#salaam bombay!

[byneddiedingo]

Chandra Sharma in Salaam Bombay! (Mira Nair, 1988)

Cast: Shafiq Sayed, Raghuvir Yadav, Hansa Vital, Anita Kanwar, Nana Patekar, Chandra Sharma, Irrfan Khan, Sanjana Kapoor. Screenplay: Mira Nair, Sooni Taraporevala. Cinematography: Sandi Sissel. Production design: Mitch Epstein. Film editing: Barry Alexander Brown. Music: L. Subramaniam.

Salaam Bombay! is an extraordinarily beautiful movie considering the unremitting sordidness of its setting and the sad hopelessness of the people in it. The beauty comes from the exceptional color cinematography of Sandi Sissel, who like director Mira Nair got her start in documentaries. Nair's ex-husband, Mitch Epstein, who is credited as production designer, also probably deserves a good share of the praise, as the film's end credit -- "52 locations, 52 days, what problem? no problem" -- seems to suggest. The film was edited by Barry Alexander Brown, whose documentary The War at Home (1979) was nominated for the best feature documentary Oscar. The background in documentaries of so many of the creative people associated with the film also helps to explain how Nair was able to get such exceptional performances from non-professionals, chosen from the streets of Mumbai. Shafiq Syed as Krishna, the film's central figure, carries a great burden of characterization deftly. There are a few professional actors in the cast, including Anita Kanwar as Rekha and Nana Patekar as Baba, a prostitute and her abusive husband/pimp, and Raghuvir Yadav as Chillum, the junkie who sells drugs for Baba and befriends but ultimately steals from Krishna. To the film and its performers' great credit, these are fully drawn characters, with motives behind their meanness.

[zodgory]

Round 1, Match 3 of Blank Check's March Madness Copycat Poll

March Madness bracket explainer

Official Sergio Leone v Mira Nair poll

[genevieveetguy]

Salaam Bombay!, Mira Nair (1988)

[pynkhues]

Please rate some of my favorite movies for the movie meme

Parent trap

walked to remember

Save the last chance

Honey

Drumline

Slumdog millionaire

The Incredibles

Dirty dancing

To all the boys I loved before

Ooo, yes, thanks!

Parent Trap

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

I'm guessing you mean the 1998 version with Lindsay Lohan, not the 1961 one, but I do actually really like both of them. They're fun, and have such a good energy to them, even if the plot itself is totally off the wall, haha.

A Walk to Remember

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

Oo, it's been so long since I've seen this one, but I remember liking it at the time? The plot is pretty saccharine, but it's nice to have that sometimes, particularly in YA romance like that, and Mandy Moore's always been a charming and underrated actress, so I'm always rooting for her.

Save the Last Dance

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

My sister and I were obsessed with this movie when it came out, haha, along with Centerstage. I don't think it's aged super well, but I appreciate it for what it was at the time, and Sean Patrick Thomas was dreamy in it.

Honey

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

Okay, I do know that I've seen this, but I could not tell you a single thing about it, so I don't feel like I should give it a vote, haha. Jessica Alba was hot though!

Drumline

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

This plot sounds delightfully early 2000s in a way that does actually make me want to see it, haha.

Slumdog Millionaire

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

I remember loving this when it came out, but I'm not sure it necessarily holds up as well on rewatch? I actually watched Mira Nair's Salaam Bombay for the first time recently too and it staggered me how much inspiration Danny Boyle must've taken from it / how much he was influenced by it. I still like Slumdog Millionaire, but yes - would highly recommend Salaam Bombay, which I think is overall a much better, more nuanced film (and one by an Indian woman filmmaker!)

The Incredibles

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

Genuinely pretty hard to fault as a superhero film, but more than that, I think has really compelling things to say about middle age, parenthood, purpose and self-identity. I rewatched it recently with my nephews too, and it really holds up!

