Family Man 3 actor Rohit Basfore found dead near Guwahati waterfall, went for picnic with friends: Report
Rohit went for a picnic with nine of his colleagues when he reportedly fell into the waterfall. Rani Police Outpost officials said the incident took place around 2 pm.
A police official, talking to GPlus, said, "We received the report around 4 PM and reached the spot by 4.30 pm. The SDRF team later recovered the body around 6.30 pm."
As per initial investigations, Rohit "accidentally fell into the waterfall". As per the report, police said no foul play was suspected so far. The body was sent for post-mortem examination. Further investigation in the case is underway.
Since last year, Rohit shared pictures on Instagram from the sets of Family Man. Sharing photos with Jaideep Ahlawat and Dalip Tahil in November last year, he wrote, 'Lucky, to have such a great experience.'
Earlier this year, he posted pictures with his colleagues from the sets of the upcoming show. He captioned the post, 'On the sets of Family Man 3. It was a great experience and I always loved to learn new things.'
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Hindustan Times
3 hours ago
- Hindustan Times
Report: A reading in honour of Gieve Patel
An art gallery can be a shape-shifter. Since late March 2025, the Jehangir Nicholson Gallery of Modern and Contemporary Art, Mumbai, has been morphing into many shapes that coexist to a single end. In one of these, it was an exhibition of paintings, embroidered fabric, and three-dimensional artworks, collectively titled A Show of Hands, curated by Ranjit Hoskote, to honour the memory of the departed multidisciplinary artist Gieve Patel, making the art gallery also a memorial and arts mela. Gieve Patel photographed at his studio in Mumbai, on January, 24, 2009. (Abhijit Bhatlekar/Mint) On the evening of May 24, six poets from Mumbai and around read poems to honour the memory of Patel, who was also a major Indian poet. This reading was brought together by the curator, who also joined in. The reading, as Hoskote explained, would uphold a core value which was discernible in the life and art of Patel – support for polyphony. These values, as the audience noticed, also reflected in the choice of poems read out, giving the reading its significance as the expression of an idea and culture of India as a place of many voices and peoples. Gieve Patel's Peacock at Nariman Point (1999) (HT Photo) Patel's renowned On Killing A Tree, published in 1966, was read out by Priya Sarukkai Chabria. An excerpt: The bleeding bark will heal And from close to the ground Will rise curled green twigs, Miniature boughs Which if unchecked will expand again To former size. No, The root is to be pulled out -' The much-republished poem, which many explain only in the context of environmental degradation, was aptly included in this reading prefaced with, also, the context of communal violence and genocide. It was a segue from what the convenor/curator pointed out in his introductory address. The introductory address to the audience, which also referred to Gaza as 'the ambient tragedy of our times', set the frame, in a manner of speaking, for the proceedings. Hoskote said: 'At a time when we are being encouraged to subject ourselves and subordinate ourselves to dominant, domineering narratives in this country and in other countries […] at such a time, I think polyphony becomes not just an expressive possibility, it becomes a political movement. So, it's in that spirit that we would dedicate this reading to this historical moment.' Patel had written in various ways about his lived experience of being in a minority, whether religious, political or cultural, in India. In his writings, his sense of humour was possibly moulded by his heritage and also perhaps by his experiences as a practising doctor who witnessed his patients undergoing all of life's rites of passage. Another of his poems was recited, namely The Ambiguous Fate of Gieve Patel, He Being Neither Muslim nor Hindu in India. This poem was brought out in all its poignant and ironical effect in Mustansir Dalvi's reading. Dreaming with Gieve by Gulammohamed Sheikh (Courtesy A Show of Hands/Jehangir Nicholson Gallery of Modern and Contemporary Art, Mumbai) Dalvi, who years ago tweeted his translation of it into Marathi, said, 'This is as universal a poem as can be, because if you are sitting here, in one sense you are a minority. You don't have to be a very small minority in a nation where there are so many minorities. We all are (held to be) the lesser beings in some form or the other, when it comes to this larger picture that is moving us all very inexorably towards homogenity'. The participating poets, in all their individuality, read out their own poems, too. Among the poetic preoccupations and effects that stood out vividly was Sarukkai Chabria's evocative and declamatory foray into mythical and archetypal themes; Dalvi's characteristic wordplay, social critique, and melancholic humour; Hoskote's signature world evoking fables with royalty, travellers, warfare, migrations, birds on wing and birds in cages; Thakore's bittersweet poem-diaries from encounters with art and artists; Sampurna Chattarji's quiet conjuring up of trains of thought and rail journeys; Anjali Purohit's paeans to friends and community. Each of the reading poets came from different backgrounds and various religions, or none. And each in their way has plural practices: Hoskote researches and writes about culture, curates art shows and translates sacred and secular poetry. Sarukkai Chabria is an editor, anthologist and translator, and also writes speculative fiction. Mustansir Dalvi taught at an architecture college, helps document Art Deco structures, writes columns for newspapers and websites, and has translated from Urdu and Marathi into English; and English into Marathi. Anjali Purohit has curated arts festivals and other gatherings, besides translating from Marathi. Anand Thakore ran a publishing house and is a trained Hindustani classical vocalist. Sampurna Chattarji has edited literary journals and anthologies, has produced and edited journalistic writing, children's fiction, and translated from the Bengali into English. Polyphonic, confluential and multi-faceted as you like. Among those present among the audience, I recognised cultural theorist and curator Nancy Adajania, academic and writer Kaiwan Mehta, writer, film historian, curator and teacher Suresh Chabria, painter/physician, and one of the exhibiting artists, Sudhir Patwardhan, photographer Ritesh Uttamchandani and poet Dion D'Souza. The reading in progress (Suhit Bombaywala) This evening, the reading poets stood against the backdrop of Patel's famous painting (on loan for viewing from the owner), Peacock at Nariman Point. Around them were innovative works from various artists – as per the curatorial note, Aditi Singh, Anju Dodiya, Atul Dodiya, Areez Katki, Biraaj Dodiya, Gulammohammed Sheikh, Jitish Kallat, Mahesh Baliga, Nilima Sheikh, Ranbir Kaleka, Ratheesh T, Sudhir Patwardhan and Sujith SN. Each of these, said the curatorial note, 'formed Gieve's close circle of friends and colleagues, as well as artists who engaged with his ideas and his art from other points of vantage, or in whose work he had a close and sustained interest'. Suhit Bombaywala's factual and fictive writing appears in India and abroad. He tweets @suhitbombaywala.
