Thane: A Thane court has rejected the anticipatory bail plea of two engineers accused in connection with the June 1 accident in Mumbra, where five passengers fell from a local train and died.
The incident occurred when two trains heading towards Kasara and Chhatrapati Shivaji Maharaj Terminus were negotiating a curve, causing passengers standing on the footboard to fall after their bags collided and they lost balance.The investigation committee later confirmed the findings, leading to legal action against the engineers.
Kochi: The National Investigation Agency (NIA) has arrested the prime accused in a major organ trafficking case involving the illegal transport of Indian citizens to Iran for organ donation. The accused, Madhu Jayakumar, a native of Ernakulam, was produced before a Kochi court on November 12 following an NIA application. The court has granted NIA custody of Madhu until November 19. He is currently being interrogated at the agency’s Kochi office.
The case was registered on May 18, 2024, after immigration officials at Kochi airport detained a young man suspected of being involved in an organ trafficking network. Initially investigated by the Ernakulam Rural Police, the case was later handed over to the NIA.
Investigations revealed that the accused targeted financially vulnerable individuals, misleading them into believing that the organ donation procedures in Iran were legal. The accused arranged recipients, coordinated treatments with Iranian hospitals, and facilitated the entire process by providing false information about its legality.
Last year, the NIA filed a chargesheet against Madhu, Sabith, Sajith Shyam, and Bellamkonda Ram Prasad. A Red Corner Notice was issued in February 2025 to trace Madhu, who was residing in Iran. His arrest is considered a major breakthrough, as he is believed to have coordinated organ trafficking activities and hospital arrangements in Iran.
Kochi: The Kerala High Court has stayed the arrest of former Devaswom Secretary S. Jayashree in the Sabarimala gold theft case. The interim order will remain in effect until Tuesday. The court intervened while considering her anticipatory bail plea, which will be heard again on Tuesday.
The Special Investigation Team had earlier found that Jayashree, during her tenure as Devaswom Secretary, had made illegal alterations in the Devaswom Board minutes. Jayashree approached the court stating that the allegations against her were baseless and that she suffers from serious health issues. A similar petition filed earlier was dismissed by the High Court, ruling that there were no exceptional circumstances to directly consider an anticipatory bail application.
Kaantha Review: ONE WORD Vintage Vision, Slow-Paced Execution: Kaantha Balances Brilliance and Flaws
A Review by Arunjyothi R
LANGUAGE: TAMIL
DURATION: 163 Minutes
DIRECTOR: SELVAMANI SELVARAJ
GENRE: Period Drama Thriller
•POSITIVES:
1: Direction
2: Dulquer Salmaan
3: Performance of actors
4: Cinematography
5: Art Direction
6: Music and Background Score
•NEGATIVES:
1: Storyline
2: Screenplay could have been better
3: Slow paced
4: Duration of the film
STORY:
Set in the evocative black-and-white era of the 1950s, the film traces the rise of MK Mahadevan (Dulquer Salmaan), an actor moulded into stardom by the celebrated filmmaker Ayya (Samuthirakani). What begins as a relationship built on trust and artistic ambition slowly turns into a power struggle. Ayya, who believes he crafted Mahadevan’s entire career, expects lifelong obedience, while Mahadevan, now confident in his own star value, begins to break free. This widening rift eventually derails their passion project, Santha, leaving it abandoned halfway.
Years later, a determined producer succeeds in bringing the two estranged talents back together to revive the unfinished film. Into this tense reunion steps Kumari (Bhagyasree), a new actress chosen as the leading lady. Her presence gently stirs the emotional landscape: Mahadevan, despite his commitments at home, finds himself drawn towards her charm, while she shares a close, almost protective bond with Ayya. The delicate triangle ignites old egos, new insecurities, and unresolved wounds, creating an atmosphere thick with friction on the sets.
As filming progresses, the simmering tensions erupt into devastating consequences, altering the destiny of everyone involved. The story then unravels the mystery behind the unexpected incident that shakes the production, questioning whether Santha will ever reach completion. It also explores how Mahadevan confronts his own conflicted emotions, his loyalty toward the man who launched him, and the price he pays for blurring the line between personal longing and professional duty.
