shoot Your Next Masterpiece

Looking to shoot a cool reel for your Instagram, a music video or even a film? The United Kingdom boasts a wealth of captivating landscapes and architecturally rich settings, making it a filmmaker's paradise. Whether you're crafting a heart-wrenching indie flick, a pulse-pounding music video, or a social media reel, the UK offers a diverse backdrop to bring your creative vision to life. For the history buff with a camera, Scotland's dramatic castles like Eilean Donan or Dunvegan provide a touch of medieval charm. Imagine epic battle scenes or brooding monologues set against the backdrop of these ancient fortresses, their windswept ramparts whispering tales of the past. London, a bustling metropolis, offers a different kind of grandeur. Iconic landmarks like Tower Bridge or Buckingham Palace can add a touch of quintessential British flair to your production. Explore the cobbled streets of Notting Hill for a quirky, bohemian vibe, or capture the fast-paced energy of Piccadilly Circus for a truly urban feel. The rolling hills and picturesque villages of the Cotswolds are perfect for a story that oozes quintessential English charm. Think thatched-roof cottages adorned with vibrant flowers, charming country pubs, and babbling brooks – a scene straight out of a Jane Austen novel. For a taste of the otherworldly, head north to the Scottish Highlands. The dramatic landscapes, with their rugged mountains, vast lochs (lakes), and sweeping valleys, are guaranteed to leave a lasting impression. Imagine a lone figure silhouetted against a fiery sunset over the Isle of Skye, or capture the mystical allure of the standing stones at Callanish. Wales, with its dramatic coastlines and moody mountains, offers a wild, untamed beauty. The dramatic cliffs of Pembrokeshire Coast National Park or the fairytale-like beauty of Snowdonia National Park are perfect backdrops for stories that evoke a sense of adventure and mystery. But the UK's beauty isn't limited to wide-open spaces. Abandoned industrial sites offer a unique, post-apocalyptic aesthetic. Picture a gritty music video set against the backdrop of a derelict steelworks, or a dystopian film shot in a forgotten warehouse.Don't forget the power of the unexpected. Keep your eyes peeled for hidden alleyways, quirky cafes, or colorful street art – sometimes the most captivating locations are the ones you stumble upon unexpectedly. So, grab your camera, unleash your creativity, and get ready to explore the UK's cinematic treasures. With its diverse landscapes, rich history, and vibrant culture, the UK is a filmmaker's playground waiting to be discovered. There are many films shot in the UK on the places we mentioned, and are a lot to explore! Films shot in the United Kingdom A - Aaja Mexico Challiye - Ahir Bhairav (film) - Angel Has Fallen - Animal (2023 Indian film) - Annapolis (2006 film) - Avatar (2009 film) B - Bad Apples (upcoming film) - Barun Rai and the House on the Cliff - The Beatles: Get Back - Beetlejuice Beetlejuice - Bhaijaan Elo Re - A Bit of Light - Born a King - Butterfly (unreleased film) C - Carla (film) - Carry on Jatta 3 - The Cave (2019 Thai film) - Charlie and the Chocolate Factory (film) - City Under the Sea - Close (2019 film) D - Danielle Cable: Eyewitness - The Dark Knight - The Day of the Jackal (film) - Dear Zachary: A Letter to a Son About His Father - Den of Thieves 2: Pantera - Dunkirk (2017 film) E - English (2013 film) - Entebbe (film) G - Gadgetman - Ganapath - The Giant Behemoth - Gladiator II - The Guernsey Literary and Potato Peel Pie Society (film) H - The Haunting (1963 film) - Heart of Stone (2023 film) - Hedda (upcoming film) - Helen (2008 film) - Hitman's Wife's Bodyguard - Horrible Histories: The Movie – Rotten Romans - House of Salem I - Inception - Indiana Jones and the Last Crusade K - Kabhi Khushi Kabhie Gham... - Kanchana 3 L - The Last Letter from Your Lover - Let Them All Talk (film) - Lloyd & Hill - London Bridge (film) - London, Paris, New York - Loving You (2003 film) M - Mission Raniganj O - One Day (2011 film) - One More Shot (2024 film) - One Shot (2021 film) P - The Parent Trap (1998 film) R - Raiders of the Lost Ark - Rebus (film) - Red, White & Royal Blue (film) - Rogue (2020 film) S - Sat Shri Akaal England - Saving Private Ryan - Statement of Youth - The Swimmers (2022 film) T - Tenet (film) - Tere Sang Yaara - That Is Mahalakshmi - Tropic of Ice U - Upgraded (film) W - The Wasp (2024 film) - What Became of Jack and Jill? - Wicked (2024 film) - Wicked Part Two Y - Yaariyan 2 Z - Zam Zam (film) Read the full article

