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In a new installment of Subhash K Jha’s fabulous series, This Day That Year, he revisits Tigmanshu Dhulia’s Shagird, which released in 2011.

Khakee is a fading colour in our movies. The hero in Shagird doesn’t even bother to wear it.

There is this utterly delightful action sequence where Nana Patekar, playing a belligerent, corrupt but effectual cop in a crime-infested small town of Uttar Pradesh run by the political mafia, barges into a nefarious hide-out. He peeks into the room where the goons are watching a vintage black-and-white song on television. Then they switch to a channel airing a Himesh Reshammiya song.

Patekar slams into the room and shoots them all down. “This is what happens when you listen to the wrong songs.”

The savage humour of the above sequence stays with you in a film that could have made a much more forceful impact had Shagird come four years earlier.

In his over half-a-century-long Hindi film career, he sang more than a thousand songs, but just three serve to demonstrate his position in the industry’s scheme of things – the madcap “Ek Chatur Naar” where Kishore Kumar beats him; the enchanting qawwali “Na to karvaan ki talash hai” where Mohammed Rafi emerges triumphant eventually; and the classical contest “Ketaki gulab juhi”, where he beats Pandit Bhimsen Joshi.

This was part of the misfortune of Prabodh Chandra ‘Manna’ Dey, born on this day (May 1) in 1919 in Calcutta. His classical training, innate talent, and “masculine” voice made him perfect for all shades of songs – romantic (including those for the vintage-aged), folk ballads, philosophical musings, and more, but he was never deemed a top-notch singer.

A nephew of gifted blind singer-composer Krishna Chandra Dey, who paved his way into music and films, Manna Dey’s forte was challenging, classical-based songs, especially those that his contemporaries considered difficult,...

Prime Minister Narendra Modi met veteran actress Saira Banu and said that her pioneering work in the world of cinema is admired across generations. The Pm took to X where he shared pictures from their meeting. The first image has the two sitting and talking. The second picture shows the two icons posing for the cameras.

For the caption, he wrote: “It was wonderful to meet Saira Banu Ji. Her pioneering work in the world of cinema is admired across generations. We had a great conversation on a wide range of subjects.”

Saira Banu is the wife of late legendary actor Dilip Kumar. She made acting debut in 1961 with the Shammi Kapoor-starrer ‘Junglee’. She took the spotlight with films such as ‘Shagird’, ‘Sagina’, ‘Bluff Master’, ‘Ayee Milan Ki Bela’,‘Padosan’ and Bairaag among many other cinematic gems. Her last film was ‘Faisla’ in 1988.

It was wonderful to meet Saira Banu Ji.

Prime Minister Narendra Modi met veteran actress Saira Banu and said that her pioneering work in the world of cinema is admired across generations. The Pm took to X where he shared pictures from their meeting. The first image has the two sitting and talking. The second picture shows the two icons posing for the cameras.

For the caption, he wrote: “It was wonderful to meet Saira Banu Ji. Her pioneering work in the world of cinema is admired across generations. We had a great conversation on a wide range of subjects.”

Saira Banu is the wife of late legendary actor Dilip Kumar. She made acting debut in 1961 with the Shammi Kapoor-starrer ‘Junglee’. She took the spotlight with films such as ‘Shagird’, ‘Sagina’, ‘Bluff Master’, ‘Ayee Milan Ki Bela’,‘Padosan’ and Bairaag among many other cinematic gems. Her last film was ‘Faisla’ in 1988.

It was wonderful to meet Saira Banu Ji.

Mumbai, Sep 28 (Ians) Veteran actress Saira Banu on Thursday paid tribute to ‘Nightingale of India’ Lata Mangeshkar on her 94th birth anniversary, saying she always cherished the moments spent with her.

Lata Mangeshkar is one of the most celebrated singers, and her contribution to the Indian music industry in a career spanning eight decades gained her titles like ‘Queen of Melody’, and ‘Voice of the Millennium’. She has recorded songs in over 36 Indian languages.

Taking to Instagram, Saira shared a candid picture with Dilip Kumar and Lata Mangeshkar, wherein the trio can be seen sharing a hearty laugh.

She captioned the post as: “Remembering the Nightingale Of Indian Music Industry on her Birth Anniversary. I always treasure the moments Dilip Sahib and I have spent with her. Her art will be cherished in all our hearts forever and beyond.”

Saira gave the music of ‘Dil Wil Pyar Wyar’ by Lata Mangeshkar to her post.

