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Brotherless Night by VV Ganeshananthan audiobook review – love and conflict in Sri Lanka

Brotherless Night by VV Ganeshananthan audiobook review – love and conflict in Sri Lanka

The Guardian12-06-2025
Brotherless Night opens with 16-year-old Sashi Kulenthiren, who hopes to be a doctor like her eldest brother, making tea when the kettle slips out of her hand, causing her to pour boiling water on herself. When a neighbour, K, hears her screams, he rushes over to help, cracking raw eggs over the scalds to soothe the pain. 'So I began as K's patient though he ended as mine,' Sashi reflects.
Set in 1980s Sri Lanka, VV Ganeshananthan's coming-of-age novel – which won the 2024 Women's prize for fiction – is an epic and hard-hitting tale of family and survival as it documents life during the civil war between Tamil separatists and the Sinhalese majority that lasted three decades. Before fighting breaks out, Sashi's most pressing problem is whether she will pass her exams at school. But soon violence and kidnapping become the norm, communities are left 'brotherless' and ordinary citizens are turned into what the outside world calls terrorists.
Sashi, who becomes a trainee doctor, begins working as a field hospital medic, and finds her loyalties put to the test. She must also reckon with her feelings for K, who has filled her thoughts ever since he came to her aid in her teens, and who becomes a high-ranking Tamil Tiger official.
Nirmala Rajasingam is the narrator, her mellifluous reading drawing out the subtle intimacy and compassion in Ganeshananthan's prose. Contemplating her love for K, Sashi reflects: 'I wanted the life on the other side of the war's looking-glass, the future we might have had, and which no longer existed.'
Available via Penguin Audio, 13hr 28min
Old God's TimeSebastian Barry, Faber, 8hr 34minStephen Hogan narrates this Booker prize-longlisted tale of a retired policeman whose solitude is interrupted by two ex-colleagues looking for assistance on a case.
We All Shine On: John, Yoko & MeElliot Mintz, Penguin Audio, 9hr 9minMintz, the one-time radio host and publicist to the stars, documents his close friendship with John Lennon and Yoko Ono. Read by the author.
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Iconic 80s teen heartthrob who starred in scandalous film alongside Brooke Shields is seen on rare outing
Iconic 80s teen heartthrob who starred in scandalous film alongside Brooke Shields is seen on rare outing

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time8 hours ago

  • Daily Mail​

Iconic 80s teen heartthrob who starred in scandalous film alongside Brooke Shields is seen on rare outing

This actor and occasional model was pictured out in Connecticut on a rare outing this week. He is best known for costarring with Brooke Shields in an iconic film from the early 1980s. The movie struck up controversy that has endured for decades due to its copious nudity and the fact that Shields was only 14 when she worked on the production. This star, who is now 64, later played up his image by posing nude in Playgirl just a couple years later. Since then he has remained prolific with a variety of film roles and guest parts on television, including a reunion with Shields nearly two decades after they first worked together. Can you guess who this '80s actor is? He's Blue Lagoon star Christopher Atkins. Atkins, who was born in New York in 1961, tends to fly under the radar, but he was pictured in a rare sighting in Southport, Connecticut, earlier this week. He was seen running errands around town, which included a stop at a gas station to fill up. The '80s heartthrob looked as if he was dressed for a day at the beach with a gray–green tank top and gray floral-patterned Hawaiian-style cargo shorts, along with beige flip flops. He still sported his recognizable blond hair, though it had faded to the point that it was almost a platinum shade now. Atkins and Shields starred in 1980's Blue Lagoon as a pair of children who are shipwrecked on a remote island. After the only adult to survive with them dies, they are left alone to find for themselves. The children grow up and eventually become lovers on the island, which is inhabited by indigenous people that they steer clear of. Shields was only 14 at the time, so a body double performed her nude scenes. But Atkins was 18 and did his own full-frontal nude scenes. Critics savaged Blue Lagoon but it was a hit at the box office Despite his boyish looks, Atkins was 18 at the time filming began, but Shields was only 14. As a result, her numerous nude scenes were filmed by an adult body double, but Atkins performed his own nude scenes. Still, critics and audiences were alike were scandalized by the story — in which Atkins and Shields' characters are cousins — and Shields' young age. Although she isn't pictured in the nude, Shields still performed topless on set, though sometimes with her hair glued to her chest. Critics savaged The Blue Lagoon, but it was a hit at the box office, where it reportedly grossed $58.8 million in North America along against a budget of just $4.5 million. But Blue Lagoon's box office success didn't translate to major roles for Atkins, possibly because of the critical disdain for the film. He followed it up with voice roles in the English-language dubs of Japanese anime adaptations of Swan Lake and Aladdin And The Magic Lamp in 1981 and 1982, respectively. In 1982 he made the risky move to pose nude in Playgirl, which may have made it hard for audiences to separate him from Blue Lagoon's reputation. The same year, he had a lead role in The Pirate Movie, an Australian musical loosely based on Gilbert and Sullivan's classic opera The Pirates Of Penzance. The movie didn't change his fortunes, though, as critics again lambasted the movie, and it barely made back its budget. Atkins got a more high-profile role as a recurring character on Dallas for a year beginning in 1983, but since then he appeared almost exclusively in low-budget films in supporting roles. Atkins married the Australian model Lyn Barron in 1985, and they share two children. Although he continued to act throughout the decade, it was the least productive period of his career, and in 2009 he told People that he struggled with alcoholism while also battling a career recession at the time. 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Indian film company to rerelease romantic drama with AI ‘happy ending'
Indian film company to rerelease romantic drama with AI ‘happy ending'