[morals4u]

kali jotta movie download

Kali Jotta Movie Download: Neeru Bajwa has made it possible to bring topics like Sexual harassment of women in the workplace, inequality in the home, social prejudice, and mental health into the light. And she has managed to deliver a blockbuster with a serious genre that usually doesn’t happen, especially in the Punjabi industry. Besides comedy movies like Carry on Jatta 3, Godday Godday Chaa,…

[djarshaddj]

Mastaney Box Office Collection Report: Day Wise| All Version| Worldwide Earning Report and Verdict

Mastaney Box Office Collection Report: Tarsem Jassar-Gurpreet Ghuggi-centred Punjabi historical action drama film “Mastaney” registered as the 6th highest grossing film at the domestic box office in the history of Pollywood films (Punjabi films), followed by Carry on Jatta 3, Carry on Jatta 2, Saunkan Saunkne, and Shadaa. The film already made a handsome collection at the box office, but on…

[ashleypureheart22]

I’m shocked how long my work theater has kept on Carry on Jatta 3 for. I think it’s ran the same amount of weeks as the second Chal Mera Putt’s re-release, perhaps since we’re one of the only theaters in the NYC metropolitan area to show this movie.

[kammartinez]

At the Vatican Museums, the nightly ritual of the keys begins in Room 49A, a tight, windowless chamber, generally referred to as il bunker, which I entered one evening last November from a grassy courtyard as rain began to fall. The keeper of the keys—the clavigero—is a former member of the carabinieri named Gianni Crea. He has a staff of about a dozen, and keeps nearly 3,000 keys in the bunker. Can he match each one to a lock? At the Vatican, yes, he said; he has trouble at home. Some keys, like No. 401, which weighs a pound and opens the main interior door to the oldest of the museum buildings, were forged centuries ago; others resemble keys you’d find in a hardware store or a kitchen drawer. Many have plastic tags with handwritten labels. They open every utility box, every window, every gate and portal.

The heavy bronze doors at the museums’ main entrance are pulled shut every afternoon at 4 p.m. and locked with a key numbered 2,000. Over the next two hours, until the exit doors are also closed, the last visitors proceed through the hallways. Behind them, here and there, lights begin to dim. Metal detectors power down. At the glassed-in security station in the Atrium of the Four Gates, departing guards punch time cards. Behind the glass, alongside a crucifix and a photograph of Pope Francis, a flatscreen presents live images from security cameras. The screen gives the enclosure a quiet glow.

Each sector of the museum has its own large key ring, the kind carried by a jailer. On this night, when the last of the visitors had gone, Crea piled a tangle of keys on the counter of the security station, then handed out key rings to his staff. The lockdown got under way. He kept a larger set of keys for himself, so that he and I could make our way anywhere.

Before leaving the bunker, Crea had taken a key from an envelope. The flap, now torn, bore his signature and had been stamped with the papal coat of arms. He had picked up the key that morning from a command post at the Porta Sant’Anna, one of the Vatican gateways, and would return it shortly before midnight. He handed the key to me, gesturing to a tiny, unmarked vault in the wall of the bunker. I opened the vault and found another key. If Lewis Carroll had invented a nuclear-launch protocol for the Holy See, this might have been it. The key in the vault was the key to the Sistine Chapel.

