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“The shortfall is primarily on account of certain declarations for which there was prior information under the Double Taxation Avoidance Agreements and Tax Information Exchange Agreements or receipt of payment after 31st December, 2015,” it said. “The declarants were liable to pay tax at the rate of 30 per cent and a like amount of 30 per cent by way of penalty on the value of assets declared, by December 31, 2015,” it said.
Liquor baron Vijay Mallya's 11-seater private jet has been sold for scrap to pay for the dues on his grounded carrier Kingfisher Airlines at the Mumbai International Airport.
Mumbai International Airport has auctioned his jet for Rs. 22 lakh, according to Mid Day. The buyer, Silent Enterprises, will reportedly recover the amount spent on it by selling its various parts as scrap.
The process of dismantling, Mid Day reported, which started on April 6, is expected to completed by next week. Workers are working for eight hours everyday to finish the job, the report said.
“We are currently dismantling the engine of the mid-sized jet, which is the most difficult part to dismantle. Though we have been working on the aircraft for eight days now, we will need at least four more days to complete the work. We expect to get 6.5 tonnes of scrap metal from the jet," a supervisor told the Mumbai-based news outlet.
“It gets difficult to work in the afternoon, but the workers maintain their shift timings. The parts of the aircraft, once dismantled, are taken to Khairani Road in Kurla, where the scrap yard is located, and dumped there," another supervisor said.
After incurring huge losses, and failing to pay its employees, Kingfisher Airlines was grounded in October 2012 and its license was canceled in December. Mallya could also lose the Rs 100-crore worth Kingfisher House at Mumbai's Vile Parle, Business Today reported.
Anil Kapoor's B'day
Anil Kapoor’s December 24 birthday is often marked by a family gathering or a starry shindig of some sort. As the curtain went down on 2015, our native version of Benjamin Button turned 59 and, sure enough, celebrated the passing of another birthday with aplomb. For the second year running, the ageless Anil chose Dubai as the venue for his annual celebration — though this party was diametrically different from the intimate family celebration that marked his last birthday.
With Jacqueline Fernandez, Rajeev Shukla and hosts Deepna and Ajay Sethi by his side, Anil Kapoor cut a massive cake (with nothing less than a sword); cracker candles lighting up the scene. Brother Sanjay Kapoor and his wife Maheep were in attendance too, as were Poonam Dhillon, Mohammed and Lucky Morani, Shatrughan Sinha and his son Khush, Anu Ranjan and television host Manish Paul.
Kapoor later tweeted his regret that Shah Rukh Khan and Priyanka Chopra didn’t make it to his birthday bash but, all things considered, it was a grand soiree. We can’t think of a better way to kick-off the year-end party season — or to start a new year for that matter!
Veteran screenwriter Salim Khan turns 80 today. A new book Written by Salim-Javed -The Story of Hindi Cinema’s Greatest Screenwriters by Diptakirti Chaudhuri recounts the story of Salim Khan and Javed Akhtar, India’s most successful screenwriters. Together they wrote some of the most iconic Hindi movies of the 1970s and in the process shattered many rules and changed industry’s attitude towards writers. The following excerpts from the book narrate Salim Khan’s journey from a small boy in Indore to the star writer of Bollywood
One of Salim Khan’s abiding memories is from when he was four or five years old and had stolen a key-wound motorcycle from a toy cart. When he came home with it and his mother found out, she was livid and made him go back to the cart-owner to return the toy and apologize. When he did so, all his friends laughed. Many decades later, Salim Khan says he still hasn’t forgotten the cackle of their laughter. Nor has he forgotten the lessons an upright mother can impart on a child. This theme of honesty above all else would return to many of the films he wrote.
Born on 24 November 1935 in Indore, Salim Khan was the son of a police officer—fifth in a line of Pathans who had migrated from Afghanistan in search of a good education and a better life for their children. His great-great-grandfather Anwar Khan joined the British cavalry and was posted in the Central Provinces (present-day Madhya Pradesh). The family put a premium on education and culture, which led to most of its members joining government service. Salim Khan’s father— Abdul Rashid Khan—joined the police force and rose to become the DIG of Indore, the highest position allowed to Indians in British India.
As member of a well-to-do family, Salim’s life was quite comfortable until he lost his mother at the age of nine. She was suffering from tuberculosis, a dreaded disease during that time, and Salim was not allowed to go near her for the last four years of her life. She was in isolation at home and had to go away for long periods to Bhowali, a sanatorium for TB patients. He recalls one particularly traumatic episode, ‘One day, she saw me playing and asked the maid who I was because she couldn’t recognize me after staying away for so long. When the maid told her that I was her youngest son, Gullu, she called me but did not let me come near her. She made me stand at a distance from her and watched me for quite some time. When I think about this now, I always think how traumatic it must have been for her to not be able to touch her own son. And even now, tears well up in my eyes.’
♦♦♦♦♦♦♦♦♦♦♦
Blessed with a good memory, he still remembers many details from his childhood, even the name of the barber who used to come home to give his father, him, and all his cousins haircuts at a bulk rate—Hariram Naii. Salim’s father—having been a police officer all over Madhya Pradesh—had extensive experience in handling dacoits of the region and had compelling stories to tell. Many of the more interesting ones stuck.
There was a particularly cruel story about a legendary dacoit who cut off the ears and noses of all the policemen he caught. His name was Gabbar Singh. Salim studied at Indore’s St Raphael’s School and then at Holkar College. He was quite the ‘jock’ in college with a 1928 model Jaguar and a Triumph motorcycle that he rode around town. He also played cricket. As the star batsman of the college team, he was extremely popular and his skills were good enough for the college to request him to enrol for an MA in economics in order to keep playing. He practised hard but when he realized he was not able to progress beyond a certain level he got bored of the stagnation.