Dirty Dancing

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

So sexy! I only watched it for the first time recently, so have my Letterboxd review, haha:

It’s such a funny thing to watch these 80s movies that just ooze sex when there’s this rise of puritanical cinema again. It’ been a minute since I last saw this, but man, if it isn’t easy to see why it’s got the cultural legacy it has - it really stands up! Just full of charm and chemistry and just bonkers enough to sell its own fantasy. Love it.

To All the Boys I Loved Before

never seen | want to see | the worst | bad | whatever | not my thing | good | great | favorite | masterpiece

Pretty perfect as far as frothy YA romances go. Lana Condor should be a star.

Ask me about movies

[whileiamdying]

Mississippi Masala: The Ocean of Comings and Goings

By Bilal Qureshi MAY 25, 2022

often remark that my Punjabi parents immigrated to the American South woefully unaware that they’d brought us to a place with an incurable preexisting condition. Racism doesn’t belong exclusively to the South—the former Confederacy—but it was implemented at industrial scale across the region’s economic, political, and cultural life. Alongside this landscape’s sublime natural beauty—rivers, fields, and bayous—sits the history of America’s unsparing brutality against its Black citizens. On the other side of the world, in South Asia, as well as among its global diasporas, anti-Blackness is embedded in ideas of colorism and caste, in tribal imaginaries and policed lines of “suitable” marriages.

The possibility to live—and to love—across racial borders is the theme of Mira Nair’s extraordinarily prescient and sexy second feature film, Mississippi Masala (1991). Three decades later, it speaks to a new generation as groundbreaking filmic heritage—but also with an almost eerie, prophetic wisdom for how to live beyond the confinements of identity and color. Even by today’s standards, the film is a radical triumph of cinematic representation, centering as it does Black and Brown filmmaking, acting, and storytelling. It is also a genre-defying outlier that would likely be as difficult to get financed and produced today as it was then. Part comedy, part drama, rooted in memoir and colonial history, the film that Nair imagined was a low-budget independent one with global settings and ambitions. The notion of representation—perhaps more accurately described as a correction of earlier misrepresentations—wasn’t its point or its currency. Race was its very subject. Nair has said she wanted to confront the “hierarchy of color” in America, India, and East Africa with the film—the kinds of limitations that she had experienced firsthand by living, studying (first sociology, then film), and making documentaries in both India and the United States. In a shift that began with her first feature film, Salaam Bombay! (1988), Nair set out to transform those real-world issues into fictionalized worlds, translating her sociological observations into works suffused with beauty, music, and, in the case of Mississippi Masala, humid sensuality.

Nair first engaged with the questions at the heart of the film when she came to the United States from India to study at Harvard in the mid-1970s. As a new arrival to the country’s color line, she has recalled, both its Black and white communities were accessible to her, and yet she belonged to neither. The experience of being outside that specific American binary would be a formative and fertile site of dislocation for the young filmmaker. Nair trained in documentary under the mentorship of D. A. Pennebaker, among others, and her first films were immersive explorations of questions that haunted her own life. The pangs of exile and homesickness for lost motherlands became the foundation of So Far from India (1983), and the boundaries of “respectability” for women in Indian society the subject of India Cabaret (1985). Salaam Bombay!—made in collaboration with her fellow Indian-born classmate, the photographer and screenwriter Sooni Taraporevala—carried her Direct Cinema training to extraordinary new heights. Working, from a script by Taraporevala, with nonactors on location in the streets of Mumbai, Nair found a filmic language that could merge the rigor of realism with the haunting emotion of fiction. It would become the creative model for Nair and Taraporevala’s translation of the real-life phenomenon of Indian-owned motels in the American South into a spicy cinematic blend of migration, rebellion, and romance.