The Guardian

time8 hours ago

  • The Guardian

Indian film company to rerelease romantic drama with AI ‘happy ending'

An Indian film company is rereleasing a 2013 romantic drama with an alternate artificial intelligence ending without the involvement of its director, in what could be the first instance of its kind in global cinema. Raanjhanaa, a Hindi-language film about the doomed romance between a Hindu man and a Muslim woman, will return to cinemas on 1 August under its Tamil-language title Ambikapathy. The film's original tragic ending will be replaced by a 'happy' one. Pradeep Dwivedi, the chief executive of Eros Media Group, defended its decision, saying technological innovation was part of the company's long-term creative and commercial vision. He said the alteration was an 'exploratory baby step' and confirmed that Eros was 'significantly evaluating' its library of more than 3,000 releases for similar AI treatments. 'If the technology allows us to do something and we can do something good with it, why not?' he said. 'There has to be a symbiotic understanding of what the technology allows, what the creative process can foster, and what the audience accepts.' The rerelease has drawn strong criticism from the film's director, Aanand L Rai, who said he learned of the move through media reports. 'I'm heartbroken that this is the future we're heading toward, where intent and authorship are disposable,' Rai told the Press Trust of India. 'All I can do is dissociate myself from such a reckless and dystopian experiment.' He said his team had contacted the Indian Film and Television Directors' Association and was exploring legal options. Neither he nor the guild responded to the Guardian's request for comment at the time of publication. The film starred the Tamil actor Dhanush and the Bollywood actor Sonam Kapoor as the star-crossed interfaith couple, one of whom dies in the original ending. Eros's catalogue includes Indian classics such as Sholay, Mother India, Om Shanti Om, and Bajirao Mastani. Its streaming service, Eros Now, hosts more than 11,000 digital titles. Dwivedi said Ambikapathy was produced entirely in-house with human supervision, and was being presented as an optional alternative rather than a replacement of the original film. Posters for the rerelease describe the ending as AI-powered, although Eros declined to confirm whether similar disclaimers will appear within the film itself. Dwivedi said the director's criticisms were 'emotional' and omitted relevant legal context. He pointed to an ongoing corporate dispute between Eros and Colour Yellow Productions, the studio co-founded by Rai. In an email to the Guardian, Colour Yellow's chief operating officer, Harini Lakshminarayan, said the company's partnership with Eros ended 'some time ago' due to operational challenges. 'To call this a 'respectful creative reinterpretation' while excluding the very people who made the film over a decade ago is deeply contradictory,' she wrote. She said the incident underscored 'the urgent need for fair, transparent protocols' on the use of AI, especially with archival material. 'If a finished film can be altered and rereleased without the director's knowledge, it sends out a clear and very troubling message – that the film-maker's voice is dispensable.' The film critic Sucharita Tyagi said: 'Most directors in India don't even own the rights to their films,' referencing examples such as Vasan Bala's Peddlers, which Eros International has still not released to the public after acquiring Indian distribution rights in 2012. 'If they decide to AI alter Peddlers and then release it, then it's a different film altogether.' The release has also raised questions about how the film's new 'happy ending' may reinterpret its interfaith storyline, a sensitive topic in India's political and cultural landscape. 'The film works because these are people trying to defy social norms,' said Tyagi. 'To now decide what a 'happy ending' looks like, 13 years later, is scary.' Ambikapathy is scheduled to open before Rai's latest feature, Tere Ishk Mein, also starring Dhanush and due for release in November. Rai has described the new film previously as being 'from the world of Raanjhanaa' but not a sequel. Eros, which holds the rights to Raanjhanaa, has denied any connection between the two projects. The rerelease comes amid growing experimentation with AI across the global film industry. In Hollywood, AI has been used for voice cloning, dubbing and visual effects, including accent enhancement in The Brutalist and simulating the voice of Anthony Bourdain in the 2021 documentary Roadrunner. Concerns about AI-generated scripts and the use of actors' likenesses were key issues in the 2023 writers' and actors' strikes.

