
Vijay Deverakonda's 'Kingdom' Renamed For Hindi Release; Here's What It's Now Titled
'Saamrajya is about a man who never aspired to the throne but is compelled to ascend because the world around him crumbles. His scars narrate the downfall of a world and potentially its rebirth," explained Tinnanuri, discussing the film's emotional core. Take a look at the new poster of Vijay Deverakonda's Saamrajya:
Saamrajya is produced by Sithara Entertainments and Fortune Four Cinemas, with Aditya Bhatia from Adwise Movies and Atul Rajani presenting the Hindi release. The teaser garnered millions of views within hours of its release, featuring voiceovers by Jr NTR (Telugu), Suriya (Tamil), and Ranbir Kapoor (Hindi), enhancing its cross-language appeal. The Hindi dubbed version will be distributed by AA Films across North India.
In a former interview with NEWS9 Live, Vijay revealed that Ranbir Kapoor agreed to lend his voice to the teaser even before Vijay had asked. He credited Sandeep Reddy Vanga, the director of Arjun Reddy who worked with Ranbir on Animal, for connecting them. Vijay said, 'I just texted RK and he knew what I was going to ask even before I asked him. I had told Sandeep that I wanted RK's voice in the film's Hindi teaser and he had informed RK about it. Even before I asked RK, he said, 'Of course I am doing your teaser man.' I was like, 'I didn't even ask yet. Let me tell you what is it.' Even before I asked him he said yes."
Kingdom AKA Saamrajya's buzz is further amplified by a unique AI-designed video, praised in industry circles for its innovative approach. The background score is composed by Anirudh Ravichander, with cinematography by Girish Gangadharan and Jomon T. John.
The film also stars Satyadev and Bhagyashri Borse. Saamrajya will be released in Telugu, Hindi, and Tamil. With its high-octane action and strong emotional core, the film is poised to be one of the major Indian releases of 2025.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Indian Express
7 minutes ago
- Indian Express
Anupam Kher admits to stalking a girl during school days; weighs in on rising conflicts in modern relationships: ‘Why should girls tolerate…'
Veteran actor Anupam Kher recently opened up about his views on love, reflecting on how relationships during his younger days were, in his opinion, more meaningful compared to those in the current era. During the conversation, Anupam also candidly admitted to having stalked a girl during his school days and recalled how, coming from a small town, he was especially attracted to girls who studied in English-medium schools. Speaking to Raj Shamani about how relationships differed in his younger days compared to today, he said, 'I grew up in a small town there. We would take six months to look at each other, and after that, it would take three months to tell the person that you like them. Also, I was from a Hindi medium school, and I liked girls from the English medium school as there was a little outgoingness about them.' Admitting to stalking a girl during his school days because he didn't have the courage to speak to her, he said, 'There was a girl who would wear miniskirts at that time, and she had a pout. I used to just walk behind her with my best friend. We are talking about the time when everything took time and everything lasted for a longer time. We did not have much knowledge about love. We used to rise in love instead of falling in love.' When asked about which kind of love was better — his generation's or the current one — he firmly stated that the love he and his peers experienced was 'much better.' Explaining why, he said, 'Because I think relationships should be nurtured, and you should take your own time to discover a relationship. It's a discovery. Without passing judgment, there are a lot of people who were madly in love at this time also. But there was time to discover other people, and it took time to get to know each other's bad qualities.' Anupam also shared his thoughts on why conflicts are more common in relationships today, pointing to the rise in independence among both men and women. He said, 'Both of them are independent and rightfully so.' Using his parents' marriage as an example, he explained that they were married for 59 years and had clearly defined roles — his father was the breadwinner, and his mother managed the household. He added, 'Roles were divided back then and today because of the social structure, and rightfully so, girls are educated and empowered. Why should they take any kind of nonsense from a boy?'