During research trips across Mississippi, Louisiana, and South Carolina that Nair made in 1989, she discovered that many of the Indian motel owners in the South had come to the United States from Uganda following their expulsion by President Idi Amin in 1972. Ten years after the East African country gained its independence from British rule, Amin had blamed his country’s economic woes on its privileged and financially successful South Asian community. In the racial politics of empire, the British had privileged the Indian workers they had imported to East Africa, creating racial hierarchies Amin now wanted to destroy by way of politicizing race anew. In a line that is repeated in the screenplay, the mission was “Africa for Africans,” and for tens of thousands of Asian families, it was an uprooting and dislocation from which some would never recover.

In Mississippi Masala, the classically trained British Indian actor Roshan Seth plays Jay, the immigrant father who is the focal point of the “past” of the film’s dual narrative, which is beautifully balanced in the way that it interweaves the perspectives of two generations. In the film’s harrowing overture, Jay—along with his wife, Kinnu (Sharmila Tagore), and their daughter, Mina (Sarita Choudhury)—is being forced to flee Kampala, and he laments that it will always be the only home he has known. With stoic reserve, holding back tears, Seth conveys the gravity of the loss, as the camera captures the lush beauty of the family’s garden and the faces of those they must leave behind. Throughout the film, as Kinnu, Tagore—an acclaimed Indian film star and frequent Satyajit Ray collaborator—is a composed counterpoint to Seth’s troubled Jay in her character’s strength and resilience. When the film picks up with the family two decades later, Kinnu is shown managing the family’s liquor store, while an aging Jay writes to petition Uganda’s new government to reclaim his lost property. Nair’s camera pans up from his writing desk to reveal through his window the parking lot of a roadside Mississippi motel. This is where Jay works and exists in a permanent state of nostalgia, until he is jolted awake by Mina’s demands for a home and a life of her own.

Even as Jay dreams in sepia-toned memories, the film itself never descends into saccharine longing or scored sentimentality. The rigor of the research and on-location filmmaking in both Mississippi and Kampala is reflected in an unvarnished and immersive visual style. While Nair herself clearly understood the fabric of the lives of the Gujarati Hindu families she was portraying, she has discussed how Denzel Washington became a critical collaborator in ensuring that southern Black life was rendered with equal attention to detail, cultural specificity, and dignity. The result is a film whose homes and communities are etched with a palpable sense of reality.

All of Mississippi Masala’s disparate threads are bound together by a distinctly sultry southern love story, which naturally remains the best-remembered feature of the film. The meet-cute of Mina and Washington’s character, Demetrius, is quite literally a traffic collision, a not-so-subtle suggestion that, without a bit of movie magic and melodrama, these two southerners might never have been maneuvered into the exchanged numbers and glances, and palpable wanting, that still burn the screen today. The film is fueled by the gorgeousness and megawatt charisma of both its stars, the young Washington paired with Choudhury in a prodigious debut as a woman at the edge of adulthood—her mane of wavy hair, their sweaty night of dancing to Keith Sweat, aimless late-night phone calls, dark skin in white bedsheets, secret meetings, consummated desires.

In the background of the R&B song of young, electric love are the film’s quieter, deeper notes on migration. A string leitmotif by the classical Indian violinist L. Subramaniam recurs whenever the vistas of Lake Victoria across the family’s lost garden in Kampala appear on-screen in brief flashbacks. Nair’s mastery with music has only deepened with time, resulting in films that integrate archival and original music with a free-form alertness that is distinctly her own. Both for the African American people living amid strip malls in the dilapidated neighborhoods of a region to which their ancestors were brought by bondage, and for the Indian families forced by Amin to flee their homes, exile is expressed in stereo. As Jay pines for the country he lost, Demetrius’s brother dreams of visiting Africa and saluting Nelson Mandela—disparate but recognizable longings and family histories shared over a southern barbecue, American bridges.

