Latest news with #Aarakshan
India.com
08-07-2025
- Entertainment
- India.com
This actress was once a beauty queen, worked with many superstars, career got ruined because she was taller than Aamir Khan, Salman Khan, Shah Rukh Khan, name is…
Luck does not shine for everyone. This can be gauged from the luck of this actress, seen with Hema Malini, who won the title of Femina Miss India Universe 1985. She managed to attract the attention of the audience opposite Rekha in Khoon Bhari Maang. But her height overshadowed her acting. Sonu Walia's career sank because of the three Khans. Born as Sanjit Kaur Walia, Sonu Walia's modeling career was brilliant, after which she became one of the top actresses in the 90s. But her popularity was limited to only side roles. Who is Sonu Walia? Sonu Walia worked with many big stars in her acting career. But now she has disappeared from the industry. Sonu Walia once mentioned the reason behind this in an interview and revealed that her height became an obstacle in her hit career, and due to this, she got fewer opportunities in films because the makers used to look for short actresses for the male lead. Why did Sonu Walia disappear from Bollywood? Sonu Walia's height increased due to the rise in popularity of the three Khans, Salman Khan, Shah Rukh Khan, and Aamir Khan. But Sonu Walia said that the dominance of the 'three Khans' in the industry may be one of the reasons for her getting limited roles. Which films did Sonu Walia work in? Sonu Walia became famous after working with Rekha. She gained popularity due to bold scenes in the film Aarakshan, which was released in 1988. However, after this, her career started to decline, and she had to work in B-grade films, due to which Sonu Walia's image was affected, and she had to face criticism. Who was Sonu Walia's husband? Sonu Walia struggled, after which she married Surya Pratap Singh, an NRI hotelier and Indian film producer living in America, who died in 2009. Now, Sonu Walia lives in Mumbai and also has a production house.
Indian Express
18-06-2025
- Politics
- Indian Express
In protecting ‘Thug Life', Supreme Court has protected more than entertainment
The cinema screen is no stranger to censorship in India — both lawful and unlawful. What has changed, however, is the form of silencing. Increasingly, it is not only formal state bans but the louder and more insidious forces of the mob — self-appointed vigilantes who threaten theatres, intimidate viewers, and police speech. The case of Thug Life, a Tamil feature film starring Kamal Haasan, is a troubling iteration of this pattern. The Supreme Court's recent intervention is not merely about one film, but a timely reminder of the constitutional bulwarks protecting free expression, and the enduring obligation of the state to uphold them. The Supreme Court is presently seized of a petition filed by one Mahesh Reddy, who sought protection for the film's screening in Karnataka. Despite receiving certification from the Central Board of Film Certification (CBFC), the film could not be released in the state. The reason: Pro-Kannada groups issued threats of violence in response to Haasan's recent public remark that Kannada was born out of Tamil. This provoked an intense backlash, and theatre owners, fearing arson and protest, pulled the film. Not only did the Karnataka High Court, when approached, fail to dismiss the 'extra-judicial ban' in the State, but shockingly nudged Haasan to apologise — a move that the Supreme Court found wholly inappropriate. In transferring the matter from the High Court to itself, the bench of Justices Ujjal Bhuyan and Manmohan, on June 17, made it abundantly clear that law and order cannot be hijacked by public sentiment. 'We can't allow mobs to take over,' the Court said. That statement, though directed at the Karnataka state government, reverberates far beyond this individual case. This is not the first time that India's highest court has come to the rescue of filmmakers facing illegal censorship. Nor is this the first time that states, despite repeated judicial warnings, have failed in their constitutional duties. In Union of India v. K M Shankarappa (2001), the Court laid down the principle in no uncertain terms: Once an expert body such as the CBFC has considered the impact of a film on the public and cleared it, it is no excuse to cite law and order problems by the state governments. The job of the respective states is to protect expression, not shrink from it. 'The executive cannot sit in appeal or revision over [a certification],' the Court warned. Yet, time and again, states have violated this boundary. In 2011, Aarakshan, a film starring Amitabh Bachchan addressing caste-based reservation, was banned in Uttar Pradesh and Andhra Pradesh despite CBFC clearance. The Supreme Court intervened, noting the state's duty was not to muzzle expression but to maintain law and order. In 2018, the Padmaavat controversy unfolded similarly, as several states rushed to ban the film due to community outrage. The Court stepped in again, reiterating that once a CBFC certificate is granted, the presumption is that all constitutional standards, including concerns around public order, have already been accounted for. More recently, in 2023, the film The Kerala Story faced a blanket ban in West Bengal and a de facto ban in Tamil Nadu. The Supreme Court stayed the West Bengal order and directed Tamil Nadu to ensure security