The nightly lockdown begins: Gianni Crea at the central security station, Atrium of the Four Gates (Alex Majoli / Magnum / Vatican for The Atlantic)

The Vatican Museums—there are many separate units—occupy what is essentially a rectangle. To the north, the Belvedere Palace, which began life as a 15th-century papal villa, lies hard against Vatican City’s massive walls. To the south, near St. Peter’s Basilica, a quarter of a mile away, is the Sistine Chapel. Two long loggias link north to south and form the rectangle’s sides. The space these buildings enclose is divided into courtyards.

We decided to start the evening where the museums themselves had started, in the Belvedere Palace. The creators of what are now the Vatican Museums, half a millennium ago, were driven by a radical change in perspective. For centuries, the bountiful supply of ancient statuary unearthed in Rome had been burned for lime to make mortar. With the revival of classical learning, Renaissance popes began to preserve the marble instead, putting the best pieces on display in the Belvedere’s Octagonal Courtyard. The collection grew and the mission broadened. In time, visionaries such as Johann Joachim Winckelmann and Antonio Canova created something like a modern museum. It remains modern in its scholarship and expertise, and in many of its operations.

But it is also the world’s oldest major museum, and, as Jatta emphasizes, a spiritual dimension is part of its mission. Some precincts are consecrated space. The gift shops sell more rosaries than anything else. The original buildings were meant for the personal use of the pope, and in places encompass a confusing warren of small rooms and narrow staircases that were never intended to receive 7 million visitors a year. The scale of the Vatican Museums can be hard to comprehend—20 acres of wall space—and the task of renewal and conservation is perpetual. Masonry subsides and cracks. Frescoes fade. Roofs leak. Only four spaces have air-conditioning. The museum complex is not a static object. It is an organism, and life flows through it.

Earlier in the day, I had stopped in to see Marco Maggi, the head of the conservator’s office. His job comes with a pedigree—the first person to hold it was appointed in 1543. The office oversees the various restoration laboratories but its primary responsibility is to keep materials from deteriorating in the first place—statues and paintings, to be sure, but also mummy linens, Roman glass, medieval parchment, Renaissance tapestries, and items made of bronze or bone, feathers or sealskin. Reflecting on the biography of every object—the unique journey each has made to this place across miles and years— Maggi repeated an observation he’d once heard, and that stayed with me all night. “Time,” he said, “is an emotion.”

THE IDEA THAT A MUSEUM comes alive at night—that works of art themselves might relax and chat when people are not there—animates movies and novels and children’s books. And there is a sort of truth to the idea: After hours, life goes on. As we set out among the galleries, faint noises from the ceiling called attention to a skylight. Workers above could be heard talking as they washed the exterior, their movements backlit like those of puppets in a shadow play. Elsewhere, cleaners with soft brushes in their hands and vacuum cleaners strapped to their backs gently dusted imperial Roman statues—an animal’s claws, an athlete’s thighs, an emperor’s beard. In a conservation laboratory set among exhibits, technicians in white coats worked late, repairing the frayed edge of a woven artifact from Africa.

The museums at night can feel like an elaborate play structure: gilded corridors the length of a football field, rooms teeming with a stone zoo of lions and crocodiles and other marble creatures, darkened galleries and countless places to hide. Every door conceals a surprise. In the Belvedere Palace, the clavigero unlocked a gate that gave access to a tower encasing the Bramante staircase, a spiral ramp named for the chief architect of Pope Julius II. It is a double helix—people can ascend and descend without crossing paths—and large enough to accommodate a papal carriage, as it once had to do. The staircase links the lofty interior of the palace to an exterior private entrance far below. We stepped outside, at ground level, into a downpour. A fountain in the shape of a galleon sprayed jets of water from masts and cannons, as if trying to fight off the weather. Back upstairs, the Octagonal Courtyard was dimly lit and open to the sky. Rain glazed a ring of sarcophagi and pelted a central pool. Some of the Vatican’s original treasures are still here. One alcove frames the ancient statue known as Laocoön. I moved a velvet rope aside and walked behind the statue, and was surprised to find an object affixed to the base: a lone marble arm.