There wouldn’t be racial borders, however, if they weren’t policed, and the policing authorities here come from across the racial spectrum. When Mina and Demetrius’s relationship is discovered by nosy Indian uncles, those boundaries flare up. From the Black ex-girlfriend who asks why the good Black men can’t date Black women, to the Indian uncles who barge into Demetrius and Mina’s hotel room, to the gossiping aunties who during phone calls mock Mina’s rebellious scandal, there is a veritable chorus of condemnation. It is portrayed with great comedic timing and wit, including from Nair herself, who delivers some of the sharpest lines of disapproval in the role of “Gossip 1.” But the implications of those judgments remain unfunny by design. The film’s remarkable achievement is the way it never buckles under the thematic weight of these uncomfortable truths. Nair always delivers her cerebral punches with a lightness and warmth that are precisely calibrated. These are the markers of a filmmaker in full control of the tone, color, production design, and, always, music to accompany the emotional demands of her material, and that facility has only gotten sharper in such masterpieces as Monsoon Wedding (2001).

Mississippi Masala showed at festivals in late 1991 and was released commercially in American cinemas in February 1992, within weeks of Wayne’s World and Basic Instinct. Working outside Hollywood’s conventions, Nair joined an extraordinary flowering in independent filmmaking that continues to be celebrated. The year 1991 had been a landmark one for Black cinema already, with the release of Julie Dash’s Daughters of the Dust, Mario Van Peebles’s New Jack City, and John Singleton’s Boyz n the Hood. Spike Lee’s opus Malcolm X, with Washington in the title role, would be released in the U.S. in late 1992. Nair’s film was shown at the same 1992 Sundance Film Festival at which a landmark panel about LGBTQ representation heralded a movement, named New Queer Cinema by moderator B. Ruby Rich, devoted to reclaiming stories of love and suffering from Hollywood’s gaze. These were parallel currents that echoed larger shifts and openings happening in global culture. The collapse of the Soviet Union, the end of apartheid in South Africa, India’s economic liberalization, and the rise of a youthful southern Democrat in the U.S. following a decade of Republican rule were stirrings of a new order. The possibilities were being felt all over the world as Nair’s film of southern futures arrived. Described by the New York Times at the time as “sweetly pungent” and by the Washington Post as a “savory multiracial stew,” Mississippi Masala opened in American cinemas to rave, if exoticizing, reviews, less than a decade after Richard Attenborough’s Gandhi and Steven Spielberg’s portrayal of Indian characters eating monkey brains during a ritual dinner in Indiana Jones and the Temple of Doom. Realistic international cinema featuring everyday South Asian life—as opposed to the Indian musical tradition or Hollywood’s tropes about foreignness—had almost no precedents or peers at the time. The depiction of South Asian characters as ordinary working-class Americans navigating questions of family, money, and love remains a radical achievement. Mississippi Masala also manages to decenter whiteness altogether. In a film about racial hierarchies, white characters appear only in the background, as the motel guests, patrons, and shopkeepers of Greenwood society. By design, this is first and foremost a film about Mina and Demetrius, and the families and communities that formed them. Despite all the extraordinary accomplishments in the streaming age by the current generation of filmmakers of color, Mississippi Masala’s layered portrayal of race and love still feels unparalleled. To hear its characters speak candidly about the real lines that divide them, and reflect on the costs of crossing those lines, is to recognize the rigorous thinking—and living—that informed the screenplay. Even more disappointing than the lack of contemporary equals to the film, perhaps, are the offscreen parallels in South Asian communities like my own, where colorism and anti-Blackness are stubborn traditions yet to be fully dismantled. Stories of interracial love are still rarely told on-screen, and these relationships—the masala mixes—are still not visible enough to become as normalized as they deserve to be.

One of Nair’s first films, So Far from India, was filmed between New York City and Gujarat. It opens with a folk musician in the streets of Ahmedabad, a sequence that serves as a prelude to the film, about an Indian immigrant and the wife he has left behind. Nair, as narrator, translates his singing about the ocean of comings and goings. With Mississippi Masala, Nair positioned herself as both a great chronicler and a great navigator of that vast ocean of comings and goings. America is one of Nair’s homes, and she has made several films about the immigrant experience there, including her adaptations of Jhumpa Lahiri’s The Namesake (2006) and Mohsin Hamid’s The Reluctant Fundamentalist (2012). Each has sought to look at the country through the eyes of those usually on the margins in order to dramatize and problematize the idea of the American dream. It is these poetic and cinematic ruminations on identities in flux that feel like her most enduring, almost personal, gifts to hyphenated viewers like myself.

