Actor Saanand Verma, who plays one of the most popular characters on Indian television, Anokhe Lal Saxena, in &TV sitcom Bhabiji Ghar Par Hain!, is gearing up for the release of his new film Pataakha, wherein he plays the role of Tharki Patel, a lecher who wants to get laid with either of the two female protagonists. The talented actor says that films are his first love and when maverick filmmaker Vishal Bhardwaj signed him on for his directorial, he was on cloud nine. Just a few days ahead of the film’s release, our Mumbai correspondent, Mohnish Singh, talked to Saanand about his character, how he came about finding this role and how things change when a television actor makes a transition to films. Excerpts...
The trailer of your forthcoming film Pataakha has caught everyone’s attention. Could you please brief us about your character in this madcap drama?
My character is called Tharki Patel. Tharki means lecherous. So, I am that lecherous guy who wants to sleep either with Chhutki or Badki (played by Sanya Malhotra and Radhika Madan respectively). He is the richest man in the village, who tries to manipulate both girls’ father by using the power of his money. He tries to get things done that he desperately wants to get done.
How did this film happen to you? Who approached you for the role?
I was approached by the casting director. He basically called me for an audition. So, I went there and gave the audition. Later, I realized that it was for Vishal Bhardwaj’s film. Normally I do not do this, but this time around I gave a call back to the casting director and asked him what the status of my audition was. I was told that the movie had been deferred and had gone to the backseat and that Vishal sir was doing another film with Irrfan Khan. I was told that, at the moment, I should forget the audition that I had given. So, I tried to forget it.
What happened next?
Later, after six months or so, I got a call asking me if I can come for an audition. I asked which audition. The casting director told me that he wanted me to give the same audition which I had given earlier. So, I again went for the audition. I think Irrfan’s health was not good and that was the reason the film starring him went to the backseat. And this film Pataakha was back as the frontrunner. So, I again gave the audition. Again, I got a call for the third round of audition. They required more expressions. A new situation was given to me. After the third round of audition, I got a call, I guess, 15 days later, confirming my selection for the role of Tharki Patel by Vishal Bhardwaj. Vishal sir was extremely happy with my audition. I was on cloud nine when I came to know that I have been selected for a film which is being directed by Mr Vishal Bhardwaj.
How was it to work with Vishal Bhardwaj, one of the finest filmmakers in our country?
It was a divine experience, because I feel Vishal Bhardwaj is not just a filmmaker, he is not just a music composer, he is not just a writer, he is not just a producer, he is not just a poet, but he is a very divine human being. He is a very, very evolved human being. He is unlike any directors that I have worked with. I have worked with almost two hundred directors as I have done over two hundred fifty ad films. But this man called Vishal Bhardwaj has a very different creative mind that functions differently. He does not use foul language on sets. He is very sensitive about his cast and crew, be it actors, cinematographers, lightmen or spotboy. It’s an actor’s delight to work with Vishal Bhardwaj because he gives his actors a lot of freedom.
You are also doing a popular daily soap called Bhabiji Ghar Per Hain. So, how did you manage to shoot for the show and the film? Did you take some days’ off from the show, or you shot for it and the film simultaneously?
I was shooting for both the projects simultaneously. Moreover, the daily soap which I do has me in a supporting role. I am not in a lead role there. I don’t shoot for it on a daily basis. So, it is very easy for me to keep dabbling in films. I already had a lot of time on hand. Basically, my dream was to become a film actor. That was one of the reasons I took up this show because it did not need me every day. Frankly speaking, there were two reasons for me to do Bhabiji Ghar Per Hain. First, the character that I play in the show is very unique. As an actor, it was a great excitement and challenge for me to do the role of Saxena. So, that is one creative reason I did the so. The logical reason was that I knew that they would not need me for a lot of days. I would get a lot of free time every month to pursue my real dream which is to become a film actor.
What kind of difference do you see when a television actor makes a crossover to films?
When you are working on a television show, you have a very less time to prepare for your scenes. And when you are doing a feature film, in that case, you are narrated the entire script well in advance. The script is already there with you, and you are already living that character in your mind which is there in the script. So, you get a lot of preparation time for a role in a feature film. When you get a sufficient amount of preparation time, then definitely you will be happier creatively. You will do your job a thousand times better.
Also starring Sanya Malhotra, Radhika Madan and Sunil Grover, Pataakha releases on 28th September, 2018.
Brian Wilson, who died this week aged 82, is best remembered as the sonic architect of the Beach Boys and the laid-back "California sound" that swept the world in the 1960s. But to stop there would be to miss the scale of his ambition. Behind the striped shirts and sun-soaked harmonies was a composer and producer who transformed pop music, often by refusing to stay in one genre.
