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Lata Mangeshkar, the ageless voice of India, passes away at 92

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Lata Mangeshkar, India’s most loved singer who had once moved Pandit Jawaharlal Nehru to tears, leaves behind a teary-eyed nation of admirers who grew up listening to her immutable voice give wings to the words of poets and the screen careers of legions of heroines.

India’s Melody Queen, who also composed music for Marathi films and was a producer as well, and had the distinction of being conferred with the highest civilian honours of India and France, passed away on Sunday morning at the Breach Candy Hospital in Mumbai, where she had been admitted because of Covid-related complications on January 11.

Lata Didi, as she was known among her family and followers, was 92 and is survived by her siblings — playback singer and composer Meena Khadilkar, popular singer and restaurateur Asha Bhosale, singer Usha Mangeshkar, and music director Hridayanath Mangeshkar.

She never married, but was close to the late Raj Singh Dungarpur, the aristocratic former cricketer and President of the Board of Control for Cricket in India (BCCI) from 1996 to 1999.

One of India’s most loved voices, Lata Mangeshkar was the recipient of three National Film Awards, seven Filmfare awards, and of course, the Dadasaheb Phalke Award in 1989. She was conferred the Bharat Ratna in 2001, becoming the second singer after M.S. Subbulakshmi to be so honoured, and the French awarded her the Officer of the Legion of Honour.

In 1974, Lata Mangeshkar became the first Indian to perform at the Royal Albert Hall, London. She had indeed come a long, long way since the time when the first song that she recorded for a film — ‘Kiti Hasaal’ in 1942 — was dropped in the final cut.

Born in what was then the princely state of Indore on September 28, 1929, to the classical singer, Marathi theatre actor and writer of musical plays Deenanath Mangeshkar and his wife Shevanti (Shudhamati), Lata Mangeshkar was originally named Hema by her parents, but they later changed it to Lata after the character Latika from one of her father’s musical plays.

Lata Mangeshkar’s association with the performing arts began when she was five and started appearing in her father’s musical plays, and it continued even after her father’s premature death in 1942, thanks to his good friend, the actor and director Master Vinayak (Vinayak Damodar Karnataki), who took the family under his wings.

It was Master Vinayak who took Lata Mangeshkar to Mumbai, paved her way into the world of Marathi cinema, got her to take Hindustani classical music lessons from Ustad Aman Ali Khan of the Bhendi Bazaar Gharana, and introduced her to Vasant Desai, V. Shantaram’s favourite music composer.

But it was not until Master Vinayak’s death in 1948 that the struggling singer-actor found the person whom she considered to be her “godfather” — the music composer Ghulam Haider, who gave Lata Mangeshkar her first big break with the song ‘Dil Mera Toda, Mujhe Kahin Ka Na Chhora’ in the movie ‘Majboor’ (1948). It was her first big break.

Haider took his protege to Shashadhar Mukherjee, the Filmistan boss now better known as Kajol and Rani Mukherjee’s grandfather, for his film, ‘Shaheed’ (1948), but he turned her down because he found her voice to be “too thin”.

Lata Mangeshkar proved him oh-so wrong just a year later when her song ‘Aayega Aanewaala’, filmed on the gorgeous Madhubala in Kamal Amrohi’s debut directorial, ‘Mahal’ (1949), became an ageless hit.

And in one of life’s delicious ironies, Mukherjee’s grand-daughter lip-synced the ‘Dilwale Dulhania Le Jayenge’ song, ‘Mere Khwabon Mein’, which was sung by none other than Lata Mangeshkar, as well as the other numbers picturised on her and Shah Rukh Khan.

Since ‘Mahal’, Lata Mangeshkar was courted by just about every music director of note — from Anil Biswas to S.D. Burman (and his son Rahul Dev, whose first and last song she sang), Naushad (who had asked her to sing like the then reigning nightingale, Noorjehan), Madan Mohan, Shankar-Jaikishan, Laxmikant-Pyarelal (for whom she’s said to have sung 700 songs in 35 years), and Kalyanji-Anandji.

And she worked with every contemporary composer of note — from Anand-Milind, sons of Chitragupt, with whom she had also worked, and Anu Malik, Sardar Malik’s son, to Ilaiyaraaja and A.R. Rahman. It is said she worked with music directors from 13 states in her star-studded career.

