If ever there was a persona perfectly in tune with his songs, it must be Bappi Lahiri, the man who introduced disco to Hindi films, his young-at-heart, popular music as unmindful of disapproving purists as he may have been of those who raised eyebrows at his gold chains and dark glasses.
The singer-composer, who was just 69 when he died in a Mumbai hospital on Tuesday night, embodied an irreverent pop cool all his own with both his appearance and songs, primarily through the 80s and 90s that saw hits such as “I'm a disco dancer”, “Koi yahaan naache naache” and “Jimmy Jimmy”. There were many others too – “Yaar bina chain kahan re”, “Kaliyon ka chaman”, “De de pyaar de”, “Jawaani jaaneman” and “Tamma Tamma” among some of them. The swagger in the many numbers inseparable from the singer and creator, whose career spanned five decades of melodies.
In what is a credit to the longevity of his music, Lahiri's songs are some of the most repurposed or remixed in Bollywood, being used in Anurag Kashyap's Gangs of Wasseypur: Part 1, for instance, as well as in the gay romance Shubh Mangal Zyada Saavdhan.
If Mithun Chakraborty was the star of the 80s, Lahiri was the voice behind him, and the music behind his dancing steps. The two memorably collaborated on Disco Dancer, Prem Pratigya, Wardat, Suraksha, Guru, Kasam Paida Karne Wale Ki, and Commando.
Indian Bollywood playback singer Asha Bhosle (L) and music composer and singer Bappi Lahiri (R) attended the 10th Newsmakers Achievers Awards ceremony in Mumbai on May 1, 2019 (Photo credit: SUJIT JAISWAL/AFP via Getty Images)
Lahiri, who introduced the disco era to Bollywood, also ventured into politics when he joined the BJP in 2014. He is survived by his wife Chitrani and two children - daughter Reema, also a singer, and son Bappa Lahir, a composer. He tried to make a bid in electoral politics when he contested the Srerampur Lok Sabha seat in West Bengal but lost to Kalyan Banerjee of the All India Trinamool Congress. It was but a chapter in a life devoted to music for the most part.
Born Alokesh Lahiri in Jalpaiguri, West Bengal, into a family of musicians, Lahiri's inclination towards music started at the early age of three when he started learning the tabla. His parents Paresh and Bansari Lahiri were both well-known musicians and singers, much like their son later on in life.
Kishore Kumar, who sang "Pag Ghunghroo" and "Chalte Chalte" for him, was his maternal uncle. Lahiri pioneered synthesised disco music in Indian cinema through the 70s to the 90s and continued to give hits in the 2000s too with the hits "Bambai Nagariya" from Taxi No 9211, and "Ooh La La" from The Dirty Picture (2011), both directed by Milan Luthria. More than anything else, it was his personality which was like a pop icon, said Luthria.
"He was the only composer who took on the Big Threes in the 70s and 80s -- Laxmikant-Pyarelal, RD Burman, and Kalyanji-Anandji. In the 1990s, there was Anu Malik, but Bappi da held his own," Luthria told PTI.
Lahiri, who created several classics for Amitabh Bachchan, also lent his voice to Abhishek Bachchan in AR Rahman's composition "Ek Lo Ek Muft" from Mani Ratnam's Guru (2007).
He also was one of the singers who crooned "Tune Maari Entriyaan" from 2014's Gunday as filmmakers wanted to hark back to the music of the 80s and who better than Lahiri to recreate the era that he ruled.
While the shiny moniker of 'Disco King' weighed heavy over his music, he proved his versatility with softer numbers, including in "Chalte Chalte" and ghazals "Kisi Nazar Ko Tera Intezaar Aaj Bhi Hai" and "Aawaz Di Hai" from Aitbaar.
He also looked westwards to increase his musical reach. Lahiri dubbed in Hindi for singing icon Elton John for the 2017 spy comedy Kingsman: The Golden Circle and for Jemaine Clement in the 2016 animated film Moana. He also composed and sang "Shona" (Gold), the Hindi version of "Shiny".