for screenings. It also recommended a disclaimer to address concerns regarding the film's factual accuracy, but refused to entertain demands for a ban. It was, as always, a call to protect speech, not please sentiment. The common thread in all these cases, including Thug Life, is not the controversy over content, but the constitutional clarity on process. The law places faith in a regulatory framework. The CBFC, supported by a statutorily empowered Appellate Tribunal for appeals, is tasked with certifying films. When a film passes that test, no state government can step in to unilaterally nullify it, either directly or by failing to prevent others from doing so. When the law protects cinema, it protects more than entertainment. It defends imagination, dissent, and truth-telling. In a nation as diverse and fraught as ours, films do what few institutions can: They provoke thought, evoke empathy, challenge dominant narratives, and give voice to those on the margins. The Supreme Court has once again affirmed that freedom of speech is not an empty promise. It comes with the expectation that the state will act, not to judge or justify the expression, but to protect the space in which it can exist. As Justice Manmohan aptly put it, whether to watch a film or not is a personal choice. The right of filmmakers to express their views is constitutional. The right of the audience to disagree is democratic. But the right to suppress is neither constitutional nor democratic. The writer is a Delhi-based Advocate and research fellow at Vidhi Centre for Legal Policy
Time of India
16-05-2025
- Entertainment
- Time of India
The unsung heroes of Bollywood: Supporting roles are no longer just ‘support' — they are the new heroes of our stories
In the dazzling world of Bollywood, where stardom and celebrity often dominate headlines, it's easy to overlook the consistent, nuanced, and sometimes transformative work of supporting actors. Yet, scratch beneath the surface of any memorable film, and you'll find a character actor who anchored the story with authenticity, grace, and gravitas. These actors, often relegated to the background of red carpets and marquee posters, are the beating heart of storytelling. Their roles are not just supplementary—they are essential. Veteran actor Deepraj Rana , a stalwart of Hindi cinema and television since the late 1980s, puts it best: 'I've kept getting roles—not because of a 'breakthrough' moment but because people felt I could do justice to a character.' His journey, marked by powerful performances in films like Sahib Biwi Aur Gangster, Aarakshan, and Prem Ratan Dhan Payo , is not defined by stardom but by substance. He doesn't boast of a single defining moment; rather, his career is a testament to the enduring power of persistence and craft. 'From Sahib Biwi Aur Gangster to Prem Ratan Dhan Payo, work kept coming. Maybe people think I should've gone further, but I've lived my life, I've worked continuously, and I'm content,' Rana told ETimes. Supporting roles leave a lasting impression by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Giao dịch Bitcoin và Ethereum - Không cần ví! IC Markets BẮT ĐẦU NGAY Undo The misconception that only lead actors drive a film is slowly, but steadily, being dismantled. Deepraj Rana recalls a one-scene role opposite Amitabh Bachchan in Aarakshan that left an impact. He also played the iconic freedom fighter Tatya Tope in Mangal Pandey, where a single performance carried historical and emotional weight. He shared a special memory from Sitaare Zameen Par: 'I had worked with Aamir Khan 20 years ago in Mangal Pandey. On the first day of shoot for Sitaare Zameen Par , he remembered me. That's what stays with you—when people remember your work.' Durgesh, another seasoned actor, has performed in over 45 supporting roles, including the widely appreciated Bhushan Sharma aka Banrakas in Panchayat. Yet, his journey remains an uphill battle. 'We do this out of love, but if production houses and the industry don't appreciate us or offer us work, how are we supposed to grow?' he asks, encapsulating the frustration of countless actors whose talent goes unrecognized. "When I came to Bombay, I had a significant role in Highway directed by Imtiaz Ali. The public appreciated it—I used to get noticed on the streets. But despite the praise, the industry never really offered me work,' he shared with us. Despite more than two decades in the industry and rigorous training through institutions like NSD and Repertory theatre, Durgesh admits that recognition is rare: 'In 25 years, only four people have taken my name or appreciated my work—Pankaj Tripathi, Nawazuddin Siddiqui , Adah Sharma, and Jeetu Bhaiyya (Jeetendra Kumar).' Chandan K Anand , who has made a lasting impression with his performances in movies like The Body, Gunjan Saxena and Fighter, added, 'Cinema is changing. Look at the web space, or films like Laapataa Ladies — every character has a story, every character contributes. Ravi Kishan's character was a hero. The girls were heroes. We're finally understanding that it's not just about one man carrying a film on his shoulders.' The quiet revolution of ensemble storytelling In recent years, films like Laapataa Ladies and shows like Mirzapur and Panchayat have shifted the cinematic landscape. These projects are ensemble-driven, where every character has an arc and every role carries weight. Deepraj Rana points to Sitaare Zameen Par, where the lead is a neurodivergent child, as an example of this evolution. 