After Noorjehan moved to Pakistan, Lata Mangeshkar became the go-to playback singer for every film producer and music composer. She did not disappoint them.

Lata Mangeshkar lent her voice to an endless succession of chart-topping numbers in Hindi cinema, from ‘Allah Tero Naam’ and ‘Rangeela Re’ to the ‘Satyam Shivam Sundaram’ title track, to ‘Lukka Chuppi’ in ‘Rang De Basanti’, apart from songs in Marathi (she also composed the music for several Marathi films in her ‘Anandghan’ avatar), Bengali, Tamil, Kannada, Malayalam, and Sinhala.

In 1974, the Guinness Book of Records listed Lata Mangeshkar as the most recorded artiste in human history, stating that she had recorded “not less than 25,000 solo, duet and chorus-backed songs in 20 Indian languages” between 1948 and 1974. The claim was contested by her long-time rival, Mohammad Rafi, who claimed to have sung around 28,000 songs.

After Rafi’s death, the Guinness Book in its 1984 edition listed Lata Mangeshkar in its entry for ‘Most Recordings’, but it also recorded Rafi’s claim. Later editions of the Guinness Book said Lata Mangeshkar had sung no less than 30,000 songs from 1948 to 1987.

For 73 years, from 1943 to 2015, when she recorded her last song for a film (the Indo-Norwegian production, ‘Dunno Y2…Life Is A Moment’, which was all about gay love), Lata Mangeshkar commanded a fan following and an inimitable reputation with not many parallels in the Indian performing arts.

The late Yash Chopra, who was one of Lata Mangeshkar’s favourite directors, said in an article he had penned for BBC.com on the occasion of the singer’s 75th birthday (not longer after she had sung the famous ‘Veer Zaara’ song, ‘Tere Liye Hum Hain Jiye’, with Roop Kumar Rathod): “I see God’s blessing in her voice.” We are blessed to have that voice live with us forever.

Bollywood

Aditya Roy Kapur, Anil Kapoor’s The Night Manager Gets Nominated In Emmys 2024

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Aditya Roy Kapur, Anil Kapoor's The Night Manager Gets Nominated In Emmys 2024

The Indian version of “The Night Manager”, starring Anil Kapoor, Aditya Roy Kapoor and Sobhita Dhulipala, has received a nomination in the drama series category at the 2024 International Emmy Awards.

“The Night Manager” was the only entry from India across 14 categories at the nominations that were announced on Thursday in New York by the International Academy of Television Arts & Sciences.

The series, directed by Sandeep Modi and Priyanka Ghose, is adapted from both — the John le Carré’s novel and the British show, starring Tom Hiddleston, Hugh Laurie and Olivia Colman.

“The Night Manager” will compete with French show “Les Gouttes de Dieu” (Drops of God), “The Newsreader – Season 2” from Australia and “Iosi, El Espia Arrepentido” season two from Argentina in the category.

Actor Anil Kapoor, who played the role of antagonist Shelly Rungta in the series, said he is “ecstatic” over the nomination, which is a “worthy reminder” that hard work always pays off.

“It’s just been brought to my attention that our Indian adaptation of ‘The Night Manager’ has been nominated for an International Emmy. I remember when the offer came in, I was conflicted. It offered me the opportunity to play a character so complex, but also, on the other hand, the huge responsibility of trying to add newness and authenticity to a part that had been played so masterfully by Hugh Laurie.

“This validation from the Emmys, in addition to the tremendous love that we have received from fans worldwide, is a worthy reminder that hard work always pays.. I am ecstatic and hungrier than ever before for what’s to come,” the actor said.

The International Emmys, to be held in New York on November 25, will be hosted by Indian comedian Vir Das, who won an award last year for his stand-up special “Landing”.

Nominees for International Emmys come from different countries such as Argentina, Australia, Belgium, Brazil, India, Chile, Colombia, France, Japan, Germany and many others.

“Every year the international television community competes to be recognized on the International Emmys’ much coveted global stage,” said International Academy President & CEO Bruce L. Paisner.

“We congratulate the Nominees for their outstanding programs and performances, they are once again a testament to the universal appeal of great storytelling across all genres, countries and cultures,” Paisner said.

The other nominee categories are for best performance by an actor, actress, comedy, documentary, non-scripted entertainment, short-form series, sports documentary, telenovela, TV movie / mini-series, kids: animation, kids: factual, kids: live-action.

