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The Hairdresser’s Husband: Too Much of a Good Thing?

Vandana Kumar explores how a film like The Hairdresser’s Husband starts as a man’s...

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Usha Ganguly: A Curtain-Call

Aparajita Krishna walks you through the rich life of theatre stalwart Usha Ganguly, through Om Pareek’s experience of ha...

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Hitchcock’s Shadow

Khalid Mohamed writes on the influence of the Master of Suspense on Bollywood movies, which was infinitely preferable to blood...

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Those magical tours

Rumi Taraporevala travels back in time, to recapture the joy of the iconic Lala Tours of Bombay, conducted by St. Xavier&rsquo...

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A dog, a boy and a film: Musings on Kala

Janaky Sreedharan reviews the Malayalam film Kala (the unwanted) and raises questions on the obsession with violence and its d...

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Bees Saal Baad Revisited

Film historian Dhruv Somani, rewinds to the classic chiller, which continues to enthrall viewers of all generations, ever sinc...

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The Discreet Charm of the Bourgeoisie

Sharad Raj writes that Bunuel has been called a cruel filmmaker, he sees that we are hypocrites, admits to being one and belie...

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How civilized is the civilized world?

Vinta Nanda insists that we, the so-called civilized people, talk about poverty, violence and exclusion.

Woh Sadhana thi

The cine-young living in the 60-year-old that I am, refuses to abandon my lingering fascination for actress Sadhana, writes Aparajita K...

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Born to act: Ahlam Khan Karachiwala

Aparajita Krishna takes a walk through the life of actor Ahlam Khan Karachiwala, born to Indian cinema’s most loved Amja...

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