He tried several other things too. His penchant for war movies led to a fascination for flying and he started training to become a pilot. He even logged the hours required to get a commercial flying license but got bored of that too. Commercial flying is bound by strict rules and regulations, with no scope for showmanship.
His dreams of swooping down and zooming back up over a girl’shouse weren’t going to materialize ever, he realized. But a culture of reading and learning at home ensuredthat adrenalin-charged activities weren’t the only things that
interested him. His father insisted that he read books and newspapers regularly, and subscribed to the Statesman newspaper
from Calcutta (which took three days to arrive). Salim Khan always had an air of flamboyance about him and a flair for words. In college, he became the ‘official’ letter writer for all the lover boys in his class, letters that were handed over surreptitiously on the way to college or in a cinema queue. He’s quite proud of his letters and says that when he left for Bombay, the quality of his friends’ letters dropped so much that their girlfriends went ahead and married other people. ‘Sab ke sab Devdas ho gaye,’ he laughs.
Incidentally, two of his close friends were called Jai Singh Rao Kalevar and Virender Singh Bias (names which he would soon immortalize). He also had a doomed love affair when he was in college. ‘Boys and girls used to fall in love in college, but the girl’s family would marry them off to older boys, who were already working and somewhat settled in life. The same thing happened to me,’ he says with detachment.
His good looks and the gift of the gab often led to friendly banter about him being ‘hero material’. That banter turnedout to be prophetic for he got an offer from Ramesh Saigal—maker of hits like Samadhi and Shaheed—to act in films, buthe turned it down.
The Barjatyas—who would eventually provide a brilliant launch vehicle for Salman Khan—were the ones responsible for Salim Khan’s foray into cinema.
Once during this stint, he had a very interesting conversation with Abrar Alvi when they were discussing the importance of
the writer in films. Salim said, ‘Abrar sahib, there will come a time when writers will be paid the same as stars . . .’
Abrar took a while to comprehend this and asked somewhat incredulously, ‘If Dilip Kumar charges twelve lakh for a film today, you think a writer can ever ask for that kind of money?’ Salim replied, ‘If the writer can prove that the film ran because of his script, then why not?’
Abrar dismissed this confidence as lunacy and said, ‘Miyan, don’t repeat this to anyone else. People will think you have gone mad.’ Salim Khan still remembers this conversation as if it happened yesterday.
In the mid-1960s, around the time Salim decided to turn to screenwriting, he was also acting in a film called Sarhadi Lootera directed by S.M. Sagar. He was not the hero but had a romantic role in the action film. Those were the days when scenes were written on the sets by anonymous daily-wage writers, who never seemed to be in short supply. Salim, by this time, had started thinking of scripts and scenes as a writer and used to complain bitterly to the director about the poor quality of dialogues. He even offered to write the scenes himself. The director kept scouting for writers until one day, in desperation, he asked one of his assistants—the clapper boy—to write the day’s scenes because the writer hadn’t turned up. He liked the boy’s work so much that he made him the dialogue writer. The boy was about twenty-one years old.
His name was Javed Akhtar.
(Excerpted with permission from Written by Salim-Javed -The Story of Hindi Cinema’s Greatest Screenwriters, Diptakirti Chaudhuri, Penguin Books India.)
< เคเคธे เคฎें เคฌเคก़ा เคช्เคฐเคถ्เคจ เคฏे – เคि – เค्เคฏा เคैंเคชेเคจ เคे เคฌเคนाเคจे เคो เคเคฎिเคฐ เคो เคจिเคถाเคจा เคฌเคจाเคฏा เคเคฏा เคนै?
On the occasion of A.R. REHMAN’S Birthday, we decided to walk down the road and come up with his five melodious compositions that can make us dance.
1. Humma Humma
One of the best songs to shake your legs on was ‘Humma Humma’ which has been people’s delight since 1990’s.
2. URVASHI
One line for this song – If you still play it, you might tap your shoes with the beat. That’s the charm of this song.
3. RANGEELA RE – RANGEELA
Remember Urmila Matondkar dancing on the tunes of ‘Rangeela Re’ from the movie ‘Rangeela’. The song was a hit among the masses.
4. CHAIYYA CHAIYYA
The song from the movie Dil Se was the highlight of the movie. Be it lyrics, composition, singer or the situation of the song everything worked in this song.
5. Patakha Guddi
‘Patakha Guddi’ from ‘Highway’ is a ‘on the go’ kind of a song. It reflects care free attitude.
He has so many classics attributed to his name as his every single composition is a master piece.
Genius isn’t he!
New Delhi, Jan 6: The secret about Aishwarya Rai Bachchan’s new multi-starrer project is out! The former beauty queen will star with Sonam Kapoor and Katrina Kaif in one frame for an ad commercial.
The actresses, who are also the brand ambassadors of L’Orรฉal Paris, will come together in an ad for the cosmetics and beauty brand’s new product ‘Advanced Haircare’.
Sonam and Katrina are excited about how the ad film has turned out.
“I had a blast shooting for the campaign. I think it is really innovative and shows all three of us in a new light. It is beautiful how L’Orรฉal Paris has brought all of us with our individualistic personalities and choices together in the same frame for Advanced Haircare,” Sonam said in a statement.
“I can’t wait for the film to go on air. I am sure all our fans are going to love it,” added the “Khoobsurat” actress.
Meanwhile, Katrina said: “I believe in the L’Orรฉal Paris core thought of expert solutions for different hair and am very happy with the way the film has turned out.”
The driving force of this range of haircare products is “Every woman needs different haircare solutions for different hair problems” — be it with damaged, dull or hairfall issues.