Laocoön was the man who tried to warn his fellow Trojans about that gift of a wooden horse. Angry, one of the gods sent serpents to strangle Laocoön and his sons—the moment captured in marble. The sculpture, from the first century B.C., had been unearthed in a vineyard near the Colosseum in 1506—Michelangelo was present for the excavation—and became the nucleus of the Vatican collection. But bits were missing, including the father’s right arm. Could the arm be restored?

Left: The Niccoline Chapel, inside the Apostolic Palace, with frescoes by Fra Angelico. Right: The statue of Laocoön in the Octagonal Courtyard, the nucleus of the Vatican Museums. (Alex Majoli / Magnum / Vatican for The Atlantic)

To restore Laocoön, the pope’s architect held a competition, appointing Raphael as judge. Eventually an arm was added, slightly bent but reaching upward—the version preserved in countless copies. Michelangelo was skeptical; an experienced anatomist, he inferred that Laocoön’s arm must have been angled sharply behind his head. Four hundred years later, a big piece of the missing limb was discovered. Michelangelo had been right. The original arm was reattached. The discarded arm was left behind the statue, where on a rainy night the beam of a flashlight picked it out.

A museum loses something when visitors are gone: People are part of the display. But it gains something in return. In the emptiness of night, you become acutely aware of your physical senses. Eyes adjust to changing gradations of light. Black windows become mirrors. Shadows dance at light’s command: Projected on a wall, marble stallions pulling a Roman chariot seem to rear in anger; an unfinished angel by Bernini in clay and wire becomes even larger and hovers protectively over a Caravaggio. Faint smells come into their own. A whiff of paint lingers in a room that has been newly restored. A scent of candle wax pervades a papal chapel. The acoustic environment is unexpected. Every sound creates an echo—voices, footsteps, keys, raindrops. The high-low wail of a siren from the city outside seems impossibly remote. There is an urge to touch, to run a hand across surfaces like the underside of a Raphael tapestry, whose filaments of golden thread give the appearance of a circuit board.

Without the bustle, I was aware of another sense too, a kind of sixth sense: a consciousness of actual lives bound up with whatever I was looking at. In the Pinacoteca, the picture gallery, we passed Leonardo da Vinci’s Saint Jerome; Leonardo’s fingerprint was clearly visible in a patch of blue-green sky. A few rooms away, lit up and richly colored in an otherwise darkened space, Raphael’s The Transfiguration might have been a stained-glass window. It was easy to see why this place had been chosen for a memorial Mass, a few weeks earlier, recognizing staff members who had died or suffered loss in the previous year. On the same floor, in the older rooms of the Belvedere Palace, the presence of Michelangelo was inescapable: A visitor sees what he would have seen. Michelangelo came to this place to study the Belvedere Torso, a marble dating to the first century B.C. He thought of the torso—its arms missing, its legs cut off at the knees—as his “teacher” and used the taut anatomy in his portrayal of Adam on the Sistine Chapel’s ceiling. In an adjacent room stands a basin, carved from a single slab of imperial porphyry, that may once have graced Emperor Nero’s Golden House. It is said that Nero and his wife used to bathe in it, a detail I pass along understanding that It is said, a staple phrase in Rome, generally means “Don’t look too closely.” But ordinary people are also reflected in the basin’s history. The porphyry, weighing half a ton, had been quarried in Egypt. Hundreds of lives were invested in hauling and floating it to Rome. It would not have been an easy task.