Veteran actress Saira Banu on Thursday paid tribute to ‘Nightingale of India’ Lata Mangeshkar on her 94th birth anniversary, saying she always cherished the moments spent with her. Lata Mangeshkar is one of the most celebrated singers, and her contribution to the Indian music industry in a career spanning eight decades gained her titles like ‘Queen of Melody’, and ‘Voice of the Millennium’. She has recorded songs in over 36 Indian languages.

Taking to Instagram, Saira shared a candid picture with Dilip Kumar and Lata Mangeshkar, wherein the trio can be seen sharing a hearty laugh.

She captioned the post as: “Remembering the Nightingale Of Indian Music Industry on her Birth Anniversary. I always treasure the moments Dilip Sahib and I have spent with her. Her art will be cherished in all our hearts forever and beyond.”

Saira gave the music of ‘Dil Wil Pyar Wyar’ by Lata Mangeshkar to her post.

Mumbai, Sep 14 (Ians) On the occasion of Hindi Diwas, one of Indian cinema’s finest actresses, Saira Banu talked about her first experience with the language, revealing about her motivation and drive to learn one of the official languages.

September 14 is observed as ‘Hindi Diwas’. The day stands out as an occasion that underlines the significance of the Hindi language.

Ever since her debut on Instagram, Saira has been seen sharing beautiful memories of the late actor and her husband Dilip Kumar.

Taking to Instagram Stories on Thursday, Saira penned a long note on how proud she was to learn Hindi.

The ‘Padosan’ fame actress wrote in Devanagari: “Saalon pehle jab main ek mashoor abhinetri banne ka sapna lekar Bharat aayi thi, toh yahan ki bhashaon mein itni nipun nahin thi.”

The actress said: “Hindi Cinema mein abhinay karne ke liye yeh bahut zaroori tha ki, main Hindi bhasha ko...

Mumbai, Sep 14 (Ians) On the occasion of Hindi Diwas, one of Indian cinema’s finest actresses, Saira Banu talked about her first experience with the language, revealing about her motivation and drive to learn one of the official languages.

September 14 is observed as ‘Hindi Diwas’. The day stands out as an occasion that underlines the significance of the Hindi language.

Ever since her debut on Instagram, Saira has been seen sharing beautiful memories of the late actor and her husband Dilip Kumar.

Taking to Instagram Stories on Thursday, Saira penned a long note on how proud she was to learn Hindi.

The ‘Padosan’ fame actress wrote in Devanagari: “Saalon pehle jab main ek mashoor abhinetri banne ka sapna lekar Bharat aayi thi, toh yahan ki bhashaon mein itni nipun nahin thi.”

The actress said: “Hindi Cinema mein abhinay karne ke liye yeh bahut zaroori tha ki, main Hindi bhasha ko...

Mumbai, Sep 7 (Ians) B-town is engrossed in the frevour of Janmashtami which is being celebrated on Thursday. Several celebs from Bollywood took to their social media on Thursday to extend their wishes for the festival and celebrate its spirit.

Here are some Bollywood stars who are celebrating the festival in all its glory.

Veteran Bollywood megastar Amitabh Bachchan took to his X (formerly called Twitter), and wrote in Hindi: “Wishing everyone a very happy Janmashtami.”

Vicky Kaushal, who plays a devotional singer in service of Lord Krishna in his upcoming film ‘The Great Indian Family’, shared a couple of photos with some kids dressed as Lord Krishna. He wrote in the caption: “Bhajan Kumar aur humaare pyaare nanhe Kanhaiyaas ki taraf se aap sabko… Happy Janmashtami.”

Shraddha Kapoor took to her Instagram Story, and wrote: “May Lord Krishna bless us all with courage and peace.”

Hrithik Roshan took to...

Exclusive: Netflix has taken world rights to Venice Film Festival Best Screenplay winner and Spirit Award nominee The Disciple, which is executive-produced by Oscar winner Alfonso Cuaron.

Written, directed and edited by Chaitanya Tamhane, the well-received Mumbai-set drama charts the story of Sharad Nerulkar, who devoted his life to becoming an Indian classical music vocalist, diligently following the traditions and discipline of the old masters, his guru and his father. But as the years go by, Sharad starts to wonder whether it’s really possible to achieve the excellence he’s striving for.

Starring are Aditya Modak, Arun Dravid, Sumitra Bhave, Deepika Bhide Bhagwat and Kiran Yadnyopavit. Vivek Gomber produces.

Endeavor Content and New Europe Film Sales struck the deal with Netflix.

The film was awarded the Fipresci prize in Venice as well as the Best Screenplay award before going on to play at Toronto, where it won an Amplify Voices Award.