REVIEW & ANALYSIS OF THE FILM:
Kaantha opens with remarkable ambition, immersing the viewer in the monochrome world of early Indian cinema with stunning visual precision. The film meticulously recreates the charm of the 1950s, pulling us into a filmmaking culture built on raw passion, towering egos, and unspoken hierarchies. Yet, for all its stylistic finesse, the film struggles to sustain momentum over its lengthy runtime. A movie can look like a visual treasure, but without emotional grip, the experience becomes distant—and this is where Kaantha begins to wobble.
The early portions move at an unhurried pace, taking their time to establish the mentor-protégé spark between Mahadevan and Ayya. While the detailing is admirable, the narrative unfolds with such leisure that the first hour feels stretched beyond necessity. The interval payoff undoubtedly shakes things up, promising a rejuvenated second half. But soon after, the narrative veers into whodunit territory, and the transition feels oddly misplaced. What begins as a layered artistic drama suddenly shifts gears into a crime-driven track, and this genre switch does not blend as seamlessly as intended.
The biggest hurdle is the uneven execution. Once the murder angle takes centre stage, the screenplay begins circling around familiar beats. Scenes featuring the investigation—though boosted by Rana Daggubati’s confident presence—lack the urgency and intrigue expected from a strong mystery. Instead of elevating the drama, these portions dilute the immersive tone the film had carefully established in the beginning. The nearly three-hour duration amplifies these shortcomings, making the viewer more conscious of the film’s pacing issues.
Debut filmmaker Selvamani Selvaraj deserves credit for attempting something creatively daring rather than opting for a safe, formulaic debut. Recreating a bygone era and exploring the psyche of artists from that time is an uphill challenge. He certainly displays command over composition, character moments, and atmosphere. However, his storytelling falters when the script demands tighter coherence. The second half feels weighed down by repetitive emotional exchanges and prolonged setup, causing the overall engagement to wane.
Some narrative threads—especially those tied to the central crime and the emotional stakes around it—feel underdeveloped. The film builds anticipation for big revelations, but when they arrive, they don’t quite land with the desired impact. Rana’s role, though fiery, feels somewhat detached from the vintage tone, creating an unintended tonal imbalance. Still, the final act redeems parts of the screenplay with a neatly staged closure that reconnects the dots and offers a satisfying emotional release, even if it could have benefited from sharper writing.
Where Kaantha truly shines is in its performances. Dulquer Salmaan delivers a deeply textured depiction of Mahadevan, capturing the man’s brilliance, flaws, and internal chaos with striking authenticity. Bhagyashree Borse is captivating as Kumari, portraying innocence layered with emotional maturity. Samuthirakani brings gravitas as the seasoned filmmaker battling time, ego, and irrelevance. Rana Daggubati’s flamboyant cop injects unpredictability into the narrative, even if the script doesn’t fully support the character’s arc.
On the technical front, Kaantha is breathtaking. Dani Sanchez-Lopez’s cinematography is a visual triumph—each frame is crafted with devotion, transporting the audience into a period seldom explored in Indian cinema. Jakes Bejoy’s background score elevates the mood, blending nostalgia with tension. The production design, soundscape, and costume choices all contribute to a world so authentic that you forget you’re watching a film crafted in the present day. Kaantha could have trimmed several indulgent stretches, especially in the first half, to keep the narrative tighter and more engaging. A few repetitive emotional beats and the prolonged investigation portions could have been trimmed to maintain the film’s momentum. The overall duration feels unnecessarily long, with several portions dragging and making the film feel noticeably stretched. The pacing dips often, and the extended runtime introduces a sense of lag that slows down an otherwise promising narrative.
CONCLUSION:
Overall, Kaantha emerges as a film brimming with artistic intent, technical finesse, and standout performances, especially from Dulquer Salmaan, but it struggles to maintain a consistent emotional grip due to its overstretched runtime and wavering narrative focus. The film’s rich period detailing and visual craftsmanship deserve applause, yet the lagging pace and uneven second half prevent it from fully realising its potential. Would I recommend it? Yes—but only for viewers who appreciate slow-burn dramas, vintage aesthetics, and character-driven storytelling. For the regular audience expecting a tight, gripping narrative, Kaantha may feel too drawn-out and inconsistent. It’s a film worth watching for its craft and ambition, but best approached with measured expectations.