Indian film company to rerelease romantic drama with AI ‘happy ending'
Indian film company to rerelease romantic drama with AI ‘happy ending'

The Guardian

time18 hours ago

  • The Guardian

Indian film company to rerelease romantic drama with AI ‘happy ending'

An Indian film company is rereleasing a 2013 romantic drama with an alternate artificial intelligence ending without the involvement of its director, in what could be the first instance of its kind in global cinema. Raanjhanaa, a Hindi-language film about the doomed romance between a Hindu man and a Muslim woman, will return to cinemas on 1 August under its Tamil-language title Ambikapathy. The film's original tragic ending will be replaced by a 'happy' one. Pradeep Dwivedi, the chief executive of Eros Media Group, defended its decision, saying technological innovation was part of the company's long-term creative and commercial vision. He said the alteration was an 'exploratory baby step' and confirmed that Eros was 'significantly evaluating' its library of more than 3,000 releases for similar AI treatments. 'If the technology allows us to do something and we can do something good with it, why not?' he said. 'There has to be a symbiotic understanding of what the technology allows, what the creative process can foster, and what the audience accepts.' The rerelease has drawn strong criticism from the film's director, Aanand L Rai, who said he learned of the move through media reports. 'I'm heartbroken that this is the future we're heading toward, where intent and authorship are disposable,' Rai told the Press Trust of India. 'All I can do is dissociate myself from such a reckless and dystopian experiment.' He said his team had contacted the Indian Film and Television Directors' Association and was exploring legal options. Neither he nor the guild responded to the Guardian's request for comment at the time of publication. The film starred the Tamil actor Dhanush and the Bollywood actor Sonam Kapoor as the star-crossed interfaith couple, one of whom dies in the original ending. Eros's catalogue includes Indian classics such as Sholay, Mother India, Om Shanti Om, and Bajirao Mastani. Its streaming service, Eros Now, hosts more than 11,000 digital titles. Dwivedi said Ambikapathy was produced entirely in-house with human supervision, and was being presented as an optional alternative rather than a replacement of the original film. Posters for the rerelease describe the ending as AI-powered, although Eros declined to confirm whether similar disclaimers will appear within the film itself. Dwivedi said the director's criticisms were 'emotional' and omitted relevant legal context. He pointed to an ongoing corporate dispute between Eros and Colour Yellow Productions, the studio co-founded by Rai. In an email to the Guardian, Colour Yellow's chief operating officer, Harini Lakshminarayan, said the company's partnership with Eros ended 'some time ago' due to operational challenges. 'To call this a 'respectful creative reinterpretation' while excluding the very people who made the film over a decade ago is deeply contradictory,' she wrote. She said the incident underscored 'the urgent need for fair, transparent protocols' on the use of AI, especially with archival material. 'If a finished film can be altered and rereleased without the director's knowledge, it sends out a clear and very troubling message – that the film-maker's voice is dispensable.' The film critic Sucharita Tyagi said: 'Most directors in India don't even own the rights to their films,' referencing examples such as Vasan Bala's Peddlers, which Eros International has still not released to the public after acquiring Indian distribution rights in 2012. 'If they decide to AI alter Peddlers and then release it, then it's a different film altogether.' The release has also raised questions about how the film's new 'happy ending' may reinterpret its interfaith storyline, a sensitive topic in India's political and cultural landscape. 'The film works because these are people trying to defy social norms,' said Tyagi. 'To now decide what a 'happy ending' looks like, 13 years later, is scary.' Ambikapathy is scheduled to open before Rai's latest feature, Tere Ishk Mein, also starring Dhanush and due for release in November. Rai has described the new film previously as being 'from the world of Raanjhanaa' but not a sequel. Eros, which holds the rights to Raanjhanaa, has denied any connection between the two projects. The rerelease comes amid growing experimentation with AI across the global film industry. In Hollywood, AI has been used for voice cloning, dubbing and visual effects, including accent enhancement in The Brutalist and simulating the voice of Anthony Bourdain in the 2021 documentary Roadrunner. Concerns about AI-generated scripts and the use of actors' likenesses were key issues in the 2023 writers' and actors' strikes.

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