The trailer of Ak vs Ak is out now, and while the audience is loving the style of Anil Kapoor, his co-star Anurag Kashyap, a popular director, is getting lauded for his acting skills too.

Ak vs Ak is not Anurag's first film as an actor, and he certainly is not the first Bollywood director to come in front of the camera.

Here's a list of present day directors who took on the challenge of being an actor for their own films or others':

Anurag Kashyap

He will be seen as a filmmaker who kidnaps the daughter of a filmstar in Vikramaditya Motwane's upcoming film "Ak vs Ak". He had also appeared as a cop in "Ghoomketu" directed by Pushpendra Nath Misra. Prior to this, he had acted as corrupt police officer, Acp Rane, in "Akira", directed by Ar Murugadoss. His role of gangster Bunty Bhaiya in "Shagird", helmed by Tigmanshu Dhulia,...

In The Disciple, a dedicated student of traditional North Indian music must grapple with the nagging feeling that he might not be quite good enough. The film is the latest from Chaitanya Tamhane, an Indian filmmaker who made a big splash in Venice in 2014 when his debut feature Court—a naturalistic film that quietly and comprehensively lampooned the Indian criminal justice system––won the Horizons award for best film. He was 27 at the time, still relatively young, yet some called it a masterpiece. Now at 33, Tamhane has followed it with a story about a person who hopes, perhaps in vain, to achieve such acclaim. We suggest approaching with a degree of caution if such doubts sound eerily familiar.

Stories of the also-ran are certainly not uncommon in the movies. Tamhane’s disciple is named Sharad and he lives amidst a hustling bustling Mumbai. The film tracks the relationship between Shahad and his widely admired guru,...

I get the feeling that a lot of celebrities’ reputations are going to be made or broken by this epidemic. Early champions in the fight have been Tom Hanks and Idris Elba, who’ve documented their Covid-19 diagnoses on social media and made sure to pass on official medical advice. But where there are heroes, there are also villains.

Step forward Ant-Man and The Wasp, The Hobbit and Lost star Evangeline Lilly, who seems determined to annoy everyone with a series of very dumb pronouncements. The story began earlier this week when Lilly posted an Instagram update about dropping her kids off at a gym class, saying that life is “#businessasusual” for her. When reading the uniformly disappointed and angry responses to that post, a smart person might have walked back the comments. Not Lilly, though.

When quizzed by fans, she responded:

“Some people value their lives over freedom, some...

Filmmaker Anurag Kashyap took to acting back in 2011 when he essayed the role of a local ganglord in Tigmanshu Dhulia's Shagird. Now after convincing director-producer Karan Johar to turn actor with his film Bombay Velvet we hear that Kashyap is all set to face the camera again. In fact Anurag will be playing the villain in the female centric film that will be directed by Holiday director A R Murugadoss. While the film is said to be an action thriller featuring Sonakshi Sinha, Kashyap will be seen playing a Bhojpuri villain complete with a moustache. Though Anurag Kashyap confirmed his presence in the film he refrained from talking about his character in the yet untitled venture. As for the film, it is scheduled to go on floor in March and boasts of featuring plenty of martial arts styled action sequences.

New Delhi, Oct 28: Be it the ravines of Chambal Valley in "Paan Singh Tomar" or the murky lanes of Ghaziabad in "Shagird", Tigmanshu Dhulia's films have been rooted deeply in the interiors of India and he admits he doesn't have a knack of making films like "Dilwale Dulhania Le Jayenge" that require glamorous locations and pretty faces.

Having grown up in Allahabad in Uttar Pradesh, the filmmaker tries to incorporate his small-town experience in his cinematic presentation.

"I come from this kind of background and I know it well. To say that I will make a film like 'Dilwale Dulhania Le Jayenge'(Ddlj), I will fail at it,".

Registrations are now open for the 2013 edition of India Film Project. To be held from September 20-28, India Film Project is a platform for amateurs and professional filmmakers to take a challenge and make a film in duration of only 48 hours.

At the beginning of 48 hours, Friday, September 20, 8pm, a common theme and genre will be given to participating teams. These teams shall script, shoot, edit and submit the film by Sunday, September 22, 8pm. Apart from filmmaking competition, the project will also feature a 5-day film festival online, workshops by eminent filmmakers and technicians, film marketing related panel-discussions, cinema exhibitions, etc.

The 2011 edition of India Film Project saw a participation of more than 600 participants from all across India making 86 films on the theme ”Small Things in Life”. In 2012, more than 1500 participants made more than 120 films of 5-8 minute duration on theme “Ingredients of Good Living” wherein they scripted, shot, edited...