The Hindu
an hour ago
- The Hindu
‘Saiyaara': Mahesh Babu, Alia Bhatt, Arjun Kapoor and others shower praises on Mohit Suri's romance drama
The Saiyaarafever has truly gripped the tinsel town. Filmmaker Mohit Suri's intense romance drama, featuring debutants Ahaan Panday and Aneet Padda, has turned out to be one of the most pleasant surprises this year. The film has been garnering a lot of praise from within the film industry as well. On Sunday (July 20), Telugu superstar Mahesh Babu praised Saiyaara, calling it 'a beautifully made film with honest storytelling.' The star passed on his love to the two newcomer actors as well. 'Big love to #AhaanPanday & #AneetPadda for living their roles so effortlessly… This one deserves all the love coming its way…' wrote Mahesh. Take a bow #Saiyaara team…👏🏻👏🏻👏🏻 What a beautifully made film with honest storytelling, standout performances and top notch execution….. Big love to #AhaanPanday & #AneetPadda for living their roles so effortlessly… This one deserves all the love coming its way… ♥️♥️♥️… — Mahesh Babu (@urstrulyMahesh) July 20, 2025 Meanwhile, Bollywood star Alia Bhatt penned a heartfelt note to the team behind Saiyaara. Praising Ahaan and Aneet, she wrote, 'I don't remember the last time I looked at two actors with such awe. With stars in my eyes… watching the stars in yours. You both shine with such individuality, such honesty — I could watch you again, and again, and again. (And let's be honest… I probably will.)' 'To the captain of this very wonderful ship @mohitsuri — what a film. What feeling. What music!!!!!!!! You made me feel things that only the movies can make you feel. Saiyaara is full of heart, full of soul, full of something that just stays with you… in the best way,' added Alia. On the other hand, actor Arjun Kapoor penned a sweet, emotional note on Instagram Stories. The actor said Mohit's film made him feel 'alive and vulnerable,' an that it relive so much from his own personal life. '@ahaanpandayy ur wait has been worth it so felt so raw so visceral terrific debut brother...@aneetpadda I'm a fan for life... u had me in awe while u spoke ur eyes ur vulnerability ur absolute honesty the way u looked at him made us love him & u more,' added Arjun, before wishing his best to the producers and the technicians behind the film. Meanwhile, the film is having a dream run at the box office, having collected ₹45.75 crores in its first two days of release. Netizens have taken note of how the film's strong opening is despite having almost no media buildup before its release. Suri has revealed that he wished to keep the opening pair away from pre-release promotions, like he did with his 2013 hit Aashiqui 2, starring Shraddha Kapoor and Aditya Roy Kapur, to ensure that the emotions on-screen felt more authentic. The move seems to have worked in favour of the film. The Hindu's review of Saiyaararead, 'With mental health as the villain of the piece, the story echoes the times when love is reduced to a lollipop by market forces. In the digital age, Mohit dials back to the pre-rom-com era, when heartache travelled through the screen on the wings of melodies, sacrifice was considered a virtue, and selfless love was celebrated.' Saiyaara is produced by Akshaye Widhani of Yash Raj Films.


Indian Express
an hour ago
- Indian Express
Malayalam cinema's ‘Marilyn Monroe' launched #MeToo against industry bigwig decades before the movement; ‘died by suicide' at 21
From the legendary Silk Smitha and National Award-winning actor Shoba to Bollywood stars Sushant Singh Rajput and Jiah Khan, the list of Indian celebrities who allegedly died by suicide is, unfortunately, long. The price many have paid for the fame and fortune that show business offers is their mental health, and, at times, even their lives. While conspiracy theories and investigation reports continue to speculate on what drove them to take the extreme step, we may never know the real reason. Only they could have revealed what truly pushed them to the edge. Vijayasree, known as the 'Marilyn Monroe of Malayalam', was one such actor who ended her life at the peak of her career. In a short span of just five years, she appeared in over 60 films, winning audiences over with her breathtaking beauty and acting skills, though the latter was largely underutilised as she was typecast as a 'sex symbol' early on. Half a century after her tragic death, the world still doesn't know what drove the young actor to end her life at just 21. Born on January 8, 1953, in Manacaud, Thiruvananthapuram, to Vasu Pillai and Vijayamma, Vijayasree made her acting debut at the age of 13 in the Tamil film Chitthi (1966), starring Padmini and Gemini Ganesan. She soon began receiving offers from Telugu and Kannada cinema as well. As she was slowly carving her space, Vijayasree got her first offer from Malayalam, to play a small role in Thikkurissy Sukumaran Nair's Prem Nazir and Sheela-starrer Poojapushpam (1969). It didn't take long for the industry to notice her striking beauty and stellar potential, and she quickly began landing lead roles. In 1970, she starred opposite then-superstar Prem Nazir in Rakthapushpam, directed by 'Hitmaker' Sasikumar. The Nazir–Vijayasree pairing became an instant favourite, opening the floodgates to numerous opportunities. 'She is the most beautiful woman I have ever met,' legendary filmmaker Bharathan once told his associate Jayaraj, who himself later became a renowned director and paid tribute to Vijayasree in his movie Naayika (2011). 