When I was younger, I thought Mississippi Masala embodied Mina’s rebellion, the promise of independence, and the freedom to choose whom and how to love. But now, twenty years after I first saw the film, at university, Jay’s longing for home and his incurable displacement feel equally, achingly resonant. With the limitations of America laid bare by the gift of adulthood, migration is no longer only a hurtling forward toward the rush of freedoms; it is now also the unknowable costs borne by my parents, the homes and selves they left behind.

The film’s closing credits, braiding Jay’s return to Kampala with glimpses of Mina and Demetrius kissing in the warmth of the southern sun, capture Nair’s exquisite feat of balancing—and blending—in Mississippi Masala. For a film traversing so many geographies and registers, there is finally a seamless harmony between father and daughter, between tradition and future, between here and there. As seen anew in restored colors, Mississippi Masala endures not for its spicy and pungent aromas of cultural specificity or representational breakthrough but for this profound commitment to multiplicity. It is a timeless song for and to those who live—and love—in multitudes.

[tybaltsjuliet]

1, 11, 20, 21!

01. your favorite movie released this year.

let me tell you, i am hard-pressed to choose between oppenheimer and renfield, and if that does not say everything about my personality...

11. a movie you wish you could un-watch.

funny games. i did not finish this movie, and i never will, and i still regret every minute i gave it. i wish i could not only un-watch it but have its existence blacked out of my memory.

20. a movie you think looks beautiful.

the 2015 cinderella. a dream of a film. i want to live in it.

21. a director you think is underrated.

MIRA NAIR. she has the range - close, grounded stories like mississippi masala to arch period pieces like vanity fair to high-stakes political drama like the reluctant fundamentalist. hell, she made kids before kids with salaam bombay!. if there was any justice in this world more people would know her name than greta gerwig’s.

[dulcewrites]

do you have any bollywood movie recommendations? I’m trying to get into the genre! if you don’t watch any my bad I just assumed because of your reblogs :)

Yes!!

If you want like classic, quenticential Bollywood. Good starters that most people enjoy:

- kuch kuch hota hai

- devdas (2002)

- om shanti om

- khabi khushi khabi gram

- Dilwale Dulhania Le Jayenge

- ram leela

Things that might be darker in tone/subject. Or historical films

- Ankur

- bulbbul (major tw for: abuse and sa)

- the lunchbox

- salaam Bombay (thee classic!)

- Gangubai Kathiawadi (tw abuse/s.a as well but Alia bhatt ate so bad)

- Bajirao Mastani

[jayaprakash123]

APOLLO CIRCUS opening scene from OSCAR award nominated first Indian film SALAAM BOMBAY shot in 1988 when Sahadevan and his brother CV Sridharan were Apollo Circus Proprietors then.

[starbiopic]

Mira Nair: From Rourkela to Oscars, The Journey of a Groundbreaking Filmmaker

Mira Nair, an iconic name in both Indian and international cinema, is best known for her film Salaam Bombay!—India’s second film to earn an Oscar nomination in the Best Foreign Film category. Born on October 15, 1957, in Rourkela, Odisha, Nair came from a well-established family. Her father, Amrit Lal Nair, was an IAS officer, and her upbringing was one filled with opportunities that fueled her…

[awardseasonblog]

(via Oscar 2025 Miglior film internazionale: l'India seleziona Laapataa Ladies)

A sorpresa l’India porta agli Oscar 2025 la commedia degli equivoci targata Netflix Laapataa Ladies diretta da Kiran Rao presentata nella selezione ufficiale dell'ultimo Toronto International Film Festival, snobbando però All We Imagine is Light di da Payal Kapadia vincitore del Grand Prix all’ultimo Festival di Cannes che secondo molti critici americani aveva già la candidatura in tasca.

