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Rajkummar Rao says he is not in a Hurry to get Married Because he is ‘Still a Child’

The actor, mostly known for featuring in films with offbeat content and treatment, says it's his job to be part of various kinds of films

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Rajkummar Rao
Rajkummar Rao. Wikimedia
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Mumbai, October 10, 2017 : Actor Rajkummar Rao, whose next big screen outing is “Shaadi Mein Zaroor Aana”, says he is not in a hurry to get married as he still feels like a child.

“Shaadi Mein Zaroor Aana” is due for release on November 10.

Rajkummar Rao, who was present at the launch of fashion designer Manish Malhotra’s X Chandon Limited Edition End of Year 2017 bottles here on Monday was asked when he is going to get married in real life.

He said: “I am not getting married in real life, so that’s why I am getting married in films. But there are times in films also where I don’t end up getting married. There is still so much time left for me to get married in real life. Right now, I am focusing on my work and I feel I am still a kid, so I am not in a hurry to get married.”

The actor, mostly known for featuring in films with offbeat content and treatment, says it’s his job to be part of various kinds of films.

ALSO READ Rajkummar Rao kickstarts ‘Fanney Khan’ shoot

“I like to give something new to my audience with every film of mine. Otherwise, it would get boring for me as well when I will start doing same kind of films. So it’s better to try and take risks,” said Rajkummar, who featured in “Bareilly Ki Barfi” and “Newton” this year.

“Newton” is also India’s official entry for the Oscars’ Best Foreign Language Film category.

Asked about the development on that front, he said: “It’s a huge responsibility when your film represents your country at the Oscars. We have cleared the first step, but we have to fight a long battle out there.”

“A total of 92 films are nominated with which our film is competing in the foreign language film category. So now we have to make it to the top nine films and then top five films. So, it’s going to be a different ball game altogether, but we will try really hard.”

After “Shaadi Mein Zaroor Aana”, Rajkummar Rao will also be seen in Hansal Mehta’s “Omerta” and he will make his foray into the web series space with “Bose: Dead/Alive”. (IANS)

 

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Rajkummar Rao Performs Exceptional in Omerta

Every bit-part of a terrorist, cop, tourist or mullah is played by people who seem to have walked in from their real habitat to be part of a group discussion on their beliefs

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I specially liked Rao's conversations in London with his screen-father (Keval Arora). So calm so unruffled, secreting such terrible violence.
Rajkummar Rao, wikimedia commons

When a filmmaker takes on the responsibility of telling the story of one of the most notorious terrorists in the world, there is always the risk of humanizing the mass murderer, underlining his barbarism with a cultural/religious rationale that may perhaps be intelligible only to the perpetrator of the violence but nonetheless a rationale to be considered.

In ‘Omerta’ as Hansal Mehta tells the horrific intensely malevolent story of the violence committed by Omar Sheikh (played with chilling transparency by Rajkummar Rao) what emerges is a man who believes violence can set the world’s awry values right again. Not that Omar hopes to achieve that moral and political equilibrium during his lifetime. But no harm in trying, is there?

This tightly-edited nerve-wracking tale of self-righteous butchery opens with a deviously planned kidnapping of a group of foreigners in Delhi and ends with the beheading of Daniel Pearl (Timothy Ryan Hickernell) in the dead of the night when the blood-curdling sound of a throat being slit by a blunt knife (some call it halaal) pierces the stillness.

Rajkummar Rao conveys the unplumbed turbulence of an ocean that's deceptively calm on the surface. His performance is magnificent without aiming to be so.
Omerta Poster, IANS

Here, I have to admit, I felt violated.

Before I proceed with more revolting descriptions of the barbarism that Mehta’s Omar brings to the screen (or maybe you wouldn’t like to hear about it anymore) this is as good a place as any to speak of the sound design. Mandar Kulkrani’s sound recording leaves nothing to chance. The incidental sounds, whether the distant sound of a gunshot or a jihadi falling from a cliff to his paradisical death, the film is a marvel of intricately detailed sound designing.

Anuj Rakesh Dhawan’s camera is a restless soul. It fidgets, it meanders, it burns its way into searching for a centre to the protagonist’s conscience. Indeed, Omerta looks like a film (if you want to call it a film) that could do with a pause for breath. It is a restless breathless rushed and breakeneck hurl into a nemesis that no man can control.

To the life and goals of man who wants to change the world with his vigorously violent methods, Rajkummar Rao brings a smirking serenity, an imperturbable certainty to every (violent) action manned by a core of “truth” obtainable only to those who believe they are among the Chosen Ones.

I specially liked Rao’s conversations in London with his screen-father (Keval Arora). So calm so unruffled, secreting such terrible violence. Rajkummar Rao conveys the unplumbed turbulence of an ocean that’s deceptively calm on the surface. His performance is magnificent without aiming to be so.

Also Read: Singer Sona Mohapatra Accuses Sufi NGO of ‘Threats’ 

Every bit-part of a terrorist, cop, tourist or mullah is played by people who seem to have walked in from their real habitat to be part of a group discussion on their beliefs

Regrettably Hansal Mehta and Rao do not allow us to penetrate the protagonist’s consciousness beyond a point. We only know as much about Omar Shiekh as he and his Creator (and I don’t mean Hansal Mehta) want us to. This, in a way is a desirable path to follow for us, the mute spectators. For violence, as all know, can only be penetrated fully by those who subscribe to it.

“Omerta” is not an easy film to watch. It cuts the protagonist’s movements down to size in episodic chunks and then regurgitates the vivid moments into scenes of colour-blinded documentation. There is a moment where Omar, pretending to be an ordinary tourist in Delhi named Rohit is accosted by an aggressive cop on the road who tells him bluntly that he “looks” like a Muslim.

That moment provides us with a blinding flash of recognition of the problem as to why global terrorism has come to a flashpoint. There are many dialogues and images in this film that will make you wince and squirm.

Who said life after Osama bin Laden would be easy? “Omerta” makes it no easier. (BollywoodCountry)

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