Khushi Kapoor Opens Up About Cosmetic Surgery: "Yes, I Have Changed My Looks But..."
In an interview with The Times of India, Khushi Kapoor admitted to undergoing cosmetic procedures. The actress said, 'Yes, I have changed my looks. But everyone thinks I have done some 10-20 things on myself. It is obviously not the case. I don't think going under the knife for your looks is such a big deal."
"For me, it is not okay to be dishonest with people around me about my looks. There are a lot of impressionable youngsters who follow us on the internet," shared Khushi Kapoor.
Khushi Kapoor Says People Will Always Be Judgemental
Khushi Kapoor shares how people will always judge you regardless of what you do.
"If we don't do something about our looks, then it is a problem and people will judge you for your looks, and if we do something for ourselves, feeding your insecurities, then also people have a problem. People will say that why did she change herself and did not stick to her original looks? So, you are not going to win either way. I am going to live my life the way I want to," says Khushi Kapoor.
The Archies actress further talked about the importance of being honest about one's looks.
"I was not born like this and all actor's groom themselves, and of course vanity is a large part of our life! I care about my looks, but haven't changed every single thing about my face. I don't want to set unrealistic standards of beauty and so I became open about the procedures I had done to look like this,' the actress said.
Cosmetic surgeries in Bollywood have long been a debate and celebrities have often been under scrutiny for it. The recent death of Shefali Jariwala has yet again sparked the debate around cosmetic surgeries and the unrealistic expectations of people.
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Indian Express
2 hours ago
- Indian Express
Sarzameen: Ibrahim Ali Khan's terrible film accidentally gets you to root for a terrorist to kill an Indian soldier, and you can't even deny it
In Sarzameen, a stern military man allows his only son to be murdered by terrorists in Kashmir because… nation comes first or something. You often hear about parents who proudly declare that they are willing to sacrifice their children for the country, and perhaps Prithviraj Sukumaran's Vijay Menon is cut from the same cloth as those folks. The only difference is that his son isn't a soldier on the front-lines, but a child for whom he feels no love. Played by Ibrahim Ali Khan, the child's name is Harman, and the only reason his father hates him is that he isn't like the other boys; he's timid, he can't play sports, and he speaks with a stutter. Bizarrely enough, Sarzameen implies that Vijay wouldn't have let his son die had he conformed to the 'norms' of boyhood. If Harman didn't have a speech impediment, the movie suggests, he'd likely have lived. It's an astounding thought that struck absolutely nobody in the Dharma writing incubator that coughed up this script, which relies almost exclusively on contrivance, convenience, and coincidence to keep the plot moving. Sarzameen expects us to root for a reunion of some kind after it reveals that Harman miraculously survived a bullet to the head — nobody dies in this movie, even after being shot at point-blank range — but unintentionally gets us to cheer for a terrorist to kill a member of the Indian Army. Also read – Nadaaniyan: Ibrahim Ali Khan makes one of the worst debuts in years; is Karan Johar determined to set fire to his career before it even begins? Only a complete failure in storytelling can send a viewer so wildly off track. Sarzameen is directed by Kayoze Irani, who showed such promise with his heartfelt short film in Ajeeb Daastaans. For him to have selected this as his feature debut makes no sense; as it is, it feels like he wasn't involved in the conceptualisation and execution of the action scenes at all. His focus, presumably, was on the drama. And it's drama straight out of a poor '90s movie; you can imagine how competent Sarzameen is when you realise that even Netflix, which gave an enthusiastic thumbs-up to Nadaaniyan, drew the line. As with that film, it feels like every line of dialogue here has been dubbed in a booth and not performed on set. Hindi isn't Prithviraj's mother tongue, and acting doesn't come naturally to Ibrahim. He shows up only after the first act, when Harman inexplicably escapes from the clutches of his captors and reappears in his parents' lives. For some reason, his mother, played by Kajol, is still married to Vijay, even after he abandoned Harman and left him to die. Had Sarzameen shown us what happened during those eight years, her decision would've made sense. But because it doesn't, you're left to assume that the only reason she stuck around is because she has a job to fulfil in the film's third act. Unlike Brody from Homeland, who was closely monitored by the CIA after he returned from captivity tried to begin his life afresh, Harman is simply allowed to go home to his parents. They barely recognise him. He no longer has a stutter, and he seems more confident than he used to be. Vijay is convinced that he's an imposter — the fact that