He is one man who has consistently made good films but time and again let down by poor or below par promotion. His Paan Singh Tomar worked well entirely on its own merits and though he doesn't comment on the way the Irrfan Khan starrer was marketed and released, he is quite vocal about his other underrated film Shagird. In fact till date he holds grudge against the fact that his Nana Patekar starrer disappeared without any trace despite gaining some good critical acclaim for itsel Read More...

He is one man who has consistently made good films but time and again let down by poor or below par promotion. His Paan Singh Tomar worked well entirely on its own merits and though he doesn't comment on the way the Irrfan Khan starrer was marketed and released, he is quite vocal about his other underrated film Shagird. In fact till date he holds grudge against the fact that his Nana Patekar starrer disappeared without any trace despite gaining some good critical acclaim for itsel...

The 12th Annual New York Indian Film Festival (Nyiff), presented by the Indo-American Arts Council announced the nominations for various categories of awards.

The festival will be held from May 23 to 27 at the Tribeca Cinemas in Lower Manhattan.

Nyiff will more than 50 features, documentaries, and short films over a span of five days.

Best Film

Nominees:

Aadukalam Chitrangada Chittagong Gangs of Wasseypur Gattu Shala Best Documentary Film

Nominees:

Big in Bollywood Inshallah Football Kumare Saving Face Transgenders: Pakistan’s Open Secret Best Screenplay

Nominees:

Pooja Desai, Anvita Dutt, Rajesh Narasimhan, Ashish Patil (Mujshe Fraaandship Karoge) Avinash Deshpande (Shala) Rituparno Ghosh (Chitrangada) Vetri Maaran (Aadukalam) Bedabrata Pain, Shonali Bose (Chittagong) Best Director

Nominees:

Sujay Dahake (Shala) Rituparno Ghosh (Chitrangada) Anurag Kashyap (Gangs of Wasseypur) Vetri Maaran ( Aadukalam) Prashant Nair (Delhi in a Day) Bedabrata Pain (Chittagong) Best Young Actor

Nominees:

Sihle Dlamini (Lucky) Dilzad Hiwale (Bubble Gum) Dilzad Hiwale (Chittagong) Ashuman...

Bedabrata Pain’s Chittagong will open the 12th edition of the New York Indian Film Festival.

Set in the turbulence of the 1930s British India, Chittagong is a true story of a 14-year-old boy, Jhunku, and of his journey to find where he belongs.

The Centerpiece Film Hum Dono Rangeen will pay tribute to Dev Anand.

As the Sidebar, the festival will hold a Retrospective of Shyam Benegal followed by a post-screening discussion with the director. Three of Benegal’s films which were penned by journalist Khalid Mohamed will be screened: Mamoo (1994), Sardari Begum (1996), and Zubeidaa (2001).

Some of the other films to be screened at the festival are: Sanjivan Lal’s Bubble Gum, Tigmanshu Dhulia’s Shagird, Mangesh Hadawale’s Dekh Indian Circus, Sujay Dahake’s Shala, Italo Spinelli’s Gangor, Avie Luthra’s Lucky, Rajan Khosa’s Gattu and Ashvin Kumar’s Inshallah Football.

The festival, organized by the...

Urumi directed by Santosh Sivan will screen as the opening film of Indian Panorama at the International Film Festival of India, Goa 2011.

The jury for Feature films, headed by filmmaker Sai Paranjpye selected 23 films out of a total of 118 eligible entries for the Iffi 2011, Indian Panorama Section. Malayalam film Adaminte Makan Abu, directed by Salim Ahamed which won Best Feature Film award at the recent 58th National Film Awards is the 24th film of Indian Panorama, by virtue of direct entry.

In the Non-Feature Film category, Adwaita Sangeet directed by Makarand Brahme will be the opening film. The Non-Feature films Jury chaired by writer-director Ashok Rane picked 21 films out of 135 eligible entries. The winner of Best Non-Feature film in the recent 58th National Film Awards for 2010 Germ by Snehal R. Nair has not been included in the Non-Feature film category, as it was already included in Indian Panorama 2010 last year.

Till yesterday, whenever one used to utter the terms 'Sahib' and 'Biwi', it was the cult classic Sahib Bibi Aur Ghulam that was plying on everyone's minds. But ever since Sahib Biwi Aur Gangster got released, it suddenly seems to be the flavour of the season! For the uninitiated, Tigmanshu Dhulia is the very same man who has been responsible for giving us films like Charas, Haasil, Shagird and now Saheb Biwi Aur Gangster! Director Tigmanshu Dhulia will be live on Bollywood Hungama's Celebrity Chat on Monday, Oct 3, at 1600 hrs Ist.