Nella storia degli Oscar l’India ha conquistato 3 nominations: nel 1958 con Madre India di Mehboob Khan, nel 1989 con Salaam Bombay! di Mira Nair, nel 2002 con Lagaan di Ashutosh Gowariker

[aaastarztimes]

Kiran Rao की "Laapataa Ladies" बनी India की Official Entry for Oscars 2025

Kiran Rao Laapataa Ladies is India Official Entry for the Oscars 2025

Film Federation of India (FFI) ने आधिकारिक तौर पर Kiran Rao की Laapataa Ladies को Best Foreign Film category में 97th Academy Awards (Oscars 2025) के लिए India की entry के रूप में घोषित किया है। यह निर्णय सोमवार, 23 सितंबर को लिया गया, जब 29 फिल्मों की सूची में से इसे चुना गया। इन फिल्मों में बहु-प्रतीक्षित Animal (Ranbir Kapoor), National Award-winning Malayalam film Atma, और Cannes विजेता All We Imagine is Light (Jahaan Barwa) जैसी फिल्में भी शामिल थीं। Laapataa Ladies: कहानी की एक झलक Laapataa Ladies का निर्देशन Kiran Rao ने किया है और इसे Bollywood आइकॉन Aamir Khan ने प्रोड्यूस किया है। यह फिल्म दो नवविवाहित दुल्हनों की दिलचस्प और भावनात्मक कहानी बयां करती है, जो अपने पति के घर जाते समय ट्रेन में बदल जाती हैं। यह फिल्म पहचान, लैंगिक भूमिकाओं और ग्रामीण India की सामाजिक अपेक्षाओं की एक गहन परख है। प्रमुख भूमिकाओं में Pratibha Rata, Sparsh Srivastava, और Tansh Goyal नजर आते हैं। यह कथा दर्शकों को एक भावनात्मक यात्रा पर ले जाती है, जहां दुल्हनें भ्रम, भय, और हास्यास्पद परिस्थिति से जूझती हैं, जबकि यह India में नारीत्व की जटिल परतों को भी उजागर करती है। Kiran Rao के निर्देशन में Laapataa Ladies ने submission और dominance के बीच के तनाव को बेहतरीन तरीके से कैप्चर किया है, जो भारतीय महिलाओं की विविधता और शक्ति को दर्शाता है। Laapataa Ladies क्यों चुनी गई? Film Federation of India के अनुसार, Laapataa Ladies को ग्रामीण India में महिलाओं के अनुभवों की अद्वितीय प्रस्तुति के लिए चुना गया। FFI के एक आधिकारिक बयान में कहा गया कि "Indian women are a strange mixture of submission and dominance, with well-defined, powerful characters." फिल्म ��ा सूक्ष्म हास्य और एक अपूर्ण दुनिया की अर्ध-आदर्शवादी प्रस्तुति इसे Oscars के लिए India की आधिकारिक entry के रूप में एक standout विकल्प बनाती है। यह फिल्म, जो गहराई से Indian culture में निहित है, universal themes को छूती है, जो global audience से resonate करती हैं। लैंगिक भूमिकाओं, पहचान, और सामाजिक दबावों की प्रस्तुति ने इसे cultural boundaries से परे एक उपयुक्त contender बना दिया है, खासकर Oscars की Best Foreign Film category के लिए। India की Oscars तक की यात्रा India लंबे समय से Academy Awards की prestigious Best Foreign Film category में recognition की कोशिश कर रहा है। जबकि Lagaan, Mother India, और Salaam Bombay! जैसी फिल्मों को पहले नामांकित किया जा चुका है, लेकिन अभी तक कोई जीत नहीं मिली है। Laapataa Ladies के चयन के साथ, एक बार फिर उम्मीदें जगी हैं कि शायद इस बार India coveted Oscar जीतने में सफल हो जाए। Laapataa Ladies का चयन Indian society की विविधता और जटिलता को दर्शाने वाली कहानियों के बढ़ते महत्व को दर्शाता है। Kiran Rao के thoughtful direction और फिल्म की compelling narrative ने Oscars 2025 में एक significant impact डालने की क्षमता दिखलाई है। निष्कर्ष India की official entry के रूप में 97th Academy Awards के लिए, Kiran Rao की Laapataa Ladies international stage पर धमाल मचाने को तैयार है। फिल्म की अद्वितीय storyline, शानदार performances, और भारतीय समाज में gender dynamics की सूक्ष्म परख ने इसे Best Foreign Film category के लिए एक योग्य contender बना दिया है। इसके हास्य, भावनाओं, और सामाजिक commentary का blend इसे worldwide audiences से connect करने की क्षमता देता है, जो Indian जीवन और नारीत्व की जटिलताओं की एक झलक प्रदान करता है। अब पूरा देश बेसब्री से इंतजार कर रहा है कि Laapataa Ladies अपनी Oscar journey पर आगे बढ़े, और यह फिल्म एक ऐतिहासिक जीत के साथ देश की उम्मीदों को पूरा करे। Also Read: GOAT Box Office Collection: Thalapathy Vijay की नई फिल्म पर धमाकेदार प्रतिक्रिया Read the full article