he believes Harman would be the same person who 'died' eight years ago is bananas. Vijay knows that Harman was living with terrorists; he knows that Harman was probably tortured and brainwashed. And still, he welcomes Harman into his house without having him cleared first. Sarzameen seems to think that the dramatic conflict of these scenes rests in whether Harman is Vijay's son, and not whether he's a terrorist. The more suspicious Vijay becomes of Harman, the more you want to lean in and remind him that it's all his fault. Consequently, you root for the kid to shoot him in the face. This almost happens in the pre-interval scene, by the way. But the scene ends with a twist so wild that its sole purpose, seemingly, is to disarm you for the further insanity that Sarzameen has prepared for the climax. Let's talk about it. It is revealed that Harman was, indeed, a militant brainwashed against his father, who, it wouldn't be a stretch to assume, is the living manifestation of India. The villains didn't have to work too hard; Vijay did have him murdered, after all. The movie would've been far more complex had Harman come from a loving home, or if it had shown Harman commit a terrible crime before resurrecting himself. It's almost as if the most interesting chunk of the story — the eight years that Harman spent away from home — was deliberately edited out. Read more – Ae Watan Mere Watan: Heartbreaking, the worst film you've seen just made some strong political points Vijay, of course, has an awakening. But nothing can redeem him; he's like the dad from Udaan, but if he was also a child-killer. The real twist — and Abbas Mustan would be so proud of Kayoze — is that Kajol's character was a double agent all along. It's like they're gifting the Saiyaara generation with their own version of Gupt: The Hidden Truth. She was sent to spy on the Indian Army, but she fell for Vijay and had a child with him. Why she fell in love with a man like him isn't something that the movie feels confident enough to explain. And, having seen what sort of guy he is, it's impossible for the viewer to fill in the blanks either. Sarzameen is, after all, a movie that paints an Army officer as the villain and projects militants as morally justified in their actions. So, why can't it be appreciated like the scores of films made about America's war crimes after 9/11? Why does Sarzameen have more in common with Kajol's own Fanaa — the film's Harry Potter connections deserve a separate article — than it does with something like The Forever Prisoner, a film that understands the difference between empathising with a wrongdoer and actively cheering them on. By relying on trivial tropes, the movie does a disservice not only to its own characters, but also a very real geopolitical issue.
NDTV
21 hours ago
- NDTV
Why Ibrahim Ali Khan's Sarzameen Should Have Been His Actual Debut And Not Nadaaniyan
New Delhi: Let's be honest: when Nadaaniyan dropped earlier this year, many of us were ready to declare Ibrahim Ali Khan's acting career D.O.A (dead on arrival). The film was so poorly made, so bizarrely out of touch with its own genre, that it felt like an elaborate prank. Ibrahim, bless him, didn't just sink with the ship; he was the ship. From delivering shirtless monologues about fiscal deficits to awkwardly wooing women with lines like, "Tum itni hot ho ki global warming ki wajah bhi shayad tum hi ho," his performance was so wooden it might've given your IKEA shelf complex. So when Sarzameen finally released, after delays, rewrites, and what appears to be zero work on lighting, expectations were understandably subterranean. And yet, miracle of miracles, the man did it. Ibrahim Ali Khan is, against all odds, the only thing that worked in Sarzameen, a film otherwise so dimly lit and emotionally hollow it felt like watching Border on a dying tube light. The Curse Of Nadaaniyan Nadaaniyan, a Netflix original under the Dharma(tic) banner, was supposed to be Ibrahim's glossy launchpad, the kind only star kids with perfect genetics and impossible jawlines get. What it became instead was a cinematic disaster of such proportions that even Mrs. Serial Killer started looking like a misunderstood masterpiece. Directed by Shauna Gautam, Nadaaniyan was riddled with post-dub errors, laughably disconnected lips and voices, and some of the worst writing this side of Himmatwala. Ibrahim played Arjun, a privileged-but-angsty boy who wins debates with his abs and charms girls with refrigerator-magnet poetry. A still from Nadaaniyan His dialogue delivery was equal parts disinterested and unintentionally hilarious. He performed like he knew a second film was already in the works, which, as it turns out, it was. Enter Sarzameen If Nadaaniyan was a failure of direction, writing and acting, Sarzameen is a failure of tone, lighting and storytelling, but in that graveyard of good intentions, Ibrahim somehow stands tall. Helmed by debutant director Kayoze Irani, the film attempts to mash together family drama, militancy, patriotism, and identity crisis into one explosive package. Spoiler alert: the fuse never quite lights. It follows Lieutenant Colonel Vijay Menon (Prithviraj Sukumaran), whose