When portions of "Kaliyon Ka Chaman" were included in the 2002 song "Addictive" by American singer Truth Hurts, copyright holders Saregama India, Ltd. sued Interscope Records and its parent company, Universal Music Group for more than USD 500 million. A Los Angeles federal judge subsequently barred further sales of the CD unless and until Lahiri was listed on the song's credits.
In 2017, his classic song “Jhoom Jhoom” was featured in the Hindi promotional clip of Marvel Studio's Guardians of the Galaxy Vol. 2.
Bappi Lahiri attends the live concert celebrating 50 years of Bollywood play back singer Amit Kumars musical career, in Mumbai on December 9, 2015. AFP PHOTO / AFP / STR (Photo credit: STR/AFP via Getty Images)
Lahiri also gave music to films in Bengali, Telugu, Tamil, Kannada, and Gujarati. He began his career with the 1972 film Daadu. His first Hindi film as a composer was Nanha Shikari in 1973. It was the 1975 Hindi film Zakhmee that got him noticed with songs such as "Aao Tumhe Chand Pe Le Jayen" and the Holi song "Zakhmee dilon ka badla chukane". The film brought him to Chalte Chalte, Surakshaa, and others as his disco beats became popular among the youth, earning him the title of Disco King in India.
Disco may have gone out of style in the later years of Bollywood music but the singer, in an interview with PTI in 2019, said he was grateful to have voiced for some of the biggest stars of their era. "I feel so proud to have had this journey and to have worked with all the extremely talented people in the industry. Simply put, my life is Dilip Kumar to Ranveer Singh. From Dharm Adhikari to Gunday, I've done it all,” he told PTI.
Scarlett Johansson has once again voiced her frustration over the Oscars overlooking Avengers: Endgame for the Best Picture category. The actress, known for portraying Black Widow in the Marvel Cinematic Universe, expressed her disbelief during an interview. She questioned how a film as groundbreaking and successful as Endgame managed to receive only one nomination, for visual effects, at the 2020 Academy Awards.
“It was an impossible movie that shouldn’t have worked, yet it did, both as a film and as a cultural moment,” Johansson remarked. She pointed out that the film not only pushed creative boundaries but also became one of the highest-grossing movies of all time. Despite its global impact and critical acclaim, Endgame remained absent from major Oscar categories, including Best Picture.
Scarlett Johansson questions why Avengers Endgame was overlooked by the Academy despite its record breaking successGetty Images
This snub particularly stings because Endgame marked the end of an era for Johansson’s character, Natasha Romanoff, who sacrificed herself to save the universe. Following this emotional farewell, Johansson reprised the role one last time in the 2021 prequel, Black Widow. However, when asked about returning to the Marvel universe again, she remained firm, stating that Natasha’s story had reached a meaningful conclusion.
While Johansson clearly misses working with her Marvel co-stars, she feels that bringing back the character would undermine the impact of her farewell. “It wouldn’t make sense,” she said, emphasising the importance of leaving Natasha’s legacy intact.
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Besides her frustration over the Oscars snub, Johansson also took a jab at the length of recent award ceremonies, particularly the 2025 Oscars. She found the James Bond tribute segment overly long, describing it as feeling like an advertisement rather than a celebration of cinema.
Despite the setbacks, Johansson is staying busy. She’s set to star in Jurassic World: Rebirth and is making her directorial debut with Eleanor the Great, which will premiere at the Cannes Film Festival. Her passion for storytelling continues, whether or not the Oscars recognise her past projects.
Scarlett Johansson defends Avengers Endgame and criticises lengthy Oscars ceremoniesGetty Images
In the end, Johansson’s disappointment highlights a recurring issue: the Academy’s reluctance to honour blockbuster superhero films, even when they make a significant cultural impact.