From symphonic pop to soul and psychedelia, Wilson built bridges between styles that rarely met. Here’s a look at six genres that define his legacy and show how much more there was to the man who gave us Good Vibrations.
1. Surf music – but deeper than it seemed
Wilson may have helped define surf rock, but his early work was far from novelty. Tracks like Surfer Girl and In My Room carried emotional weight and complex arrangements, showing Wilson’s desire to blend catchy hooks with rich harmonies. The Beach Boys' 1963–65 catalogue offered a polished, heartfelt counterpoint to the rawness of garage bands and early rock’n’roll.
2. Baroque pop – Pet Sounds and pop perfection
If one album changed the idea of what pop music could be, it was 1966’s Pet Sounds. Incorporating strings, woodwinds and intricate vocal layering, Wilson created a lush, introspective masterpiece that directly influenced The Beatles’ Sgt. Pepper. God Only Knows is still considered by many, including Paul McCartney, to be one of the greatest songs ever written.
3. Psychedelic experimentation – Smile and beyond
If one album changed the idea of what pop music could be, it was 1966’s Pet SoundsGetty Images
Wilson’s most ambitious project, Smile, was meant to be a “teenage symphony to God”. Though shelved for decades, its fragments (like Heroes and Villains and Surf’s Up) revealed a composer playing with modular recording, avant-garde techniques, and surreal lyrical structures. When Wilson finally completed it in 2004, it was hailed as a lost classic of psychedelic pop.
4. R&B and soul – stripped back and heartfelt
By the late 1960s, the Beach Boys had shed their surfboards. Albums like Wild Honey (1967) reflected Wilson’s love for rhythm and blues, with tracks like Darlin’ showing a rougher, more soulful edge. The stripped-down production was a deliberate pivot away from the excess of Pet Sounds, but still brimming with melody and feeling.
5. Americana – the spiritual core of Smile
Even as he experimented, Wilson remained fascinated by America’s musical past. Smile included references to spirituals, cowboy songs, and folk traditions, blending them into a surreal journey through the country’s cultural memory. Cabin Essence and Wonderful offer glimpses into a deeply introspective version of American identity, filtered through Wilson’s fragile genius.
6. Adult pop balladry – the gentle strength of Love and Mercy
As dementia affected his final years, it’s this kind of understated emotional honesty that enduresRolling stone
In later years, Wilson’s solo work embraced vulnerability. His 1988 single Love and Mercy has become his personal anthem—gentle, aching, and hopeful. As dementia affected his final years, it’s this kind of understated emotional honesty that endures. “There’s a lot of people out there hurting,” he once said. “And it really scares me.”
A final chord
Wilson’s music lives on—not just in sun-drenched nostalgia, but in the emotional complexity he brought to modern music. His impact stretches from the Beatles to Bowie, from punk to dream pop. His life was often marked by personal turmoil, but his compositions soared beyond it.
Brian Wilson didn’t just soundtrack the beach. He gave pop music a soul, a brain, and occasionally, a nervous breakdown. And through it all, he kept writing.
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Weinstein is currently serving a 16-year prison sentence in California
Disgraced Hollywood producer Harvey Weinstein has been found guilty of committing a criminal sexual act against one woman in his New York retrial. The 73-year-old was acquitted of another count of the same charge relating to a second woman.
The jury did not reach a verdict on a third charge of rape involving a third woman. Weinstein had pleaded not guilty to all three charges, maintaining that all sexual encounters were consensual and denying any assault.
Conviction follows overturned 2020 verdict
The retrial followed a decision by a New York appeals court to overturn Weinstein’s 2020 conviction last year. Prosecutors presented three charges during the retrial—two of which were from the original trial, and a third added last year, accusing him of forcing oral sex on a separate woman.
The charges related to incidents in 2013, including the alleged rape of aspiring actress Jessica Mann in a New York hotel room and sexual assaults against two other women.
Courtroom tension as jury deliberates
The partial verdict came after a tense day in court. The jury foreperson asked to speak to the judge privately about an unspecified “situation”. Earlier in the trial, the same juror had raised concerns about pressure within the jury room and discussions straying beyond the scope of the charges.
The 73-year-old was acquitted of another count of the same charge relating to a second womanGetty Images
Weinstein addressed the court directly before any verdict was announced, pleading: “My life is on the line and you know what? It's not fair... It's time to say this trial is over."
This week also saw calls for a mistrial from Weinstein’s legal team after a juror complained another was being treated unfairly. The judge denied the request.