The shadow of a stallion comes between a discus thrower and the god Hermes in the Hall of the Chariot. (Alex Majoli / Magnum / Vatican for The Atlantic)

Among the 1,000 pieces of sculpture in the loggia, two busts were gone, their absence as obvious as missing teeth; all that remained were ragged circles marking where the bases had been fixed to a shelf. A few weeks earlier, an American tourist had told a guard that he needed to see the pope. Informed that a meeting was not possible, he had knocked the two busts to the floor. One of them—Veiled Head of an Old Man—lost part of his nose and an ear. The bust is being repaired, but this old Roman, whoever he was, will forever bear the marks of an encounter in 2022.

The Vatican Museums employ undercover personnel known as volanti, who walk among the crowds. But incidents still occur. In August, climate protesters from an organization called Last Generation glued their hands to the base of Laocoön. (A few weeks earlier, the same group had splashed pea soup on Van Gogh’s The Sower, also in Rome.) The Vatican has a court system but few jail cells. The Laocoön perpetrators were remanded to Italy, a few yards away.

The American tourist who knocked over the busts likewise found himself in Italian custody. Word of the incident spread quickly. When Barbara Jatta saw Pope Francis at an event not long afterward, his first words to the museums’ director were “Who was that poor man?”

We left ancient Rome behind and headed for the newest part of the museums—the Anima Mundi gallery, devoted to works from beyond the Western world. The route to the gallery led past a terrace that looked out across the Vatican gardens to the dome of St. Peter’s and the misty silhouettes of umbrella pines. The dome was lit gently, except for the blazing lantern atop its crown. Antonio Paolucci, a former director of the museums, used to say that the best time to view the dome at night would have been centuries ago, when only the moon gave illumination. Electric lighting, he felt, made the lantern look like a birthday cake. Tonight, in the wet air, it wore a halo.

I was not prepared for the beauty of the Anima Mundi gallery—a sleek, modern space the size of a small warehouse. The gallery was dark but the collection was revealed in illuminated vitrines that arose like glass meeting rooms in an open-plan office. Many of the objects had been gifts to popes. Father Nicola Mapelli, the director of the gallery, walked among objects he especially loves: funerary poles and wandjina rock art from Australia; a ritual mask from Tierra del Fuego; a red-eyed, black-skinned Madonna and Child from New Guinea.

Left: The Sistine Chapel. To the left of the altar, under Michelangelo’s The Last Judgment, stands the door to the Room of Tears. Right: Father Nicola Mapelli and lab technicians working after hours at the conservation laboratory in the Anima Mundi gallery. (Alex Majoli / Magnum / Vatican for The Atlantic)

A few moments later, Matteo indicated a small handle in a frescoed wall and pulled out a thin rectangle of masonry. Behind it was a pane of glass, embedded in the wall centuries ago as an early-warning system: Cracked glass would mean the building had begun to subside. I reached in with a finger. We were okay for now.

In the Raphael Rooms—four chambers that Raphael covered with frescoes in what were once a suite of papal apartments—heavy wooden shutters had been closed against the night, but an open window was still reflected in the polished shield of a figure on an opposite wall: a trompe l’oeil joke by the artist. Gouges in the walls are still visible, the work of soldiers with pikes during the Sack of Rome in 1527. Raphael had been painting the last of these four rooms, the Room of Constantine, when a fever carried him off. Graffiti, centuries old, has been scratched into its lower walls: fu fatto papa pio iv, someone wrote, noting the election of a new pontiff. That was in 1559.

From the Raphael Rooms, the Sistine Chapel was only a few staircases away. Its most striking aspect, when you enter alone and in weak light, is not the frescoed ceiling but the sheer expanse of floor. During the day, when the room is packed with people, all looking up, the floor disappears. Once, years ago, lifted toward the chapel’s ceiling in the basket of a cherry picker, I had the chance of a bird’s-eye view. But I naturally looked up, and not at the five-story drop.

Now, late in the evening, after Gianni Crea turned the key and pulled the knob, an expanding trapezoid of light from the hallway behind us illuminated the intricate marble inlay ahead.

