In the climax of Anand, when the audience saw Rajesh Khanna die on-screen, it didn’t bother about anyone else; but in Namak Haraam, Khanna’s cinematic death ended up giving Amitabh Bachchan a new lease of life.
The Deepika Padukone-TOI exchange is only a symptom of a deeper malaise—it should make us look critically at the sexism our films seem to have internalised
While anti-rape protests rightly take the government to task for better policing and changes in law, perhaps it is also time to introspect on the sort of lyrics that are being promoted in the name of irreverence and 'youth culture'