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Kangana Ranaut’s Emergency Release Update: Bombay HC Asks CBFC To Take A Decision By September 25

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Kangana Ranaut's Emergency Release Update: Bombay HC Asks CBFC To Take A Decision By September 25

The Bombay High Court on Thursday (September 19) expressed displeasure over the Central Board of Film Certification (CBFC) sitting “over the fence” in issuing certification to the Kangana Ranaut-starrer “Emergency” and asked the censor board to take a decision by September 25.

Noting that creative freedom and freedom of expression cannot be curtailed, the court said that the censor board cannot refuse to certify a film just over the apprehension of law and order problems. It questioned whether the CBFC thought that people of this country are so naive to believe everything that is shown in a movie.

The HC was hearing a petition filed by Zee Entertainment Enterprises seeking direction to the CBFC to issue a certificate for the film “Emergency”.

“You (CBFC) have to take a decision one way or the other. You must have the courage to say this film cannot be released. At least then we will appreciate your courage and boldness. We don’t want the CBFC to sit on the fence,” a bench of Justices B P Colabawalla and Firdosh Pooniwalla said.

The movie was slated to release on September 6. However, the release was delayed following opposition by Sikh organisations including the Shiromani Akali Dal accusing that the movie was misrepresenting the community and getting historical facts wrong. The HC, on September 4, refused to grant urgent relief and directed the CBFC to consider the objections by the Sikh community and then issue certification by September 18.

CBFC counsel Abhinav Chandrachud informed the bench that the board’s chairman has referred the movie to the revising committee for final decision. He added that there was an element of apprehension of public disorder.

However, Zee’s counsel, Venkatesh Dhond contended that this was done to ensure that the movie is not released before October, when the elections are to be held in Haryana.

Irked by the fact that the CBFC had failed to comply with its earlier order and simply passed the buck from one department to another, the HC said that the censor board cannot conclude that there would be a law and order problem and hence refuse to certify the movie. “This has to stop. Otherwise we are completely curtailing creative freedom and freedom of expression by doing all this… Does the CBFC think the public in this country are so naïve and stupid to believe everything they see in films? What about creative freedom?” the bench asked.

The judges wondered why people had become sensitive to what was being shown in movies. “We don’t see why people are so sensitive. My community is made fun of all the time in movies. We don’t say anything. We just laugh and move on,” Justice Colabawalla said on a lighter note.

Dhond submitted that the movie’s release was being delayed due to political reasons. Questioning the political angle, the bench asked if the petitioner claimed that the ruling party was against Ranaut, who is not just the co-producer of the movie but also a sitting BJP Member of Parliament.

However, Dhond said that the ruling party was willing to displease a sitting parliamentarian just to appease a particular section of society.

The HC has asked the CBFC to take a decision by September 25 and communicate the same to the filmmakers.

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Sohum Shah Announces Tumbbad 2 Following First Part’s Re-Release: ‘Bigger Twists, More Intense Exploration’

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Sohum Shah Announces Tumbbad 2 Following First Part's Re-Release: 'Bigger Twists, More Intense Exploration'

Actor Sohum Shah on Saturday announced a sequel to his 2018 critically acclaimed film, “Tumbbad”, a day after the movie was re-released in theatres. Directed by Rahi Anil Barve, the atmospheric horror drama received critical acclaim upon its release six years ago. It was produced by the actor under his banner Sohum Shah Films.

Shah assured fans that the sequel of “Tumbbad” will dig deeper into the theme of greed. “‘Tumbbad’ has been a special journey and a labour of love for us, and to see the love it continues to receive is overwhelming and only ratifies our belief and ethos of Sohum Shah Films, that content is king.

“With ‘Tumbbad 2’, we want to push the cinematic experience and boundaries even further. ‘Tumbbad 2’ will take audiences deeper into the world we’ve created, with bigger twists and a more intense exploration of what happens when greed knows no limits,” the actor-producer said in a statement.

Set in a Maharashtra village, “Tumbbad” explores Vinayak Rao’s (Shah) descent into greed and obsession as he seeks out a mythical treasure guarded by the malevolent entity Hastar. With the sequel, the makers promise an even more gripping narrative that builds on the dark, mythical universe of “Tumbbad”, the press release said.

“Tumbbad”, which was re-released in theatres on Friday, received a positive response from the audience.

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