Weinstein is already serving a California sentence
Weinstein is currently serving a 16-year prison sentence in California after being convicted of rape in 2022. He also denied those charges.
The former film producer became a central figure in the #MeToo movement after multiple women came forward with allegations of sexual misconduct nearly eight years ago. Some of these allegations led to criminal convictions on both US coasts.
Weinstein faces further sentencing in relation to the latest New York conviction.
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Ten buzzworthy indie films that could shape the TIFF 2025 conversation
As the Toronto International Film Festival (TIFF) 2025 draws near, a wave of independently made films is already dominating conversations among critics, programmers, and distributors. These are not your typical star-studded blockbusters. In fact, they’re character-driven, stylistically bold, and often politically or emotionally charged stories. Many have already premiered at Cannes or Sundance, while a few are TIFF-bound discoveries. One Indian film, in particular, is catching the attention of international curators with its quiet force.
Here’s a look at 10 indie titles being talked about before the TIFF line-up is even announced.
Kristen Stewart steps behind the camera for her first feature, adapting Lidia Yuknavitch’s emotionally intense memoir. The story centres on a young woman navigating trauma, sexuality, and swimming, all told through a non-linear, stream-of-consciousness narrative. Imogen Poots plays the lead, and the film’s visual style has already drawn comparisons to Derek Cianfrance. It premiered out of competition at Cannes 2025 and is generating serious interest from indie distributors.
Lynne Ramsay’s return after an eight-year hiatus is being hailed as one of the most anticipated auteur-driven works of the year. Jennifer Lawrence stars in this adaptation of Ariana Harwicz’s novel about a woman struggling with postpartum psychosis. The script is by Alice Birch, and early responses from Cannes suggest this is Ramsay at her most unrelenting. A24 and Apple reportedly battled over rights, hinting at serious awards potential.
After Beau Is Afraid, Ari Aster switches tone again with this “modern Western,” featuring Joaquin Phoenix and Pedro Pascal. The film debuted at Sundance 2025 and won the Grand Jury Prize, making it a serious contender for further festival attention. The story follows two estranged brothers forced to reunite in a post-capitalist landscape. It’s moody, slow-burning, and already being called one of Aster’s most emotionally mature works.
Solondz is back with a genre twist. Dangerous Animals takes on his trademark bleak humour with a surreal, body-horror narrative that drew comparisons to Julia Ducournau’s Titane during early Cannes market talks. It follows a child star turned recluse who becomes the subject of a bizarre suburban experiment. Programmers expect this one to land in TIFF’s Midnight Madness section due to its provocative tone and overall risk-taking structure.
Celine Song’s follow-up to Past Lives is a sharp, darkly comic look at art, commerce and class. Starring Dakota Johnson and Pedro Pascal, Materialists premiered at Cannes 2025, where its razor-sharp satire of luxury culture and beauty standards won Best Screenplay. Industry insiders say its strong aesthetic and festival reaction make it a top Vanguard or Discovery pick for TIFF 2025.
A quiet surprise from India, Sabar Bonda is the first Marathi-language feature to screen in Sundance’s World Cinema Dramatic section. Directed by queer filmmaker Rohan Kanawade, it explores the relationship between a young boy and his teacher in a rural village, subtly exploring themes of gender, caste, and queerness. With TIFF’s history of championing regional Indian cinema, especially post-All We Imagine As Light, this is one of the most likely South Asian entries to break through.
Linklater’s latest film is a love letter to French cinema, both stylistically and thematically. Nouvelle Vague is set in 1960s Paris and follows a young American student who becomes entangled in a world of cinephiles, protests, and fleeting romance. It's less a plot-driven film and more an ode to a particular cinematic moment. Industry insiders say it’s tailor-made for TIFF’s cinephile crowd, possibly as part of a Cinema Makers tribute.
Wes Anderson returns with a twist on the heist genre. The Phoenician Scheme features an ensemble cast trapped in a fictional desert state during a crumbling political regime. It was screened privately during Cannes Village and quickly became one of the most talked-about titles among buyers. TIFF might host its North American premiere, offering a major red carpet moment while still fitting its indie tone due to Anderson’s distinct auteur status.
Scarlett Johansson’s first feature as a solo director was selected for Cannes Jury Screening and was met with strong praise. The story follows a reclusive former stage actor navigating grief and late-life reinvention in New York City. It’s intimate and character-focused, with a restrained visual style that allows its performances to shine. TIFF’s interest in debut directors makes this a strong candidate for a Platform slot.