'People went to the theatre to see her, and that is something that has not happened before (her time). She was as much a crowd puller as a hero,' Jayaraj told The Hindu in 2016. Despite successful screen pairings like Nazir–Sheela and Nazir–Jayabharathi dominating this era, Vijayasree's chemistry with Prem Nazir became a hit. In most of her Malayalam films, she was paired opposite Nazir, and almost all of them became hits. From Othenente Makan (1970), Marunnattil Oru Malayali (1971), Lankadahanam (1971), Taxi Car (1972), Aadhyathe Katha (1972), Pushpanjali (1972), Postmane Kananilla (1972), Maravil Thirivu Sookshikkuka (1972), Manthrakodi (1972), Aromalunni (1972) and Thaniniram (1973) to Pacha Nottukal (1973), Thenaruvi (1973), Thiruvabharanam (1973), Ponnapuram Kotta (1973), Pavangal Pennungal (1973), Veendum Prabhatham (1973), Padmavyooham (1973), Ankathattu (1973) and Ajnathavasam (1973), all their films earned massive reception. She also appeared alongside other stars like Madhu and Raghavan, achieving immense stardom at a young age. Tragically, she was found dead at her residence in Madras (now Chennai), reportedly after consuming poison. On the day of her death, a producer had visited her to finalise her next film. She was reportedly cheerful not just on that day, but for several months. No one suspected she was struggling with anything grave enough to prompt such an act. After the producer left, Vijayasree went to her bedroom. When she didn't come out for a long time, her mother went in and found her lying on the bed, with blood and froth at her mouth. Though rushed to Madras General Hospital, she was declared dead on arrival. The post-mortem revealed that a large amount of poison had been ingested. A container with the poison was later found in the family's prayer room. Her final hours puzzled many. She had spent time chatting with neighbours' children — she loved kids — in the garden and seemed genuinely happy. Could someone so visibly joyful take their own life all of a sudden? That was the haunting question. According to Manorama Online, Vijayasree appeared mostly happy during that era, particularly because her marriage had been arranged with a doctor settled abroad. For someone eager to leave the dark world of cinema, this was a hopeful turn. But behind her glowing smile, she had been hiding a bleeding heart, deeply scarred by exploitation within the industry. Her beauty had become a commodity. Producers and directors saw her body as a ticket to boost their films' sales. In one movie, a molestation scene involved an actor nearly tearing off her clothes. A still from that very scene was prominently displayed in the film's poster as well. This had caused her significant distress. But the incident that reportedly broke her heart the most occurred during the filming of Ponnapuram Kotta, directed and produced by Kunchacko, then a major figure in Malayalam cinema. In the period drama, there was a scene where Vijayasree was shown bathing in a stream. Since set in a bygone era, she was portrayed wearing only a white, transparent mundu with no undergarments. The makers allegedly ensured the scene was shot in a tasteless way that gratuitously highlighted her body. In the middle of the shoot, her garment accidentally came undone and fell into the water. Instead of helping her save her dignity, the makers took advantage of the opportunity and captured her complete nudity on camera. Upon realising this, Vijayasree sobbed her heart out, begging the director not to use those shots. Although he agreed, she was extremely stressed, knowing well the industry's dark side. No Central Board of Film Certification (CBFC) came to her rescue, and the visuals were approved. The film was released with the shots that she had clearly asked not to use. This became a good selling device, and people thronged to the theatres to see Vijayasree's nudity, contributing to Ponnapuram Kotta's massive success. Meanwhile, after it became a controversy, the filmmaker slowly withdrew those shots. But the damage had already been done. The scar that it left on a 20-year-old Vijayasree must not have been small. Although she knew very well how powerful those who wronged her were, Vijayasree was not ready to let things slip by like that. Later that year, she reportedly gave an explosive interview to a major film magazine, detailing the exploitations she faced. She named people and spoke of her trauma in what could be seen as a #MeToo moment decades before the movement actually happened. The interview hit the industry like a storm. The producer responded by filing a defamation case against the magazine, painting himself as the victim. Vijayasree, aware that she couldn't match his power and resources in court, chose not to file a counter-case. Was this the incident that shattered her completely and drove her to suicide? Nobody knows. At the time of her death, she was at the height of her stardom. Her two unfinished films, Youvanam and Vandikkari, were later merged and released as one movie posthumously. Starring Raghavan as the male lead, that film too became a success. But Vijayasree's story didn't end there. Kunchacko's production empire soon collapsed, with his films failing one after another. His family allegedly incurred debts amounting to crores. The once-mighty banner slowly disappeared. Many referred to this downfall as 'Vijayasree's curse'. Some even believed her spirit haunted the studio, according to filmmaker Alleppey Ashraf. Even after his death, the debts lingered, haunting subsequent generations too. Though his successors tried to sell the studio to repay the debts, no one came forward. Even five decades later, the building lay abandoned, consumed by wild vegetation, like a ghost house.