Hindustan Times
5 hours ago
- Hindustan Times
When crows starred in a Bollywood song, took 'three-month training' from directors: Story of the most unusual film stars
He may be a choreographer and master dance instructor today, but Shiamak Davar had a brief career in front of the camera as well in the 90s. Shiamak sang and performed pop songs like Mohabbat Karle and Shabop. In 1998, he lent his voice to a film soundtrack for the first and only time, and even appeared in the music video. Given that the film was releasing a few months after Dil To Pagal Hai and Taal, one would assume Shiamak must have stolen the show. But he was upstaged by his co-actors of the avian variety - crows. Jhooth Bole Kauwa Kaate featured Shiamak Davar with a crow. The music video was directed by Vinay Sapru and Radhika Rao. The song, Jhooth Bole Kauwa Kaate, featured four crows doing a variety of things with Shiamak. And fans went gaga over them, some even wondering if the crows were real or CGI. We tell you the story behind the audacious music video. Jhooth Bole Kauwa Kaate starred Anil Kapoor, Juhi Chawla, Amrish Puri, Anupam Kher, Reema Lagoo, and Sajid Khan. The film, directed by Hrishikesh Mukherjee (in his final outing as a director), was about a man habitual of lying. The veteran filmmaker roped in newbies Vinay Sapru and Radhika Rao to direct a music video for the title track composed by Anand Milind and sung by Shiamak. The genesis of Jhooth Bole Kauwa Kaate In an exclusive conversation with HT, Vinay and Radhika recall, 'It was the beginning of our career. We had started making movies when we got a call that Hrishikesh Mukherjee ji wanted to meet us. At that point in our career, it was unbelievable, getting a call from the guru himself. He told us he was doing a film titled Jhooth Bole Kauwa Kaate, and he wanted a song that depicts the story of the film. We felt that if the narrative has to be told as an OST track, then the crow has to be an integral part of it.' Vinay Sapru and Radhika Rao directed the music video. The director-duo, who were fresh out of filmmaking school at the time, say they initially mulled over opting for a puppet or CGI crow, but then decided to go for the real deal, 'knowing Hrishida's style of filmmaking'. Normally, when filmmakers want to use animals, they reach out to animal trainers. Vinay and Radhika did the same, but the trainers were stunned by their request, as nobody trains crows. "They were enthusiastic about the concept," the filmmakers recall, "Still, it was a risk because even they didn't know the behavioural pattern of a crow. They are not kept as pets." Training the crows Eventually, the animal trainers sourced four crows, and a three-month training program began. Vinay and Radhika tell us, "What we learnt every crow had a different nature, one was angry, one lazy, one overactive. The song required the crow to do a lot of stuff - have a soft drink, eat some food, sit on Shiamak's shoulder, and even wear a cap. So, we divided those tasks between four crows. And since they looked similar, we knew nobody would be able to tell the difference." The filmmakers named the crows Happy, Sleepy, Grumpy, and Dopey, after four of the seven dwarfs from Snow White's tale. The end result of the training was a one-of-a-kind music video starring a crow. "I don't know if they used real crows even in Brandon Lee's Crow. But in India, we knew this had not been done. So, we felt honoured to be able to try this," say Vinay and Radhika. Practical over CGI It has been 27 years since the music video came out. There have been lots of advancements in CGI and VFX since then. But the directors say they would still want to go the 'traditional' way if they were to recreate the music video. "You can recreate those movements in CGI, too. But every crow has a distinct character that lends realism to the scene. And nothing beats real," they say. Jhooth Bole Kauwa Kaate was released in theatres in December 1998 and was a moderate box office success. The song and the music video were particularly popular, topping the charts for weeks.
New Indian Express
7 hours ago
- New Indian Express
Yuva Rajkumar: Puneeth Rajkumar's influence is inevitable
The trailer for Ekka went viral, and fans couldn't help but draw comparisons to Jackie, both in tone and visuals. But the makers are clear: this is not Jackie 2. "This is no sequel,' Yuva Rajkumar states firmly. Rohit adds, 'I understand the sentiment. Some shots remind people of Jackie because we shot the village portions in the same locations, and Satya Hegde's cinematography evokes that memory. We take it as a compliment because Jackie created a cult. But Ekka is a different story entirely.' Yuva agrees, adding, 'You'll know why the film is titled Ekka only after watching it. It justifies itself.'