Trier reunites with Renate Reinsve for Sentimental Value, a film that builds on the emotional resonance of The Worst Person in the World. The narrative centres around a family dealing with the return of a long-absent parent, told with Trier’s signature emotional clarity and subtle humour. It received warm reviews at Cannes and could emerge as one of TIFF’s most acclaimed European entries.
Why this matters?
Unlike blockbuster-heavy seasons, TIFF 2025 is shaping up to be a filmmaker’s festival. From deeply personal stories to hybrid genre experiments, this year's buzzed-about indie titles reflect a shift toward narrative risk and regional specificity. And with the inclusion of Sabar Bonda, there’s a clear sign that Indian independent cinema is no longer confined to the margins. It’s earning its seat at the global table.
TIFF 2025 runs from 4–14 September, with the official lineup dropping later this summer. Until then, these are the names to watch.
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Arjun Rampal says Rauf is the darkest character he has portrayed
Arjun Rampal has stepped into a deeply unsettling place with his portrayal of Rauf in Netflix’s Rana Naidu season 2. The actor, known for playing intense characters, says this role was unlike anything he’s done before.
“He’s the most terrifyingly real character I’ve ever played,” Rampal said. Rauf is unpredictable, violent, and entirely devoid of empathy, yet not completely soulless. What sets him apart is a surprising emotional sliver: the fierce love he holds for his niece. “She’s the only one he protects without question,” he explained. “It’s the only time you see something human in him.”
For Rampal, the challenge wasn’t just about playing a violent man. It was about showing the emotional contradictions buried under that rage. “The fine line between menace and vulnerability is where Rauf lives. That’s what made him so difficult to portray,” he said.
A new layer of conflict in Rana Naidu season 2
In the latest season, Rampal’s character is a new addition to the already explosive dynamic between Rana Daggubati and Venkatesh Daggubati, who play a feuding son and father. Rauf’s entry heightens the emotional stakes, bringing in a cold, calculated energy that shifts the entire tone of the show.
Directed by Karan Anshuman, Suparn Verma, and Abhay Chopra, and produced by Locomotive Global Media, Rana Naidu continues to explore themes of loyalty, power, and personal demons, with Rampal’s Rauf adding a new layer of darkness.
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Director Sukumar could reunite with Mythri for a record-breaking project with SRK
Rumours are swirling that Shah Rukh Khan may soon headline India’s most expensive film yet, with a whopping £28.5 million (₹300 crore) offer reportedly on the table. The production house behind the buzz? Mythri Movie Makers, the banner that backed Pushpa and Rangasthalam. If true, this would be SRK’s biggest payday ever.
Mythri Movie Makers eye massive collaboration with SRK for their next big ventureGetty Images
A historic pay packet or just industry chatter?
Multiple outlets suggest that Mythri is in talks with SRK for a £28.5 million (₹300 crore) deal, a figure unprecedented in Indian cinema. The film is also said to be directed by Sukumar, whose skill in bringing together commercial appeal with deep storytelling made Pushpa a national sensation.
Early reports estimate the film’s overall budget could touch £95 million (₹1,000 crore), factoring in Khan’s fee, large-scale production elements, and a full-blown pan-India marketing campaign. If accurate, this would make it the most expensive Indian film ever made, surpassing RRR, Ramayana, and Adipurush in terms of scale and ambition.
But there’s a twist: according to sources, no meeting has yet taken place between Shah Rukh and Mythri. Sources close to the actor claim he is entirely focused on King, his upcoming action film with daughter Suhana Khan and director Siddharth Anand. As per this report, SRK will only start exploring new projects towards the end of 2025.
Shah Rukh Khan may become India’s highest-paid actor with this upcoming filmGetty Images
Sukumar’s direction, Mythri’s ambition, but what’s next for SRK?
If the project with Mythri Movie Makers does move forward, it could redefine how pan-India films are conceived, taking advantage of Bollywood’s reach with South India’s storytelling prowess. Sukumar’s directorial vision paired with SRK’s stardom might be the crossover moment Indian cinema has long awaited.
However, it’s important to note that nothing has been officially announced. The speculation may be premature, especially since SRK is currently tied up with King, expected to start production in early 2026. Until he wraps that, other projects remain on hold.
Pan-India film with ₹1000 crore budget reportedly being planned with Shah Rukh KhanGetty Images
For now, fans are watching closely. Whether or not this massive collaboration materialises, the very idea that Indian cinema is inching toward £95 million (₹1,000 crore) productions, with actors commanding £28.5 million (₹300 crore) fees, is itself proof that the stakes have never been higher.