Till yesterday, whenever one used to utter the terms 'Sahib' and 'Biwi', it was the cult classic Sahib Bibi Aur Ghulam that was plying on everyone's minds. But ever since Sahib Biwi Aur Gangster got released, it suddenly seems to be the flavour of the season! For the uninitiated, Tigmanshu Dhulia is the very same man who has been responsible for giving us films like Charas, Haasil, Shagird and now Saheb Biwi Aur Gangster! Director Tigmanshu Dhulia will be live on Bollywood Hungama's Celebrity Chat on Monday, Oct 3, at 1600 hrs Ist.

Director: Tigmanshu Dhulia, Screenplay: Tigmanshu Dhulia and Sanjay Chouhan, Actors: Jimmy Sheirgill, Mahie Gill, Randeep Hooda

In the context of contemporary Hindi cinema, Tigmanshu Dhulia is an important filmmaker. He is one director who has a keen eye and ear for north Indian socio-politics, which was amply reflected in his debut feature film Haasil. Since Haasil, he has made Charas and Shagird, which somehow fell quite short of the levels he had achieved as a filmmaker in Haasil, and the yet-unreleased Paan Singh Tomar, based on the real-life story of an international athlete-turned-Chambal dacoit.

With Sahib, Biwi Aur Gangster, Dhulia has reclaimed his place as a fine visual narrator of dramatic stories, a position that he had achieved through Haasil but yielded in his two subsequent released films. Indeed, Sbag is one of the significant mainstream pieces of cinema that captures a fictional story with sublime reflections of contemporary socio-political...

Reliance Home Video today released the Home Video of Nana Patekar's latest action - drama "Shagird".

"Shagird" is a film by Tigmanshu Dhulia. Tigmanshu was born and brought up in Allahabad, Uttar Pradesh, India, on 3rd July, 1967. He was interested in dramatics from his early age, and after doing amateur theatre he joined Nsd (National School of Drama) in 1989. Since then Dhulia has several big-grossing, critically acclaimed credits to his name, as producer, director and writer for both silver screen and Television.

"Shagird" is a fast- paced action-packed cop drama that unfolds in the capital city of Delhi amidst the power of paisa and politics.

Delhi Police Crime Branch Officer Hanumant Singh (Nana Patekar) - a respected yet feared officer whose tactics and ethics are questionable, mentors Mohit (Mohit Ahlawat) a new junior officer in his team. Their ideologies cross paths when a notorious gangster Bunty Bhaiya (Anurag Kashyap) enters the fray.

For his intense dramatic thriller Jai Ramji, Arjun Rampal would be going through some tough preparations for his role. This would be in accordance to the macho look and feel that director Tigmanshu Dhulia wants for his actors and the film in general. "Intense drama and machismo has come back and how", says Tigmanshu who recently saw quite some appreciation coming for his Nana Patekar starrer Shagird, "No wonder, you see films like Dabangg and Raajneeti turning out to be so huge...

For his intense dramatic thriller Jai Ramji, Arjun Rampal would be going through some tough preparations for his role. This would be in accordance to the macho look and feel that director Tigmanshu Dhulia wants for his actors and the film in general. "Intense drama and machismo has come back and how", says Tigmanshu who recently saw quite some appreciation coming for his Nana Patekar starrer Shagird, "No wonder, you see films like Dabangg and Raajneeti turning out to be so huge...

Tigmanshu Dhuliya's latest offering Shagird is one more addition to the encounter dramas that Hindi cinema has specialized in, and to provide a sense of reality to the affair Nana Patekar has been chosen by Tigmanshu Dhulia to be the lead protagonist in Shagird. For the first time, in all probability, the action shifts to the national capital Delhi to portray a narrative based on encounters. Hitherto, encounters as a part of the cinematic landscape found expression in the bye-lanes of Mumbai, but may be it needed a Read More...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...

Director Tigmanshu Dhulia and music composer Abhishek Ray have had a long working relationship. But when Ray was approached to score for his latest film, Shagird, the brief intrigued him more than any anything else. “Greed is the central idea of the film and there aren’t many songs on the insatiable craving for money. That’s how the central song ‘Kaisi talab hai…’ happened,” he says, adding that the entire film has used music a lot to define certain scenes and Nana Patekar’s character. “He is this huge fan of old Hindi retro music. So in any scene, if he’s about ...