'Aamir plays a pivotal role, but the story belongs to the boy,' he says. When asked how does he view the evolution of roles over the decades? Rana reflected, 'Roles depend on the script. Where your character enters the story, what's happening at that moment—it all matters. I've been lucky to get roles where I could stand strong, even opposite stars like Amitabh Bachchan, Sunny Deol, Akshay Kumar, or Ajay Devgn. Those scenes had weight.' Actor Chandan K Anand echoes the same sentiment: 'We didn't even think of roles as 'supporting' or 'lead'. We just wanted to act.' Coming from a theatre background, Anand likens supporting roles to the 'masalas' in a pulao—the spices that make the dish flavorful. 'You see Paresh Rawal, Amrish Puri, Vijay Raaz... You know you're in for something special,' he told ETimes. Sajid Khan Discusses Bollywood's Hero Decline When asked if the industry has changed in its approach toward supporting actors, Durgesh was blunt: 'No. Nothing has changed. If your role stands out, 10 people will praise you. If it doesn't, no one notices. That's the reality.' He shared that only a few directors like Asit Kumarr Modi (Taarak Mehta Ka Ooltah Chashmah), Pulkit (with whom he worked on Do Bigha Zameen and The Great Indian Protector), and Deepak Kumar Mishra (TVF) have consistently given him opportunities. 'Because of Deepak and writer Chandan Kumar, my career found some direction. Otherwise, it's been a thankless journey.' The craft beyond the credit The brilliance of supporting actors lies in their ability to breathe life into fleeting moments. A single line, a glance, or a monologue can turn into a career-defining moment. When Sooraj Barjatya cast Deepraj in Prem Ratan Dhan Payo after seeing his work in Sahib Biwi Aur Gangster, it was a quiet nod to the idea that work speaks louder than fame. Chandan K Anand puts it poignantly: 'If there's no salt in a pulao, no one will eat it—no matter how much ghee you put in. That's the importance of these so-called supporting roles.' Durgesh spoke highly of fellow actors who rose through the ranks, including Pankaj Tripathi and Nawazuddin Siddiqui. 'Pankaj sir is like a grandfather figure. I've seen him rise from theatre to films. Nawazuddin's journey from small roles to lead actor is commendable. But personally, I've never had the chance to lead. I've been boxed into supporting roles.' Durgesh emphasized the significance of character roles: 'Even if a character has just one line in a play, it's equally important as the lead. But that's not how films work. The audience only sees the hero and heroine. That's the harsh truth.' Changing audience sensibilities Today's viewer is evolving. They're not just looking for glam and glitter but for storytelling that reflects reality. Characters like Pankaj Tripathi's in Gangs of Wasseypur or Vijay Raaz's in Chandu Champion resonate because they're rooted in truth. Audiences now crave performances that feel lived-in, not manufactured. So what has changed in the industry? Chandan states, 'Earlier, producers believed only 'big stars' could sell a movie. But now, even they are seeing that the economics don't add up. You can spend crores on a hero, or you can make 10 beautiful films with 10 solid actors. And audiences are ready for this shift.' He added that directors like Anurag Kashyap and Ram Gopal Varma have already paved the way by casting actors like Nawazuddin Siddiqui, Pankaj Tripathi, Vineet Kumar Singh — talents who weren't conventional stars but became household names through powerful performances. As he rightly puts it: 'The script should be the hero. If your story is strong, your characters — no matter how big or small — will shine. Cinema is no longer about glamour alone. Today's audience wants stories rooted in reality — stories that speak to their lives. Whether it's a 12th-grade student, a maid, or a truck driver — everyone has a story, and every story deserves to be told.' Toward a future of equal footing Cinema, like life, is not led by one hero alone. It's a collection of voices, journeys, and faces. The quiet coach, the overworked maid, the cynical uncle, the resilient teacher—these roles may not get top billing, but they reflect society more accurately than any larger-than-life protagonist ever could. The industry is at a crossroads. With the rise of streaming platforms, indie filmmaking, and an audience hungry for authenticity, there's never been a better time to celebrate the real heroes of storytelling—the supporting actors who carry the weight of emotion, humour, and humanity on their capable shoulders. As Deepraj Rana says, 'When directors like Sooraj ji or actors like Aamir remember you after decades, you feel seen. You feel validated.' It's high time the entire industry—and the viewing public—echoed that validation. Chandan adds, 'This is a golden time for storytelling. You look at series like Mirzapur, Superboys of Malegaon, Laapataa Ladies — these are ensemble projects where every character matters. That's the kind of cinema audiences are embracing now. The term 'supporting role' will soon become outdated. We are all actors. Every well-played character becomes the hero of their own arc.' Because in the end, a story isn't just about who stands at the center. It's about everyone who holds up the frame. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