[howardhawkshollywoodannex]

Queen of Katwe (2016) was directed by Mira Nair. Mira was born in Orissa, India, and has 27 director credits from a 1979 short to a 2022 tv episode.

Her other notable credits include Salaam Bombay, Mississippi Masala, The Perez Family, Monsoon Wedding, Vanity Fair, The Namesake, and New York I Love You.

[lyricsssdotin]

Salaam Rocky Bhai (Hindi) Lyrics

Singer:Vijay Prakash, Santhosh Venki, Sachin Basrur, Puneeth Rudranag, Mohan, H. Shreenivas Moorthi, Vijay Aurs, Ravi BasrurAlbum:KGF Chapter 1 Chalne ka hukumRukne ka hukumZindagi pe hukumMaut pe hukum Bandook pe hukumDushman pe hukumLeharon pe hukumBombai pe hukum Jaan Bombai ka, jaan Bombai kaJaan Bumbai ka jaan reIski aankhon mein aankh na daaloNoch leta hai praan ye Aag toofan jab bhi…

[news-line-today]

Sushmita Sen and Sonakshi Sinha Shine as Showstoppers at Bombay Times Fashion Week: A Celebration of Inclusivity and Iconic Characters

Bollywood stars Sushmita Sen and Sonakshi Sinha recently stole the spotlight at the Bombay Times Fashion Week, captivating audiences and paying tribute to their iconic characters as they graced the runway as showstoppers for renowned designers Rohit Verma and Vikram Phadnis.

Sushmita Sen, known for her elegance and grace, dazzled in a breathtaking bridal ensemble by Rohit Verma. Dressed in a mesmerizing lehenga adorned with intricate gold details, complemented by kaleeras and a delicate veil, Sen radiated regality as she walked the ramp. Her attire not only showcased the designer’s craftsmanship but also symbolized the essence of inclusivity and acceptance, as she paid homage to her character ShriGauri Sawant from the upcoming biopic “Taali.”

Expressing her gratitude, Sen took to social media to share her heartfelt sentiments, acknowledging the overwhelming support from the LGBTQIA+ community and emphasizing the beauty of unconditional acceptance. Her gesture of performing the iconic taali on the runway resonated deeply, leaving a lasting impression on the audience.

Meanwhile, Sonakshi Sinha mesmerized spectators with her portrayal of Fareedan from the acclaimed series “Heeramandi: The Diamond Bazaar” by Vikram Phadnis. Dressed in a striking black and silver lehenga embellished with intricate motifs, Sinha exuded elegance and sophistication reminiscent of her character, a powerful tawaif. Her graceful demeanor and homage to the courtesans of yesteryears showcased the rich heritage and craftsmanship of Indian artisans.