James Gunn’s Superman is shaping up to be more than just another cape-and-costume affair. The latest trailer doesn’t just show off epic battles or a parade of DC heroes; instead, it throws us straight into a tense one-on-one between the Man of Steel and the woman who refuses to let him off the hook.
In this new version, Clark Kent, played by David Corenswet, is already known to Lois Lane as Superman. There’s no awkward glasses game here, just straight talk! And Lois isn’t starstruck. She’s sharp, sceptical, and not afraid to press him on the ethics of playing global policeman. Her questions about his involvement in a foreign conflict cut through the usual superhero fanfare. Was he saving lives, or stepping over a line?
Superman insists he was acting on his own, not as an agent of any government. But Lois reminds him that intent doesn’t erase consequences. That tension between good intentions and real-world impact seems to be at the heart of Gunn’s take on the iconic character. It’s not about whether Superman can save the world; it’s about whether he should do it on his own terms.
The trailer also introduces Nicholas Hoult as Lex Luthor, who sees Superman not as a saviour, but as an alien outsider dominating a global narrative. “He’s not a man. He’s an it,” Luthor declares, breaking into the Fortress of Solitude with the mysterious Engineer. This isn’t a villain twirling his moustache; it’s someone deeply uncomfortable with Superman’s place in the world.
The film skips past origin stories and dives right into an established world, complete with supporting heroes like Green Lantern, Hawkgirl, Mr. Terrific, and Metamorpho, though the latter may be in chains rather than on the team.
We still get a glimpse of Superman’s Kansas roots, with Ma and Pa Kent reminding him that being a hero isn’t just about strength but about character.
Superman, directed and written by James Gunn, flies into cinemas on 11 July in the U.S., with international releases beginning on 9 July. Expect a film that raises questions as much as it throws punches.
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Shah Rukh Khan visits the cast of Come Fall in Love The DDLJ Musical during rehearsals in London
Thirty years after Dilwale Dulhania Le Jayenge changed the face of Hindi cinema, the story is stepping onto the UK stage, and Shah Rukh Khan himself dropped by to witness it in the making.
The actor, who became a household name playing Raj in the original 1995 film, surprised the cast of Come Fall in Love – The DDLJ Musical at their rehearsal space in London. With its UK premiere scheduled at Manchester Opera House from 29 May to 21 June, the stage show is a reimagined take on the beloved romance, directed once again by Aditya Chopra.
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This musical version is set between India and the UK and stars Jena Pandya as Simran and West End actor Ashley Day as Rog, giving a fresh take on Raj. For Pandya, the experience was surreal. “Showing him scenes he once performed was unforgettable,” she said. “He gave his time so kindly. It meant a lot.”
Day, clearly moved, added that the energy shifted the moment Khan walked in. “We all felt it. He didn’t have to say much; his presence said enough,” he reflected. “It was just one of those moments you never forget.”
The musical brings a new twist to the original, with 18 English tracks composed by Vishal Dadlani and Sheykhar Ravjiani. The duo were thrilled by Khan’s visit. “He loved the vibe, the energy, the music,” Vishal said. “It felt like Raj was passing the torch to Rog.” Sheykhar added, “For everyone involved, it was a special afternoon. He connected with the cast on a deeper level; theatre is where he began, after all.”
This production isn’t just about nostalgia. It’s an attempt to present a timeless story to a new audience, with Broadway-style storytelling and Indian emotion. The script and lyrics have been adapted by Nell Benjamin, known for Legally Blonde and Mean Girls, while the choreography is led by Tony Award winner Rob Ashford, with Indian dance sequences by Shruti Merchant.
With immersive events also planned at railway stations in London and Manchester, nodding to the film’s famous train scenes, Come Fall in Love aims to bridge the old with the new. And if Khan’s glowing reaction is any sign, this musical might just become a classic in its own right.
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Indian standup comedian Shamik Chakrabarti at Soho Theatre, London
In his debut UK show – and first international performance – Indian stand-up comedian Shamik Chakrabarti took to the stage at Soho Theatre, London, with a deceptively low-key presence that quickly revealed a sharp wit beneath his ‘sensible nerd’ exterior.