New Delhi: In a significant breakthrough following the Delhi explosion, police have located the second car used by the terrorists. The vehicle—a Ford EcoSport registered in the name of Dr. Umar—was found in Khandewali village, Haryana, by the Faridabad Police after an intensive search operation.
The discovery of the second vehicle is expected to provide critical leads into the network’s movement and coordination in the days leading up to the Red Fort blast.
New Delhi: The explosion near Delhi’s Red Fort was planned from abroad, according to crucial intelligence received by the investigation team. Authorities have confirmed that military-grade explosives were used in the blast, including ammonium nitrate and other powerful materials.
Investigators revealed that the blast was carried out by suicide bomber Dr. Muhammad Umar, who had links with the suspects arrested earlier in Faridabad just hours before the explosion. Police had previously seized 2,600 kilograms of ammonium nitrate in Faridabad and detained eight individuals, including doctors, from whom 2,900 kilograms of explosives were recovered the previous day. The Delhi blast occurred on Monday evening, shortly after these seizures.
Officials suspect that high-intensity military explosives were used in the blast, which destroyed a Hyundai i20 car, killing 10 people and leaving many others severely injured. Forensic experts have collected 42 pieces of evidence from the site to determine the precise nature of the explosives.
The investigation has also uncovered possible links between the “White Collar” terror module and outfits such as Jaish-e-Mohammed and Ansar Ghazwat-ul-Hind, which operate across Kashmir, Haryana, and Uttar Pradesh.
Reports indicate that the group had initially planned an attack in Delhi on Diwali, but later dropped the plan. The Hyundai i20 car used for the blast carried a Haryana registration number, and to avoid police suspicion while entering Delhi, the terrorists reportedly conducted a vehicle pollution check immediately after purchasing the car.
MUMBAI: Veteran Bollywood actor Dharmendra, who was recently admitted to Breach Candy Hospital in Mumbai after complaining of breathlessness, is reported to be stable and recovering.
The actor’s health condition has been a subject of speculation on social media, prompting his daughter, actress Esha Deol, to issue an urgent appeal to fans and the media.
Esha Deol confirmed that her father is doing fine and is on the path to recovery, while firmly rejecting the rumors circulating about his health.
Sources close to the family indicated that the actor is currently under medical observation and is responding well to treatment. A medical bulletin is expected soon
New Delhi: The death toll in the explosion near the historic Red Fort in the national capital has risen to nine, while 14 others have been injured, six of them critically. According to initial reports, the National Investigation Agency (NIA) has assessed that the intensity of the blast was higher than initially believed.
Nine people lost their lives either on the spot or later at the hospital. The injured include pedestrians and shop workers from nearby establishments. The explosion occurred close to the Lal Qila Metro Station on the Delhi Metro’s Violet Line. The blast was so powerful that two parked two-wheelers were completely destroyed by fire, and eight cars sustained major damage.
Preliminary forensic examination of evidence collected from the scene suggests that a high-intensity Improvised Explosive Device (IED) was used in the attack.
The explosive is believed to have been placed in an abandoned box or bag by the roadside, investigators said.
In response to the incident, Delhi Police have issued a high alert across the city. Security has been tightened at major locations, including Lal Qila Metro Station, railway stations, and the airport. The NIA is focusing its investigation on determining whether any terrorist organization was involved in the blast.
Dulquer Salmaan old and new Photos gallery – Find Dulquer Salmaan latest photos also Dulquer Salmaan movie stills and event pictures, Dulquer Salmaan latest photoshoot images
The results will be declared on December 13. Elections will be held in 1,199 local bodies, excluding Mattannur, whose term has not yet expired. Model code of conduct has come into effect across the state. Nomination papers can be filed until November 21, scrutiny will take place on November 22, and withdrawals are allowed until November 24, according to State Election Commissioner A. Shajahan.