As Sonakshi recreated the iconic salaam on the ramp, she transported the audience into the world of Heeramandi, captivating them with her charm and poise. Her portrayal not only celebrated the character but also paid tribute to the timeless allure of Indian culture and history.

The Bombay Times Fashion Week witnessed a fusion of fashion and storytelling, with Sushmita Sen and Sonakshi Sinha embodying the essence of inclusivity and iconic characters on the runway. Their unforgettable performances served as a reminder of the power of fashion to transcend boundaries and celebrate diversity in all its forms.

[gracelaramusings]

Prologue: Wartime Travels

Back in 2017, my family set off for Myanmar just as the situation with the Rohingya reached a boiling point. We purchased our tickets before the situation escalated and became what many called a genocide. The news coming from the region was so horrific. As we were not meant to be traveling in the “affected” area of Myanmar, technically our journey was “not impacted” by the events. Still, how could one joyously travel and prance about when such murderous events were occurring in the very same country? Should I do a deep dive and weigh in? Cancel the trip? Feel guilty for even being there?

Then and there, I felt the need to address that elephant in the room. I put it out there. And basically, like the time I saw Salaam Bombay my sophomore year of university and felt this overwhelming sense of absolute guilt- how could I eat, dance and rejoice when so many in this world are living in abject poverty?- I realized then, there will always be horror in this world. We- I as an individual or my family or those I am closest with- may be blessed that it touches us less directly. We may be struck by it and forced to overcome it. What we do in our daily lives to make a difference somehow, is important. Yes, that helps alleviate the guilt when the need to overcome is less, perhaps, than others.

Horror. The horror. After October 7th, I felt a burning need to watch the movie Gallipoli (despite this Heart of Darkness reference, I did not watch Apocalypse Now in the days following). I recalled the sense of “if only” watching Gallipoli once again, knowing what is about to unfold, how countless deaths could have been prevented if only Mel Gibson ran just a little bit faster. Hoping the end would be different. Knowing it would not be.

If only.

This journey comes five months after the worst day in my, and many’s, lifetime. I and my family are the fortunate ones. My kids were meant to be at a music festival, not far from the site of Nova, that very next weekend. It could have been my kids. It wasn’t. Entire families massacred. Beheadings, rapes, mutilations, torture. And the hostages, still there, every day that passes, what horrors are they experiencing, day in and day out.

How can I go on vacation and have fun?

I am not trained in psychology. I do know that self-healing is important, if possible. That a break can help one continue, overcome, better help others. So that, is what I am doing. Re-juicing, so I can rejoice again. Knowing there are horrors. Doing what I can to help. Caring for myself, doing what I love, taking a break from this surreal reality in which the world hates Israel, hates me because I am Jewish, overlooks the atrocities and justifies the acts of terrorists, of Hamas. Disregards or ignores the fact that this war, in which too many are continuing to die, could end today— if only.

So, I am off, with Yuval. First to Seoul, then to Palawan and Coron in the Philippines, then to Singapore. Diving, dining, kayaking, swimming, dancing. And writing.

Every entry herewith is, in spirit, preceded by a sentence, a prayer, that I write here: Day x of the war. 133 hostages who must return home. Soldiers who must stay safe. May we recall the beauty of the 1,200 who were lost. May innocents, no matter where, not be harmed. May Hamas lay down its arms today. May we know no more horror. May we know no more sorrow.

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Alia Bhatt hosts the Hope Gala in support of Salaam Bombay Foundation

Mandarin Oriental Hotel Group, in partnership with celebrity fan, the award-winning Indian actress Alia Bhatt, hosted a spectacular charity gala tonight at Mandarin Oriental Hyde Park, London. The evening of entertainment and culinary delight was in support of Alia’s chosen charity – Salaam Bombay Foundation – which provides education and job opportunities for disadvantaged adolescents in India…