Lord Owen's Lady is an upcoming film set between the UK and India featuring several of the stars of Slumdog Millionaire including Rubina Ali, Azharuddin Ismail and Ayush Mahesh Khedekar and a strong supporting cast of up-and-coming British and international talent. The film has already received heavy press coverage due to the considerable interest in the young stars attached. Production companies are Lord Owen's Lady Film Ltd and Dragons Productions (Wales) Ltd.
ActeursVinod Khanna, Amrita Singh, Dara Singh, Sahila Chadha, Rohini Hattangadi, Amrish Puri Note42% Dacait Jagira (Amrish Puri) has terrorized the entire country-side with his raids and cruelty. On one such encounter he kills Gopal's mother, leaving him an orphan. Durga (Rohini Hattangadi) takes care of Gopal and raises him as her own son, Birju. Years pass by, Gopal (Raj Babbar) and Birju (Vinod Khanna) have grown up. While another band of dacaits is raiding their village, the leader Sohn Kanwar (Sahila Chaddha) is about to kill Birju, when she is told that his mother is Durga, and she spares him, due to Durga being the wife of Dara (Dara Singh), another dacait. This revelation unleases a tide of hate against Birju and Durga, and they are forced to leave the village. To make matters worse, Gopal disowns any relationship he has had with both of them, and wants to marry Madhu (Amrita Singh), who loves Birju. Gopal becomes a police inspector, and Birju is forced to bear arms and become a dacait. Birju also brings Madhu with him, and this does not fit in with Sohn Kanwar's plans that she has for Birju. To make matters worse, the Police Commissioner (Vikram Gokhale) issues a substantial reward to bring in Birju dead or alive.
, 1h57 Réalisé parGirish Kasaravalli GenresDrame ActeursNaseeruddin Shah, Deepti Naval, Rohini Hattangadi Note63% Mane is a Kafkaesque tale about a young couple (Naseeruddin Shah and Deepti Naval) that moves to the city from a village with the hope of finding privacy and freedom, which are unavailable in the joint family system. For all its narrative excursions, in a sense, Mane is merely about the breakup of a marriage in which the Rossellinian couple, unable to confront each other directly amidst the loneliness of the city, externalizes their troubles – his powerlessness, her desire for freedom and their childlessness – and shifts blame on situations beyond their control in order to act victims. Kasaravalli works wonder with film and sound here, using them to denote the impending break down. (One stunning shot uses the neon lights of the neighbourhood to literally break apart the frame). A critique on urban spaces that suffocate more than they promise privacy, Mane unfolds like a sociological update on Rear Window (1954), in which personal anxieties and fears are displaced onto the surroundings and, specifically, onto a lower social class. In that sense, Mane connects all the way to the director’s latest work in the manner in which it raises questions about the visibility of the class structure and the seeming imperceptibility of the consequences of acts of one class on the other. Mane is full of such encroachments of freedom by other competing notions of freedom – between classes, between houses and between spouses.