Aamir Khan to turn singer for ‘Dhoom 3’
Perfectionist Aamir Khan is all set to lend his voice for upcoming Yashraj film ‘Dhoom 3’. The talented actor, who is playing a negative role in the sequel to ‘Dhoom 2’, has agreed to sing the theme song which will be picturised on him. The last time Aamir sang for a film was the chartbuster ‘Aati Kya Khandala’ for Jatin-Lalit in Ghulam, Zee News reported.
Composer Pritam Chakraborty has set aside all his assignments from June to fully focus on the music of ‘Dhoom 3’. The over-committed music composer with a hit record for the last three years has been asked to concentrate only on the music of ‘Dhoom 3’ from June onwards by producer Aditya Chopra. He would have to complete all his pending assignments and make himself completely free for the YRF film.
Sources in the industry have claimed that the music composer, who has composed music for ‘Dhoom’ and ‘Dhoom2’ in the past, had a closed-door meeting with Aditya Chopra at the Yashraj office where the producer stressed on creating a new sound for ‘Dhoom 3’ including a signature tune for Aamir`s character. The composer has been asked to come with a unique tune which would make the audience sit up and jump out of their seats every time Aamir came on screen. daily times monitor
Iran vs Hungary in race for top Berlin film prize
It looks like a two-horse race for the Berlin film festival’s top Golden Bear award, with the moving Iranian drama “Nader and Simin: A Separation” neck-and-neck with dark Hungarian tale “The Turin Horse”.
Critics at the annual film festival have put the two pictures way out in front of the pack as the 10-day festival, called the Berlinale, approaches the closing ceremony on Saturday evening when the prizes are handed out.
What the reviews say and judges decide often differ, however, making it an unpredictable event with many surprises in recent years. And four competition films of the 16 in contention for awards have yet to screen.
But as of Thursday, Nader and Simin appeared the film to beat, not only for its acclaimed exploration of Iran’s class divide and religious traditions but also because it fits neatly with what some German media have dubbed the “Iranian Berlinale”.