The aptly titled Despite Appearances saw the bespectacled comic defy expectations. His softly spoken, academic demeanour gave way to punchlines filled with sly irony, sarcasm and culturally specific references that regularly caught the audience off guard.
The promising newcomer joins a growing list of Indian comedians making their first international strides through the iconic venue. Performing in English, Chakrabarti opened with locally tailored jabs at British quirks before shifting to idiosyncratic tales from life in India.
What followed was a string of wry observations on topics ranging from his (notably tall) height and online sex bots, to an unforgettable visit to what seemed like a knock-off safari park – complete with deer and what appeared to be a man in a tiger costume.
Rather than delivering rapid-fire gags, the slow-burn set leaned into long, ironic setups and unexpected, sideways punchlines – building a world that felt both absurd and relatable.
The show’s centrepiece was an extended story about losing his laptop in a rickshaw and the surreal events that followed – including trying to explain the situation to bewildered police officers. While this was clearly a crowd favourite and delivered several strong moments, it slightly overstayed its welcome and dragged the pace in the second half.
That said, Chakrabarti’s delivery remains distinctly his own – dry, deadpan and unapologetically niche. It resonated with sections of the audience, though others, perhaps expecting more energy, were less engaged.
With over 25 million Instagram views and more than 8 million on YouTube, Chakrabarti already commands a sizeable fan base – one that is now set to grow. If he can sharpen the storytelling and tighten the structure, he could soon become a regular name on the global stand-up circuit, with the upcoming Edinburgh Fringe as his next big step.
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Fans cheer as Tom Cruise walks the Cannes red carpet for The Final Reckoning premiere
Tom Cruise had a heartfelt moment at the 2025 Cannes Film Festival when his latest film, Mission: Impossible – The Final Reckoning, received a five-minute standing ovation at its world premiere. The 62-year-old actor was visibly moved as the crowd at the Grand Théâtre Lumière cheered him on, acknowledging his 30-year run as Ethan Hunt in the blockbuster franchise.
Cruise walked the aisle surrounded by applause, joined by director Christopher McQuarrie and co-stars including Hayley Atwell, Simon Pegg, Angela Bassett, Pom Klementieff, and Esai Morales. Moments later, he took the mic to thank the audience, calling the experience a dream come true. “I’ve been lucky to entertain you with this series for three decades,” he said, adding a heartfelt tribute to McQuarrie, who has directed the last four films in the series.
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The Cannes premiere was a grand affair. A 40-piece orchestra played the iconic Mission: Impossible theme as the cast walked the red carpet. Fans held up posters from Cruise’s earlier films, and some paid tribute to his Top Gun co-star Val Kilmer. Cruise, known for his genuine connection with fans, took time to sign autographs and pose for photos.
Greg Tarzan Davis, Angela Bassett, Tom Cruise, Tramell Tillman, Hannah Waddingham, Simon Pegg, Pom Klementieff, Esai Morales and Erik Jendresen at Cannes 2025Getty Images
This premiere is, in fact, Cruise’s return to Cannes after Top Gun: Maverick in 2022, which received a six-minute ovation and a jet flyover. While this time lacked such theatrics, the emotional impact was no less powerful. The actor was seen clasping his heart, overwhelmed by the audience’s love.
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The film, which picks up from 2023’s Dead Reckoning Part One, is being touted as the final chapter in the Ethan Hunt saga. Though Cruise hinted it’s a culmination of 30 years of work, he stopped short of calling it his last. “Let people watch it and decide,” he said.
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The Final Reckoning opens in India on 17 May, six days ahead of its global release, and will be available in English, Hindi, Tamil, and Telugu. Given the high production costs and moderate performance of the previous film, the stakes are high. But with Cruise’s relentless promotion across countries and a warm Cannes reception, the franchise may be gearing up for one last big win.