An axis of braided circles ran down the length to the altar, the effect dynamic and yet placid. This is the tessellated floor that Michelangelo would have known—the one that received any droppings of paint that missed the scaffolding or his face. It’s the floor Raphael would have walked on when (it is said) he took advantage of Michelangelo’s absence from Rome to sneak a look at the work in progress. The chapel would not be cleaned until morning, but as lights came on I saw little in the way of litter—unusual in a room that as many as 25,000 people walk through every day. The explanation may simply be the power of this place, its sacral nature. People do leave prayers. I found a folded slip of paper on the masonry bench that runs along the walls, saw what it was, and put it back.

Free of distraction, you have a chance to notice details—for instance, the spots high on the walls where Michelangelo was unable to paint, because his scaffolding got in the way. Or how the plane of The Last Judgment leans forward, as if to convey active urgency; the slant is obvious at the join, where the front wall meets the sidewalls. Digital sensors, visible once you look for them, collect data from all parts of the chapel. They monitor temperature, humidity, carbon dioxide, and particulates, as well as the size of the crowd. The data are tracked on screens in the conservator’s office; we likely produced a blip just by opening the door and turning on a light. The Sistine Chapel is one of those few air-conditioned spaces in the Vatican Museums. The air in the room can be exchanged as often as 60 times a day. If need be, the volume of traffic can be reduced by controllers upstream. They can close doors and loop throngs into a detour, or encourage exploration. People should know about Etruscan art anyway. But the chapel never fully shakes off its millions of annual visitors—their dust, their heat, their coughs and sneezes.

Those visitors arrive through a single entrance and leave through a single exit. But there are additional doors—another thing you notice when the room stands empty. The Sistine Chapel is part of the Apostolic Palace, the official papal residence, and some doors, usually locked, lead directly into private areas. Late in the evening, an elderly priest came through the double doors in the wall farthest from the altar, perhaps drawn by light seeping underneath them at an odd hour. We were invited into the Sala Regia, an ornate hall in the Apostolic Palace where popes once received royalty, and then into the Pauline Chapel, where cardinals celebrate Mass before a papal conclave begins. It is also a private chapel for the pope. There was to be a funeral here the next morning for a dignitary identified only as un diplomatico. Michelangelo’s last paintings dominate the sidewalls of the chapel—The Conversion of Saul and The Crucifixion of Saint Peter. Peter is shown being crucified upside down, as tradition says he was. But the head is torqued, lifting off the cross so that Peter can see into the room. His dark eyes followed me all the way down the center aisle, and all the way back.

On a wall in the Pinacoteca, the picture gallery, Caravaggio’s Deposition and the specter of a Bernini angel (Alex Majoli / Magnum / Vatican for The Atlantic)

It is a suite, not a single room. The vestibule holds a red plush Victorian love seat. White cassocks in various sizes hang on a rack in the room beyond; one of them should fit any newly elected pontiff well enough. A final room contains a small wooden desk bearing a nameplate from the most recent conclave: Bergoglio, the surname of Pope Francis. On a shelf nearby sit boxes labeled bianca and nera—chemical additives used to produce white or black smoke during a conclave, after each vote. In the vestibule, the custodian pointed to an alcove sheltering a waist-high antique cabinet. Did we know what it was? With a flourish, he opened the cabinet to reveal a commode, the oval seat upholstered in rich red leather.

The Vatican Museums go dark for everyone before midnight. It was 11 p.m., and time to leave. The lights in the Sistine Chapel were extinguished, and the door swung shut. A quarter of a mile later, Crea returned the chapel’s key to its vault. Alarms were set. Outside, Crea locked the museums’ back entrance and put the key to the vault (in a freshly sealed envelope, signed and stamped) and the key to the back door into a zippered pouch. This he deposited at a command post on his way out of the city-state. Until about 5 a.m., no one would be inside.

I would see the Sistine Chapel once more. Two hours before dawn, as the rain tapered off, the gates of the Porta Sant’Anna swung open for Crea’s BMW. One of the Swiss guards at the gate saluted and then bent to the window. The guardsmen wore not the ceremonial uniform of red, blue, and yellow but the deep-blue service uniform, still with a Renaissance flair—breeches, knee socks, tunic, beret. Instead of swords, the guards carried sidearms. They were young and fit, and looked capable of a kinetic response to Stalin’s mocking question “How many divisions has the pope?” The car was waved through.