emotional intelligence is as arid as the snow-covered valley he's posted in. His wife Meher (Kajol, in one of her flattest performances) tries to bridge the widening gap between her harsh husband and their stammering son Harman. That is, until Harman is kidnapped and presumed dead, only to return years later as a sculpted, soft-spoken, strangely familiar stranger named Haaris. The plot tries to do too much: Kashmir insurgency, a strained father-son relationship, a "who is he really?" mystery and ends up saying very little. The cinematography is inexplicably underexposed, entire sequences play out in what feels like a power cut, and the film's much-hyped "twist" lands with the grace of a wet sock. Ibrahim, The Lone Survivor But here's the thing: Ibrahim Ali Khan is actually good in this film. Not groundbreaking. Not award-worthy. But good, convincing, sincere, and most importantly, watchable. A still from Sarzameen As Harman/Haaris, he plays a young man torn between nations, loyalties, and personal identity. His stammer, previously a narrative gimmick, is now used to subtly reflect internal conflict. His rage isn't performative, it simmers. He emotes with restraint, especially in scenes opposite Prithviraj, where Ibrahim holds his own with surprising maturity. It's a redemption arc, both onscreen and off. Prithviraj himself echoed the sentiment when he said Sarzameen should have been Ibrahim's actual acting debut. And he's right, had this been the first glimpse we got of the actor, the narrative around him would've been vastly different. Trolls may have had to look elsewhere. Kajol And The Case Of The Vanishing Character Unfortunately, Kajol, usually dependable even in lesser films, is let down by the writing here. As Meher, the mother torn between a son she's lost and a husband who's emotionally unavailable, she's given little to work with beyond tired melodrama. A still from Sarzameen Her performance feels phoned in, as if even she knew this wasn't the project that required her A-game. The chemistry between her and Prithviraj is cold, and her big emotional moments barely register. A Dimly Lit Cautionary Tale There's a whole conversation to be had about Sarzameen's baffling visual aesthetic. Was it an artistic choice to make every room look like it's lit by a single dying candle? Or was it budget cuts? Whatever the reason, the film's gloomy palette paired with its moral confusion and cliche-laden script makes for an oddly claustrophobic experience. A still from Sarzameen For a story set in one of the most visually stunning regions in the world, Sarzameen feels visually suffocating. It promises grandeur, delivers gloom. It wants to be emotionally resonant but lands somewhere between melodrama and missed opportunity. The Final Verdict Ibrahim Ali Khan didn't just survive Sarzameen; he elevated it (of sorts). That's not a small feat, considering the film's many flaws. His growth from the cringe-inducing overconfidence of Nadaaniyan to the quiet conviction in Sarzameen is real and worth acknowledging. A still from Sarzameen He might still have a long way to go, but if this is the direction he's headed, there's hope yet. Next time, though, someone please get the lighting team a ring light.
India Today
21 hours ago
- India Today
Parag Tyagi posts emotional tribute for Shefali Jariwala from pet Simba
Actor Parag Tyagi has been posting heartfelt tributes to his late wife, Shefali Jariwala, ever since her death on June 27. On Saturday, July 26, he shared a special Instagram post dedicated to Shefali from her beloved pet, Simba, marking one month since her the post, Tygai shared a video collage of Shefali Jariwala and Simba, capturing their cherished moments together. The heartfelt note from Simba referred to Shefali as the "bestest maa in the universe," reading, 'Simba to Mom-To the bestest Maa in the universe. Pari loves her baby simba the most and Simba loves her mom the most. Today, It's been one month simba hasn't seen u physically, but he can feel u and ur presence around him, he can feel ur love ur presence ur affection all around him. Mom Stay happy stay blessed. I love you eternally. Keep praying nd keep loving my mom.. lots of love to all wonderful friends -Simba Jariwala Tyagi (sic).'advertisementTake a look at the video here: View this post on Instagram A post shared by Pari aur Simba ke Papa (@paragtyagi) Since Shefali's death, Tyagi has frequently shared memories of their time together, captioning one post "Together Forever." Despite facing criticism for his public tributes, Tyagi responded firmly to detractors, stating, "For those who r trying to garner attention by saying I shall not post so soon. Bhai sab log aapki tarah nahi hote (Not everyone is like you) (sic)."Five days after Shefali Jariwala's sudden death, a prayer meeting was held in Mumbai to honour her memory. The gathering was attended by close friends and family members, who came together in quiet best known for her iconic appearance in the 'Kaanta Laga' remix, was rushed to Bellevue Multispeciality Hospital by her husband, Parag Tyagi, after suffering a cardiac arrest. Tragically, she was declared dead on arrival.- EndsTrending Reel
