Rosy roti: The current popularity of a film personality can be estimated from the number and the sizes of the flower baskets, orchid arrangements and even Bonzai pots received from the stroke of midnight on the B-day. Florists submit salgirah dates on cyclostyled sheets to the film fraternity. From what I’ve evidenced, Karan Johar receives the highest number (are Guinness Bookwallas listening?).

The nomad has returned. On an impulse, for over a month, Chintan Upadhyay the iconoclastic artist, was leapfrogging between Hungary, Poland, Netherlands and Slovakia.

Smile on. The knee-high boy is one helluva smarty-pants, pinching a Rs 50 note from right under the nose of his meany-beany uncle. An orphan, he’s woken up early to brush his teeth with the remains of a toothpaste tube and goes around his menial work in a junkshop, behaving as if life was one big sugar-coated jujube. No complaints, no self-pity, no worries. Way to be, kiddo.

This is no national secret. Promotions – or publicity campaigns – have become as essential to the Bollywood movies as raw stock, camera and editing consoles. No pre-release buzz, no super or even duper hit.

This is no national secret. Promotions – or publicity campaigns – have become as essential to the Bollywood movies as raw stock, camera and editing consoles. No pre-release buzz, no super or even duper hit.

Hi hi, kiss kiss, bye bye. He’s a love machine of sorts, chasing skirts, sarongs, but never saris (not yet).

He was boss. His cardboard cut-outs, crouched to kick-bash his opponents, were as much a part of the Mumbaiscape as the bare-chested vinyl posters of Salman Khan today.

He was boss. His cardboard cut-outs, crouched to kick-bash his opponents, were as much a part of the Mumbaiscape as the bare-chested vinyl posters of Salman Khan today.

What a hullabaloo! There’s so much tumult going about the centennial celebrations of Indian cinema to be observed in May next year. Dadasaheb Phalke’s Raja Harischandra was first shown to a select audience in Mumbai and then to the public, in 1913.

What a hullabaloo! There’s so much tumult going about the centennial celebrations of Indian cinema to be observed in May next year. Dadasaheb Phalke’s Raja Harischandra was first shown to a select audience in Mumbai and then to the public, in 1913.