We stopped at the command post to pick up the pouch, then drove farther into Vatican City. The car crossed a courtyard, passed under a building, made some sharp turns, and came out amid the Vatican gardens alongside a road that leads to the back entrance of the museums. This is the route typically taken by guests of the Holy See’s secretary of state and by certain other visitors. French President Emmanuel Macron had recently come this way. A year earlier, Kim Kardashian, arriving with Kate Moss, had created a stir, wearing what appeared to be a spray-on white doily; she had to put on a long coat before being allowed to enter the Sistine Chapel. Members of the staff still spoke about that visit. (Moss, they said, had been lovely.)

When other guards arrived, Crea unlocked the entrance. Inside, switches were flicked. The security station glowed once more. Tutto okay? one of the men said into a phone—a routine call to the central office of the governatorato, the Vatican’s city hall, which manages the alarm system. Yes, everything was okay. Crea began handing out rings of keys. He himself took No. 401 and proceeded to the double doors that give entry to the Belvedere Palace. Using both arms, he pulled them open.

We meandered along the Gallery of the Tapestries. The hall was dark, but a flashlight framed the risen Christ in a bright circle. We arrived once more at the Sistine Chapel. The door to the Sala Regia opened briefly, revealing a flash of color: Swiss guards stood smartly in ceremonial uniforms, helmets catching the light—an honor guard for the diplomat’s funeral. The counterpoint in the chapel was a red-haired woman in a white smock, armed with a bucket, a broom, and a mop.

The recently restored Room of Constantine, the chamber Raphael was working on when he died (Alex Majoli / Magnum / Vatican for The Atlantic)

The museums’ doors would soon be opening. The hallways had begun to awaken. Guards passed by in twos and threes. Salespeople unloaded boxes from carts: fresh supplies of guidebooks and rosaries, key chains and plush toys. An aroma of espresso trailed from a break room. Near the gates, metal detectors blinked on. Outside, below the Vatican’s high walls, the colored flags of tour guides poked above the crowd.

We sought higher ground, climbing to a terrace that overlooks the Cortile della Pigna, the Pinecone Courtyard. The view, Barbara Jatta told me, had made this terrace a favorite spot: It offers a panorama of the Vatican and all of Rome. The storm had passed. A thin haze lay over the city, pierced by domes and towers. The sun, low above the Alban Hills, was on the verge of breaking through.

I was conscious of the way the various cogs of a museum’s life turn at different rates. The slow, unending process of accretion over centuries. The biography, sometimes tortuous, of every object. The cyclical flood of visitors. The start-and-stop progress through a gallery. And the sudden spark of provocation, when something you see triggers a thought or a memory—a long-ago visit here with a parent, a moment of love or friendship, an inexplicable vibration of the spirit. In that instant, a museum exists for the visitor alone. I had been carrying around Marco Maggi’s words like a riddle—“Time is an emotion”—even as the meaning fell into place.

[webseriesviral]

This Week in Bollywood | FilmInk In cinemas June 29 Carry on Jatta ... #movie quote #movies #movie line #movie line #movie scenes #cinema #movie stills #film quotes #film edit #vintage #movie scenes #love quotes #life quotes #positive quotes #vintage #retro #quote #quotes #sayings #cinematography

[news4580]

Carry On Jatta 3 Budget & Day 1 Box Office Collection

Gippy Grewal and Sonam Bajwa starrer Carry On Jatta 3 Box Office Collection is off to a good start at Punjabi Box office and will be one of the all time highest opening day in Punjab. The previous part Carry on Jatta 2 in 2018 is all time second highest grosser in Punjabi industry Carry On Jatta 3 Day 1 Box Office Collection 2 to 3 Crore nett in Punjab 5 to 6 Crore gross worldwide Top Punjabi…